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• 

  ‘Meyer Bros.’ New York Model Alto Mouthpiece by Ted Klum – the Best!

  $ 499

  This is an exceptional alto saxophone mouthpiece. It does literally anything you want it to, from lead alto, to ballads, to section work, to pit and concert band. It is what I play, and I can’t recommend it highly enough. Every single person who has bought one has emailed back or called me with rave reviews. I don’t normally make these kinds of pronouncements about mouthpieces, but until you play one of Ted Klum’s facings, it is possible that you don’t yet know how easy it should be to play saxophone. The response is instant; subtone is effortless; altissimo is right there and easy. The tone is just gorgeous – it’s based on the type of Meyer Bros that Cannonball Adderley played, and it really does lean in that full-throated, warm, lyrical direction that you think of with Cannonball. Phil Woods’ tone is another reference point for alto players, and he also played a NY Meyer like this is based on. The big reasons to buy this instead of hunting for a NY Meyer are price and consistency. Meyer Bros NY alto mouthpieces now sell 2-5x the price of this piece. And out of 5 original facing Meyer Bros pieces, you might get 2-3 good ones. Every single one of Ted’s New York Models is consistently great.

  You can get this version with the silver shank band included, or you can get it without the silver band. The band is an aesthetic nod to Cannonball Adderley, whose Meyer Bros had a similar one, and it is also protects the shank from cracking over the years or from a too-large neck cork. It is dry-fit with a ring sizing machine, so you can take it off or put it on without any adhesive. If you have any questions about these mouthpieces, feel free to contact me.
• 

  ‘Meyer Bros.’ New York Model Alto Mouthpiece by Ted Klum – the Best! (No Shank Band)

  $ 399

  This is an exceptional alto saxophone mouthpiece. It does literally anything you want it to, from lead alto, to ballads, to section work, to pit and concert band. It is what I play, and I can’t recommend it highly enough. Every single person who has bought one has emailed back or called me with rave reviews. I don’t normally make these kinds of pronouncements about mouthpieces, but until you play one of Ted Klum’s facings, it is possible that you don’t yet know how easy it should be to play saxophone. Ted Klum is one of the most highly-skilled and artistic mouthpiece makers in the world, and his work is just about the best that there ever has been. It would be wise to get one of Ted’s mouthpieces before he retires and they suddenly jump up in value.

  How does it play? The response is instant; subtone is effortless; altissimo is right there and easy. The tone is just gorgeous – it’s based on the type of Meyer Bros that Cannonball Adderley played, and it really does lean in that full-throated, warm, lyrical direction that you think of with Cannonball. Phil Woods’ tone is another reference point for alto players, and he also played a NY Meyer like this is based on. The big reasons to buy this instead of hunting for a NY Meyer are price and consistency. Meyer Bros NY alto mouthpieces now sell 2-5x the price of this piece. And out of 5 original facing Meyer Bros pieces, you might get 2-3 good ones. Every single one of Ted’s New York Models is consistently great.
• 

  BAM Cabine Tenor Sax Case

  $ 391

  This is one of the best tenor cases made today. It’s a 10/10 in terms of protection, padding, latches, reliability, and weight. It’s built to minimize size, so you can carry it into an airplane cabin. Highly Recommended. Fits most horns.
• 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.
• 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!

   
• 

  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.  
• 

  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.

  

   
• Sold Out

  Guardala Handmade Studio Baritone Saxophone Mouthpiece #18 Super Early Original .112

  $ 2,250

  Super early Guardala handmade Studio Baritone Sax mouthpiece. Serial number 018! Original facing, measures a very playable .112″. Original gold plate; rare, early ‘all the way across’ bite plate; and beautiful (original) flat file work in the chamber. Nice, thin tip and rails. This piece is incredible. It’s an instant pro sound that projects while staying warm. This mouthpiece is on consignment with GetASax. I have seen these sell for much more than the asking price, (like, a LOT more) and these often don’t last long at all. Only one available! Only the 18th one that Guardala made! Shipping price includes tracking and insurance. I’m experienced shipping the best saxophone equipment worldwide.
• 

  Ishimori Wood Stone Alto Saxophone Brand New WSA-VL with F# Dark Lacquer

  $ 4,500

  Last one!

  This is the highly sought-after Ishimori Wood Stone alto saxophone available. The model is WSA-VL with high F#. It has dark, cognac colored lacquer and beautiful hand engraving, the among the most elaborate of any modern saxophone. Effortless player. Hard to emphasize how effortless. Completely effortless low register, low Bb pops out like any other note. Altissimo is easy. Tuning is great. The tone is sort of Selmer-ish but punchier. Easy to play delicately and softly with plenty of saturation and projection. Action is low, fast, and snappy. Great for jazz, concert, ballads– really anything. I’m impressed. $4500 brand new.
• 

  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 Alto Full Pearls 1952 Fresh Overhaul 328xxx Outstanding

  $ 5,150

  King altos are the best altos ever, full stop.

