Author: admin
Ready to play $450
Model on mouthpipe — CR300 Bach
Valve slides out [note third valve slide]
bell view – Valves are fast free and smooth – and importantly feel good as you play
Top front in the case –
Bach USA quality – snug fitting excellent – tough – hard case designed to keep this cornet safe
Pro? – Intermediate? – Student?
This is an Excellent player which offers a range of players response, reliability and enjoyment. High notes are relatively easy [but don’t expect instant gratification if you’re at the start of your journey]
Includes mouthpiece, valve oil, cleaning brush.
Photos show the gleaming condition: the photo with the mouthpiece in shows a very small barely noticeable ding opposite the mouthpiece
Can be posted at buyers expense
Cash, paypal, Visa – Mastercard available
Email: play_that_quail@hotmail
Professional level sax with rolled tone holes
Serial 152005 Type: C Melody L= low pitch
Serial number of this Conn C Melody sax on the Conn "Reed mouthpiece" serial number list indicates manufacture date of around 1925.
According to Wikipedia the Conn sax which Chu Berry played was serial 145xxx.
Although Chu Berry was not known to have played a C-Melody model, "Chu Berry" is the unofficial designation of C.G.Conn company's series of saxophones produced through the 1920s.
They are the Conn New Wonder Series II.
Conn offered four finishes, raw brass, silver, burnished gold, or gold plate. Because - to me - the finish of this doesn't appear patinated in the way that I am used to seeing raw brass produce a tarnish or patina - I think this finish is gold. The cleaned area around the engraving on the bell, as well as the area showing the Patent details, serial number, and other details on the back [both shown in photographs] show the finish. Further cleaning is for the buyer.
The previous owner, the late Norm Florimell, was a multi-instrumentalist who acquired this sax around 30 years ago. It had a minor service by Melbourne Woodwind & Brass in November 2010 [see receipt] and since then has had very little playing. Norm spent his last few years in a nursing home, and his son Mike [a drummer and drum guru] has entrusted this beautiful instrument to me to help find it a new home.
You can see from the photos that pads appear to be firm and in good condition, and the felts [red] are in good condition. Springs are working, pads are closing neatly.
The body is free of dings, scratches, dents and corrosion: once the surface tarnish is cleared the appearance will be beautiful.
This comes with a C Melody sax-appropriate mouthpiece included, and the box of Rico C Melody sax reeds contains over a dozen unused 1.5 C Melody sax reeds. The mouthpiece is a Paul Morgan and is in good condition: if you search Saxonontheweb you'll find comments on just how much difference a Paul Morgan C Melody mouthpiece makes: you won't need to grapple with an unsuitable alto or tenor mouthpiece.
The solid case is the original, latches and main catch in good condition, but the handle will need attention. It will be packed with care.
The virtue, versatility, and practicality of a superb classic instrument like this are often overlooked.
Just to draw the musical threads together, I asked "Chatbot openai" about C-Melody saxophones:
This was the response -
" The C-melody saxophone, also known as the C-melody sax, offers several unique benefits compared to the more commonly used alto and tenor saxophones. Here are some advantages of the C-melody saxophone:
Versatility: The C-melody saxophone is considered a versatile instrument because it is pitched in the key of C, allowing it to play music written for both B-flat and E-flat saxophones without the need for transposition. This means you can read and play sheet music designed for other instruments, such as piano or violin, directly on the C-melody saxophone.
Mid-range pitch: The C-melody saxophone falls between the alto and tenor saxophones in terms of pitch. It offers a unique tonal range and blends well with other instruments in a band or ensemble setting. The mid-range pitch can provide a distinctive voice to your saxophone playing, making it stand out in certain musical contexts.
Easier to play: The C-melody saxophone is often considered more approachable for beginners or players transitioning from other instruments. Its size and weight are generally more manageable, making it easier to handle and hold compared to larger saxophones like the tenor or baritone. This can be particularly beneficial for younger or smaller players.
Availability of vintage instruments: While the production of new C-melody saxophones has significantly declined, there is a good supply of vintage C-melody saxophones available on the market. This can be advantageous for players interested in exploring the unique sound and character of these instruments without the need for custom orders or specialty manufacturers.
Expansive repertoire: The C-melody saxophone was popular during the early 20th century, particularly in the 1920s and 1930s, and many jazz and popular music compositions were written specifically for this instrument. Owning a C-melody saxophone allows you to explore a wide range of repertoire from that era, including classic jazz, swing, and big band music.
