Joao Driessen

Over the last 10 years I’ve been fortunate to witness Remy go from strength to strength honing and developing his craft.

From humble beginnings (before my time) to developing his own range of saxophones, things have come a long way and for that I am grateful and proud to know him.

I am extremely sceptical when it comes to new hardware, especially considering my relationship with my Mark VI saxophone is, dare I say it, verging on matrimony.

When Remy first showed me the tenor saxophone he was working on, I was rather sheepish about the whole affair, but as a good friend ought to be, I remained encouraging and positive.

After a couple months being left in the dark about the whole thing Remy introduced to me what he considered close to production ready, the Remy Tenor Saxophone – an early version of the saxophone I have been playing the last couple of months.

What started out as a gesture of good will towards Remy (in setting aside my trusted mark VI) has become a serious revaluation of what is capable on a new saxophone.

Customisability has really been at the forefront of this exchange and having the chance to refine and really think about how I use and play the horn has dramatically lifted my playing and enjoyment of the instrument.

In the past months Remy has diligently spent hours working on the saxophone, adjusting it to my sometimes rather stringent demands which included a lot of doing, undoing, and doing over of various aspects of the keywork, tone and ultimately playability.

I would never have thought a modern saxophone could match the ease of playing and tone produced by what is arguably one of the most famous and sought after saxophones that have ever existed.

It has been an absolute pleasure being a bystander to Remy’s incredible commitment to saxophones and saxophone players.