Kali Mouthpiece Pass-Around Review

[Swampcabbage]

Hello, as I was the first on the list, so I shall be the first in the review. DISCLAIMER: I have no professional or other association with Wanne Inc. other than I have purchased a few accessories in the past and the initial communications for this trial.

First of, I’d like to send a big kudos out to Spooner and Theo for doing this. I think this is a brilliant way to get the true “word” out about a product. As we all should know; the proof is in the putting. As Theo has a very small company and limited stock, it makes little sense to send out 10s or 100s of pieces out to stores for trial. On that note, it is a testament to the SOTW community that these trials are possible, so each of us who has proven to be responsible and considerate regardless of politics (and not just the lawmaking kind) deserves kudos as well. Obviously these trials are taking place due to the success of previous pass-arounds.

Okay, everyone feel good now. Here goes.

This is my first attempt at a comprehensive product review of any kind. Also, my qualifications are quite modest. I’ve done some professional work in the past and continue to reap a respectable sum as a second job. But, I ain’t the second coming of Joe Blow (insert your favorite player regardless of talent or success here). However, I do play frequently (everyday for a few hours or more) and recently have been expanding my playing and practicing more and more (those privy to my personal life know why).

MY SETUP(S): This is a tenor piece so; it’s just the tenor(s).
HORNS: ’63 Selmer Mark VI, ’38 Conn 30M, ’62 The Martin (relacquered). The VI is in great form, the Conn and Martin could maybe use a touch of adjustment, but nothing major.

MY CURRENT MOUTHPIECES: Rock, R&B, Blues - Guardala MBII with a Selmer 402 ligature and RSJ 4s Unfiled reeds (and yes, it measure dead on to .115). Jazz - FL Otto Link 6 (No USA) with either a SAXXAS lig or a Selmer 404 lig, same reeds. FL Otto Link 6* (opened to .107 by Bob Carpenter and slightly refaced by Ted Klum). Same ligs, same reeds. And, a HR V16 T8 with H style lig from Rico. Same reeds.

MY ENVIRONMENTS: Loud noisy rock bands, blues, r&b bands, GB bands, light jazz, avante garde, New Orleans brass style, etc… you get the point. No, I do NO classical or legit music in performance. I sometimes will do a musical here and there.

THE KALI MOUTHPIECE: First, imagine my reaction when I opened it and there was no guarantee that I was going to have the chops of Michael Brecker and Chris Potter combined with the sonorous instincts of Dexter Gordon and Coleman Hawkins filtered by the pure genius of John Coltrane (IMO the greatest tenor play that ever lived; just so you know where my bias is). But, I trudged on anyway. (If I could pay extra for that, I would as I’m sure many of us have tried to).

THE LOOK: Absolutely stunning craftsmanship. Inside and out. I believe this piece may have been play tested before and there was a slight blemish on the table, but nothing effecting the seat of the reed. A friend of mine whose seen a few Gregory’s compared it very much so to his work, outstanding. It’s truly amazing what they are doing.

The interior is similar to my MBII in that it has a medium length and high step baffle and rounded sidewalls. However, the rounding begins at the tip and the sidewalls are much deeper and more fluid. The chamber is HUGE. I can stick my pinky in there and even wiggle it a little bit from the window. I would have to say it looks like an impeccably modified great Link. The table at the window does not come to the razors edge like point that I’ve come to admire in the Guardala’s and FL Links, but, it does have a very nice point to it and stays very thin throughout the chamber. The tip opening is dead on .110 with nice thin to medium rails and a complimenting duck bill.

The recessed patch area in lieu of a biteplate also helps provide a lower profile.

The facing break appears to be rather long. I have not measured it, but it appears to go all the way to bark on the sides of my reeds.

HOW IT PLAYS: Ok, WOW!!!! Seriously; fatter, more lushness, easier handling, and more personal of a sound than any of my pieces combined. The dynamics on the Kali are amazing. From PPP to FFF I felt like it could go on for ever. Palm keys and altissimo was full and very responsive. It really felt like I was playing within the natural range of the horn up there. But, I didn’t have to push it either; dynamics were nice and easy in upper ranges as well. Certain notes that I had issues with before appeared to disappear.

The lower register was fat, lush and well spoken. It really felt effortless from top to bottom. It’s a different “blow” than a Guardala (more like a Link), but once I got used to it and the embouchure change from the shorter Guardala to the longer Kali, I was really starting to find a lot of clarity.

Multiphonics were a little tougher to dial in but once I had, it was no longer an issue.

I played it on two gigs. The first being a Blues gig in a loud bar where there were no monitors and plenty of guitars. I was really amazed with the projection and presence that it had. The intonation was wonderful; I was playing both of these gigs with another tenor player (the guy who compared them to the Freddie Groegory’s he’d seen) and he commented on how good the intonation was.

With the long facing I was able to really work notes as well with bends, falls, lifts and so on. Flutter tonguing came out rich and full even in the palm keys (which I rarely even attempt because of the thinness in that range). The only “negative” comment I got that evening was that it may not (this was only a premonition by my friend) “cut” enough or have a compact enough sound when he needed it to.

Well, then cam the second gig and I must say that I was able to find that compactness. The second gig was an R&B gig. Another loud band and a packed house with moderate to low monitor support. It was just a matter of find the right way to blow the piece and change the air-stream.

Also, this piece “corners” incredibly well. The response to reverse directions is simply astounding to me. I’m used to having to really push into the corners sometimes and found myself just playing. Like singing and not having to think about it. The combination of the baffle, sidewalls, longer facing, and the extra-large chamber in a high quality piece are really doing it for me and my own sound concept. A link on steroids as is often said. Or a huge sounding Dukoff.

When I did the hand off I had the opportunity to play a double ring, Zimberoff, Dukoff stubbie, and a nice Pillinger. None of them did it for me even close to what the Kali was doing.

Today, I went to hand it off to the next person on the list. He, my friend, and myself all played it and I noticed something very nice. It did not dictate the sound of any of us. It simply sounded like a fuller and richer personality. Also, when I did the hand off I had the opportunity to play a double ring, Zimberoff, Dukoff stubbie, and a nice Pillinger. None of them did it for me even close to what the Kali was doing.

This piece is incredibly versatile. Is it worth $775? Well, I can’t really say that for your sake. However, I do plan on purchasing one when and if I have the opportunity to.

That’s my opinion.

Oh yeah, I still play and sound like me. Just feels like a better me in some ways.

[zxcvbnm]

Thanks for the review! Anyone know if they'll be doing anything for alto anytime soon?

[saxmanjack]

Excellent review; refreshing that you tested the piece in 'real world' conditions. Did you notice that, due to its large chamber, the Kali required more air than the MBII?

[Swampcabbage]

Excellent review; refreshing that you tested the piece in 'real world' conditions. Did you notice that, due to its large chamber, the Kali required more air than the MBII?

Yes and know. My standard strength reed was a little strong for it at first so I resurfaced it a little more than I would and the response came to life. It was certainly a different blow Once I got used to taking in more mouthpiece due to the longer facing, it wasn't an issue. I suspect that if I were to play on it for a week I would no longer need to teak the reeds as much.

The bell keys were the most effected by the chamber/facing difference. Again, once I was taking in more piece, it was fixed. The MBII has a very short facing.

As for the "real world" I sort of nhad little choice in the matter. As a lot of folks probably know around here, I use an e-sax mute to practice as I have a very sensitive aprtment building. I was supposed to get into a space and record and all that fun stuff (Oh, I had big plans to do clips of all my main pieces). Instead, I ended up getting a couple of calls for gigs. In order to spend any real time with the piece it had to come with me.

