Sarge's Collection

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MARTIN

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Olds "Super" (F.E. Olds & Sons):

A Los Angeles, CA, USA company

2016 added research (to be continued): Prior to growing internet knowledge, Sarge used his collection and experience to help with the history and profiles on saxes. This horn needs an update to documentation: The CA company employed a former Martin employee. Thus the strong link in design from Martin. Was is made by Martin?-No; but you can clearly see the direct similarities.

Sarge words:
"We have all seen a lot of speculation on these, but since I own nearly every horn Martin ever made, it's easy for me to compare and yes, this horn was made by Martin.  They used the Committee II body and much of the keywork and mechanics as well, but add the twist of flute style configuration on the actual keys.  They did use the two piece side keys and the same G# / Bb cluster.  It has one non-Martin feature that is unique, a silver tone ring (like those on brass instruments) that reads
"Super Olds made by F. E.Olds and Son, Los Angeles, California U. S. A.", neither committee I's or II's had that."

Here's a before pic:

"I wish i could tell you how it plays, but these pads were terribly shrunken and the horn smelled too bad to even toot a C#.  I can tell you this, the workmanship is beautiful... it is Silver and Gold plated, with Satin finish on the body and shining smooth gold inside the bell and on the Bell engravings.  The serial number makes no sense, by Martins serial list, so i assume it's an Olds number... but Committee 2's were made roughly between 1938 and '45, give or take."

"Interesting note, the original pads simply had a rivet in the center and were held in with one glob of shellac in the center, nothing at the edges.  Eventually i will give her some TLC, like touching up the missing silver and gold and of course a nice rebuild."

"well, she's all done.  I'm very impressed with the beautiful tone of this sax.  I put in Prestini's tan lambskin pads with medium density felt and medium size flat metal resonators, it's very similar to the martin committee II, with a deep, warm and centered output.  it plays so easy throughout it's entire range.  Please enjoy the "after" pics."

Chadd comments: I really enjoyed playing this one. From a collector's view, these are friggin' sweet! I can't remember if Sarge told me that he gold plated the crest on the front. I feel like he told me that once. Oh! and don't forget the unique feature on the octave-roller arm from the G-Key.

Sound File below of the actual sax!: Buescher Top Hat & Cane vs. Conn Chu vs. Olds "Super" (by Martin)

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1959 "The Martin Tenor - Magna" Tenor:

Here is one of the finest horns Martin ever made, a The Martin "Magna" Tenor:  note:  many people refer to "The Martin Tenors" as Committee models, but IMHO, Committee is actually a sort of misnomer for these models, considering that Martin didn't start putting that on the bell until after they had already been bought out,  serial numbers like 313,xxx, somewhere after 1970 or so... but somehow the nickname stuck, like calling a New Wonder a "Chu".

1959 The Martin "Magna" Tenor: All original and in very nice condition.  It's serial # is 208,xxx, one of the last made in 1959.  The Magna's extra features are an adjustable octave mechanism screw to control the height of the octave key, an extra big and comfy LH thumb pearl, adjustable bow and bell key felts and extra rollers on the G# table.   This one is pre-RMC, so it does not have the "Roundtable" crest on it.  With an aggressive pad and reso setup in them, these can be the worlds best Rockin' tenors.  The sound of the Magna is not much different than any other Committees, but they do have the advantage of a silver cross to ward off attack by Vampires!  Great, rare Pro horns, big ol' fat sound, unlike any other...

Chadd comments: Sarge coined the phrase: "they do have the advantage of a silver cross to ward off attack by Vampires!". So when you read it on the web, it started here. Just more credit to Sarge for his classic humor. This was a huge playing sax. Most Magna's get abused for some reason, perhaps the shift in player etiquette to care for their horns into the 1960s. So this was rare beauty! I recall this one selling on ebay for WAY too cheap for a rebuilt sax of this quality. Sarge was still jokingly mad about that price until his passing. haha.

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1938 Martin "Searchlights" Tenor,  Handcraft Committee:

Look at this rare Original Lacquer Committee 1:

 

Serial #126,1xx, which dates this horn at 1938, the neck has a matching serial number.  It has about 85%  original lacquer that has typical Martin browning and bare spots.  No dents.  Solid Nickel keys with an excellent art deco "City-Scape" engraving.  Small bell makes for a nice centered, focused tone.   Includes original case pictured.  Just a note, these are one of martins richest and warmest tenors. I rebuilt her with Prestini "Hermes" tan sheepskin pads and rivetless metal domed resos, so i'd get the combination of tonal warmth and good projection.   All Committees make great ballad horns, but are versatile and can jazz it up, or even rock out.

Chadd comments: This one was sold to a customer if I recall. It wasn't around very long while I was here but I do remember that classic "Committee I" focus and power. It had the ability to blow if you wanted it to.

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1939 Martin Committee II (original Rose Gold plated) Tenor:

Before Photos (pre-2008):

***Note how the neck and body appear more pink in the "before" photos under the lacquer.

After/later photos (2018 with Chadd - well tarnished):

1939 Martin Comm II tenor ser. #133,xxx. These are the most beautiful sounding Martins of all the various Martin models.  Fat, powerful, sweet, lush, warm and versatile.  It is in NEAR MINT ORIGINAL condition .

I bought this one, for my personal collection recently, to replace what i had been playing, which is a similar one i just sent off to Anderson Plating...it was a non buffed relac.  That one is going to be for sale eventually (see the tenors page for details) as this one has replaced it in my personal collection.

Now here is the story and it's a good one... I just bought this one, from the 2nd owner.  it was obviously in top condition, but was advertised as in original silver plate and then later shot with clear lacquer over everything.  I have seen that done and if it's done well, with a thin overcoat, it can be pretty great, so i paid a pretty good price for it and was happy to do so, as these are easily the most beautiful sounding tenor ever made... the ultimate Ballad horn.

