Collectible

Showing all 25 results

  • 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.

  • Buescher Big B Model 140 Alto Saxophone 321761 Original Lacquer Very Good Condition

    $ 1,600

    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 isn’t surprising since this alto was treasured in an extensive collection for the past forty years or so. There are no resolders or past dentwork to speak of, and it plays quite well on an overhaul that the above-mentioned collector had done at some point before putting it away. This is an excellent value! It has the Norton springs, but not the snaps, which actually makes it easier to maintain, since the pad work is the same as any other saxophone now.

    These horns are undervalued in my opinion. 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.

  • Sold Out

    Conn 6M Transitional Art Deco Alto Saxophone 247105 Great Shape 1931

    $ 1,600

    I love Conn altos in the 230-260k range, and especially the ones near 250k serial. This 247k is a transitional Conn between the New Wonder II (‘Chu Berry’) and the 6M (‘Artist’) models. It is a true transitional in every sense, and is almost half NWII and half 6M. These special alto saxophones have a tone and set of features found nowhere else, and that makes them especially great in several ways. The bore still feels more like a NWII to play, so the tone is wider and wilder than the later 6M’s (which are also great, but are more focused and a bit less wild). The neck is like a 6M, so you get the improved intonation that ‘slots in’ better – NWII’s have good intonation as well, but it is more flexible than the 6M versions. The bell keys have moved around to the left, but the left hand spatula keys retain their NWII shape, but with improved mechanics. No saxophone has an easier or more direct feel on the low B and Bb that this version of Conn. It’s nice and light and fast, though you don’t have anything like modern ergonomics on those keys, of course. The regular main stack keywork is already mostly updated to the fast and comfortable 6M design. That is very good keywork, and is hardly improved upon in modern horns, so this is a very comfortable horn to play.

    It came with special ‘art deco’ engraving on the bell that you only see for a short time around 245-249k serial with Conn altos. This example is original or ‘first’ lacquer, and has not been refinished. It has original pads and even comes with the original warranty and care booklet in the original case.

    Tonally, these late transitional 6M’s are an ideal choice for big band or jazz band lead alto. They have almost unlimited projection or ‘carrying power’ as the old advertizements put it. And the tone stays strong and cohesive no matter how much you push it. It’s just a joy to hear one of these in full song. Marhsall Royale and the Basie band all played Conns like this, as did Charlie Parker for a while (among many other horns). You see them commonly in clubs in NYC and all over Europe these days. Nothing sounds like a Conn. This one is priced low for what it is. Superb original condition. Add a good overhaul, and you will have one of the best built alto saxophones ever, that will be dependable and fantastic to own and play for many many years to come. If you like this version in silver, I also have a silver 249k that I just got completely overhauled that is also for sale.

    Only one available!

     

  • Sold Out

    Conn 6M VIII Alto Saxophone Pre-War Original Lacquer Very Good Condition Plays Well 294775

    $ 1,950

    This pre-war (from the American perspective, meaning prior to the government order than restricted the manufacture of musical instruments along with anything else made out of brass) Conn 6M was built in 1941, and is the desirable “VIII” version, with the VIII stamp on both the body and neck.  

    It is in very good physical condition with original lacquer, no dents, and no major or minor past repairs or resolders, with the exception of a repaired dent on the bowguard, which is visible in the photos.  It has what appears to be a recent repad, or perhaps an old repad that wasn’t played much after it was done, and Conn Res-o-pads were used. It plays well with a big voice, and although to my professionally-obligated-to-be-picky tastes it is not quite as astoundingly slick under the fingers at these feel when they have been overhauled as the best repairers can do, it is definitely playable as-is and will beat the pants off of most any challenger, especially modern imports that cost a lot more and give you a lot less than this fine example of vintage American saxophone craftsmanship.  

    Oddly, the lacquer on the neck is more worn than the rest of the horn- although physically the neck is in immaculate condition with no dents or past pulldowns.  In the past when I have seen this the culprit is usually a homemade neck bag that was lacquer-unfriendly, or perhaps the owner had a habit during rests to hold the horn with the neck in his hand.  Given the lack of wear elsewhere on the horn, I’d guess a neck bag was the culprit here, although I can’t be certain. But again, though the lacquer itself is mostly gone from the neck (and the neck alone), the neck tube is flawless and there are no signs of past repairs of any kind.  