FWIW - I had to go back to practicing on the MBII last night and it wasn't nearly as fun. :cry:

[Swampcabbage]

Oh, and once I got used to blowing on the Kali, it seemed to take less air.

[heath]

But what you're saying is that your MBII is adequate for your needs to perform. I checked the WWBW prices for the MBII and they are pretty darn cheap, $219 when they are in stock.

[Dr G]

But what you're saying is that your MBII is adequate for your needs to perform. I checked the WWBW prices for the MBII and they are pretty darn cheap, $219 when they are in stock.

Hmmm, what he ACTUALLY said was:

Is it worth $775? Well, I can’t really say that for your sake. However, I do plan on purchasing one when and if I have the opportunity to.

... and other stuff. ;)

[saxmanjack]

Therefore the MBII is a better value (if you want to play 3 or 4 tenors at the same time).

[Woody Reed]

Therefore the MBII is a better value (if you want to play 3 or 4 tenors at the same time).

I think I got the humor in that :? The LT MB II (assuming that's what your referring too) is a great value piece. They are amazingly close to each other in playability, which is killer for mail order. And also a great mpc to reference to by swampcabbage since we all have easy access to it. That said, I really think a $750 hand-made mpc should be in the shop to try. OK, maybe not in the music shop in a town of 500 people, but certainly LA, NY, Chitown, etc. I miss those days. Even if they were demo pieces - then order, they should be there. With shipping costs and insurance, even returns will cost a bunch just for the privilege of checking out the piece with a return policy. I just did that with another manufacturer, and it cost me $60 in the end for their shipping and credit card fees. In the end, the piece wasn't for me. Has anyone bought a Theo piece and returned it? What was the end cost for trying the piece and not keeping it? Just curious.

[Swampcabbage]

I would not say that is the case for me. Honestly, this piece could and will easily replace my arsenal of Links and MBII's. I'll keep one or two of each for backups and parades, but, the Kali (for me, I will not pretend to speak for anyone else) plays with the fluidity of a double ring, fatness of a great florida, and projection of a Guradala (again, I've never played a handmade, but, I am eager to put this toe to toe with one if anyone has one in the area and wants to do a little playing together).

Ok, sounds like the holy grail. The thing is it keeps it's tonal quality from ppp to fff which is probably the biggest drawback I've had with some of the other "links on roids."

Now, as far as the "value" is concerned, it's all in your own perception. I know guys who could get a huge sound out of a Monique and plastic bundy mp with a plastic reed. So, in that respect...

But, for me, I was playing my MBII in rehearsal, it sounded fine, but I was missing that Kali sound.

But, honestly, try it yourself, get in on the pass araound if you can and see for yourself. It may not be worth the price tag for you. That's fine, I won't argue with you about it. But, once I get one I feel a shakedown in my arsenal coming. ;)

[Swampcabbage]

BTW, I referenced the MBII as it is stated in the description that it is similar in it's basic design to the handmade MBI's and MBII's. The MBII is what I have been playing on for the rock gigs over the past year, or similar style pieces, but, I have missed playing my Florida STM's for the fatness and that complexity that it has. This piece just blows it all away for me.

[heath]

There's no doubt TW knows mouthpieces and how they work.

The thing that scares me a little is the thin rails. Them babies are really thin. It wouldn't take much to damage them.

How well did the side rails match your reeds Swamp. Was the rails flush with the side of the reed like a NY Link or was the reeds sticking out on the sides a little.

[Swampcabbage]

BTW, I referenced the MBII as it is stated in the description that it is similar in it's basic design to the handmade MBI's and MBII's. The MBII is what I have been playing on for the rock gigs over the past year, or similar style pieces, but, I have missed playing my Florida STM's for the fatness and that complexity that it has. This piece just blows it all away for me.

And PLEASE PLEASE PLEASE take this as MY opinion. Ther is no right or wrong on soemthing like this. The MBII is a GREAT value, IMO, for the price and what it does. And a great STM is nothing to sneeze at, new, old, or whatever. The proof is in the putting.

I do think the market prices on the vintage stuff seems to be getting out of control. However, it's capitalism and you can't argue with the price of luxury items (and let's face it, ANYTHING having to do with the saxophone is actually a luxury item).

[Swampcabbage]

There's no doubt TW knows mouthpieces and how they work.

The thing that scares me a little is the thin rails. Them babies are really thin. It wouldn't take much to damage them.

How well did the side rails match your reeds Swamp. Was the rails flush with the side of the reed like a NY Link or was the reeds sticking out on the sides a little.

Make no mistake about it. This is not a modified Guardala or Dukoff, The rails, beak, everything about it screams Link, with the exception of the baffle. So, the rails are medium to thin, between Guardala and a standard STM and on the fatter side. BTW, I failed to mention that it is HEAVY HEAVY brass. I swear it could almost be as dense as bronze.

And hey, I think he is working on getting these into some of the bigger stores. You can only send out so much in a private operation. Give them a little time. I think the pass around is a great idea though.

[heath]

Kali Baffle/Chamber.
http://www.theowanne.com/products/MouthpiecePics/KALI-Closeup-Inv.jpg

Parvati Baffle/Chamber
http://www.theowanne.com/products/MouthpiecePics/PARV3-CU.jpg

Parvati Baffle/Chamber
http://www.theowanne.com/products/MouthpiecePics/TrueLarge3.jpg

From what I can see I think it would actually be better if the window at the edges near the side rails had the extra brass taken off and made flush or level with the rest of the baffle as opposed to sweeping up on the sides making it concave at the baffle. For me you can get a fatter sound the wider this area is at the start of the the tip going back. Interesting piece though considering it's so carved out and not cast in two pieces.

[Swampcabbage]

I think some of what you're seeing in the pics is a bit of an optical illusion. However, I see your point. For some other reason though, it just works. Are you on the pass around? I would be very interested in your analysis.

[heath]

No pass around for me. I'm not going to temp the devil on this one.

Honestly the Parvati would be the piece that would be close to the one I'd like. That high baffle on the Kali looks like a firecracker. I doubt we'd get along too well.

I did see where Garbarek threw his endorsement to TW, that would be nice if you could slap on one of Theo's pieces and instantly sound like Jan.

And you're probably right about the optical illusion. Now that I look at it the side rails are hallowed out clear up to the tip of the side rails making it look like there's still more material that could be scooped out on the sides of the baffle/window.

The piece that I want to try just for giggles is Ponzols Vintage Stainless Steel. It's not cheap, but it would be interesting to hear how it plays.

[DanPerezSax]

Thanks for that review. Obviously you really took the time to write this up well instead of just getting a sick mouthpiece for a week and "phoning it in." I can't wait to get this baby in my hot little hands!

[Kritavi]

Kali Review #2

Let me begin with thanks to Theo and Spooner for this innovative and helpful way to get the word out on a new product.

I had the good fortune to hear SwampCabbage work out on this piece and I dug it. He sounded great, he sounded better then he did on any of the other fine pieces I heard him on that day including my piece, the Pillinger.

I’ve played the Kali on two horns. My 184,xxx VI (with a 118xxx neck) and my SML Coleman Hawkins Special (with Oleg neck). Overall I liked it better with the Hawkins and tried it there the most. I use vandoren ZZ 2 ½’s.

