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10747 on

Vito 'Model 35S' Alto - 1969-72, #2,7xx

This was the first sax in a long time that upon my first notes, my eyes lit up like a young sax player all over again. This is not to be confused with the Vito-Yamaha that most people know after the buyout.

Here's a super rare sax. Probably about 2000 ever made, and to that, perhaps even fewer in the "S" model--SILVER PLATED ENGRAVINGS! WOWZA! Highly engraved on the body tubes: body, bell, U-joint, and neck...with a Butterfly, and 3x Bees.

I acquired this one from a good, local fellow who had it in his collection for 18yrs(hidden in his storage unit)! Only needs a full repad and bell brace resoldered to the body. It has a very heavy build, some rib construction, some silver brazed posts on the body too--unique! This also has the later adaptations of the Vito Leblanc Rationale System keywork (funky keys, precise tuning, High F#, superb bass clarinet Rocker Octave system). Perhaps, a system so genius that it couldn't catch on.

The tone is amazing! It instantly took me back to my former '86 Selmer Super Action 80 Series II, that I played for 10 yrs, but this one had more body and depth like a Keilwerth/Couf.... (french) Selmer crossed with JK? = AMAZING!!!

Vito 'Model 35' Alto - 1969-72, #1,021 A

Since my "35S" is so pretty, I sought out this "less pretty" Model 35 in striipped bare brass so that I could play the Vito tone without caring about the finish.

1970s Arta Guban "Luxor Solo" (Version 1) Tenor, 

'The Ram'

I am really fascinated by this sax. There are so many ornate features!

It has some of the most elaborate tube rings with 3D weave on the bell lip too! The sheet metal octave key on the neck is where she gets her nickname: "The Ram", the pearl bonuses are great--even on the neck screw!, I love the light engraving on the key guards and the G# too, the lucite pants guard like JK or older Kolhert, and the raise bell logo.

FINISH: 99% original satin/shiny Silver Plate with goldwash bell....well, I think the Bell is actually a lacquer judging by the flaking part. I still need to electro test that. It could have been gold but not sticking to the brass (at the lip where it pealed off). I also did spot silver plate 4 small areas that shows some wear. You won't find where.

DATING: This still needs better surety, but I've run into my own trickery to date this model. Some Serial # charts may put 674,142 into the 50s,  year 1959. I had also owned the Alto "Luxor Solo" (You can see it in Chadd's Collection) and it didn't have the matte silver finish. My 1959 dating was the best guess I had until I had a client tell me about his buying one new in 1984! However, due to the two versions (Version 1 and 2, with different engravings).

Many thanks to my friend, Helen, at BassicSax for some info on this. Ironically, it's the exact sax she featured on her blog from many years ago but never in her possession if I recall correctly.

I don't claim to know this for fact:
The history here is a bit scarce and tricky. From my own brief research, they say these are hit-or-miss saxes.  Talk of Romanian makers, made in Timisoara, Romania to market in Hungry. Just a whole wild bit of cross-country marketing and imports (to Germany/Czech also?). There's so much more to be dug up. I've also talked with other saxophone experts and a potential link to Dörfler & Jörka designs. At any rate, we can all see the engineering pedigree for lineages of German/Northern Europe/Czech saxophone. 

***Also, I believe this is Version 1, by early dating comps, that has the fancier engraving with the raise logo. The other examples were all standard engravings. So that being said, I'll lean towards the 1970s.

The neck support also has the 3D weave! AND on the under-bell lip, around the bow connections, and on the bow ridge!

The neck support also has the 3D weave! AND on the under-bell lip & neck, around the bow connections, and on the bow ridge!

PADS: In great condition, hardly used. It was a new rebuild when I bought it. Unknown rebuilder. She has tan prestini (?)pads and 50% flat metal resos with rivet. The tone is very Czech-ish. Not as bold a Keilwerth but not gross and bright. She has some nice focus and power hidden in her sultry satin finish. Her acoustics hit the Mid-Trebles pretty hard and focused - so it's not a "quiet, mellow, muted, fat, vintage-sax tone".

For now, my only two complaints are the G# trill key is annoying (likely to get bent to a proper, playable location--lower) and the poor balance of the neck strap. You can see that someone else agreed enough to add and second one...IN THE WRONG SPOT...it needed to be 1.5inches lower. !@#$% I guess I might have to fix that in time also.

THE BAD: The only thing that I have run into is very bad A2--poor venting, air travel. The A2 comes out better/clearer WITHOUT the octave trigger. So that stinks.

Other info contributed by interested people who chimed in to WWS:

NEW INFO FROM EBAY COMMUNITY :

"Here is some info you may find interesting. I bought one of these new in 1976. At that time, they were the cheapest ‘student’ instrument on the UK market, and I paid £135 for it. I suspect this one is the same era, as it is identical other than being silver plated, mine was gold lacquer. The original case was amazing, like a silk lined Transylvanian coffin. They seem to be very rare now. I always assumed they were made in Romania as stated, but the theory that they were actually made in the former GDR is a possibility I suppose. It was a very nice instrument and played very well. Hope this may help -WT"

From a fellow ebayer, siting the website https://www.braunflutes.com/tradition_en.htm:

   "In 1896 the violin maker founded Antal Braun (1877-1928) a Workshop in Temesvár (Timişoara) in Banat (at that time Austria-Hungary), at that time a "musical center" where he made various instruments. There were also repaired instruments and tuned brass instruments.
   After his father's death, his son Anton Michael (1911-1978), saxophonist, took over the business at the age of almost eighteen. During his wandering years he worked for V. Kohlert's sons and Julius Keilwerth in Graslitz. In the mid-1930s he built several saxophones inspired by the architecture of American Buescher Altos.
   From 1945, a large part of the German population was deported and expropriated, and after 1948, under Communist rule, production plants were nationalized and merged into cooperatives, as was similarly the case in the Music angle happened at B&S and Amati.
   Starting in 1958, craft businesses had to and the two of you will also be joining forces. This is how the state cooperative "Timis", in which saxophones are known as "Superior" and with soldered tone holes, also for left-handers. As with guitarists, there were saxophonists of the indigenous
   Folk music scene many left-handers. These Instruments have nothing to do with the "Arta Guban" saxophones."

