Showing all 11 results

  • Adolphe Sax Alto Saxophone from 1861 Rare ‘Large Bell’ Plays

    $ 3,850

    Adolphe Sax (Father) Alto saxophone, first generation (large bell).

    Here are the details:
    {23307} [ 1861 ] Alto saxophone in E♭.
    Adolphe Sax, Paris
    Inscribed with monogram trademark “AS PARIS” and “Saxophone alto en mi♭ breveté / Adolphe Sax à Paris / Fteur de la Mson Milre de l’Empereur”.

    This alto got restored in Germany, but is still not in top playing condition. It plays, but it would play better with more work. The restoration included new suitable pads, leveling/silver-soldering of toneholes, rebuilding a tonehole, brass repairs and adjusting the mechanics to good playability.

    It is a very lovely instrument and exceptionally rare. A similar one can be found at the MET MUSEUM, see online, If you’re not aware, the Met has one of the most extensive rare musical instrument collections in the world.

    It also comes with a nice mouthpiece that tunes well with the sax. And it includes the ligature (that came with the sax) with the instrument. I have tested many and this one provided for me very good response and stable intonation at A=440. It is a large chamber design similar to the ADOLPHE SAX mouthpieces, but it carries no inscription and has been opened up to a modern .080 tip.

  • Buescher Big B Alto Saxophone Original Lacquer Good Condition 324407

    $ 1,650

    This is a 1949 Buescher “Big B” Aristocrat, so named for the ornate engraving of a, well, a Big B on the bell.  This horn is in very good condition, and the typical wear around the fine engraving of the B on the bell is not present, which indicates that this horn has led a life mostly in a closet somewhere.  There are no resolders or past dentwork to speak of, and it plays *way* better than it should on some very old pads, but you would want to get this repadded to play like it can, which is very, very good!  

    These horns are undervalued in my opinion.  I mean, you can get this one in such great shape with all of its original Snap-on resonators and overhaul it for not a whole lot more than a Yamaha student model in total- seems like a good buy to me! They combine excellent intonation, comfortable keywork, top notch build quality, and beautiful lacquer and engraving with a warm, centered tone.  Johnny Hodges famously played one of these, and his tone is a very good example of the blend of sweetness and power these horns possess.

  • Conn 12M Transitional Baritone Saxophone 250510 Relacquer Great Player! Mulligan Serial

    $ 4,750

    This is a great Conn 12M Transitional baritone saxophone that comes to you out of the collection of Theo Wanne. I got it from Theo on trade, and it is a fantastic horn. Yes, the lacquer isn’t original, but then again, I haven’t seen a Conn bari this early that was original, fwiw. It had a recent overhaul, and I spent another $500 on it to do a very extensive setup, almost a mini-overhaul. It feels super great now and plays effortlessly with the velvety warmth that you associate with Mulligan, Carney, and the others who played Conns of this vintage. Mulligan made these baritones famous, and alternated between his 189k NWII, and his 250k or so transitional 12M. “Transitional’ usually means that this isn’t the final version of the 12M, but in the case of the baritones, there wasn’t any major keywork change that happened after this model. So this IS a 12M, except that I think the early ones from ’32-33 play with a bigger sound, more like a New Wonder II, but with better keywork and easier tuning. If you just can’t live without a front F mechanism, then you can actually get one put on this horn, and I can help you get it done. But it’s not like that’s a necessity for the vast majority of vintage bari players.

    One final thing to mention about this, besides that it’s the best-sounding model of baritone ever made, is that it’s super light to play. It feels almost like a tenor sax in your hands and on your shoulders. I need to weigh it beside a low A Yamaha, but it’s a LOT lighter. This is a great deal at this price, because you get the best serial range bari, with good pads and a fresh setup, needing nothing, for a bargain price just because it had the lacquer redone, and it’s been played enough to have some resolders etc. (Check the photos on full screen mode, and/or email me for a blow by blow description of every little ding if you want.)

    Only one available!

  • 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.  

  • Conn NW1 C Melody Straight Neck Burnished Gold Portrait Engraving 76817

    $ 999

    Wow! This is a beautiful, nearly 100% gold PLATED Conn C melody saxophone. People are always confused about this, but this is very thick, actual gold on this saxophone, not lacquered brass finish. And the burnished gold is thicker than regular gold plate as well. Conn reserved this finish for a select few special-ordered instruments that were given the best, most beautiful, most durable finish that Conn offered. These also got a ‘portrait’ or some kind of special engraved scene. This one seems to fall into the mythology category, and shows maybe a wind god? Apollo was a popular portrait theme, as the god of music, but this may be Zephyrus, the god of Wind. Almost looks like a Loki variant, with the horns 😉

    This C melody has the more desirable straight neck that plays better, and it has rolled tone holes. It has original factory pads, that are nearly 100 years old, so definitely plan on getting this cleaned up and repadded. The gold is basically totally intact, so it will look like new again with a gentle hand polish. It’s hard to communicate just how beautiful these instruments are when they’re polished up. Even with 100 years of tarnish, it’s a beauty. With the GS RESO C Melody mouthpiece, Conn c melody saxophones sound way better – basically a tenor type tone but in concert pitch. Check out our C melody / RESO sound clip here.

    Only one available!