The Kali while not something I plan to buy is an outstanding piece for many reasons. I give Theo credit for an innovative design and a beautiful piece. Lets face it, some of that is purely marketing driven but towards that end he has designed an impressive and unique piece.

The ligature works very well. Some will love it , some won’t. From a design point of view I think the plate should be gold plated to match the rest of the piece.

I also got to hear Les Arbuckle on this piece and from a stone cold start he also sounded great on it. I’ve heard Les on a variety of pieces over the years and this was clearly one of the best to my ears. This is (for me) that rare high baffle power piece that actually has a pleasing tone. It seems well designed to balance out a strong all out style of playing with enough of a chamber to add some fatness to what otherwise might be a shrill kind of tone. So to my ears it is just a great rock and roll piece which for me extends to say Bob Berg playing with Miles, he would have sounded tremendous on this thing.

I would say it is a piece that will please most who invest in it if they choose carefully as to size (for me the 7 would have been better then this 8) and if it fits their skill level. It just doesn’t do any good for beginners to buy a piece like this in hopes of “turbo-charging” their playing, it won’t. On the other hand for more skilled but part time players I would think they will find this very easy to get comfortable on and use to get a big sound. More advanced players will figure it out for themselves.

For over two years now while studying with a very capable teacher I have limited myself to just playing on one piece and it has worked out great for me. At this point I am not sure I am even capable of objectively judging a piece in consideration for my own use as the ease and familiarity derived from mouthpiece monogamy trumps any consideration of which piece might theoretically be “the best”. This is not my kind of piece but I like it much more then any of the dozen or so handmade Guardalas I’ve tried and suspect I would like how others sound on it better as well. For players considering that kind of piece this may be a great choice. With both Swamp and Les I really liked how they sounded on the Kali.

Lastly as to price, it is fair to say that these are not inexpensive but it is also evident that a lot of work and research went into it and that you get a lot for your money. If it’s right for you it is worth the price, choose carefully.

I very eagerly await the Parvarti, more my kind of piece from the description.

[Swampcabbage]

BTW - I'd like to make a note of positive customer servies from Tom Wanne and the rest of the group at Wanne. I made a few deals and and was able to pull the funds together to get a Kali. Despite the Wanne shopping cart being down for 5 days. I was able to get it here today. Tom was very patient and helpful. It's a new company so it takes some getting used to, I know. They were cooperative and helpful at every step.

I'm really excited to take this piece to my shows this weekend. Honestly, I thought I might get buyers remorse after a few days back on my MBII I was telling myself "this ain't so different". Well, that was wishful thinking. This piece is awesome.

[brasscane]

Thanks for an interesting thread. I have tried a few high baffle mouthpiece because I have find my tone too dark. Haven't had much success yet so I find the comparison to other high baffle pieces interesting. Hence, if others on the list (I am not), like Swamp and Kritavi would care to share the comparison with other high baffle mouthpiece that they might have tried such as RPC (115B), Lamberson (DD) Saxscape (Downtown, Studio), Ponzol (M2, M2+), LeBayle (Studio), Brancher (B series), Guardalas, Brendan Tibbs Studio (designed based on Breckers' input), etc etc that would be appreciated. The Kali is much more expensive than all the other pieces with the exception of the Tibbs Studio. The latter, however, is made in solid silver.

[Swampcabbage]

Okay. I just got home from double duty in two very extreme situations. This was going to be the test.

First, I played at a dinner party in a private residence. Very quiet standards with a jazz quartet. It's was really impressive how quietly this thing can be played and still have the full richness, a very link like sound. I usually play my Florida's or a HR V16 on these gigs. Not anymore. The Kali was outstanding. I got compliments from everyone in the band. the response was great. I honestly did not expect it to perform this well in such a delicate situation considering its baffle.

Next, off to the tock gig. Now, this band is VERY heavy and loud. It makes most of th blooze bands out there sound like cocktail hour. The trompne player is probably the most powerful play I've ever seen or heard. It's wall to wall soung with the trombone player and I doing all out battles and convering tunes by Alice in Chains, AC/DC, Cheap Trick, Stone Temple Pilots, etc... And the originals have been compared to "Stone Temple Pilots meets Chicago." Anyway. It had all the power I needed and then some. I felt like my limitations were that I could not find the top of the Kali's threshold. This is always a concern for me. I remember trying out a JJ ESP at home and loving it only to find that on a similar type of gig I was toping it out way to soon. I had to change it back during the second tune. Regardless, the Kali had everything and still has more. It seems to go on for ever. The Trombone player loved it. He noticed how full it still sounded up in the altissimo especially.

I'm pretty sure I will be clearing out a few pieces. I'm truly impressed by this piece more than any I have ever been with any pieces pefore it. Thank you Theo.

[whaler]

Don't sell your Links! I remember how much I liked my Guardala Crescent for about six months before I got over it and went back to a Link (or my old Soloist).

[Nefertiti]

No sell your links.....I'll give you a good price on them!:)

[heath]

I'm with Whaler on this one.

Of course I'll give you $50 for that metal tenor Selmer "E" with the fluted sides if you still have it. Paypal cool Swamp.

[Swampcabbage]

I'm not selling my good Links. Mostly, it will be some of my step baffle pieces. And I tried the Crescent. This is way better than the Crescent for me.

[SactoPete]

I'm curious, Swampcabbage, since you are in a fairly unique position to not only have played one, but TWO Kalis, and one of the questions with a handmade piece like this is - are they consistent?

Pete

[Swampcabbage]

I'm curious, Swampcabbage, since you are in a fairly unique position to not only have played one, but TWO Kalis, and one of the questions with a handmade piece like this is - are they consistent?

Pete

Actually, there is no detectable difference. These are CNC'd much like the Guardala's and V16 metals, I expect there to be little variance if any that is detectable.

"The new 'AMMA' mouthpiece is made using CNC machining. Our solutions are innovative and patent pending. We are now working within the Aero-Space community in the Pacific Northwest, the home of Boeing Airlines, in order to maximize the use of current manufacturing technology."

[Dr G]

It still comes down to the final finishing of the facing and that, I recall (and hope) is done by hand.

[Swampcabbage]

It is and it's top quality. But, if they are using the CNC for the sidewalls, chamber, baffle, window, and facing curve. It's not going to need much more than a good polish plate and polish. ;)

[wersax]

Thanks for the review Swamp! I'm seventh on the list and will review it as well........Daryl

[Kelly Bucheger]

I've been living in the House of High Baffles lately. For the past few weeks I've had a handmade Guardala MBII that a friend wanted me to try, and now for a few days I've had Theo's Kali tenor piece. Both are high baffle pieces that, as a result, share some definite similarities in terms of volume and projection, and so I'll frame this review a bit with comparisons between the two.

But first off, I'll just say that these are not my kind of pieces. For reference: I currently play a SS Berg SMS 110/2, with a custom facing by Doc Tenney. That's a brightish piece, and lately I've been interested in going darker on the tenor. These high baffle pieces are a step in the opposite direction.

Like the MBII, the first thing I noticed on giving the Kali a shot was "Holy smokes, this thing is loud!" I don't play in rock or blues bands (not for any philosophical reasons; just incompetence in the genres...), but if I did, this would be a head-turning mouthpiece; maybe it'd also be intriguing if I were playing first tenor in a loud big band.

When I first played the MBII, I was struck by how "dialed in" the sound seemed to be: for me, the piece offered a certain timbre and projection, and that's it -- very "one-dimensional." The Kali, although it seemed to be even louder than the Guardala, seemed far more flexible for me in terms of nuance and coloring the sound. It differs significantly from the MBII in that the high baffle opens into a large chamber, and I'm assuming that's what gives it different, and for me more appealing, playing characteristics.