If you really want some more information, I suggest you read this post as one of the most thorough discussions: https://cafesaxophone.com/threads/arta-guban-tenor.2774/page-2

1970-1980s Arta Guban "Luxor Solo", (Version 2) Alto

(SOLD)

Above are my "Arrival" photos from my phone. Once I got around to it, I was able to take the photos below...

(Compare the engravings on Version 1 Tenor above and the Version 2 Alto)

I had already acquired my Luxor Solo tenor when I saw this sax show up "For Sale" a year later--I had to have it! -  Set Complete! This alto is not in the matte finish, and it does have a different engraving setup. But overall they are very much the same with the ornate parts throughout.

***I did check to see if the A2 had an issue like the tenor. Fortunately, it doesn't!

It also appears that they were manufactured with lacquer in the bell (not gold). Probably a cost cutting measure.

The original white pads make me consider doing them for the rebuild! BUT, until then, I won't mind putting this out on display and allowing some tarnishing since I'll have to get in there an clean her up nice in the future.

1950 Otto Link, no USA, Double band, NEW YORK, 5 < 6** Tenor

(SOLD)

It needed Bob C reface/repair, This is another great Link that had been tampered with. Ser# 154, ultra-rare NEW YORK double band! This is before they moved to Florida, extra long biteplate. Bob was able to save it then he gold plated the repairs to seal it and the mouthpiece. The original plating was wearing too thin so, although we love to leave these as original as possible, in this case we had to seal it to protect them (ligature and mouthpiece).  Bob Carpenter reface, now a beautiful 0.097" or a Link 6** size. You know it's good when Bob takes it to the next gig, the whole gig, and THEN tells me how nice it played. haha. It plays excellent with a traditional smoky tone. With the vintage ligature! (SOLD)

Item #: WWS4.0S0.0S0.5171.3-B75

Selmer "Classic", metal Airflow C* Tenor  

Another great Selmer mpc from the 1950s. Metal, Sultry and focused sound. It plays very nice overall. Tips and rails look great, original tip measuring 0.077". ROUNDED chamber (not the Horseshoe) makes this the rarer, and more desired Classic model. Note: The shank is a large fit for neck corks. Clear tooth guard installed. With original ligature AND a metal RARE sliding cap. SOLD Item: CP000.00.00.10161.2-0-0

1940s Otto Link "Tone Master" 7 Tenor

"Butter Love" - Mmm Mmm

yes, I said the super rare "7" tip!!! (keep in mind that is based on the vintage chart size: = a modern 5* Link size) It arrived in an Original Tip @ 0.085"!!! BUT...it did not play well at all--facing was too long, So after leveling the table, and adjusting the curve start & end, I improved it and had to do a minor reface to 0.086".PLAYS AWESOME! It has a white tooth pad (confusing to me) but it looks original--NEAT!. These can easily demand$900.00+ at a retail listing, but I bet you'll be enticed by this one. Comes with original ligature & cap! Both are worn. "Before" photo to the right. It has a large chamber and a fantastic, vintage Link tone.

Factor in: refacing attention (+$125), silver plate repairs/mouthpiece($82), thin Gold plate ($82)to enhance the vintage look:

(SOLD in 2016) Item: WWSL4.5S0.0S0.1221.4-0-C60

a super rare tip size! Ser#27407 with script in beautiful condition. FIVE DIGIT SERIAL NUMBER! This one plays really nice with decent focus for a Tonalin but a little extra power with the "7" tip. I'm biased, but I love these. A bolder, smooth Stan Getz-type sound. Original Tip size at 0.095", no tooth grooves!

Item:WWS2.7S5.2201.4-0

Brilhart Tonalin 5* Tenor

(my baby, one of the first) 

I have even graphed the facing curve on this one should I ever need to copy it!--knock on wood... It has a super short facing length! (see graph above)

My Dukoff D6 Transitional nickel-plated brass:

  Steel Ebonite "Chester Hazlett" TENOR

Another rare mouthpiece listed, it was named after the saxophonist in the Whiteman Orchestra of the 30s and 40s.  Terrific material and good classic design...very similar to "The Woodwind Co." models...  Large chamber makes for a big vintage sound. But also more suitable for Concert Bands and jazz alike. Bob Carpenter just opened this one up to a easy blowing 0.090" with a 21mm facing length and inscribed the his "RAC 90-21" on the table(sign of Bob's heartfelt workmanship again). The crystallized yellow band IS original! sorry, no ligature.

This has a great mellowness to the tone and blows Outstandingly easy! I REALLY wanted to keep this one when I got it back from Bob.  It plays so much like my Tonalin 5 (I use on most sound files) that it must be an Alto player's delight at that 0.090" tip.  = plays like butter! Item: WWS00.00.531.2-0-5B50

***WILD STORY: I did sell this mouthpiece and I was on good terms with the buyer in Germany who sold it back to me! = me Happy!

Now SOLD again.

Item: WWS02.1S0.3111.4-0-0

ALTO Mouthpieces:

Brancher C20 "Ebony" Tropical Wood Alto

***Previously sold, it was so good that it landed in the "Things I Should Have Kept" archive.

Vintage 1970s Berg Larsen 110-2-SMS Tenor:

My MAIN TENOR Mouthpiece - bought from Sarge's Collection when he was alive.