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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.
Brilhart Streamline 5 Alto Saxophone Mouthpiece MPC400$ 375
Beautiful almost new example of a rare Streamline Brilhart Ebolin alto mouthpiece. Stamped 3*, it measures like a Meyer 5 tip at .074″ on the original facing. This is often the case with Brilharts, where you only know the tip by measuring.
This mouthpiece plays great with a beautiful warmth and fullness that also does not lack projection. Brilharts like this are among my favorite vintage alto mouthpieces (along with Meyer and MC Gregory).
If you happen to want the rare and collectible original Brilhart BB screws streamline alto ligature and cap, I have one in my collection that fits this mouthpiece that I would be open to selling.
Conn 10M Tenor Pre-War Original Lacquer Cleaned and Ready for Pads Very Good Condition Great Deal – just add an overhaul$ 3,650
This is a BEAUTIFUL original lacquer Conn 10M that is totally ready to be overhauled by your favorite saxophone repair shop. Or get it overhauled through GetASax if you prefer. Way back in 2009 I was selling 10M’s this nice for more than this price, also with original pads, and they have gone up a LOT over the past 10 years. I am pricing this one low so that it sells quickly. Check out those photos. Go ahead – zoom in, make them full screen. The larger the image, the better this horn looks. It has had a few small dings removed, and the body side of the brace was carefully resoldered where it had popped off. (This happens sometimes on Conns.) You can hardly tell at all. That’s really about it! This is as clean as a 10M gets, even if you wait around for a year for the best one you can find.
If you have been looking for a definitely great 10M, look no further. If you want to get this AND get it in with a Conn specialist like Matt Stohrer for overhaul, I am open to giving you one of my precious reserved overhaul spots with Matt. His work on Conns is really outstanding. I don’t make any money on that. You just work out your overhaul options with Matt.
To give you a taste of what this horn can sound like, here’s a classic recording of Dexter Gordon putting his 10M through its paces. That’s a Hollywood Dukoff from the 40’s if you’re curious. The horn can take a ton of air, and just keep giving you more tone. Dex never sounded better than at this period on the 10M. It’s a natural fit.
Conn 4M Curved Soprano RARE Late Example 244750 Matt Stohrer Overhaul Exceptional!$ 6,950
If you want the best, the most beautiful, the rarest, and the highest quality overhaul all in one soprano, then this is the one for you. You can get a ‘normal’ conn curved soprano for a lot less, but it will not be like this. This Conn curved soprano is for the connoisseur, the collector, and the discerning player.
The general rules for buying these, in my view, is to get the latest curved soprano that you can find. I only know of a few individual instruments with later serial numbers than this. You could probably count the total number that were made after this one in the single digits. This is only the second one that I have seen in person, and it is by far the nicest one I have seen. Like every Conn curved soprano it had a couple of key guard feet resoldered, and that is it for past repairs. They look good, and are not at all glaring. The neck is particularly nice. The bell flare and body tube are undamaged.
It just got a complete overhaul and gentle hand polish and cleaning done by Matt Stohrer, Conn enthusiast and my personal favorite repairman for Conn overhauls. Matt’s work needs no introduction, but you can find his website here, and his youtube channel here, complete with several Conn-specific repariman’s overview videos. I got the silver plate touched up in a couple of places where it was starting to show some wear, and I got the gold wash in the bell redone also, though there was still some gold in there to start with. The resonators are the nice, reusable, high-end TenorMadness set, flattened for an authentic look. They look great. An overhaul is a big job, and that’s now done, so this horn is back to factory fresh or better playing condition. Better, because Matt’s pad work feels better than the reso-pad job found on these originally. It’s tight, snappy, and positive under the fingers. Pad heights are just right, and all the little details that distinguish a really good overhaul from a mediocre one are present and correct on this horn.
Playing wise, this soprano is a monster. It’s warm, round, broad, and room-filling, even at low volumes. When pushed, it is almost too loud. It wants to project over a band. The tone is completely different from modern sopranos. Much more warm and medium-dark, almost like a larger saxophone voice squeezed into the small soprano body. The intonation is quite good, and this works well with a wider range of mouthpieces than many sopranos. I used my Bilger Morgan, and it sounds great. But a modern Yanagisawa HR or even a vintage Buescher will all work, so there’s a good range. This is easily one of my favorite vintage sopranos that I have ever played. If you are looking for a new dimension to add to your playing, a curved soprano like this is interesting and stimulating. A whole fresh world to explore. It also looks great on stage, and catches eyes if you’re a full time performer.
This beautiful instrument comes in its original case, also in good condition.
Just for fun, here’s a clip Dave Koz playing his silver Conn curved soprano with postmodern jukebox. Also, be sure to check out Keenan McKenzie’s curved Conn soprano playing in a 30’s swing setting. So great, and tons of fun!
