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June 2008 Jazz Instrument Update

29/05/08

David Gallant checks out the jazz-related latest instrument and technology launches

Steve Goodson Orpheo alto saxophone

The black-lacquered Orpheo is a very striking saxophone. Made in Taiwan (like the Mauriats), it feels solid and is exceptionally well engineered, with good solid springing and double arm action on the low C, B and Bb. The action is positive and the palm keys are well positioned and I liked the adjustable thumb position plate.

The lack of pearl keys is a strange choice, and although my fingertips settled comfortably into the dished keys, I felt strangely detached from the instrument. I also felt slightly cramped for space – the Orpheo would probably better suit a player with smaller hands. The fitting of softer Kangaroo pads though is a real bonus, as they not only last longer but they also seem to help to give the instrument added projection – which the Orpheo has in plenty. This horn comes with two crooks, one 92 per cent rose brass for a darker sound and the other 83 per cent brass for a brighter sound.

The accompanying marketing blurb tells me that the standard brass crook delivers a ‘jazzier’ sound. I beg to disagree. For my money, the rose brass gives the Orpheo a hint of warmth and a more jazz instilled sonic palette. The altissimo is bright and clear and plays like a dream – but do we really need a top G and all the extra keywork that comes with it? It not only crams the back of the instrument, but also adds weight. The lower register is solid and flows smoothly, although I did detect a slight stuffiness – but this was probably more to do with me, rather than the instrument itself. Sonically, the Orpheo seems to have plenty at the bottom and at the top, but somehow contrives to have a less than interesting middle. I was looking for some character in the sound – some personality. Sadly, I found neither. The Orpheo isn’t a cool, emotive instrument, but very much a straightahead saxophone that will undoubtedly add weight to any Funk or Big Band. For more go to www.stevegoodsonsaxophones.com

Istanbul Epoch Lenny White Signature 22” Ride Cymbal

This signature Lenny White is large and light and is beautifully hand-hammered. It has a very small bell, so has a very controllable wash and when hit hard it doesn’t build up too much and get overpowering, which is really something for a 22”. It’s great for riding on and retains excellent stick definition. The overall sound is very much that of a 60s K, but although the tones are dark, it wasn’t as dark as I expected. I reckon that it would record really well, as it’s not only got those dark undertones, but it is also nice and bright. Overall, it’s a very versatile cymbal that will fit easily and effectively into many different setups. It would seem to be ideal for recreating those 60s R&B/jazz sounds – particularly if you didn’t want to gig those old original Ks! Would I change anything? No. Except that I wouldn’t mind having a slightly larger bell for when I’m in a Latin mood.For more go to www.brdistribution.co.uk

Walstein flugelhorn

Anyone who is looking to learn the flugelhorn these days is spoilt for choice and this Walstein Chinese-made horn (above) is yet another example of these excellent Far Eastern products. As always, the finishing and plating quality is superb and you could be forgiven for thinking that you were looking at an instrument three to four times the Walstein’s price point. But of course, as I’ve mentioned before in this column, we’re much more interested in how well the mechanics of the instrument work and the quality of sound that an instrument produces. Unscrewing and detaching the valves immediately suggests that the metal used in the production of this particular Flugelhorn is of a reasonably high quality. The valves are tight and well machined and there is no suggestion of potential cross threading and no rough edges. Springs are however bottom loaded, making the system more susceptible to wear and tear – but this is something that I’d expect from a Chinese-made instrument. Two mouthpieces were supplied with my sample – a conical Fasch F1 and a cupped Bobby Shew.

The former combination produced a brighter sound, while the Bobby Shew model was, needless- to-say harder to drive, and delivered a sweeter, warmer soundscape. The Walstein has good intonation and proved to be an effortless blower and never faltered from top to bottom. The sound it produces is clean, if a little bright, but there is very little flexibility in the sonic palette, which won’t necessarily suit the solo jazz player. However, this horn will sit well within a band setting or in an environment where the sound needs to be clean and controlled. I would expect this flugelhorn to develop a more flexible sonic palette over time, and it’s one of those instruments I’d like to come back to it in 18 months to see what it might have to offer having been “played in”. It comes in the now standard moulded PVA case with a strong zippered denier cover. There is also a lightweight grab handle and straps with caribiner clips for carrying either over the shoulder or as a back-pack. For more go to www.woodwindandbrass.co.uk

New instrument lines on display at London International Music Show

This is the perfect opportunity to look, listen, pick up and play all the latest gear from the musical menagerie. All the major manufacturers and distributors including Yamaha and Fender, together with some of the smaller “niche” companies will be showing off their new lines that first got an airing at the American NAMM show and the Frankfurt Musikmesse earlier in the year. Whether it be drums, guitars, saxes, pianos, trumpets or tin whistles, there will be plenty to get the jazz juices going and it will all be gathered together for the first time under one roof at the Excel venue in London’s Docklands. Set on a campus-style location with 6 on-site hotels, two large car parks and over 30 cafes, bars and restaurants, it promises to be the perfect place to get in the groove. The venue also enjoys excellent travel connections with both London City Airport and the Docklands Light Railway, with the added benefit of a direct road link to London’s orbital M25.

LIMS takes place on 12-15 June. For more go to www. londoninternationalmusicshow.com

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Last Updated ( 10/06/08 )