Boston was the cradle of U.S. brass-instrument manufacturing in the 19th century. The trade began with small workshops such as Samuel Graves’ wood-wind shop (c. 1820) that quickly added keyed bugles and early saxhorns [trumpet-history.com] In the 1840s Elbridge G. Wright opened a shop at 71 Sudbury St., having apprenticed with Graves, and also produced keyed bugles and early cornets [trumpet-history.com].
By the late-1860s the two firms had forged a close partnership, and in 1869 they merged to form the Boston Musical Instrument Manufactury (later the Boston Musical Instrument Company) robbstewart.com. This new company consolidated Boston’s position as the nation’s brass-instrument hub, supplying bugles, trumpets, cornets, trombones and euphoniums for military, civic and concert bands. Their catalogs emphasized rotary-valve designs—considered superior to pistons at the time—and offered a range of “three-star” and “four-valve” cornets that were heavier and richer-sounding than earlier models trumpet-history.com.
Throughout the late-19th and early-20th centuries, Boston manufacturers dominated the American market, benefiting from the post-Civil-War boom in community bands. The company relocated to 51 Chardon St. in 1902 and continued producing brass instruments under the Boston name until the mid-20th century, when competition from New York and Midwestern firms led to its gradual decline.
Christine Merrick Ayars, Master of Education in Music, Master of Science in Economic Research Title: “Contributions to the Art of Music in America by the Music Industries of Boston 1640 to 1936”
NEW YORK – THE H. W. WILSON COMPANY – 1937
1. Early Foundations
Year Event / Person Brass-instrument relevance
c. 1820 Samuel Graves opens a workshop (later “Graves & Co.”). Produced keyed bugles and early saxhorn-type brass instruments.
1835 Formation of the Boston Brass Band (the first brass band in the United States). Led by Edward Kendall (“King of the E-flat Bugle”). Created a local demand for quality brass instruments and spurred a nascent manufacturing base.
1837 James Keat introduces keyed bugles to the Graves firm. Expanded the range of brass-band repertoire and instrument design.
Source: Ayar pages 222-236
First generation of makers – to 1860
Maker Key Contributions
Elbridge G. Wright (listed in the 1841 city directory) Ran his own brass-instrument shop (1842-˜1860). Built a double-bass “monster ophicleide” (the only known American example) and a silver E-flat keyed bugle with eleven keys.
J. Lathrop Allen (mid-1840s) Produced a silver A-keyed cornet (1845) for Harvey Dodworth; later formed Allen & Richardson, which evolved into Allen Mfg., Allen & Hall, Hall & Quinby, and finally the Quinby Brothers.
Samuel Graves & Co. (relocated to Boston c. 1852) Advertised as “the oldest musical-instrument makers in the country.” Made the E-flat copper bugle used by Edward Kendall (1837) and a three-valve, compensating-piston E-flat alto (1830).
James A. Bazin (rotary-disk cornet, 1824) & Nathan Adams (rotary valve, ˜1825) Early innovators whose inventions were adopted by Boston makers.
Source: Ayar pages 222-236
Consolidation & the Boston Musical Instrument Manufactury (1860-1900)
Year Development
1861-1869 Several prominent bands (e.g., Gilmore’s Band, Germania, Hall’s Boston Brass) toured nationally, raising the profile of Boston-made brass.
1869 The Boston Musical Instrument Manufactury (BMIM) is formally created by merging E.G. Wright and Graves & Co. (often referred to as the “Boston Musical Instrument Company”).
1884 Standard Band Instrument Company is founded (later absorbed by the Vega Company).
Late-1800s Major firms operating in Boston include Allen & Hall, Quinby Brothers, B.F. Richardson, Richardson & Lehnert, Cundy-Bettoney, and Vega. Most produced three-star cornets, rotary-valve trumpets, four-valve trombones, and a full line of euphoniums.
Source: Ayar 222-236
Signature Instruments & Innovations
Instrument Notable Boston Example
Bugle Silver E-flat keyed bugle (11 keys) by E.G. Wright, used by Rudolph Hall.
Cornet Silver A-keyed cornet (1845) by J.L. Allen; three-star rotary-valve cornets by the Boston Musical Instrument Company.
Trumpet Rotary-disk cornet (Bazin, 1824) and early “Permutation Trumpet” (Adams).
Trombone Three-valve piston-box trombone (Patented 1872, Quinby).
Euphonium Four-valve rotary-action euphoniums (Boston style) exhibited at the 1902 Chickering & Sons exhibition.
Source: Ayar pages 222-236
Post-1900 Transition (1900-1930s)
Firm Evolution
Vega Co. (founded 1881) Began as a guitar/mandolin maker, acquired Standard Band Instrument Company (1909) and thus entered brass manufacturing. By the 1920s Vega produced ~30 000 trumpets annually, alongside its fretted-instrument lines.
