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Who is still playing a Borgani in 2015 ?

20K views 104 replies 33 participants last post by  buddy lee 
#1 ·
Hi guys,

after a very hot first time with our Borgani horns, (let's say from 2002 to 2010), the candle seems to be weakened in this last 2 years.
Are you still playing your Borgs? What do you think after so much time about your instrument? Are you still in love? If you have changed ... with what and why?
 
#61 ·
I just saw this thread. I've been playing a Borgani Jubilee tenor for about three years now. I reluctantly switched from a JK Shadow because the ergos on the Shadow were driving me crazy. I'm hardly the best person to compare saxophones, but I like the Borgani, and the key setup suits me better.
 
#62 ·
I still play Dr. G's old Pearl Silver Early Jubilee (409J). I still get compliments on my sound and people asking about the horn. It's not perfect mechanically, but it sound never fails to impress. I've never played the more recent Borgani offerings, but I'm guessing the mechanics have improved since this model. Maybe it's time to find a mate for my old lady.
 
#64 ·
Every saxophone has its adherents for sure. But the Borgani sure seem to inspire a special type of enthusiasm. Though this excitement seems mostly about the tenors, there is some noise about altos too. I sure would like to try an alto Jubilee. Just to see......but so hard to find!
 
#70 ·
I owned Dr. G's first Borg, the one he later sold. I have owned several, from the early ones sold for around 1600-1900 at WWBW (same body mechanics, same pearl finish, marked Jubilee, though not with the same build quality), an early one from Roberto's in NYC, and the one I have now. Mine is a Pearl Gold (had one of those before too) and it's the alloy I prefer, though I have never had the pleasure of playing the Vintage model. I found the Pearl Gold to have the most warmth, and that is what I was going for. Having said this, I must admit that I mostly play my 103K Mark VI. I have at times been tempted to sell my Borg and obtain a backup tenor with ergos similar to a VI, but every time I have sold a Borg I ended up with buyer's remorse and started hunting for another. The ergonomics of the Borg are excellent, but the VI feels like "home" and I have a little difficulty being comfortable with the Borg, initially, because I've become so accustomed to the VI feel. The bassist I work with always wants me to play the Borg. It is the loudest horn I have ever played. This thread, which I have just read for the first time, has me wanting to maybe go back to the Borg for awhile. The difficulty is switching between the two, though they are both saxophones, and I should be able to, I know. It brings up the question, for me, is it better for a second tenor to be similar to the main one, or different, for a different color. I would like to know - maybe a subject for a different Borg thread- whether any name players are using Borgs, and who they are. I know Jimmy Greene was playing one. I know that Arnie Krakowski has one though usually plays his VI. Lovano of course. Comparing Lovano to Arnie K illustrates the wide range of expression the Borg is capable of.
 
#74 ·
I owned Dr. G's first Borg, the one he later sold. I have owned several, from the early ones sold for around 1600-1900 at WWBW (same body mechanics, same pearl finish, marked Jubilee, though not with the same build quality), an early one from Roberto's in NYC, and the one I have now. Mine is a Pearl Gold (had one of those before too) and it's the alloy I prefer, though I have never had the pleasure of playing the Vintage model. I found the Pearl Gold to have the most warmth, and that is what I was going for.

Having said this, I must admit that I mostly play my 103K Mark VI. I have at times been tempted to sell my Borg and obtain a backup tenor with ergos similar to a VI, but every time I have sold a Borg I ended up with buyer's remorse and started hunting for another. The ergonomics of the Borg are excellent, but the VI feels like "home" and I have a little difficulty being comfortable with the Borg, initially, because I've become so accustomed to the VI feel.

The bassist I work with always wants me to play the Borg. It is the loudest horn I have ever played. This thread, which I have just read for the first time, has me wanting to maybe go back to the Borg for awhile. The difficulty is switching between the two, though they are both saxophones, and I should be able to, I know.