Both of these pieces are the sort that ask for a bit of a time investment in learning to fully explore them and get the most out of them, something that's not possible in this pass-around review. In my short time with the two, the Kali is definitely the better choice for me, and the one I'd spend the time on. If I were in a rock band it'd be a tempting piece for me.

Regarding the integrated ligature, I think I'm underwhelmed. The lig needs a special tool to be moved fore or aft on the mouthpiece, locking into a set of pre-determined notches. I'd want to know there's a compelling acoustic reason for this innovation, because otherwise it just seems overcomplicated and fussy to work with. Other than that, the workmanship and packaging of the piece are things of beauty....

[Swampcabbage]

I've been living in the House of High Baffles lately. For the past few weeks I've had a handmade Guardala MBII that a friend wanted me to try, and now for a few days I've had Theo's Kali tenor piece. Both are high baffle pieces that, as a result, share some definite similarities in terms of volume and projection, and so I'll frame this review a bit with comparisons between the two.

But first off, I'll just say that these are not my kind of pieces. For reference: I currently play a SS Berg SMS 110/2, with a custom facing by Doc Tenney. That's a brightish piece, and lately I've been interested in going darker on the tenor. These high baffle pieces are a step in the opposite direction.

Like the MBII, the first thing I noticed on giving the Kali a shot was "Holy smokes, this thing is loud!" I don't play in rock or blues bands (not for any philosophical reasons; just incompetence in the genres...), but if I did, this would be a head-turning mouthpiece; maybe it'd also be intriguing if I were playing first tenor in a loud big band.

When I first played the MBII, I was struck by how "dialed in" the sound seemed to be: for me, the piece offered a certain timbre and projection, and that's it -- very "one-dimensional." The Kali, although it seemed to be even louder than the Guardala, seemed far more flexible for me in terms of nuance and coloring the sound. It differs significantly from the MBII in that the high baffle opens into a large chamber, and I'm assuming that's what gives it different, and for me more appealing, playing characteristics.

Both of these pieces are the sort that ask for a bit of a time investment in learning to fully explore them and get the most out of them, something that's not possible in this pass-around review. In my short time with the two, the Kali is definitely the better choice for me, and the one I'd spend the time on. If I were in a rock band it'd be a tempting piece for me.

Regarding the integrated ligature, I think I'm underwhelmed. The lig needs a special tool to be moved fore or aft on the mouthpiece, locking into a set of pre-determined notches. I'd want to know there's a compelling acoustic reason for this innovation, because otherwise it just seems overcomplicated and fussy to work with. Other than that, the workmanship and packaging of the piece are things of beauty....

Kelly, it's good to hear your perspective on this. Especially from someone not usually associated with rock. Personally, I've done a few jazz gigs and recording sessions and found that it's really been easy for me to "sculpt" my own sound and distinctively different sounds. Which goes along with what you were saying about it as well. Anyway, it's not a piece for the "low baffle types" for sure.

On the ligature I had a similar thoughts and then I noticed that in difference to the Lawton Style or traditional styled ligs, the two set screws are the only contact points on the mouthpiece. Now, arguments may abound as to the functionalty but, I'm comfortable with it. It is funny that it says in the brochure that the last set of holes are for Dexter Gordon Fans only. haha

On a side note. I was doing a recording session yesterday with an engineer that I've worked with on a few discs before and he and the rest of the crew loved the sound. The engineer said he thought it was the best he'd ever recalled hearing me sound.

[saxmanjack]

Swamp, what tip opening did you get, and what reeds/strength have you settled into?
Can you whisper a subtone with a 3 1/2 ZZ on an 110 tip?
I can see one of these in my future, just hope they're not 'designed for soft reeds' like many of the newer pieces seem to be...

[Swampcabbage]

I've got an 8 tip (.110) and use a Rico Jazz Select 4 Soft. And yup, it subtones top to bottom very nicely for me. A big part of it is understanding how far you need to take in the mouthpiece the facing is very long which, combined with the large chamber gives it a very fat sound.

[Nefertiti]

I think ones on it's way to me any day now.:)

[Swampcabbage]

Looking forward to your thoughts. Pavarti's should be in my hands tomorrow.

[Nefertiti]

I put up a clip and review of the Kali on my website. I also put up a comparison clip of the Kali, JVW Link and LAW mouthpiece that I use. I really liked this piece a lot. I think I might be interested in a 8* model of it. Let me know what you think on my site. It's off to the next person. Thanks, Steve

[Thomas]

Thanks for the as usual great clips. the comparison of the 3 pieces was very helpful. In terms of my preferences(if I were to play baffled pieces) I would go with the Law,just seemed fatter, then the Link because of the more focused and somwhat sweeter tone, then the Kali-which by itself sounds good but has in my ear some serious competition in comparison to the other 2.
thanks for this great resource you provide.

[Nefertiti]

Wow, I have to listen to them again. I thought the Kali was fatter and smoother sounding than the other two.

[Briguy]

Wow, I have to listen to them again. I thought the Kali was fatter and smoother sounding than the other two.

I think the Kali is smoother and fatter as well. It sounded as though it was handling everything you threw at it and was much more dynamic and responsive on the softer end. The little inflextions were more evident on the Kali. You sound great on all 3 though!

[saxmanjack]

There was just 'more' to the sound of the Kali, and it had the best smooth/fat underlying tonal core (whatever that means). I'm definitely not buying anything else 'til I try one...

[Swampcabbage]

The other two seemed to be "punchier" this is also characteristic of my MBII which also seemed to transfer into much harder to control dynamics. The Kali definitely sound fatter and biger to me. Personally I play it with a 4s unfiled Rico Select jazz and it get's a little more punch to it. The sound just seems endless and the more I'm playing it the more I'm finding out how much more it can do.

[brasscane]

To my ears the Kali easily has the best/fattest bottom range. Above, they are obviously different but harder to pick one over the other. You sound great on all of them (no surprise as I enjoy all your clips).

[Nefertiti]

The other two seemed to be "punchier" this is also characteristic of my MBII which also seemed to transfer into much harder to control dynamics. The Kali definitely sound fatter and biger to me. Personally I play it with a 4s unfiled Rico Select jazz and it get's a little more punch to it. The sound just seems endless and the more I'm playing it the more I'm finding out how much more it can do.

What tip opening did you get? I'm usually great with 8 but this seemed small to me because of the baffle I think.

[Swampcabbage]

I got an 8. I was playing the 4s on my MBII and it just made a good match on the kali as well. I like the thicker reeds as they las longer. It is definately freer blowing but different due to the facing length. If I get a "backup" I may get a 9. But, I think I may have to wait awhile.

[maestroelite]

I liked your sound on the Link best myself, but the Kali does have that fat low end and a nice sizzle to the sound. Your sound on that Link is just IT to me though - I'd love to sound like that. Can't wait to try the Kali myself.

[cjmdsax]

As I mentioned on the Tenor Sax Site thread, I like the Link best too ;)

[maestroelite]

I listened to the clips again today, much more awake and I think the reason I like the Link so much is the Kali clip seemed almost too perfect - no grittiness. The split tones only really happened on the Link too - not sure if that was intended or not.

[DanPerezSax]

You have got to try this piece. You have got to try this piece. You have got to try this piece. I'll post more after I've had it for the whole week... suffice it to say it DESTROYS my Link, which, after its reface, is the best Link I've ever played. When I get the scratch, chances are I'll probably buy one of these. Product like this, playing is believing. Unreal.

