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Benjamin Allen Tenor Mouthpiece is As Good AS IT Gets

52K views 211 replies 38 participants last post by  jazzznbluezzz 
#1 ·
Just wanted to leave a rave for my Benjamin Allen Hard Rubber Tenor piece. I bought the Tony Dargotti Model about two months ago and have had a great email and phone relationship with Ben since that time. The cost was just over 200 dollars and the mouthpiece is one of the best HR mouthpieces I have ever played. The work is flawless and the piece has a deep quality that I have only found from great vintage pieces. It is a traditional Link looking piece but it plays clearer and cleaner than any link HR piece I have. And it is really full sounding and can take a ton of air. I would say that it is they type piece that many professional players are looking for. Ben refaced some pieces for me and did a great job on them, but his own piece is a work of art. I have turned a few friends on to his work and they all seem to be very impressed with everything about the experience of the piece and Ben's work and communication. I think he is really on to something. He is an articulate and honest dude who seems to be mostly motivated by creating something unusually good and beautiful. I have mixed feelings about outing his great work since it might make for a wait for the next piece I order from him, but I also feel the need to sing his praises. Check out his web site. His piece is not a "chops in the box" wedge piece, but he is an artist on a high level creating the kind of work that will be in demand for a long time.
 
#45 ·
I had the oppertunity to use the Dagradi solely on two gigs this weekend. Both semi acoustically jazz gigs. One even without any mics used.
I kept two other 'life-saver' mouthpieces as a backup just in case but I did not need them at all. The Dagradi can handle it all. Varying from
whispery soft diner jazz level to brutal honking R&B in a whimp. No need to blow your brains out to get there. The high notes sing beautifully with lots of
character. Even when played very soft. I agree with Kritavi on the easiness of playing. I enjoy playing this mouthpiece very much.
 
#47 ·
Really glad to hear it Dr. G. I continue to love this piece very much. It has helped me refocus my practice and to get to know myself better in terms of my sound. It has made using dynamics a more natural and effortless part of my improvising vocabulary. Maybe the best thing I can say about it is that it frees me from thinking about mouthpieces at all and makes it easy to keep the focus on what I'm playing. For me, judged on all its facets, it is likely the best hard rubber tenor mouthpiece I have ever played. It has made mouthpieces a far less interesting subject while jump starting my playing and creativity.

I'm certain not everyone will get the same results but for me this is unique and unlike other modern pieces, They,for the most part, are much too easy to play and lack the kind of resistance I want to lean into and work with. I like this piece so much I'm not even curious about trying his other models although I am certain they too must be of the highest quality.
 
#52 ·
I have been playing the Tony Dagradi model since the original post I made and have played it against many other pieces since then. I have found two pieces that rival the Ben Allen mouthpiece in several ways, one that I might prefer. The first is a Meyer Tru Flex 1940's hard rubber piece; butt cut to wipe away the tru-flex indentation and brought up to a 7 tip. It is great and warm , but not as good overall as the Ben Allen piece, especially in teh dynamics and volume department. The tone is less compact on the Meyer. Ben Allen did the work on the Meyer, by the way. The next piece, which is one of the best mouthpieces I have every blown is the Ben Allen 10E in a 7* tip. It articulates more like a link and has a gravity of tone and core sound that I have never experienced outside the Link thing. If you like the hard rubber link sound and playing experience, this mouthpiece delivers and gives something new that a typical vintage link never had. It is different from the Tony Dagradi model in several ways but there is a connection in the ease of play and the depth of sound. With my 265k 10m it is matched perfectly in that I can subtone softly or with volume, play fast and clear and have thick rich palm key note. With all his work Ben delivers ease in the altisimo range. So after several months and the sale of about 12 vintage pieces, I am a convert to these mouthpieces. They work and the sound is so easy to manipulate that I keep thinking of new things to play. I would say that these mouthpieces are subtle enough that they should be appriciated by fairly accomplished players, but I also believe great equipment should be shared with those who are still not too far down the path.
 
#54 ·
The only problem I have with Ben's pieces is deciding which to play, the 10E or Dagradi. Both play wonderfully, the Dagradi unlike anything else I have ever had the pleasure of playing. Nothing to add to the already excellent reviews, just another happy customer. These have taken me off metal altogether.
 
#55 ·
I continue to remain delighted with my Dagradi and I agree with TraneSpotter and Leons comments. They are modestly priced for their very high quality and to my way of thinking have the most stringent play test to pass before leaving his shop. The idea that a world class player like Tony Dagradi is ensuring the quality control for them is just a little mind boggling.
 
#59 ·
Thank you so much, Jim. Dagradi is really quite fantastic, and this is truly an understatement. His humility is simply phenomenal. Humility, kindness, and so incredibly genuine--Tony and Arnie K. are both this way. They both went to Berklee, they evolved as different players, yet they are two of the kindest gentleman on the face of this planet.
 
#70 ·
These will put a seriously hurtin' smile on your face, Steve. My only interest will be to see which one you like the most.

I'm still digging mine. The Allen mouthpieces that I own are solidly in that category of mouthpieces that keep delivering more and more, as you get to know them.
 