It's worth noting that the C-melody saxophone is less commonly used in contemporary music styles, and finding modern sheet music specifically written for the instrument may be more challenging. However, its unique characteristics and historical significance make it an appealing choice for certain musicians looking to diversify their saxophone playing experience. "
You might think, as I do, that this “botspeak” I’ve quoted above gets it pretty right, but that it’s quite cold to the human pleasures of exploring and exploiting the dynamics of a vintage instrument like this one. And if you’re in a rock outfit that plays mostly in the key of C, a C-Melody can be perfect for you.
If you NEED the dots [and of course many of you don’t] there’s Optical music recognition (OMR) software — or more colloquially, “music notation scanning software” — which will let you edit and print [screen or paper] for any key of your choice.
above – In the case showing pads
Above – Original Hard case – C.G. Conn – World’s largest manufacturer of Band Instruments – Elkhart Indiana U.S.A.
Norm’s receipt from 2010 – salesperson Don Stewart
Pads & felts 1
Pads & felts 2
Pads & felts 3
Price
$1750 AUD
Payment/Posting/Contact
Payments accepted by Cash, Paypal, or other by arrangement
Pickup can be arranged
Postage to nearly anywhere at buyers cost by Auspost
Contact email: play_that_quail@hotmail.com
Michael’s father’s sax – in great condition
Silver in good condition
Includes original mouthpiece - professional instrument
Low Pitch - (modern concert pitch - 440Hz).
serial 58727
with the original hard case
By 1927 the company employed around 250 workers in London and was a major manufacturer of brass and wind instruments.
In 1930 Hawkes merged with Boosey to form "Boosey & Hawkes".
One published list of Hawkes serial numbers ends at the year 1930 with the number 60626 which would imply that this instrument - serial 58727 - was made in 1930. For what it's worth, I've seen it suggested that Hawkes double century saxes continued to be made after the merger, and also that some were put out under the Boosey & Hawkes name.
Advertisements in Australia newspapers during the late 1920s and early 1930s [researched on National Library of Australia website Trove] confirm beyond question that British made Hawkes Double Century saxophones [as well as other Hawkes instruments] were regularly being offered for sale by dealers and music stores all over Australia, as well as by private sellers. Their acceptance was widespread and they attained a significant level of popularity and market saturation. Despite that, as vintage instruments - especially in good condition like this one - they are now attained a degree of rarity. They are, however - fairly rare.
A recent saxophonepeople forum -
" .... unique to say the least. They are rare in US. I’m told these horns were very expensive, well made instruments. They were exquisite professional instruments with rolled tone holes ...".
Pitch: this instrument is standard [low] pitch.
The symbol for a flat is stamped or engraved on the body, visible in one of the photos.
One forum contributor [Saximax] who rid himself of a high pitch model lamented that he "failed to see that this horn had a solid silver bell and neck – like a King Silversonic" - it was a silver plated brass horn with a silver bell.
Stencil? In the American 26 July 1924 Music Trade Review [p. 39] it is recorded -
......—Ralph Hawkes, of the firm of Guy Hawkes & Son, British manufacturer and retailer of musical instruments, recently paid, a visit to the Buescher Band Instrument Co.'s plant here. He placed a large
order for Buescher saxophones, which have been
shipped to England ............"
Vaguely expressed statements [in the saxpeople forum] proffer a theory that Hawkes saxes might have been stencils -
" ... Some Hawkes saxes were made by Kohlert as might be the case here. Rolled tone holes are evident in the photos, and this suggests Kohlert or Keilwerth. I suspect Kohlert to be more likely since they did produce the Edgware and Oxford horns for Boosey & Hawkes...."
Sheer speculation might be appealing, but doesn't lead anywhere.
History and Provenance:
The previous owner Norm was Melbourne multi-instrumentalist who played right into his nineties - he had this instrument for around 35 years, and played it in a Melbourne big band, and on other gigs. It was well looked after and has hardly been used since Norm had it completely overhauled and serviced with all pads being reseated and replaced as necessary . [see receipt].
Pads appear firm and are in good condition.
Springs are working, pads are closing neatly.
The body is free of dings, scratches, dents and corrosion: once the silver is cleared the appearance will be stunning.
The solid case is the original, latches and main catch in good condition. It will be packed with care.
