Buffet Tenors for Jazz - Your Preference, si vous plez

[Dig Gonsalves]

Don't hear much about Buffet's from jazz players these days ...
Anybody?

[mostly alto guy]

Dynaction tenor is great for ballads--very nice rich smokey sound. And like the alto, good keywork and solid intonation. I use a HR Yani with EDII lig and whatever reed is working.

Mine's going to get a chem strip and maybe a nice new silver skin in a few months. Can hardly wait.

[Kritavi]

Some Buffet players I can think of:
Albert Ayler
David Ware
Billy Harper
Johnny Hodges (after Selmer took over Buescher)
Jon Raskin of Rova Sax Quartet

I love my Dynaction tenor and my newly overhauled SDA Alto with brass resotech resonators is a gem!

[Dig Gonsalves]

Two responses in one month. But that's the whole reason for the post. Anybody else subtoning ballads or exploring the Interstellar Seraphic Regions with a Buffet?

[mostly alto guy]

I think you'll find two main categories of Buffet players: those of us who play mostly classical alto (on a variety of Buffets), and some jazz guys who play mostly SDA tenors. There are exceptions, of course.

I have more Buffets than any other make, at 5 and counting. Personally, I find them to be flexible, in tune, and sturdily built. Once properly set up, any of them since about 1940 are wonderful for classical and will sing like no other make. Set up differently (oversize metal resos and a small-bore, high baffle piece) and they'll scream or roar. As a bonus, they play in tune (with the right piece) without a lot of lipping and adjusting.

Frankly, I don't see why vintage Buffets aren't more expensive than they are, esp given their rarity compared to, say, the MK VI. I suppose it's their lack of star quality.

[Saxa]

I just found a Buffet S-1 Transitional, meaning the high F# is not on this one. According to Saxpics, only a few made. I'm playing in a Reggae/Ska/Jazz :? Band and although I'm up against two guitars and three other horns, I'm hoping this horn will do the deed. After reading alot about them I'm looking forward to using an older Barone Rock/Fusion with it. If its as versitile as they say, I'll be able to use it on regular Jazz gigs. I'll be comparing it up against a really super Mark VII.

[Bill Mecca]

Buffet SDA Tenor c. 1961 Runyon Custom Quantum Spoiler, Fibracell reeds, Consoli lig.... mostly R&R, R&B, rich, full, vibrant, from screams to whispers.

[madav]

sold my sparkle SDA to help finance a purchase of VI.

But you won't see me part with my '54 Dynaction........

Dukoff M10 ,or ESP120, great intonation, superbly built, great sound - 'nuff said

[Saxa]

Ya, it came in. I recieved the Buffet S-1 Tenor Monday and played it the rest of the afternoon. I would have paid a third more for it. But I don't want to inflate the price like some horns we know :wink: . So maybe we should just keep it a secret and just don't tell anyone!!

[Gange]

I don't really consider myself a "jazz player" but still I do play quite much jazz (on alto/soprano).

I have a 36xxx Prestige tenor, and I can't say that I can match its huge, fat, sweet sound with any modern tenor I have tried. The population of Mark VI:ers I have tried is too small to make an general statement; but I still play, and love, my Prestige.
I have matched it with a (current production) Selmer Soloist C**, a (current production) Link NY 5* and a Vandoren V16 T45. I haven't yet decided which I like the most. I also haven't found the right reed combination.
The Soloist and the Link are perhaps a little close, but the overall sound is... great.

I'm consider taking it to a jam session next week. We'll see... :-)

ps.
The left pinky table is the best I have ever seen!

[noelpaz]

I have acquired a mint condition buffet SDA tenor circa 1972 from a kid who wanted a shiny cannonball for the price of a discounted student winston - It was also just repadded. Just a few tricks by my tech has opened up this horn and it sounds louder than my Edgeware tenor and really focused.I compared it to a very good balanced action and it held up pretty good - tonewise and ergo wise - maybe even better. This horn was a blessing after loosing my balanced action 3 years ago.

I am just sticking to my metal Otto Links and I play a NY 7 and a recent 5* STM. For electric/fusion gigs - I use a Claude Lakey 7*3 and this horn is loud.

This horn is avery good jazz horn.

[Kritavi]

Add Tina Brooks to the list of great Buffet users. On the cd Open Seseme by Freddie Hubbard he is pictured with his Dynaction.

[TenorSaxe]

I currently own a Buffet SA tenor sax, I use it all the time for Jazz myself and have found that it has a very full sound and works very well with a Myer 6 mouthpiece.

[Saxland]

I LOVE++++++ my 1952 Buffet Dynaction. I bought it as a way of having a tenor while saving up for a Selmer SBA. I stopped saving once I got into this horn. Original metal resonators. I played the last two years on a Bilger Silver * , 3.5 (k sub strength) Zonda reed, Dark Rovner lig and loved it. I have just tried out an old otto STM linkmetal 6, with a Zonda 3 (g sub strength) and am in Dexter Land (and lovin' it there!!!!) I have NEVER got along with a Link, now I'm a convert. Bilger still gets tons of play time. I would have to have one smoking SBA to replace this horn, and wanting Vi tenors are history with me now. I do have a 10M dream horn bug, mabey thats my next "investment" :) I have considered getting the Dynaction silver plated but I think the link gets me there.

