Keilwerth SX90R Shadow Tenor Review

Keilwerth Tenor Sax SX90R Shadow: Model JK3401-5B2-0

Country of Origin: Germany

Material: German nickel silver

Finish: Black nickel plating with silver plated keys and inner bell

Price: various greatly depending on where you live, and what currency you buy it in. Check with an Authorized Keilwerth dealer to find out what the price currently is.

Serial #: 130XXX

Date of manufacturing: circa 2021

Date of review: 2024

Set up used: Dukoff D5 refaced by Bob Carpenter to a .109 opening; Harry Hartman Copper Carbon Classic tenor saxophone 2.5 reed; and Rovner Light lig.

Intro

In September 2023, I did something that I have only done once before in my life: bought a brand new saxophone. I have played and loved vintage horns all my life, but when I had the opportunity to playtest this SX90R Shadow by Keilwerth, it turned my view of new horns upside down. Why? Simple put: because of its tone.

More details on the tone below, but suffice to say here, with the SX90R Shadow the vintage player has the best worlds: the sound reminiscent of the finest vintage saxes ever made, but with ergos that are simply fantastic, and arguably, the fastest found on any modern saxophone. 

NB: I have already written an article about how I even came to try this horn, so I won’t rehash it all here. It is worth a read, especially if you are looking for gear, since where I bought it always has a great supply of vintage, used, and new gear on hand.

Tone & Timbre

Like its regular SX90R cousin, the SX90R Shadow has a big, full, powerful tone, with tons of presence regardless of what range or dynamics your are playing.

It subtones beautifully; has a lush lower end; full and rich mid & upper range; as well as of course an incredibly clean and screaming—if needed—altissimo. The thing is, the Shadow does everything the conventional SX90R does, but does it not only easier, with that added something that is not only noticeable to the player, but to the astute listener as well. 

You might be asking yourself: So how does this Shadow differ the most from its conventional SX90R cousin? From where I’m sitting: in timbre and resonance.

While the SX90R had plenty of overtones, the Shadow has an entirely different set of overtones that are more reminiscent of my vintage horns. Furthermore, unlike many of the saxophones made today, the Shadow model has quite a few individual characteristics that may vary more from horn to horn.

This is one of main reasons I bought this particular horn. I fell in LOVE  with its particular sound and what it could do, and understood that if I ordered one from Keilwerth, the next one that came in 12 months would not necessarily be exactly the same. 

For example, while this Shadow has tons of overtones, at the same time there is a purity to its sound that I have only heard once before. It was at a concert hall when Branford Marsalis was playing with the Vancouver Symphony Orchestra. This Shadow has the ability to produce that same kind of pure tone. How? I don’t know. 

When not aiming for a purity in tone, and playing the Shadow head to head against my Zephyr, Martin, Mark VI, Toneking, et al, the Shadow definitely sounds more similar to them than it does to the conventional SX90R, or other modern horns like Yamahas, Yanis, and Selmer Reference, Series II & III models I have play-tested.

Does the material make a difference?

I am not a saxophone designer, physicist, nor metallurgist, but I presume this more vintage-style sound the Shadow has is in large part due to its body being made not of brass, but of German nickel silver. This change in material appears to change the resonance enough that not only can we hear it, but my cat—who has claimed my studio and all that is in it as his—is much more aware of it as well.

Whenever I play the Shadow, my little black cat not only leaves the studio, he hides in the furthest recesses of the house as far away as possible from the sound. This leads me to speculate that there are sound waves emanating from the Shadow that are quite different from that of conventional saxophones. (A completely unscientific conclusion of course.)

I don’t know if actual waveform studies were done by Keilwerth during their design stage. If there were, they would likely be guarded intellectual property, hidden away in the Keilwerth vaults. That said, it is an interesting point to ponder—and something that could be studied by those with a serious scientific interest in the subject who want to take the work farther than what has previous been done—which from what I can find is not very far at all. ¹

In short, the SX90R Shadow by Keilwerth is the modern horn that vintage horn players should try if they are looking for something new/modern. Why? Because players still get the individuality and tonal characteristics reminiscent of vintage horns, but with modern conveniences and ergos.

