I’m now the proud owner/player (not collector) of three SML saxophones and thought it would be neat to share the story (and hear your stories) of how I found out about (and was converted to) SMLs.
For about 15 years I’ve played almost exclusively tenor. For most of that time I had a Mk VI tenor, an old Selmer intermediate alto (that was my horn in high school), and a fairly cheap soprano for playing in church. A few years ago I had the opportunity to pick up a Super action 80 alto for a decent price, but have never really played alto even though I’ve had a good horn. A couple of years ago I also decided to upgrade the soprano to a Yamaha Custom.
A year and a half ago I was at a friend’s house and he remembered that I played the saxophone and said he wanted to show me an old saxophone he had just been given. The story is a bit mysterious – an older friend of his died and left this saxophone to my friend. Neither the giver nor my friend play the sax, but it was supposedly given to him by someone when he was “young.” (he was probably about 60 and I’m thinking it was given to him as a teenager?) The horn had been in the case for decades, so it had that musty, crusty thing going on. At first glance, I didn’t know what SML was, but I knew that Parisan vintage horns were usually good, so it was intriguing. I couldn’t figure out the neck ring, so I couldn’t get the octave key to line up, nor could I get a sound out of the small tip 5 digit, excellent condition Brilhart Tonalin that was in the case with old reeds. I was so intrigued that I borrowed the horn to do some research and figure out what it was and what it was worth.
I quickly found the Sax on the Web articles about SML and got even more intrigued. Tonally, I’d be more of a Getz/Desmond type and have always gravitated towards warm, dark, etc. so the description of what this horn would sound like seemed to fit me perfectly. I took it to a local tech and got it *somewhat* playing for under a hundred bucks (new cork, a few leak adjustments, etc.) just to see what it would sound like. I immediately noticed the warmth yet power, especially on the low end. The upper end was a bit weak, but it would be because the mouthpiece I was using (Vandoren Java) wasn’t a good fit for the horn.
After a few months of thinking about it, I decided to offer my friend a fair price for the horn and get a complete mechanical overhaul from Tenor Madness – then to sell my MK VI to pay for it. Randy said it was the finest SML he’s seen – perhaps 98% original lacquer, remaining largely unplayed for a very long time. After a repad and Randy’s magic, it is the most beautiful horn I’ve ever heard or played (except maybe for a custom gold Conn that had Selmer keywork from Randy’s shop, but that was well over $10k!).
The origins of the horn are still somewhat of a mystery, but it looks like a real player owned it for it had the Tonalin, a couple of reed trimmers, and Tenor and clarinet reeds in the case. I friend let me know that the Tonalin was actually quite a find too, and encouraged me to send it away to have it opened up to something more comfortable for me (I had it opened up to the same tip opening as my Java T75, .104). It’s a wonderful match and is beautiful for small combos and intimate ballads. Later I picked up one of the first new “vintage” metal Links from Tenor Madness in an 8 – that is beautiful as well.
A year later, I was searching eBay on a whim for SML sopranos (though they are quite rare) and happened upon one in decent condition that was made the same year as my tenor. I purchased it thinking that I couldn’t pass up the chance to see if it lived up to the hype. Tonally, it does – it has the most beautiful, smooth, warm sound, esp. compared to the modern horn I had. It leaves something to be desired as far as intonation (and that’s after Randy Jones worked on it) but in time I’ve gotten much better. The mouthpiece I settled on for this horn is a Vandoren V5 S35.
A month ago I saw an alto on eBay that was in my price range and happened to be made in the same year as my other two SMLs. Even though I don’t play alto much, it’s nice to be able to sub in for a big band now and then, and the thought of having three SMLs made by the same techs in the same small shop was pretty exciting. I’ve got the horn but haven’t had it set up yet, but it’s not too bad. It does have a beautiful sound, but I’m waiting to hear what it will sound like with a little bit of work. I’m still searching for a mouthpiece and am currently trying a Vandoren V16 9M. The closest other contender was a Yani, and I have a Ponzol coming from WWBW soon).
So I’m a full SML convert, having sold or in the process of selling my Selmers, and I haven’t looked back.
