Origin: China
Guide Price: $3,200
Weight: 3.28kg
Date of Manufacture: 2023 (serial range: A2370xxx)
Date Reviewed: March 2024
Damn! Eastman’s 52nd Street Tenor Finally Hits the Bench
For years, the Eastman name has floated in the saxophone conversation, often mentioned but rarely seen on my workbench. Many have asked why I’ve never reviewed an Eastman horn, and the truth is simple: opportunity hasn’t knocked – until now. Despite being around for two decades, these instruments haven’t been common in my workshop, perhaps indicating limited popularity or availability in this region. However, as I always say, eventually, they all find their way through my door. The question is, was the wait for the Eastman 52nd Street tenor saxophone worth it?
This Eastman ETS652 52nd Street tenor saxophone, initially crafted in Taiwan, now hails from Eastman’s factory in China. This shift in manufacturing also brought a significant redesign, making the current 52nd Street model quite distinct from its Taiwanese predecessor. Comparing the two would be fascinating, but given their rarity in this part of the world, it seems unlikely anytime soon. The general consensus suggests the Taiwanese model leaned towards a vintage American sound, while the Chinese-built version takes a more Selmer MkVI-inspired approach.
During my research into the Eastman 52nd Street tenor saxophone, I encountered discussions about pricing relative to manufacturing location. Concerns about Chinese-made horns are understandable, but there’s a crucial difference between generic Chinese instruments and those produced in a factory owned by a reputable brand like Eastman. Yamaha’s global manufacturing model demonstrates that location is secondary to quality control and experienced oversight. The real question is whether Eastman has successfully implemented these crucial elements in their Chinese factory for the 52nd Street tenor.
After a considerable wait, the Eastman ETS652 52nd Street tenor saxophone is finally here. Being practically brand new, just out of the shop, it’s time to delve into the specifics of this much-anticipated instrument.
Construction and Keywork Details of the 52nd Street Tenor
The body of the Eastman 52nd Street tenor saxophone features ribbed construction, with smaller key groups mounted on plates and a selection of standalone pillars, all exhibiting reassuringly broad bases. It includes a well-proportioned 16/10 sling ring, a detachable bell, an adjustable metal thumb hook, and a substantial, slightly domed metal thumb rest. Adjustable bumper felts, a fixed side F# guard, and a low C# guard are also present. This low C# guard is a particularly thoughtful addition, protecting a key prone to damage. While the solderwork on this guard is a tad heavy-handed, the overall body construction appears neat and well-executed, with no major concerns. The bare brass finish with a factory patina is a stylistic choice popular today. However, potential buyers should be aware that this finish demands diligent cleaning, especially for players prone to moisture, as bare brass can quickly develop unsightly and value-reducing green spots.
Eastman has incorporated different metals strategically throughout the 52nd Street tenor saxophone. While brass is the primary material, nickel silver is used for the top E and F# key barrels, as well as the G key barrel. Nickel silver’s increased stiffness helps minimize flex in these longer keys. The crook clamp and sling ring are also crafted from nickel silver.
Regarding stiffness, the design of the compound bell key pillar on the 52nd Street tenor saxophone is slightly concerning due to its smaller base. This “half semicircular” design, while not unique, is inherently less robust and benefits significantly from a larger base to distribute stress from impacts and reduce the risk of body tube damage around the adjacent tonehole. Indeed, applying slight pressure to this pillar reveals a degree of flex in the body tube beneath it. A larger base would noticeably improve the pillar’s stability.
Similarly, the two-point bell brace on the Eastman 52nd Street tenor saxophone appears somewhat flimsy compared to modern standards. This design, reminiscent of older Selmer saxophones, was once an improvement over vintage American braces. However, contemporary saxophone bracing has evolved significantly, making this feature more about aesthetics than optimal function.
A significant drawback of this type of brace is that substantial damage might necessitate bell removal for repair, potentially even complete brace detachment. Modern braces, designed for independent removal, simplify repairs and reduce costs. While this brace type was also seen on the Remy tenor recently reviewed, it seems manufacturers are incorporating these vintage-inspired features out of a possibly misguided sense of nostalgia. While vintage Selmers had many strengths, they also had weaknesses, and perhaps it’s time to move beyond romanticizing outdated designs. On a positive note, the crook fit on this 52nd Street tenor is excellent – snug and wobble-free, demonstrating high-quality craftsmanship.
The bell of the Eastman 52nd Street tenor saxophone is tastefully engraved, exhibiting an art-deco influence that avoids excessive ornamentation. It’s a visually appealing touch.
