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Latest: We are currently donating to Joy of Sound
Recent projects
2018 - 2025
We have continued helping both Soco and Springwell. We donated £3000 and some equipment (including mixing desk and iMac). Our £5000 donation to Springwell will fund more equipment as well as collaboration with Doug Briggs (see below). We also donated to St.Annes Hospice, where colleague and CafeSaxophone Organiser Jeanette works.
The donation to Soco has funded Tales of the Young Persons Orchestra
2017
This year we have been supporting StayUpLate (Gig Buddies)and Springwell School. Gig Buddies is an organisation involved with organising volunteers to take disabled people out to events that they would otherwise not be able to see.
This year we also seem to be branching out into conservation by donating towards a local hedgehog rescue center.
2016
We raised over £10000 for Langside School, Poole, Dorset in order to buy a Soundbeam 5 Complete Kit as well as paying for staff training and workshops.
View attachment 8787
I visited Langside and met with Chris Maund. Most of the pupils need one to one attention, the staff are totally dedicated, enthusiastic and dynamic.but sorely in need of funds. The staff are even having to bring in their own musical instruments to help with classes.
2014-2015: Victoria School and Childrens’ Home
We raised £10000 to buy an Omivista Projection System to help with special needs music education at Victoria School, Poole.
2013-2014: Heaton School
We teamed up with Doug Briggs. With Doug’s expertise in the area of assistive music technology we can effectively channel the proceeds of sales so we know it goes where it can do the most good. Currently we have been funding a music programme at Heaton School for children with severe learning disabilities. We are buying musical instruments, assistive music technology such as the Apollo system as well as funding a performance in 2014.
For full details of past projects and donations see Fundraising at Taming The Saxophone
The forum is staffed by unpaid volunteers (thank you Jeanette and Aldevis, our wonderful moderators!)
Past donations:
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| June 2010 | Leuka | £500 |
| August 2010 | Red Cross Pakistan Floods Appeal | £1000 |
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| December 2011 | Band on the Wall | £10000 |
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| March 2015 | Red Cross Nepal appeal | £500 |
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| CAFE SAXOPHONE LTD | ||
| Sept 2016 | Langside School, Poole | £5339.10 |
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| April 2017 | StayUpLate (Gig Buddies) | £5000 |
| Oct 2017 | Youcaring | £180 |
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| March 2018 | Springwell School | £5000 |
| March 2018 | St. Annes Hospice | £1000 |
| March 2020 | Soco | £5000 |
| " | Springwell School | £5000 |
| " | Help Musicians | £10000 |
| March 2022 | Soco | £10000 |
| " | Omnimusic | £4800 |
| " | StayupLate | £2500 |
| " | Red Cross | £2500 |
| April 2025 | Big Give | £200 |
| July 2025 | Soco | £3300 |
| March 2026 | Joy of Sound | £1700 |
0 Replies
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7199 views
Señor Pig,
Would like to know more about this bike/side car.
More pics?
Thanks.
Might make a side car for the kids and grandkids, for the '79 XT500, if they buy a ranch/farm in the Rockies.
Off road only.
Would like to know more about this bike/side car.
More pics?
Thanks.
Might make a side car for the kids and grandkids, for the '79 XT500, if they buy a ranch/farm in the Rockies.
Off road only.
21 Replies
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169 views
I bought this tenor saxophone a little over a year ago from my professor. I just recently picked it back up for a gig with friends. Out of curiosity, I wanted to do a little research into the sax to see if it was any good since I haven't played it much. I had never heard of this brand until my professor told me about it.
The brand is E.K. Blessing. However, I can not find a model number on it, at least not one that matches any of Blessing's model numbers. There are two numbers on the bottom back of the sax. I am attaching pictures.
I was hoping you all could work your magic on this one for me. Since I have so far found nothing. I have posted this on a few Sax subreddits, but they aren't doing me any good. I figured a saxophone-focused forum could help a bit more.
The brand is E.K. Blessing. However, I can not find a model number on it, at least not one that matches any of Blessing's model numbers. There are two numbers on the bottom back of the sax. I am attaching pictures.
I was hoping you all could work your magic on this one for me. Since I have so far found nothing. I have posted this on a few Sax subreddits, but they aren't doing me any good. I figured a saxophone-focused forum could help a bit more.
