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Some of my absolute favourite brass instruments have been variations on an alto theme. I like the mellowness of sound you can get – a complete departure from the shallow rim shrillness that is standard fare for many trumpets.
Some great instruments – in my opinion – include the ones I am going to list: but really, there’s a virtual candy shop out there full of other examples.
first, a Key: F with Eb Slide Change silver horn which I’ve just rescued from its beaten up old [original] case, shaken the dust off [it’s been sitting here for over a decade], freed a stuck first valve, and generally cleaned up [without embarking on dent removal] – it’s a King [H.N. White] “Altonium”. Generically an alto horn, the ones entitled to the appellation “Altonium” are the ones produced by King for several decades right into the 1970s
The picture below is an H.N.White Co photo of a slightly later [serial 328259] instrument which was restored – no expense spared – by the maker a few years back. [unlike mine, this one has its bell screw/mount and music stand holder]
H.N.White’s White Way News Catalog #21, 1965 described the Altonium like this –
King Altonium Background:
The alto-tone of the Altonium adds sparkle and brilliance in the open air. It blends in perfectly with the other bell-front brasses and brings out the usually weak inner voices. The Altonium is the perfect marching substitute for the French Horn. The tone is rich and mellow yet possesses much power and resonance. With a mouthpiece about twice as large as the French Horn, it does not require as delicate an embouchure and produces a good tone even with a fast cadence. The trumpet-type valves on this King creation permit the player to finger as fast as smaller brasses.—
I was so taken with the way this horn plays that last week I took it [with no second instrument] to a Havana Palava practice: I used a Martin flugel mouthpiece, but I note H.N.White matched the horn with a King number 9. I describe the sound as bold, not with the sheer blast power of some mellophones, but – as White claims – rich, mellow, and resonant. I found getting the lowest notes required concentration [maybe my embouchure] but it has an ability to let you soar high, with outstandingly [surprisingly] nice slotting on climbs and retreats.
Fingering is fast, as claimed.
This rare, collectable, and fully playable vintage King Altonium by H.N. White – one of the great makers from the golden era of American instrument manufacturing – is available for sale and comes with the original King case.
NO mouthpiece included.
Price – $1000 AUD
On 25 March 2026 there was a photograph placed on a Cornet players Facebook page with a request for help in identifying a Cornet.
The photograph in question referred to a Sydney musical instrument seller by the name of Barratt.
I have a number of photographs of a cornet made by John York, and it looked as though the Barratt cornet was actually a York made instrument.
An interesting and well researched article “Playing On: John York and the Sydney Brass Musical Instrument Factory” by ANDREW EVANS was published in the Sydney Journal Vol 4, No 1 in 2013.
The article says “The history of John York and the Sydney Brass Musical Instrument Factory contains familiar elements of a quintessential nineteenth-century Australian narrative. It features a skilled English immigrant who brought his family to a developing capital city and became a manufacturer and small business owner. It is an unusual story in that York practised the specialised skill of brass instrument making and repairing and was one of a handful of brass instrument makers known to have operated in Sydney at the time.”
John York is the only Australian brass instrument maker that I know of, although there have been many Australian brass sellers who have commissioned makers from elsewhere and put their own names on those instruments.
On the other hand there were many brass instrument makers who emigrated to the United States from Europe and the UK, taking their skills, and presumably their tools and parts with them.
The Evans article continues –
“At the end of the nineteenth century the significant purchasing power of an expanding Australian middle class, and a strong demand for the many musical instruments required for home entertainment, generated vigorous competition amongst Sydney’s music retailers. Cheaper British mass produced instruments were aggressively marketed “
This page from 1902 obtained from the National Library of Australia [trove.nla] shows an example of John York’s advertising
The advertising in 1903 was referring to testimonials “FROM ALL MILITARY AND CIVIL BANDMASTERS IN N.S.W.” and said “Patronised by the Band Association of N.S.W.”
In 1904 York had added the claim “The Original and only practical Brass Musical Instrument Maker and repairer in N.S.W.” Although the Commonwealth of Australia [i.e. the Australian Federation] had only come into existence a short time earlier, I wonder why he didn’t lay claim to being the only brass instrument Maker in Australia. Were there others?
In this letter in March 1905 to the editor of the Sydney Morning Herald, York displayed His irritation with a situation which continues throughout the country to this day, namely the undervaluing of music in public places by public authorities in Australia
I believe that there must be a few John York instruments out there, although it is rare to see mention of them. I would love to hear about any other surviving instruments.
If there are any for sale please get in touch. I’d love to know about them.
- Boston Brass Instrument History – Beginnings
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.
Timeline based on Christine Ayar’s research – https://catalog.hathitrust.org/Record/001454791
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 222-236Christine 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
- First generation of makers – to 1860
- Consolidation & the Boston Musical Instrument Manufactury (1860-1900)
- Signature Instruments & Innovations
- Post-1900 Transition (1900-1930s)
- Summary of Brass-Instrument Makers in Boston
- Research and collecting
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
$2250 AUD
Located in Melbourne AUSTRALIA
play_that_quail@hotmail.com
ph 0415425350 David
As at 21 December 2025 in Melbourne Australia
Contact David – 0415425350
Email: play_that_quail@hotmail
Arioso Super trumpet
- Arioso – Unusual handmade 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
Serial #2104 [photos and details @ – https://www.vintagebrasswindsaustralia.com/tag/emo/ ]
See Louis Armstrong’s handwritten letter to the maker, Ernst Modl, enthusing over Emo trumpets – $2250
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Holton banana trumpet MF horn
- 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 –
Martin Band Instruments for sale –
Some Martin Instruments are shown here: Martin Committee – Vintage Brasswinds Australia
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
- straight and solid
- engraving is crisp
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Bach CR300 outfit – a steal at $450
Bach CR300 cornet outfit – Vintage Brasswinds Australia
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Jackson trumpet
Some comments and photographs on this site – https://www.vintagebrasswindsaustralia.com/2020/12/14/jackson-super-trumpet-from-switzerland/
Brilliant sound – great intonation – full range of sound from lowest whispering to highest screaming! A real collectors item!” – $2250
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and many more trumpets, cornets, trombones, euphoniums, flugel horns etcetera – in Melbourne Victoria right now
Major update April 27 2025
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 –
