1950s

Showing all 7 results

  • Sold Out

    Berg Larsen 110 2 offset M Alto Saxophone Mouthpiece F32

    $ 275

    Rare 50’s Berg Larsen metal alto saxophone mouthpiece! Straight sidewalls, small round chamber, bullet chamber. Tip opening measures 0.103″. Denim finish on table, duck bill beak. Usually mouthpieces that sound great on tenor are only ok on alto in the same tip number, but if you like bergs on tenor you will love this on alto too. The tip opening plays much easier than expected for this number on alto. The tone is loud and lush, just like on tenor. Great projection and power while maintaining a moderately bright tone.

  • Sold Out

    Brilhart Streamline 5 Alto Saxophone Mouthpiece MPC400

    $ 375

    Beautiful almost new example of a rare Streamline Brilhart Ebolin alto mouthpiece. Stamped 3*, it measures like a Meyer 5 tip at .074″ on the original facing. This is often the case with Brilharts, where you only know the tip by measuring.

    This mouthpiece plays great with a beautiful warmth and fullness that also does not lack projection. Brilharts like this are among my favorite vintage alto mouthpieces (along with Meyer and MC Gregory).

    If you happen to want the rare and collectible original Brilhart BB screws streamline alto ligature and cap, I have one in my collection that fits this mouthpiece that I would be open to selling.

  • Conn Connstellation Alto Saxophone 28M Excellent Condition Original Lacquer 338006

    $ 2,650

    The Conn 28M will always have a special place in my heart.  It represents the last time one of the great American saxophone manufacturing companies tried something wholly new, and although the horn never really found a market and not many were made, they are fantastic instruments that besides being unique and historically interesting, play *really* well.  

    These saxophones were redesigned, utilizing many ideas from Allen Loomis (Conn’s resident saxophone visionary) and Hugh Loney, with input from Santy Runyon, with the aim of creating a saxophone that had extremely slick keywork and a very balanced scale.  The keywork, although familiar under the fingers with regard to placement and layout, is mechanically quite different from any other saxophone and has been built from the ground up with the goal of reducing mechanical friction. There are no pivot screws anywhere on this saxophone, instead the long rods have a very long hinge rod with the middle machined down so only the ends touch.   The G# has a very unique torsion mechanism to provide a G# feel that is smooth throughout the range. The side keys are designed so that the angle and distance of travel is the same for each key. There are adjustment screws on the upper and lower stacks as well as the left hand pinky table. The bell keys are on the left side, and the pants guard/bell keyguard is a large acrylic plate that was designed with the idea in mind of allowing the horn to vent properly regardless of playing position or clothing choice.  The octave mechanism has three pips (octave vents), one on the neck and two on the body, which has the end result of a very clear middle D and no hiss on the A or G#, as well as excellent intonation. The keywork in general is very light, and the pearls are larger than usual for Conn and a little flatter. The overall feeling is of a very light horn, extremely slick, easy to play, excellent intonation, and very even throughout.

    The one downfall of this design is the pants guard, which is fairly brittle and often broken.  Although nowadays there are excellent replacements available, this one has its original guard is about as good condition as they come, fully present with only a few small cracks radiating from around the screw holes, which is common.  However none of the cracks are large and it is not broken in two or missing any pieces, which is not common! And believe it or not, I have experience shipping these so you can rest easy knowing I will remove it for shipping, wrap it separately, and it will arrive to you in good condition.  

    This instrument plays quite well on older pads, with a strong, moderately bright, cheerful voice.  The clarity of the tone is notable, and it is a lot of fun to play with a unique look and feel and timbre that would lend itself easily to classical, big band, or small group jazz.  The lacquer is original and nearly flawless, with no evidence of past repairs or dents or resolders of any kind. It is also a unique and interesting piece of saxophone history, in exceptional condition, and whoever owns this instrument next will have a lot of fun being its steward for the next generation.  