12 Replies
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267 views
Saxophones Saxophones, rarely discussed
Everybody knows the nice horns that get talked about all the time (Selmer, Martin, Yamaha, etc). Then there are the good instruments less talked about but I would say still fairly well known (a Yamaha Vito stencil for example).
How about a topic for those worthy saxophones (I'll leave the definition of worthy alone for now) that are rarely discussed?
Yesterday I 'discovered' the F.E. Olds Super:
Obviously beauty is in the eye of the beholder but I have to say that is a very cool looking alto! With an interesting story as well, that you can find if you dig a bit here or at the other forum.
So, what other models might fit the topic?
How about a topic for those worthy saxophones (I'll leave the definition of worthy alone for now) that are rarely discussed?
Yesterday I 'discovered' the F.E. Olds Super:
Obviously beauty is in the eye of the beholder but I have to say that is a very cool looking alto! With an interesting story as well, that you can find if you dig a bit here or at the other forum.
So, what other models might fit the topic?
79 Replies
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1479 views
Beginner recording body and soul
not the best recording, played the head a bit messily, the reason the video is black is because i had my phone lying on the desk with the camera pointing down into the desk
been trying to work on my sound to get it to be large and warm
any tips or constructive feedback would be appreciated
3 Replies
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114 views
Tech/maintenance Just a general question to sax maintainers and repairers
Hi, and many thanks to any members who respond!
My question is whether I should give my Tenor Sax a complete overhaul (very probably!) and if so, whether I should look for a sax repairer who has specific knowledge, skills and reputation of overhauling 'vintage saxophones'.
TBH, I've asked questions on this topic to 'Google AI' and I've got some valuable responses. For example, the difference between 'regular sax maintenance' and 'complete overhauls'. Down to which local 'repairers' would be best qualified to overhaul my specific sax and the questions that I should ask them beforehand! All based on my specific Tenor sax model and year. Another 'Google AI' conclusion was that - on average - periodic 'minor sax maintenance' should be done every 1-2 years. And a 'major overhaul' might be needed every 5-10 years. My sax has had neither in 20 years!
So what I would like from experienced. informed and human sax repairers are their opinions on the answers that I got from Google AI based on the 'background 'below.
Background
I bought my 1961 'Buffet Crampon Super Dynaction' Tenor Sax about 20 years ago. At that time, it had been thoroughly 'checked out' and played easily in comparison to other 'vintage saxes' that I tried out. In the 20 years since, I've had a few minor 'playing problems' quickly inspected and fixed' by my local 'clarinet/sax' lady. Usually free of charge. But in these 20 years, my sax has never had 'periodic maintenance' or 'overhauls'
Lately (for the past 6 months or more), I've been really struggling to play my sax. With certain notes (G/G# in the higher octave) 'squeaking'. In my local sax lady's opinion (within 5 minutes) she said that the 2 octave keys worked fine mechanically. So that any 'squeaks' were probably due to my 'embouchure'. Which hasn't changed in many years.
A new Tenor Sax player recently joined my Big Band. He had sax that looked to me 'unusual'. I asked him what it what it was and said it was a John Packer JP042 Bb Tenor. He explained that it was a 'temporary sax' while he was getting his Yamaha 'restored'. He added that he wasn't yet sure which one he'd stick with. With his permission I briefly tried out his sax with my mpc and reed. TBH the 'playability' of his (new) sax with mine was a huge difference between day (his) and night (mine)!
Yes I fully realize that the 'ergonomics' of saxes has moved on significantly between 1961 and the first mention of the John Packer JP042 on the cafe in 2011.
I 'Googled (AI)' my problem and it's advice (with recommendations) was to have my Tenor Sax refurbished (overhauled) by someone who has the 'credibility' of restoring 'vintage' (1961) saxes.
My question is whether I should give my Tenor Sax a complete overhaul (very probably!) and if so, whether I should look for a sax repairer who has specific knowledge, skills and reputation of overhauling 'vintage saxophones'.
TBH, I've asked questions on this topic to 'Google AI' and I've got some valuable responses. For example, the difference between 'regular sax maintenance' and 'complete overhauls'. Down to which local 'repairers' would be best qualified to overhaul my specific sax and the questions that I should ask them beforehand! All based on my specific Tenor sax model and year. Another 'Google AI' conclusion was that - on average - periodic 'minor sax maintenance' should be done every 1-2 years. And a 'major overhaul' might be needed every 5-10 years. My sax has had neither in 20 years!
