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| Meyer (mouthpiece) | |
|---|---|
| Name | Meyer mouthpiece |
| Classification | Woodwind accessory |
| Developed | Early 20th century |
| Inventor | Otto Meyer |
| Material | Brass, silver, gold, stainless steel, hard rubber |
| Usedwith | Saxophone, Clarinet |
Meyer (mouthpiece) is a class of musical instrument mouthpieces principally associated with jazz and concert performance on the saxophone and, to a lesser extent, the clarinet. Originating in the early 20th century, these mouthpieces became influential through adoption by leading performers and through their distinctive blend of projection, warmth, and control. The design lineage influenced commercial manufacturers and bespoke makers across United States, Germany, and France.
The mouthpiece type traces to makers active during the Jazz Age and the swing era, influenced by innovations from workshop traditions in New Orleans, Chicago, New York City, and Kansas City, Missouri. Early adopters included soloists who recorded for labels such as Columbia Records, Victor Talking Machine Company, and Decca Records, shaping the mouthpiece’s reputation through sessions with bands led by Duke Ellington, Benny Goodman, Count Basie, and Paul Whiteman. The design evolved alongside instrument developments at firms like Selmer (instrument maker), Conn-Selmer, and The Martin Band Instrument Company, reacting to changes in reeds supplied by companies like La Voz, Vandoren, and Rico (company). Postwar shifts in jazz—bebop spearheaded by Charlie Parker and Dizzy Gillespie—and later fusion movements involving artists associated with Miles Davis, John Coltrane, and Sonny Rollins further refined mouthpiece preferences and production methods.
The mouthpiece family is characterized by a distinct table geometry, chamber profile, and baffle configuration that interact with reed treatments from makers such as Vandoren, D'Addario, and La Voz. Typical construction materials mirror those used across accessory manufacturing: brass, hard rubber, stainless steel, and plated finishes in silver or gold. Design parameters reference classical acousticians and instrument technologists associated with institutions like Juilliard School, New England Conservatory, and research carried out at universities including Indiana University Bloomington and Eastman School of Music. Tooling and finishing often took place in workshops influenced by techniques from Boosey & Hawkes and bespoke artisans in Paris, Berlin, and the United States.
Commercial and custom variants emerged to satisfy genres ranging from big band to chamber work. Model lines were marketed with numerical and descriptive identifiers analogous to those used by Selmer, Yamaha Corporation, and boutique makers such as Berg Larsen and JodyJazz. Custom models catered to the needs of artists associated with ensembles like the Stan Kenton Orchestra, Art Blakey and the Jazz Messengers, and the Modern Jazz Quartet. Regional variations appeared in Europe via workshops in Germany, France, and Italy, and in North America through small firms in Los Angeles, Chicago, and New York City.
Players report a balance of brightness and warmth, offering projection suitable for venues ranging from small clubs in Greenwich Village to stadiums where artists like Lester Young and Stan Getz performed. The mouthpiece’s chamber and baffle produce a spectrum compatible with techniques taught at conservatories such as Berklee College of Music, Manhattan School of Music, and Royal Academy of Music. Its responsiveness benefits improvisers influenced by modal experiments associated with Miles Davis and the harmonic language of Thelonious Monk and Charles Mingus. Studio musicians recording for producers like George Martin and Quincy Jones have favored specific models for orchestral session work and film scoring projects for studios including Universal Pictures and Warner Bros..
Prominent users spanned generations and styles: swing and big band soloists who recorded with Count Basie and Benny Goodman; bebop innovators who performed with Charlie Parker and Dizzy Gillespie; cool jazz figures connected to Stan Getz and Chet Baker; and contemporary artists collaborating with Herbie Hancock, Pat Metheny, and Branford Marsalis. Session saxophonists on landmark albums credited to performers like Aretha Franklin, Ray Charles, Stevie Wonder, and David Bowie have selected mouthpieces from this lineage for their tonal qualities in studio mixes engineered by figures such as Tom Dowd and Phil Ramone.
Production has moved between independent craftsmen and larger manufacturers. Early production paralleled developments at firms including Selmer (Paris), Conn (band instrument manufacturer), and King Musical Instruments. Later consolidation in the music industry involving Yamaha Corporation, Buffet Crampon, and Conn-Selmer influenced distribution and branding. Boutique revivalists and small ateliers in cities such as Los Angeles, Madrid, and Tokyo revived hand-finished runs, sometimes collaborating with artists represented by agencies like William Morris Agency and Creative Artists Agency. Collectors and historians track serials and provenance through catalogs and auction houses servicing instruments and accessories linked to institutions such as the Smithsonian Institution and the Metropolitan Museum of Art.
Category:Mouthpieces