I preferred B, the Oktava ribbon mic - nice and fat and "soulful" - not an accurate mic, but all that low-mid colouration flatters the instrument and makes it sound nice and old fashioned. Coleman Hawkins would be happy with a sound like that.
Ribbon mics are coming back into fashion nowadays, to impart a bit of vintage character and warmth to sterile digital recordings. Valve pre amps and vintage tape machines are also making a comeback (and rapidly going up in price). For years recording engineers complained about the hiss and lack of dynamic range, now they're going back to the old gear to make things sound just like the good old days...
personally i just use the EQ and compression plugins in Cubase to get the same effect, without the negative impact on my bank balance
For some reason, I've never got a decent recording out of an SM57/58, except on rock vocalists or Marshall amps - they're ok for live work due to the feedback rejection and the midrange peak that helps things cut through the mix.
Maybe if you wanted a Sanborn type sound you could point it down the bell and use a lot of compression, but as dynamic mics go, i'd rather use an Electrovoice RE 20, Sennheiser 421 or a Beyerdynamic M69 or M201.
Of course if you want a clean accurate recording, you can't beat a good condenser mic, preferably with Neumann written on it, although there's plenty of other choices.. many of them you could actually afford.. eg Audio Technica
As your article so rightly points out, mic placement can have a great effect on the sound - I prefer it a couple of feet to the right a bit below waist height, pointing up towards the centre of the instrument, But as you may have noticed, I don't like the modern bright sound that you hear on a lot of recordings these days, sad old git that I am
one thing that should be noted is that mics will tend to pick up all the rattles and noises from the keywork, so if you're doing a lot of recording, keep yer horn well maintained..