Initially I starting playing on the 10S model of clarinets, moving to 10S II instruments and ultimately settling on Recital instruments, which I had long admired for their dark but focused sound, while always allowing me the player that flexible framework in which to express the range of colours and dynamics I demand from an instrument.

It was in 1978 that I bought this bass clarinet from new. While there have been newer models bringing modifications and improvements, this instrument and I have recorded and performed extensively together. The sonority of tone, range of colours and dynamics combined with the fact that this bass and I have worked together over so many years and therefore have forged a relationship of understanding and trust. It has evolved with me and continues to be my instrument of choice!

Following a heart-breaking burglary in which I lost all my saxes, it was not easy to find a replacement. However after some extensive searches, I was incredibly happy to find this instrument. Intonation and tone are imperatives with all instruments, but never so much as with a soprano saxophone. This instrument for me combines a stability of intonation and warmth of tone and indeed as a doubler, the all-important feeling of a connection with my clarinets.

My search for the ideal soprano saxophone mouthpiece has involved trials with mouthpieces shortlisted from both Selmer and Vandoren. Intonation, control, appropriate resistance, flexibility balanced with warmth and focus. Appreciating my input and responsibility to this wish list! While I had tried the Concept on Alto but had returned to the C*. When it was suggested that I try the Concept on Soprano, I was hesitant. However this is where the experience of specialist shops can be invaluable. Stuart at Howarth (who knew me and my setup well), advised me to try the Concept. I knew straight away that it was the mouthpiece for me. I am quite simply delighted with it.

The Mark VI Alto saxophones were legendry instruments, so when my original instrument was stolen, I never thought I would find a replacement and indeed one that would outperform my original instrument. Coming with a low A (attributed to only a select few), not only was the overall tone and feel fulfilled all that I demanded of my alto, but the additional length on the bell through having the low A, gave the lower notes greater stability; massively helpful for a clarinet/saxophone player. While I have embraced the newer saxophone models on soprano and tenor, having played on the Mark VI alto all my life, it remains my instrument of choice.

It is no surprise that the C* S80 alto saxophone mouthpiece is one of Selmer's most popular mouthpieces. It offers a secure focus to the sound together with warmth, flexibility and ability to really push the boundaries of dynamics. It is also a terrific mouthpiece for the altissimo register!

My tenor Series III is the only one of my instruments which I bought from new. I tried several Selmer instruments before settling on this model and indeed this specific Series III.  The tone which for a tenor needs to be both dark but also vibrant and able to project a range of dynamics, the fluid and comfortable key work and the stable intonation. As a classical player, this instrument has all the qualities which enables me to both blend within my saxophone quartet as well as in a more solo capacity. Refinement is not a word people would associate with the tenor saxophone, but the Series III is just that – a beautifully refined instrument.

Originally I played on a Selmer D enjoying the dark warm tone it offered me. However for both playing in my saxophone quartet and the solo playing, I moved to a Selmer C** which offered a slightly brighter more projected tone, while still giving the warmth and darkness of the D. I’m hugely happy with my C** added to which all three of my saxophone mouthpieces compliment and have a compatibility with my clarinet mouthpieces. Whether Bb, Eb or bass. I believe as a doubler there has to be continuity between the clarinets and saxophones.

This mouthpiece has been with me over a number of years and indeed has moved with me from my Noblet Eb!  Giving me stability with intonation and across the instrument and a wide range of dynamics; flexibility in tone colours, it is also compatible with swapping between my Bb X15E D’Addario mouthpiece. This is hugely important for a doubler to feel this continuity, particularly when responding to the high demands of an instrument like the Eb. It’s just convincing non clarinet players like my percussion duo partner that the Eb really can be a beautifully expressive instrument in certain repertoire…!

This is the only leather ligature I use on any of my instruments. Originally selected many years ago as the only ligature held the reed securely to the mouthpiece while also offering a warmth and depth which I did not feel with any of the metal ligatures on the market at that time. While I have from time to time tried different ligatures, I have always come back to the Rovner, which for me totally suites my setup.

This is the only instrument which is not part of my Selmer collection.  It is for chamber and solo work that I felt the Patricola Eb combined the essential qualities. Warmth of tone in every dynamic and stability of intonation. In addition it has the most beautiful keywork which feels incredibly comfortable under the fingers. I should also add that it comes with 2 barrels, cloths, accessories presented in a high quality case which is both compact but has proper space for everything. A top quality instrument which has all the qualities of a custom made instrument with an affordable price tag.

In any mouthpiece I would demand stability in production and a fundamental confidence in intonation across the range of the instrument; of course recognising that intonation is also up to me! While these are two components demanded when choosing any mouthpiece, never are these more critical than on the bass clarinet. Also special to the bass clarinet (the clue being in the title..!), having a mouthpiece which offers warmth in the low register, focus and depth of tone along with clarity and stability to articulate and punctuate staccato and accents, is quite a tall order. The Lomax for me totally fulfils these demands giving me confidence and security from which I know that the rest is up to me!

As with the Gold H Ligatures from D’Addario, this ligature holds the reed securely (in my books an essential job of the ligature) and gives me the warmth, darkness but clarity. Until D’Addario decide to make bass ligatures, this BG responds very much like the H ligature and therefore is very compatible for doubling.