Why I didn't have to pay $5000.00 I have no idea. I bought it for $1100.00 USD. It plays better than any Vi I tried. Response is intimate to the player and there is no fighting to get what I need from the horn. I think that the market should be demanding at least $3500.00 for a good example and $5000.00 for a great example. Why I payed less than the cost of some student tenors is beyond me. :)

[Gange]

I made a recording (the very first one when I bought a microphone) a couple of months ago. To update my previous post, I now play a NY Link 6*. I have also a plastic Dukoff D6, that is a little wilder.
Have a look at: http://www.barytonsaxen.se/sound/senor_blues_050203.mp3

Nothing is done to the sound. Just mic (randomly) in front, no eq etc. I play the second horn as well.

[AbrahamFackle]

For me it's a '51 Dynaction tenor, (modern) levelaire 7, and a bari M. It's in need of several pads and some major adjustments but even so I can get it to subtone down to Bb. It can play as sweet or as hot as I want and intonation is marvelous. This horn kicks butt.

[doubler]

In the late 1960's I played a SDA tenor. The mouthpiece I used was a metal Berg with a bullet chamber. I do not know what tip size or chamber size. I used this setup in a soul band playing music from Otis to Picket to Chicago and Blood, Sweat and Tears. The horn played in tune except for the palm keys. Man, was it loud when blown strong.

Then one day I tried a new Mark VI with my Berg. I couldn't believe how much easier the VI blew. All I had to do was sigh into the VI to do the same stuff I had been working so hard to play on the Buffet.

Have any of you experienced the same difference? Why would the Berg play so much easier on the VI than on the Buffet?

[duner9]

In one word....LEAKS.....having a sax adjusted is like night and day.

Brass is soft and through constant use the pads seat, the keys bend, the springs get weaker. A thorough adjustment addresses all these problems and makes a tremendous difference.

Duner9

[SaxBuff]

Well.. I think it's an "Aquired Taste"..:) I have played just about every Sax in the last 35 years. It seems to do quite a bit with the player. I could play a school Bundy and for the most part sound pretty decent. I recently traded a CB Tenor (Pete Christlieb) for a Buffet 400 Tenor. I have to admit, the horn won me over with a sound similar to my
MK VI. Speaking of, not "every" MK VI is a Mike Brecker, or Lenny Picket. Those that have been playing for any length of time know that like a cat, every sax has it's own personality. For example, if one were looking to replicate (for the sake of argument..:) ) the beautiful sound Mike Brecker had on his Tenor, you might go through a bunch of MK VI's and still not quite get that tone. Add in to that mouth pieces, reeds, and it could be endless.

As for me, my buffet fills the bill. Very affordable, and appears to be well put together. Working on a new CD with it. Maybe that will put it firmly on the map..lol:)

[Yellowhorn]

Versatile is how I describe my SDA tenor and alto. I play them in various settings, including churches, wedding receptions, funerals, etc. They can peel paint off a wall or whisper.

Setups: SDA tenor + Ponzol M2 Plus SS + Rico Plasticover and Royal
SDA alto + Ponzol Custom (HR) + Rico Plasticover and Royal

[Yellowhorn]

Speaking of great players who use(d) Buffet SDA or DA, I took out Art Pepper's "Road Waltz" the other day and listened to it. He sounded so silky and smart on his SDA alto! It could be mistaken for Paul Desmond's sound.

[coolnote]

I played a friend's SDA tenor for a few hours, what a dark, fat, rich sound!! I'd say something between a Martin and King in tone, with the best of both and easier intonation and ergonomics to boot.

I bought an S1 tenor thinking it would be SDA plus, but what I got was just different. Brighter, thinner, resistance when pushed hard. And I found the famed Eb/C RH pinky keys to be a bit fatiguing, finding myself rolling my pinky more than sliding it, and it subtly screwed me up when I switched horns. I sold it after a few months.

Pretty different from the alto experience, where my S1 alto is heaven-sent! Perfect intonation, wonderful ergonomics (mine has traditional Eb/C roller keys), a nice brilliance and core to the tone that suits my alto sound concept well. I do find a similar wall when trying to push hard, but not as obtrusive as the tenor and somewhat managed by mouthpiece selection (I do find the S1 a bit mouthpiece picky).

I'm dying to try an SDA alto one day, if it's anything like the tenor.

[BuffetSDAsRule]

I've owned my 1972 SDA tenor for 30yrs and my 1965 SDA alto for 10+. I use them in Jazz ensembles, rock, spiritual music and they both are very versatile. My alto setup is a Meyer G #5 with #3 Fibracell or La voz medium.

On my tenor, I use a Springer (HR) .095. I also use a NY Link #7 on the tenor. I agree with most here that like other Paris horns, they are pitch sensitive with respect to the size of the chamber/baffling. I tried a Ponzol once on my tenor.. didn't care much for it.

Bottom line: These horns have given me all I've asked of them musically. Yes the tone is darker than say a Yamaha 82z but I can brighten the tone whereas, its hard to take a bright horn and make it sound dark.

[soybean]

I just got what appears to be a Buffet SDA stenciled as Couesnon. This one used to belong to Saintsday. I'll post a review of this here in a few weeks. link:

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=160363731372&ssPageName=STRK:MEWNX:IT

[saxando]

Soybean,
I might be wrong, but this stencil seems to be an Evette Schaeffer one. Not the 60's french model, but rather the '70s italian one. Look at the bell-to-body brace and see that flower stamped on it. SDA would have the "BC" logo as we all would expect.
Anyway, please let us know your review.
Saxando

I just got what appears to be a Buffet SDA stenciled as Couesnon. This one used to belong to Saintsday. I'll post a review of this here in a few weeks. link:

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=160363731372&ssPageName=STRK:MEWNX:IT