    The microtuner is free and functional, and all of the original rollers and present and moving freely.  The engraving is crisp and clear with no lacquer loss, and the pearls seems largely unworn. The keywork is tight and the body is straight.  This is a very clean example of the most desirable vintage of the most desirable variant of the Conn 6M, and it can be yours for less than a new Yamaha YAS-26.  

  • Conn Chu Berry New Wonder 1 Tenor Saxophone Burnished Gold Plate Portrait 1924

    $ 4,350

    Just freshly overhauled! New photos posted late June 2020!

    Conns from the 1920’s like this have an enthusiastic following these days. I’m told that it’s now more common to see a tenor player in NYC playing a Conn than a Selmer, which is hard to believe if true. I have definitely noticed a large and growing amount of interest and enthusiasm for Conns like this over the last 5 years at least.

    The way I think about vintage Conn tenors is this. They are all built quite well, and they are all good players once you get them all fixed up and overhauled. So if you have the choice, and budget allows, you might as well buy the nicest one you can to fix up. This is for a couple of reasons. First, resale value will always be better the more beautiful the horn is, and the rarer the finish. Second, you get to experience the satisfaction, even joy, of owning such a beautiful piece of craftsmanship from the world’s greatest musical instrument factory of the 20’s and 30’s, which is undoubtedly Conn. Conn set the standard for musical instrument manufacturing during that time. Its designs were copied by all the other makers, from France to Germany, Italy, and even eventually Japan. They are still being copied today in fact!

    If your goal is to get the best, most beautiful, rarest Conn that you can, it would be hard to do better than this beautiful burnished gold Conn New Wonder 1 ‘Chu Berry’ tenor saxophone from 1924. The finish is a bit tarnished at present, because I haven’t had time to get it disassembled, cleaned, and polished yet, but there’s a lot of original gold plate there, and not a whole lot of finish wear. The burnished (bright) gold Conns like this are incredibly rare. Much rarer than the satin gold examples, which are themselves very rare. The engraving is striking. Each burnished gold Conn had the option for a custom portrait. I wonder whose sweetheart this is! Some stylish flapper 20’s lady in any case. This would almost definitely have been pro-owned by the tenor player from a big band. I got the horn from Ohio, if there’s anyone who can connect the dots at all. I have never seen any other Conn tenor with engraving like this, so it has some historical value as well, to me at least.

    This tenor comes in pretty good playing condition. It was tuned up before I got it, and I’ll probably spend some more money on pad work before I sell it. It also includes a nice Hiscox case with my favorite, the red interior, which is no longer offered. Much better than the blue for a gold saxophone.

    Just for fun, here’s Lester Young on his New Wonder 1 tenor just like this one, also gold plated. The wide, lush, spread, medium dark tone is just gorgeous.

     

  • 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.  

  • 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.

     

  • King Soprano Saxophone Gold Plate Fresh Overhaul Amazing! 99847

    $ 3,600

    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!

  • King Super 20 Tenor Series III Mint Silver Neck Unbelievable Overhauled

    $ 7,500

    Cleanest, most mint condition King Super 20 tenor I have seen. (Which is actually saying a lot, as I collect Kings!) The silver neck has all the gold lacquer intact. This peerless sax just got a high-end overhaul and plays absolutely effortlessly. Can’t beat it. Comes with the beautiful original case and a BAM case for safe shipping. Big, bold, effortless player with tons of soul.

  • Martin Handcraft Alto Saxophone Original Silver Plate Very Good Condition 75488

    $ 500
  • Martin Handcraft Typewriter Alto Saxophone Original Silver Excellent Condition 98334

    $ 900

    Beautiful original silver Martin Typewriter alto saxophone. Every single key is a has a round pearl button – it’s a wonderful instrument to see! I love how unified it is from a design perspective. The palm keys and pinky table are my favorite. A necessity for any serious saxophone collection. This is also a beautiful player when overhauled, and has a wide, warm, sweet tone that is hard to beat for a 20’s sound. This Typewriter alto is all original – nearly all the original silver plate is present, as is the gold wash. The neck is also in very good condition. If you wanted to overhaul this, it would be bright, gleaming satin silver and look nearly new. Or just keep it and treasure it, or leave it on display as a showpiece. The typewriter was a beneficiary of the 20’s Saxophone Craze – there was such a strong market for saxophones that all kinds of interesting designs blossomed onto the scene. These are rare and hard to find, and this is a great price for one!

    Only one available!

  • Martin The Martin Tenor Committee III Original Lacquer Fresh Overhaul!

