I’ve been on a hunt for a new, main jazz tenor mouthpiece since sometime in April. I’m pretty sure my search is over with the Tribute.
Sorry this is long, but my impressions will be more meaningful with some background and context.
I have played, mostly, a metal Link (7*) on tenor for jazz playing since I was in high school. (Got my first one in about 1977, so I’m not sure what version Link that was.) For a few years, I played a Guardala original Brecker model. It took a Iong time to get used to that and when I found a Link with a bit more baffle, it felt like home. When I tried the Guardala several years later on a newly acquired Mark VI (127,xxx) it was just way too bright for my more mature taste and that horn. (Sold it for $1,000 in 5 minutes on ebay. I could probably get twice that now.)
Still not completely satisfied with my tenor sound, I realized that I've always been happy with and received complements on my soprano sound. I play an old HR slant sig. Link (5*). So, my string of mouthpiece experiments began with a New Vintage Otto Link HR 7*. That was followed by:
Kanee “Florida” #8
Vandoren V16 T7
John Thompson .115
Mouthpiece Café Primo 7*
Navarro Bob Mintzer Bebop Special 7**
All of these have many good qualities and when I first tried each one I thought perhaps “this is the one!” In particular, the Navarro is great and I really thought it was it.
I should add that all of the four STMs I’ve played were modern Links. (Again, not sure about that first one, but I traded it away over 20 years ago). I’ve never had any of them refaced.
When I wrote to Phil inquiring about his Equinox and Eclipse MPs, he wanted to talk on the phone. I learned that it was within days of his accident, so I really appreciate his willingness to talk about it. He told me about the concept of the Tribute. I was very interested, but impatient which led to the purchases of the Primo and the Navarro.
If you’re still reading, you have an idea of my frame of reference, which brings be to the Tribute.
It seems to be exactly what I have been looking for. First, it’s EASY to play. I don’t have to adjust to it. I get the point about giving a mouthpiece some time, but I’ve been playing jazz tenor since about 1975 (with some moderate success at times) so, I shouldn’t really have to change the way I play in some fundamental way.
Articulation is fast, clean and easy. It is not quite as loud as the Navarro, but I can’t imagine a situation where it wouldn’t be loud enough. If I’m playing an outdoor festival, or some big arena show, there will be a PA anyway. It can be played plenty loud.
I love the sound of Rick Margitza, particularly on his album, “Color.” Of all the MPs listed above, the Tribute gets me closest to that sound. I find it very flexible, I can make it pretty bright or pretty dark.
There is a snap that I haven’t been able to get with all those HR pieces. I’ve gone back to my best STM after playing the Tribute, and it feels like a toy.
At this point, I’ve played it about 4 hours over two days. The altissimo was fine in the beginning, but gets easier with every hour.
BTW, the ligature is great as well. And, not to start another debate but, I like the gold pressure plate better.
So, thanks for reading this long post. As I wrote at the top, some background on what I’ve played before (which is much more limited than folks like Steve) should put my comments in context.
Thanks Phil. You knew better than I did, when we spoke, what I needed.
For what it’s worth, I love it.
Sam