  • Conn Connstellation Alto Saxophone 28M Very Good Condition Original Lacquer 335771

    $ 2,250

    You could be forgiven for thinking that because there are two original lacquer, very good condition Conn 28M “Connstellation” saxophones on my website at the moment that these are somewhat common, but I assure you that is not the case!   I will copy and paste the general statements about the 28M from the other description, with the unique description of this particular instrument’s physical and playing condition at the bottom.

    The Conn 28M will always have a special place in my heart.  It represents the last time one of the great American saxophone manufacturing companies tried something wholly new, and although the horn never really found a market and not many were made, they are fantastic instruments that besides being unique and historically interesting, play *really* well.  

    These saxophones were redesigned, utilizing many ideas from Allen Loomis (Conn’s resident saxophone visionary) and Hugh Loney, with input from Santy Runyon, with the aim of creating a saxophone that had extremely slick keywork and a very balanced scale.  The keywork, although familiar under the fingers with regard to placement and layout, is mechanically quite different from any other saxophone and has been built from the ground up with the goal of reducing mechanical friction. There are no pivot screws anywhere on this saxophone, instead the long rods have a very long hinge rod with the middle machined down so only the ends touch.   The G# has a very unique torsion mechanism to provide a G# feel that is smooth throughout the range. The side keys are designed so that the angle and distance of travel is the same for each key. There are adjustment screws on the upper and lower stacks as well as the left hand pinky table. The bell keys are on the left side, and the pantsguard/bell keyguard is a large acrylic plate that was designed with the idea in mind of allowing the horn to vent properly regardless of playing position or clothing choice.  The octave mechanism has three pips (octave vents), one on the neck and two on the body, which has the end result of a very clear middle D and no hiss on the A or G#, as well as excellent intonation. The keywork in general is very light, and the pearls are larger than usual for Conn and a little flatter. The overall feeling is of a very light horn, extremely slick, easy to play, excellent intonation, and very even throughout.

    The one downfall of this design is the pantsguard, which is fairly brittle and often broken.  Although nowadays there are excellent replacements available, this one has its original guard in decent condition.  There is one repaired crack (visible in the photos) and the common small cracks radiating from some of the screw holes.  I would anticipate, absent any further damage, that this keyguard will last and should not present any problems- although I will furnish you with contact information for obtaining a well made (and somewhat more durable) replacement should you ever need it.  And believe it or not, I have experience shipping these so you can rest easy knowing I will remove it for shipping, wrap it separately, and it will arrive to you in good condition.

    This instrument plays quite decently on what appears to be an older repad with plastic domed resonators, with a strong, moderately bright, cheerful voice.  The clarity of the tone is notable, and it is a lot of fun to play with a unique look and feel and timbre that would lend itself easily to classical, big band, or small group jazz.  The lacquer is original and in good condition with some playing wear and a few stand scratches near the low C#, with no evidence of past repairs or dents or resolders of any kind. It is also a unique and interesting piece of saxophone history, in very good condition, and whoever owns this instrument next will have a lot of fun being its steward for the next generation.  

  • Sold Out

    Grafton Alto Saxophone Excellent Original Condition Restored and Playable 10591

    $ 4,750

    Ah, the Grafton “plastic” (actually its acrylic) saxophone.  Famously played by Charlie Parker and David Bowie, crafted by an English company, designed by an Italian, it is, according to sales literature of the time, a “tone poem in ivory and gold”.  

    This particular example has actually been repadded by some enterprising repairer (I say it this way because they are notoriously challenging to work on) and it has been done rather well.  It plays, as you may or may not expect, very much like a saxophone and there is not much in the playing of it to convey that the instrument you are playing is wholly unique, with new methods of manufacture and the completely singular keywork mechanisms that its injection molded acrylic body required.  It is comfortable under the fingers, responsive, weighs about what a normal sax weighs, and plays with a warm, if somewhat uncomplex, tone. It is in fact quite an amazing instrument when taken as a whole, and the experience of playing it leaves me with wonder and respect for the company that made it.  

