Today, I am excited to review the Les Becs d’Autan Hollywood tenor saxophone mouthpiece in a 7* tip opening. I have already reviewed the Les Becs d’Autan Florida tenor saxophone mouthpiece, the Les Becs d’Autan MB1 Pilgrimage tenor saxophone mouthpiece, the Les Becs d’Autan MB1 tenor saxophone mouthpiece and the Les Becs d’Autan hard rubber Florida Slant tenor saxophone mouthpiece. All of these tenor saxophone mouthpieces were exceptional, so I’m also excited to review the Les Becs d’Autan Hollywood 7* tenor saxophone mouthpiece, which is a reproduction of a rare 1949 Dukoff BD Hollywood tenor saxophone mouthpiece.
Les Becs d’Autan Hollywood 7* Tenor Saxophone Mouthpiece
The Les Becs d’Autan Hollywood tenor saxophone mouthpiece looked stunningly beautiful upon opening the box. I’ve included a video below of me unpacking the Les Becs d’Autan Hollywood tenor sax mouthpiece so you can share in the experience. Many times, one of the most exciting experiences involving saxophone mouthpieces is the opening of the package. There is something so exciting about that moment when you’re looking at a work of art and imagining what the mouthpiece will sound like. I tried to stay quiet during the video but you can hear my family talking in the background. Sorry about that……
Unpacking the Les Becs d’Autan Hollywood 7* Tenor Saxophone Mouthpiece
As you can see, the Les Becs d’Autan Hollywood tenor saxophone mouthpiece was well protected in the packaging it made the journey from France to the USA in. Although, as a side note, I was surprised that Fedex sent me a bill a couple weeks after receiving the mouthpiece informing me that I had to reimburse them the 10% tariff they had to pay to get the mouthpiece into the country and deliver it to me. This is the second time this has happened to me. You would think that 10% of a free trial mouthpiece sent for review would be zero but I guess the government has a different way of calculating these things…….. As you can tell, I’m a bit frustrated about that and the price of my Rigotti reeds. I just needed to vent a little bit.
Upon a more thorough inspection, the Les Becs d’Autan Hollywood tenor saxophone mouthpiece looks amazing which is of no surprise to me after previously reviewing five other beautiful mouthpieces by Les Becs d’Autan. He is a true craftsman and artist. It is rare that a new mouthpiece maker and refacer comes on the scene and creates such excellent and consistent work. Well done, Philippe!
The mouthpiece has a beautiful gold plating that looks perfect and the white bite plate that is reminiscent of the white bite plate of the original 1949 Dukoff Hollywood tenor saxophone mouthpiece is a great touch.
The tip rails and side rails look thin, even and precise. The side rails curve out as they head to the tip of the mouthpiece. The tip rail curve is different in shape than the reed tip curves of my Boston Sax Shop tenor saxophone reeds (as well as all the Rigotti reeds produced) that I used on this mouthpiece because the outside edges of the mouthpiece tip rail curve down quicker than the outside edges of the BSS (Boston Sax Shop) reed tip shape. The tip shape of the Les Becs d’Autan Hollywood tenor mouthpiece is more of a match with Vandoren saxophone reed tip shapes as I put a Vandoren Java tenor saxophone reed on it and it matched exactly. Regardless of this fact, I detected no issues in regard to mouthpiece suction (when performing the mouthpiece suction test) or in reed response when using the Boston Sax Shop tenor saxophone reeds on the Les Becs d’Autan Hollywood tenor saxophone mouthpiece.
Les Becs d’Autan Hollywood 7* Tenor Saxophone Mouthpiece
Another interesting design feature of the Les Becs d’Autan Hollywood tenor saxophone mouthpiece is that the mouthpiece table becomes slightly narrower in the area where the window begins. As a result, tenor saxophone reeds actually extend a bit beyond the side edges of the table in that middle area of the table. At first, I assumed this might have been an oversight and emailed Philippe at Les Becs d’Autan to point it out. His response, however, was very interesting, so I’ve included our email exchange below.