Soooo, i had it and had been playing it about a week and loved it... but i can't help being a compulsive restorer.. so on one of my days off, i chem-stripped the bell and neck of the overcoat... and Lo and Behold, it isn't silver at all... but Rose Gold Plate.   Ultra rare on Martin saxes.  Sooo, i had to know more about the original owner, because a horn like this would only have been made for someone the Martin Company considered very special.  The second owner got back to me, with this story.  He knew the original owner since he was a child... the man played in a band with his dad.  2nd owner always loved the 1st owners horn and asked frequently if he could ever buy it to play himself.  Long story short, 1st owner passed on, left word with daughter that 2nd owner was to be offered the sax before anyone else.  Turns out 1st owner was a musician and a "Rep" for Martin, his entire career, so Martin made this sax as a one of one a kind for him.

Well, it's found a new home and a 3rd owner who really appreciates vintage treasures... so it's going to stay with me until i pass on.  Here are some pics of this beauty, before and after the chem strip.

Chadd comments: I was/am often asked the tough question: "Which sax from Sarge's Collection would you have to keep?" And quite seriously, it was always a tough one to answer. For Rarity: THIS ONE! O.M.G.! You will never find another one like this. And as Sarge's description said, he kept it in the collection until he died. Consider my future description to be the same. It will never make a gig appearance.

Here's an all too funny conversation with Pam prior to Steve's passing:

Pam: "I want to keep a sax. Which one should I keep?"

Chadd: "Well, I know which one I MUST acquire/buy/keep."

Pam: "Ok. Which one is that?"

Chadd: "The Rose Gold Martin Committee II."

Pam: "OK. that's the one I want."

Chadd: "@#&^%  %@#*%"

Sarge: "Baby! Why do you need a sax?! You don't even play!"

Chadd: "hahaha"

Pam: "Because I want one."

So I guess Pam is holding it for me.

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1941 Martin Centennial Model: 

This one is extremely rare, beautiful sounding with rich/fat tone, like all Martins:

Martin Centennial Model: Serial #142843 indicates a 1941 make.   This is the very rare in-between step, from the committee II, to The Martin Tenor (committee) model, madeonly in 1941.  You can see the transition in the keyguards and keywork.  it's half of each. Original Lacquer is excellent .  I will be rebuilding it with Saxgourmet pads and Resotech  flat, Solid silver, resonators.

Chadd comments: I know this one got special attention. Steve enjoyed it and Martins in general. I know he put tuning corks as needed inside the tone holes. (a squirrely upper register for tuning). But a very unique sound! Gotta love the limited edition keywork too.

By a lucky coincidence, i got this Martin Centennial mouthpiece, with a The Martin Tenor i bought last year, now i have the perfect sax to put it with.  these are real big, real warm sounding pieces and it really brings out the lush sound Martins produce.

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1946 "The Martin Tenor" (Committee III), silver:

After:

BEFORE: 

Serial # 160xxx.  Fabulous serial number and the neck and body are in excellent shape.  Over 90% Original Satin Silver, with bright highlights.   I just cant get enough of these The Martin Tenors... this silver one has another shade of the powerful big and fat martin tone that is fabulous.  I had Justin rebuild this one for me with a Premium Rebuild, using Saxgourmet pads and Pisoni seamless metal domed reso's. Original  Silver ones are rare and they command a premium price.

I'll be playing this one regularly, onstage, using my brass Bobby Dukoff mouthpiece

Chadd comments: Sexy. I love my martin. I have a feeling that I'll end up with one in silver too!

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1947 The Martin Tenor Sax:

Nice early "The Martin Tenor".  Serial number 164,xxx, numbers match on the neck and body.   98%+ Original lacquer.   The body is in overall great shape, mechanically and cosmetically and the Original lacquer is beautiful, which is an exception to the rule for martin lacquer.

Chadd comments: I recall this one being around when I first started with Sarge.  This must have been the later replacement of his 158k TMT he had to sell to get his MusicMan Model. Sarge loved Martins. It's no wonder I ended up with a beautiful 1948 TMT. Mine has a beautiful bell too!. 😉 And full credit to Sarge for helping me find and buy the one that is still in my collection today. (I'm not sure what happened the photo here, sad day.) I was so happy to find these photos! I just found these and the sax, once again, shows why it was in The Collection. Wow. Just Wow.

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Here are a few of my French made horns:

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S.M.L.

(Strasser-Marigaux-Lemaire)

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SML "Revision D" tenor:

Here's a 1952 SML Tenor, really one of my finest works:

This is the Rev D model made just before the Gold Medal models  Serial number is 9,42x, made in appx. 1952.   Famous for a big warm, sonorous tone... and it has almost all of the adjustment screws, etc. that the gold medal model has.  The original silver finish was very worn.  I did some dent removal and some resoldering of bracing and even added a small inside bow brace to make everything better than new... It just received a unique and beautiful engraving job, that included both re-engraving and additional elaborate, custom engravings, by Jason DuMars of International Saxophone Home Page.  Then i sent it to Anderson Plating for all new silver plate.   I installed custom, oversized Resotech slightly domed, solid silver reso's, on the Saxgourmet black Kangaroo pads.  I got the pearls installed and then I installed  stainless steel springs and re-assembled her... sure is pretty.

Before :

This horn plays as nice as it looks, warm, responsive and great intonation.   What a fun project it has been...  i have an original SML mouthpiece that i use with it sometimes, but i also like a N.Y. Link "4 star" model.

you can listen to me play this SML, on the Phantoms Blues Band's latest C.D, by clicking here

On Stage, i always play a silver plated brass, Dukoff D-9, that is a prototype of the Super Power Chamber model.  That design, in brass, is the biggest fullest sound i have ever heard.  i use a Guardala Super King as my back up, but it mostly collects dust... and it just can't produce the sound the Dukoff can.  On the other hand, when i 'm fooling around on my days off, i like to pick up one of my Fav horns and play it with a mouthpiece that i think brings out what makes that horn special... so i have a mouthpiece, that i like to leave on a given horn, that gets it's special sound done.  I'm working on putting a description of the mouthpiece below the horn.

Chadd comments: I will never forget playing this sax. the resonance in the shop still haunts me. The smokiness we want. The power we have available like a Turbo boost on a car. But, then again, I love SML's!