Response

The SX90R Shadow is a completely free-blowing horn with almost zero resistance. It subtones absolutely effortlessly down to low Bb at a whisper. I have never played a tenor that is easier to subtone on that doesn’t compromise its tone during the process. 

With the set up I have used since I got the horn, this baby:

• Is super bright when I want it to be.
• Screams out loud enough to make the trumpets cry and complain during the fff s of my solos. (Gotta’ love that.) 😉 
• Is able to play with a dark—heavy on the core—tone reminiscent of the finest mid-century saxophones.
• Produces a beautiful rich, lush sound we associate with those jazz recordings from the 40s, 50s, and 60s.
• Yet can give you a complex, overtone-rich tone, with/without brilliance depending on what your musical tastes/needs are.

Instantaneous? Really? Or is it simply advertising hype?

For me however, the most remarkable thing about how the SX90R Shadow responds, is how the instrument responds to the air supplied by the player. In a word: instantaneously. 

Starting and stopping notes: zero lag time. Increasing and decreasing volume: zero lag time. The Shadow is able to instantaneously respond to any change in the player’s air flow and reflect those changes in the sounds that emanate through its body tube, bow, and bell. 

In all my years of playing some of the finest pro model saxophones ever built, I can honestly say I have not played another saxophone that can do that. Quite simply put, it is simply sublime.

For that reason alone if you are shopping for a new horn, you owe it to yourself to try a SX90R Shadow if there is one available for you to playtest. IMHO, it is the benchmark which other modern saxophones are measured against. (Again, remember I’ve been playing A LOT of modern/new horns over the past nearly 5 years.)

Oh, and it should go without saying that like the Tenor Sax SX90R: Model JK3400-8-0, and the Alto Sax SX90R: Model JK2400-5B-0, this SX90R Shadow: Model JK3401-5B2-0 plays 100% evenly up and down the entire range of the horn. Again, this shouldn’t have to be stated, but far too many pro horns—or what are trying to pass themselves off as such—do not have an even scale.

Feel

Two emoji this time: Yes, I simply love my new tenor. 

The SX90R Shadow is extremely well laid out ergonomically. It simply feels fantastic under your fingers. Its key layout and feel is identical to the lacquer SX90R tenor I recently reviewed. 

• • • This horn is as fast as a Forumula E race car on the Berlin-Tempelhof track. 
    • The large, deep MOP key touches almost “grip” your fingers in the upper and lower stacks. These home keys—where you spend 75% + of your time as a player—are comfortable and were designed with player comfort and maximum ergonomic positioning in mind.
    • The left palm keys are of course adjustable, making palm key risers a thing of the past.
    • IMHO, the non-stick G# mechanism is the best thing that has been added to saxophones over the past 50 years. (Of course based on this design by Stathmann.) This allows you the freedom of playing the note without the worry of possible sticking. The feel it gives the G# is a sense of freedom. For me anyway.

Key Action

The SX90R Shadow tenor sax is lightning quick. I have never played a sax with faster key action. The head tech from Bellingham Wind Works called it a Maserati, but to keep it country-correct, you would have to say it is a Porsche.  

When I first tried this particular sax it had been on the wall for just about a year. Sure it had been play-tested, but it hadn’t gone through the shop. When I decided that I was serious about maybe buying it, their head tech put it on the bench and checked it over for me. He then made some minor adjustments that made it play even faster than it did before. 

The Shadow is as smooth as a hot knife through butter. There are no keys that are heavy or uneven. The feel of the keys and spring tension is the most even that I have ever felt on any sax I have ever played. It takes hardly any effort to close them perfectly. Opening keys–including that sometimes tricky C# key–is dead simple. Pinkie strength is not a requirement to play this horn.

All these things add up

The other thing I really appreciate is the quiet key action. Yeah I know: it’s new. However, I have played lots of new Selmers, Yamahas, Yanis, P. Mauriats, Cannonballs, etc, and they are all noisier than the Shadow is. I am not saying that the other brands sound like a Harley starting up from a traffic light by any means. I am simply saying that the Shadow is just that little bit quieter that you notice something is different, and once you add enough of these subtle differences together, you end up with one hell of an instrument.