  This one has original lacquer and looks good in a played in way, with the only past repair being a resoldered low C key guard. It just got a full, fresh, high-end overhaul, done by the highly-skilled Jan Olsen (Norway). This means it got about 30 hours of painstaking labor done to make the mechanism all factory fresh, and to replace everything that can be replaced so that it is back to new playing condition and pad wise. It now performs great and will be ready to go for many many years to come with only regular maintenance needed.

  This King Super 20 alto is from just about the most desirable year, 1952, which is the same version and serial of Super 20 that Cannonball Adderley played on Kind of Blue and Somethin’ Else. It is in great shape, with no serious past repairs at all.  This is the ‘Series II’ which has the best combination of beauty, features, and key work of all of the Super 20 altos. You really can get the Cannonball Adderley vibe going on one of these (with lots of practice) better than almost anything else. Cannonball played almost exactly this serial alto on Kind of Blue. This plus a Meyer 5 or Ted Klum NY Model plus a soft reed and lots of guts is what you need for what I consider to be the benchmark for good alto sound.

  Why do I say that Super 20’s like this are the best altos ever? The overall combination of tone, beauty, and ergonomics. For me, great tone that you get from these full pearls Super 20’s is pretty hard to beat. It’s warm, full, rich, and projecting, but without any hint of shrillness or thinness. Cannonball’s tone, I always think of as a tenor saxophone reincarnated in the body of an alto, and that’s pretty much what a Super 20 alto like this allows. It feels like the tone is coming from a bigger, deeper instrument, but in the alto register, which is really remarkable. You can of course do a million other things with it. Check Francois Carrier’s music for another take on Super 20 tone (also same serial as this). The Super 20 is going to keep getting more and more desirable, and harder and harder to find. They’re just fantastic, and they are way rarer than Mark VI’s or any other top notch vintage or modern alto.

  This horn is priced to MOVE. Once you figure in the overhaul, it’s absurdly cheap. Particularly for the tone you get. Someone should grab it now and not look back. You never need to ‘upgrade’ from this. If you don’t love it, send it back. I take returns.

  Just for fun, here’s Cannonball on his Series II Super 20 playing one of his classic ballads, Dancin’ in the Dark.
• 

  King Super 20 Alto Saxophone 1953 Full Pearls Original Lacquer

  $ 6,350

  Cannonball Adderley vintage of King Super 20 alto that now comes with a complete, high-end overhaul done right! This is exactly the same as my personal alto. It’s cosmetically a little nicer than mine in fact! Really clean original lacquer, great condition. Full pearls, solid silver double socket neck, the more comfortable left hand pinky keys – this is the Super 20 you want. The ‘full pearls’ means that it has all the bells and whistles that people look for in a King alto. Extra pearls on G#, palm keys and side keys/F#. The bell keys are engraved; the double socket neck seals beautifully. The solid silver is in great shape. The serial numbers on horn and neck match. Cannonball Adderley played an alto just like this on Kind of Blue and Somethin’ Else. To me, you can’t really beat this among alto saxophones for jazz or all purpose playing. The best mouthpiece to pair with it is the Ted Klum New York model or the GS Special version of that mouthpiece. It’s a 10/10 combination. Kings like this are at least 10x rarer than 5-digit Selmer Mark VI’s, and they have strong potential to go up in value over time. That makes this a smart purchase as well as an extremely fun alto to play.
• 

  King Super 20 Tenor Saxophone 1957 Near Mint Original Lacquer Overhauled!

  $ 5,950

  Holy cow! This is one of the nicest examples of a King Super 20 that I have had the pleasure of selling. It just got a complete overhaul! It was original pads 63 years old, when I got it, and now it’s totally fresh, clean, and completely restored. It’s awesome!

  The tone of these horns is just to die for. Powerful, resonant, very loud when pushed (it goes to 11). The solid silver double socket neck gives you extra focus, and a dark core with lots of overtones. The horn overall is bright and projecting, but in a way that stays fat, like only American saxophones can. Ideal for either cutting through a band, or playing the most gorgeous ballads, this is one of my favorite saxophonse of all time.

  This tenor has no damage, no dents or dings, and almost all its original lacquer. The solid silver neck even looks odd to King fanatics like me because it still has its original gold lacquer over the silver, which you hardly ever see. There’s some scratching on the back of the body tube from normal use, and a couple of tiny, nearly invisible dings I got removed from the bow, but you’d never notice anyway. It’s as nice as you will ever find. And priced to sell!

