BORGANI SAXOPHONES: CUSTOMIZED EYE-CATCHER

Saxophonists who want a truly original instrument need look no further than Borgani, the Macerata, Italy-based manufacturer that will custom-design a new horn according to your personal specifications.
"Let's say you want a different angle on the neck, or you want a certain keys to be a different size or shape- Borgani will customize it for you, "said Roberto Romeo, president of Roberto's Woodwind, which distributes the Borgani saxophones line in the United States. Borgani specializes in eye-catching horns finished in sterling silver, pearl silver, 24karat gold, pearl gold and vintage brass. Manufactured in one of Europe's oldest musical factories, the bells, the necks, necks and bodies are hand-hammered, and tone-holes are drawn manually from the body of the horn, without the aid of a machine. At a customer's request, necks can be reinforced on the exterior to increase projection and focus the sound. Many of the connecting parts on Borgani saxophones are microfocused, a techinique that minimizes sound interruption and allows more continuous vibration throughout the horn. Pads are constructed with a special leather exterior and, on the inside, consist of a compressed felt traditionally used for flute pads.
Borgani also offers a choice of plastic or metal resonators: Plastic tends to mellow the timbre slightly, while metal produces a more brilliant tone and prompt attack. Borgani has collaborated extensively with saxophonists worldwide, customizing horns, for such players as Joe Lovano, Jan Garbarek and Tim Price. The company has developed a new series based on the Lovano model, which has pearl silver finish and gold plated keys. Lovano plays a Borgani on several recent recordings, including his 52nd Street Themes (Blue Note), Jim Halls's Grand Slam (telarc) and Abbey Lincoln's Over the Years (Verve). Lovano, who used to playing horns like the Selmer Balanced Action, Conn Chu Berry and King Super 20, says he likes the Borganis because they resemble these older instruments in their shape and feel. "It was one of the first new horn I've played that wasn't trying to be a Selmer Mark VI".
Lovano remebered of his first Borgani impression about two years ago. "It had a straight table, I liked the way that feels. I noticed right away that feels. I noticed right away it had a real deep, warm sound. It had a richness about it like the older horns did." Borgani offers a high F# key on its horns, but Lovano opted to leave it off his model, which is customized to fit his phisical playing style. "I worked on the shape of the neck with them," he said. "The angle comes up a little bit so the horn is not real close to me. I can have the honr away from my body and play donw into it rather than up into the neck. We also worked on the palm keys and streamlined the left hand so it's not so projected; it's a little closer in and down th eline of the body of the horn."

by Ed Enright (DownBeat January 2001)

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