“Hi Philippe, Did you intentionally make the table of the Hollywood so the reeds are wider than the table? It’s a bit strange. The tenor reeds line up with the edges of the table on the Les Becs d’Autan MB1 tenor sax mouthpieces but on this LBD Hollywood they are hanging over a bit on each side. I’ve never had a mouthpiece with a thinner table than the reed’s width before. I was wondering if it was intentional or a mistake? Thanks, Steve”
Philippe at Les Becs d’Autan answered with this informative email:
“Hi Steve, Excellent observation! The table on the original Dukoff BD Hollywood tenor saxophone mouthpiece that I used as inspiration also had a table slightly narrower than the reed.
So I intentionally kept that characteristic in order to stay as close as possible to the original design. It’s intentional, not a mistake — and it’s actually quite consistent from an acoustic standpoint.
I’ve also seen this on many vintage Otto Link tenor sax mouthpieces in excellent original condition, where the table was likewise slightly narrower than the reed toward the lower part of the window.
The main advantage is that it allows for thinner side rails and gives greater responsiveness to large chamber mouthpieces, which can otherwise feel a bit “soft” with wider side rails. That’s why I believe it was an excellent design choice by Dukoff on this mouthpiece.
The Les Becs d’Autan MB1 has a wider table that matches the reed width exactly. But the MB1 also has a wider window than the Hollywood, which makes it impossible to have a table as narrow as the Hollywood’s (otherwise there would be no side rails left — I hope that makes sense).
But on both of these mouthpiece models, despite being from different eras and different design philosophies, the goal is the same : achieving thin side rails for excellent responsiveness.
Feel free to ask if you have any other questions.
Best regards,
Philippe“
The mouthpiece table looks flat and even. The window of the mouthpiece is narrower at the bottom of the window than other mouthpieces such as brass Otto Link mouthpieces and the Les Becs d’Autan metal Florida mouthpiece I reviewed last year as Philippe mentioned in his email above.
The mouthpiece side rails are scooped out as they lead to the extra-large sized chamber. The chamber looks similar to a typical Otto Link tenor saxophone mouthpiece chamber with the exception than there is a deeper carve out at the bottom of the chamber before the bore begins. This carve out is what makes the Les Becs d’Autan Hollywood tenor saxophone mouthpiece an extra-large chamber tenor saxophone mouthpiece. The roof of the chamber underneath the table is relatively thin.
Les Becs d’Autan Hollywood 7* Tenor Saxophone Mouthpiece
The Les Becs d’Autan Hollywood tenor saxophone mouthpiece baffle has a noticeable clamshell shape that you can see when you look at the photo above. The shape of the clamshell is almost like an upside down “U” or “V”. I have tried looking for a photo of an original 1949 Dukoff BD Hollywood tenor saxophone mouthpiece with a similar baffle but couldn’t find any on the internet. I did compare the baffle of this Les Becs d’Autan Hollywood to Kirill Poudavoff’s copy of a Zimberoff Dukoff Hollywood 6* tenor saxophone mouthpiece that I still have in my collection and it is very similar . I decided to send Philippe another email asking if this unique baffle shape was normal on the 1949 Dukoff BD Hollywood tenor saxophone mouthpieces and asking why it was so hard to find an original photo of this baffle online. Here is his response:
Les Becs d’Autan Hollywood 7* Tenor Saxophone Mouthpiece
Here is how the Les Becs d’Autan website eloquently describes the new Les Becs d’Autan Hollywood tenor saxophone mouthpiece:
The Les Becs d’Autan HOLLYWOOD Tenor Saxophone Mouthpiece
The deep, luminous sound of Dexter Gordon, resurrected in a piece of exquisite craftsmanship.
The world’s first exact high-precision CNC reproduction of the legendary B. Dukoff Hollywood 1949 mouthpiece , played, felt and recreated note for note.
The return of a jazz legend
Rediscover the “ Dukoff Hollywood ” tenor metal saxophone mouthpiece, an exceptional mouthpiece revived with passion.
The first high-precision CNC reproduction of the mythical Bobby Dukoff “Hollywood” model , notably played by Dexter Gordon , this legendary mouthpiece had never been remade until now at this level of precision.
Produced in only a few hundred units in 1949, the “Hollywood” is the Holy Grail of vintage metal tenor saxophone mouthpieces. This is indeed the original model with scooped walls, the one still sought after today by collectors and saxophonists worldwide for over $2000 in good condition.
