Trevor James TJ SR tenor saxophone
Description : A mid-range horn that punches well above its weight.
Guide price : £1600
Date of manufacture: May 2012
Date reviewed : June 2012
mid-range saxophone market has always been a tough nut to crack. On the
one side there are some excellent 'student' horns, such as the Yamaha
275 series, and on the other are some pretty serious heavyweights, such
as the Yamaha 62. As if that wasn't bad enough, slap-bang in the middle
is the formidable Yamaha 475.
There's also a certain amount of ambivalence from buyers towards this
sector of the market - with perhaps the perception that it's neither one
thing nor the other. Horns in this category are neither cheap nor the
best in the range. While this was certainly true a good few years ago
now, times have changed and the arrival of quality horns from Taiwan have
served to muddy traditional distinctions somewhat - and if you spend wisely
you can get rather more than you might have expected.
The TJ SR follows in the footsteps of the rather impressive CS RAW from
the same stable, and in some ways sets itself a rather hard target - and
as we'll see there are a number of similarities...some obvious, some less
The body is pretty much standard fare these days: brass body tube, plain
drawn tone holes and ribbed construction (pillars fitted to strips of
brass). It has the usual embellishments such as a detachable bell, adjustable
thumb rest and a removable side F# key guard.
The build quality is good, with all the pillars and fitting neatly and
securely attached - and a nice set of level tone holes. Better still,
they have smooth rims. Nice to see this at this price point - you'd be
surprised how many manufacturers skip this step, which often leads to
problem with sticking pads and shorter pad life.
The finish is good too - but then it would be, because it doesn't have
one. Yep, it's another unlacquered horn.
Players often write in and ask what the pros and cons are of unlacquered
horns, and I have to say that as far as the pros go...there aren't any
- at least not unless you feel the absence of lacquer makes a difference
to the tone. As far as the cons go there are quite a few, mostly centred
around the fact that brass is a pretty reactive metal and will tarnish
quite quickly. If you're lucky this will mean the horn goes a nice shade
of dull browny yellow...but in most cases it goes rather blotchy with
patches of red and green.
It's interesting to note that I'm now getting emails asking me whether
I'm able to put a coat of lacquer on a horn that was bought without one.
I find it very hard to resist saying "Told ya so!".
Mind you, there is one advantage that springs to mind - if you ever need
to have any dent or solder work done to the horn you won't have to worry
about it affecting the finish, which will help maintain the horn's resale
value over time.
Simply polish off the marks, rub your hands over the area to start it
tarnishing and in a few weeks no-one will be able to tell there was any
Fortunately the SR is also available in a lacquered finish, which is a
rather more sensible option.
As per the RAW, I would have liked to have seen larger guard feet fitted.
It just helps to spread the load in the event of a knock, and may mean
the difference between having to deal with just a dent and having to sort
out a stoved-in tone hole.
also noticed the relatively small size of the top F# key upper pillar
base. This is another vulnerable spot - if the horn takes a tumble there's
nearly always some damage around this area, but what's more likely to
happen is that the horn cops a whack just as you're getting up on stage
and the pillar gets knocked off-line. This will cause a leak at the top
F# pad, and that's the horn out of action for the duration of the gig...and
until you can get it repaired.
It's the same on the RAW - which is something I missed when I did the
Mind you, there's a school of thought that says it's often better that
a pillar gets knocked off in a fall rather than hanging on and creasing
the body tube. Swings and roundabouts really, but I tend to favour the
'belt and braces' approach.
The keywork is well-constructed. Being pretty much the same as the RAW
it's bound to be, though it lacks the double-arm features of the flagship
model. On the plus side though the pearls are proper Mother-of-pearl,
which makes for a nice feel...and an extra nice touch is the perfectly
placed and slightly domed BisBb key pearl against the slightly concave
main stack pearls. This makes for a very comfortable transition from the
B to the Bb.
nice feature is the use of Teflon sleeves on the octave key rocker arm.
This helps to both quieten the mechanism and ensure it runs smoothly -
it also helps to prevent wear. When the sleeves wear out they're easily
replaced...none of that nasty metal-on-metal business that so many octave
mechs make do with.