  • King SilverSonic Tenor Overhauled Early Eastlake 430459

    $ 5,850

    Super nice King Super 20 SilverSonic tenor in excellent condition. This horn has a fresh overhaul and plays great, with a huge, punchy, projecting tone that stays fat well up into the upper register. This is a naturally loud, bold sounding King. It sports both solid silver neck and solid silver bell with gold wash inside. These horns are hard to beat, and they are definitely undervalued at the moment! Early Eastlake (or late Cleveland) tenors like this with single socket neck are many people’s favorite version, who are looking for a beautiful vintage King with silver bell and great build quality that doesn’t cost as much as a new car. Only one available. These always sell quickly. It will come in a new BAM case for maximum protection, or if you want to buy a vintage King alligator style black and silver case, I could sell you one from my little case collection for extra.

  • Sold Out

    King Soprano Saxophone Gold Plate Fresh Overhaul Amazing! 99847

    $ 3,250

    Just freshly overhauled!! This got a full restoration, so it’s back to like new mechanical condition.This is the vintage soprano you should get!

    This amazing gold plated King soprano saxophone will blow the walls down. It is in excellent condition, with nearly all the original gold plate intact. It has just received a full overhaul and restoration, which is not a small job on a 90 year old instrument. It is now back in like-new playing condition and ready to make music for many many years to come.

    King sopranos are rare, and were only made in low pitch (regular concert pitch). They tune nicely, and have a big, warm, medium-focused tone that is less polite sounding than a Buescher, and really fills a room with ease. This example in gold plate and in such amazingly good condition is extremely rare. The great depression in 1929 spelled the end of most of the saxophone market, and marked the end of most makers building sopranos in any kind of quantities. So it’s not surprising that you don’t see a King soprano later than this serial. This is one of the very last ones made, and the latest serial I have seen. The later the better is my motto on vintage sopranos generally speaking, so getting a late one also in gold plate is really exceptional.

    Only one available!

  • Martin Home Model Unbelievable Condition! C Melody Simplified Collectible!

    $ 1,000
  • Powell Silver Eagle SE10 Alto One of 18 Made – all options solid silver +Matt Stohrer Overhau

    $ 12,000

    For your viewing pleasure, this is one of the 18 Powell Silver Eagle saxophones made. Powell conceived of an ambitious project to bring back an American-made saxophone of the highest quality. Inspired by the Super 20 SilverSonic, the Silver Eagle reproduces the bore while adding solid silver soldered tone holes and modern keywork. Powell sadly ended their project after making only 18 saxophones, despite high demand, due to the high cost of production. This horn plays like a good super 20 but a little more evenly, and has been completely overhauled by Matt Stohrer. This is the ultimate collectible among modern saxophones, and it is also a burning player. Asking price is just what these cost new, plus a little extra since it got a $1500 overhaul on top of that! It’s not even inflated for the collectibility value, which is probably not smart of me, but there it is. If you want to discuss all the details of this project, I can put you in touch with the people who built it. These were most definitely a new saxophone bore and neck design, inspired by the best King Super 20 SilverSonic altos, both according to them and according to the folks who bought the tooling and mandrels when the project ended. The keywork is modified from tooling bought from B&S, which accounts for the pinky table that sticks out farther than it would on something like a Yamaha.

    There is most certainly only one available. This one has all the possible factory options, which only a subset of Powell Silver Eagles had – including the solid silver tone holes and even cryo treatment. Of the 18 saxophones built, I know at least a couple of them were brass bell, and some others lacked other of these features. This is one of the ones with everything, which makes it even more collectible. Includes the original accessories, case, and paperwork.

    Just for fun, here’s Matt Stohrer’s repairman’s overview from when he overhauled it.

  • Selmer SBA Super Balanced Action Alto 41532 Relacquered Plays Great

    $ 4,950

    This was the main alto of a top level gigging musician who just retired from playing after 50 years or so. He went through a lot of horns over the years, and all of the ones he ended up with are excellent! This was the alto that won the decades-long shootout for best alto. It’s a Selmer Paris ‘Super (Balanced) Action’ (SBA) Alto saxophone made in 1950, which many consider to be the most desirable year for SBA’s (though they are all desirable)! Coltrane played a tenor of this, which probably helps them have a bit of a value bump.

    This alto has a sweet, lyrical, moderately focused tone that is warm and medium between bright and dark. The ‘French lyrical core’ to the tone is what I love most about it. It’s challenging to describe tone, but there’s a central, complex thread to the sound that you can easily latch onto that makes these really pleasant to listen to, whether that’s blending with a section, or playing solo. The build quality is of course excellent, and the feel under the fingers is nice and snappy. This sax got a ‘new coat of paint’ along the way at some point – probably in the late 50’s by the lacquer color, and probably by the Selmer factory in Elkhart (same reason), who would frequently overhaul and strip and respray the lacquer at the same time for their customers. It doesn’t really affect anything tonally. But it makes the horn a lot less expensive for you! So if you’re looking for a really nice, clean, beautiful vintage Selmer Paris alto that is better built than anything you can buy today, AND that plays beautifully, has good pads, and will go up in value — and all that for around the price of a new Yamaha, that’s what you’re getting! And this is a particularly good one, as mentioned above.

    Only one available.

  • SML Gold Medal II Alto Saxophone Excellent Condition Old Pads 23350

    $ 1,675