Question:
M.C. Gregory Model A - "The Paul Desmond Mouthpiece"
So now I know why Paul Desmond and Art Pepper played on these mouthpieces.
I recently purchased this mouthpiece, and it had a small chip on the shank...that tiny hard rubber part that extends past the metal ring? Well I sent it to Ed Zentera...told him to fix the shank, check the facing and table to make sure all was correct, but keep it as original as possible.
Well I just got the piece back yesterday and it's a player for sure. Warm, rich, dark, resonant sound that is so smooth all over the horn. The bottom register is effortless, and the top notes speak clearly. Altissimo is a little different on this piece, but I can still pop out Bb4 without too much difficulty.
VERY easy to get that Paul Desmond or early Art Pepper vibe. People who say "it's only the player" may be right in some cases...but I've experienced first hand just WHY these guys played these mouthpieces. They're simply great for that sound concept.
Ed's work is FANTASTIC and the small epoxy repair is nearly invisible, and very strong. His stuff just keeps getting better and better; my hat is off to this fine gentleman. I would trust him with any of my most prized mouthpieces!
I'm very excited to finally own this mouthpiece after chasing one for nearly 2 years. The tip opening on it is .65 and original, although the designation ont he side says "5B18M" instead of the "5A18M" we've come to expect. It's absolutely a Model A...just a different designation it seems. Interesting.
Just wanted to share the joy. :D
Saxaholic

Answer:
Hi Saxaholic:
May I know what kind/strength of reeds you use on the Gregory?
I am using Vandoren Java 2.5 on my Gregory Model A 5A20. It is fat, dark, resonant for all mid to low registers but the high notes (palm keys) are bit tricky for me. I have to admit I am weaker on high palm key notes. I can produce the high notes on my Gregory too, but not as easy and articulate as the mid or low notes.
What sort of tweak or refacing work had been applied by Ed?
Have you played other Gregory models?
The word "Model A" shall appear on the top of the barrel if it is a Model A, so it cannot be mistaken.

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Cool! It's always great to find your Holy Grail!

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I wouldn't go on to say it's my "holy grail"...it's definitely an excellent mouthpiece for the West Coast style and also performs exceptionally well for legit work too. But it has heavy competition with my Lamberson, which is also an excellent mouthpiece. The Lamberson is definitely a brighter, louder mouthpiece (although I don't consider it very "bright" at all) and has a much better upper register...but the Gregory feels better in the mouth and blows very easy. I'll be playing both for a while...although I'd like to keep both of them, I really can't afford to. One of them will be going with...*gulp*...a horn I'll be selling soon...that I never, ever wanted to sell....well, more about that later I suppose.
In any case, it'll be a tough call between the two. I'll give further impressions as I continue to play them.
Saxaholic

Answer:
Originally Posted by ppamhk Hi Saxaholic:
May I know what kind/strength of reeds you use on the Gregory?
I am using Vandoren Java 2.5 on my Gregory Model A 5A20. It is fat, dark, resonant for all mid to low registers but the high notes (palm keys) are bit tricky for me. I have to admit I am weaker on high palm key notes. I can produce the high notes on my Gregory too, but not as easy and articulate as the mid or low notes.
What sort of tweak or refacing work had been applied by Ed?
Have you played other Gregory models?
The word "Model A" shall appear on the top of the barrel if it is a Model A, so it cannot be mistaken.
I'm using Alexander DC #3 reeds on it right now...I want to switch to a harder reed; I'm looking at the Alexander Classique model right now to see if that would work, or possibly Vandoren Blue Box 3. Try a harder reed on yours and the high notes should thicken up. Also remember to do long tones up there and to keep your embouchure loose and the air stream focused.
Ed simply made sure there were no flat spots in the facing curve, and made sure the table was flat. These mouthpieces usually had to be fine-tuned to play effectively....both Paul Desmond and Art Pepper had their Model-A's worked on.
I have played other models, and the Model A's are far superior in my mind. Some of the early "Master" models can play well, but these are usually hit or miss. I find the other Gregories to be of a much lower quality than the Model A, particularly the "Los Angeles" models (with the triple band on the shank).
Saxaholic

Answer:
Originally Posted by Saxaholic I'm using Alexander DC #3 reeds on it right now...I want to switch to a harder reed; I'm looking at the Alexander Classique model right now to see if that would work, or possibly Vandoren Blue Box 3. Try a harder reed on yours and the high notes should thicken up. Also remember to do long tones up there and to keep your embouchure loose and the air stream focused.
Ed simply made sure there were no flat spots in the facing curve, and made sure the table was flat. These mouthpieces usually had to be fine-tuned to play effectively....both Paul Desmond and Art Pepper had their Model-A's worked on.
I have played other models, and the Model A's are far superior in my mind. Some of the early "Master" models can play well, but these are usually hit or miss. I find the other Gregories to be of a much lower quality than the Model A, particularly the "Los Angeles" models (with the triple band on the shank).
Saxaholic
Thanks for the advice indeed.
I had a minty Gregory Master 6A 16M (older model with a metal band at shank) which also blew very well. I played it side by side with my Model A and found there was a subtle difference. The Master sounded more "solid" while the Model A had more resonant and "soft" sound. That could be partly attributable to the size of barrel. I finally sold the Master.
I had also bought a Lambeson 6SB (older model which smaller marking on the shank) and I don't like it at all. Despite it was easy blowing and powerful, it did not have the rich sound/tone colour that can be found in vintage pieces e.g Gregory.
Lamberson should be very different from Gregory Model A.