The point screws are of the pseudo variety. At the time of review the
action was nice and tight - but it won't stay that way forever, and there's
no provision for adjustment with these screws. I'm told that TJ are still
looking into using proper point screws (particularly on the RAW).
There are adjusters fitted to both main stacks, which makes tweaking the
regulation much easier than having to muck about with bits of cork and
sandpaper - and, of course, there are the usual adjusters for the G#,
forked Bb and low C# - as well as adjustable key arms on the G# and front
Topping off and powering the action is a set of blued steel springs.
As the key layout is the same as the RAW I had no problems getting my
fingers around it - though I'm still finding the G# touchpiece just a
mite too small for my tastes.
The setup out of the box was rather good - I didn't feel the need to make
any adjustments to the key height, and nor did I have to sort out any
niggling double-action issues. Even better, the pads were all nicely seated
(and fitted with standard riveted domed reflectors).
As expected, the octave key mech felt nice and slick, as did the bell
key table (below)- and the side Bb/C keys, which feature a no-nonsense
fork and pin link.
I missed the feel of the RAW's shaped metal thumb rest though - the SR
has a bog-standard plastic one. I think it might have felt better if it
had been ever so slightly domed, or at least rounded off a bit more at
the bottom line on the SR is that it appears to be a budget version of
the RAW, at least in terms of the features and the layout of the keywork.
But then there are the extras.
TJ haven't skimped here. Not only do you get a hefty ProTec case (with
a zip fastener though, and not shaped, though this may be on the cards),
you also get a genuine Bari
Hybrid mouthpiece. That's some pretty serious kit on its own. Also included
is an accessory pack which contains a polishing cloth, a pull-through,
cork grease - and a proper BG sax strap, complete with swivelling plastic
hook. Very nice. There's even a couple of mouthpiece patches too, and
a Vandoren reed...and a resealable bag to keep it all in.
I have to say I was very impressed - accessory bundles are usually a bit,
well, crap really - but I spent a good few minutes oohing and aahing as
I pulled goodies out of the case.
Top marks there, though I'm knocking half a point off for not including
a signed photo of Stan Getz and a year's free membership to Ronnie Scott's.
Tonewise it's a very 'confident' blower, a sense of being very assured,very
stable. The evenness across the range is extremely good, with just a nice
bit of bloom down at the bottom end that really comes into its own when
the horn is subtoned. Positively creamy. It's not without sparkle though,
but it's a gentle sparkle - not so much like the fizz you'd get from Champagne,
rather it's the more subtle bubbles you'd find in a glass of freshly-poured
Guinness. And Guinness is a good analogy, it captures this horn's inherent
laid-back smokiness. You can pep up the fizz by putting a bright mouthpiece
on this horn, and it will sing for you, but you'd be missing out on its
forte - it's got mainstream jazzer written all over it.
It doesn't run away with you when you push it hard, and when you back
it off it does so with dignity. That's a feature worth having - too many
horns these days do just fine when they're shouting the odds, but when
they're asked to back off they have nothing to say.
The obvious comparison is with the RAW, and at around £1000 more
there ought to be some significant differences.
Or so you'd think.
The handling is pretty much the same, what with the identical key layout
- so that's a good start.
Playing the horns side-by-side it becomes apparent that there's a TJ philosophy
of tone - you can hear it in both of them, that sense of balance.
The RAW is livelier, it has 'more of everything' aside from the warmth
that the SR puts out down the bottom end. It's very close though - and
such is the nature of pro-quality horns these day that you'll find yourself
paying another grand for what doesn't really seem like that much at all
If I had to put a number on it I suppose 8-10% would be somewhere about
right - and that's only just about outside the region of the difference
(4-5%) you might commonly find between two apparently identical horns...same
make, same model.
That makes the SR rather a lot of bang for bucks - I'm pretty sure that
if I spent an hour or so fiddling with mouthpieces I could bring the response
of the SR even closer to the RAW...but I'm not actually sure that would
be a good idea. I feel there's a large market for horns that have more
than a passing nod to the richness of yesteryear's horns without any of
the associated ergonomic and tuning problems - and as such the SR enters
the market in a very strong position.
Add in the case, the mouthpiece and the accessories and for the price
this horn is going to be very, very hard to beat.