Solos By Mr. Jorge Brauet (Traditional II 7)
The Review about Traditional I & II Tenor By Jorge Brauet
I am Jorge Brauet, a saxophone player, from Guantanamo, Cuba. I have been living in Mexico since the 2002. I graduated from the Higher Art Institute in Havana. I head my own Jazz quintet. Also, I have shared with some great musicians who interpret different musical genres such as Gonzalo Rubalcaba, Tom Coster, Gabriel Hernández, Pancho Céspedes, Paquito de Rivera, Doc Severinsen, Bobby Kapp, Joan Sebastian, and Alejandro Fernandez, among others.
Some months ago, Mr. Ken Okutsu, from Japan, suggested me to try two of his sax mouthpieces, and write a review of them after that. I was very honored with such an invitation and after contacting the seller, immediately agreed.
The two mouthpieces I received, are for a Tenor Sax. I consider they are of a very high quality, very professional. They are hard rubber, and even the package is pretty and of a nice design; they come in a protective plastic case, wrapped in a velvet bag. They are made of ebonite, which is a very resistant material and of a good quality. They are carefully hand finished and polished finely, without any imperfections. They remind me the legendary Otto Link Slant Signature mouthpieces.On the upper side, they have a neat and clean gold engraving that reads Ken Okutsu, (which is the Japanese model), and Genuine Ebonite. If one looks at them carefully, immediately will notice how perfect they were made (especially the facing curve), and how equal the side rails were ended.
One of the mouthpieces I got from Mr. Okutsu, is the Traditional Model. As soon as I tried it, I could notice how easy air goes through it; it is very comfortable and I got the expected sound. As for me, this mouthpiece has the sound effect of classical music, though it permits a more expressive Jazz sound. The tunes are very accurate; it gave me both soft and dark piano sounds, and a little velvety or peachy at the same time (that “half-dirty” Jazz tone).The Traditional Model allows me to play without any air effort while in a severe performance; it permits all the reeds pass the test while putting it on, and after playing. I also noticed that it doesn ́t matter how rude my playing or the volume were, the mouthpiece permits a wide projection, different sound pattern in all registers, and still has a fat, round sound. For instance, you can easily jump from Staccato to Legato without forcing air. Besides, it warrants the player much control, the achievement of high and well-tuned notes. In fact, the sound I got was highly professional, beautiful, full, fat, and powerful. It is ideal for the Be-bop, straight-ahead, and traditional jazz. I love it for my dark sounds.
Jazz-fusion or Latin Jazz using it, or for a Brass session, either Latin music or Funk music. This mouthpiece is really useful. I am already using it at all performances.
In short, I have loved the two mouthpieces, and I am very pleased with my performances using them. Personally, I think they are of a highly professional level, in terms of their handwork making, but especially in terms of the quality of their sounds and my expectations. I think that all professional saxophonists should be aware of what Mr. Okutsu is developing. Okutsu ́s mouthpieces, which you will love, can make you go through a wide range of styles and sounds that can range from the darkest and softest to the brightest and most powerful as one may wish.
The mouthpieces that Mr. Okutsu has so kindly placed in my hands are for any saxophonist as a bridge of unlimited possibilities through which the artist goes and takes to a joyful ending all the feeling of the music inside.