SOUND FILE (actual sax!): Mark VI_vs_SML-RevD_'41Zephyr

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SELMER

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1959 Selmer Mark VI Tenor Sax:

I bought this mk vi to restore and resell, but fell in love with it, so it lives with me now...

Selmer Mark VI Tenor Sax:   Serial # 83,6xx made in 1959, i guess i don't need to add to the Legend about the 5 digit MK VI's, suffice it to say they are considered the best in the world and often command prices in excess of 12,000.00.  Made in France,  the body and neck are in very good shape, but was butt-ugly, so i chemically relacquered it (no buffing at all),  it  looked beautiful after Sherry Huntley re-engraved the original engravings (so that a coat of silver plate would not make the bare brass original engravings washed out looking),  and Anderson Silver Plating applied a thick coat of pure Silver plate.  The neck has no serial number and a lot of early mk vi's had none, but i'm convinced by size , shape and match to the sax's finish when i got it, that it is original.  I put in all new Stainless Steel springs and did my faithful "French Standard" repad, with extra ultrasuede and teflon and i even had a complete set of original MK VI plastic domed screw-back resonators, i  re-used.   The finished project is one of the finest playing and sharpest looking mk vi's i have had the pleasure to work on.

Sound File (actual sax compared): A WWS Silver Resto. Selmer Mark VI 5-digit #83K (Brecker era) vs Selmer Mark VI #155K Original Lac (mid-run era) MOUTHPIECES: Guardala DG brecker vs Tonalin

I usually put my "Florida" era Otto Link STM on the MK VI.

let's face it, that combination can put you in the mood to play some pretty heavy jazz.

Chadd comments: I was very spoiled to play this one...several times. At first I couldn't hear the myth of the 5-digits.  I think I had sticker shock--blocked my ears.. ...Rookie problems. Steve said he took it to a few gigs, LOVED IT!, but almost always had a heart attack with the crazy, swinging guitar players. #$*&^$#  It spent a lot of its life like a vampire, sleeping in its case.

Just got this 40's H. Selmer mouthpiece to try on my Selmers    it was rough looking and i have restored it and Bob Carpenter opened the tip to a nice easy playing .090".  It has a vintage Selmer "core" sound.

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"Euro" Selmer Mark VI Tenor:

This one was made to sell in Europe and has the beautiful and rare French engravings on the bell.  Original lacquer, with Serial 143k make is a 1967 and they did a beautiful job on it.  The French market Selmer's often had silver plated keys and a lighter tint in the lacquer, so they are not honey gold, instead, they have a lighter gold tint that starts to exhibit a hint of green when they age.  This one did have the silver plated keys, but my preference is for a uniform color, so i plated 24 carat gold over the silver and it matched up to the original lacquer on the body perfectly.  For the icing on the cake, i decided to make this one a beast, so i just finished rebuilding it, using Saxgourmet pads and early "Super balanced style" rivetless metal domed resonators.  Of course i add my premium upgrade and a G# helper, to make it smooth and reliable to play.  I just got a chance to play it and it really has a lot more punch than my 83k with the stock set up.  Good focus on these 67's and a little more oomph from the high notes than my 83k. Chadd comments: This one may have had silver/nickel keys. I just had a memory flashback that Sarge might have gold played the keywork.

I teamed it up with a otto link tone edge, HR mpc today, good combo!

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LEBLANC

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1960's LEBLANC System, a.k.a. Rationale Tenor Sax: 

This is an amazing and rare pro horn with the unique Leblanc mechanism, where the G# tone hole is at the rear and all the front pads remain open - the fingerings possible on a Leblanc are far more versatile than a conventional sax allowing for easier transitions in what are usually difficult passages - as well as multiple false fingerings and a greater range of altissimo fingerings. The Leblanc has a strong individual voice and speaks extremely well, one of the great advantages of the system is that normally stuffy notes like middle D and E speak with a clear open voice - the uniformity throughout the range is simply unachievable in any other horn. This one has at least 95% original lacquer and is in top notch condition.  I haven't had to do too much to it, except a minor tune up. It even has the original green print case in great shape! Serial #513. At WWS website.

That's a classic Goldbeck and Co mouthpiece on her, that i opened up myself and made a custom ligature for.  These have a very, very vintage sound, that's fun to play around with.

Sound File (actual sax!): TENORs Feat: "LEBLANC": King Super 20-pearls, SML Rev. D, Leblanc System - Rationale

Chadd comments: wacky, cool, weird, unique...If a person made this THEIR sax, I think they might be unstoppable. I need to make a SOUND FILE.

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BUFFET

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1959 Buffet Crampon,

Super Dynaction (SDA) Tenor: 

1959 Buffet Crampon "Super Dynaction" Tenor, serial number 6,2xx,   Very nice original finish,  there are a few scratches, no dents... still had the original pads in it.  These French made, top quality horns are absolutely one of the best values on the market today.  Most owners will pledge that the early SDA's play better than a MK VI of the same year... a little less stuffy, and more clear, or distinct,  in tone.  A pre-sixties example like this one,  should be worth 4000.00.   included was the original  case, and wooden neck plug, both  in very  good shape.  i decided to rebuild this one as original, with tan lambskin pads and flat metal reso's.  it has a typical, well balanced French sound, that is pretty and clear.  I like to play it with this mouthpiece below, the two make a clean, warm tone: Buffet SDA Hard Rubber: From a Super DynAction.  Hard Rubber mouthpiece from the early 60's, in terrific, original condition.  Good for legit or orchestra work would do great on swing too, very smooth. 1974 Buffet (Paris) Crampon S-1 Tenor:

Serial # 23,9xx  made in 1974. The finish is overall in very good, minty condition.   S-1's have some of the most ergonomic keywork advances in sax history.  They have a terrific tone that can be used for anything from Jazz to Classical, with a quick mouthpiece change.  It's the only sax i have played that you can comfortably go from low C# to Bb. it has it's original tan pads and flat metal reso's in it and plays great.

Chadd comments: Smoother than I expected in tone. Intonation that is excellent. 

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German Makers

I searched quite a while to find an intact Tone King and a Black Gold Couf Superba One...

