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
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
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
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.
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