This contemporary reproduction captures every acoustic detail and playing feel, thanks to meticulous craftsmanship combining 3D modeling, high-precision CNC machining, and hand-applied refacing—as close as possible to the original specifications—developed from a numbered, pristine vintage example. Each mouthpiece is also fitted with a white mouthpiece plate, replicating the iconic design of the original 1949 model.
For those seeking the exact configuration played by Dexter Gordon, please note that he played a 6* mouthpiece with a very long special facing and hard reeds (typical of vintage mouthpieces from the 1930s, 40s, and early 50s):
– You can order a 6* with this “Special Dexter Gordon” facing (specifying it in the order comments). Choose this option if you are comfortable playing very differently from modern medium-length facings and are willing to play harder reeds than you are used to on a 6*. This will give you the closest sound to Dexter Gordon’s mouthpiece, but it is also the most demanding to play.
– Or you can order a 6* with a standard medium facing (no need to specify in this case). You will then have the same opening as Dexter Gordon with an extremely similar sound, and the comfort of a modern mouthpiece with standard medium-strength reeds.
Philippe – craftsman of Becs d’Autan:
“I made this mouthpiece with the same obsession as if I were going to play it myself on stage.
I sought to recreate that rare blend of flexibility and authority, of depth and clarity.
The original Hollywood has always fascinated me: I wanted it to come back to life, note for note.”
A deep, expressive sound with astonishing modernity
The Dukoff Hollywood metal tenor saxophone offers a deep, rich, and authoritative sound that is both mellow and precise.
Its natural projection and dynamic range allow it to navigate all styles, from traditional jazz to modern playing.
“When I first played it, I found it surprising: very expressive, mellow, and yet authoritative when needed.”
— Philippe, craftsman of Becs d’Autan
This mouthpiece combines vintage warmth with contemporary responsiveness.
The tone is full and vibrant, with a perfect balance of body, power, and clarity.
Ideal for saxophonists seeking a rich, singing, and inspired sound without compromising playability.“-Les Becs d’Autan website
Les Becs d’Autan Hollywood 7* Tenor Saxophone Mouthpiece
Before I discuss how the Les Becs d’Autan Hollywood tenor saxophone mouthpiece played for me, I want to touch on a topic that I believe many saxophone players don’t fully understand. I’ve written about this experience numerous times on this blog, but I believe it’s important enough to revisit.
When trying a new saxophone mouthpiece, you need to give yourself more than a single playing session. Part of that time is spent finding the right reed brand and strength, but more importantly, it’s about giving yourself enough time to adapt to the mouthpiece. Some of my favorite mouthpieces today are ones that I initially disliked. The first time I played them, I thought they were terrible. Sometimes I felt the same way during the second and even third session.
Then something changes. I believe that change happens on a subconscious level. Your brain is constantly reaching for a sound based on your experience with your current setup or because you have a sound goal in your head that you want to achieve. As you continue to imagine and pursue that sound on a new saxophone mouthpiece, countless small adjustments begin to occur. Gradually, those adjustments bring you closer to unlocking what the mouthpiece is capable of producing for you. When it happens, it can feel almost magical. I’ve experienced it many times!
I bring this up because my experience with the Les Becs d’Autan Hollywood tenor saxophone mouthpiece followed that exact pattern. The first time I played it, I thought it was awful. It sounded dead, dull, stuffy, overly spread, and nasal. After about three sessions, I felt like the sound was getting better but I still wasn’t comfortable on it. I was tempted to give up.
Then, yesterday, I found a reed that seemed to work better for me. It wasn’t perfect, but it was playable and gave me something to build on. I spent a couple of hours playing in my garage, and as I continued to play, more and more of those negative qualities I noticed earlier seemed to disappear. The sound opened up and became huge in my garage. I found myself excited and loving what I was hearing.