So what I would like from experienced. informed and human sax repairers are their opinions on the answers that I got from Google AI based on the 'background 'below.
Background
I bought my 1961 'Buffet Crampon Super Dynaction' Tenor Sax about 20 years ago. At that time, it had been thoroughly 'checked out' and played easily in comparison to other 'vintage saxes' that I tried out. In the 20 years since, I've had a few minor 'playing problems' quickly inspected and fixed' by my local 'clarinet/sax' lady. Usually free of charge. But in these 20 years, my sax has never had 'periodic maintenance' or 'overhauls'
Lately (for the past 6 months or more), I've been really struggling to play my sax. With certain notes (G/G# in the higher octave) 'squeaking'. In my local sax lady's opinion (within 5 minutes) she said that the 2 octave keys worked fine mechanically. So that any 'squeaks' were probably due to my 'embouchure'. Which hasn't changed in many years.
A new Tenor Sax player recently joined my Big Band. He had sax that looked to me 'unusual'. I asked him what it what it was and said it was a John Packer JP042 Bb Tenor. He explained that it was a 'temporary sax' while he was getting his Yamaha 'restored'. He added that he wasn't yet sure which one he'd stick with. With his permission I briefly tried out his sax with my mpc and reed. TBH the 'playability' of his (new) sax with mine was a huge difference between day (his) and night (mine)!
Yes I fully realize that the 'ergonomics' of saxes has moved on significantly between 1961 and the first mention of the John Packer JP042 on the cafe in 2011.
I 'Googled (AI)' my problem and it's advice (with recommendations) was to have my Tenor Sax refurbished (overhauled) by someone who has the 'credibility' of restoring 'vintage' (1961) saxes.
35 Replies
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587 views
Tech/maintenance Abalone key pearls
Needed to order from Amazon so I added a set of these to see what they're like: Bnineteenteam Key Buttons for Alto Sax, 9pcs Sax Abalone Shell Key Buttons Saxophone Key Button for soprano, alto and tenor saxophones : Amazon.co.uk: Books
Not expecting much. Most of the "real shell" pearls I've looked at seem to be covered in acrylic which means they're no different than a plastic key surely?
Anyway... for a fiver it's worth a go. Let you know what they're like once they arrive.
Not expecting much. Most of the "real shell" pearls I've looked at seem to be covered in acrylic which means they're no different than a plastic key surely?
Anyway... for a fiver it's worth a go. Let you know what they're like once they arrive.
54 Replies
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6653 views
Saxophones C Melody Saxophones
I've been interested in C Melody saxes, for a while.
Apparently, they were quite common in the 1920s-30s, and the general concensus seems to be that the designs got better as time went on. Earlier models were often made in High Pitch (a tuning system that predates using A=440Hz), and should be avoided, unless you want to accompany a Highland bagpipe player.
From what little research I've done, it seems Conn made some of the better sounding ones, and their later models were improvements over the earlier ones. The ones with a "straight" neck, similar to an alto, are supposed to be good. Personally, I don't really like the S shaped neck on a tenor.
Anyway, here's one I've asked about recently. I've posted a couple of these pictures in Ads's review discussion thread of the Sakkusu C Melody sax, but here's all I have.
This is a 1924/1925 Conn C Melody, currently for sale at the Trevor Jones shop in Bristol. It's in low pitch, has had a partial repad, and is ready to play.
Bristol is a bit far for me to visit so I asked if they could send me photos, particularly of the hand positions, because the ergonomics are a bit different on these old saxes, and C melody saxes in particular.
Ermm... there seems to be a 2 file upload limit. Hopefully, that's per post
The thumb rest is apparently soldered on, so can't be adjusted easily, but the position looks good for reaching the right side trill keys (Bb/C/high E). This seems to be an issue on the Sakkusu / Thoman C Melody (see https://cafesaxophone.com/threads/sakkusu-c-melody-saxophone-review.13705/Ads's Sakkusu C Melody review[/URL])
The "L" stamped below the serial number indicates it's built for "Low" pitch - i.e. designed for modern A=440Hz tuning. I've read different accounts of what was meant by High Pitch (and maybe there was more than one definition), but the consensus seems to be it was at least A=450Hz, or A=453Hz - kind of between semitones, in modern tuning, and too far out to compensate for by positioning the mouthpiece differently etc.
