chuckle, tsk

nope, I still play mainly bari. It's an odd combo, but I still run it for the odd jazz gig, still play it for classical, and I don't fake the funk either, but that's because I'm part of a line. Still, I filled in on a different cover band that doesn't play funk and they liked it.
It's my voice. What can I say?

The Lawton (8*bb) 's real good stuff. Clear and rich, good bottom end but it brings out the upper range like nothing else I've played. Rich up there like my master Link but more power.

I also have extensive playing on a friend's lawton on tenor and it's very responsive, like a Berg done right but again more rich. Probably comes from the simple fact it's more meticulously done. And it's cheaper than a blueprinted Doc Tenney Berg.

Jody Espina's a great guy. The JJs are great Runyons I hear, never played one. Have a custom for alto and bari, the bari one reworked by Jon Van Wie. It's good stuff as well but just not the Lawton. That piece is something else. Well worth the money, IMO better than the Ponzol stuff I played. Only smaller chamber metal piece that would work the way I wanted.

Dukoff's real powerful, but just too inconsistent. I played one that was great, went back and played the same combo on another piece and it played like ass. Neither really wanted to back off much. I'd not really know what to suggest to be honest. If you can try a Lawton from WW&BW for 30 days that might be a way, Bergs are still real good and baffled Links (even with just a Powertone insert) are still highly recommended by a lot of people.

Of course, I don't want to presume you're asking my advice, but you're not sounding terribly happy with the Dukoff. Is it an older piece? they tend to be more well made than the Babbitt era pieces.

 

"......but you're not sounding terribly happy with the Dukoff. Is it an older piece? they tend to be more well made than the Babbitt era pieces."

It has a tendency to get raspy from A2 on up albeit normally controllable with a decent reed. I got the D6 Dukoff circa 1985; is
that considered an "old?" piece? I'm using a Superial 2.5 currently. These reeds work better for me after using one for about a week or so for some reason.
Anyhow, I've used a Link 8* metal[not heard of the baffled Link; I'll have to check it out], Berg metal[too edgy; used a 100 over 1 on bari and loved it, when I was trying to sound like Frank Hittner], various plastics... anyhow, I guess I have a love/hate relationship w/the Dukoff..lol.
Gonna look into that baffled Link. Do you know the model?
I like my 5*metal Link on alto for small group.
Damn Ponzol are too expensive for me. I can't imagine paying
$250+for a ten mpc. 'Course, if it *the* one...

Got this off of Jazzcorner:

From Reuters news service San Bernadino County Sun http://www.sbsun.com/
TRUMPET STAR ADMITS ILLEGAL DRUG USE

After years of speculation that some of the music world's top high note trumpet artists or lead players were using illegal range-building drugs, a former Stan Kenton lead trumpet disclosed that he used steroids.

Sid (The Hat) Febreschi, a veteran of the big bands, nightclubs, and Broadway musicals became the first trumpet player to publicly acknowledge using performance enhancing drugs.

In an article that will appear in the upcoming issue of Jazziz magazine, Febreschi stated that he began taking the illegal, range-enhancing drug in 1972, when he was lead trumpet with the legendary band leader, Stan Kenton.

"It's no secret what's going on out there" Febreschi said. "Most if not all the high note players juice up. It's part of what's happening. They joke and talk about it at dinner."

"There's money in playing high," Febreschi continued, "If I don't do it, some young juiced-up punk is gonna' just come in and take my place."

Current Las Vegas lead trumpeter Dan Smiley says "I played with Sid for over ten years. He was never one to hide anything. He was using 'droids all the time we played together. It's not a big deal, though. Everybody does it.
Hell, I haven't worked out of Schlossburg since the Nixon administration."

Dr. Roger Boughton of Maryland State Medical School has studied the fascination that the world has for high note trumpet artists. "When one hears the soaring sound of Maynard Ferguson, one is taken back to a time when music was pure and troubles were few. Due to this phenomena, there has been an unnatural demand placed on the lead trumpet player. The modern lead trumpet player is now expected to have a loud "G", which twenty years ago was limited to a fortunate few."

The effects of steroid use vary from player to player, but Febreschi at 60 swears by them. "Hell, look at Doc and Maynard. These guys are well into their 70's and they peal the paint off your shiny new car there sonny."

 

thank you for not using the PM on these

this is interesting, even tho most are way over my head...

i suggest you two send each other some tunes that you both did...hahaha... you know like a sampling of how you sound...

while you are at it, copy me. heh? good idea or what?

just trying to help.

 

this is interesting, even tho most are way over my head...

Naw, it's just shop talk.