[Swampcabbage]

Pretty scary huh?

[rini]

I liked your sound on the Link best myself, but the Kali does have that fat low end and a nice sizzle to the sound. Your sound on that Link is just IT to me though - I'd love to sound like that..

Agreed. But I think there was maybe too much sizzle to the sound of the Kali.
However, somehow I had a strange feeling that the "playability" of the Kali might be really something special.

[Nefertiti]

You have got to try this piece. You have got to try this piece. You have got to try this piece. I'll post more after I've had it for the whole week... suffice it to say it DESTROYS my Link, which, after its reface, is the best Link I've ever played. When I get the scratch, chances are I'll probably buy one of these. Product like this, playing is believing. Unreal.

A week? I thought we could only keep it for 5 days?

[DanPerezSax]

Word? Five days then... though I'm tempted to "lose" it! :lol:

[Turnaround]

Would you say it has a "contemporary" sound?

[DanPerezSax]

Well, I have a contemporary sound, whatever I'm playing, so my answer to this would be bogus... it doesn't force you into that squealy high-baffle thing, though. OTOH, if I changed up my vibrato, my attacks and releases and my articulation in general, I could get it to do old-school stuff. Easier than on my Link, anyway. Actually, "easier than on my Link" pretty much sums it up for this piece.

[Nefertiti]

It did have a contemporary sound when I played it but it's fat and smooth enough sounding that if you lay back on it you can get a laid back sound from it like I demonstrate on the soundclips.

[Swampcabbage]

I think this is what I like most about this piece. There is such a variety in the sound. Lat night I was able to play and blend quite well in an Armenian inspired jazz group on it. And yet, I can cut and punch in a rock or blues setting or play light jazz ballads and get a smoky sound.

Nef, if you ever get to try another one, try it with a harder reed, I think you'll be very pleased.

[elmosax]

I'm kinda new here but would love to try one or both of these pieces.I work alot in many different situations,and would love to be able to try them out.How do I get on the list.???Frank Elmo.

[Swampcabbage]

I'm kinda new here but would love to try one or both of these pieces.I work alot in many different situations,and would love to be able to try them out.How do I get on the list.???Frank Elmo.

Send a PM to Spooner.

[Nobby Keys]

I've been enjoying the Kali reviews, but they seem to have dried up. Who has it now - and lets have a review please.

[Giganova]

Hi there --

I've had the KALI for three days now and thought I'd leave a brief review.

First off, the "package" is beautiful: It comes in a white box with Wanne logos printed in light blue which looks great. Theo was so nice as to write a short greeting to SOTW members on the side of the box which I thought is a nice touch. Inside the box is a black leather pouch that holds the KALI. Let me say right here that this leather pouch is fantastic and offers great protection. My critique here: Instead of a leather pouch with a metal zipper I would have preferred a fleece pouch with velcro that doesn't scratch the sax when I put it into the sax case or inside the bell of the sax in my flight case. Anyway, that's just a minor thing but a new product Theo and his crew might want to consider.

The craftsmanship of the mouthpiece is nothing short of amazing and it features a few design aspects that I have never seen in one mouthpiece. The facing is significantly longer than that of my Florida Link. The side walls are scooped out up to the tip. The step baffle is followed by a parabolic drop which transitions into a large round chamber. Also, the KALI is very heavy, much heaver that any other mouthpiece that I have held in my hands.

At first I was skeptical about the screw-on 'Liberty' ligature. But hey, it works just perfect in combination with the pressure plate that holds the reeds very securely by putting pressure on the reed very evenly. Someone voiced concerns that you need a special tool to secure the ligature in a different hole. The tool is supplied, but it's not special in any way and you could get it in any hardware store. However, there's no need to ever change the position: You test it once, dial it in and find the best position, and it stays in that hole forever. Killer combination and killer looks. The blue plastic reed guard slides nicely inside the Liberty ligature and offers good protection while having a small footprint.

The KALI is pure power -- as expected for a high-baffle mouthpiece. However, in contrast to other high-baffle mouthpieces that I have played before (mostly Guardalas and Dukoffs, among others that I tried to erase from my brain), it does not sound shrill or thin. Instead, it has a full-bodied and lush sound across the entire range of the horn. It is almost Link-like in sound which I find surprising for such a high-baffle design. The projection is amazing when you push it; yet, when playing soft, it has the same tonal quality down to the slightest whisper. Subtoning is a breeze. It plays "effortless", even though I am not sure that this is a good thing (I always thought that it is a good thing to "fight" the mouthpiece to some extent as this gives you an overall better control over your sound). When I put on my Florida Link to compare, I thought that there was a cotton ball inside my Link!! :shock: If you'd ask me what mouthpiece the KALI is most similar to, I'd say it is similar to a Barone Hollywood in terms of tonal quality, but with more projection (even though they have a different design).

The #8 tip opening seems a good choice for me given the high baffle and that I usually play low-baffle 7* or 8 mouthpieces.

I think I forgot to mention that I played it with Rico Select Jazz #3 reeds. Here's a little tip: If you want to "fatten" your sound a bit, play it with a baritone reed! It's like switching a discrete guitar amp for a tube (valve) amp. :mrgreen:

Theo and his crew have a clear winner here and my overall verdict is that this is one of the best mouthpieces ever produced. The combination of large chamber, high baffle, and long facing really works.

Many people have complained here on this board about the steep price. I tend to agree that in terms of pure Dollar amount, it is expensive. However, this mouthpiece competes with some of the most sought after mouthpieces like hand-finished Guardalas and some of the best Florida Links which cost actually more than the KALI. (and you'll get a ligature and a mouthpiece pouch).

To Spooner, Theo and the rest of the Wanne crew: Thanks for circulating this mouthpiece and congratulations to an amazing product! I look forward to testing the PARVATI which might be even closer to my personal style (having played Links for most of my life). I might get one for myself.

Assuming that Theo doesn't mind, I will put some pictures on the Mouthpiece Museum on Saturday night.

[saxo locos]

I have a new Kali for sale. 600.00 firm

[DanPerezSax]

My review: first off, sorry about the reviews "drying up." I've had a hectic couple of weeks with travel, etc. Anyhow, I think the visual and design aspects have been covered already, and better than I could do it, too. I agree with what's been said so far.

As far as playing the thing... the Kali is an absolute BEAST of a mouthpiece. It is the most responsive and dynamic tenor piece I have ever played; though I am by no means a connoisseur, I thought it was flat out fantastic. Thinking that the 7* tip opening and facing length were much larger/longer than my NY Link 6, I tried a Marca 2.5 on this piece first, and found it a bit soft. I then slapped on a Rigotti Gold 3M and it was just right.

The first thing I noticed was that I got a huge sound that filled the room. I've been working on my tenor sound for a long time, and sometimes even get a decent contemporary sound out of my old Martin, but this mouthpiece brought out the sound I get out of a Series III with my Link. A huge, bright, modern sound with enough warmth to be compelling. Needless to say, I was hooked.

Next, I tried taking the volume down, and found that I could easily control a slight whisper of a sound even in the bottom octave... no subtone involved. Beautiful, and better than my Link. Subtone was no chore, either: it popped out when I wanted it, and got out of the way when I didn't.