It's important to check for that when buying any brass or woodwind instrument from that period. I think military bands kept it going for a while longer, in Britain. Scottish bagpipe and Irish/Scottish Bb flute players tend to still use it, as I understand it. It's certainly the normal tuning for 5 or 6 key Bb flutes.
Apparently, they were quite common in the 1920s-30s, and the general concensus seems to be that the designs got better as time went on. Earlier models were often made in High Pitch (a tuning system that predates using A=440Hz), and should be avoided, unless you want to accompany a Highland bagpipe player.
From what little research I've done, it seems Conn made some of the better sounding ones, and their later models were improvements over the earlier ones. The ones with a "straight" neck, similar to an alto, are supposed to be good. Personally, I don't really like the S shaped neck on a tenor.
Anyway, here's one I've asked about recently. I've posted a couple of these pictures in Ads's review discussion thread of the Sakkusu C Melody sax, but here's all I have.
This is a 1924/1925 Conn C Melody, currently for sale at the Trevor Jones shop in Bristol. It's in low pitch, has had a partial repad, and is ready to play.
Bristol is a bit far for me to visit so I asked if they could send me photos, particularly of the hand positions, because the ergonomics are a bit different on these old saxes, and C melody saxes in particular.
Ermm... there seems to be a 2 file upload limit. Hopefully, that's per post
The thumb rest is apparently soldered on, so can't be adjusted easily, but the position looks good for reaching the right side trill keys (Bb/C/high E). This seems to be an issue on the Sakkusu / Thoman C Melody (see https://cafesaxophone.com/threads/sakkusu-c-melody-saxophone-review.13705/Ads's Sakkusu C Melody review[/URL])
The "L" stamped below the serial number indicates it's built for "Low" pitch - i.e. designed for modern A=440Hz tuning. I've read different accounts of what was meant by High Pitch (and maybe there was more than one definition), but the consensus seems to be it was at least A=450Hz, or A=453Hz - kind of between semitones, in modern tuning, and too far out to compensate for by positioning the mouthpiece differently etc.
It's important to check for that when buying any brass or woodwind instrument from that period. I think military bands kept it going for a while longer, in Britain. Scottish bagpipe and Irish/Scottish Bb flute players tend to still use it, as I understand it. It's certainly the normal tuning for 5 or 6 key Bb flutes.
669 Replies
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74234 views
Recipes What's Cookin'?
This is the one for pictures of food. Time for Superbowl chili!
I make it every year for the game, whether I watch it or not. In a pot I actually won... at a chili contest.
Now how 'bout a bowl of red:
I make it every year for the game, whether I watch it or not. In a pot I actually won... at a chili contest.
Now how 'bout a bowl of red:
141 Replies
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7668 views
Introduction hello
hey, ive been playing saxophone for roughly 13 years since i was 10 but got more serious in highschool specifically i play jazz and blues on tenor and soprano saxophone
joined this forum mainly to ask questions about technique
im looking to develop a warm and thick sound without sounding muffled or thin on the high notes, i really dislike when high notes sound thin on saxophone.
some saxophonists i enjoy listening to are king curtis, stanely turrnetine, johnny griffin, sal nistico, branford marsalis, lester young, james carter, eddie lockjaw davis, lee konitz, and charlie parker, but i listen to all sorts of musicians
joined this forum mainly to ask questions about technique
im looking to develop a warm and thick sound without sounding muffled or thin on the high notes, i really dislike when high notes sound thin on saxophone.
some saxophonists i enjoy listening to are king curtis, stanely turrnetine, johnny griffin, sal nistico, branford marsalis, lester young, james carter, eddie lockjaw davis, lee konitz, and charlie parker, but i listen to all sorts of musicians
12 Replies
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182 views
Introduction Another newcomer
Hello all – I'm new here, but old in general. I played bass clarinet, alto clarinet, and flute in the past, but that ended when I finished high school, long ago. (AD 1975.) Played guitar and bass guitar in the meantime, picked up a flute a few years ago, and bought my first saxophone, an alto, last year.
Got another sax a few months ago, and against all advice, this one is a C Melody. If playing a C Melody isn’t bad enough, both my saxophones are Chinese made. I have no career ambitions. I’m retired and play only in my living room, mostly with backing tracks from YouTube. Joining here to learn what I can.
Got another sax a few months ago, and against all advice, this one is a C Melody. If playing a C Melody isn’t bad enough, both my saxophones are Chinese made. I have no career ambitions. I’m retired and play only in my living room, mostly with backing tracks from YouTube. Joining here to learn what I can.