Moving to the keywork of the 52nd Street tenor, initial online comments suggested potentially soft keywork. However, upon testing, the keys are neither overly stiff nor soft, landing comfortably in the middle – perfectly adequate for professional use. This action should withstand the rigors of touring without regulation issues. During examination, the bell and bottom bow tubes seemed slightly softer than the main body tube, possibly due to annealing, which is more of an observation than a functional concern.
Attention to detail is a defining characteristic of the Eastman 52nd Street tenor saxophone’s keywork. The low Bb tilting spatula exemplifies this. Its connection to the low C# spatula uses a pin within a “box” on the Bb key. Most manufacturers use grease and a plastic sleeve for quiet operation, which often degrades quickly. Eastman, however, has lined the box interior with synthetic felt, a more durable and effective solution that is typically a repair upgrade for rattling mechanisms. This small detail, along with the unusually thick wall of the box section (significantly thicker than standard horns, enhancing durability against wear), demonstrates a commitment to quality.
The Eastman 52nd Street tenor presents a very refined aesthetic, almost excessively so. The keywork finishing is exceptional, with impeccable solderwork and extremely clean edges. While the bell key table might appear slightly “blocky” to some (possibly benefiting from some rounding), the overall sleekness is undeniable. Navigating the table felt smooth, and the rollers, including those on the low C/Eb touchpieces, were perfectly fitted – another testament to meticulous detail.
The action of the 52nd Street tenor saxophone utilizes a good range of buffering materials. Composite cork and synthetic felt are used extensively, with some natural cork in specific areas. Composite cork offers durability and less compressibility than natural cork, though it can be slightly noisier. Synthetic felt is dimensionally stable, more wear-resistant, and slightly smoother than wool felt. This material selection represents a reliable and well-considered approach to key buffering. The overall trim and precise nature of the corkwork suggests pre-cut buffers, contributing to consistency and efficiency in assembly.
Occasionally, minor inconsistencies in cork placement, like slight offsets or setbacks, appear, which are purely aesthetic and do not affect function. Similarly, a perfectly shaped but slightly oversized synthetic felt on the low Bb tab (linking to the low B key) hints at a pre-cut approach. While the corkwork is generally excellent, these minor observations suggest areas for potential refinement in Eastman’s assembly process, perhaps by using a slightly smaller punch for the Bb tab felt.
Point Screws, Rod Screws, and Octave Mechanism of the 52nd Street Tenor
The point screws on the Eastman 52nd Street tenor saxophone were a pleasant surprise. Initially groaning at the sight of pseudo point screws, closer inspection revealed they were exceptionally well-fitted. Instead of merely relying on the pointed tip engaging the key barrel, the holes appear to be reamed to match the entire profile of the screw tip, creating a glove-like fit. This not only ensures excellent initial function but also allows for future adjustments as the action wears. This thoughtful design detail is commendable. Only a minor hint of free play was detected in one point screw mounted key on the lower end of the top E key, easily rectified with a pillar reamer.
Rod screws on the 52nd Street tenor saxophone are equally impressive. No key wobble or over-drilled pillars were found. The rod screws fit snugly through the pillars, demonstrating exceptional precision. This attention to fundamental mechanics is heartening and promises long-term action stability, minimizing the need for frequent action tightening.
The octave key mechanism is a standard swiveling design, but it’s enhanced by a large, sculpted touchpiece. The photograph struggles to convey the comfort of this setup. The slightly domed thumb rest, combined with the generous size of the thumb key and an optimized approach angle, creates a very efficient and comfortable mechanism. Players are unlikely to need adjustments to this thumb key, as it feels naturally responsive and comfortable right out of the box.
Furthermore, the octave mechanism exhibits minimal play – pressing the thumb key results in immediate and direct movement of the entire mechanism, akin to an on/off switch. This responsiveness is excellent.
Key Pearls, Adjusters, and Additional Features of the 52nd Street Tenor
Comfort extends to the stack action of the Eastman 52nd Street tenor saxophone. The keys are fitted with slightly concave abalone pearls, with a subtly domed pearl on the Bis Bb and an oval pearl for the G#. Personal preference leans towards flatter pearls, and while these are comfortable, the Bis Bb dome could be slightly more pronounced for optimal effectiveness.
The absence of stack adjusters is a minor drawback. While G#, Bis Bb, and low B/C# adjusters are present, additional stack adjusters would be beneficial. This omission might be a cost-saving measure at this price point, though many competitors at or below this price include them.