The lucky threepence? Whether Norm played this sax for the Threepenny Opera, or there's some other explanation for it's presence in the case, this sax will be shipped with its longtime companion, the 1944 Australian threepence shown.
$1500 AUD
Buyer to pay postage and insurance and – if applicable Donald Trump’s tariffs
Further details –
play_that_quail@hotmail.com
and the threepence –
[to be added to and updated regularly]
Cornets [C] Trumpets [T] Flugelhorns [F]
Key: all instruments are in key of Bb unless a different key is specified
Pitch: all instruments are low pitch, unless indicated otherwise. Many instruments in the early 20th Century were supplied with alternate slides allowing LP or HP.
Location: all instruments are located in Croydon 3136 Australia
Instruments by Martin
A short History of Martin brasswinds can be found by selecting “Martin” at https://www.horn-u-copia.net/Reference/display.php
[above] Al Hirt with his Martin
The amazing Martin 50 year guarantee [below]
[above] Martin Committee ad 1948
- [above] Page from Martin catalog circa 1956
- [above] Martin LeBlanc catalog T3460
Committee trumpets
- 1/5 Large bore Martin Committee trumpet in black enamel with gold trim
| Martin Committee trumpet – Kenosha Wisconsin Black lacquer – gold plate trim For me, music and life are all about style – Miles Davis |
- 2/5 Medium bore Martin Committee trumpet in blue enamel With gold trim
- 3/5 Medium bore Martin committee Trumpet T3460
4/5 Martin Committee T3460 trumpet [includes a Martin mouthpiece and a hard shell case]
Beautifully engraved raw brass Martin Committee trumpet
excellent condition
[https://www.vintagebrasswindsaustralia.com/2025/03/15/miles-davis-martin-instruments/ ]
- 5/5 Medium large bore Martin Committee Deluxe trumpet [below]
Committee alternatives
Various other Martin models are sometimes suggested as alternatives or equivalents to the Committee model. And it would be easy to conclude that amongst Martin Committee users there is a hierarchy of preferences.
Others to consider include –
- Imperial models, especially Handcraft Imperials
- large bore Imperials
- large bore Indiana models
- reverse leadpipe Handcraft models
- large bore Martins
- many Dansant models
For players there are rewarding qualities to discover about Martin instruments.
Magna
- Martin Magna trumpet in original hard shell case
Brand: Martin as Wurlitzer
Type: Magna, [Committee equivalent ]
Bell Material: Yellow Brass, Finish: Clear Lacquer, Key: Bb, Valve Material: Monel,
Skill Level: Professional,
Bore Size: .460, Valves Type: Piston
Martin Magna professional trumpet in excellent condition
For Martin [RMC and Wurlitzer by the time this was made] the Committee Model evolved into the Magna and was regarded - depending on the taste and idiosyncrasies of the player - as a step up from the Committee.
A great instrument - perhaps with a bit more versatility than a Committee, and extremely easy to live with.
Valves are superb - compression is excellent - the first valve trigger operates, and all slides move as they should.
Comes with the original paperwork, the original Martin/Wurlitzer hard case, and a zip up plastic case cover.
No mouthpiece included - a selection of Martin mouthpieces is available
- Martin standard handcraft Trumpet – Silver
- Martin Standard Handcraft Trumpet
- Martin Handcraft imperial trumpet
- Martin Handcraft Imperial trumpet manufactured in 1934
This trumpet is from the Handcraft era – the stage that Martin was offering a 50 [Fifty] year guarantee on its brass instruments.
Made late in 1933 this has a reverse leadpipe [which had been on some earlier Martins as well] and is a medium bore [2] instrument.
There is wear on the silver in the normal places [where hands and fingers go]. Valves are in very good condition and have no slack or sideways movement. Bell has a gold wash.
Some restoration was done by Melbourne brass craftsman Don Stewart https://www.brokenwind.com.au/home
An extremely playable trumpet with good valves, good feel, and great [typical Martin] tone.
Engravings are – bell – “Martin Handcraft Imperial Elkhart Ind. USA”; valve block – serial number; 1,2,3; 2; valves – valve number and serial
- several M bell trumpets [the same bell as the Committee model] with serial numbers dating from mid 1930s to the introduction of the Committee models. A Martin Handcraft Imperial trumpet bell is shown below. The M is placed between the lion’s paws.
serial number: 1317xx – an exceptional professional trumpet – Small wear here and there, one ding on the underside of the bell, about the diameter of a pencil eraser. No other dings or dents noted; some wear to the lacquer.