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 6m Transitional Art Deco Alto Saxophone 249081 Overhauled!$ 3,250
Just completely overhauled! Price includes the full restoration. Take how it looks in the photos, and make everything perfect and shiny with all new everything and that’s what you’d be getting.
The Conn 6M transitional takes many forms, and this particular original silver plated example is from 1932. It features art deco engraving (a style which only appears for a few years), left hand bell keys, 6M style keywork everywhere except the left hand pinky table, which is New Wonder II style. This is the last iteration before the transitional becomes nearly identical to the 6M, and to my ears these have a bit more of the big tone of the New Wonder II than the transitionals just after it- and in fact around this serial range is my favorite of the transitionals, playing-wise.
This horn plays a bit on some very old pads, but it will need a repad. Physically it is in extremely good condition, with no dents or dings or evidence of past repairs that I can see. The neck is undamaged and shows no signs of past pulldown, and the microtuner is free and functional. The silver plate is thick and unworn, and will shine up unbelievably well, if my past experience is any guide (see Matt Stohrer’s guide on polishing silver saxophones to see what I mean). It comes with its original case in good condition and its original warranty card. These are great altos, built by the finest American saxophone craftsmen in their heyday, and a super clean one like this is a great place to start if you are looking for a fantastic vintage horn that will last you a lifetime for less of an overall investment than most any new horn of even middling quality that you can buy today.
Conn 6M Transitional Art Deco Burnished Gold Plate Alto Saxophone The Best!$ 3,950
Price just lowered!!
This is one of those super-rare Conn alto saxophones from when Conn was at the height of it’s manufacturing expertise. Conn had the most advanced saxophone manufacturing facility in the world, and it set the standard for quality for all other manufacturers. This alto would have been a special, top-of-the-line model. It has the most elaborate thick burnished finish that is also by far the most time consuming to apply. (Ever burnished anything by hand?) This is original (real, actual) gold plate. (People often think this can’t be real gold, but hey, welcome to the 1930’s where both gold and labor were cheap, and American craftspeople were the best in the world! And there’s the most desirable engraving pattern here also, or at least one of them. For just about a year and a half, Conn did this deluxe ‘art-deco’ geometrical engraving style on its nicer instruments. There’s a lot to see here – it’s a masterpiece of hand engraving that is no longer done at this level by any manufacturer today.
Conns from the early 1930’s are my absolute favorite There was a short burst of gold plate examples mixed in with other horns between 238k-252k, and they are the best of the best in my book.
Conn 6M VIII Alto Saxophone 1937 Pre-War Original Lacquer Excellent Condition 282496$ 3,250
This is a beautiful Conn 6M VIII alto with great original lacquer. It comes with a full high end overhaul. If you are relatively new to vintage saxophones, almost all saxophones older than 1990 or so that have been played with any frequency are in need of a labor-intensive process of restoration called an ‘overhaul.’ This does not touch the finish, but it completely replaces everything that needs to be replaced to put the saxophone back to factory fresh mechanical and playing condition. If you do it right, (which is a big if) then the horn can even be better than new mechanically and playing wise. That’s what this horn is getting right now. It costs about $1000+ to have done right, because it involves at least 25-30 hours of skilled labor.
This Conn 6M VII is really the one you want. It is in excellent condition, original lacquer, no resolders, no serious past repairs at all (a few small dings removed). As soon as it comes back from overhaul in a week or two, it is going to be AMAZING! Conns are very consistent from horn to horn once you fix everything mechanically. This one will be no exception. Even on original pads when I got it from a collector, it played really big. It is medium-focused, and very free blowing. Intonation is excellent. Keywork is fast. It comes with a BAM Classic alto case or similar, (we can discuss) to keep it safe when you are not playing it (which won’t be that much of the time, based on how these play!)
Only one available!
Conn Connstellation Alto Saxophone 28M Excellent Condition Original Lacquer 338006$ 2,750
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 New Wonder 1 Alto Original Burnished Gold Plate Portrait 84738$ 2,950
There are a ton of beautiful altos on the site, but this one stands out from the crowd. It is the heaviest gold plate finish that Conn offered – basically sheets of thick (actual) gold rubbed onto the brass to give you a finish that will last for centuries with minimal maintenance required. Both gold and skilled labor were cheap back in 1920’s America and Conn could afford to invest an extra couple of days’ labor in applying all this gold by hand-burnishing, and engraving such an elaborate scene on the saxophone, and still make a profit. These days, it would be literally impossible to reproduce saxophones like this and market them. They would cost far too much. Just a thin layer of modern gold plate costs like $3500 to do.
So this horn is something very special. Not just as a piece of art, or a piece of exceptional craftsmanship, but as a musical instrument as well. William Morris, the influential artist, famously encouraged us to “Have nothing in your house that you do not know to be useful, and believe to be beautiful.” This alto sax just wails as a player, and definitely fits both requirements nearly as well as a saxophone could. The engraving features (probably) Apollo, god of music, with his harp, and an extremely ornate C.G. Conn logo and decoration.
