FA Frank Wells Tenor Mouthpiece Extremely rare
ansermetniac
Thanks for looking
Abbedd
______________
E.A.F.E.
"Please judge me by the enemies I make"
FDR
Tim
JP- This rings a bell- its probally the " WELLS" mouthpiece
I got in Chicago back in the early 90s when I went thru Chicago
on gigs with the great Al Kooper.
It was that ROCKET shape Frank was into then.
I miss Frank Wells. That guy....was fantastic.
I knew him for decades. Thru the 70s...as he was " the cat" to see in
Chicago.
His store front was behind the Maryland hotel in Chicago.Where
_ALL_the bands stayed.
He did a NY Meyer alto piece for me-back in the 70s when I was on
location in Chicago
playing with Brother Jack McDuff & his " Heatin' System". ( thaz
another ERA I miss )
Frank Wells. INNOVATOR, genius and man of thought. This guy NEVER
copped anothers
idea, he worked his fingers to the stubb trying to come up
with...SOMETHING BETTER.
I loved to just rap to Frank, go by on my day off and drink with him.
( his choice was
a 5th of Canadian Club...poured right into a glass. No ice, just fill
the glass and drink )
All the cats went to him- Frank Tiberi, Bennie Wallace, Trane, Hodges
and Dick Spencer ( anyone remember HIM !!?!!! )
Frank will be remembered always in my mind.
What an era, those days...guys like Frank or repair techs like Artie
Pincus and Saul Fromkin. Joe Goodman in Boston. Workers who LOVED the
craft & characters associated with it.
I wonder what ever happened to Artie Pincus??If anyone knows him-
tell him for me
" He is loved ". I think we all owe him 50 bucks here or
there...hahaha. when I was younger
he did lots of my horns. Did an entire clarinet re-pad...over the
weekend , when I was with Harry James @ Roseland ballroom in NyC for a
2 weeks strech.That was when I first met Charlie Barnett in the south,
and he told me about the music stands he had to F' with Sammy Kaye.
He had a stand..with ON THE FRONT of the stand...like where the band
name was.... ' FUCK AND SWEAT WITH CHARLIE BARNETT." It pissed Sammy
Kaye off cuz his logo was " SWING & SWAY WITH SAMMY KAYE". It
_was_hysterical as hell IMHO :)
But I remember telling Artie Pincus that story- and he almost dropped
my Couf tenor in laughing so hard. I also remember Artie being a great
player. ( his daughter was BEAUTIFUL,,I always wanted to date her, she
was a knock out !!!!@#!@$@$!$! But he woulda knocked me out if I made
those moves-lol )
I stil remember the price of that re-pad- 60 dollars. The old days
fer' sure~
FRANK WELLS.
Great mouthpiece.
I got my memorys of Frank.
I'll never forget him.
One time a " legit" clarinet cat wanted a deal. Damn@#!#!@
The mouthpiece then in the 70s was 25 bucks.
So..Frank got hot at the guy, and sais " Hey buddy..fuck you...and if
you got any friends...fuck them to !! " hahahaha-
Naturally the CLARY mouthpiece never got sold. LOL~
I used to listen to Franks storys of TRANE & DOLPHY...like a kid in
school.
Frank..... LOVED TRANE.
And Sal Nistico and Tiberi. He called Frank.. " Dr Tiberi ".
I think Billy Drews STILL has his Wells clary piece.
Hope it gets to a good home Jeff- Tim Price
saxmaniac
obtaining an extraordinary MPC, which would facilitate a better tone OR
because Frank Wells owned it??
"ansermetniac" <anserm...@hotmail.com> wrote in message
news:jlpk219sbq06317cq...@4ax.com...
ansermetniac
wrote:
>So would one pay that extraordinary sum of money because one would be
>obtaining an extraordinary MPC, which would facilitate a better tone OR
>because Frank Wells owned it??
Frank Wells designed it and hand finished it
You are the kind of person Dr Spooner would have called a shining wit
Abbedd
saxmaniac
attacks to avoid a valid question.
"ansermetniac" <anserm...@hotmail.com> wrote in message
news:uqfm21l2e184ptds7...@4ax.com...
ansermetniac
wrote:
>You still have not answered the question?? Instead, you resort to scurrilous
>attacks to avoid a valid question.