#74 ·
As good as it gets is right!
I'll add to the mix.

I received two 20TDs from Ben, recently, a .102 and .107, can't stop playing them.
I am a weekend warrior 30+ years, rocknblooz.
I mostly played Link and Link like mpcs.
My favorite mpc, to which all comers are compared , is my Tenney Jazzmaster.

I like to really push a mpc, if it can take it, and the 20TDs can.
I love to fill the horn with air.

Two striking features make these mpcs the most joy to play for me, commented on previously.
The first to jump out at me was clarity of tone and depth of sound, with the ease of play mentioned by op TraneSpotter.
The 20TD blows with power, clean and clear, great projection for the performer.
It is unlike any other hard rubber mpc or Link that I have played.
Ben has created truly unique and incredibly balanced mpcs sound wise.
I could gush on and on.

The second feature, that I am beginning to utilize, is the built in resistance of the 20TDs.
This feature is no small thing, as Kritavi so eloquently states,"the kind of resistance I want to lean into and work with".
Because the 20TDs plays with some intentional built in resistance, I am able to truly make my tenors sing at times when pushing these mpcs,
with tone clear and penetrating.That simply can not be beat.
I don't need an SBA or S20 after all, lol.

So far, I have played the 20TDs on three King Zephyrs '46,'49,'55, two Buescher Aristocrats '49,'55 and a '50 10m.
Although individual, I love the tone on all of them and how well the 20TDs perform on them.
The VII and III are next.

My .107 is full and rounder sounding than the .102, fat, bold.
My .102 can really cut, is compact, brighter,edgier.
I love them both.
Messing with reeds is on my agenda. So far, I found a taste of magic in a few RJS 3m, Rigotti Gold and V16 3.

These mpcs have the Link HR profile, finished beautifully,comfortable beak, tip sculpted to fit reeds,
reed fits to table length with only a tiny bit of overhang,Selmer two screw fits great.

I agree with TranSpotter, a lot of players seem to be looking for this mpc.
Descriptors fall so very short. I am so grateful for the experience of playing the 20TDs.
They are the two best mpcs I have played.
As Dr. G said, Ben has taken the craft to a level seldom seen.
I'd like to thank Dr G for initially and unknowingly hipping me to Ben and his mpcs.

I would love to play Ben's 10E.
 
#77 ·
As good as it gets is right!
I'll add to the mix.

I received two 20TDs from Ben, recently, a .102 and .107, can't stop playing them.
I am a weekend warrior 30+ years, rocknblooz.
I mostly played Link and Link like mpcs.
My favorite mpc, to which all comers are compared , is my Tenney Jazzmaster.

I like to really push a mpc, if it can take it, and the 20TDs can.
I love to fill the horn with air.

Two striking features make these mpcs the most joy to play for me, commented on previously.
The first to jump out at me was clarity of tone and depth of sound, with the ease of play mentioned by op TraneSpotter.
The 20TD blows with power, clean and clear, great projection for the performer.
It is unlike any other hard rubber mpc or Link that I have played.
Ben has created truly unique mpcs sound wise.
I could gush on and on.

The second feature, that I am beginning to utilize, is the built in resistance of the 20TDs.
This feature is no small thing, as Kritavi so eloquently states,"the kind of resistance I want to lean into and work with".
Because the 20TDs plays with some intentional built in resistance, I am able to truly make my tenors sing at times when pushing these mpcs,
with tone clear and penetrating.That simply can not be beat.
I don't need an SBA or S20 after all, lol.

So far, I have played the 20TDs on three King Zephyrs '46,'49,'55, two Buescher Aristocrats '49,'55 and a '50 10m.
Although individual, I love the tone on all of them and how well the 20TDs perform on them.
The VII and III are next.

My .107 is full and rounder sounding than the .102, fat, bold.
My .102 can really cut, is compact, brighter,edgier.
I love them both.
Messing with reeds is on my agenda. So far, I found a taste of magic in a few RJS 3m, Rigotti Gold and V16 3.

These mpcs have the Link HR profile, finished beautifully,comfortable beak, tip sculpted to fit reeds,
reed fits to table length with only a tiny bit of overhang,Selmer two screw fits great.

I agree with TranSpotter, a lot of players seem to be looking for this mpc.
Descriptors fall so very short. I am so grateful for the experience of playing the 20TDs.
They are the two best mpcs I have played.
As Dr. G said, Ben has taken the craft to a level seldom seen.
I'd like to thank Dr G for initially and unknowingly hipping me to Ben and his mpcs.

I would love to play Ben's 10E.
Thank you, Mike. I truly appreciate your exceptionally kind review.
 
#75 ·
Amen. Well said.

Would it be unseemly for me to say "I told you so!"? :twisted:

Thanks for sharing the love so eloquently.
 
#82 ·
I have found that many modern mouthpieces are overly efficient in offering a very quick and easy response that doesn't work for me. What I like with my Dagradi is how well it plays softly and how easy it is to control dynamics and get a really nice full crescendo. Everything seems to be calibrated in a consistent way. The sound never runs beyond my control of it if that makes any sense.
 
