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By Paul Navidad Beginning in 1998, after attending a couple of saxophone masterclasses, I became convinced-or rather, obsessed-with finding one mouthpiece for each horn, to play every style I needed (with the exception of classical, of course). Sounds like your every day, garden-variety saxophone player, right?! Well, at the time, I was a year out of graduate school, and quite the gigging fool (or as my friend Scott Strecker termed it, "musical whore"), playing any and every style that was thrown at me. I was playing in a band at a major theme park during the day, and doing all sorts of casual, corporate, club, and recording dates at night, many times never knowing what style I would be playing next, until the "leader du jour" started the next tune on the bandstand. I had no time to think about what mouthpiece would work for each style; I just needed something that was flexible enough to cover the gamut. In one masterclass, Brandon Fields gave a presentation that left a lasting impression on me. One of the main things I left with was a new philosophy about mouthpieces-a purist one at that. Simply put: round chamber, little to no baffle. Translation: hard rubber Meyer for alto, metal Otto Link for tenor.
mouthpieces easily. Solving the contemporary question on tenor is still an issue, however I've reached a temporary solution. My vintage Dukoff is great if I am playing an entire night of acoustic straight ahead, and can even work in a concert band or saxophone quartet context, where a dark sound is preferred, since it has no baffle. On a casual, it's a decent all-purpose set-up, and can cut the contemporary material, provided that I have a microphone. But it just doesn't do it for an entire contemporary gig. Since I was playing the Beechler on alto, I thought, "Why not play one on tenor too?" Sounds logical, right? Unfortunately, the tenor metal Beechler cut like a laser, and even the darkest sounding reed wasn't enough to tame the beast. I flew to St. Kitts in the Caribbean for a gig, and it was extremely humid. Knowing that the climate would be a factor, I brought a variety mouthpieces, reeds, and ligatures. I had some considerable down time prior to sound check to experiment. I ended up selecting a Guardala laser-trimmed Crescent (low baffle that looks like a skateboard ramp, round chamber) with Rico Plasticover reeds. It did the trick, but I ended up sacrificing the tonal spectrum in the process-the sound was very mid-rangey (lacking in lows and highs). Fortunately for me, this setup worked even better once I got back to Southern California. Again, this set-up has some similarities in feel to my vintage Dukoff, and I am able to switch between the two mouthpieces relatively easy. Moreover, this makes it comfortable to switch between alto and tenor on the same gig.
by Paul Navidad
Paul Navidad is active as a freelance professional musician in Southern California, but his work has taken him all over the world. He holds a Masters in Music degree with a concentration in Saxophone Performance/Jazz Studies from California State University, Long Beach. Some of his performance and recording credits include Perry Farrell, Deborah Harry, Isaac Hayes, Al Jarreau, Dave Koz, Lisa Loeb, and Lou Rawls. He has also recorded on numerous film and television soundtracks. Paul currently serves as the Director of Jazz and Commercial Music Studies at Orange Coast College in Costa Mesa, California. For more information on Paul Navidad, you can visit his website at www.PaulNavidad.com.