    $ 3,500

    Photos just updated late June 2020! This beautiful original lacquer The Martin Tenor just got a complete overhaul and restoration! It’s gorgeous, and it feels like a brand new horn under the fingers. The original lacquer is beautiful, and the neck, body tube and bell are in excellent condition. There are no resolders, and aside from a standard bow dent that was removed nicely, there were no past repairs at all! This horn was one owner, and it still had its original pads when I got it. Now, it just got a complete, high-end overhaul, and it is one of those powerful, projecting-but-dark, tenors that I love so much. The Martin Tenor is just such a fantastic tenor. Bold, full-throated, room-filling sound. Excellent build quality and design. Beautiful lacquer and engraving. All American manufacturing – these horns came with a 50 year warranty! Fifty Years!

  • Martin The Martin Tenor Committee III Original Lacquer Old Pads 167261

    $ 1,750

    Great deal on an original lacquer The Martin Tenor Committee III. This horn has older pads, and actually does play on them, but plan on getting it overhauled.

    Previous repairs – the thumb hook is a replacement. The original thumb hook often gets lost on these, because it had an odd design where it only attached by a small post with a leveraged arm coming out that let you torque it easily.
    Besides that, you can see some lines on the back of the bow area where it looks like some small dents were probably removed at some point. Same thing on the bow guard. The two resolders you can probably easily see as they are clearly photographed – lower post of the C/Eb key and the key guard foot right beside that on one side of low Eb. The neck tenon is also resoldered. You have to take it off to do a ’neck fit’ because of the way the neck tightens, so I’m thinking that’s what was done there. The pads are old, but it actually plays on them, so you can easily tell that it is a very strong player. These horns are built like tanks, so this one is in plenty good condition to play its best for many more years to come if you get the pads replaced. Or you could play it for a while on the old pads before doing that.
  • New Old Stock Yamaha Purple Logo Baritone Saxophone YBS-62 Mint Unbelievable! Overhauled!

    $ 9,000

    Now comes with a full overhaul!! All new pads and the full deal. That’s a huge added value. It plays EFFORTLESSLY and beautifully, with a warm, complex tone. Take it in a funk direction with an aggressive mouthpiece, and it will bark and cut without thinning out. Take it in a classical direction, and it will do a gorgeous cello-like tone better than any other baritone that I know of. Highly recommended!

    This is an amazing chance to get a new old stock Purple Logo YBS-62 baritone saxophone. This sax was originally a display model that Yamaha brought to the USA for a trade show almost 40 years ago. Yamaha sold the instruments from the display, and they sat in someone’s closet for that entire time. This sax came in the plastic in the case, and I had to take it out to take photos. There are maybe a few of the lightest possible surface scratches not through the lacquer, but aside from that, it looks as new as it could be and be from the early 80’s. The tone is beautiful and warm, rich, and medium focused. Intonation is great. Works with just about any mouthpiece. This horn can play the full range from classical to funk no problem and be as reliable as a Lexus day after day, year after year. This is BY FAR the nicest example of a purple logo 62 baritone that I have seen, and the nicest one we are likely to see.

    It has the case keys, the polishing cloth, mouthpiece and ligature, warranty booklet, and even a set of removable wheels that attach to the end of the case so that you can roll it if you want. First time I have seen that. If you want a beautiful baritone to play that is really special, this is it. And at this price, it’s about the same as buying a modern 62, so you don’t even pay a premium to get the new old stock. That’s pretty great.

  • 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.

  • Sold Out

    Selmer Centered-Tone Clarinet Great Condition! No cracks or repairs, big warm tone R5978

    $ 1,150

    Get your Benny Goodman on! Beautiful vintage Selmer Centered Tone Bb clarinet in excellent condition with no cracks or repairs. This instrument has been babied by one owner for several decades and comes to you on consignment. The pads and corks are in good condition, and it plays beautifully with a big, warm, wide, jazz-leaning tone. Nothing is as warm and beautiful as a Centered Tone. You can project over a band and you can bend notes around with ease. I’m not a great clarinet player, but even I sound pretty decent on one of these! Serial is R5978.

    Only one available!

  • Selmer Mark VI Alto Saxophone 1970 184973 Original Lacquer American Engraved Fresh Overhaul!