  The best demo of a “Series III” Super 20 that I know of can be found here. It’s one of the only cases that I have found where I heard a demo and what I consider the essence of the tone of the horn itself is front and center on display (as opposed to the mouthpiece, the player, or a bunch of other distracting noise. Listen and enjoy! This is the same horn as in the demo, just made a year or two later. https://www.youtube.com/watch?v=cBoeWeRyy-o 

   
• 

  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.
• 

  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.
• 

  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 143865 Exceptional Player Original Lacquer Very Good Condition

  $ 6,950

  This Mark VI tenor from 1967 is a real screamer! It is moderately focused, medium bright in tone, and LOUD. It has effortless response, and the low register pops out easily. It just got a fresh overhaul done and plays great throughout! The pads feel nice and ‘dry’ and snappy under the fingers, and you can put as much air through the horn as you want without it breaking up, or sounding shrill. It’s a fantastic VI if you want one that has some of the warmth and complexity of the earlier VI’s (not as brash and in your face as the later ones), but has tons of power.

  Cosmetically, this horn is in very good condition with minimal past repairs and no dents or dings. It’s original lacquer and looks beautiful. When you see it, you think – ‘Man, that Mark VI looks almost new!’ Looking closer, there are a few signs that it was played and loved over the years: The Bb keyguard popped off at some point and got resoldered (happens a lot on vintage horns), and the neck shows a little lacquer wear on the side from flexing, but is the correct angle now, and was never pulled down in anything like a bad way. It’s about a 2 on a scale of 1-10 — just enough to make the lacquer fracture and fall off over time. The only other thing to note is some minor dings removed from the back of the body that are gone now. Normal stuff for a vintage horn, and nothing bad; nothing needs repaired etc. And you save around $2k versus the price if this horn had no repairs, which is significant savings! Not to mention it’s already overhauled and done very tidily and well.

  If you want a nice, powerful, beautiful Mark VI tenor for quite a bit less than a new Ref 54 that plays better, is built better, and is an exceptionally good player, that’s what this is.

  Only one available!

   
• 

  Selmer Mark VI Tenor Saxophone 1957 69533 Original Lacquer Excellent Condition!

  $ 14,500

  This is about as nice an example of an original lacquer early 5-digit Selmer Mark VI tenor as I have seen! It still has all its original factory pads. The original neck is in perfect condition and has not been pulled down or damaged in any way. It has the matching serial number to the body. The beautiful dark honey gold lacquer is almost all intact! This saxophone was babied and then treasured by someone as a keepsake until now. The only past repair it had was a resoldered strap hook. That was done well, with minimal lacquer loss. Sometimes stuff like that just pops off on old Selmers – key guard feet, strap hooks, and braces – not really from damage so much as just the original solder coming loose. Luckily you can just pop it back on there and it’s good to go for another 60+ years.

  It’s hard to overemphasize how clean this tenor is. When you look at it, you just can’t believe how beautifully preserved it is. The body tube is straight and undamaged. The bottom bow even looks brand new. The bell and engraving look factory fresh and untouched. The original pads are falling out, so while you could try to play it on them, it would be better to get it freshly overhauled if you want to play it seriously. I got this horn in one of those beautiful red leather ‘Chesterfield’ original cases, but the zipper was broken on it, so I put it in a new BAM case for safety. If you want to pair this horn with an original 50’s Chesterfield Selmer case, I can possibly sell you one from my small vintage case collection. And if you want to buy it and then get it overhauled to play, I can hook you up with a top notch saxophone repairman who can do the overhaul right! You’ll be able to reuse the original Selmer metal Tone-x resonators on the new pads, which will give the horn a correct, vintage look.

  Tonally, the mid 60k range is a real sweet spot for the Mark VI tenor. These horns have a darker, more focused core tone than the later VI tenors, with plenty of power. As you push it, it will brighten up a bit, but stay fat and complex sounding. It’s super free blowing, and not stuffy at all. Loud and dark and powerful with a good amount of focus. When people make modern tenor necks that are supposed to mimic the ‘Mark VI tenor sound’ they often copy a neck like this one that is medium-dark, complex, and focused with easy overtones. This is the sort of tenor that gave the Mark VI the reputation that it now has. If you want virtually the same horn, but for half price with a new ‘coat of paint’ from the factory, check out the excellent deal I have on this VI tenor, which is virtually identical, and also super clean physically and mechanically.

  But if you have been looking for a really fantastic, original early 5-digit VI tenor that is almost like going back in time to 1957 and buying a new Selmer, then that’s what you have here. It’s a rare opportunity, and getting rarer every year. Soon, these horns will no longer be seen on the market at ALL often, and people will lament for the days when they were priced so ‘low’! It’s crazy, but true, if you compare to literally any other instrument (guitar, violin, piano, flute, even bassoon) — the best examples of the best instruments of all of those cost 3-10x what you can get a super clean Mark VI like this for currently.

  Only one available!
• 

  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 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.  
• 

  Special Order a BAM Case! Lots of options available.