I did notice that when I wasn't paying attention to it, the volume got away from me a bit... during rehearsal it was hard not to overpower the band/singer while playing obligato backgrounds. I assume a little more time on the piece would help this, and maybe I'd go with a smaller tip opening. You do have to take in considerably more mouthpiece on this thing than a Link, due to the long facing, but it was comfortable, nonetheless.

After A-Bing this piece with my Link several times, I found that I learned to emulate the sound of the Kali on the Link, which at the end of the day still sounded much warmer most of the time. The Kali's a killer piece for altissimo, which I don't get out as well normally, and for high-volume, bright playing. I have a feeling that a 6* would feel perfect for me all the time, but at that price, I wouldn't buy without trying.

By the way, I tried the different notches for the lig, and did notice a fair amount of difference in tone and response. I took it off and tried the same with my Eddie Daniels Rovner, and it played the same as with the stock lig, depending on where you set it up. Beautiful design, and it does its job, but don't drop $800 if all you want is the latest in ligature technology. The mouthpiece itself, on the other hand... that's up to you, but it's definitely worth a look, and I wouldn't imagine saying that for any other modern piece if they wanted that much for it.

[Scottysax73]

Wonderin how this piece or the other Wanne pieces compare with the Jody Jazz DV????

[wersax]

Here's my review:
I'll second the previous comments on the beauty of the Kali's presentation and the meticulous eye for detail. Very nice.
This is an interesting mouthpiece, similar to the MB I/MB II "handmade" Guardalas, though not identical or even as similar as I had assumed.
It is a bright mouthpiece, capable of a great range of dynamics and timbrel subtleties, such as fat sub-tones and jarring split-tones.
Having said all that, I would need a wider tip opening to make it work for me, maybe a .120, a Kali #9, as opposed to the .110, a Kali #8.
Since I have played a number of Guardala's here's an observation made as a personal comparison: the old MB I's and II's are like a standard Link with a baffle, the Kali is like a NY Link with a baffle. (The old MB I's baffle was lower, too, just to add a further distinction for those familiar). The difference in chamber size will work for some and not for others; Translation: not everybody wants a larger chamber. This is the real deal killer or deal maker with the Kali; this really is a large chambered piece! Of course Theo points this out in the literature on the piece and this is a selling point in fact. The large chamber is what makes the Kali "tick".
At $750, not everyone can afford a Kali, but the liberal return policy makes the high price less risky, IMO.
To sum it up: the Kali is a well-crafted high grade mouthpiece suitable for players who want a high baffle and a large chamber, expensive, but worth every penny if it works for you. Kudos to Theo and Tom for all their hard work.
Also, many thanks to Theo for letting us SOTW'ers try this out and to Spooner for coordinating it; class acts both.
NOW.....who gets this next? I'll ship it out tomorrow, (Monday) morning, but I need a name and address, so somebody PM me please.......Daryl

[Jorns Bergenson]

NOW.....who gets this next? I'll ship it out tomorrow, (Monday) morning, but I need a name and address, so somebody PM me please.......DarylAccording to Matt (Spooner), that would be me. I sent you a PM with my info. Thanks!

And thanks for your opinion of the Kali. Looking forward to experiencing it myself.

[Scottysax73]

Neff ya sounded great on all 3 of the mouthpieces and they did sound similiar. What about the Kali compared to the JodyJazz DV in sound? just kinda curious. I havent heard much about the Law except from Neff.

Man i think its time for all of us to stop buying these mouthpieces that are way too expensive for musicians to afford. We are the ones who are allowing the prices to keep going up. Eventually you'll have to pick, either a car or a mouthpiece.lol

[Nobby Keys]

Man i think its time for all of us to stop buying these mouthpieces that are way too expensive for musicians to afford. We are the ones who are allowing the prices to keep going up. Eventually you'll have to pick, either a car or a mouthpiece.lol

Well, I was talking to a Drummer last week (yes, I know but someone has to do it) and he had just bought two cymbal stands and two cymbals for £700. I think that makes a mpc good value at 800USD, say £400 ish in the UK.

[wersax]

Well, I was talking to a Drummer last week (yes, I know but someone has to do it) and he had just bought two cymbal stands and two cymbals for £700. I think that makes a mpc good value at 800USD, say £400 ish in the UK.

It's all relative, isn't it?

[Swampcabbage]

Or consider the investments made in video games and home entertainment. Give up cable for a year and you can afford a Kali and probably get more practicing in, huh?

[wersax]

Or consider the investments made in video games and home entertainment. Give up cable for a year and you can afford a Kali and probably get more practicing in, huh?

It's amazing what you can get done when you turn the TV and computer off.........

[Nefertiti]

I use to do a lot of my practicing while watching TV.

[wersax]

I use to do a lot of my practicing while watching TV.

I do that! I like playing along with cheesy TV themes.....Law and Order is fun.....:)

[Briguy]

I use to do a lot of my practicing while watching TV.

I like to have the food network on. It makes me get hungry though!

[Swampcabbage]

I tend to practice while watching tv as well. Especially sports. Movies I've several times.

[Dr_sax]

I use to do a lot of my practicing while watching TV.

Me too, but my wife and kids complain they don´t hear the tv.

[Jorns Bergenson]

Here's my review. My test horns were a Buescher New Aristocrat and a Martin Comm II. Fibracell 3 and LaVoz Med reeds. I've played mostly Dukoffs since the 80's and have taken the approach of "taming" my sound based on the playing situation. I don't do too many jazz gigs anymore, most of the time it is r&b, rock, pop and light studio work.

It is a fabulous piece. Stunningly beautiful (my wife asked why none of the mouthpieces I make look that pretty). I really like the no-fuss ligature. Most folks would probably find the best position for the lig and leave it there. It makes replacing and adjusting a reed very easy.

The baffle is not as high as I expected and it is slightly concave, but I was surprised at how bright it could get when pushed. It makes for a very versatile piece. I guess I'm used to some raucous pieces because the Kali wasn't as "huge" for me as some others experienced. The low end was very full. Very even across the range. Intonation was good - a little flat in the low end which could be due to the large chamber, but it was very easy to adjust to. Altissimo was good, but not quite as easy as some other pieces I play on regularly.

Machining marks were just barely visable on the table up to just before the tip, so it appears that if any hand-facing work was done, it was just to the tip rail and the baffle area just behind the tip. The detail acheived in the machining process on this mouthpiece is amazing. The baffle area right behind the rail wasn't perfectly even from side to side, but I doubt this made much difference in playablity.

The closest "off the shelf" mouthpiece I've played to the Kali is a Johannes Gerber Custom (high short baffle into a short ramp into a large chamber, scooped walls). Jo makes his pieces by hand with custom tools and his work is spectacular. If memory serves, the Gerber piece was a little brighter.

I dug through my drawer of favorite high-baffle mouthpieces and did some comparison (Guardala LT MB-II, early metal Link with baffle, Dukoff P8, vintage Level-Air 8, plus a couple of my polycarbonite pieces). The pea-shooters that I played in years past are really in a totally different category than the Kali and they are not what I'm into nowadays. The Guardala falls between the pea-shooters and the Kali, and leans towards a more "modern" sound for the lack of a better word. The Link played very much like the Kali, but had a flat baffle and played with a slightly more focused sound. Bringing the baffle down on the Link would probably get pretty close.

The polycarbonite mouthpieces are are ones that I've customized (I won't mention what I used for blanks ;) ). Their chambers are similar to the Kali but the side walls are not scooped all to way to the tip. The facing curve that I put on these pieces feels more free blowing and altissimo is less reluctant. I've got probably 30 hours of work tied up into these pieces, and this little shootout reconfirms that the work was worth it. I'm definately sticking with them. Theo has lots of information on the way he arrived at the facing curve, but I like the radial curve along with a slight extra curve right at the tip (thanks Mojo for all of your advise).