Looking back, I think what was happening is that I wasn’t initially prepared to provide the extra amount of air needed to fill that extra-large chamber. I was blowing as if I were still playing the higher baffled, smaller chambered tenor saxophone mouthpieces I had been using. I was also voicing the notes the same way I would on those previous mouthpieces. An adjustment needed to be made. It wasn’t about the reeds or the mouthpiece, it was about my symbiotic relationship to the mouthpiece and instrument. I know that is a weird statement because “symbiotic” applies to a relationship between two organisms but I honestly feel that as I change and adapt to a mouthpiece, there is a “symbiosis” happening between myself and the equipment I am using. It even feels weird and disrespectful to call a mouthpiece “equipment”, it is more than that for me, it is personal, there is a meaningful connection between I and the mouthpiece……
As the hours passed, my air support became stronger and more consistent. My embouchure relaxed. My voicing gradually adjusted to what the extra-large chamber required. I went from believing the Les Becs d’Autan Hollywood was a terrible mouthpiece to thinking, just a day later, that it was one of the most interesting and enjoyable mouthpieces I’ve played. To me, that’s the magic of connecting to a new saxophone mouthpiece.
Far too many saxophonists play a saxophone mouthpiece once, immediately decide they don’t like it, and either return it, toss it in a drawer, or write a negative review. I’m not suggesting that every sax mouthpiece will eventually become amazing. Some simply won’t be a good match. However, my experience has taught me that it’s often worth investing the time and effort to find out what a mouthpiece is truly capable of before making a final judgment. I urge you to take the time to find out.
Let’s get to how the Les Becs d’Autan Hollywood tenor saxophone mouthpiece actually played and sounded.
Les Becs d’Autan Hollywood 7* Tenor Saxophone Mouthpiece
As I stated above, the Les Becs d’Autan Hollywood tenor saxophone mouthpiece played great for me once I adapted to playing on that larger chamber. I mentioned finding a reed that worked but in reality I don’t think it was the reeds as much as me not blowing like I should. Honestly, that first day I tried it, I had to stop a few times because I felt so winded and out of breath. That is not a good sign for a sax player. I was actually worried there was something wrong with me.
Once I adjusted to the LBD Hollywood tenor sax mouthpiece over the next few playing sessions, the sound of the Hollywood really opened up. The tone became fatter and larger but also more focused and full sounding. The sound of the Les Becs d’Autan Hollywood mouthpiece was hearty and thick sounding, and the tone was fat and substantial sounding. The clam shell baffle near the tip seemed to give the fat tone some nice brightness and ring to the tone. The term “ring” is different than brightness in my opinion. I always refer to “ring” in a positive context. Brightness is one description but when I use ring, I usually mean the brightness take on a beauty, resonance and singing quality for me.
I thought the tone of the Les Becs d’Autan Hollywood tenor saxophone mouthpiece would be more spread sounding because of the extra-large chamber but I thought there was a nice balance of a huge tenor saxophone tone coupled with just the right amount of focus core in the sound that the ear can latch on to. Throughout the whole range of the saxophone, all the notes sounded full and round sounding. Even the notes in the altissimo register were full and round sounding without any notes getting thin sounding.
The Les Becs d’Autan Hollywood tenor saxophone mouthpiece articulated well but I was curious how a 6* tip opening would have performed for me. Philippe had suggest a 6* or perhaps 7 and a few people on social media thought I made a mistake ordering the 7*. According to them, these type of extra-large chambered tenor saxophone mouthpieces perform much better at the smaller tip opening of 6, 6* or 7. Regardless, the LBD Hollywood 7* articulated beautifully for me.
To throw another ingredient into the recipe, you can also order a 6* with Dexter Gordon’s longer facing curve on it which I didn’t know when I ordered this one. That would be an interesting tenor saxophone mouthpiece to try as well.
Les Becs d’Autan Hollywood 7* Tenor Saxophone Mouthpiece
One of the highlights of playing the Les Becs d’Autan Hollywood tenor saxophone mouthpiece for me was its response and sound in the low register. The low notes had a depth and fullness that made them incredibly satisfying to play as well as listen to. They were fat, resonant, and filled with character and complexity.
I often found myself wanting to linger on the low notes during practice sessions and the recordings simply because they sounded so good. There was a richness to the sound that seemed to fill the room with it’s presence. Each low note had a substantial core surrounded by layers of overtones that gave the sound warmth, texture, and layers of complexity. If I subtoned, those low notes would become even more sultry and velvety lush sounding.