To check the key action I did my usual 2 warmup exercises I do every time I play: 

1. Going Over the Break

Here you tongue the G and slur to then end of phrase. Then tongue the first G again. You start out slowly, and keep going faster and faster, making sure your air is supported.

2. Pivot on the Break

Here again you start out slowly, and build up your speed until you are lightning quick. 

Results

On both these exercises the SX90R Shadow tenor was lightning quick to respond; blew through the exercises with complete ease and zero resistance; and its evenness of scale was extremely evident.

Intonation

The SX90R tenor is 100% in tune across its entire range. Period. Full stop.

Within 3 weeks of getting my new horn I was called to sub for a Tenor 1 in a Metro Vancouver swing band. I was a little worried about taking the Shadow, since after 3 weeks I wasn’t nearly as familiar with it as I was with my horns that I had been playing for decades. 

I needn’t have been nervous. I took the Shadow, and my intonation was 100% spot on.

That first outing also gave me a chance to road-test the Shadow up against the powerful brass sections during all the many tenor solos I had that night. The horn absolutely slayed its solos, and left some ears ringing at the end of what I dubbed my experiment night.

Keilwerth’s Description of their SX90R 3401 tenor sax

The SX90R Shadow saxophone pushes the limits of design and performance. The body is made of German nickel silver that resonates strongly and responds quickly to the players demands. Black nickel plating coats the body adding depth to the well centered and powerful sound. The inner bell and key work are silver plated to highlight the extensive hand engraving for a vibrant and dazzling appearance. From the small, intimate club to a concert arena for thousands of fans, the SX90R Shadow saxophone lets the player take control and offers limitless potential for expression and sound.

Source: julius-keilwerth.com

Specs

According to the Keilwerth page, the following are the SX90R Shadow tenor’s specifications

Additional Features

• Post to body construction
• Black leather pads
• Slightly domed black (nickel plated?) metal resos with rivet

Pics of the Keilwerth SX90R Shadow tenor sax

I did use a variety of surrealistic HDR programs/filters in my bracketed shots. If this offends your artistic sensibilities, oh well.     I still love surrealistic HDR. Besides, we know no one is going to use these pics in a fake online sale, are they?  

Build

Let me insert my usual disclaimer here: I am not a tech, nor do I play one on TV.  😆    I am however, a sax player with over three decades of playing experience who has spent a great many hours with my techs, talking with them, learning from them, and applying that knowledge to the saxophones that I purchase for myself, as well as my students. I also recently spent 4 years working PT for my tech at Matterhorn Music, doing everything from Education Rep duties, to retail sales and rentals, to website work.

The Julius Keilwerth company has over 100 years of saxophone R&D and manufacturing experience to draw on, and it shows in every aspect of this saxophone. 

The SX90R Shadow is an incredibly solid piece of German engineering. It is built to last, and last these horns will with proper care and maintenance.

Owning the Shadow reminds me of an article I wrote a number of years ago regarding vintage saxophones, and how we are merely their caretaker. The same is very much true of the SX90R Shadow. These horns are built to outlast their human owners. 

The Julius Keilwerth company has been building world-class saxophones of only the finest materials, and the best craftsmanship for its entire 100+ year history. We frequently see JKs from the 1930s for sale on auction sites—many from the original owners’ families. My 1957 Toneking is a fantastic example of a one owner horn that had never been abused, and once I had it brought back to its original glory, kicks ass just like it did back when it was new. 

This is an important difference between Keilwerth an many other companies that have been making pro horns for a really long time: Despite all the corporate ups and downs they have had to endure, the quality of their pro horns has not wavered. Furthermore, their SX90R saxophones are better today than at any time in the past. They play from the first time you unpack them ². Not all pro horn makers can make that claim.

Cons

The horn

Nothing of consequence. There is simply nothing that I can fault this horn for.