Cundy-Bettoney Continued the Boston brass tradition after acquiring assets from earlier firms.
Stone & Son (1890) Focused on drums but also supplied percussion for military bands during WWI.
Gilmore, Graves & Co. ? Wright, Gilmore & Co. ? Boston Musical Instrument Manufactury ? Standard Band Instrument Company ? Vega (chain of ownership).
Source: Ayar pages 222-236
Summary of Brass-Instrument Makers in Boston
Early Pioneers (1820-1860) – Graves, Wright, Allen, Bazin, Adams.
Mid-Century Consolidation (1860-1900) – BMIM, Standard Band Instrument Co., Quinby, Richardson, Cundy-Bettoney.
Early-20th-Century Continuation (1900-1930) – Vega (absorbing Standard), Cundy-Bettoney, with a focus on trumpets, trombones, cornets, and euphoniums.
These firms collectively supplied the majority of brass instruments used by Boston’s prolific band scene—from the first Boston Brass Band (1835) through the massive national exhibitions of the late 19th century and into the early 20th century. Their legacy is evident in surviving instruments (e.g., the three-star cornets) and in the continued reputation of Boston-style rotary-valve brass.
Research and collecting
Research – If you need more granular data (serial numbers, catalog images, patent details), the cited pages (222-236) of Christine Merrick Ayars’ Contributions to the Art of Music in America contain the primary source material.
Collecting – Look for “three-star” cornets, rotary-valve trumpets, and the unique silver-bugles described; they are hallmark Boston pieces.
Couesnon Flugel branded Elkhart – No trigger Renowned for great sound
Made in France 1970s [+ or -] – Couesnon Serials went up in smoke in a fire Sometimes described as Couesnon for Elkhart, or “Couesnon stencil” according to horn-u-copia
As at 21 December 2025 in Melbourne Australia Contact David – 0415425350 Email: play_that_quail@hotmail
Arioso Super trumpet
Arioso – Unusualhandmade Professional Arioso Super Trumpet – Bb – by Joseph Lidl’s [circa ]1892 and is the oldest music instrument manufacturer in Maehren, Czech Republic] which was merged into Amati. Arioso production by Amati continued through 1970s and 1980s Has a “Bohemian” or “French” rim and features a reverse leadpipe, 1st valve trigger, and large bore. Plays very well. Valves and slides operate as they should. Raw brass with patina, with some nickel trim – Original case – $1000
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American model professional trumpet
“American” is the model name of this trumpet – French or Czech made – these trumpets were sold under the name of Buffet Crampon in the US but not in Europe – Bauerfeind valves – with original pigskin style Buffet hard case – Professional – similar appearance to Selmer – Tone ring built into bell – a delight to play
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Conn Ballad Horn
Ballad horn – Conn Elkhart Indiana – piston valve actuated Ballad horn / French horn / mellophone – silver – with hard case and mouthpiece – circa 1919 – very good playing condition – $850
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Champion cornet
Champion: Chicago jazz age horns. When Louis Armstrong learned to play at the New Orleans Waifs Home it was on a Champion Silver Piston trumpet [see my post] which history wrongly designated as a cornet. This instrument IS a cornet in nickel plate which I guesstimate to be from mid to late 1920s. Very good playing condition with full engraving on the bell and also on the horizontals This has the original mouthpiece and “case”: the red satchel type period case is leatherlook material with a zip top, with a label inside “Artistic covers, New York” – $1000
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Dixie Music House trumpet
Dixie Music House trumpet – a piece of early jazz history – a Chicago horn from the Dixie Music House, 320 South Wabash Avenue Chicago Illinois, circa 1929 – probably a stencil – plays well – original hard case – $750
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Emo brand World trumpet – “the finest horn that I have ever played in my whole life” – Satchmo
Fabulous and iconic Holton MF horn banana trumpet – Maynard Ferguson horn – Holton ST305 MF `banana` trumpet 0.484 bore, case, mouthpiece – Very good condition – Original case – $6000
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Weril Master trumpet
Weril Master trumpet from Brazil where Weril [based on European design] has been manufacturing since 1909 – gold brass lacquer finish and Nickel Silver Trim – serial number F-07913 – This has a slide ring on the third valve slide and a saddle slider on the first valve – Weril master trumpet – Professional level – $1000
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Zeus trumpet
Zeus TR250 from USA – plays well – looks good – with hard case shown – $650
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Olds Valve trombone SERIAL #664841
Nice playing Olds Valve trombone – circa 1968 – good condition and great sound – hard case missing a latch but serviceable – with mouthpiece – $1000
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Olds Recording trombone
– great sound and good slide –
Dual bore – Fluted inner slide – 7 1/2″ Bell has some slight dings. Finish has wear – most of the lacquer is off Slide action is excellent after a service by Melbourne’s Don Stewart, @ Broken wind]. Tone warm and clear tone. Bell is red/rose brass [lots of copper in the mix]. King case in good used condition – no mouthpiece included
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Harry B. Jay Chicago Columbia euphonium – a piece of jazz history –
Harry B. Jay Columbia Euphonium – Chicago – circa 1921
Harry B. Jay instruments and the Jazz Age
Harry B. Jay was a cornet player in what was America’s best-known internationally renowned band, the Sousa band, which was based in Illinois not far from Chicago. In around 1909 he set up Columbia Band Instrument Company.