9 Replies
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111 views
Sheet Music What Does This Musical Notation Mark Represent ?
Here is a nice recording by Canadian Brass (quintet) of an arrangement of St Louis Blues, done for them by Luther Henderson. It has the score on screen and it seems to be aimed at "classical" musicians, in that the swing is written out (dotted eighth note and sixteenth note) and there are way more articulation markings than jazz musicians would usually see.
One mark in particular appears a few times and I am not sure what it is called or what it means. It is a sort of up and down zig zag between two notes of the same pitch, for instance in the first full bar of the trumpet 2 part.
View: https://youtu.be/UyFuzD_SO-w?si=8Cytft0e2Pcvt0h8
It looks a bit like a "turn" but isn't played that way. It seems to be played as a slight scoop up to the second note. I have seen that type of thing in jazz scores marked with a "U" mark between the two notes or a "scoop" line up to the second note.
Rhys
One mark in particular appears a few times and I am not sure what it is called or what it means. It is a sort of up and down zig zag between two notes of the same pitch, for instance in the first full bar of the trumpet 2 part.
It looks a bit like a "turn" but isn't played that way. It seems to be played as a slight scoop up to the second note. I have seen that type of thing in jazz scores marked with a "U" mark between the two notes or a "scoop" line up to the second note.
Rhys
20 Replies
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274 views
Dear Forum Members,
I’m very glad to host my first SOTM here in the café. I choose „The Chicken“ from Pee Wee Ellis. I’m shure, most of you know the song from Jaco Pastorius, but there are several other recordings out there.
View: https://www.youtube.com/watch?v=TgntkGc5iBo&list=RDTgntkGc5iBo&start_radio=1
Here are lead sheets in C, Bb and Eb (one document) and some backing tracks (many more on youtube).
Dropbox
For soloing and scale decisions, I found this guitar video helpful, but I personaly think blues most of the time and try to play groovy and in time instead of overthinking the notes too much.
Hoping for many funky contributions!
All the best
Dirk
View: https://www.youtube.com/watch?v=wQZbsadHm2A&t=17s
I’m very glad to host my first SOTM here in the café. I choose „The Chicken“ from Pee Wee Ellis. I’m shure, most of you know the song from Jaco Pastorius, but there are several other recordings out there.
Here are lead sheets in C, Bb and Eb (one document) and some backing tracks (many more on youtube).
Dropbox
For soloing and scale decisions, I found this guitar video helpful, but I personaly think blues most of the time and try to play groovy and in time instead of overthinking the notes too much.
Hoping for many funky contributions!
All the best
Dirk
7 Replies
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281 views
Cafe Moderator
Commercial
I have a page on TTS which compares synthetic with cane:
tamingthesaxophone.com
I thought it would be interesting to start a thread where people post their soundclips comparing. You can say which is which or ask us to guess...
We compare synthetic Reeds with Cane. Sound better? last longer?
Comparing synthetic reeds with cane reeds. Do they make the saxophone sound the same, worse or better: Listen to the audio - you decide.
tamingthesaxophone.com
I thought it would be interesting to start a thread where people post their soundclips comparing. You can say which is which or ask us to guess...
0 Replies
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56 views
Saxophones Carrying a tenor on a (motor)bike?
I'm thinking of acquiring a secondhand Suzuki Van Van and learning to ride over the summer, the idea being that it will be fun, and more economical than my 4x4 for going to work and other short journeys, when the weather is reasonable. But on quite a few of those journeys I am accompanied by my tenor.
Anyone carry one on a bike, and got any advice please?
Anyone carry one on a bike, and got any advice please?
768 Replies
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84356 views
Tone or Sound embrochure position with recessed jaw
my jaw is slightly recessed, not too bad but it is not even with my upper lip
i can still get an alright sound but should i be purposefully putting my lower lip foward in order to compensate for this?
i find forcing the lower lip further foward does make the reed feel like its more free, and easier to get altissimo notes. but long term it feels a bit uncomfortable and unnatural so i find myself subconsciously putting my lower lip further back over time
i can still get an alright sound but should i be purposefully putting my lower lip foward in order to compensate for this?
i find forcing the lower lip further foward does make the reed feel like its more free, and easier to get altissimo notes. but long term it feels a bit uncomfortable and unnatural so i find myself subconsciously putting my lower lip further back over time
4 Replies
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111 views
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