This trumpet is in full working condition. The valves are like greased lightning, and the slides all move fine. Micro-tuning features on two different slides.
Comes in a Rudy Mück fake crocodile case which is in fabulous condition; it even has the original set of keys. The case is covered with a lined, fitted outer “Shut-tite” brand canvas shell with leather bumpers and metal feet.
Martin cornets – Committee, Handcraft, Standard, Imperial, Indiana, DeLuxe, Magna
- Martin Committee Cornet
Martin Flugels [Fluegels]-
- 1 of 2: Martin Imperial – large bore 1950s brass – plays perfectly – could do with a refinish
Miles Davis played an Imperial Flugel in Concerto d’Aranjuez – the Sketches of Spain collaboration with Gil Evans:
…….. Sketches of Spain, was recorded in late 1959 and early 1960 and features an exceptional adaptation of Joaquin Rodrigo’s Concierto de Aranjuez, originally written for guitar and orchestra, as well as a gripping Davis performance on “Saeta.” At his most inspired moments, Davis could now manage to draw a primal cry from the horn, a haunting sound unlike anything else in modern jazz. ………… [from Ted Gioia’s The History of Jazz]
- 2 of 2 – Martin Magna Flugel – near mint with original hardshell case
Martin euphoniums and baritones
- Martin double belled euphonium
Plenty of patina – but this instrument is in excellent playing condition and it gets a public outing from time to time, once at Port Fairy Folk festival when Havana Palava last played there, and once or twice around Melbourne recently.
The small bell is activated by the fourth valve which brings in a sound and tone very similar to a valve trombone. Great for creating a call and response.
Other Martin Euphoniums – great players – are available
- Martin Mellophone
Lacquered brass in original hardshell case
Categories
Miles Davis – Martin Instruments
After Miles Davis put down the Vega Power Model trumpet which he had played and endorsed, he switched to playing Martin Committee trumpets, and no others.
Below Miles and Fats Navarro examining his Vega Power Model Trumpet.
Once Miles’ switched to Martin instruments his selection, complete approval, and lasting musical dependence on Martin instruments [in particular the Committee model trumpet]. The switch was notorious and remains a lasting and compelling endorsement by a multiple Downbeat poll winner who – despite the New York times of October 15 1989 labelling him a “Juilliard dropout” was Juilliard Music School trained. [ https://www.juilliard.edu/music ] The NY Times article goes on to relate that the man who made this lifelong musical engagement with the Martin Committee trumpet had dropped out after –
a Juilliard instructor told his class that blacks played the blues because they were poor, Mr. Davis retorted, ''I'm from East St. Louis and my father is rich . . . and I play the blues.'' He found more valuable mentors at the jam sessions at Minton's, a
nightclub where ''the cream of the crop of Harlem's black society'' listened to the incubation of a new music (''In those days you didn't get too big to be sitting in''). So though he continued to examine the scores of Stravinsky, Berg and Prokofiev and studied with members of the New York Philharmonic, Mr. Davis delivered himself into the hands of his own masters, ''Professors Diz and Bird,'' as well as Freddie Webster, Thelonious Monk, Coleman Hawkins and others. ''If they smiled when you finished playing, then that meant that your playing was good.''
In 1944, Miles Davis had accepted his father’s idea of studying at the Institute of Musical Arts [later known as the Juilliard School, in New York City]. In 1945, after three semesters, Miles Davis failed to register for the year’s autumn term at Juilliard and dropped out: he wanted to perform full-time. Miles had often skipped classes, and much of his time was spent in clubs seeking his idol, Charlie Parker.
Years later he was critical of Juilliard for concentrating too much on a classical European collection. But he praised the school for teaching him music theory and improving his trumpet technique.
By the mid 20th century, as Christies, the auction house which handled the sale of Miles’ midnight blue T3640 trumpet at auction in late 2019 [the bidding went to USD$275,000] acknowledges on its website, the demand
for Martin Committee trumpets “was pretty much insatiable”; and – as the website relates – Dizzy Gillespie and Miles Davis [who tied for first place in
the Downbeat Critics poll around 1955] were huge Martin Committee fans.
When the Martin company was sold and the production of Committee trumpets officially stopped, they continued to be custom made on special order for Miles.