His Columbia instruments were renowned in Chicago, a major jazz center, and are responsible for the cornet sounds in Jelly roll Morton’s Red Hot Peppers and the sounds of King Oliver’s Dixie Syncopators (where they were played respectively by George Mitchell, King Oliver, and Louis Armstrong). George Mitchell played one of the cornets on all the Jelly Roll Morton recordings (and others) as did Tommy Ladnier of the Original Dixieland Jazz Band. Jabbo Smith {Rhythm Aces] who was seen as a rival to Armstrong also played one. A lot of other traditional jazz band cornet players used Columbia instruments in the 1910s and 1920s. An example of H.B. Jay instruments being at the epicenter of 1920s jazz in Chicago is what was said by cornet player George Mitchell –
“When I made the [Red Hot Peppers] records with Jelly Roll, I used a Harry B. Jay cornet, made here in Chicago. The reason I bought that Jay cornet was, I was working with Jimmie Noone at an after-hours club down on 35th Street, and Muggsy Spanier used to come and sit in with us. One night I was telling him that my horn was going bad and that I needed a new one. He mentioned the Jay he had and said, “You can play that tonight.” He left the cornet there, and I liked the tone so much that I went to the factory the next day and bought one, a Jay. That’s what I used on those records. …”
Harry B. Jay produced a variety of instruments, including several varieties of Euphoniums, trombones, trumpets, cornets and trumpet cornets. The quality of his instruments is fantastic, in terms of playability, design, construction, and sound. They live on!
Just over ten thousand Columbia instruments were produced between about 1910 and the late 1920s: they were not marketed in Australia, where mostly British instruments – Besson, Higham, Hawkes, Boosey & Hawkes – and some Bohemian instruments were sold by Australian Musical instrument shops. In 1918 Harry B. Jay advertising [in Boy’s Own, and Popular Mechanics] offered 10 days free trial, and payment on terms.
It is completely playable. The valves are pictured and are in very good condition. Compression is very good. There are no leaks: the instrument is tight and fully functional. The slides all pull. Tuning slide architecture is reverse leadpipe, the subject of a Harry B. Jay patent.
EXTREMELY good vintage condition but has some slight pings/dings and finish wear: No major dings – see the photographs below
tuning slide works – warm clear ebullient tone – solid and straight – No case – The mouthpiece shown works well and is included
This iconic Chicagoan is an absolute treat to play and is absolutely gig ready – I played it with Havana Palava at a Kindergarten open day on Separation Street Northcote a couple of months ago –
If you’re interested in a Martin, make me an offer: Mobile 0415425350
Martin Indiana cornet [Indian Chieftain model] #77942 –
This is one of those timeless vintage cornets which underscores the validity of the mystique about Martin instruments . Valves perfect. Slides working. Makes you the player sound good and feel good. Some of the lacquer has worn off where there is hand contact – $800
Callet New York trumpet
Jerome Callet New York, Large Bore Bb trumpet. Valves and slides are all in very good shape. {Un}original Bach hard case – $2000
Dearman Wornell model
This stylish UK designed and patented trumpet was built to Wornell’s specifications in Czechoslovakia and came with either a copper finish [like this one in the Horniman Museum] –
or a silver plate finish. Unusual features include the tubular valve ends, the telescoping valve tops, and the French ring on the bell. A slide can be removed for quick change to A. Has the original case [shown] in reasonable condition. Excellent quality and construction and Extremely collectable. $1400
Helmut Finke rotary baroque trumpet
From 1950 Helmut Finke was involved in making and assembling instruments, running his own workshop, and making copies of sackbuts and baroque trumpets. In the mid 1950s he was the first 20th Century maker in this field. His instruments included high trumpets and french horns and other bigger brass instruments. In 1959 he designed the coiled natural trumpet (also known as a Clarino).