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I sent you a PM re: the Lamberson.
I have played them more side-by-side and it's a tough decision. It depends on what tonal mood I'm in. If I want to play like Desmond, then obviously the Model-A is the perfect choice. But for most other work, the Lamberson is superior.
I'm not sure if I'll sell it or not; it's really a fantastic mouthpiece, and they're as rare as hen's teeth, especially in this good condition and this good a player. But finances usually dictate policy on equipment, however unfortunate that may be.
Saxaholic

Answer:
Got mine from Bob Ackerman
I spent an amazing afternoon with Bob about seven years ago. Played a dozen (or more) horns. Several mouthpieces. It was a such a pleasure.
...Anyway...After listening to me play my old horn -- a Buescher Tru Tone circa 1927 -- he said, "Here, this is the mouthpiece you want. Try this."
The difference between my Otto Link STM 5 facing and this new mouthpiece was UNREAL. I could play twice is loud as I ever could and half as quiet as I ever could with better control throughout. Later, Bob said, "This is the mouthpiece Paul Desmond used."
It was [is] the most uninteresting mouthpiece I've ever looked upon. Black hard rubber with a little metal ring on it. It says "Model-A", "M.C. Gregory, Los Angeles" in a diamond on the middle of the top side, on one edge it reads "4A" on the other "16." The serial number is 7438.
What does 4A and 16 mean? Anyone have any other info on this company?
The ligature is unusual as well. I haven't been able to Google anything on it. The plating is a little worn. It reads "Brevete S. G. D. G.", "France", and "Penzel-Mueller" on it. It looks like the correct mouthpiece cover for the ligature came with it. Your insight and information is sincerely appreciated.
Thanks a lot.

Answer:
I play that same piece. Mine is #5706. It's my favorite mouthpiece so far. The "4A" indicates the facing curve/tip opening, and the "16" indicates that this is a small chamber. There were 3 chamber sizes that I've heard of: 16 (small), 18(medium), and 20(large), relatively speaking. But there was little difference in actual chamber volume between them.
A while back I was in a music store to try out some new horns. The fellow asked what mouthpiece I had brought. I showed him the Model A and after a moment his eyes lit up, and he said, "This is a Very nice mouthpiece! And a very Expensive one too!"
I told him that the mouthpiece cost me $1000, but it came with a free, mint 1941 Conn 6M VIII. :D

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congrats on the new peice.

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The Saxophone Mouthpiece Heaven has good description on MC Gregory mouthpieces including Model A.

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M.C. Gregory Model A - "The Paul Desmond Mouthpiece
Hi All, I am looking for one or more of these mouthpieces in any shape...M.C. Gregory Model A - "The Paul Desmond Mouthpiece... any help would be greatly appreciated.... Johnny.

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I have one. Send me an email at .
Saxaholic

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As a sax newbie I hadn't heard of the MC Gregory piece, seems as though they must be very hard to find. So .... does anyone make a comparable mpc these days? I have a Morgan 3c which seems to have similar attributes, but would like to know if there is anything like the magic MC Gregory piece available.

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Also looking for this....
To anyone still out there reading this forum....I am also looking for the Model A 4A-18 mouthpiece. If anyone has one they are willing to part with please get with me. Thanks.

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if you're new to Gregories, be careful, lots of differences,
combined with high prices = touchy situation:
* the Model-A pieces are better than the later 'Master Model'
* the pieces with the brass band at bottom are MUCH better
than the all rubber kind(often referred to as the 'Los Angeles' model).
* three chamber sizes, 16,18,20, = small, medium, large.
* 16's play a lot like Desmond's sound.
* 20's much more mellow.
* 18's in the middle, can go either way on the sound.
* check the tip, you don't want a chipped, worn out,
poorly refaced tip.
I've come across many of the Model-A pieces(for alto,
not so interested in tenor), and if the pieces are in
decent shape, they tend to play pretty well.

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oh, and btw, you might wanna skip the 'Model-B' pieces,
especially in tenor, as these tend to sound pretty dull.

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I AM WILLING TO SELL MY MOUTHPIECE. PM ME OR EMAIL AT . THANKS.
SAXAHOLIC

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I find my 4A16 piece a bit narrow and not so friendly for altissimos...
anyway, I do admit that they are the best control mpc I ever played...1 alto + 2 tenor.....