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(Julius) Keilwerth

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1959 Keilwerth ToneKing Tenor:

This Tenor was identical to the "New King" model, but for one added key, a high F# Gizmo key... for this reason, JK decided to market the Tone King as the "Pro" model and the New King as the Standard.  Serial # 37,xxx, it was built in about 1959, they only made Pro models during these years.  These are supremely warm and smoky,  jazzy horns, built solid like a tank, just heavy and beefy... and the sound was like that too.  Keywork was great and ideas were stolen from almost every great pro horn to make this one.  The neck tightening screw is like a Martin, the toneholes are rolled like a Conn, G#/Bb cluster is similar to a Selmer SBA...  these can stand with any other horn from this era.  Highly undervalued, should be worth 3000.00, i have seen nice examples like this one go for 2000.00... but hey, they are rare too, and you know what happens to rare tenors.  I rebuilt it with Saxgourmet pads and Resotech slightly domed, nickel resonators.

Chadd comments: I'm scared to touch these ones with the plastic guard. But I like the look! It's like watching a machine in action! SOUND!!! This sax has HUGE Power! The Treble boost CUTS through! I need a Sound File to prove this! (Note, the G#trill lever is gone.)

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1926 Julius Keilwerth Alto:

Here is the first of my three Julius Keilwerth Altos:

1926 Julius Keilwerth Alto:  This German Silver plated sax is pretty darn well preserved for a 80 year old horn.  Serial # 94x.  It's one of the oldest JK's i have ever seen or played and reads Julius Keilwerth, Grastilz, CSA on the bell.  You can see all the similarities to a 1925 Conn Artist model:  Rolled tone holes,pearls on almost every key, tuning neck, overall keywork setup, bell size... but there are some other innovations that are pure Keilwerth, too... such as high D to D# trill, that doubles as a Eb to E trill pretty well.  This is the darkest sounding alto i own, and since i'm primarily a tenor player, a dark alto pleases my ear.  Intonation is at least as good as a New Wonder, tone is beautiful.  I rebuilt it with my French style rebuild, to increase it's projection a bit and keep the tone fairly original.

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1935 Julius Keilwerth "The New King" Alto:

By my own chart, i figure this serial # 9026 to be a 1934-5 model.  It very unique and cleverly designed, somewhat like a Conn 6m, but with ergonomic improvements.  The side keys are similar to a martin committee design, with the two piece mechanism, but the touch pads are oval and angled to hit your index finger's side perfectly. The G# table is like a 6m, but the G# key is a pearl that has had a "fingernail file" cut into it. German horns are dark and complex sounding.

Before Photos

Chadd comments: I actually did the Rebuild on this one. I still remember the first day of Play Testing: it turned Sarge's head "Wow, that is so dark and smokey!". Another note, See the side Bb-C-E...a very unique, oval design. I would say the closest thing in tone would be an early "eyebrows" King Zephyr.

Sound File (actual sax): Conn Chu, JK New King, Dolnet II 

Sound File (actual sax): Julius Keilwerth New King, Buffet SDA, The Martin Alto, Buescher 400

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1961 Julius Keilwerth "Tone King" Alto:

By my own chart, i figure this one to be a 1961 model.  When i got it, it had a busted up keyguard (don't they all?) and a lot of wear, but i had Bob Brill apply spot silver touch up to the bare spots and she started looking better, then i found an authentic vintage, but unused lucite keyguard (yes, it cost me a fortune) and proceeded to do a hand polish and complete rebuild.

Before Picture:

I already had one very dark sounding Keilwerth, so i rebuilt this one with my "French Standard" rebuild / Selmer style plastic resos.  i also opted for gold plating on the neck.  I find that the extra layer of plating smoothes the sound of the high notes/palm keys, a little.

The bell has some engraving...  the word FULDA is on it in block letters (Fulda is a city in west Germany a little north of Frankfurt), and also what i think is someone's name, obviously applied at the factory.  It's really difficult to get any info from the "golden age"  there's just nobody left at the factory, that knows anything about those times and the people that are there that answer questions just do their best (speculate)...  It has a lot of features borrowed from other great horns of the past, like rolled tone holes, a tone ring under the bell lip, tightening thumbscrew for the neck... but their own innovations were very cool too, like the high F# key position, the Lucite bell key guard.  I have the original "JK Tone King" hard rubber mouthpiece, as made for Keilwerth by Wagner.   It's a superb sounding alto, although with many mouthpieces, it plays sharp in the high range.

Finally, i get many, many questions on how to I.D. a Keilwerth... this is for sure, if it has "made in Germany" and the JK logo, as seen at the left, it definitely is a JK.

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1968 Keilwerth "Tone King" Tenor:

Oops, i decided to keep another Tone King, you can see the changeover to Couf style keyguards and more on this one:

Ser# 67,139, nice top of the line Keilwerth, with high F# key, made the same time as the Couf Superba 1.  These are noted for a very big, warm sound, that is full of harmonics and body.  Made about 1968, in the very same location, by the same workers as the Couf Superba 1 and 2.  I have seen Superba Ones with the serial number 51,xxx, so both of these models were made at the same time.  There are a few small differences, like the bell to body brace, the strap hook and the right hand thumbhook, but the sound is identical and the mechanics are too, as close as i can tell... note the Couf key guards.  Just totally rebuilt with Roo Pads.

??? TO DO...also to play the JK with the JK mouthpiece

Yep, i have an original hard rubber, Wagner made, Tone King mouthpiece for this one.  They are a really fat sounding piece and this horn gets a superb "vintage sax" sound with that one.

Chadd comments: This horn has such a rich tone that you play it and stop to check your pulse. 🙂 It was a sexy look with the white pads too. 

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1979 H. Couf "Blackie" Superba I tenor:

This is my 1979 Couf Superba One, i nicknamed "Blackie".  She has most of her original Black Nickel finish and amazingly, she has original Gold Plated keywork.    i really enjoy the deep rich sound the Couf produce and this one will most likely be with me for a long, long time.  Serial #79875. I restored her mechanically and did my very best Premium repad with black Kangaroo skin pads and oversized Resotech resonators.