You imply that all Frank Wells did was own it as a player. Frank Wells
designed and manufactured it. Shining wit, what do you play?
saxmaniac
So, justify the 'asked for' price for this AND the purported Brecker
MPC????????????
"ansermetniac" <anserm...@hotmail.com> wrote in message
news:lfsm21ptodl3mr31c...@4ax.com...
saxmaniac
own the MPC's??
"ansermetniac" <anserm...@hotmail.com> wrote in message
news:lfsm21ptodl3mr31c...@4ax.com...
Marco R
senseless whining? If you don't like the price of a particular
mouthpiece, then don't buy it.
- Marco
Toby
maybe even a celebrity toilet seat would be worth more than an anonymous
toilet seat, even though it won't help your constipation.
Toby
"Marco R" <m...@rco.rosano> wrote in message
news:555n21tijds5l3jqr...@4ax.com...
Tim
The FACT that Frank Wells made it is MORE important.
I doubt,, many know who he is anymore. If you READ what I said,,lol,,
you'll see to those of us,,who KNEW,,Frank was stellar.
YMMV- it all depends on what you know-Tim Price
fundoc
"saxmaniac" <saxm...@cox.net> wrote in message
news:_tLWd.117082$JZ2.39953@fed1read02...
> By the way...How will you authenticate that 'celebrity' A or B did, indeed,
> own the MPC's??
A OR B MPC DNA
Toby
don't know him. The proof of the pudding, as they say...If the mpc plays
great it is worth money. If people loved Frank and treasure his work it is
worth money even if it doesn't play worth a damn.
Leaving Frank aside, the Brecker example is a bit clearer: Just 'cause he
got some of his spit on it--it was inserted into the Great One's mouth--does
that make it play any better than a vintage Link not so baptized?
Toby
"Tim" <tep2...@aol.com> wrote in message
news:1110154446.4...@z14g2000cwz.googlegroups.com...
SDA
degraded by now... not to mention you need some celebrity tissue to
start with and Brecker probably doesn't want to spare his remaining hair
for that
Marco R
What is the tip opening?
Thanks,
Marco
ansermetniac
.095" and it is hard rubber.
Marco R
Thanks.
P. Tung
How close is it to a Berg, in concept - facing length, chamber, baffle,
curve?
What's it's personality?
"ansermetniac" <anserm...@hotmail.com> wrote in message
news:6l6q21dpbj6n1piiv...@4ax.com...
ansermetniac
<checksite...@justsaxes.removethis.com> wrote:
>Abbedd,
>
>How close is it to a Berg, in concept - facing length, chamber, baffle,
>curve?
>
>What's it's personality?
It has a very high and long baffle but without the bullet hole of a
berg. The best part of it is that it is hand finished by someone who
knew how. If you put a loop on it you can see the file strokes.
It's personality? What a straght line and I can't think of a thing
Abbedd
Marco R
>>
>>What's it's personality?
>
>It has a very high and long baffle but without the bullet hole of a
>berg. The best part of it is that it is hand finished by someone who
>knew how. If you put a loop on it you can see the file strokes.
>
>It's personality? What a straght line and I can't think of a thing
>
>Abbedd
You know - does it enjoy moonlit walks along the beach? Is it
friendly with kids? Does it have any strange fetishes we should know
about? That sort of thing.
- Marco
P. Tung
"Marco R" <m...@rco.rosano> wrote in message
news:nsis21lksjbree9nd...@4ax.com...
ansermetniac
<checksite...@justsaxes.removethis.com> wrote:
>I know, I know, but how does it play?
How do I know I can't play it. I assume it will be very loud based on
the design . Ask Tim Price. He thinks this is his because he had one
like it. In fact we got it from Lawrence Feldman in the early 80s. The
tipoff is the exta patch he put on the outside for more weight.
Abbedd
______________
Tim
stunning doubler/player of all things in NyC.
He holds the gig with the Bob Mintzer Big Band as well as one of the
only guys I know...who can play like Babe Russin THEN Dave Sanborn.
He's a great great player in his own. I really respect and enjoy him.
Everytime I talk to LF I learn something.
The Mintzer band will be at the BerksJazz Fest this week, with the
Yellojacs'...could be interesting to see IF there is a nice blend of
"Band to Band" , hmmmm??? I'm gonna look forward to seeing LF there and
digging Roger R in my hood.