The production of this iteration of the Committee – the T3460 – was by Larry Ramirez, a jazz trumpeter himself: Miles had requested a set of three of these trumpets – one red, one blue, and one black, each decorated with a gilt moon and stars – and Ramirez hand delivered the first two personally to
Davis in the summer of 1981 in Denver. [the Christies website relates the nerves Ramirez felt when Miles handed back one of the horns with the invitation “You play don’t you?” …]
Martin T3460 trumpet available
Now in raw brass, the serial number number 9915XX indicates the “modern” production run which ceased in late 2000s.
The name “Damon” is included on the custom engraving which extends right up the bell beyond the valve block.
The most recent owner – an Australian professional trumpet player said:
.... plays really unique and well. It's actually a great all rounder. I love using this instrument not only for improvisational music but also for more classical stuff. I used it for Aida .... and it was wonderful due to the centred and complex sound it can make. Of course its a great jazz/ commercial /latin horn as well. The valves are very fast and smooth and the trumpet has excellent response.
He decided to strip it of its Miles Davis “kind of blue” lacquer – leaving it mostly in raw brass. The expressed rationale for taking off the lacquer was to try to darken the tone, and he said he was completely satisfied at the result, which “fixed” the brightness that had been there beforehand. This approach to getting just the sound you want as a player could have come from Miles own father – as mentioned in that New York Times article –
Mr. Davis's father - an outspoken dentist, landowner, gentleman farmer and sheriff - advised him when he dropped out of the Juilliard School to play jazz, ''You want to be your own man, have your own sound.'' Mr. Davis's sound is the unmistakable constant in his music, the true measure of his disposition, the ultimate payoff of an extremely personal approach to the trumpet.
Except for a little of the original blue in the deep throat of the bell, all “kind of blue” evidence is gone, and this trumpet is now entirely raw brass. The contrast between blue and the gold plate of the slides has now become the contrast of gold slides, nickel trim, and brass.
Categories
Brands & types
This is a list of makers and types that I’m interested in. Some brands I have instruments for sale, some I don’t [see the separate list, which is not exhaustive or complete]. Some of them are my personal favorites – but there are lots of intangibles which come into play in instrument brand preference, and – unlike the stereotypical brass teacher who wants all students to sound the same – as a player be awake to the differences in sound, feel, and satisfaction between different brands of an instrument.
A word on Chinese instruments: China has been making brass instruments for a lot longer than many people choose to acknowledge. Brass bands have existed in China for a couple of hundred years, furnished with imported instruments by – at least – the French and the British. Chinese made Yamaha brass has been with us for several decades. I am aware of skilled and experienced brass players publicly enthusing – 20 years ago – at the sound quality and build of Chinese instruments, whereas there are others who decry them. Generalizing is a lazy approach.
My perspective of musical paths and tracks to follow were laid out by my first trombone [a Buescher] 65 years ago, and my first trumpet [a Boosey & Hawkes] 60 years ago]. My journey has also been informed by the recorded sounds of jazz players and they sounds and dynamics they created – the horns and dynamics of Louis Armstrong, Bix Beiderbecke, King Oliver, Kid Ory, Miff Mole, Red Nicholls, Jack Teagarden, and Miles Davis – to name a very few.
Student instruments
The concept of a student horn was a marketing device which began around the time of the great depression. But before that it was common for manufacturers to offer cheaper alternatives for purchase by beginners. A hundred years ago Besson offered Class A instruments [the better class] and Class B instruments [what we might call student horns].
Nowadays one way to select an instrument for a student is to go to your local music shop. In our Australian cities choice is limited: for learners the shelves tend to be monopolized by a few somewhat soul-less brands, some with better quality models within the brand. The modern method of anonymizing provenance is for the seller to place initials, or some bland description on a shiny instrument: generally you will get what you pay for. From time to time Aldi stores have a variety of cheap instruments [including trumpets, trombones, flutes, and others] for around $167 Australian dollars.
Professional instruments – upgrade instruments
New instruments: An establishment close by Melbourne’s CBD that I checked out last week had many boxes of new trumpets, but only two used ones. In reality, as you can see from the player’s preferences [if you follow the link In the next paragraph and check out who plays what] there are many brass players who don’t get involved in the process of semi-snobbery which distinguishes student and professional instruments.