I have a Couf Artist J7*S that works very well to give it the sound Herb envisioned, but i also like a German made, silver plated brass Wagner #7 for a fatter, more rockin' sound.

Chadd comments: well, I've only seen two of these over the years, this being one of them. It was sarge's long time baby. Now it's mine. I tell you what! She can keep up with the guitar amps! Sarge sized the resos 1mm shy of the tone holes! This is THE BIGGEST sound I have likely played--or at least Top 3.

NECK: The photos show it with a second neck sarge had. I have the original BLACK one with it. 

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1965 Couf Superba I tenor:

S# 54,xxx, nice really early Superba 1, these are noted for a very big, warm sound, that is full of harmonics and body.  This is the oldest Couf i have acquired, to date, i really like the older ones, they are tone machines.   Made about 1965, the early models are ultra rare, especially in nice condition... and finish is very good, perhaps 90%, with the usual wear and scratching.  Body is very straight, no dings or dents.

Chadd comments: Dark and bold. This was a sexy sax.

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1984 Julius Keilwerth Tone King "Exclusive" Tenor:

Julius Keilwerth Toneking "Exclusive" Tenor:  This is the hard to find link between the Couf Superba 1 and the SX90 model, with features from both.   Made in 1984, it is very rare and this one is in near mint condition, no dents, just a few scratches.  It has straight toneholes like the SX 90 model without  the R.  It has the SX90 G# table, that is articulated and tilts, unlike the Couf.  These possess a beautiful dark vintage sound, that is backed up with great power and projection.  I just got this one and have decided i should enjoy such a rare model for a while... so, I did a Premium Rebuild, with Saxgourmet black kangarooskin pads and rivetless metal domed resonators...  it really speaks well, whispers with a warm and sexy tone, but can keep up with my loud rockin' blues band just fine too.

you can put almost any mouthpiece on this sax... i enjoy using an old Guardala piece i have, on it, but on stage, i always use my brass Dukoff - 9.

I own and play a Black Gold Keilwerth SX 90 tenor too, but i think there are enough pics and descriptions of those out there... suffice to say it's another really great playing horn.

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Guardala 

They have German lineage

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Dave Guardala DG500

Another really fantastic German sax is a B&S stencil, for Dave Guardala.  I just bought this one, i have been searching  for a early serial number Guardala model 500 for some time.  The craftsmanship is awesome on these horns.  Ergonomics are up there with Keilwerth and Selmer, the materials used are far above par.  The sound is unique and falls somewhere in-between a Conn "Chu" Tenor and a Selmer MK VI.  Here is the Official Description:

This professional level Bb Tenor saxophone is fabricated and hand made from 72% formulated Copper alloy yellow brass with full rib post construction and hand hammered bell. All rods are solid nickel silver with stainless steel screws, springs are tempered blue steel and authentic Mother of Pearl key buttons are used throughout. Custom hand made French pads, by Chanu, with metal resonators come standard along with hand engraving on the bell, high F#, plus extensive fine tuning key adjustment screws at all critical points. This horn has triple silver plating finish with meticulous fancy hand engraving on the bell. Upper and lower key stacks are ergonomically designed for smooth, accurate and positive digital feel.

The serial number is below 4000. This sax was manufactured before Guardala's association with LA Sax started, and compromises in the quality of the product began appearing.

Here are pics of my "new":

DG-500SP (silver plate)

Chadd comments: This was Sarge's travel sax a few times to California. It was a screaming hit as he jammed with some old music buddies back home. He set it up to scream with Black pads and metal resos.

I also have a Black Guardala, with silver plated keys.

These are really extremely well made, great playing horns.  And finally this beautiful rose gold lacquered model from the 1st year of production:

DG-500GL (Gold Lacquer)

Chadd comments: This one still plays so nice in the original factory setup that it's one of my 'Go To' tenors on the wall. Stuffy is the wrong word, but there is a rev-limiter on the power/treble. It still has a booming warmth and I very much agree with Sarge's description--a cross between a Selmer VI and a Conn Chu. Usually we just call that a JK and the lineage here makes more sense with that. I still say a bit more Selmer-like focus  than JK depth. Fantastic ergos, and the use of modern needs in engineering stuff that I notice! 

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Dave Guardala - DG Studio, Brecker Tenor Mouthpiece:

Yep. The Bomb right here. The handmade greatness, # 5432 with "DG" on the front. Original tip @ 0.112". although there is evidence of work in the baffle, I can almost guarantee that Sarge and Bob would never have touched it. That leads me to think that it happened in the handmade process to create the optimum smoothness because you can see how it ties in with the machine marks above and below it--silver plated. The sound is awesome; made to mimic King Curtis--Sarge's favorite--there is a high baffle and cutout. The Brecker handmade model screams! Very bright with strong power and depth, super free blowing. original ligature and a plastic DG cap.

Sound File:  Guardala brecker, Berg metal 110-3-M, Berg HR 110-1-M, Ponzol, Dukoff Fluted, King T "RAC"

Sound File: Guardala brecker, Brilhart Level Air 7, Dukoff D8, Wagner, Wolfe Tayne 9

Sound File: A WWS Silver Resto. Selmer Mark VI 5-digit #83K (Brecker era) vs Selmer Mark VI #155K Original Lac (mid-run era) MOUTHPIECES: Guardala DG brecker vs Tonalin

Chadd comments: I loved this mouthpiece. everyone who every played it, has loved it. I can see why it is so fabled and pricey. Best of luck to me as I try to acquire one in the future as they continue to inflate above $1500.00.

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H.N.White "King"

and now a few more American Classics...

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1952 King Super 20 Tenor:

Nice original lacquer super 20, with the Serial number 325,692.  These have a lot of nice features, like  pearls on all the keys and Sterling Silver, sleeve style neck, but what i really love is the rich, big tone.  Super 20's are more or less divided up into 3 categories, early, middle and late production, this one falls in the middle and has a great balance of sound.  The King horns sure get my vote and i gig with them often. This one was rebuilt with thick brass resonators, oversized, I believe originally from a TM setup.