Mag, my Dukkie was sounding good today. I just pulled the reed
out beyond the tip a bit. I don't know why I didn't do it sooner, I've done it before. I guess I just wanted to waller in my misery
for a while.

baffled Links (even with just a Powertone insert) are still highly recommended by a lot of people.

Is this a metal Otto Link w/a removable baffle? Or is the Powertone insert stationery; if so, the model #?

BTW: It's a general consenus over on Jazzcorner that the
Sid Febreschi steroid thing is a hoax. There are some pros over
there that talk like they've been around, and they nor anyone they know have heard of Sid Febreschi.

 

Now, this is cute; and just soooooo hip:

Ames, Iowa - Mulford A. Barlow, an accountant for the Schneidemann Meat Packing Company and an amateur saxophonist, is suing the Selmer Musical Instrument Corporation for an undisclosed sum of money for what he is terming “gross violations of an implied contract.”

Mr. Barlow’s attorney, noted civil rights lawyer Ron Kuby, alleges in papers filed today with the 2nd Circuit Court of Central Iowa that “in their glamorous print advertisements that feature beautiful women gazing longingly at men playing the saxophone, the Selmer Corporation creates the expectation that all one has to do to gain favor with said beautiful women is to purchase and learn how to play one of their extremely expensive saxophones. After spending more than $6000 on a Selmer Mark VII Eb Alto Saxophone and assorted accessories, as well as two years’ worth of private lessons, my client, Mr. Barlow, is no closer to going on his first date than the day he passed his CPA exam.”

Saxophonists around the world have rallied to Mr. Barlow’s cause. David Sanborn and Branford Marsalis have organized “Sax Appeal,” a 12-hour live telethon that will raise money to help defray Mr. Barlow’s legal costs and will air on the Fox and ABC networks next Saturday starting at 8pm/7pm Central. Especially noteworthy is former President Bill Clinton’s offer to testify on Barlow’s behalf as an expert witness on the unrealistic sexual expectations placed upon saxophonists. “We’re all victims of a sax-drenched society,” said the former President during a meeting of the Renaissance Society at Hedonism II in Kingston, Jamaica. “TV, radio, movies, video games. It’s nothing but sax, sax, sax.”

For his part, Mr. Barlow is said to have become disillusioned with the saxophone and is giving it up in order to concentrate on the accordion. “There are some hot babes who go every week to Polka Night at the local Moose Lodge,” said Mr. Barlow from his bachelor pad in his mother’s house. “Who knows, I just might get lucky.”

William Grim - Broken Newz

I guess our judicial system and "freedom" is getting to be a
true thieves paradise.

 

heh. Good stuff.

If the Dukoff gets it for ya, run with it. It's funny, I had to change over to a y62 yamaha for a few weeks and the whole thing is completely different. The Link doesn't play like it wants to, the Lawton's powerful but not very lush.

I think Powertones are stick on. They can come off fairly easy. I'd probably stay away from the newest Links if possible but I tend to be a vintage whore anyway. I'd read where a good number of the masters of the 70s were running baffled Links, and while the Florida Link with a custom epoxy baffle done by some guy in Iowa that's now dead isn't the same as putting a powertone in a newer Link, people have said it's still potent. Links just don't have the power they could, otherwise they'd be the perfect piece IMO.

 

Since I'm used to the Dukoff I'm going to try an M6, L6 and P6.
I'll choose one(hopefully), and send all three back to WoodwindBrasswind. Then have them send three of the same model and select one of those. [The D6 was fine for my "pop" days but is too abrasive for what I want to do now.]
I found out the hard way that mpcs within the same model aren't the same. I don't like my new JodyJazz at all.

BTW: Mag, did I read somewhere that you are studying law?

 

it's an elective. I get to take one tech elective outside my major and that's the easiest one. So I get to coast for a while.

yeah, that's the way to go. There's so much variance in new Dukoffs.

Could, of course, get an old Dukoff Hollywood Me, I dunno. I'll always like Bergs when I can get one that fits my horn.

I do know that if there's something in particular you didn't like about your Runyon, Leroy over there will reface it by hand for a $20. Jon Van Wie's great with Runyons and Meyers but he runs $60.

 

"I'll always like Bergs when I can get one that fits my horn."

I like the Berg metal on bari; but not tenor[Wynton Felder w/the old Jazz Crusaders used a Berg, sounded good]. Berg rubber is supposed to be nice for tenor.

Anyhow, Dukoff is making a replica of the Hollywood piece; the H series. It has a large round chamber and no baffle.

http://www.dukoff.com

 

What'd the drummer get on his science test?

drool