This alto has very good pads, and plays extremely easily on the current, high-quality overhaul. It feels nice and snappy under the fingers, and the pad work is very good, flat and ‘dry’ feeling, which is a sign of high-quality work with rolled tone holes. The tone is pure 1920’s jazz power: wide, smooth, warm, and dark, but very projecting. This horn vibrates under your fingers even at moderate volumes, and is super fun and responsive to play. Low register is easy. Intonation is good, though you can easily bend notes around also. The keywork is vintage, so it will feel weird if you’re coming from a Yamaha, at least at first. But the tone and beauty you get in exchange makes it well worth it.
Only one available!
Conn New Wonder 1 Tenor Chu Berry Exceptionally Fine Player Fresh Overhaul BAM Case$ 3,150
Do you want the biggest, darkest, most spread and room-filling vintage Conn tone possible? Do you want a gorgeous vintage Conn with original silver plate that looks almost new? Do you want it with a freshly-done high end ($1k+) overhaul, with high-end metal resonators? Do you want a premium $350 BAM tenor case included that fits the horn beautifully and will keep it in top adjustment?
Well, look no further. That’s what this is. Any you should buy it. Right now. You won’t be sorry. I didn’t call it an exceptionally fine player for nothing.
Grafton Alto Saxophone Excellent Original Condition Restored and Playable 10591$ 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.
Ishimori Wood Stone Alto Saxophone Brand New WSA-VL with F# Dark Lacquer$ 4,500
Arriving early October 2019! There are two dark lacquer and one antique finish (unlacquered) that will be available.
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. $4500 brand new.
King SilverSonic Tenor Saxophone Exceptionally Fine Player Overhauled 402584$ 5,750
Here is a freshly overhauled King Super 20 SilverSonic (solid sterling neck and bell with gold inlay engraving) in excellent shape with a *monstrous* sound. The overhaul is extremely clean and well done, and sports high-end reusable Tenor Madness resonators. The action is quick and light and smooth and feels absolutely fantastic under the fingers. Even the left hand pinky table, which can be challenging for some repairers to get right, is light and snappy as it was designed to be. Seriously, hand this horn to the guy next to you on the bandstand just to let him feel it for a sec if you want to ruin his day.
Physically, this sax is in great condition as well. The lacquer is original and has signs of honest wear, but there are no signs of any major or even minor damage or resolders, past or present. The body is straight and the keys are all tight with no lost motion. Owner’s name lightly engraved on bottom of bell. Could be removed if you wanted to, but it is not noticeable. SilverSonics like this with the gold in the engraving on the silver bell are few and far between, and this one is bona fide Great.
It is hard to find a Super 20 SilverSonic tenor in good physical shape, and even harder to get one overhauled this well. Buy this horn and you’ve got it all right out of the box- no worries, no mystery, no gremlins awaiting you down the line. Just a great American-made sax that is ready to make bandmates jealous, project all the way to the back of the room, and look great doing it.
King Super 20 Alto Saxophone 1950 Full Pearls 308k Original Lacquer Fresh Matt Stohrer Overhaul!$ 6,000
King altos are the best altos ever. This one has beautiful original lacquer and looks great, with the only past repair being a resoldered key guard foot. It just got a full, fresh, high-end overhaul, done by Matt Stohrer. This means it got about 30 hours of highly-skilled 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. Matt is something of an authority on vintage King repair You can watch his repairman’s overview of King Super 20 saxophones here. I’m tempted to wax eloquent about what a proper overhaul includes, but think of it like rebuilding an engine or replacing a transmission, and you’ll have the right idea. 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, 1950, which is the same version 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 is. It feels like the tone is coming from a bigger, deeper instrument, but in the alto register, which is really remarkable.
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 Tenor Original Lacquer Amazing Condition 297xxx
This is a 1948 King Super 20 tenor saxophone with ‘full pearls’ on the side keys, G#, octave key, and palm keys, as well as on the rest of the key touches. The pearls, solid silver neck, double socket neck tenon, and fancier engraving mark this out as being the deluxe version of the Super 20 that sells for more and that is highly coveted by players for its beauty and unbeatable tone. This tenor is original lacquer, in uncommonly nice condition. This is one of the best 40’s Super 20’s that I have seen, with beautiful honey gold original lacquer.
This tenor is very clean condition mechanically. I don’t see any past dent work or any resolders or other past repairs, aside from so very small dents removed from the back of the bow area that are nearly invisible. The original solid sterling silver neck is also in excellent condition, and has not been damaged or pulled down. It has the matching serial number, as you can see, and it even has some of the original gold lacquer remaining on it! This sax was overhauled before I got it, and it plays well on the current overhaul.
The main reason to get a King Super 20 tenor saxophone is the tone. These late 40’s Super 20 tenors are big and bold and projecting while still being medium dark and very saturated and punchy. If you put on a brighter mouthpiece, like the classic Berg Larsen / King Super 20 pairing, then you get a killing sort of dark/fat/bright/projecting sound that you can’t get on any other saxophone. It’s the reason why there is such a thriving community of King Super 20 players even 70 years after horns like this one were manufactured. It’s my favorite tenor as well, out of everything that I have played.