Sound File (actual sax!): TENORs Feat: "LEBLANC": King Super 20-pearls, SML Rev. D, Leblanc System - Rationale

Sound File (actual sax!): Tenors file x5: Selmer SBA, Conn 10M, Buescher TH&C, King Super20FP, "The Martin Tenor"

Chadd comments: This was Sarge's choice tenor for his last few gigs. He had a love affair with the Super 20 that in simply viewed by the public as "acceptable". We all wish we could be cheating on our daily player with a prime era, tear-drop G#, beauty like this one. The resonators are a huge booster!

I have SOUND FILES to link here soon. To Do list...

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1945 King Super 20 Tenor:

Nice original lacquer super 20, with the Serial number 278,730.  These have a lot of nice features, like  pearls on all the keys and Sterling Silver, sleeve style neck, but what i really love is the rich, big tone.  Super 20's are more or less divided up into 3 categories, early, middle and late production, this one falls in the early and has a great balance of sound but darker and smokier than my middle era one.  The King horns sure get my vote and i gig with them often.

It has the pearl G# in the crescent shape just like early Zephyrs.

It was fully rebuilt with tan prestini pads, and seamless flat metal resonators (nickel plated) for very light action.

(photos with a King Equa-Tru Special mouthpiece)

Sound File (actual sax): Tenors file: King Super20 F.P. vs King Silversonic vs Couf Superba1 "Blackie"
Chadd comments: This was a late addition to Sarge's Collection. I always felt he was a jerk to be hoarding TWO Full Pearl Super 20's! They were/are completely different in tone though.

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1960 King Super 20 "SilverSonic" Tenor: 

Serial #385,xxx, Mfg in 1960, when King was owned by the H.N. White Company.  Features a Sterling Silver Bell, and Neck, Hard-Nickel Silver Rods, Individually Hand-Soldered Tone Holes.  Here's what the HN White people had to say:  "The list of H. N. White super 20 players is impressive including: Mr. Julian "Cannonball" Adderley, Mr. Georgie Auld, Mr. Sam Donahue, Mr. Charlie Ventura, and the great Charlie Parker Jr.  Without a doubt what makes H. N. White instruments unique is their use of Sterling Silver Bells. Some time between 1925 and 1928, The H. N. White Company introduced the "Silver Tone" Sterling Bells option to Liberty Trumpets, Master Cornets, Clarinets, and the entire Trombone line of instruments. As stated in the 1928 complete catalog, "Sterling Silver Bell produces better tone, being clearer, richer, and more resonant, with a more pleasing quality." The engravings on "Silver Tone" instruments are some of the most elaborate and attractive works of art ever produced by an American manufacturer. A short time after World War Two (1949-1951), "Silversonic" replaced "Silver Tone" and the engraving was not as elaborate (except on Artist level), but the quality of tone remained the same. In addition, Saxophones were give the option of having a Sterling Silver Bell with the introduction of the World Famous "Super 20" and later "Silversonic Super 20", which were some of the most sought after production saxophones ever made."

Many Rock players from this era played on the Silversonics... notably, Jim Horn, famous for recording with the Beatles and Stones.  Mine is a 385K serial number and she's a Rocking Tenor, that's for sure. I  plan a fresh rebuild with my personal favorite rebuild, a Premium Rebuild, with Black Kangaroo "Saxgourmet"  pads (designed by my friend Steve Goodson) and special order Resotech solid silver flat reso's. Rebuild Complete: Currently setup with Black Saxgourmet Roo Pads and oversized Silver Resotech resonators and a Sarge's Premium Rebuild.

Chadd comments: There is a very big difference in the early 380-400ks Silversonics! because of this sax, I fully know it! In the last 5 years, I have only seen two other saxes that came up for sale that were of the same vintage and prettier than this one. 

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1937 King Zephyr Special Tenor:

Nice original lacquer early Zephyr Special, with the Serial number 209,xxx.  These have a lot of nice features, like  pearls on all the keys, the triple strap hook and Sterling Silver, sleeve style neck, but what i really love is the immense, fat and warm tone.  I enjoy seeing the beautiful art deco engravings, even the bell and bow keys are engraved on this one... and the art deco styling of the overall design is awesome, but that aside, these are one of the warmest saxes out there.  I have two completely different Zephyr Special mouthpieces i like to play with this one and the older designs really help improve the intonation.

Chadd comments: Absolutely stunning!

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1924 King Saxello Bb Soprano

Sound File:  Sopranos-Martin, vs. SML, vs. King Saxello

Chadd comments: ser # 72,979. This is one of the last saxes Sarge worked on for himself. He took it to a limited number of family gathering too. 🙂 comes in original hard caseWITH the ultra rare "Y" stand for setting the sax down (still not recommended to use in fear of damage). The screw to hold the "Y", like a special lyre screw, never came with the sax but I might be able to fabricate/find a replacement. Comes in original case (no handle, but the metal rings are intact). It got a Vintage Standard Rebuild with seamless flat metal resos($45).

I also have a vintage King stubby mpc with a Bob Carpenter reface too nearby. 😉

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Buescher

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Here is one of almost everybody's favorites, my Buescher 400, Top Hat and Cane, Tenor:

Buescher 400, Top Hat and Cane, Tenor:

Serial number 325,180 makes it a 1948 or so.  The top hat is a lovely horn to look at, or play.  It has a warmer sound and does a beautiful job with ballads, but is flexible enough to do jazz with the right mouthpiece.  i've had this one quite a while... it's real nice, but it's not mint, so i don't mind taking to some of the blues clubs we play.  there were a few chair dents in the bow and when i smoothed them, they stayed a little ripple-y... but i don't mind at all.  The engravings are just a joy to look at, i often find myself mesmerized by them.  I  rebuilt it with a premium rebuild, to improve the feel, with teflon and ultrasuede... my pad selection for this one was Saxgourmet pads and I kept the stock snap-in metal resonators intact, throughout.  Really not for sale.  I like to play it with this mouthpiece below, the two make a super rich/fat combination of tones:

Chadd comments: properly rebuilt with a custom Black pad rebuild with original snaps and pads glued in. A HUGE TONE!