So what’s your story? How did you find your first SML and what made you decide to stick with it?
For about 15 years I’ve played almost exclusively tenor. For most of that time I had a Mk VI tenor, an old Selmer intermediate alto (that was my horn in high school), and a fairly cheap soprano for playing in church. A few years ago I had the opportunity to pick up a Super action 80 alto for a decent price, but have never really played alto even though I’ve had a good horn. A couple of years ago I also decided to upgrade the soprano to a Yamaha Custom.
A year and a half ago I was at a friend’s house and he remembered that I played the saxophone and said he wanted to show me an old saxophone he had just been given. The story is a bit mysterious – an older friend of his died and left this saxophone to my friend. Neither the giver nor my friend play the sax, but it was supposedly given to him by someone when he was “young.” (he was probably about 60 and I’m thinking it was given to him as a teenager?) The horn had been in the case for decades, so it had that musty, crusty thing going on. At first glance, I didn’t know what SML was, but I knew that Parisan vintage horns were usually good, so it was intriguing. I couldn’t figure out the neck ring, so I couldn’t get the octave key to line up, nor could I get a sound out of the small tip 5 digit, excellent condition Brilhart Tonalin that was in the case with old reeds. I was so intrigued that I borrowed the horn to do some research and figure out what it was and what it was worth.
I quickly found the Sax on the Web articles about SML and got even more intrigued. Tonally, I’d be more of a Getz/Desmond type and have always gravitated towards warm, dark, etc. so the description of what this horn would sound like seemed to fit me perfectly. I took it to a local tech and got it *somewhat* playing for under a hundred bucks (new cork, a few leak adjustments, etc.) just to see what it would sound like. I immediately noticed the warmth yet power, especially on the low end. The upper end was a bit weak, but it would be because the mouthpiece I was using (Vandoren Java) wasn’t a good fit for the horn.
After a few months of thinking about it, I decided to offer my friend a fair price for the horn and get a complete mechanical overhaul from Tenor Madness – then to sell my MK VI to pay for it. Randy said it was the finest SML he’s seen – perhaps 98% original lacquer, remaining largely unplayed for a very long time. After a repad and Randy’s magic, it is the most beautiful horn I’ve ever heard or played (except maybe for a custom gold Conn that had Selmer keywork from Randy’s shop, but that was well over $10k!).
The origins of the horn are still somewhat of a mystery, but it looks like a real player owned it for it had the Tonalin, a couple of reed trimmers, and Tenor and clarinet reeds in the case. I friend let me know that the Tonalin was actually quite a find too, and encouraged me to send it away to have it opened up to something more comfortable for me (I had it opened up to the same tip opening as my Java T75, .104). It’s a wonderful match and is beautiful for small combos and intimate ballads. Later I picked up one of the first new “vintage” metal Links from Tenor Madness in an 8 – that is beautiful as well.
A year later, I was searching eBay on a whim for SML sopranos (though they are quite rare) and happened upon one in decent condition that was made the same year as my tenor. I purchased it thinking that I couldn’t pass up the chance to see if it lived up to the hype. Tonally, it does – it has the most beautiful, smooth, warm sound, esp. compared to the modern horn I had. It leaves something to be desired as far as intonation (and that’s after Randy Jones worked on it) but in time I’ve gotten much better. The mouthpiece I settled on for this horn is a Vandoren V5 S35.
A month ago I saw an alto on eBay that was in my price range and happened to be made in the same year as my other two SMLs. Even though I don’t play alto much, it’s nice to be able to sub in for a big band now and then, and the thought of having three SMLs made by the same techs in the same small shop was pretty exciting. I’ve got the horn but haven’t had it set up yet, but it’s not too bad. It does have a beautiful sound, but I’m waiting to hear what it will sound like with a little bit of work. I’m still searching for a mouthpiece and am currently trying a Vandoren V16 9M. The closest other contender was a Yani, and I have a Ponzol coming from WWBW soon).
So I’m a full SML convert, having sold or in the process of selling my Selmers, and I haven’t looked back.
So what’s your story? How did you find your first SML and what made you decide to stick with it?