    These are famously known for being delicate, and not many have survived to this day.  This example is in quite good shape, with the only body repair that I can see being the bell to body brace looks to have been shored up with epoxy where a crack was forming.  There are some small hairline cracks near the tenon receiver, but they are minor and do not appear to be spreading. The finish on the keys is original, and the neck is in very good shape with no evidence of past repair or pulldown.  The keyguard is complete and undamaged, and it comes with its original Dallas case.

     

  • Selmer Mark VI Alto Saxophone 1955 58119 Price Includes Overhaul! Relacquered Great Deal

    $ 5,250

    This 5-digit Selmer Mark VI Alto from 1955 just got a complete overhaul! It’s an excellent player, and it represents a very good value in an alto. For way less than a Reference 54, you can get an actual ’55 Selmer Mark VI with a complete restoration just finished. These first year Mark VI altos play dark, with a lot of focus and warmth, and they are punchy when pushed. They project well with a higher baffle mouthpiece. Effortless response in the low register. They’re just fantastic, and they are better built than most modern altos including modern Selmer. Plus this comes with a better pad job than any new horn you can currently buy, and it will stay in adjustment well for many years with only the most routine of maintenance. You save thousands of dollars because this horn got a new coat of ‘paint’ at some point along the way. That makes a lot of sense to me. It comes in a nice BAM contoured alto case that is similar to the Selmer Flight Cases that come with the Ref 54. Fits the horn hand in glove.

    Only one available!

  • Selmer Super Balanced Action Tenor Saxophone 55024 Original Lacquer Fresh Overhaul

    $ 15,950

    This is a beautiful, original lacquer Selmer Super Balanced Action tenor saxophone in excellent condition. Selmer SBA tenors have gotten really hard to find in the last year or two, and this is among the nicest I have seen in that time. It is priced very reasonably for what you get, based on all the other ones I have seen for sale recently. This is a late SBA with the more comfortable thumb hook that is a transitional feature shared by the early Mark VI tenor that came out around the same time that this horn was made. (Selmers often show a little overlap between models, and frequently have transitional features shared by overlapping models.)

    The ‘late’ Selmer SBA tenors like this have gotten particularly hard to find, because they combine the warmer, more delicate SBA tone with the best bell key tuning. This one tunes great, and is quite free blowing, warm, and moderately focused, with a lyrical core tone. Tone is tricky to describe, and obviously the horn sounds completely different depending upon which mouthpiece you use etc. But it plays just how I would hope a great Super Balanced Action tenor would play. You may notice, this has the ‘euro’ engraving style done on Selmer Super Balanced Action tenors that were lacquered and engraved in France.

    The overhaul is recently done in California by Manny Gavrilov at the Horn Connection. Manny’s work feels quite good, with a dry, snappy pad feel. Spring tension is just right. The horn resonates beautifully, and the pads are sealed (hence the red color) to protect against moisture and to make the overhaul last forever. I’ve played horns with red sealed pads that had 25 year old overhauls that were still going strong. It really does a good job of sealing the horn up like a drum, and it just feels like normal medium firm leather pads. The resonators are domed metal and are correct style for a late SBA like this. They look like Selmer Tone-x resonators, and are probably the original resos reused on the new pads. This horn has been played and loved, so it’s not mint condition, obviously. But the wear is ‘honest’ wear from use, not from a bunch of past repairs. I see nothing resoldered at all, and maybe some minor bow dents were removed a long time ago, leaving only very slight evidence of anything having been done. You’ve got a custom octave key thumb rest cover installed, but it’s easily removable, and the original octave thumb rest is under there and looks fine.

    This comes with its beautiful original tan leather Chesterfield case from Selmer with the latch style opening, which is more durable than the zippered Chesterfield. I like the way the leather binding forms one continuous circuit around the case exterior. Just the case is worth some $$! If you have any questions, feel free to ask. I’m happy to help. If you’ve been looking for a great vintage Selmer with some warmth, power and projection, that is in top playing condition, original lacquer and priced reasonably for an original SBA, then here you go. This one is hard to beat.

    Pair with our new GS SLANT tenor mouthpiece for a classic mainstream jazz tone.

    Only one available!