Otto Link Tone Edge #9:

Early 1970's Babbit version.  says pompano beach on the original box, so i think it's one of the ones made in florida and sent to babbit, during the buyout.  plays extremely well, all original and excellent. nfs.

Chadd comments: I was lucky enough to play this one before it sold! HUGE TONE!

Sound File:  9-2010: Here's the Tenors mouthpiece file: Otto Link Tone Edge 9 vs. Steve Broadus NY "perfected" vs. Berg Larsen 110-2-M

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Buescher "Early" Aristocrat (Transitional) Tenor:

Rare early version of the Aristo, with the small bell for a more focused, sweeter sound.  Original lacquer is good, over 80% present. Crisp, sharp beautiful Art Deco engraving.  Think Johnny  Hodges tone.  Serial # 268,xxx, built about 1934.    No major damage ever done to it.  Neck looks great no pull down thanks to the art deco brace The snap in resonator system is intact, as are the Norton springs.  I did a Premium Buescher snap in pad rebuild on it and was so pleased with the sound...

I have tried it with several mouthpiece and it has a number of amazing tones, but most impressive was with my Otto Link "slant signature" hard rubber piece.  The amount of volume/output with this sax is about double what you'd expect for a late thirties horn... very close to a "The Martin Tenor" in power, but then i put a Link Master on it and it went totally airy and smooth with a centered warm tone.  really versatile.

Here are some after pics

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C.G. CONN

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1936 Conn 30M "Connqueror":

Serial # 275,xxx, one of the better Jazz horns ever made. Sterling Silver inlay on keytouches.  This one is not very "original"... as you can see i had Jason Du Mars engrave the body and neck, in a jazzy Art Deco mode, to enhance the original 30M "Lady" pattern.  It has a custom finish, with a coppery colored 40's nitro cellulose lacquer... and Jason's engravings really make a beautiful contrast.   I also had the neck silver and then gold plated.  After all that fooling around and a complete "Premium Rebuild" with Saxgourmet pads and oversized solid silver Resotech Resonators, how does it sound, you wonder?  This one has a much fuller, bigger sound than any 5 digit MK VI, it's not as mechanically friendly, but more than makes up for it in sound... it's a big distinctive American sound and no other tenor quite compares to these...  you would be very lucky indeed to even find one nowdays.

Dukoff  "BD" tenor, refaced:

I like my Bobby Dukoff Allstar Model "Hollywood" BD, on the 30m... it just adds to the warmth of the 30m and lets you make the airy subtones even easier.

Chadd comments: I had the privilege to play this for a bit in my early year with Steve. Little did I know how awesome these really are! I was a rookie then. The next 30M to pass into my hands, I almost had to keep too! But Sarge's gold neck would have warmed up the already booming Conn tone. We made a video of Sarge playing this before he sold it. I wonder if I still have it around. (to be continued)

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1925 Conn New Wonder II, Nickel "Chu" Baritone:

Chadd comments: Another late addition so Sarge's Collection in his final years. Does this really need a description? Needless to say, I plan on adopting her in time. serial #M154,36x. I have done several shows with this bari. The intonation is a bit wild up high on my small chamber mouthpiece but the resonance I can put out in the lower octave is like a purring buffalo. Yes, that's what I said.

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1942 Conn 10M Tenor:

Prime era 10m in original lacquer, S# 306,843.  the thing is 30-m's and 10-m's are so different , i felt like i need to have both... the 30m is more of a jazz horn and the 10m works better for my rockin' R&B stuff.  It has never seen any notable body damage, although some minor dents may have been rolled out before i got her.   Rolled tone holes, Naked Lady engraving.  The neck is slightly pulled down, i corrected that and eventually i will do a Conn Style Premium Rebuild, with Saxgourmet Kangaroo pads and flat metal resonators.  The premium upgrade, with Teflon and Ultrasuede, will really do a lot to smooth out the action on her.

Chadd comments: This one is a real screamer. Setup with oversized flat metal resonators, and the Black Saxgourmet Roo pads. Just the real deal here, everything you'd expect from the fable of 10M's.

Sound File (actual sax!): Tenors file x5: Selmer SBA, Conn 10M, Buescher TH&C, King Super20FP, "The Martin Tenor"

Sound File(Actual sax!): Selmer (SBA) "Super Balanced Action", Couf "Superba 1", SML "Rev. D", Conn 10M

Sound File: '42 Conn 10M, '41 Conn 30M, '48 Buescher 400 Top Hat 

& Cane, '51 SML Revision D, '60 Martin Magna

Sound File: TENORx2-MPCx3: Buffet S1, Conn 10M MPCS: Wein 0.101", 

Berg 0.129", RunyonSpoiler 0.099" (7:43min)

Conn 10M, "Naked Lady" 1945 Original Silver Plate:

Serial number 311xxx, all original and never damaged.  This one does have the rolled tone holes and everything you'd expect from a '40's Conn... including a really big sound.  The silver plate is original but worn in spots.  I decided i would add a bigger LH thumb rest, that i got off an old Conn Bari and a Selmer RH thumb hook,  i do plan to play this one a lot, after all...   I  re-silvered the worn areas and put a new gold wash inside the bell, then totally rebuild it, original Conn style, with medium sized flat metal reso's, with a rivet center.  I made it a Premium Rebuild, so the action would be silky smooth and i put in all new stainless steel springs.  It's big, lush and warm, with a hard rubber mpce, and can really wail, with my brass dukoff....

Chadd comments: Seriously, Sarge?! This was a sax that was setup to play with adding comfort to the Conn 10M sound AND it was a head-turner. I really loved the two thumb improvements done to this one. I was alert enough to notice that Sarge silver plated a few worn areas. But that's no biggie to the untrained eye. Nice try, sarge. 😉  A Fantastic sax.

Conn Wonder Virtuoso Deluxe Alto, with Gold & Silver

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a few more of SARGE'S MOUTHPIECE COLLECTION

... as can be documented...

Some are Sold--Some where never photographed--some... may have become Chadd's!