Lawrence is interesting guy. His bag is versatility and study.
People SHOULD be checking all these guys out- I wonder how many here
ever heard Harold Ashby? Or Babe Russin?
Interesting.
Lots of voices on the net, hope they have ears :)
You GOTTA know what the history is.
Another great WELLS sound was Bennie Wallace.
Or Frank Tiberi in the 70s thru 80s with Woody.That hardass FULL,
open throat articulated- cutting sound over the Herd. I'm hoping some
folks relate to that. If you NEVER heard Frank, you got your homework
cut out for ya.
HTH- Tim Price
Ps~
Ok, Babe Russin. ( CHECK THIS GUY OUT, you guys in swing bands...he'll
save your asses, cuz him and Gerorgie Auld were some of the best
soloists, and key sounds. )
. Russin was a staff musician for the CBC network in the '30s, and
took gig in the Benny Goodman band.He also played with Tommy Dorsey
band, then led his own outfit in the early part of the '40s , worked in
Jimmy Dorsey's band from 1942 to 1944, then played in an armed forces
band through the second World War. He also wound up making
appearances in several of Hollywood's movies, The Glen Miller Story and
The Benny Goodman Story. ( in short- BAD CAT...killer player!! )
If you play in a Goodman style big band, Babe is a threshold
you need to cross. But I'm sure you know in the smaller groups- check
out Wardell Grey. There's a interesting thing. Babe to Wardell. I'm
still thinking, somewhere there gotta be some recordings with BOTH in
the BG bands :)
hth- go check him out.
P. Tung
>
> ansermetniac wrote:
>> On Tue, 8 Mar 2005 19:35:56 -0600, "P. Tung"
>> like it. In fact we got it from Lawrence Feldman in the early 80s.
> The
>> tipoff is the exta patch he put on the outside for more weight.
>>
>> Abbedd
>> >
>
> as well,without all the baffle. The early 80s I dunno if they were made
> yet.
> To know what Frank Wells was striving for, within sound is key here.
> My gut sais I doubt if you sell that on E bay. UNLESS, a Frank-fan
> finds it and buys.
> I used a patch on top- cuz I DID use the piece when I did the show in
> Philly " Grease". More weight? Huh, I dunno ?!? Whaz a patch do? lol!!
> In any case- if it measures 95?? - Then no way was it anything I had.
> I would never play something on tenor that small. ( I usually am
> around 115 to 120 etc.) So, I'm wondering, Franks stuff was _larger_big
> tips. I can't see how thats a 95. I dunno. Franks tips were BIG, I
> can't see him doing something small. ( Unless Larry had someone else
> re-fece it )
> THE SOUND...of those Wells was interesting.
> As Frank said, " They really exposed your imagination fast".
> In short- they could be played VERY powerful. Not bright like a
> Dukoff tho, but BIG and powerful. Classy sound. Big like a Tabackin or
> gutty Rollins sound. Some of the blues guys with BB KING and Bobby Blue
That's kind of close to what I was guessing, I think. Would you say when
you play on it, that you hear something of the character in the piece that
brings Rollins's sound in his earlier rubber Berg days?
I guess I mean that sort of in the way that you can hear a certain element
of Gene Ammons's sound, sort of the skin of his sound, when you play one of
the good, old, HR Ebolins.
> Bland used "Wells Bergs" back in the day. I think Morris Atckinson
> mighta had
> one of these Wells like you got here.Morris was with Bobby Blue Bland.
> BUT,,The sound concept is not BRIGHT like a Dukoff, but BIG and
> powerful.
> As Frank said- " Theres a difference between a LOUD sound and a big
> sound". Also those mouthpieces used MEDIUM reeds. Aka- LaVoz med.
> I dunno-Frank Wells might be as know to the "net" guys as much a
> Lawrence Feldman in a way. They are folks that are the backbone of
> sonics.
> Guys who are in another world. Wells is long gone, its sad. He was
> cool.
> A vivid character with soul, depth and a REAL mind for creativity.
> I'd curious to see if that piece sells. NOT cuz its no good. FAR FROM
> IT.
