I did the six questions, at Jody Jazz, and got a very nice reply - they recommended to get a Custom Dark 6. Ordered it yesterday and looking forward to getting it next week. Very excited ❤️🎷
Very good content here. I am a Jody user. A 7* HR Custom Dark with a 2.5 on my tenor. I'm an intermediate player and love this mouthpiece. Versatile and I find it easy to play and I love the sound .
I'm 100% on board with the DV CHI question. For me, it's the best of the DV tenor lineup in most situations. As much as I like it on tenor, I think it'd be even better suited for alto as I think the DV for alto is too bright. The brightness and projection of the DV CHI, on alto, would be just right.
I always enjoy listening to Jody and there were some real nuggets in this discussion. i had this junk metal alto mouthpiece that was great (it came in the case of used horn, silver plated brass) - but the plating wore off so i didn't what to play it anymore. I got an HR* that i use on my alto that i really like. Now shopping for something for tenor - I might try the Custom Dark because of the larger chamber. I have a good sound on tenor - its just not the right sound. Thanks Jody and Nigel. (Why does spell check want to turn Jody into Judy?)
Thanks for this. Excellent interview. I've got Jody Jazz Jet mouthpieces with 7 tip openings on my alto and tenor. Love em ! They've really helped me get nearer to THAT sound I've got in my head.
Great video! Jody is always super helpful. I just started playing the DV on alto. So far, so good. Still adjusting, but definitely a keeper! I chose it based on the 6 questions and a short email exchange with Jody’s people. They were very expert and very helpful. Great service! Thanks for this video. Really enjoyed it. And btw, Nigel, I love the new artwork on the wall! Very cool!
I bought a Jody Jazz DV Chi 7* about 6 months ago. I was playing on a Macsax Bob Sheppard HR 7* (which I still love by the way) and wanted something a little brighter as an option. At first I couldn’t play the DV Chi very well. The low notes would not speak for me, the high notes squealed like crazy. It was so bad I actually listed it to sell. While nobody was offering me anything to buy it from me I kept playing it to see if I’d get used to it and low and behold one day it just clicked, and now I love it. I think the shape and size of the metal piece was very difficult for me at first since I had been playing on the hard rubber piece for so long. So my point here is if you’re changing mouthpieces you should give it a good solid month of playing on it to make a final decision about whether or not it’s the piece for you. Once you get comfortable with a certain piece is when you truly know if it’s what you’re looking for. The initial shock of a totally different mouthpiece might be a turnoff right away, but as you get used to it you might just learn to love it as I did.
This is great guys and thank you so much. Why are there no modern versions of the different Brilharts that Lester, Zoot, et.al played on? I would love to buy a Jody Jazz " Ebolin, Tonalin or hard rubber new version of a Brilhart. Just as you have done with Rousseaux. John Coltrane used many mouthpieces modified by the legendary Frank Wells in Chicago.
Great question. Although I guess what Jody is doing with his different models is trying to recreate those internal mouthpiece shapes with modern design.
Great video, very informative! A question for you both: high baffles and small chambers are both supposed to steer toward a brighter sound, but how do they differ? For example, does either one produce more/better overtones? Some producers seem to have a strong preference for one of the two (e.g., Theo Wanne seems to me to always go for high baffles coupled with medium or larger chambers...)
The one issue I seem to have when it comes to mouthpieces is with thinner tip mouthpieces on alto sax. I can play slightly thicker tip mouthpieces like Selmer S80 and Soloist in various tip openings, Claude Delangle etc... and aI get a good smooth tone but when I have tried any mouthpiece with a thinner tip, no matter what reed or ligature combination I seem to use, the sound is always either too buzzy and nowhere near close to the sound that other playas get on them (how the mouthpiece is supposed to sound), and if I go up a strength in reed to see if that helps, I find it gets a bit resistant and hard to play and I don't really know what is going.
Just wondering why some mouthpieces seem to play more flat and some more sharp? Also - is it ok to push the mouthpiece in, until only about half a centimeter of cork is showing or is that a problem?
Jump over to my blog for more great info including links to Jody's "6 questions" to help you choose the right mouthpiece.
Jody Jazz mouthpieces are the best!!
Very informative video great coming from nigel and jody 😃😃(great mouthpieces jody)
Great Q&A. Thanks Nigel!
Cheers!
Awesome guys! You look like brothers! 😊
Ha!
Thanks for another great video! Good info indeed.
Cheers Brendan.
I did the six questions, at Jody Jazz, and got a very nice reply - they recommended to get a Custom Dark 6. Ordered it yesterday and looking forward to getting it next week. Very excited ❤️🎷
Nice one! Have fun with the new mouthpiece Hasse!
Very good content here. I am a Jody user. A 7* HR Custom Dark with a 2.5 on my tenor. I'm an intermediate player and love this mouthpiece. Versatile and I find it easy to play and I love the sound .
