My thoughts on the saxes at Wind Works

As I mentioned in my last article, I recently spent a good four or so hours doing some sax and MP testing at Bellingham Wind Works. Although I am currently not in the market for a new-to-me horn, I am always curious what is out there, and am not adverse to doing some horse trading should the opportunity present itself. 

Bari sax offerings

During my time in the shop, I tried almost all their tenors and baris. Given I have three killer baris that I regularly use on gigs, I must admit I am totally spoiled. None of either the vintage or new baritone saxophones at Wind Works were interesting enough for me when I tried them with a Theo Wanne 8* Durga 3 MP—the same MP I use as my main piece—that they registered in my brain.

I know I tried a King Super 20, as well as a silver and lacquer Jupiter (low A), and something else. But like I said, none of them could hold a candle to my low Bb Mark VI from 1967; silver plated, Martin Committee III, that has nickel plated keys and a gold wash bell; and of course my low A, Blackgold Couf. 

However, just because I am rather, meh, about them doesn’t mean that they are not nice horns. Saxophones, just like cars and houses, each have a buyer. If you are looking for a solid bari, one of the five baris that Wind Works has might just be right for you. They just didn’t float my boat—just like my vintage Volvos likely won’t float yours when it comes to cars. 😉

Tenor sax offerings

When it comes to the tenor saxophones that Wind Works has for sale at the moment, that was a totally different story. I played almost all of them—the exception being a Mark VI from the early 70s, since I already have one of those that I really love, and am not interested in parting with. 😉

So here, in order of preference, are the tenors I played. 

1. Silvertone – a stencil horn made by JK circa 1952
2. Selmer Reference 54
3. Yamaha Custom EX
4. King Super 20
5. Martin stencil – IIRC, it was stencilled Pan American
6. Cannonball & Trevor James

Disclaimer: I went to the shop that afternoon to work out some stress due a death in the family earlier that day. My intention was not to review these horns in any detail, so I did not take copious notes like I normally would when I do saxophone reviews. 

Therefore the following reviews are simply my impressions and recollections. Nonetheless, I believe that my impressions are interesting given my predilections. 

I am first and foremost a vintage horn player.  If you look at this list however, you will notice that a couple modern horns are high up on my preferences. 

Note: I tried all of these horns with a Dukoff Miami 9 MP that had been refaced by Theo Wanne himself. For a reed I used my go-to: a Légère 2¼ Signature Series.

1. Silvertone tenor saxophone 

Silvertone saxophones were sold through the Sears Roebuck catalogue back in the day. Although American-made horns were more common, occasionally we do see German-made ones. This is the first Keilwerth-made Silvertone that I have seen in person. 

This Silvertone is a very interesting sax, since this type of key guard is what we associate with JK horns immediately after Julius relocated from Graslitz to Nauheim. He had to leave all his machines behind and could not produce rolled tone holes at first. These rudimentary key guards are what we see on his horns immediately post WWII, on horns with soldered tone holes.

However, those horns had left-sided bell keys. This Silvertone has right-sided bell keys with rolled tones. I can only presume JK put this style key guard on the horn to keep the costs down a bit. 

By far and away this was the most interesting of the tenors I tried. I would say I played it for close to an hour. It had that the dark core tone that JK’s are known for, yet was full of overtones. It also was capable of playing at incredible volume, yet whispered down to low Bb with a lush subtone. (Thanks Dukoff MP). 

I was smitten by the Silvertone. In the end however, I did not get the horn since: 1. I have a whole lot of tenors already, including a 1957 Toneking with an angle wing, and 2. I wasn’t sure if I really loved the horn as much as I thought I did, or if I loved the refaced Dukoff on the the horn. Since I didn’t have my own MP with me at the time, I couldn’t really compare the Silvertone to any of my own saxophones. Maybe I was just loving the Dukoff????

2. Selmer Reference 54 tenor saxophone

I have played quite a few Reference horns, and until this particular one, I had never liked a 54 before. I do like Gandalfe’s Reference 36, but that is the only Reference horn I have ever truly been over the moon about, and could ever see myself buying if something was to happen to my Mark VI tenor. (It is worth mentioning that the Reference 36 in question came from Selmer Pro Shop, Kessler & Sons, which undoubtedly has a lot to do with the way it plays, responds, etc.)

This particular Reference 54 however, had me hooked. Like most pro saxophones, Reference horns are pretty individual. This horn was very nice. It had that typical Selmer sound, and felt good under the fingers. I liked what I could do with it, and its overall versatility of sound. In that sense it is very much like the Mark VI that it supposed to be a reference of. 

If I was looking for a pro horn that could do it all, I would be high-tailing my ass down to Wind Works to check this horn out in greater detail. 

3. Yamaha Custom EX tenor saxophone

Anyone who has been reading my articles for years will likely know two things: 1. I am unlikely to appreciate new horns, and 2. I am extremely unlikely to appreciate any pro horn with the name Yamaha on it. Therefore seeing this Yamaha Custom EX as the 3rd most interesting horn I played that day will likely come as a surprise—it sure did to me.

