Guest
Join us at Alex Hsieh: I'm personally not a professional sax player. But I'm a crazy saxophone advocate. I love the saxophone and I also love the music of the saxophone. Smooth Jazz is one of my favorites. It's fun, music — it's my love. The saxophone is my second life. We want to make people understand what the P. Mauriat Spirit is. Our main principle is not only the profit, for money. Our main job is how to make musicians that pick P. Mauriat saxophones enjoy their P. Mauriat saxophone and make their music very beautifully. James Carter: I've been dealing with since 2006, and this is exclusively. I feel that this is a very great company that listens to players. And they implement whatever ideas, that players give to the company. I play these horns, I record with these horns, I feel that it has potential to express my voice. It has the key elements: good metal, good keywork. Things of that nature, that enable me to externalize what I'm feeling, what I'm hearing. Tony Lakatos: I've always liked the P. Mauriat saxophones I first tried it 5 or 6 years ago, I was endorsing Keilwerth that time. And I found this saxophone and was playing it for the first time, and I fell in love with it. And then, with the years, I fall in love more and more with this horn, with it's work. I think it is very close to the vintage saxophones. Actually, every professional payer is looking for this kind of vintage sound and look, you know. And they really made it. I think this is a big point with P. Mauriat. Patrick Byrne: The human touch is involved from step one in this instrument all the way through until the finishing touch is put on the finished product. And in a world where everything is machined and computer oriented, this is a very special touch. It means that every instrument has been carefully crafted by human hands and that element of humanity is put into the horn and actually play with that element inside them. And being a player myself, I really respect that aspect of the manufacturing process.
