Conn 6M Alto Mouthpieces

The Conn 6M (often called the "Naked Lady" model due to its bell engraving) is a legendary vintage alto saxophone known for its big, dark, powerful tone with excellent projection and flexibility across jazz styles.

It's notably mouthpiece-friendly compared to some other vintage horns, working well with a wide range of pieces, especially those with medium to large chambers that complement its broad sound.

Recommendations:

Meyer (especially 5M, 6M, or 7M) — A classic choice for a warm, versatile jazz tone that's easy to control and tunes well on vintage Conns.

Otto Link Tone Edge or Super Tone Master (often 6* or similar) — Praised for opening up the horn's potential, providing power and a rich, spreading sound. Many describe the Link + 6M combo as a "match made in heaven."

Brilhart Ebolin or vintage Brilharts — Great all-around option for a fat, complex tone.

JodyJazz (large chamber models),

Berg Larsen hard rubber (larger chambers), or even stock Conn pieces like the Comet for an authentic vintage feel.

Large-chamber pieces generally help with intonation and bring out the horn's signature dark, roaring quality, while avoiding very high-baffle or small-chamber modern pieces that can make it stuffy or sharp.

Famous Saxophonists and Their Setups

Several jazz icons played the Conn 6M alto, often pairing it with era-appropriate mouthpieces:

Charlie Parker ("Bird") — Frequently used a Conn 6M and used a Brilhart mouthpiece, often with a 5 facing.during key periods of his career. He played various mouthpieces, including Brilhart Tonalin Streamline (often seen in photos as an ivory-colored piece), Brilhart Ebolin, and occasionally metal Otto Links or Selmers.

Marshall Royal (lead alto with Count Basie's band) — Marshall Royal, the longtime lead alto player in Count Basie's orchestra, was known for his Conn 6M and relied on a Conn Comet mouthpiece with a #7 facing, measuring .078" at the tip opening.

Jackie McLean, an influential hard bop and avant-garde saxophonist, used a Conn 6M on recordings like "A Long Drink of the Blues" and favored a Berg Larsen mouthpiece.

Ian Hendrickson-Smith, a contemporary jazz saxophonist known for his work with The Roots and Sharon Jones & the Dap-Kings, plays a Conn 6M and uses a Theo Wanne Gaia 2 metal mouthpiece in a #9 facing.

Lee Konitz, a key figure in cool jazz, occasionally played a Conn 6M on recordings and typically used a Meyer mouthpiece with a specially longer facing.

Buster Smith, an early jazz alto player and mentor to Charlie Parker, performed on a Conn 6M and used an unspecified mouthpiece setup that incorporated tenor reeds for a louder, fatter tone.

Bert Wilson, a free jazz and avant-garde saxophonist, also played the Conn 6M, though details on his mouthpiece and facing are not readily documented.

James Spaulding, a post-bop alto player who worked with Freddie Hubbard and others, used a 1950s Conn alto (likely a 6M variant) but specific mouthpiece and facing information is unavailable

Other notable Conn 6M players include Lou Donaldson and Charles McPherson (specific mouthpiece details are less documented, but they aligned with vintage large-chamber jazz setups like Links or Brilharts).

Ultimately, the "best" mouthpiece is subjective and depends on your desired sound (dark and spread vs. brighter and focused), reed strength, and embouchure. Try several if possible—the Conn 6M rewards experimentation and often sounds fantastic with classic jazz pieces.