I'm 100% on board with the DV CHI question. For me, it's the best of the DV tenor lineup in most situations. As much as I like it on tenor, I think it'd be even better suited for alto as I think the DV for alto is too bright. The brightness and projection of the DV CHI, on alto, would be just right.
I always enjoy listening to Jody and there were some real nuggets in this discussion. i had this junk metal alto mouthpiece that was great (it came in the case of used horn, silver plated brass) - but the plating wore off so i didn't what to play it anymore. I got an HR* that i use on my alto that i really like. Now shopping for something for tenor - I might try the Custom Dark because of the larger chamber. I have a good sound on tenor - its just not the right sound. Thanks Jody and Nigel. (Why does spell check want to turn Jody into Judy?)
Thanks for watching Ho Jo, I’m so glad you enjoyed it.
Thanks for this. Excellent interview. I've got Jody Jazz Jet mouthpieces with 7 tip openings on my alto and tenor. Love em ! They've really helped me get nearer to THAT sound I've got in my head.
Great to hear that David. I like the Jet too for a really commercial sound.
Great video! Jody is always super helpful. I just started playing the DV on alto. So far, so good. Still adjusting, but definitely a keeper! I chose it based on the 6 questions and a short email exchange with Jody’s people. They were very expert and very helpful. Great service! Thanks for this video. Really enjoyed it. And btw, Nigel, I love the new artwork on the wall! Very cool!
I bought a Jody Jazz DV Chi 7* about 6 months ago. I was playing on a Macsax Bob Sheppard HR 7* (which I still love by the way) and wanted something a little brighter as an option. At first I couldn’t play the DV Chi very well. The low notes would not speak for me, the high notes squealed like crazy. It was so bad I actually listed it to sell. While nobody was offering me anything to buy it from me I kept playing it to see if I’d get used to it and low and behold one day it just clicked, and now I love it. I think the shape and size of the metal piece was very difficult for me at first since I had been playing on the hard rubber piece for so long. So my point here is if you’re changing mouthpieces you should give it a good solid month of playing on it to make a final decision about whether or not it’s the piece for you. Once you get comfortable with a certain piece is when you truly know if it’s what you’re looking for. The initial shock of a totally different mouthpiece might be a turnoff right away, but as you get used to it you might just learn to love it as I did.
Thanks Joseph, great comment!
I love my jet 5 tip perfect balance of bright & ease of response due to short facing
Nice one.
Interesting point about doing long-tones along with a ballad of a master we are trying to emulate!
Glad you liked that Rob. It’s a great idea and fun too.
This is great guys and thank you so much. Why are there no modern versions of the different Brilharts that Lester, Zoot, et.al played on? I would love to buy a Jody Jazz " Ebolin, Tonalin or hard rubber new version of a Brilhart. Just as you have done with Rousseaux. John Coltrane used many mouthpieces modified by the legendary Frank Wells
in Chicago.
Great question. Although I guess what Jody is doing with his different models is trying to recreate those internal mouthpiece shapes with modern design.
My question would be of his opinion of E. Rousseau mouthpieces, since Jody Jazz has acquired them. I use a E. Rousseau Studio Jazz Mouthpiece.
Jody makes those now so I’m sure he LOVES them. Perhaps we can ask Jody about those next time around.
Great video, very informative! A question for you both: high baffles and small chambers are both supposed to steer toward a brighter sound, but how do they differ? For example, does either one produce more/better overtones? Some producers seem to have a strong preference for one of the two (e.g., Theo Wanne seems to me to always go for high baffles coupled with medium or larger chambers...)
Great question - one for Jody I think.
I get a Jody Jazz 7*, thing going to a 6* for a Tender, I us 2.5 reed's + maybe getting H.R.*
Cool. The HR* is a surprising mouthpiece.
The one issue I seem to have when it comes to mouthpieces is with thinner tip mouthpieces on alto sax. I can play slightly thicker tip mouthpieces like Selmer S80 and Soloist in various tip openings, Claude Delangle etc... and aI get a good smooth tone but when I have tried any mouthpiece with a thinner tip, no matter what reed or ligature combination I seem to use, the sound is always either too buzzy and nowhere near close to the sound that other playas get on them (how the mouthpiece is supposed to sound), and if I go up a strength in reed to see if that helps, I find it gets a bit resistant and hard to play and I don't really know what is going.
That’s interesting. It could be the amount of mouthpiece you are using? Perhaps try more in your mouth to see if that helps.
Would love to know more about the new Hand Hammered edition.
I think there will be lots more info coming soon on that one!
Just wondering why some mouthpieces seem to play more flat and some more sharp? Also - is it ok to push the mouthpiece in, until only about half a centimeter of cork is showing or is that a problem?