    $ 6,000

    This is a sweet deal on a freshly-overhauled original lacquer Selmer Mark VI alto saxophone from 1970 serial 184973. This was a one-owner alto before I got it, and the guy was a pro player in the NYC/NJ area. He took great care of it, and now that it’s freshly overhauled, it is all ready for its second life. If you read around on here, you’ll see that I really love the Mark VI altos from the late 60’s and early 70’s like this. They finally got everything right on the Mark VI alto at this serial, after making incremental changes to the bore, bow length, and neck from 1957-1967 or so. By ’67 the alto hits its stride, and the 1970 is basically the same horn. Because the market is not fully rational, you can get some of the best Selmer Mark VI altos for this sort of price, even with a full overhaul, where some of the earlier serial ones will cost much more. That makes this one a great deal.

    If you have the cash, I think you might as well buy the nicest alto you can, and enjoy playing it. Pro altos are easier to play than student and intermediate ones, and the Mark VI is among the easiest vintage saxophones to play and to own. It’s easy to get worked on, well-built, and stays in adjustment well over time. The keywork design set the standard for all modern saxophones and feels great under the fingers. The tone is gorgeous, and the intonation is good. It’s the one horn that does everything the best on average, which is why it is so popular.

    This particular alto has a tone that is medium between bright and dark, and is a nice, balaced player. Not brash and bold like a 220k VI, and not dark and laser-focused like a 60k VI. It’s flexible, dynamic, and easy to take where you want it to go tonally with the right setup. The intonation is good, and the pads feel nice and snappy under the fingers, as they should on a good overhaul. The neck is in good condition and the neck ‘fit’ is all perfectly sealing in the tenon, which is one of those small but important things to have done on a vintage horn to take it from good to great. Cosmetically, you can see this horn has been played, and has some honest wear throughout. After all, it was lovingly pro-owned for many years, but aside from that, it’s very nice. The only past repairs are a resoldered foot of the low C guard that popped loose as it does on so many VI’s, and a few small dents removed from the back of the bow, which is now dent-free. Neck is beautiful, bell flare is in great shape. Tone holes are all great of course.

    It’s a very good deal on a solid Selmer Mark VI alto. This would be, to me, much preferable to spending $6700 on a new Reference 54 alto, which, unfortunately, will probably need an overhaul on top of the purcahse price in order to play its best. This will go up in value, hold up better to prolonged use, and get you your money back should you ever want to sell it. It comes in the new BAM case in the photos.

    Only one available!

  • Selmer Mark VI Alto Saxophone 1973 Original Lacquer Near Mint Fresh Overhaul! 208796

    $ 6,350

    Price now includes a fresh full overhaul! Great deal on a big sounding late VI alto that came with original pads and is now completely overhauled and in really clean shape. The late VI’s like this are among the best of the VI altos, because they tune great, they have an even scale, and they have lots of projection. If you want a VI that projects, has body to the sound, is mid-priced, and has a high end overhaul, this is it! It will be cheap and easy to maintain, because everything is dialed in perfectly and everything that can be fixed or replaced has been, so it’s totally fresh, clean, and feels like it’s new from the factory. This alto is in simply beautiful condition with no dents, no dings, and no past repairs at all.

    Only one available!

  • Selmer Mark VI Tenor Saxophone from 1970 American Engraved

    $ 6,450

    This is a beautiful example of a Selmer Mark VI Tenor Saxophone from 1970. It is American engraved and assembled. The entire horn is original lacquer. Except for the neck, which has been relacquered, but still completely matches the horn in look and color. The neck evidently had a dent removed under the octave key, and the original owner wanted it to look as good as the horn, so had the dent removed and the neck resprayed. Anyway, it’s not a big deal playing wise, but I’m lowering the price of the horn by around $1500 to give someone a great deal on an original lacquer VI in excellent condition that is also cheaper than buying just a regular new Selmer tenor sax. Compared to a new Series II tenor, or a new Ref 54 or (gasp) Ref 36, you are saving hundreds to several thousands of dollars and getting a horn that is better made, plays better for almost any style but classical (nod to the Series II and III purists here) and will hold its value or go up in value rather than going down like a new Selmer would.

    To keep the price low, I’m selling it with all of its original pads still intact. It actually still plays quite well on the original pads, and seals up with little ‘note like’ pad pops all the way down to Bb. It’s a joy to feel the high quality pad work that Selmer Elkhart did on its original factory setups.

    All in all, this horn is in AMAZING physical condition. You very rarely find original lacquer horns that are 48 years old that look so great. It’s a great opportunity for someone to score a really eye-turning VI tenor for a discounted price.

