I've just seen this thread. I have collected Pierrets over the last 15 - 20 years, and I can tell you that the pre-war models are excellent horns. The post-war ones such as the Artist, and Super Artist are OK but not outstanding, although the Competition models are good. This "corps embouti" alto was most likely made in the late 1920's. Pierrets were largely handmade and therefore can have quirks of intonation (like ALL 1920's saxes) but I've never found any with problems like those I've often found on Conns, Bueschers and Martins of that era. The one characteristic of these Pierrets is their "open" blow - they can be a delight to play. Since 1995 my regular no.1 playing tenor has been a late 20's Pierret "Vibrator" ( my back-up tenors are a 1928 Conn Chu, a 1930's Martin Handcraft and a 1949 Conn 10M) and it feels like an extension of my arm now. I have also had many Pierret altos. Over the years I've had Selmer altos and tenors (26s, BAs, Mk6s, Super80), and Conns, Bueschers, Martins, Couesnons, Hawkes, Kohlerts, Keilwerths, Kings - even a couple of Yamahas, and the Pierret tops the lot! And as far as learning on a old sax is concerned, as someone said above, all the old guys learned on what was available then: Coleman Hawkins, Lester Young, Ben Webster, Benny Carter, Johnny Hodges, Charlie Parker, Sonny Rollins, John Coltrane...……..they seemed to manage OK! Keep the Pierret, but fix that octave key(!) and enjoy its beautiful tone and unstuffy blow - you won't regret it! By the way, although the "LP" on the bell stands for L. Pierret, I can assure you that it is a low pitch horn by the measurement and by the fact that I've never seen a high-pitch Pierret sax in all these years.
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