I think it looks like a meyer (hard to tell).

Ask and you shall recieve: An quote from www.jazzprofessional.com/interviews/Al%20Cohn%20and%20Zoot%20Sims.htm "Zoot: What we did when we were kids was play all we could together. And play for the fun of it—not trying to see if we could cut anybody, or be better, or something. I mean, naturally, you can’t get away from that completely. Everybody wants to be the best, and all that. But I find there’s not much of that going on any more—at least, back home. That was the main thing in life in the ‘forties—around ‘49, ‘50. Mulligan, Miles, George Wallington—nobody was working. or had any money. But we still took a collection up, rented a studio and just played all night—for ourselves. Because we—wanted to play. You can learn more with that than anything. I think one of the best things you can do, no matter what you play, is to take up piano. Music is based on chord changes and harmonies, and you can get ‘em more out of an instrument like piano, where you can hear all the notes at once. I feel that I lack a lot of that in my own music. I mean, it broadens your ear so much when you know harmony—especially these days, the way jazz is going. Oh yes, it’s the sound I want. Much too late to change it, anyway. I’ve had two mouthpieces in the last—let me see —well, since ‘43. And I just changed recently, but it’s almost the same mouthpiece. It’s a very old rubber Brilhart. But I don’t know much about mouthpieces—very little. And I find that they really don’t mean that much. Because you can take Stan Getz, Lester Young, or anybody you name, and they can play your horn—and they’ll still sound like themselves. It’s the individual. You get the sound you hear. It comes from within, the way you grip the mouthpiece with your mouth and your lips. I don’t think it’s anything to ho with the set–up."