If you’re looking for a very good professional tenor to play and enjoy that won’t back down no matter what you throw at it, that will cut through a band with ease, even without amplification, and that has the beauty of the pearls, engraving, and silver neck, then by all means, get this one. I try to keep a good selection of King Super 20 tenors around, so check them out, and email me with any questions. If you want to pair it with a new case, I can get you a great deal on a BAM that will fit it well. Just for fun, here’s a clip of Charlie Ventura playing his ’48 King Super 20 tenor. And I suspect, but cannot prove, that Sonny Rollins played Saxophone Colossus on a Super 20 much like this!
Only one available!
King Super 20 Tenor Original Lacquer Full Pearls Fresh Overhaul!$ 6,450
Price just lowered 6/4/19! This is one of the most beautiful saxophones ever produced – the King Super 20 with pearl side keys and palm keys, bell and bow key cups engraved, solid silver neck, three ring strap hook – just about as de-luxe as it gets.
But wait, there’s more! For a price lower than a new Keilwerth Shadow, or a new Selmer Reference etc, you get not only one of the best-built, most beautiful, best-sounding tenors ever made. You also get it with a fresh overhaul done by one of the most meticulous saxophone repairmen in the business – Carlo Cennamo of cennamowoodwinds.com . I have been hearing good things about Carlo’s work for a few years, but I finally got to see it earlier this year, and it is just top quality. Full mechanical rebuild including all key fitting to precise better-than-new tolerances; excellent pad work that feels dry and snappy under the fingers and makes the horn resonate its notes on its own as you close the pads; adjustment materials that make sense throughout; a carefully done neck fit for a good seal; nice, even spring tensions. This is a $1500++ overhaul and takes Carlo almost an entire work week to complete. So that’s a big deal.
The only past repair I see on this horn is a resoldered brace on the bell side that popped off on its own when the horn was disassembled. It was popped right back on and is in good shape now. This horn has obviously been babied since it was new. It has almost all of its original lacquer intact. For you King geeks out there, this is King’s ‘light’ colored lacquer advertised in its sales brochures. The dark lacquer ranges from caramel to chocolate colored and looks completely different.
This horn just sings, with a medium dark core tone that gets brighter and punchier as you push it. The solid silver neck gives you more upper partials and a bit more of a ringing focus to the sound. The whole horn comes alive as you play, and the response is particularly satisfying. If you have never played a saxophone that is actually right, then I hope that you will soon get to experience it. Low Bb is just another easy note to play, and you can play the entire low register easily at any volume, including pianissimo without losing ‘saturation’ in the sound. Basically, the horn just gets out of the way and lets you play what you want. It’s a beautiful thing.
This comes with a new BAM Classic tenor case, and you can swap that out for a different case if you want to discuss options. There’s only one available of this beautiful Super 20. Get it now!
Martin Committee II Tenor Saxophone Excellent Condition Original Lacquer Overhauled 131115$ 3,500
This is the best Martin Committee II tenor saxophone that I have seen. It is in phenomenal shape and just got a complete mechanical overhaul. It plays SO well – effortlessly throughout all registers with a beautiful, warm, balanced tone. Martins are known for their power, and this one has that, but it is also more focused and round than most other Martins, and has a nice dense core tone. The intonation is very good, and the keywork is also quite comfortable under the fingers. The thumb rest from the Comm II should be on more saxophones. It’s extremely well thought out.
The overhaul on this horn is beautifully done, as you can see, and included meticulous polishing of all the nickel keys to a stunning mirror finish. The original lacquer is a beautiful dark honey color that is hard to match among modern horns, and of course, the lion and crown engraving is deluxe and distinctive among vintage saxophones. I particularly love the bell key guard design and the overall stylistic impression given by the Martin Committee II tenors.
If you are looking for a great, already-overhauled, beautifully restored, original lacquer vintage tenor to play and enjoy that really does everything quite well, and that doesn’t sound just like everyone else, then you would be hard pressed to do better than this one. I should mention, the neck and body serials do not match – probably because the collector I got this tenor from wanted to put the best condition neck on this horn.
Only one available!
New Old Stock Yamaha Purple Logo Baritone Saxophone YBS-62 Mint Unbelievable!$ 9,000
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 $1500 overhaul on top of that! It’s not even inflated for the collectibility value, which is probably not smart of me, but there it is. If you want to discuss all the details of this project, I can put you in touch with the people who built it. These were most definitely a new saxophone bore and neck design, inspired by the best King Super 20 SilverSonic altos, both according to them and according to the folks who bought the tooling and mandrels when the project ended. The keywork is modified from tooling bought from B&S, which accounts for the pinky table that sticks out farther than it would on something like a Yamaha.