    Only one available.

     

  • Selmer Mark VI Tenor Saxophone Original Lacquer American Engraved Just Overhauled Plays Effortlessly 195xxx

    $ 6,350

    Full description coming soon! This is an effortless player! A nice, clean original lacquer American-engraved Selmer Mark VI tenor saxophone that also just got a complete overhaul. If you’re looking for a nice tenor to play and keep and just enjoy, this would be hard to beat!

  • Selmer SBA Alto Saxophone Excellent Condition 55xxx Original Lacquer Recent Overhaul

    $ 6,950

    This is a beautiful original lacquer late serial Selmer SBA Alto saxophone with a recent overhaul. It plays really well, with a sweet, centered, lyrical voice, and lots of power. It’s nice and snappy under the fingers, and responds very well too. Minimal past repairs, and the original lacquer is in excellent condition. If you want something sweeter and warmer than most Mark VI’s but with similar ergonomics and intonation, and with even more beauty, then a late SBA like this is for you! Get it now, and it will go up in value while you own and enjoy it. That’s hard to beat. And that engraving!!

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

    $ 1,675
  • SML Rev D (=Gold Medal 1) Alto Saxophone Original Silver Plate Overhauled! 11584

    $ 3,500

    Freshly overhauled, and hand-polished! This SML Rev D alto is looking its best and is ready to go for a long time now on a completely new high-end overhaul. It has high quality Pisoni leather pads and correct flat metal resonators with rivet. 

    SML, short for Strasser-Marigaux-LeMaire, is probably the best known small French maker of saxophones.  They produced high quality instruments with a unique blend of features that ended up in what I like to think of as a perfect blend of Selmer and Conn- a very French tone, but big like a Conn.  

    The SML “Revision D”, which was not an official name but rather one given by collectors to the model run with this particular set of features, is a professional handcrafted French saxophone whose features include rolled toneholes, a switchable automatic G#/C#, double sprung octave mechanism (which is an excellent feature preventing slow octave changes and should be standard on all saxophones), a 4 slot neck tenon receiver (again, an excellent feature that should be made standard, this time one that applies pressure more evenly around the neck tenon for a more secure fit less likely to develop leaks), and adjustment screws on the upper and lower stacks.  In fact, the Revision D is very much like the model that came after called the Gold Medal, and shares the same bore. The only features that the Gold Medal has that this horn doesn’t are the rocking octave thumbrest (which isn’t actually so great and is often times disabled at the request of the player) and the adjustable felt bumpers for the low notes, which while nice is not a game changer in any way.

    The original silver plating is in very good condition and seems to be almost unworn, and the neck shows no sign of past damage or repair work. There was a little dent by the F#/G# tone holes that was removed nicely, and is very hard to see now, if you can see it at all. I have a few photos of that spot and it’s nearly invisible. 

    These SMLs have a fantastic sound, unique in their blend of refined yet powerful, and possess excellent craftsmanship.  Not very many were made- about 15,000 total of all sizes of the horns considered to be their best- and they hold up very well over time.  

  • Yanagisawa SC-9930 Curved Soprano Saxophone with High G! Rare

    $ 4,150

    For those of you who love to have the best and rarest at the same time, here is my favorite vintage of curved soprano ever made, the Yanagisawa SC-991, but this is in the solid silver neck and body tube version, which is SC-9930, AND it is one of the rare ones that came with the high G key included. This is the first one like this that I have seen, and it’s cool in a nerdy kind of way to have such a rare and fabulous example. You can order a new SC-9930 for $6730, but your extra $$$ won’t get you the high G! Nor will it be the warmer, fuller-sounding version from the 90’s like this with the bell keys on the left. My personal soprano is one just like this but brass, and I think it sounds better than the right hand bell keys version at least by a little bit. I also like the more direct action that you get with the pinky keys on the left hand bell key configuration. We’re splitting hairs here, but hey, if you’re in the rarified territory of exceptional curved sopranos, then maybe that’s your thing too.

    Condition wise, this SC-9930 is in very good shape, with no significant past repairs or current problems at all. I have not spent any money on pad work yet, as I’m trying to keep the price as low as possible, and the horn plays fine on current pads. I would like to sell it a little higher and spend maybe $250 on a thorough setup, so you can have that as an optional extra if you want.

    Original case and mouthpiece are in good shape as well. There is most certainly only one of these available!