Players’ Preferences [what they use]
There is an interesting list of instruments played by various trumpet players: the list has been around for years, and seems to be evolving: one iteration is here – https://ojtrumpet.no/playerhorn/
Mouthpieces
Mouthpieces: can make an enormous different to the sound and feel of an instrument. Playing a trumpet with a Bach 7C mouthpiece can be satisfying, but deeper, shallower, wider rimmed, heavier mass mouthpieces are there to exploit: they DO have the capacity to change an instrument’s dynamics. Switching from a narrow bore mouthpiece to a more open bore mouthpiece can change how much effort you need to put in as a player.
My brands of interest
- Abbott – US – New York – imported Bohland & Fuchs instruments – Bells marked Abbott Mfrg
- Adams
- Ahlberg & Olson
- Al Cass [mouthpieces]
- Allmen
- Amati [Czech]
- American Band Instrument Co
- American Model – various manufacturers
- Arigra – including the octagonal bells
- Arioso
- Arnolds & Son [GB]
- Aubertin [France]
- B&S [Germany]
- Bach [USA]
- Anton Bach [Czech]
- Bandmaster [USA]
- Barcone [Italy]
- Baronet
- Bauerfeind [valves] [Europe]
- Beaumont [US]
- Benge – Chicago
- Besson – UK and France
- Blackburn
- Blessing – Elkhart Indiana
- BOHEMIA various inc Czech German
- Bohland & Fuchs
- Bohmanns American
- Boosey – UK
- Boosey & Hawkes
- Boston Musical Instrument Manufactury
- Bruno NY
- Buech
- Buechel website
- Buescher – Elkhart Indiana
- Buffet
- Calicchio
- Callet
- Carl Fischer
- Carol
- Cavalier
- Century
- Cerveny
- Champion –
- Charles Ponte
- Chicago Distributors
- Chicago makers
- Civil war – Civil war horns including OTS [over the shoulder] horns
- Clinton [Czech]
- Concertone
- Conn – Elkhart Indiana
- Conn Pan American
- Conn Victor
- Couesnon – France
- Couf H
- Courtois – France
- Couturier – US
- Crown – Holland
- Cundy Betoney
- Custom horns
- Dallas UK
- De Lacy – Brixton
- De Vries
- Dearman – “Foreign” to UK
- DeNicola – US
- Distin
- Ditson
- Diver [Chicago]
- Dixie Music House Chicago
- Douglas & Son Glasgow
- DuPont
- Durand Paris
- Ebblewhite
- Eggers Suisse
- Elkhart
- Emo – Ernst Modl
- Erich Lange
- Ernst David Bielefield
- Eschenbach
- Evette-Schaefer
- Finke
- Flip Oakes
- Foetisch Freres Lausanne
- Foote
- Foreign
- Franklin
- French makers or names
- Furst Pless
- Gautrot Ainee
- Gebruder Alexander Mainz
- Getzen
- Giardinelli
- Glier
- Graves
- Gretsch
- Grinnell – US
- Halari
- Hall of Boston
- Hamilton
- Harrelson
- Harry B Jay [Chicago]
- Harwood
- Hawkes [UK]
- Hayes Band Instruments
- Heald – US
- Heckel Dresden
- Henri Gautier – France / Czechoslovakia
- Henry Keat – US
- Herco
- Herman Trapp – Neukirchen
- Hess
- Higham – UK
- Holton [Chicago then Elkhorn]
- Hopf
- Hug & Co Lucerne
- Huller [Europe]
- Hutchins [Mass]
- Huttl [Germany]
- Imperial – Williamsport
- J.Gras
- Jackson
- Jaubert & Cie
- Jenkins [KC]
- Jestadt
- Jiran Chicago
- John York – Sydney
- Jupiter – Taiwan
- Kaempf NY
- Kalashen
- Kallison
- Kanstul – US
- Kawai
- Keefer
- Keilwerth
- King [H.N. White] US
- Klier
- Koeder USA
- Kofmann Geneve
- Kuhnl & Hoyer
- La Fleur
- LA Sax –
- Lark – PRC
- Lawler
- LeBlanc
- LeComte
- Lidl
- Lindberg
- Lockie Music Exchange LA
- Ludwig
- Luxor
- Lyon & Healy – Chicago: a formidable music house which imported and manufactured
- Lyons Band Instrument – Chicago
- Mahillon
- Manchester
- Marceau
- Marcinkewicz
- Martin Band Instrument Company
- Martin 0 to 100000
- Martin 100000 to 200000
- Martin 200000 onwards
- Martin 700000 onwards
- Martin Brasswinds 2020
- Martin catalogues and documents
- Martin Committee info
- Martin committee membership
- Martin in Australia