GREAT playing condition
third valve trigger
foam holding cover [seen in the photos] is in good condition
bell size measures just under 100mm
All slides move
mouthpiece included
rotary valves are excellent
cosmetically excellent but with some very minor imperfections
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
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
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
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 - but I have a selection of Martin mouthpieces 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.
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
Trombones
Available Martin Trombones include –
Silver 1920s trombone in Original Case
silver Troubador serial 105xxx
Handcraft Imperial dual bore serial 112xxx
Handcraft Imperial silver serial 113xxx
Handcraft standard serial around 114000
Imperial Handcraft Committee serial around 121000
Handcraft Standard trombone 123xxx
Handcraft Imperial serial 125xxx
Imperial Handcraft M-bell serial 126xxx
Handcraft Imperial trombone with lion serial 126xxx
Committee trombone serial 129xxx
Imperial Handcraft Committee trombone serial 129xxx
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.
1918 Conn New Wonder cornet – this came with a bag marked “old valves”. The feel and operation of the valves is excellent, and this plays beautifully.
Brass historian Niles Eldredge [Eldredge, N. 2002. A Brief History of Piston-valved Cornets. Historic Brass Society Journal 14:337- 390 – Conn’s New Wonder. Victor New Wonder, or 80A (with variant versions, such as the slimmer, more trumpet-like 8A of the 1930s—…) was unusual primarily because of its hump-shaped loop on the lower section of the bell just to the rear of the first valve. With a micrometer wheel, the instrument was intended as a bell-tuner, though there was also a forward-directed slide on the leadpipe that was, at least through the 1920s. equipped with a stop rod for quick-to-A: some of the earlier instruments also were equipped with a linkage system that adjusted valve slides when the change was made between Bb and A. Bell lengths varied somewhat, but 163/,” was common in the 1920s. Never to my knowledge copied by anyone else,”’ this model was sold at least through the 1960s; older ones in good repair are the favorites of many modern players in the traditional jazz idiom.
Showing the tuning mechanism [which it’s quite unusual to find intact] – next photo shows the mechanism from the bottom
[above] 1918 Conn New Wonder Mechanism from underside
Goldwash bell inner
above – Pearly Valve tops
[above] Opera glass tuning wheel.
Conn’s constant innovation [referred to by Niles Eldridge as a pattern of almost constant tinkering, production of these [[Conn’s]] unusual configurations both within single firms—and of course among competing firms—more likely represents foment in stylish exterior design than any real mechanical/acoustical improvements.]
Conn’s 1918 New Wonder cornet – excellent longlasting silver finish, excellent valves, and easy bell tuning, as well as its place in the evolution of other brass [some would regard this as part of the trumpetization of cornets which was occurring by degrees in the late 19thC and the first half of the 20th C amongst American brassmakers].
One of Conn’s successful classics [thanks to innovation?] still in great playing condition – sounding great – over a hundred years after it was built.
Intricate floral bell engraving – with a butterfly on each sideShowing part of the engraving against the open caseHolton badge on the caseShows the deep Holton 40 mouthpiece, the counterbalance mounted on the tuning slide, and the handslide with patent marking and the Revelation stampThe engraving extends right along the bell – surrounding the Revelation name and manufacturing details – and the outside face of the bell is engraved as wellDespite the obvious wear in some places the overall effect is stunning Butterfly detail
The horn is marked L.P. = low pitch and has a “3” which ordinarily means large bore: however some Holton catalogs referred to bore of “4”.
Has the original Holton 40 deep mouthpiece. With this mouthpiece [the only one I have tried it with] slotting is excellent, and high notes are attainable.
Photographs show that this has seen plenty of use and shows typical finish wear, with some dinging/denting in some areas of the bell section, but the horn is solid and straight. The not particularly well done solder repair on the bell stay near the slide is obvious, [photo below] as is the tape on the slide handle. The unevenness on the bell could be worked through by a competent brass tech
The slide moves extremely freely without dragging and does not appear to have high points or dings. is pretty good, but – with this much potential as a great horn – could do with attention from a brass tech.
The period case – complete with Holton badge and one out of three working latch and hinges – shows a lot of wear and is in only fair condition. Handle is disintegrating.
Friction fit slide/bell attaches well and feels solid
I have seen many Holton Revelation trombones, but not one with the rare finish of this one which – from the serial number – was manufactured in about 1926. The probability is that this was a custom engraving for a professional trombone player.
Frank Holton was firstly an artist on trombone, and the first Holton promoter. Holton sales literature from the 1920s noted that Holton always kept a trombone at his desk to play for guests and promote his products.
[from the Holton catalog at www.brasstacks.de ]The most usual mid 1920s Holton Revelation silver finish