There is most certainly only one available. This one has all the possible factory options, which only a subset of Powell Silver Eagles had – including the solid silver tone holes and even cryo treatment. Of the 18 saxophones built, I know at least a couple of them were brass bell, and some others lacked other of these features. This is one of the ones with everything, which makes it even more collectible. Includes the original accessories, case, and paperwork.
Just for fun, here’s Matt Stohrer’s repairman’s overview from when he overhauled it.
Selmer Balanced Action Alto 1945 Fresh Overhauled Original Silver Plate Excellent Condition$ 5,650
Get your Paul Desmond tone going with this beautiful, freshly-overhauled, original silver plate Selmer Balanced Action alto saxophone from 1945. This is the sort of alto Desmond played on Take Five, among many other recordings, and it is the sweetest sounding Selmer alto ever made in my opinion. The ‘Balanced Action’ in the name refers to Selmers revolutionary new keywork design that came on this instrument. It probably doesn’t seem revolutionary to you, since every saxophone made today is made in imitation of Selmer’s ‘balanced action’ design!
The upshot is that you get an alto with a beautiful, warm, lyrical vintage tone, but with keywork that feels quite modern under the fingers. That’s what makes the Balanced Action model such a sweet spot for vintage Selmers. The earlier Selmers are great, but the keywork feels more antequated to many alto players, who, as a general rule, seem less interested in vintage tone unless the keywork also feels more familiar. Tenor players are in general more dedicated to tone, and will work with vintage keywork if it gets them the sound the want.
Anyway, it would be hard to find a nicer example of a Selmer Balanced action alto saxophone than this one. It has nearly all of its original silver plate intact, and it has no dents or dings, and no resolders. The bell flare, bow, neck, and body tube are clean and undamaged. The neck is particularly nice. This sax also comes with a recent overhaul done by Jack Finucane, and it feels good under the fingers, with everything nice and snappy and sealing well. You won’t have to put money into this one to get it playing well, and it won’t need more than regular maintenance to play well for a nice long time.
It even includes the BAM case in the photos, so this is really a great deal at this price. Whoever gets this horn is going to be pretty lucky I think. It’s warm and lyrical, medium spread, but with a nice, solid core tone. You can take the sound in lots of directions, from classical (Selmer’s main design idea at the time) to jazz, smooth jazz, west coast, rock, or really whatever. It’s flexible enough to work with a variety of mouthpieces and still tune well. This is a great alternative to buying some boring new horn for several reasons: better overhaul, better tone, much better resale value, better build quality, more beautiful. But mostly for the tone.
Only one available.
Selmer Mark VI Alto 1958 Conservatory Model Original Silver Plate 77632$ 7,950
This is an amazingly awesome vintage Selmer Mark VI alto saxophone from 1958 that features all of the possible extra keywork offered by Selmer at the time. This is called a ‘conservatory model’ historically, and has the high F#, G# trill key, forked Eb, and high E trill key all included on the same instrument! You can rock your Ferling studies at presto on this baby. It’s also very rare and super collectible.
The finish is, of course, original silver plate. We could get the plating touched up only where it is worn if you want to get this beautiful instrument looking nearly new again. But it looks stunning in any case. The pads are sealing well as I got it, and I’ll spend some money on a thorough setup before selling it, or if you want, I can knock a little off the price instead. Either way, it plays quite well now! The price includes the vintage Selmer case with crushed velvet interior as well as a BAM Softpack contoured alto case for safer shipping and easier gigging. You get both!
Only one available!
Selmer Mark VI Alto 1962 Original Lacquer American Engraved Original Pads 102605$ 7,950
This is a beautiful, original lacquer, American engraved Selmer Mark VI alto saxophone from 1962. It has the matching serial number on the neck, and it has no dents or dings. There are no resolders or other past repairs, save a couple of small dings removed from the back of the bow and a tiny one from the neck. The whole horn is in excellent condition, and it even still plays surprisingly well on the original factory pad job from Elkhart. They really did it right back in the day at the Selmer assembly shop. It feels just perfect under the fingers, and it would be a good feel to copy if you get this overhauled to play seriously.
Just for fun, here’s Phil Woods putting a similar VI through its paces!
The early 100k serial VI altos are my favorite Mark VI altos for tone. This is the exact same horn as a 95k serial alto, so it is the same as a 5-digit, but for a lower price. The tone is medium-dark, powerful, and punchy when pushed, with a good amount of focus. These are the most tenor-like of the Mark VI altos, with a depth and body to the sound that reminds me of a larger saxophone bursting out of an alto voice. This has the long bow, which means nothing really if you’re playing jazz, but if you’re buying this for classical sax, then with a small tip opening mouthpiece and hard reed you will find low B to be a little flat on your tuner. With a jazz setup, I don’t even notice it, and the tone that you get is just fantastic.