#83 ·
I have found many modern/boutique offerings to be "too easy" to play as well. I love Doc Tenney's work and own several pieces worked on or created by him. I would be very interested in trying out a Benjamin Allen piece at some point as he seems to be picking up where Doc left off.

Good luck Benjamin with your line of mouthpieces.

P.S. I like Benjamin's "no-hype" approach. That's exactly how Doc did it!

In fact, in honor of Doc, I'm going downstairs and slapping on my BP 10E Tone Edge right now!
 
#85 ·
I am with you Kritavi, The craze for ultra free blowing mouthpieces isnt all its cracked up to be. You would be shocked at the number of players who hate them. I hear it all the time. I havent played Ben's pieces because I generally just get a chance to play things that are not made well. I imagine I will never get the chance if I dont seek one out!

Anyway, yes..good resistance helps with control on many levels and it tonally helps hold a piece together at higher volumes. Yes, some of these free blowing pieces get louder but at the same time on EVERY ONE I HAVE PLAYED the core falls apart (if it had much of a core to begin with)....granted Im not Michael Brecker but dang...who wants to work that hard to have what should come with reasonable skill and practice? Brecker didnt want too...he had to for medical reasons. He was a link guy. Id wager that 6 out of 10 players dont know the difference between a loud sound and a big sound. If they did there would be a lot fewer products on the market. Anyway...every thing I hear about these pieces sounds great and I know personally what a stand up guy Ben is.
 
#87 ·
I happen to have a few mouthpieces that are more free blowing and actually do sound very nice when played loud.
However they shine in the 180 npm mode which is where the low resistance almost automatically seem to steer you at.
It is not the playing style I prefer though. Not in the least because of my limited technical skills do not allow me
to play that fast. For my musical preference and playing style timing and shaping the tone are most important.
I think it makes the music more interesting to listen to anyway. It is a matter of taste (and age :) I admit.
For good timing (I am talking ol' school laid back jazz music here) a good amount of resistance in a mouthpiece is
highly desirable if not vital. The Allen mouthpiece has just the right amount of resistance for me to lean against and
shape the tone how I like it and play it exactly where I want it. It is more about building your own unique sound.
I think that is how the sax giants of yesteryear did it and built their unique tone and styles that we still recognize the
second you listen to their recordings. The resistance also makes you discover bit by bit what a beautiful big fat tone
Ben has put in and is slowly revealing itself. And indeed a BIG tone has nothing to do with loud.
 
#91 ·
I've had some more extensive practice time recently on tenor and in light of this thread was really thinking about why I like this mouthpiece so much. One reason is that it has helped me reach a point where I feel a sense of identity and awareness of my own sound to an extent I never have before. This piece has helped me refine and define my own thing in way that a good Link does for so many tenor players. There is nothing boxed in about it either, more that it provides a baseline from which to go in any number of directions as it is both a very stable and flexible piece if that makes any sense.

My friend Tisziji Munoz, the avant jazz guitarist has used saxophonists like Pharoah Sanders, Ravi Coltrane , Dave Liebman, Jerry Bergonzi etc in his bands over the years so he knows the saxophone quite well. He tells me that the most interesting aspect of hearing any of these masters, for him, is to hear how they work with the breath. Not so much the sound, and not particularly the lines but the movement of air through the instrument itself is what he is drawn to. His advice to me was to be aware of the breath at all times and to make it the center point of my attention. With the Allen mouthpiece I feel I am able to work from the breath with greater clarity and specificity. Everything is calibrated so effectively that no matter what I'm playing there is a consistency to the resistance and response that I can really lock into. I bought it to play primarily with my Super 20 and they work very well together. It is very intune with the mouthpiece at a comfortable mid-point on the cork.

Its the kind of feeling I get from the best Links or Barones for tenor or some of the refacing work by Jon Van Wie or Ed Zentera. Every one has what works best for them and I continue to find that this piece really works for me. I'm in that zone where this is my number one choice and I don't even have a clue what would be in second place and no interest in sorting it out. For know this is getting the job done and allowing me to focus on music not mouthpieces.
 
#92 ·
Posted a new review of the Benjamin Allen 10E tenor mouthpiece tonight. Ben sent me a few to try but I thought I would start with the darkest and work my way up........... Beautiful sounding mouthpiece! Like the Tenney 10E, I don't think it is chops in a box but if you spend some time with it I think it will give you beautiful sounding results.............Check it out! ( I haven't really played the Dagradi model except for a few minutes so please hold your questions until I do the review.......I have two more 10E's to do................
 
#94 ·
The pressure is on, Steve! :twisted:

Seriously tho', I look forward to hearing your comments on which piece captures your attention. In my experience with the 10E and 20TD (both .102"), they are both top level pieces - it's just a matter of which one really rings The Bell. I was playing the Dagradi for several weeks straight and really thought that it was It. Now I've got the 10E on my horn, and it, too, really brings on The Goods.

BTW, I also appreciate your commitment to wringing out the reed selections for these pieces. I usually play larger tipped pieces and don't have the inventory of stiffer reeds that you have at hand. Thank you for that, too.
 
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