.... Rambling over.

Summary:
The Kali is a fantastic mouthpiece with lots of power and projection but is very flexible. It would work great for R&B, rock, pop as well as for ensemble playing. It delivers as advertised. The process of ordering/trying/finding/making a custom mouthpiece that performs like the Kali might take considerable time and money. The Kali might be a perfect shortcut to finding your ideal mouthpiece.

Personally, I prefer my custom pieces over the Kali, but I've spent lots of time tailoring them to my playing style and sound concept.

[maestroelite]

Well, I haven't spent a whole lot of time on the Kali(probably around 2 hours) but I figured I may as well post my first impressions as I have had a fun afternoon.

A little background on me - I'm a 2nd year college student this year, mainly play tenor in the jazz/rock setting. I played 2nd tenor in my university's top big band last year and I play in a sort of rock band that plays some around the state. I'm not a great player by any means at all but I have fun doing what I do. I play an 82Z tenor and a Saxscape Downtown Studio in a .112 opening with Java 3s usually.

The packaging is very impressive, as has been noted before. It comes in a padded leather Wanne pouch which would surely protect the piece inside an instrument case. Everything screams quality. Opened up all this packaging and took a look at the piece - its a work of art. Perfectly crafted, from the huge chamber up to the fully scooped out sidewalls. Very nice.

First impression of the Kali I used a few Java 3s and a couple V16 3s. The Javas were probably all played on the Saxscape prior to the Kali. They all played really, really loud and bright. Not a sound I'd like to make in public. Really sizzly, buzzy sound. The V16s were too stiff.. I have had this problem with all tenor V16s no matter how soft since about 4 years ago. Don't know what happened to em. At any rate, at that point I figured maybe some new reeds, more time spent getting to know the Kali will bring out its potential. My Saxscape was winning though.. which surprised me because I have been finding it to be a bit thin and bright. The Kali was more spread but I found it even more bright.

Round 2 went much better. I got out some harder Javas hoping to tame down the Kali's sizzle. I found a 3.5 that I used for 3 months on the Saxscape that I stopped using the beginning of March. WOW, what a sound. Fat and flexible tonally and dynamically. Easy subtones, great altissimo, etc... all the cliche stuff. After jamming and digging on the Kali for a while I tried a few other 3.5 Javas and they didn't work as well but I could get them all to sound similar. Pretty reed friendly. I then tried the same reed on the Saxscape and got a very, very similar sound. Big, interesting, a little sizzle and plenty of flexibility. To be honest, they are quite close. I am more familiar with the Saxscape so at this point I'm going to be keeping it and not thinking about the Kali - that could change in the next few days, but I hope not. They're very similar tonally. I'll post some comparison pictures later on. Just pretty excited about it(and rediscovering possibilities in my own mouthpiece) so I thought I'd share the first impressions.

[Swampcabbage]

It is no surprise to me that a stiffer reed that had been sitting longer had an improved response. One thing that I have noticed is that as a reed becomes wet and breaks in to a mouthpiece; it takes the shape of that piece (window, table, rails, lig, etc). Most pertinent to the case of trying mouthpieces is to have reeds that are relatively free of these features. Between testings you can smooth out the table of the read (the flat side) on a piece of plain white paper on a smooth and hrd surface. This will smooth it out somewhat and create a more "even" playing feel. Taken a broken in reed from one mouthpiece and put it on another only to deem the piece or reed "Unplayable"; this info would have saved me quite a bit of time and money.

[maestroelite]

Yeah, I want to get some new reeds but it'll be tough as I'm traveling all day tomorrow and Saturday and Sunday are tough times to get reeds. I have lots of 3.5 Javas so I'll probably sand a few down on the table side.

[maestroelite]

Well, my time with the piece is up now and I'll be passing it on to wrb. After spending more time with the piece, I have discovered some more differences between the Kali and my Saxscape. The most obvious is the chamber - the Downtown Studio has a good sized one but the Kali's is massive. I think that you could enlarge the chamber on the Downtown Studio and get much closer but I have no idea, I'm not experienced in modifying such things and I'm not looking for the Kali sound myself. As far as what the Kali sound is - listen to Neff's clips, they really say it all. Its very contemporary, smooth, fat, buzzy - not thin at all but very contemporary. Too much so for me and there's a lot of sizzle in the sound which was kind of over the top. This would be THE mouthpiece for super loud rock gigs or R&B stuff though - just not what I do. It is really tough to top out the piece. I know it will make some people really excited(as it did for Swampcabbage).

[silvin]

As anybody heard the Garbarek's free improvisation with a Kali 6* on Theo Wanne's website? SIMPLY AMAZING!!!

[Tryptykon]

As anybody heard the Garbarek's free improvisation with a Kali 6* on Theo Wanne's website? SIMPLY AMAZING!!!

Well, it is Jan Garbarek, after all ! :notworth:

[baylistenor]

As anybody heard the Garbarek's free improvisation with a Kali 6* on Theo Wanne's website? SIMPLY AMAZING!!!

Yeah with his own reverb !
Seriously that clip made me want to buy one - then I thought about who it was :D

[hakukani]

I waited to read the thread until after I had played on the Kali, and sent it on. I also want to express my gratitude to Theo and Spooner for this opportunity.

I only have one tenor. A 161,xxx MkVI, and so, of course, that's what I played on.

The Kali is an EXTREMELY well made mouthpiece. The implementation of the CNC and whatever hand finishing followed is quite impressive. The mouthpiece has, compared to my other pieces, quite a large window. The baffle is rather short, going into a large chamber. The liberty ligature is a nice design. Included with the piece is a small screwdriver to use on the set-screw that changes the ligature from forward to the rear of the piece.

I first tried the piece with a new RSJ 2H, which is what I usually play on tenor when I play a .110-.120 tip. The ‘mouth feel’ of the piece was very nice, especially for a metal. I had no trouble playing the full range of the horn right away. I felt that it was particularly easy to play the low notes at many dynamic ranges, without resorting to sub-toning. It was very smooth sounding to me . I felt that the second octave A to C had a sort of ‘covered’ sound compared to my other pieces. I tried some other reeds, and the Kali doesn’t seem to be reed picky. It does, I noticed, really like for the reed to be ‘dead on’, and is not as forgiving as some other mouthpieces of getting the reed on completely straight.
On a lark, I tried a baritone reed (a med. Soft laVoz). Ißt made for a darker sound—nice, but not the kind of thing I would like for a tenor sound. I also tried all of the positions available for the ligature. The best all-around seemed to be the recommended position. I tried the ‘Dex’ position, and got a completely different response. It gave what I thought to be a bit darker sound, and difficult to control. I tried my modern link STM 7* in the same position as ‘Dex’, and it was not as critical, nor as hard to control as the Kali in ‘Dex’ position.

I noticed that many of the folks were comparing the Kali to Guardalas. I admit that I have never played a Guardala mouthpiece of any variety. On tenor I have, historically, played a C*, MC Gregory Model A, Dukoff, and several varieties of RPCs, of various tip openings and baffle designs.