- Martin Indiana
- Martin information
- Martin Mouthpieces
- Martin stencils
- McMillin – Cleveland
- Meinel
- Meister Anton Koln
- Meredith – US
- Mersel
- Merson
- Milliens Paris
- Miraphone
- Missenharter
- Monette
- Monique
- Monitor
- Monke Josef
- Monke Wilhelm
- Noblet by Courtois
- Nuss
- Ohio Band Instrument
- Olds
- Orsi Prof. Romeo [Italy]
- Other makers Asia
- Other makers Germany
- Other makers Italy
- Other makers Russia
- Other makers UK
- Other makers USA
- Other makes France
- Pan American
- Parduba
- Parisi Torino – Italy
- Paul Le Grande
- Paulus Markneukirchen
- Pedler
- Penzel Mueller
- Pepper
- Phaeton
- Pilczuk Accusonic
- PLASTIC brands
- Pollman
- Pollter Leipzig
- Pruefer
- Quinby
- Ralph Kenny
- Raymond Dubois Paris
- Reynolds [USA]
- Reynolds [NOT USA]
- Rodig
- Royal
- Rudall Carte
- Rudy Muck
- Salvation Army
- Sansone
- Sax
- Schagerl
- Schediphon
- Schenkelaars
- Scherzer
- Schilke
- Schmidt
- Schubert – Carl
- Schuster Markneukirchen
- Sears – mail order instruments US
- Seefeldt_W
- Selmer
- Sherwood
- Shires
- Silvertone
- Sinfonia
- Sistek Cleveland
- Slater NY
- Sonare
- Sorkin
- Spiri
- Stenberg
- Stencils
- Sterling
- Stomvi
- Sudre
- Taylor
- Taylor & Horn Chicago
- Temby [Australia]
- Thibouville Lamy
- Tonk
- TopTone
- Triumphonic
- Unknown
- Vega
- Vito
- Vox
- Wahlich
- Warburton
- Weril
- Weymann
- Williams & Wallace
- Williams query
- Williams Toronto
- Willson
- Wm Frank
- Wohlrab
- Wolfram
- Wright
- WS
- Wunderlich
- Wurlitzer
- Yamaha
- York
- Zeus
- Zimmerman Leipzig
- Z-stencils
- Z_ Defunct makers
Categories
Chicago brass
Wunderlich
Holton-Clarke Miracle Model [Long] Cornet
- near mint – an extraordinarily beautiful instrument
- gold plate
- 1919-1920 manufacture: from the Holton Chicago/ early Elkhorn era at a time that Holton was a major supplier of instruments to the Chicago Symphony Orchestra
- reverse leadpipe
- large bore
- Bb instrument with quick change to A
- the “loop” which could be placed on the bell side [exit side] or the mouthpipe side [entry] – or both as with some Harry B. Jay cornets of that era – is visible on the entry side
- Sixteen and one-half inches in length with a bell four and one-half inches in diameter
Wikipedia says of the “Clarke” who gives this cornet its model name
Herbert Lincoln Clarke (September 12, 1867 – January 30, 1945) was an American cornetist, feature soloist, bandmaster, and composer. He is considered the most prominent cornetist of his time.[1]
Clarke’s legacy includes composing a portion of the standard repertoire for the instrument, many recordings, as well as a seminal school of playing which emphasized not only technical aptitude, but also increased warmth and lyricism of tone. He also produced several method books that are still used by brass students.
Clarke [who is also somewhat notorious for having written in 1921 to a young Elden Benge that the trumpet as distinct from the cornet was merely a “foreign fad”] hailed from Toronto Canada, on the American Great Lakes: this cornet is engraved as a Toronto delivery cornet sold by the Canadian Holton agent, and was produced by Holton after Holton’s move to Elkhorn circa 1919-1920 [according to the serial number on the valve block and the matching serial numbers on each valve.
Recently [Feb 2025] I took this Holton Miracle Cornet, along with a Martin Deluxe cornet, and a 1918 Conn New Wonder cornet to two hours of band practice. Holton’s 100 year old claims of perfect pitch, instant effortless switching from fortissimo to pianissimo, superb tone, easy blowing, and enormous flexibility still hold good for this instrument.
Tone is warm and feel is responsive and lyrical
