I came across a nice Dolnet tenor recently. Big sounding sax fersuureee! Anyway, since info on these horns seems sketchy, I was wondering if there's any consensus about what years made and/or models are the most sought after. Also, how consistant in quality are the stencils to the Dolnet brand.
Mind you, I'm not really looking to buy right now nor do I want to start any rumours to pump up prices. It's just my ever curious mind looking for facts over fiction
The Donet info is very informative. Yet, it's largely only one person's (Laurie Pimblett) take on these horns. Maybe some people here can give some thoughts as of now since they've become better known. The one I played was a Bell Air. I had a sound all it's own. Very deep and loud.
I've never played them, but they do not have a good rep around here. Sketchy intonation and generally unbalanced is what I hear. OTOH Don Byas and Lester Young played Dolnets, so they can't be that bad. I don't think they're particularly good looking btw.
I bought on e-bay a Dolnet stencil - Martin (probably Frerres) - a Bel air model, (laquered, not the two-tone model), buy the serial number - it was produced at the end of the 50's. The intonation - no problem, sound is very simmilar to my techers silver 5 digit MarkVI.
The keywork -as for the vintage sax no problem...
It is very heavy probably becuse of the heavy keyguards, but the material of the body tube is also thicker - comparing to my Yanagisawa- and the bore of the body tube is much bigger.
I have chemicaly striped the remaining laquer, my tech is doing a complet overhaul, goatskin pads with flat metal resos.
Looks very promising.
I acquired a Dolnet Bel-Air-period tenor (46,xxx) in a trade a couple months ago. My initial impression of the sounds was favorable, but my hands didn't seem to fit too well. I hadn't played it too much since then. I mostly got it for my daughter to bang up instead of having her playing my SML! Right now my SML is in the shop for a rebuild, so I've been playing the Dolnet the last week or so, and I'm impressed! The intonation is actually very good. Tone is big, loud and rockin' with an RPC mpc, and with an Otto Link STM it's full and very bluesy. More resistance than I'm used to, but I'm getting accustomed to it.
Now that I've played it for a while, it's ergonomics are seeming better all the time. One funky thing about it is that the bell seems to angle off to my left when it is most comfortable in my hands. In other words, the neck doesn't line up with bell, instead I crank it about 20 degrees to the left to make everything fit. Looks kinda funny, but feels and sounds pretty darn good to me. I'm not sure if I like or hate those industrial-looking keyguards, but the two-tone finish with the sparkle lacquer is pretty cool.
One funky thing about it is that the bell seems to angle off to my left when it is most comfortable in my hands. In other words, the neck doesn't line up with bell, instead I crank it about 20 degrees to the left to make everything fit. Looks kinda funny, but feels and sounds pretty darn good to me. I'm not sure if I like or hate those industrial-looking keyguards, but the two-tone finish with the sparkle lacquer is pretty cool.
I have a 1950 Dolnet tenor (the reason I know the date is that it was purchased from the original owner) with red amber stones in the key guards and a diamond bell brace. It is my absolute favorite horn because of its tone and ease of play. I don't find it resistant like another poster stated. It was as free blowing as my Yahama Z. I have a SML, Yamaha Z, Buescher 400, and a Couesnon and it beats them all tone wise. This horn does it all and has lots of power. When I had it rebuilt (Selmer style plastic resos) all the techs commented on how loud the horn was(SML loud). Also, tried the neck on my SML and it even made it sound better. I personally think that a good Dolnet is hard to beat. Just one persons opinion.
From what I hear, good horns with a few construction issues...all fixable if and when they pop up. They used to be really well priced horns but have become costly. It really depends on the price and if you need another tenor.
I have own two Dolnet tenor stencils and have three tenors and an alto waiting for overhauls. One of the tenors was a stencil labelled Universal with LH bell keys and a very offset bell (35 degrees?). The other was a Bel-air stencil. Both of them had a big sound and some intonation quirks, but nothing too outrageous. Comparing the build quality of all six horns there are some random QC issues, but only on a couple of the horns.
The two above mentioned stencils had no build issues. One of the "real" bel-airs has quite a few. It's nothing that would keep the horn from playing well just stuff that shouldn't have been let through QC. Things like spring cradles soldered on crooked and scratches under the nickelplating stuff like that. One of the altos has a weird post silver soldered to the foot of the high D key where the cork would go. Like the foot was cut off and a modified key post was attached. I believe it is factory as it is also nickel plated over top.
All in all I like the Dolnets. they are cool quirky little horns. I think you just have to be careful and check them out really good. I also think you would have to commit to them. they can be played as well as any other horn. I think after getting used to playing a Dolnet full time and getting used to its quirks though, I would have trouble switching immediately to another horn and playing it well.
To answer the original post. Based on the above experiences. I would say there isn't really any golden years, although I guess the 50s models onward with the diamond bell brace typify what a one thinks of when the name comes up. Also doesn't seem to matter if it is a stencil or not. Sometimes the stencils are made better, sometimes the branded ones.
I have a Dolnet BelAir Alto, with a 79xxxJ serial number, which I think is the late sixties? Maybe 1970 or so.
It is absolutely my favorite big sound alto I've ever played. This horn has a huge focused tone to it that just blows me away every time I play it.
I prefer my Leblanc for classical / soft stuff (johnny hodges to classical music sound nice on it.) I've never gotten a nice classical tone from the Dolnet. It's like riding a slathering beast, you kinda have to let it go where it wants to go, and to me, that's jazz and rock.
I don't like the tone of the Dolnet with something with a smaller chamber like a Selmer Rubber Soloist, it's pinched and nasel and has way too much resistance. But with something like an Otto Link or even a plain old C* it really starts to come alive. And mine has no built problems, but could use a little swedging really. But even with keys that slide up and down on the rods, the pads all seat easy and the action is smooth. The ergos are oddly a cross between old 1950s american horns (the LH pinky table is right from that era) to a decent action on the main stack keys.
I'd like to try a Dolnet Bari, but they've been climbing out of my price range for a while.
Dolnets seem to need those large chamber mouthpieces. Everyone I've played (not that many granted) improved a bit in intonation and tone with a large chamber.
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