> But- cuz of the era. Few know who Wells is anymore. Maybe someday guys
> will study his facings and TRY to learn, insread of just copying what
> thaey THINK is a Meyer sound. LOL!!! ahhaha. Lessons to be learned from
> Wells. Just like from guys I have been, talking about for years here
> like Ike Quebeck or George Braith.
> HTH- Tim Price
>
Tim
Yes. Thats it- CHARACTER.
Sound character, if you will.
I'd say via " skin of sound"...more THUMBPRINT.
Kinda a SONIC DNA. But thats just me.
Gene Ammons, now that was a PERFECT sound. IMHO.
The cool thing about this Wells- is it is Berg like in attack, if
need be, but also with that slim body,,,it can get very personal.
BUT- needs a medium reed. ( JEFF tell your buyer that ok )
Wells worked on; Ben websters stuff, Harold Ashbys stuff, Trane,
various periods of Rollins stuff, and took a few swipes
at Harry Carnys mouthpieces. Of course -Dolphy as well.
He also did work on trumpet mouthpieces and trombone.
I know Harry James has stuff done, and the trombone player who
recorded with Bennie Wallace had LOTS of Wells work on his pieces. (
forgot his name dammit )
SO,, this is a unique piece,, and a part of history.
I kinda am curious how it might respond on newer saxes tho?
In talking about all this......I sure do miss Frank Wells.
Tim Price
Kevin Goss
about the three Tenors :-) Each has such an individual approach but
they are so complementary to one another. This is a nice CD!
"Tim" <tep2...@aol.com> wrote in message news:<1110373373.8...@f14g2000cwb.googlegroups.com>...
Steve J.
influenced all who came in contact.
I own two of these pieces one alto and one tenor that were tweaked for
me by Frank. Its important to know they need a clarinet ligature!
I'll describe my experience with the tenor piece since its the thread
subject. Hard rubber Berg like is right on. Frank described a desire to
combine sound characteristics of the Berg and the Selmer, plus. Prior
to his obtaining of these blanks (in the 80's) he would request HR
Bergs as a starting point for his magic. I believe Lenny Picket played
a Wells customized Berg for a long while.
Most noticeable characteristic is the enormous volume. Man, can it blow
loud. It is very responsive. I play a ref 54 tenor and the piece does
not match well. The wells's character adds so much vibrancy in a one
dimensional way the sound is strident to my taste. - like slightly
distorted speakers. It detracts from the inherent attractive huskiness
of the ref 54. I was blowing Yamaha when Frank made this for me. It
added character to that horn. Tim, your curiosity regarding newer saxes
and the Wells piece reflects your knowledge and intuition. This Wells
may or may not match well with certain tenors but there is no question
your sound can be made unique. The question would be if its desirable.
In general the piece projects like few other pieces and contributes to
a more spread sound. This may or may not be your bag.
Palo, contact me if you want to blow mine. Its sitting in a drawer. I
wouldn't miss it for a while but not sure if I would sell it - mostly
for sentimental reasons. Frank was a memorable human - no question.
Tim, off the subject since this is my one and only post here. I've been
getting huge mileage out of your Happy Birthday. I always credit you
when asked. Thank you so much for sharing. It is appreciated.
Tim
Steve J. wrote:
> I also miss Frank Wells. Both unique character and Genius. His ears
> influenced all who came in contact.
>
> and the Wells piece reflects your knowledge and intuition. This Wells
> may or may not match well with certain tenors but there is no
question
> your sound can be made unique. The question would be if its
desirable.
> In general the piece projects like few other pieces and contributes
to
> a more spread sound. This may or may not be your bag.
>
>
> Tim, off the subject since this is my one and only post here. I've
been
> getting huge mileage out of your Happy Birthday. I always credit you
> when asked. Thank you so much for sharing. It is appreciated.
Hey Steve- thanks for the nice words. It does require a clary lig
yes.
Lenny Pickett,,,STILL,,,uses a Wells alto berg. Refaced.
Best to you Steve- Tim Price
badger
of Al's recording work is soundtracks and classical (New York
Philharmonic, New York Sax Quartet). It was very weird to hear this
wonderful classical sound coming out of his horn and to look and see
what appeard to be a Berg on his alto. I never got one of the alto
mouthpieces but my clarinet and soprano pieces (acquired from the
lovely and talented Mr Price) both are Frank Wells re-worked pieces.
gw