Selmer Mark VI Tenor Mouthpieces
- Grey Stone
- 2 days ago
- 2 min read
The Selmer Mark VI tenor saxophone (produced 1954–1974) is legendary for its versatile, rich tone and excellent intonation, making it a favorite among jazz players. Mouthpiece choice is highly personal—depending on desired sound (dark/warm vs. bright/edgy), genre, and playing style—but certain models pair exceptionally well with the Mark VI's responsive, centered character.
Recommended Mouthpieces
Otto Link Super Tone Master (metal or hard rubber): Often called the "classic combination" with the Mark VI for its warm, full jazz tone with good projection. Vintage or modern versions in tip openings like 6*–8* are popular for straight-ahead jazz.
Selmer Soloist (hard rubber, modern reissue of the vintage scroll shank model): Many Mark VIs originally shipped with a similar Soloist-style piece (e.g., C*). It's versatile for jazz and classical, with an arched chamber for warmth and ease.
Meyer (hard rubber): A go-to for a big, vintage-inspired sound; affordable and widely used on Mark VIs for its dark, spread tone.
Vandoren V16 or Java: Modern options for brighter, more cutting jazz sounds while maintaining warmth.
Other strong contenders: Berg Larsen (for edge), Theo Wanne models (e.g., Durga for power), or Jody Jazz for contemporary versatility.
The "best" depends on your setup (reeds, ligature, neck) and sound concept—try several if possible, as the Mark VI responds beautifully to a wide range.
Famous Saxophonists Who Played the Selmer Mark VI Tenor
The Mark VI was the go-to horn for many jazz giants from the 1950s–1970s and beyond:
John Coltrane — Switched to a Mark VI around 1960; recorded classics like A Love Supreme on one (his 1965 model is in the Smithsonian).
Sonny Rollins — His primary horn for decades, contributing to his powerful, expressive tone.
Stan Getz — Known for his lyrical sound on Mark VI.
Dexter Gordon — Played one after an earlier Conn was stolen; famous for his big, bold tone.
Michael Brecker — Used a 1960 Mark VI (#86xxx) as his main instrument.
Wayne Shorter, Joe Henderson, Hank Mobley, Ornette Coleman, and others also favored it.
Many paired their Mark VI with Otto Link metal mouthpieces (e.g., Coltrane on a 5* Tone Master; Brecker later on a custom Guardala). The horn's legacy endures because it amplified these players' iconic voices.