I do however, believe the following caution is worth mentioning to avoid being caught with your pants down at a gig:

Due to the SX90R Shadow’s rolled tone holes, it is important to keep your pads clean. The RTH do have more surface area that could be a bit more prone to sticking if you’re not on top of cleaning/drying your horn after each use. This is especially true when the pads/instrument are new—and if you eat or drink immediately before or during performing.

Pad & tone holes cleaning

For nearly 15 years now I have only used this method to keep my pads and tone holes clean. Yes, it works, and no, it doesn’t damage the pad leather. 

Items needed

1. Lighter fluid like Zippo or Ronsonol. The kind of liquid fluid used to fill cigarette wick lighters like Zippo, etc.
2. Pipe cleaners. (I cut mine into halves or thirds, depending on their length)
3. Old thin cotton sheet torn into strips.

Large saxophone tone holes

1. Wet the pipe cleaner with lighter fluid and rub it over the pad gently. Focus on the indent made by the tone hole.
2. Wipe the tone hole and tone hole bore with the pipe cleaner.
3. Repeat if necessary a couple of times if the tone hole/pad is especially dirty.

Small saxophone tone holes/small horns

1. For smaller saxophones or tone holes where the clearance of the key to the pad is not enough: use a strip of cotton sheet.
2. Wet corner/top section of the cotton sheet with lighter fluid.
3. Place the wet sheet over the entire tone hole.
4. Press down the key gently.
5. Pull out the cotton strip.

Green stuff on you pads/toneholes?

1. If you have green gunk on your pads/tone holes, lighter fluid may alone not be enough to clean the verdigris.
2. In this case you have to go old school and get out an old-style $ bill (the new polymer $$ many countries use won’t work) and place it over the tone hole. 
3. Gently hold down the key and pull out the $ bill. This will clean the tone hole & pad by acting as a bit of an abrasive.
4. Afterwards, use the lighter fluid and clean the pad & tone hole as outlined in steps 1-3 above.

Note: Lighter fluid will NOT damage your pads. It will not strip them of oils. It will not loosen their shellac or glue. I have been using this method for more than 15 years on all my horns and have and NO problems.

UK’s Stephen Howard—who I learned this cleaning method from in his now out-of-print book the Haynes Saxophone Manual—has done pad studies for over 10 years, and has never noticed any problems with pad damage. This works, and is better than any powder or anything on the market.

Accessories

The only real con that I find has nothing to do with the horn itself, but with the SX90R Shadow’s primary accessory: Its case. 

Ever since a foot on my B&S Medusa bari case broke off on the bottom of its Winter Shaped Baritone case, I have never been a huge fan of the brand. Truth be told, I also never really liked the way the Medusa slopped around while in its case.

Fast forward 2 decades, and uber-expensive Keilwerth pro models continue to come in none other than Winter cases that, you guessed it, have similar characteristics to my former bari case.

Although the style of case that the SX90R comes in has changed over the model’s production time, currently what is provided is described as follows on the Keilwerth website:

JK2195CA
Shaped case for Tenor saxophone. SX Line “carbon” finish:

vacuum formed from ABS plastic in “carbon” look Aluminum valance for high stability
the polystyrene nest ensures excellent protection for the instrument and is lined with black premium cotton
velvet separate compartment for neck and mouthpiece
velvet accessory pocket to be put in the neck
2 nickel plated locks and 3 nickel plated metal hinges
4 bottom studs
backpack system and 2 backpack straps.

This is the case we’re talking about here, which looks like Winter’s Tenor Saxophone Shaped Case Thermoshock. I don’t know if JK orders the Polystyrene insert specifically shaped for their horns or not, but what arrives with the tenor is an epic fail. 

Within days of getting it home, I recorded the following video of the movement the horn has within the case. This is anything but what the owner of a uber expensive saxophone wants to see!

This excess movement led to the thin polystyrene piece at the upper-most section of the case, giving way. The result? Way too much movement shown in above video, and greatly reduced protection for the uber-expensive Shadow. 

I should note, by the time I recorded this, the horn hadn’t even gone to 1 rehearsal yet. It had only come home from the store I bought it at, and been put into a stand in my studio. I noticed this damage the first time I went to put it away to take it to a rehearsal. 

