“Tommy is by far the best mouthpiece refacer I’ve ever worked with. You can send him any piece and explain what you want done with it and he’ll do that and more. He’s also an amazing saxophonist and an incredibly kind person, all of which is evident when communicating with him and playing the pieces he’s done for me. I try to only play Tommy’s pieces.” - Dylan Young

“Tommy O. is one of the best refacers on the planet. I've sent him lots of vintage pieces in the past and I've never had one come back not playing the way I've asked. He's very easy to work with, always replies to messages, does incredible work, plays the shit out of the horn and above all is a real stand up guy!” - Carlo Barbaro

“Tommy is an extremely knowledgeable and skilled mouthpiece technician who is truly invested in improving your sound. He can analyze your current setup for similar upgrade recommendations, repair any issues, or customize a new ideal piece based on your needs. He is clearly dedicated to his craft and always a pleasure to work with!” - Eli Maliwan

“The saxophone world is saturated with mouthpieces looking to make a quick buck for their designers. Fortunately, there is an honest craftsman named Tommy Occhiuto who has studied the history and masters of the ART of refacing mouthpieces and uses his knowledge with the intent of HELPING all saxophonists today. Without his help, I would have never developed my own sound. “ - Tim Lin

"Tommy O fixed my two broken mouthpieces right up! They play better than ever! Beautiful Work!!!” - Doug Rowan

“It’s so nice to pick up your horn and have the sound you hear come out. Tommy’s mouthpiece work is excellent!” - Alex Murzyn

“I was very impressed visually at the amount of precision the tip was shaven to. Then I played the mouthpiece and was blown away. It’s been my main go-to ever since.” - Nathan Graybeal

“Tommy opened my tenor and alto mouthpieces to a larger size, and it made it easier to play in tune with a good tone. As someone who is just learning how to play, I really appreciate his work.” - Charles Chen

"“Tommy Ochiutto is simply a superb mouthpiece artist. In the world of refacers, the good ones are part of a very short list. Tommy is at the top of that list. The mouthpieces I received back are killing!!! We are very lucky to have such a talented individual and a great guy. He is high level, like the legendary Frank Wells” - Rob Lockart

“Tommy’s work is impeccable, especially the tip and rails. I always get a great fit with the reed. His shaping of the interior has made my old Dukoff stubbies sing”. -Jim Franzen

As a NYC professional, one is called for a wide variety of musical situations and as many of us alto players know, it is imperative to have a mouthpiece that can handle the spectrum of sounds that are expected from us while staying true to our own unique sound and musical concept. Whereas on the other saxophones, switching mouthpieces for specific jobs isn’t unheard but as an altoist, an instrument ridden with quirks and peculiarities, it is wiser and more effective to find a middle-of-the-road mouthpiece that can be pushed in a variety of different directions via nuanced changes in embouchure, airstream and Reed selection. For many of us, the mouthpiece that can handle this dramatic amount of versatility is a Meyer medium chamber with a medium tip opening. However, mouthpieces are not all made equally, especially the old NY Meyer alto pieces of legend. Over time mouthpieces wear out and consistency/quality control have always been issues (especially in the era before CNC machining) in the manufacturing process. I’ve played a variety of old meyers, new meyers and copies of old meyers by reputable craftsmen and the best I have ever played is one that I previously thought was “dead” and beyond repair.

Tommy restored this old Ny Meyer for me (the mouthpiece has a bit of a royal pedigree as it originally belonged to my mentor Ken Peplowski, who passed it on to me a few years ago) and wow. It is truly the best alto mouthpiece I have ever played. I cannot say enough about Tommy’s work- his extensive historical knowledge of saxophone mouthpieces grounds his craft in a very special way, which allows him to draw out the authentic Meyer-like qualities inherent in the original design and refine them to the most exacting specifications. His baffle work in particular is unparalleled and visually, his facings are aesthetically akin to that of a master jeweler. If you are looking to end your mouthpiece quest and focus on the music that comes out of your horn (as opposed to the means of getting to that music), run, don’t walk, to Tommy Occhiuto. He has given my music and alto playing a new lease on life!” - Aaron Johnson

“Tommy is truly a craftsman, the only person who I'll bring my mouthpieces to. He listens to your feedback and provides recommendations he feels will make a piece better for your playing style. Tommy is great.” - Mark Smyth

"It'd be one thing if Tommy Occhiuto were just a great mouthpiece refacer. But the fact that he is also responsive, accommodating, and a stand-up human being is nothing short of incredible. Tommy's meticulous work makes playing the saxophone even more enjoyable than it already is." - Josh Walker

“Tommy’s work is second to none. His pieces are visually stunning and each plays with a ton of character and complexity. He is easy to work with, communicates well, and takes the time to understand exactly what you are looking for. He's also a monster player himself! I can't recommend him highly enough.” - Chris Sullivan

The best kind of mouthpieces get out of the way and seemingly melt into your own sound. Tommy's work does just that - it disappears and lets you shape the sound in your head. I had the chance to try Tommy's work on a vintage Otto Link Double Ring opened to a 7*. The Link had an immaculate facing, even curves, clean and clear facing break, all with thin tip rails (which not everyone can do well). When playing the double ring, I received compliments like "You nailed that Coltrane Sound!", "You sound like a million bucks on that mouthpiece" and "perfectly balanced sounding to me." It had a richness to the sound that, once you play it, you take for granted until you go back to something else and realize what musical freedom you had. - “SaxSpy” Derek Crane