Selmer Mark VII Alto Mouthpieces
- Grey Stone
- 2 days ago
- 2 min read
Recommended Mouthpieces for Selmer Mark VII Alto Saxophone
The Selmer Mark VII (produced 1975–1980s for alto) is closely related to the legendary Mark VI, with a similar bore but refinements for better intonation, a slightly more focused and brighter tone, and updated keywork (e.g., larger pinky keys). It pairs well with many of the same mouthpieces as the Mark VI, though some players note it responds better to pieces that add warmth or edge without high baffles.
Popular recommendations from saxophonists include:
Classical/versatile setups: Selmer Soloist (e.g., C*, D, or E facing) or S80/S90 series (C* is a classic, easy-to-control option often bundled with vintage Selmers). These provide a centered, even tone ideal for concert or all-around playing.
Jazz setups: Meyer (hard rubber, 5M–7M) for a warm, spread sound; Otto Link Tone Edge (rubber, 6–7*) for versatility; or metal options like Selmer Metal Jazz or modern Selmer Jazz Flow for more projection and bite.
Other favorites: Vandoren V16 or Java series; Lebayle Jazz; or custom pieces like RPC for flexibility. The Mark VII is mouthpiece-tolerant but can sound brighter than the VI, so medium/large-chamber pieces often balance it best.
Mouthpiece choice is highly personal—tip opening, chamber, and material affect response. Trial multiple setups (e.g., via return policies) with your reeds and ligature.
Famous Saxophonists Associated with Selmer Mark VII Alto
The Mark VII was less embraced than the Mark VI (many pros stuck with VIs), so fewer jazz legends are tied to it exclusively. However, notable players include:
Soweto Kinch (UK jazz artist, known for innovative style on a silver-plated Mark VII alto).
Bob Rockwell (American expatriate in Denmark, long-time Mark VII user before switching).
Some classical players like Rob Buckland used silver-plated Mark VII altos.
In contrast, the Mark VI alto (1954–1975) was iconic for jazz greats such as:
Charlie Parker (late career)
Cannonball Adderley (later years)
Ornette Coleman (custom low-A model)
Phil Woods
Jackie McLean
Art Pepper (also noted with VII in some discussions)
Many pros from that era played Mark VIs, cementing its legendary status. The VII is respected (especially altos for intonation) but didn't achieve the same cultural dominance