Replacement case

When I contacted the Keilwerth dealer I bought it from, they assured me this damage would be covered under warranty. When it came time to pick a new case, I opted not to get the same model, but rather the JK795VIN, which is the case that comes stock with the SX90R Vintage model. 

JK795VIN
Rectangular wooden case for tenor saxophones SX90R series and Vintage model:

• Strong wooden case
• the 8mm case frame is dove tailed and guarantees a high stability
• case covered with a high quality grey-black vinyl
• attractive and protective black corner strips
• 2 nickel plated strong latches and 3 hinges
• black leather carrying handle and side handle
• the polystyrene insert ensures excellent protection and is covered with a black cotton velvet.
  *Delivered for any purchase of the tenor SX90R.

Source: julius-keilwerth.com

**Note that the company mentions that this is delivered for any purchase of the SX90R. I would recommend that if you order a SX90R Shadow—something you most likely will have to do, as most dealers do not have them in stock—that you request a Vintage model JK795VIN case. It fits the horn like a glove. Zero movement.

Here’s a fun fact about these JK795VIN cases: they appear to come from none other than, yet again, the Jakob Winter company in Germany. These seem to be a custom variation on the  German Master collection. (Notice how it looks an awful lot like the expensive brass cases.) 

So if Winter can have such a great-fitting polystyrene inside for the Vintage case, why not for the shaped case? Just asking.

Pros

Once again the list of the positives of the SX90R Shadow are so long, that I find it important to mention that: I am NOT shilling for the Julius Keilwerth company. I am not connected with the company in any way. I also have no financial interests or ties with them. (Remember I played Selmers and vintage American horns most of my musical career. Then I fell in love with some JKs I played, and the rest is as they say, history.  )

OK, so now that that is out of the way, on to the list of pros:

• The instrument absolutely looks incredible. With its black nickel finish; stunning all-over hand engraving; and silver plated keys and bell; this horn is a head turner. 
• The SX90R Shadow’s incredible looks are equally matched by its incredible tonal spectrum, timbre, resonance, and instantaneous changes to a player’s changing demands. The result? Thanks to the subtleties mentioned above, this fine piece of German engineering allows the player to not only hear and feel, but to quickly adjust their playing style for maximum stylistic effect. It really is a feedback loop that looks something like this ³ :

• The SX90R Shadow’s instantaneous response to changes in air flow are remarkable and stunning. Combined with the other tonal features it does allow a player to play with absolute freedom and creativity. 
• The SX90R Shadow is an awesomely built saxophone. I have now played 3 new, SX90R horns in a very short period of time, and they are all without any issues—tone hole or otherwise. 😉  Much like my old 1957 Toneking alto and tenor saxes, these new SX90R are built to last a lifetime + of use. All they need is regular care and maintenance—the same as any other pro model sax.
• Like its lesser-expensive SX90R tenor cousin, the Shadow is fantastically laid out from an ergonomic point of view. They keys simply are where you need/want them to be. 
• As someone who traditionally always has at least 1 or 2 key risers on their left palm keys, I love the adjustability of these on the SX90R.
• The adaptation and use of Stathmann’s non-stick G# mechanism is a fantastic feature. (Fun fact: only some of Steve Goodson’s horns, and certain latter models of the B&S, are the other brands that have utilized this game-changing, common-sense approach to solving an age-old sax player’s problem.)
• The Shadow’s completely even, smooth, and lightning-quick key action make playing difficult passages easier and faster to do. 
• Again, like the less expensive SX90R, having 100% spot-on intonation with no fuss or muss is brilliant. 
• Goes instantaneously from ppp too fff  with no intonation changes or distortion. 
• It has lots of overtones that can be brought out with the right MP/reed combo. 
• The Shadow has a purity to its tone that can be brought out just as easily, and that versatility quite frankly is what sold me this particular horn.
• When compared to other pro horns in a similar price range, this horn literally blows away the competition.
• It is versatile enough that it can be used in virtually any setting, and for any style and genre of music.