When I think about the a Dukoff Hollywood tenor saxophone sound, the player that comes to mind is Dexter Gordon. Listening to Dexter’s recordings, one of the most striking aspects of his playing is the authority and beauty of his low register. His low notes have a huge, commanding presence, yet they remain warm and expressive at the same time. They are hearty and rich with character that seems to vibrate throughout the room. Whether he was playing at full volume or with a lush subtone, those low notes always carried a unique sense of depth and personality. I love listening to Dexter!
The Les Becs d’Autan Hollywood captured much of that same feeling for me. The low register had that classic Dexter Gordon richness and even when playing softly, the sound retained its fullness and complexity. Using subtone, the Hollywood tenor sax mouthpiece produced a lush, velvety sound that remained focused while still maintaining all the warmth and richness one could want when playing a ballad. The Les Becs d’Autan Hollywood tenor saxophone mouthpiece provided that low note heavenly experience in spades.
Les Becs d’Autan Hollywood 7* Tenor Saxophone Mouthpiece
The Les Becs d’Autan Hollywood also has a respectable amount of power and volume available when pushed. On my personal 1-10 mouthpiece volume scale, I would probably rate it somewhere around a 7 to 7.5. It certainly has enough projection for most traditional jazz settings, small-group performances and big band playing. The sound can be pushed louder without losing its fundamental character, and there is enough reserve power to cut through an those ensemble when necessary.
That said, I know many players will wonder whether the Hollywood could serve as an all-purpose mouthpiece for louder musical styles such as funk, R&B, or pop music. While it is certainly capable of producing a strong sound, my opinion is that those genres typically demand a saxophone mouthpieces with more baffle, additional brightness, and greater power and volume to help the sound project through the mix.
The Les Becs d’Autan Hollywood’s strengths lie in its warmth, complexity, richness, and character rather than sheer brightness, edge and power. Compared to modern high-baffle mouthpieces designed specifically for maximum projection and brightness, the LBD Hollywood tenor sax mouthpiece has a broader, more rounded sound. It projects well, but it does so with depth and warmth rather than with an aggressive brightness. For that reason, I don’t believe the Les Becs d’Autan Hollywood would be my first choice for extremely loud funk, R&B, or pop situations where the saxophone needs to consistently compete with amplified guitars, keyboards, drums, and sound systems.
Les Becs d’Autan Hollywood 7* Tenor Saxophone Mouthpiece
The altissimo register of the Les Becs d’Autan Hollywood tenor saxophone mouthpiece was one of the most surprising aspects of the LBD Hollywood mouthpiece. The altissimo range was very easy to access. This was unexpected because, based on the design of the mouthpiece, I assumed it would be more challenging to play in the upper register. Typically, mouthpieces with extra-large chambers and lower baffle profiles are not known for making altissimo notes effortless, especially when compared to higher-baffle designs that are often associated with greater brightness and easier altissimo playing.
The Les Becs d’Autan Hollywood tenor saxophone mouthpiece completely defied those expectations of mine. In fact, it may be one of the easiest tenor saxophone mouthpieces I have reviewed when it comes to producing altissimo notes and navigating the overtone series. Notes seemed to slot into place with very little resistance, and the transitions between overtones felt unusually smooth and predictable. The mouthpiece responded quickly and consistently, allowing me to focus more on musical expression rather than fighting for the notes to speak.
I am not entirely sure what aspect of the design is responsible for this altissimo response, but the unique V-shaped baffle near the tip may play an important role. Whatever the reason, the overtone series seemed to “pop” out of the saxophone with much greater ease than on many other tenor mouthpieces I have tested over the years.
A great example of this can be heard at the :48 mark of the first two recordings, where I play a Michael Brecker line that incorporates several alternate fingerings. On many mouthpieces, I have to consciously manipulate the oral cavity to produce those overtones cleanly throughout the line. With the Les Becs d’Autan Hollywood, however, the experience was completely different. The notes responded so naturally that I felt almost no need to make those usual adjustments. Instead of having to work for each note, the entire line felt fluid and effortless.
You can hear another example of this ease of response at the 2:35 mark of the first two recordings. In passages like these, I would normally experience some degree of tension in my throat as I work to produce the altissimo notes in that scale. With the Les Becs d’Autan Hollywood, however, that tension was virtually absent. The altissimo notes played freely and naturally, requiring very little effort on my part.
