Selmer Mark VI Alto Mouthpieces
- Grey Stone
- 2 days ago
- 2 min read
The Selmer Mark VI alto saxophone (produced 1954–1981) is legendary for its rich, focused tone, excellent intonation, and responsiveness, making it a favorite among jazz players. Mouthpiece choice is highly personal—depending on desired tone (dark vs. bright), genre (classical vs. jazz), and tip opening/reed strength—but certain models pair exceptionally well with the Mark VI's versatile character.
Popular Modern Recommendations
These options suit various playing styles:
Selmer Soloist (modern reissue of the vintage horseshoe-chamber design): Often the stock mouthpiece with many Mark VIs; offers a warm, centered classical/jazz tone with good projection. Tip openings like C* or D are popular starters.
Selmer Concept: Easy-blowing with a round, rich sound; great for all-around use.
Selmer Jazz Flow: Selmer's newer jazz-oriented metal mouthpiece; focused and versatile, with good altissimo and dynamics.
Meyer (hard rubber): A classic jazz choice; medium chamber for warm, spreading tone. Modern versions or Bros. Connoisseur series evoke vintage vibes.
Otto Link (hard rubber or metal): Versatile for jazz; Tone Edge rubber for warmth, metal for edge/brightness.
Vandoran V16 or Jody Jazz: Modern alternatives for brighter, contemporary jazz sounds.
Historical Pairings with Famous Players
Many iconic alto saxophonists used the Mark VI (or transitioned to it) with specific mouthpieces that shaped their signature sounds:
Phil Woods — Played a Mark VI alto; famously used a vintage Meyer Bros. New York hard rubber mouthpiece for his bright, bebop-influenced tone with warmth and projection.
Cannonball Adderley — Switched to a Mark VI in his later years (after King Super 20); favored Meyer Bros. NY hard rubber (medium chamber, often #5 tip) for his soulful, bluesy sound.
David Sanborn — Iconic Mark VI player (preferred 140,000–150,000 serial range from ~1967, known as "Sanborn-era" horns); used metal Bobby Dukoff (D7/D8/D9) for his edgy, R&B/pop-jazz bite and power.
Charlie Parker ("Bird") — Primarily pre-Mark VI era (Conn/King/Grafton), but late in life experimented with Selmers; often associated with Brilhart Ebolin/Tonalin or a rare metal Selmer (London ff model) for his sharp bebop edge.
Other Mark VI alto greats like Ornette Coleman or Jackie McLean used varied setups, but Links and Meyers were common in that era.
The Mark VI responds beautifully to a wide range of mouthpieces, but jazz players often lean toward hard rubber Meyers or Otto Links for warmth, or metal pieces (Dukoff, Link) for cutting power.
Classical players stick closer to Selmer's own (Soloist, S80/S90). Ultimately, try several on your horn—sound is 90% player + setup, not just the sax! If possible, visit a shop for trials.