If you’re in the market for a great Selmer alto, this makes a much smarter purchase than a new Referene 54 at $6700, because the Reference will be worth 70% of that at best, as soon as you buy it, and less as time goes on, where a beautiful vintage Mark VI will still be worth what you paid for it or more when you go to sell it, if you ever need to. You’re tying up the money in a horn, but it’s money you can get back out, meaning you can own the horn nearly for free, or for the cost of upkeep, which is not the case buying most other sorts of big ticket items. Certainly not vehicles! Plus it’s satisfying to own and play, is built extremely well, and sounds better than a new one. Just for fun, here’s Phil Woods putting a similar VI through its paces (using a Meyer Bros NY alto piece).
Only one available!
Selmer Mark VI Alto Original Lacquer American Engraved Excellent Condition 233486
This very clean, American-assembled late Mark VI alto is a good example of why I think the late American-assembled VIs are a relative bargain. It is very nearly unplayed, sporting most of its original pads (I had a bit of repair work done on it to bring it up to playable) and it possesses an undeniably huge tone, probably the most strident and powerful of all the VI altos. The American-assembled Mark VI altos in the very late run have a large patch soldered to the inside of the bow at the factory to reduce the overall volume of of the interior of the bow, and they play better with noticeably less burble and resistance down low. It is a low-tech solution, but one that works very well and was therefore done at the factory to every American-assembled Mark VI alto after around serial number 210,000 or so.
This particular saxophone is in very good condition, with its original lacquer. There are a few small scratches here and there and some playing wear on the touchpieces of the side keys and palm keys, but 99% or more of the lacquer remains and it shows no evidence of past repairs or resolders. This is a nice, solid Mark VI alto in excellent condition that will blow the doors down if called upon to do so.
Selmer Mark VI Alto Saxophone 160941 Beautiful Original Lacquer Matt Stohrer Overhaul!$ 7,650
Just overhauled by Matt Stohrer, this is one exceptionally fine Selmer Mark VI alto. It feels better than new, and it plays so effortlessly, with a warm, complex, medium bright tone that is rich and singing. If you’ve been looking for one alto that does everything well, this is it. It gets my highly-coveted ‘exceptionally fine player’ designation. That means is the best of its kind that you can get in a saxophone in my opinion.
The 160k range is excellent for the VI altos specifically, because you get a rich tone and well balanced intonation. If you want one of those life-long, world-class VI altos that also has the world’s best overhaul (that I have seen at least), then get this one. Matt’s work on a VI looks like it came fresh from the factory, and feels like a million bucks. Effortless to play, and dependable to maintain. It has all the little touches that take a horn from good to great.
Selmer Mark VI Alto Saxophone Original Gold Plate (Vanishingly Rare) Japanese Market Near Mint 156928$ 20,000
Possibly the nearest to new condition original gold plate Selmer Mark VI in the world. This might be a keeper for me, because it is also in the best serial range for altos to play well. My favorite VI altos have all been in the early medium bow range like this. Plus it’s an original Japanese market horn, which is rarely seen. One of a kind.
There is nothing rarer than original gold plate Mark VI’s like this. This is the first I have seen that was definitely original gold for sale. Rarer than Full Pearls Silversonic King saxophones, rarer than mint Super Balanced Action tenors. Pretty hard to beat.
Selmer Mark VI Alto Saxophone Original Overhauled Excellent! 165069$ 6,950
This is one of those altos you don’t want to put down. It’s just gotten a complete overhaul / mechanical restoration, which means that it feels and plays like new or even a bit better. I wanted to get this horn overhauled, because I had a really good feeling about how it played even on the original pads that it had when it got here. If you want a VI that will be problem-free for many many years, and plays better than any modern horn on the market, (and will go up in value) this is what you want!
This was a one-owner horn that was well cared-for for decades before now, and now it is getting a good start on a new life with a top shelf overhaul. This thing has a beautiful voice. Medium between bright and dark, rich, and resonant. The late 60’s Mark VI’s are my favorites for all-around Selmer altos, because they do basically everything well. Intonation is good, scale is even, low notes are saturated even at pianissimo, upper register screams. This has the ‘medium bow’ if you’re wondering about such things, which means the low register tunes the best of the Mark VI’s. You can’t beat a Mark VI alto like this for build quality and all-around satisfying playing experience. You get the beautiful, unbeatable tone of a Mark VI, the comfortable key work, the excellent intonation, and the feel of a new horn under your fingers, and all for less than a (let’s be honest) comparatively poorly made new Selmer alto. Plus this holds its value and appreciates, while your new horn is going to be worth approximately half the new price in about one second after you unbox it (gasp).
Comes with the original case, and you can add a great BAM case for a big discount if you contact me.