Les Becs d’Autan Hollywood 7* Tenor Saxophone Mouthpiece
The intonation on the Les Becs d’Autan Hollywood tenor saxophone mouthpiece was excellent throughout the entire range of the instrument. One of the first things I noticed was how even and balanced the tone remained, whether I was playing in the low register, the middle of the saxophone, or extending into the upper register and altissimo range. When playing fast jazz lines, the mouthpiece maintained a smooth, connected sound that allowed phrases to flow smoothly without any noticeable tonal variation from one register to another.
Les Becs d’Autan Hollywood 7* Tenor Saxophone Mouthpiece
I’ve included three sound clips of the Les Becs d’Autan Hollywood tenor saxophone mouthpiece for you to check out. All three sound clips were recorded with a BSS (Boston Sax Shop) #3 Silver Label tenor saxophone reed. I recorded a clip of my usual lines, licks and melodies I play in every mouthpiece review for the first sound clip so you can compare the lines to other mouthpiece clips here on my website. This first sound clip has reverb added.
The second sound clip is the same as the first but this is a dry recording with no reverb added. The reverb added sound clip gives you a hint of what the Les Becs d’Autan Hollywood tenor saxophone mouthpiece might sound like in a hall with natural reverb and the dry recording gives you a hint of how the LBD Hollywood tenor saxophone mouthpiece might sound in a dry practice room with no natural reverb. Both scenarios are important because you don’t want to be in a practice room and hate the sound you are hearing and you certainly don’t want to be in a concert hall hating the sound you are hearing coming back to your ears.
The third sound clip was recorded with the same reed and is more of an R&B altissimo style clip with reverb added that I try to add to all of my mouthpiece reviews so you can hear what the mouthpiece sounds like in that altissimo range and in that genre of music. As I stated earlier, I would not classify the Les Becs d’Autan Hollywood tenor saxophone mouthpiece as a loud funk, R&B, or pop kind of sound but I do think you could pull it off to a certain extent. I don’t think it has enough brightness for those genres of music and would lean to the Les Becs d’Autan MB1 tenor saxophone mouthpieces for those genres of music.
Les Becs d’Autan Hollywood 7* Tenor Saxophone Mouthpiece
In my opinion, the Les Becs d’Autan Hollywood tenor saxophone mouthpiece is an amazing tenor sax mouthpiece for those of you looking for a unique boutique type of tenor saxophone mouthpiece that is inspired by a vintage Dukoff BD Hollywood tenor saxophone mouthpiece. Philippe at Les Becs d’Autan classifies this as a boutique mouthpiece for a reason. Not every saxophone players wants an extra large chamber to blow air through. BUT, those players that are willing to adjust and adapt to an extra large chambered saxophone mouthpiece they are not used to might find a gold mine of tonal treasures waiting to be discovered. If you dig Dexter, this is definitely a tenor sax mouthpiece worth considering!
An original, vintage Dukoff BD Hollywood tenor saxophone mouthpiece is hard to find as only 200 were ever made. When you do find one online, they are usually very expensive, so having an option to buy an excellently made mouthpiece along the same lines as a Dukoff BD Hollywood tenor saxophone mouthpiece at a more affordable price is amazing.
Phillippe at Les Becs d’Autan did an absolutely incredible job creating this Hollywood tenor saxophone mouthpiece. His artistry and craftsmanship are evident from his work. I am looking forward to seeing more of his mouthpiece work in the future.
If you like the sound and look of the Les Becs d’Autan Hollywood tenor saxophone mouthpiece, you can find them at the Les Becs d’Autan website.
If you try a Les Becs d’Autan Hollywood tenor saxophone mouthpiece or have any thoughts, comments or questions on this review, I would love to hear what you think in the comments below. Thanks, Steve
Les Becs d’Autan Hollywood 7* Tenor Saxophone Mouthpiece-Boston Sax Shop 3 Silver Label Reed-Reverb Added
Les Becs d’Autan Hollywood 7* Tenor Saxophone Mouthpiece-Boston Sax Shop 3 Silver Label Reed-Same Clip as Above with No Reverb
Les Becs d’Autan Hollywood 7* Tenor Saxophone Mouthpiece-Boston Sax Shop 3 Silver Label Reed-Altissimo Clip with Reverb Added
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