Conn New Wonder I Tenor

The Conn New Wonder Series I (early 1920s vintage "Chu Berry"-era predecessor) tenor saxophone has a large bore and chamber, producing a big, dark, spread tone typical of early jazz horns. Players widely recommend large-chamber mouthpieces to match its acoustics, enhance intonation, and unlock its full warm, powerful sound—small-chamber or high-baffle modern pieces can make it stuffy, sharp, or uneven.

Popular Recommendations

Otto Link hard rubber (vintage Tone Edge, Super Tone Master, or Early Babbitt/New York models) — Classic pairing for Conns; large chamber gives fat, dark jazz tone with good projection. Tip openings around 6*-8* are common.

Meyer hard rubber — Affordable and versatile; medium-large chamber works well for a mellow, centered sound (e.g., for Stan Getz-inspired tones on vintage Conns).

Brilhart Tonalin (vintage) — Highly praised for vintage Conns; large chamber enhances warmth and ease.

Jody Jazz Giant — Modern option that excels on early New Wonder tenors (e.g., 8*-9* tips); large chamber provides huge, Garzone-like spread without brightness issues.

Pillinger "Chu" model (custom, rarer) — Specifically designed for Chu Berry/New Wonder II-era Conns; considered one of the best for authentic vintage tone.

Morgan large-chamber models

Vandoren V16 large chamber (M or L) — Free-blowing with superb intonation on vintage horns.

Other vintage-style fits: Ponzol Vintage, Barone Vintage, or Get A Sax GS Reso for resonant, period-appropriate sound.

Famous Saxophonists

Coleman Hawkins, often regarded as the father of the tenor saxophone in jazz, played a Conn New Wonder Series I tenor during the early part of his career in the 1920s, before transitioning to later models and eventually Selmer instruments.

Hawkins is known to have used early Otto Link metal mouthpieces, including the Hawkins Special model with a large chamber, which aligned with the big, robust sound he developed on those vintage Conns. The facing on these mouthpieces typically featured a relatively small tip opening around 4* to 5*, emphasizing warmth and projection suitable for the era's swing and early jazz styles.

Lester Young, the influential jazz tenor saxophonist known for his light, airy tone with the Count Basie Orchestra in the 1930s, owned and played a Conn New Wonder Series I tenor saxophone which he specifically used during his time with Basie in 1936. He paired it with a Brilhart Ebolin mouthpiece, typically in a 3 facing with a tip opening around .070 inches, which contributed to his signature cool, floating sound. Later in his career, Young switched to white plastic mouthpieces like the Emil Lyon, often marked with a 2 or 3 facing and similar tip openings between .065 and .070 inches, but his early work on the New Wonder I is closely associated with the Brilhart setup

Tips for Choosing

Vintage Conns can be picky with mouthpieces—intimation improves dramatically with large-chamber designs. Start with medium tip openings (6*-7*) and softer-to-medium reeds (e.g., Vandoren Java or Rico 2.5-3) to control the big sound. Try before buying if possible, as player embouchure varies

Many players successfully use modern large-chamber pieces, but vintage or vintage-inspired ones often bring out the horn's character best.

If you're aiming for classic jazz (Hawkins/Coleman Webster vibes), lean toward Otto Link or Brilhart replicas. For more contemporary flexibility, Jody Jazz or Pillinger. Enjoy the horn—New Wonder Is have a massive, unique voice!