As much as I highly recommend Japanese-made student model Yamahas to my students who are just starting out, I have never had any joy with their pro horns. I generally can’t play them in tune, and I don’t find their 61s and 62s at all interesting in tone. They are so identically made that they have no individuality. This Custom EX was quite different however, and had me scratching my head.

I found this Custom EX tenor very easy to play. Ergonomically it of course had all the advantages of a modern saxophone, yet it had more of a vintage sax vibe when I played it. It certainly didn’t produce the typical Yamaha sound that I am used to when I blow through a YTS 62. 

I know there are lots of people who love the Customs, and after only playing one for about 10 minutes, I could see why. I’m not saying it’s the horn for me, but I liked it enough that I would definitely give it a serious look if I was looking for a pro horn. Huh, who would have thunk it?

4. King Super 20 tenor saxophone

I wanted to love this Super 20. I should have loved this Super 20. This is the Super 20 that my tech in Halifax, Layne Francis, told me I should keep an eye out for. Although not shown in the photo, it has a sterling silver neck. You can see the MOP key touches in the photo though.

If I didn’t have an absolutely killer Zephyr to compare all Kings to, this Super 20 might have been more interesting. However, the 1950 Zephyr I have is just very special for some reason. Why? Don’t know, but anyone who has ever played it agrees. The tone it produces; the way it vibrates in your hands; its completely even scale; as well as its spot-on intonation, sets an incredibly high bar for any vintage sax—especially another King.

Don’t get me wrong, this King Super 20 was a very nice horn, but when compared to my particular Zephyr, it didn’t even come close. Hence it only landed in the #4 spot. 

However, just like I wrote for the baritone saxes, just because it didn’t float my boat doesn’t mean it won’t be a killer sax for you.

Saxophones are an incredibly personal purchase. As much as they are tools, the are specifically artist’s tools that allow you to shape your personal sound. Simply put, this particular Super 20 didn’t allow me to shape my personal sound as much as my Zephyr does. Your results may vary, and likely will. 

5. Martin stencilled Pan American tenor saxophone

Unfortunately I didn’t take a photo of this horn. It was a bit strange one, and it also needed some work—which is also why it may have not placed higher on the list here. Perhaps if it had been in the same top playing condition as the rest of these tenors, it would have come in as #2, but we’ll never know. 

What we do know is that this rather unusual horn was made for Conn’s second line: Pan American. We do know that sometimes if companies had large orders that they couldn’t fill, they asked their competitors to help them fill them. I don’t know if that was the case with this Pan American or not. However, with its bevelled, soldered tone holes, this Pan American was clearly a Martin stencil. 

This horn did have an interested buyer already, so by the time you read this it might be gone already. However, it might be worth a check nonetheless if you’re interested in a cool, vintage horn with that typical Martin sound.

6. Cannonball Globalist Series & Trevor James Signature Custom tenor saxophones

Both of these horns tied for 6th place. Why? Because I found both of them equally boring. Don’t get me wrong, they were ergonomically fine, but for me, they were tonal equivalent of watching paint dry.

Cannonball Globalist 

Let’s start with the Cannonball. I have played only one Cannonball that I really loved the tone of. It was a Mad Meg that belonged to a colleague of mine who fronted an R&B band. Now that tenor was one kick ass horn. It was very close to my Zephyr on tone and response.

Interestingly enough, that same player also had a silver plated Cannonball tenor that I wasn’t at all fond of. Why? Because like this tenor, it had nothing interesting going for it in the tone department. 

Next….

Trevor James Signature Custom 

The Trevor James. Same story as the Cannonball. Fine in the ergos department, but other than that, I found nothing special about the horn. Like so many of today’s horns: It was boring. 

Now CB and TJ lovers are likely thinking: If you would have played the horn more, you would have figured out its nuances. 

To that I say: OK, maybe. But first impressions matter.

If within the first couple of minutes the sound I get from a horn is uninspiring, why would I want to keep working on it to make it more interesting, when there are so many—yes, even modern—options out there for me to try out? This is why there are different brands, so people have a choice. 

There are lots of people who really like Cannonball and Trevor James horns, and for those players these two saxes may well be of interest. However, personally, I am not one of them.

Like I said earlier, saxophones may be a tool, but they are an artist’s tool. They simply assist the artist to shape and mould their sound to their liking. Just like different painters may use different makes and models of brushes on their canvas, so too do saxophonists use different makes and models of horns on their aural canvases. 

How do I find out more about any of these saxes, or what else Wind Works has in the store?

If any of the saxophones I have mentioned in this article sound interesting to you, give Ed or Kat a call at Bellingham Wind Works. If you prefer, you can also drop them a note through the page I linked to here. Let them know that I sent you. 

Series Navigation

Review of a Gemeinhardt Alpha Series Alto SaxophoneReview: Theo Wanne Water MP For Alto Sax