It brings up the question, for me, is it better for a second tenor to be similar to the main one, or different, for a different color. I would like to know - maybe a subject for a different Borg thread- whether any name players are using Borgs, and who they are. I know Jimmy Greene was playing one. I know that Arnie Krakowski has one though usually plays his VI. Lovano of course. Comparing Lovano to Arnie K illustrates the wide range of expression the Borg is capable of.
Arnie has different tenors, as well as Lovano . If you watch performances of his on Youtube you'll see that he's played Selmer, King, Conn, and Borgani in different
groups, depending on what he's in the mood for -- also a Buescher Big B in those videos with Chris Potter .

Joe's facility and ability to express himself seems the same on all those different tenors . Which is most comfortable to him ? No idea, but he definitely seems
unfazed by what horn is in his hands.

Anyway I still have the same Pearl Silver Borgani tenor since, like 1999 or 2000; one or the other. I've just loved that horn since the first blow.
I had at that time : 10M, 30M Connqueror, '52 Super 20, 2 60's MK VI tenors and a couple others that escape me at the moment and this tenor stood
up against them, easily . I was really impressed and still am . I still have that bare brass neck I got from u that I think you got from Randy Jones, IIRC ?

The altos - man, I trialed a Pearl Silver alto around that same time that I wished I'd kept . I was overextending myself and had to slow my roll a bit .
I've regretted it ever since .. and try not to think about it too much . It was a great one . I had a soprano also that went to Dr. G, I think(?) .
Really liked it but it felt a little heavy to me at that time. Beautiful sound; but I was into the lighter weight Conn and Martin sopranos then .

The Martin sop's gone too - I dug that horn . I'd like to try one of the "OB's", sometime .
 
#94 ·
I owned Dr. G's first Borg, the one he later sold. I have owned several, from the early ones sold for around 1600-1900 at WWBW (same body mechanics, same pearl finish, marked Jubilee, though not with the same build quality), an early one from Roberto's in NYC, and the one I have now. Mine is a Pearl Gold (had one of those before too) and it's the alloy I prefer, though I have never had the pleasure of playing the Vintage model. I found the Pearl Gold to have the most warmth, and that is what I was going for.
I have now spent some quality time with the UL ("Vintage") Jubilee (19529J), in contrast to my silver plate Jubilee (18755J). The UL plays with much more of the character of my full pearls Super 20. As soon as I go through the silver pearl Jubilee, I'll give it some time as well. I expect the gold pearl to arrive some time after New Years. I look forward to being able to A/B/C/D these horns - especially since they are all within a few years of production.

Having said this, I must admit that I mostly play my 103K Mark VI. I have at times been tempted to sell my Borg and obtain a backup tenor with ergos similar to a VI, but every time I have sold a Borg I ended up with buyer's remorse and started hunting for another. The ergonomics of the Borg are excellent, but the VI feels like "home" and I have a little difficulty being comfortable with the Borg, initially, because I've become so accustomed to the VI feel. The bassist I work with always wants me to play the Borg. It is the loudest horn I have ever played. This thread, which I have just read for the first time, has me wanting to maybe go back to the Borg for awhile. The difficulty is switching between the two, though they are both saxophones, and I should be able to, I know. It brings up the question, for me, is it better for a second tenor to be similar to the main one, or different, for a different color.
This issue of switching is settled for me. The silver plate and UL horns span the contrast in character that I was experiencing between my Jubilee, Super 20, and Bueschers (Big B and TH&C). I would MUCH rather have a couple Jubilees than the various vintage horns. I literally took the UL tenor from the box on Monday evening, and played for two straight hours at a rehearsal that night. These horns check ALL the boxes.

Bottom line: You can have two ergonomically similar tenors that sound different (in a really good way).

Dear Skeptics,
Theorize away, throw fruit if you like. Yes, the differences may be ascribed to myriad nuances. Blame it on the resos, key height, pad color, etc. I really don't care. This is my experience.
 