Selmer Mark VI Tenor Saxophone 1959 Great Player! Original Lacquer 79919$ 11,450
This is one of the most desirable versions of the Selmer Mark VI Tenor ever made. Original lacquer, American-engraved from 1959. The original neck has the matching serial number, and the neck is EXTREMELY nice shape. Usually original necks don’t look quite this good. My personal (favorite of all time) VI tenor is 81k serial, and this is 79919, so they were made only a few months apart, and play virtually identically. The tone is dark, centered, and rich, and brightens up and gets a bit of an edge to it when pushed. Not as bright and projecting as an 87xxx for example, and the extra focus and complexity of the tone gives it a special beauty. It’s very free blowing and responsive. This tenor had a dent removed from the back of the body tube that was basically right behind the spatula keys, near the bell/body brace. You can still see some evidence of it having been removed, but it was removed so well (by Aaron Barnard) that it is almost not there anymore. Besides that, you have a few small dents removed here and there – a couple removed from the bow area (front and back), very small one or two on the bell flare, and one under the D palm key. Just normal stuff for a 60 year-old horn that has been played professionally.
Repair wise, this tenor received a fresh overhaul a few years ago, done by David Saull (Denver, CO) who works on tons of pro horns in that area and has an excellent reputation. It feels great under the fingers with a nice, snappy, ‘dry’ pad feel and very even action. Tunes well, altissimo is easy, low notes are easy. Just what you’d hope for from an excellent VI.
It comes in a brand new BAM case. It’s in a Softpack in the photos, which is one of my favorites for an all-around BAM tenor case, as it has some storage under the horn, and a separate place for the neck, but it is nice and small and light to pack around. Comes with backpack straps as well. You can swap this out towards another case if you want a different BAM or something else. Happy to make it work for you. 2% discount with a low-fee payment method (bank transfer, transferwise, check, venmo etc.).
Priced to sell. You don’t normally see a 1959 in the 80k serial range selling for this kind of price. Could be much higher, but it’s on consignment, and the owner wants it to move quickly.
Only one available!
Selmer ORIGINAL Gold Plate Tenor Sax 16164B Coleman Hawkins Al Cohn Sal Nistico$ 13,999
This tenor is an exceptionally rare original gold-plated Selmer Super Sax in very good physical condition. Sporting ornate engraving down to the bottom of the bow in a burnished background, the body of the sax is a matte gold plate finish while the keys and interior of the bell are burnished. Factory gold-plated Selmers are not common, and this is one the few original gold-plated Selmer tenors from this early Super Sax era ever made, and likely one of the nicest still surviving, if there are indeed others still out there. The keywork is tight and shows very little wear- although this horn shows signs of being used, it was well cared-for and well loved.
This horn has recently been given a thorough check-up and plays well. I am a big fan of these Super saxes, and this instrument is a good example of why. It plays with what is arguably the biggest voice of any Selmer, and is one of the few instruments that can give a good Conn of the same period a run for its money in richness. But the velvety Selmer tone is there along with the fatness, making for a uniquely broad and ballsy-sounding Selmer with a lot more power than most horns. The keywork is quite nice and although of an older style ergonomically, those that play these do not find them difficult or an impediment to technical facility.
The serial number is also interesting: although infrequently seen, the B at the end of the serial (sometimes it would actually say “bis”) is Selmer’s way of denoting that they struck the same serial twice on two different instruments! So this is Selmer #16164… B. All in all, a uniquely beautiful and rare instrument with the bonus of a historical quirk.
The last 7 photos are of some of the tenor greats playing similar horns to this.
Selmer Series III Alto Saxophone SOLID Sterling SILVER Near Mint Getting Overhauled!$ 10,000
Just freshly overhauled!! This alto has the distinction of being the best playing classical alto saxophone that I have played. Ever.
If you are not used to used saxophones, that means someone with a bunch of years of training in the craft of saxophone repair is going to be spending somewhere around 25-30 hours of skilled labor on this saxophone to make it totally fresh and new (better than new). It costs somewhere around $1000-1500 to have done. It will play so much better than any other Series III you might find for sale that you will be surprised that they are even the same model of saxophone. Not kidding.
If you play classical alto and you want to play the best, and set yourself apart tonally from the crowd, this is your dream alto. There really is nothing like it. I try to avoid overusing superlatives in saxophone descriptions, but this horn deserves them. The tone is dark and centered, and it has a haunting quality that is extra special among saxophones. This is the alto for a serious alto player who wants something that is built for saxophone study and performance. These are especially nice for classical playing. Doug O’Connor’s tone on one of these has left a lasting impression on me. Just gorgeous. I recently got to hear Doug play the Bach Chaconne on this alto, among other pieces, and I have to say, it was a high point for me in experiencing transcendent music on the saxophone.
There’s no damage, no wear, no past repairs. This horn has not been played much since new, and it’s in near mint condition. The neck is great. The whole horn tunes well with a classical setup. You can buy one of these new for $18329 online, or you can get this one OVERHAULED! for right around half price here. It’s a great investment if you are wanting the best.
Original case, fresh overhaul, and the original S80 mouthpiece is included also.
Special Order a BAM Case! Lots of options available.$ 555
Let’s find you the perfect case for you! Prices and availability vary.