Other features of the 52nd Street tenor include reliable fork and pin connectors for the side Bb and C keys, well-fitted blued steel springs, Pisoni Pro pads, and a generously sized zippered case. The case includes ample internal storage, crook and mouthpiece slots, and two external zippered compartments, one of which expands to accommodate a flute or clarinet case – a clever design detail that might initially be puzzling without instruction.
Reports of loose horn fit within the case were noted, but this particular Eastman 52nd Street tenor saxophone fit reasonably snugly. However, zippered cases, in general, are less durable than those with catches. Selling the zippered case while new and investing in a more robust case is advisable for long-term protection.
Toneholes and Pad Issues: The Critical Flaw of the 52nd Street Tenor
Up to this point, the Eastman 52nd Street tenor saxophone review has been largely positive. However, the toneholes present a significant issue. The Eastman appears to feature rolled toneholes, possibly as a nod to the Conn 10M. However, they are pseudo-rolled toneholes – plain drawn toneholes with an added ring to simulate a rolled edge, similar to Keilwerth saxophones. While pseudo-rolled toneholes have potential benefits, a major drawback for repairers, and ultimately players, is the complication they introduce when tonehole leveling is required. And leveling was indeed necessary on this Eastman 52nd Street tenor saxophone.
The unevenness of the toneholes ranged from noticeable to severe. The low B tonehole, for example, exhibited typical peaks at the apex and dips at the front and rear, with gaps significantly exceeding the acceptable tolerance of a fine cigarette paper (approximately 1/1000th of an inch). In fact, a piece of birthday card stock fit into the gap. Evidence of prior attempts at leveling, including file marks and variations in the rolled profile, were observed, suggesting pre-existing issues.
Filing rolled toneholes is generally considered undesirable, but these pseudo-rolls are solid, preventing breakthrough. However, altering the intended profile of the roll compromises its purpose – to create a consistently rounded pad seat. This raises questions about quality control and value proposition. While rolled or pseudo-rolled toneholes are often marketed with claims of enhanced tone, the primary engineering effect is increased tonehole wall stiffness. However, a less favorable engineering consequence is reduced pressure at the pad face due to the wider tonehole rim. This reduced pressure necessitates greater precision in tonehole flatness and pad seating, as there is less margin for error.
The low D key on the Eastman 52nd Street tenor saxophone perfectly illustrates this issue. Despite firm finger pressure, a leak was clearly visible along the pad’s side. A straight edge placed across the tonehole revealed light shining through, corresponding to a dip in the tonehole rim. This warped tonehole condition was present straight from the shop, undermining claims of professional setup. The problem is exacerbated with spring-closed keys (G#, low C#, side Bb/C/F#), where finger pressure cannot compensate for leaks, leading to performance issues.
While not the worst tonehole unevenness encountered, the Eastman 52nd Street tenor saxophone’s toneholes are subpar compared to contemporary norms. Leveling them is significantly more complex and costly than with plain toneholes, a necessity amplified by the reduced pad pressure inherent in rolled tonehole designs. While some may downplay tonehole flatness, many players recognize its importance, and a significant portion of the market avoids instruments with potential tonehole problems, opting for brands like Yamaha or Yanagisawa.
Adding to the tonehole issue, Eastman’s attempt to compensate for uneven toneholes through pad adjustment is undermined by insufficient pad glue. This is a critical double fault.
Despite using good quality Pisoni Pro pads, the Eastman 52nd Street tenor saxophone suffers from a severe lack of pad glue (shellac or hot melt). This parsimony on such a crucial, inexpensive component is perplexing. Adequate pad glue is essential for sealing pads to uneven toneholes and ensuring long-term pad stability. While glue coverage appears decent (possibly painted on), the quantity is woefully inadequate. Saving costs on tonehole finishing necessitates generous pad glue to compensate for imperfections. Attempting to seat pads on warped toneholes with minimal glue is a short-sighted fix. Pads adjusted to accommodate dips in toneholes will lack base support, leading to cracking or stretching and eventual air leaks as the pads settle. This is a significant flaw.
Sound and Playability of the 52nd Street Tenor After Tonehole Correction
The initial assessment of the Eastman 52nd Street tenor saxophone’s playability was somewhat underwhelming. It fell into the “straight-ahead” tenor category – balanced tone, neither overly dark nor bright, but sounding somewhat “dry” and lacking resonance. It was stable but not particularly exciting, and didn’t respond dramatically when pushed. However, after professionally leveling the toneholes, the instrument underwent a remarkable transformation.