#76 ·
Hah! Once you go Borgani, you'll never go back. :twisted:

That's great to hear, Leon. I was worried about you for a while. :bluewink:
 
#73 ·
I use to own one, a 90's model with a #188xxx serial number with the modern keywork and the Big B engraving but no letter J in the serial number. that one was black nickel and there were two things I hated about it. one was the weight which was considerably more heavier than my Selmer's. the other was the left hand position key work was somehow off and made me reposition my wrist for some reason. the horn did have that Borgani sound and tone and ease of play for what its worth and very similar to my Conn 10M. In fact you can check out that very Black Borgani at PM Woodwinds under used tenors for less than $2000 dollars. If I had to do it all again it would have to be custom like a good Italian suit.
 
#83 ·
Hi Leon

I shall be forever grateful that you sold me your Borg early , pearl silver , Jubilee Tenor.

Great action , intonation, big sound - whisper to roar, and looks to die for!

Who could ask for more? - certainly not me.........................

Not sure that the more modern ones have the same "vintage " cachet, but each to his own, and long may Borgani continue to provide such distinctive horns to appreciative, special players!

Bowhard2
 
#84 ·
I play a Silver Pearl #18xxxJ and a J Vintage Soprano 0xxxJ I'm very happy, regarding the sop, I'm having intonation problems on the sop F3 but I'm living with it, but if I go to Italy, someday in the future, I'll bring the sop with me.. It's good to hear, that Borganis is continuing there work, like they used to do, it has been queit around these horns for some time.

I'm playing my tenor with a Ted Klum handcrafted solid silver 7, a TK Precision 7* and a Pomarico Ebony 7, from brighter to darker. And the soprano with Raffael Navarro maestra 6* and a Pomarico Ebony7, and the same

I had a tenor Selmer Ref 54 and a sop series 3. I'm very pleased with the swap and I'm not looking for another sound. Sometimes it's difficult being in a sax section. I'm diffenitly and the biggest and loudest sound, but fortunatly the Selmer series 2 bari Has a good projection too

I just bought an alto, and if the Borgani Vintage alto, I saw, hadn't been too expensive, I would have went for a Borgani, I did try a Selmer ref 54 and diffrent top level Yamahas, but the big bore of the Conn, wun me over, as seen in my signiture. I understand the comparison with Borgani, but the Conn is another animal, big bore, kind of rough, bold, and loud, but very well defined, but not so rich and subtle as a Borgani. I just wanted an alto to play around with, I consider myself a tenor player, but I might get a Borg one day..
 
#85 ·
Give Massimo at Borgani, a call if you are thinking of going to Macerata, and he may be able to look at your sop, and get it fixed.

The company is very sympathetic to players who want to visit.

Blowhard2
 
#87 ·
I just bought a curved Borg soprano and OMG I'M IN LOVE!!!!!
Now, what other Borg models should I look for? Are the Jubilees their best? are older ones better than newer ones?

Thanks,
 
#90 · (Edited)
I already have two more Borgani tenors on the way - trades with a longtime tenor lovin' friend - and have learned of yet one more available. :shock:

If anyone is interested in a gold pearl Jubilee, formerly owned by Eric Falcon, please contact me via PM.
 
#100 ·
There is a 'late '60's' Borgani alto on eBay. I don't know these horns - I would appreciate opinions on that era of Borgani altos. The price is attractive.
That one is unique to me - haven't played any from that era. It is interesting in that it says "Professional" on the bell. That makes me wonder if it is actually different that the rest of their production at the time that was not so well respected. They have a reputation for that era of not having a very good mechanism or intonation. I defer to anyone that has personal experience with them.

Horns produced since the '90s with the Jubilee designation are much better. The early Jubilees had much the same tone as the later ones, and improvements to the mechanism continue to evolve.
 
#99 ·
Re: Who is still playing a Borgani in 2018 ?

Update: Still playing Borgani saxes - exclusively.

Sop - "Vintage" Jubilee, with silver plate power bell and mechanism
Alto - silver pearl Jubilee
Tenor - silver pearl Jubilee (OBT series with smaller bell) and silver plate Jubilee ("J" series)

All my Selmers and Yanagisawas are gone - no regrets. Bueschers and King are gone too - fun while they lasted.
 
#104 ·
Re: Who is still playing a Borgani in 2019?

Still playing Borgani - and nothing but Borgani - saxes in 2019!
 
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