Bottom Line

I was not in the market for a new tenor sax. I have lots already, and am primarily a bari/bass/tenor player (in that order). That said, once I played this SX90R Shadow tenor, I knew the horn was incredibly special, and that it would allow me to do things that I haven’t been able to do in years—and to do them cleanly and more effectively. 

My last severe neurological attack in 2006, left me with some deficits. Although in the last 18 years I have managed to claw my way back quite a ways, among other things, I still have some fine motor skills deficits. My execution simply isn’t what it used to be. This Shadow has given me back my execution—on tenor at least. That little bit of lag time I still have between my brain and fingers is made up for by the horn’s incredible design and build. 

This design and build, combined by the horn’s absolute pure tone—as well a complex overtones when I choose to bring them out—is what sold me on the Shadow. Needles to say your mileage may vary.

My final thoughts about the SX90R Shadow tenor

In the end a saxophone in just a tool to enable us to get the sound we hear in our heads projected out to the audience. The SX90R Shadow does this with the greatest ease, and flexibility of any sax I have played in nearly 40 years of playing—30 years of which has been in front of paying audiences. And for that reason I give this amazing horn a full 5+ stars in a review. 

Why no recordings?

I have for years wanted to get some really decent quality recordings up of my various horns so that you can the differences between them. Problem is my studio is not ideal for that, nor do I have all the proper gear. Then there is the learning curve associated with the software.

I am getting closer to realizing a way to do this. My goal is to get some really good quality recordings up by the end of the year. Fingers crossed. Wish me luck!

Watch out for counterfeits, knockoffs, and other fakes

Generally the more expensive a horn is, the more likely you are going to find fakes. The SX90R Shadow are among the most common fake Keilwerths you can find all over the Net. 

As I wrote about in August 2021, fake Julius Keilwerth saxophones are found all over the Internet—and by extension, likely in some brick and mortar stores as well at times. That’s why it’s really important that when considering a new saxophone purchase, you buy through an authorized Buffet dealer. That is also the only way you are guaranteed to get the warranty these horns come with. 

If you are buying used, make sure you know how to spot a fake JK. Also make sure that you buy through a reputable saxophone dealer like: PM Woodwind, Get A Sax, Worldwide Sax, Bellingham Wind Works, etc. etc. These dealers are stand-up guys, know how to spot a fake, and stand behind the products they sell.

¹ I spent what seem like hours Googling sites and articles in both regular Google and Google Scholar related to saxophone construction/design and their tone and/or resonance. I have put the list of resources with anything even remotely relevant on a PDF that you can check out and download if you want.

If anyone knows of any resources that I have missed–and I am sure I have–please let me know. I am hoping to write a separate article about this topic in the coming months. Thanks!

²  As I mentioned in my reviews of both the SX90R alto and tenors, when I worked for Matterhorn Music I was the person who unpacked and playtested both of these horns for the first time. Both horns played extremely well, and could easily have been set out for customers to try without any adjustments. 

This particular Shadow was not adjusted before I tried it and had hung on the wall for around a year. It was fantastic as is. It was simply made more fantastic by the head tech at Bellingham Wind Works before it left with me.

³ Yes I know, all saxophones allow this to a greater/lesser degree. However, not all horns are created equally. At a minimum, all pro model saxophones should allow an advanced/advancing intermediate player to do this. 

Part of the problem may be that many players don’t know how to do this. Or perhaps they are doing it subconsciously. The second problem is that much of the gear we use—yes, even so-called “pro” gear—is not able to provide players with the kind of instantaneous feedback necessary to make rapid alterations. 

So really the questions are:

• How fast is fast enough?
• Does it really matter?
• Can other pieces of gear—MPs, reeds, ligs, necks, etc—change that response time?
  • Good question. I would suspect the answer is yes in some cases, based on my personal MP tests. That said, a better tool will always be a better tool.
• An over-arching question is: When do you want the best, vs a M.O.R., or an entry-level tool—keeping in mind that not all brands of tools at the same level are created the same?

That’s why playtesting in person is so important. Ultimately you want the best tool that’s right for you, at the budget you can live with.