The tonal character remained “straight-ahead” and versatile, but the saxophone gained significantly more headroom and responsiveness. It became more dynamic, offering a pleasing “fizz and crackle” in the lower register and sweet clarity in the upper range. It could be played softly with consistent clarity or pushed hard to deliver a powerful response. The “pop” and percussiveness of notes improved, eliminating any sense of muddiness. The leveled toneholes also enhanced action solidity, ensuring consistent tone across fast and slow passages, regardless of finger pressure. This improved responsiveness, the primary reason the client initially chose this horn, was now fully realized. The 52nd Street tenor saxophone became a balanced, “workmanlike” instrument – reliable and ready for any musical task.
The feel under the fingers is also excellent, partly due to the comfortable, relatively flat key pearls. Beyond pearl preference, the overall keywork layout, spring geometry, and action tightness contribute to a very comfortable playing experience. Eastman has successfully addressed these ergonomic aspects. Additionally, the Eastman 52nd Street tenor saxophone is relatively lightweight, lighter than Yamaha Z, Yanagisawa WO models, and even my own TJ RAW tenor, enhancing playing comfort, especially during extended sessions.
Vintage Saxophone Comparisons: Conn 10M and Selmer MkVI vs. the 52nd Street Tenor
To provide context, the Eastman 52nd Street tenor saxophone was compared side-by-side with a 1947 Conn 10M and two Selmer MkVI tenors (early and late 60s).
Against the Conn 10M, the Eastman 52nd Street tenor saxophone was clearly outmatched. The Conn 10M was significantly louder, with a broader, more enveloping sound that made the Eastman sound comparatively two-dimensional. The Conn’s tone was expansive, while the Eastman felt somewhat constricted in comparison.
The comparison with the early Selmer MkVI was much closer than anticipated. While the Selmer had a slightly more open sound, the tonal similarities between the two were striking. The Eastman’s tone felt slightly more focused, wrapping around the player more directly. While the Selmer was arguably better, the significant price difference made the Eastman 52nd Street tenor saxophone a compelling alternative. The Eastman, paired with a different mouthpiece, could potentially bridge the remaining tonal gap at a much lower overall cost.
Against the later Selmer MkVI, the differences became more pronounced. The later MkVI exhibited a more three-dimensional sound, with greater clarity and cohesiveness. While brighter, this brightness stemmed from clarity rather than excessive high frequencies. The Selmer felt more refined and polished. While the Selmer was preferable, the decision became more nuanced. Financially, the Eastman remained attractive, but the later MkVI offered a more compelling overall package for those who could afford it.
Finally, compared to the TJ RAW tenor saxophone (priced similarly to the Eastman 52nd Street tenor saxophone), the TJ RAW was the clear winner in terms of sheer sonic magnitude – “bigger” in every aspect. However, this comparison is somewhat subjective, as the reviewer’s familiarity with their own TJ RAW influences the perception. It was a close comparison, not a knockout, and preferences could vary among players.
Conclusion: Eastman 52nd Street Tenor – A Near Miss, But Still a Contender
The Eastman ETS652 52nd Street tenor saxophone is a conflicted instrument. Its general build quality is genuinely impressive, representing a refreshing change from some recent “boutique” saxophone reviews. Attention to detail and a commitment to mechanical integrity are evident and commendable. The price point, just over $3,200, significantly undercuts many competitors, offering remarkable value for the build quality. Up to the tonehole issue, this review was poised to be overwhelmingly positive. However, the subpar tonehole flatness and insufficient pad glue are critical flaws that cannot be ignored.
Despite these flaws, the Eastman 52nd Street tenor saxophone retains considerable appeal. Compared to Yamaha 62, Yanagisawa TWO1, and TJ RAW tenors, it offers a distinct tonal flavor and comparable action quality. However, the tonehole issue is a significant hurdle. Addressing this with professional tonehole leveling, costing an estimated $200-$300, elevates the total investment into Yanagisawa WO2 territory, a strong competitor. The TJ RAW, at the same price point as the Eastman, also presents a formidable alternative.
The Eastman 52nd Street tenor saxophone is a horn with significant potential and appeal, deserving serious consideration. However, a recommendation must come with the caveat that addressing the tonehole issue is likely necessary to realize its full potential in the long term. For Eastman, a relatively small increase in factory cost to ensure tonehole flatness and pad glue quantity would dramatically improve this instrument and solidify its market position. With these improvements, the Eastman 52nd Street tenor saxophone would earn a resounding recommendation. As it stands, it is a worthwhile instrument to try, but potential buyers should be aware of the likely need for additional setup work to optimize its performance and longevity.