I tried comparing the Kali with a piece of approximately the same tip opening and baffle design, with the same reed; my RPC 115B. I noticed immediately that the RPC has a much narrower window, and a much longer baffle, although I could not tell which has a larger chamber. I suspect that the Kali is larger, especially since the baffle is shorter on it.
The two mouthpieces blow remarkably similar. The Kali has a bit more resistance, and maybe a tad darker sound, and it has that smooth low end. The biggest difference between the two pieces is that it didn’t seem to matter how I pushed the Kali, I could not get it to make that fuzzy/buzzy rock and roll sound that is fairly easy to do on the RPC. It just got louder, with very little change in tone color. I would think this would be an advantage if you don’t like the ‘overdriven’ kind of sound.

In conclusion, I would recommend heartily the Kali to anyone that feels that this is the mouthpiece design for their needs, even at the relatively high new-mouthpiece price. If all I played was jazz, I would order one immediately--that and if I could get it past Ms. hakukani!

[Mark R]

I got lost somewhere in the shuffle on the waiting list to try the Kali. I'm still eager to play it to see what a true Mouthpiece Heaven mouthpiece plays like. Over the years I've had the pleasure to play on several pieces that Theo has worked on, I'm anxious to know how one he has built from the ground up plays like.
If anyone knows the pecking/waiting order and where I am in line please let me know!

[Saxy Nate]

Yeah Mark, PM Spooner. He should be able to tell you when to expect heaven knockin' on your door. :)

[sopranosaxman]

I've been waiting awhile to try this piece does anyone have any idea where it is at on the list?

[JB4sax]

I handed off the Kali to chitownjazz yesterday, and wanted to chime in with my impressions.

Nothing to add to the reviews of the packaging, workmanship, etc. This is a well made piece, a joy to look at, in some of the best packaging I've seen for ANY item. Theo had/has something on his website about the branding process they went through with a marketing consultant, and they definitely succeeded in that regard.

I "test drove" the Kali with a friend and fellow pro player at home, and with another pro at rehearsal/soundcheck for a gig. I generally use an Alexander NY 3 on my .115" Spencer Handmade, so I tried a NY 3 1/2 on the Kali (which measured closer to .107" on my guage). The Kali just roars! Easily the loudest mouthpiece I've ever played. The response is VERY fast - you can get around the horn with an ease that few other mouthpieces provide. Like most other reviewers, I would compare the Kali to Guardalas. The big difference with the Kali is that it has a more expressive quality to it, and you can actually shape the sound. Guardalas seem to be one sound and one sound only. But even playing subtone with the Kali on a standard tune, my friend commented "They'd probably still tell you that you're too loud on a gig!" This is a LOUD mouthpiece.

A/B-ing the Kali with my Spencer handmade, of course the Kali was louder, but that has never been an issue for me. I always get a sound that's plenty loud enough. I found my Spencer to have a fuller, warmer sound while achieving plenty of volume. Maybe the Parvati will be closer to what I look for in a mouthpiece.

As for the Libery Ligature, I found that the first set of holes worked best for me. Moving to the next (2nd) set changed the sound, and not for the better (for me, at least). It would be nice to be able to infinitely vary the position of the lig, rather than being confined to moving it in 3/16 inch increments. To me, not such a great inovation. Also, it appeared that the production of one of the holes for the lig had caused a little distortion in the table underneath the hole. I did like the pressure plate, and would consider getting the retro-fit for my FL ultimate lig. The reference to the "Dexter Gordon" position in the ligature placement instructions cracked me up!

The "reed-replacer" cap is a non-development as far as I'm concerned. For years, most pros I know just put an old reed that they'd broken the tip off of on the mpc if they want to keep the lig/cap from scratching the table/rails. The "reed-replacer" does this, but necessitates buying a separate "cap" for use on the bandstand. Why not just have a cap that works while the mouthpiece is taking care of business? I can take of the "reed-replacement" off the stand myself.

I conclusion, I would look at one of the other Wanne models if you're playing a wide variety of musical styles, especially if you're more oriented toward mainstream jazz. If you're playing a lot of funk and rock, you should definitely check out the Kali - it would make your life easier.

[Rackety Sax]

JB4sax was kind enough to drop this off at my abode yesterday. We got a chance to hang out a while and talk shop. John’s “real people,” so any of you in the Windy City area ought to avail yourself of the opportunity to get to know him when the opportunity presents itself.

It’s usually fun to try out new mouthpieces. This one was no exception even though the Kali isn’t really so much “my bag.” I’ve gravitated to pretty traditional Links and Link-alikes, and the Kali is clearly positioned to achieve a more “contemporary” sound. At the same time, the huge chamber marks a throwback to really vintage mouthpieces. Little surprise then that this has a sound quite distinct from anything else I’ve ever played. I found a fair amount of buzz or rasp to be an elemental component of the sound, though that was susceptible to substantial modification just by placing the reed a little high on the mouthpiece, yielding a much smoother sound. Neat trait, I think, unless this also means that the degree of buzziness is also going to vary a lot with reed strength, which might lend a degree of reed pickiness. I didn’t experiment with enough different reeds to come to a conclusion on this point. I did try the first three positions for the lig, and found the default second position to work best, though here again the ability to consistently dial a sound and feel by a selection of one of the discrete lig placements is a really neat feature.

I concur with most of the other positive traits consistently cited above – powerful, responsive, gorgeously made, etc. My take on the price discussion is that it’s clear that a huge amount of design work went into this mouthpiece and that the production quality is absolutely top notch. I’d be the last one to begrudge Theo and company a reasonable financial return for their effort.

Very well done, Theo and Spooner, and thanks for going to the trouble of making this passaround available to us.

[sopranosaxman]

What happened to this pass around? I was looking forward to trying the piece.

[Brian]

What happened to this pass around? I was looking forward to trying the piece.
Myself as well

[Spooner]

I apologize for not making the announcement on this thread as well as the Parvati pass around thread----

The Kali and Parvati pass arounds are temporarily on hold but will be reinstated very soon. I still have the list and everyone's information--everyone will still get a chance to play the pieces.

I'll post on this thread again as soon as the pieces are back in circulation to let everybody know.

[sorrel]

I got A Kali From Theo Wanne just a few hours ago,It´s an amazing mouthpiece,Can´t say enough good things about it.Many things have already been said about this mouthpiece,I´d like to stress the fact that It´s amazingly versatile,I´m more than excited at the prospect of using it for different types of music styles..

[pneumasax]

Thanks for the review! Anyone know if they'll be doing anything for alto anytime soon?

The alto Durgas and Kalis are in now. I will receive a Durga to test on Thursday and will put up a review as soon as I can.

[odsum25]

I just realized I added my review to the wrong thread a few days ago, so I've copied it below.

Here are my thoughts.

First off, I'll echo the previous thoughts about the level of craftsmanship on these pieces. They are truly stunning from a visual perspective.

Theo's pieces, as expected, play just as wonderfully as they look. The response is incredibly quick at all dynamic levels. The sounds is incredibly even throughout the range of the horn and into the altissimo. I played around with a few different reeds and had the most success with RJS 3S and Roberto's 3M.

The Liberty ligature is far more interesting than I expected. I found that the third notch worked best for me. The design holds the reed in place effectively while still allowing the it to vibrate freely.

The Kali's tone, while on the brighter side of the spectrum, is incredibly even throughout the horn. It is possible to reign it in enough to play with a more "traditional" jazz sound, but I think it really shines in an amplified horn section situation. I played it on a Tejano gig in a 4 piece horn section and it performed really well.

This is a great piece, but I think the Amma or Gaia would be a better fit for me. I recently signed up for the Gaia passaround, so it will be very interesting to compare.