  $ 555

  Let’s find you the perfect case for you! Prices and availability vary.
• 

  Ted Klum Acoustimax Alto Mouthpiece – (much) Better than a Meyer

  $ 265

  This is a mouthpiece that for the price is very hard to beat. It plays like a vintage Meyer Bros with a lot of punch, and is great for jazz, lead alto, or other sorts of playing where you want a warm, full tone that has a reasonable amount of projection. The quality control on these is very good – worlds better than your modern Meyer made by Babbitt. You can just buy one of these and it will play great, as opposed to buying ten modern Meyers and maybe finding one good one.
• 

  Ted Klum Tonamax Tenor Mouthpiece Like Florida Otto Link Tone Edge Slant

  $ 600

  Ted Klum’s Tonamax is as close as you can get to a vintage Florida Otto Link “Slant” Tone Edge. It plays big, full, medium-dark with a punchy edge, just like a good Link slant. I think it’s a bit more like the earlier ‘No USA’ slant than like the later brighter USA version. Ted’s new ‘Florida Model’ is more like the later Florida Tone Edge or ‘Early Babbitt’ tenor pieces. This Tonamax is like the earlier Slant. I can get you one in any tip opening, in black ebonite, or sometimes in beautiful marbled ebonite.
• 

  Tenor Metal Otto Link Brilhart Reproduction 3 Band Ligature Berg Larsen Dukoff!

  $ 165

  Best ligature around for a metal Otto Link (and similar) tenor mouthpiece! Way better than the stock Otto Link metal top screw ligature, this gives you a much firmer hold on the reed, which greatly improves response and reduces movement or reed swelling on the mouthpiece table. The plastic reed plate fits the reed beautifully and opens up plenty of vibration. No deadening fabrics or strings here. Plus, this is made to the highest standards in South Korea by people who care about quality saxophone equipment. It’s a true reproduction down to the materials used, of the most desirable saxophone ligature ever made. This also fits larger body Berg Larsen and vintage Hollywood Dukoff tenor mouthpieces, and all Otto Link Metal-sized tenor mouthpieces, like Ted Klum Focustone Tonamax, Theo Wanne larger body metal, and many others. See the photos. For thin body metal mouthpieces, get the Guardala sized tenor ligature instead.

  If you want the best ligature for a Berg Larsen metal tenor mouthpiece, this is it. If you want the best ligature for a Dukoff Hollywood or Dukoff Stubby tenor piece, again, this is it.

  This ligature fits all metal Otto Link tenor mouthpieces also – past and present. It fits Masterlink, 4****, ToneMaster, Super ToneMaster NY, FL, Early Babbitt, and regular Babbitt-made pieces. The modern variants like the ‘New Vintage’ NY, Millennium edition etc also all fit.

  Buy with confidence. I take returns, and I stand behind this product. It’s the real deal.
• Sold Out

  Yamaha YAS-62 Purple Logo Alto 1980’s Warm, Beautiful Tone Incl Full Overhaul

  $ 2,550

  Just completely overhauled to effortless perfection! This 1980’s ‘Purple Logo’ Yamaha 62 alto saxophone is just so nice to play. The Purple Logo 62s are a sweet spot for alto saxophones in general, because they combine the comfort and ease of modern keywork with a more warm, complex tone than you find on other later Yamahas. This vintage of 62 is more like a vintage Selmer, where the later Yamahas went for a clearer, rounder, brighter tone. This is more middle of the road on the bright/dark spectrum, and it’s not as clear, but more warm and has more complexity to the basic tone. It feels more like a vintage horn also – easier to bend notes around, where more recent ones are just slotted in what-you-get-is-what-you-yet tonally and pitch wise. This lets you do more. It’s a Yamaha with the training wheels off.

  The full overhaul spared no detail of restoring this alto to perfect mechanical and playing condition. There’s just a bit of cosmetic wear from use, and that’s really it for the description of the condition. It’s effortless to play. Low register produces a saturated pianissimo without any trouble. Low Bb is just another note. These usually sell about $400-500 higher, but I’m discounting this one for quick sale to be a great deal for some lucky player. If you get this alto, you never need to upgrade. It will be beautifully performing for you for as long as you want to play it, and with the fresh, high-end overhaul, it will stay in great adjustment with only the most minimal of maintenance! It’s an easy, turn-key purchase on a beautifully playing horn.

  Only one available!
• 

  Yamaha YSS-82ZRS Soprano Saxophone One Piece Bent Neck Silver Plate! BRAND NEW

  $ 4,750

  Available new by special order anytime. Email me at [email protected] to order. The Yamaha YSS-62R and 62RS are the most desirable vintage sopranos pretty much. Yamaha made an upgraded reissue of this soprano, with improved keywork but the same bore. It’s simply the best.
• 

  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!