Yamaha SILVER YSS-82ZRS Soprano Saxophone Near Mint Condition Stohrer Setup Excellent 3231$ 4,450
Best modern soprano available: Lightest, most resonant, most in tune, most comfortable to play, best long term investment. It’s a modern classic. Yamaha YSS-82ZRS one piece, bent neck soprano in mint condition. This INCLUDES (for free) a whole-day (normally $350), crazy new horn setup by Matt Stohrer, who is one of the best saxophone repairmen around. Plus it’s priced $400 below the new price. That’s a superb deal. This is basically a reissue of the wonderful and highly-desirable YSS-62RS soprano, and it sounds the same once it’s all setup with the right key heights and spring tensions. This will be collectible someday, as they always have a 6 month wait to buy one on special order and are sold in small numbers.
You can read about Matt’s full new horn setup on his website here (scroll to the bottom) http://www.stohrermusic.com/repair-services/
Yamaha YAS-62 Alto Purple Logo 1980’s Near Mint Original Pads 11173$ 2,100
The ‘purple logo’ Yamaha YAS-62 alto saxophone from the 1980’s is one of my favorite all-around alto saxophones made. It has a surprisingly ‘fat’ sound – meaning it doesn’t thin out or get nasal even if you push it to the limit, as Dave Koz has been doing with his 62 (same vintage as this but in silver plate) for around 35 years. Not that you have to go for that aggressive sort of tone, but you can hear how, even with a metal, high baffle mouthpiece that is as bright as you can get on alto, the tone still has warmth and depth to it.
This particular 62 alto sax is nearly as nice an example as I have seen. It has a little bit of ‘acid bleed’ around the foot of the Eb/C post, and a small, 1/4″ scratch on the back of the body tube near the strap hook, and that’s really about it versus being a new horn! The pads are still completely original, though I may get a few pads replaced so it plays well on the original setup. Right now, it plays really big and rich, from low D on up through the rest of the range, but hey, the pads are about 35 years old, so I’m sure it would play better with new pads. For now, I’m pricing it on the very low side for quick sale. You would be hard pressed to find a better alto saxophone with modern keywork in this price range. But do budget some money for pads down the road. If you’re really on a budget, I have another one of these, also in good shape, but with more wear that I can sell for even less. And on the other hand, if you want one that has a fresh, high-end overhaul, and plays at 100% of its potential, has all-new everything, and will not need signficant work for many years, I also have one of those just listed for sale with a full overhaul, if you want to check the current Yamaha listings. . I love these purple logo 62’s, so I will try to keep them in stock
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.
Yamaha YTS-82Z Tenor Fully Engraved Amazing! Full Repad by Matt Stohrer$ 5,950
WOW! This is one special Yamaha tenor. As soon as I saw it for sale, I had to have it. I have been a fan of Jaice Dumars’ engraving work for years, but I have never been able to cajole him into engraving anything for me (he has another full-time job). When I saw this rare chance to buy a horn he had worked on, it was a no-brainer. Dumars’ engraving combines what he has learned from vintage King, Conn and other engraving, and combines that with his own style and creative flair. The way that the rather uninspiring Yamaha ‘fat starfish’ (sorry, now you can’t un-see that) engraving is incorporated into a coherent larger work is particularly impressive. Also note on the neck, how it’s the unengraved space that makes the pattern!
OK so take a great horn – the 82z Custom by Yamaha, and add to that Dumars engraving, but then add to that a full repad by Matt Stohrer, and that’s what you’re getting here. If you don’t know Matt Stohrer, he does some of the best pad work anywhere, in my opinion. He is always booked up for repairs, sometimes for as much as a couple of years’ time. His pad work is super clean, thorough, and precise. The horn feels great under the fingers and responds right away with a warm, free blowing tone. The intonation is of course great (this is a Yamaha, after all.). It’s the kind of tenor that you just don’t want to put down. And all for less than the price of one of the custom atelier Yamahas new, which is kind of nuts.
Only one available!
Yanagisawa S991 Soprano Two Necks Excellent Condition Plays Great!$ 3,150
The Yanagisawa S991 is the Acura of soprano saxophones. It is built to extremely high standards, lasts forever, plays in tune, is easy to use. Basically, it does everything well. This horn is in excellent condition with only minor cosmetic wear from regular use. There is no past damage, and it comes in excellent playing condition. It just got a thorough tune up and is playing its best. The Yanagisawa S991 soprano has a rich, warm tone that is pleasant to listen to whether you are playing jazz, classical, or commercial music. I was just playing the Bach ‘Little’ Fugue in G minor on this soprano, and it really is almost the ideal instrument for the job. The intonation is just right on throughout, and the keywork is super comfortable and fast.
Original case is in nice shape. I’ll post photos of the case and curved neck soon (oops), but they look much like the horn and straight neck. They are included. If you have been looking for a great soprano for a great price that is easy to play and reliable, this is it!
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!