This area will be updated as needed; any For Sale items may not be most up to date on this page.

See the Mouthpieces Page for current inventory.

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Sarge's Collection!:

WOW! WOW! WOW! I Love it!

Bobby Dukoff "Hollywood BD" Tenor Mouthpiece: Brass material,  Serial # 066, probably late 40's.  Beautiful warm tone...original marking is a "4", refaced by Bob Carpenter to play awesome with a tip at 0.090". It has a runyon biteplate protector. These are true Large Chamber tenor mouthpieces and play top to bottom with a beautiful lush sound. They are very rare and very vintage and you can see many list on ebay $800-900. Sound File: Dukoff BD vs Otto Link 4****  vs Otto Link FL (Coltrane!) Chadd comments: Considering the players who played on such a mouthpiece, it felt right to put this in the Conn section.  Dukoff "Fluted Chamber 6*" Tenor: Another great Dukoff, very rare and unique. It plays very nice overall and was refaced by "Marin Spivic" to an easy blowing tip measuring 0.096", Tip and rails look great. It has the medium round chamber with the fluted walls. Sound File:  Guardala brecker, Berg metal 110-3-M, Berg HR 110-1-M, Ponzol, Dukoff Fluted, King T "RAC" PlayStop 1. TenorMPCs-DUKOFFx4-Fluted_BD7TypeA_n 5:04 Goldbeck & Co. "Superb" #2 tenor @ 0.104"! : Nickel plated brass (nickel-silver, some say). These are great mouthpieces! The refaced tip, likely done by Bob Carpenter @ 0.104". It is a HUGE large chamber with a huge tone. it is Classic Jazz all the way.  I thought I was Coleman Hawkins on steroids! Seriously!  Custom ligature made to fit. ...I NEED to make a Sound File for this one.... SOLD fast. In 24hrs! Item: Sarge's Collection Sound File (Actual Mouthpiece!): Tenor MPCs - 5x: (6:43min) Brilhart "Hard Rubber" 0.097", Couf "Artist" 6 Star 0.089", Dukoff "BD" #7 silver Type-A 0.096", Dukoff "brass Stubby" #7 0.101", Goldbeck "Superb" 0.104"

Brilhart "Prototype" Level Air Tenor mpc: 

Very strong sounding original mouthpiece that i'll call a Tranny, as it's between the Satin "Velvet Brass" model and the Level-air.  Heavy Nickle plating, over brass, I have had this mpce for years in my personal collection.  Bob Carpenter customized  the tip to a .107" and it sounds and plays beautifully. I rose gold plated it.

Chadd comments: I really enjoyed playing this mouthpiece before it sold. It had so much power but still with depth and body. technically, i think the new (2000s?) Brilhart Level Airs are basically just like these. If you're on a budget, I highly endorse the new ones at around $130.00. You really can't beat them. But Sarge's one here was different in Font and, thus, the Tranny/prototype...aka..."cooler that the new ones". 

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Sarge's Collection:

Runyon #4 ivory/white tenor:

vintage white composite with metal shank!, unique chamber with stepped-walls, + side walls, curved machining still on the table. The original tip is at 0.078", with replacement ligature.  Plays awesome with a clean focused tone, easy blower, not a loud mouthpiece.

$SOLD

Item: Sarge's Collection

H. Couf "Artist [6 star] ****** " tenor :

here's another great, hard rubber mouthpiece. It arrived with original tip at 0.088". Medium round chamber, currently with no baffle. This has a very slim look. GREAT POWER, focus and free-blowing! Comes with brass "Couf" ligature!

$XXX AMAZING POWER, EASY BLOWER

Item: Sarge's Collection

Sound File (Actual Mouthpiece!): Tenor MPCs - 5x: (6:43min) Brilhart "Hard Rubber" 0.097", Couf "Artist" 6 Star 0.089", Dukoff "BD" #7 silver Type-A 0.096", Dukoff "brass Stubby" #7 0.101", Goldbeck "Superb" 0.104"

Brilhart "Hard Rubber" #4< (now 0.102") Tenor: These are one of the best Hard Rubber Mouthpieces ever made. These have a a Nice big sound, medium tone, not too dark, not too bright, Sarge had THREE in his collection for a while-- It's "best of" material!  serial number 116,669; WITH ORIGINAL BOX! Bob Carpenter reface 0.102". 549.00  Item: Sarge's Collection Sound File (actual mpc!): Tenor MPCs "BRILHART Hard Rubber": "Hard Rubber" 0.097", 0.102", 0.103", "Designed By Arnold Brilhart" Great Neck NY 0.097"

Brilhart "Hard Rubber" #3< Tenor: These are one of the best Hard Rubber Mouthpieces ever made.  We got it as an altered #5 tip and I had to help it get closer to perfection... There is proof of tooth groove being filled in; I've put a Runyon clear patch on it. These have a a Nice big sound, medium tone, not too dark, not too bright, Sarge had THREE in his collection for a while-- It's "best of" material!  serial number 151128. Bob Carpenter reface 0.097". Item:SSP

Sound File (Actual Mouthpiece!): Tenor MPCs - 5x: (6:43min) Brilhart "Hard Rubber" 0.097", Couf "Artist" 6 Star 0.089", Dukoff "BD" #7 silver Type-A 0.096", Dukoff "brass Stubby" #7 0.101", Goldbeck "Superb" 0.104"

Brilhart, Great Neck NY Ebolin   4 alto: 

Serial #  90352, 50's vintage.  i got it in excellent original condition and the tip measures .068"  These are known to be killer mouthpieces.

Chadd comments: He never kept many alto mouthpieces or saxes in his collection. Make note. It must have been a great one!

Wagner/J. Keilwerth slimline model tenor #5 : a really nice hard rubber mouthpiece with the no logo. It arrived at an original tip #5 @ 0.078". Now near-original Tip @ 0.080" (I had to help perfect the tip seal). These can have a mild warmth, nice focus, but big tone from larger tips. sound is strong in the MID range with a boost in the highest treble, with a slight nasal tone,response is great! It has low low baffle and medium side walls. $XXX Item: Sarge's Collection TENOR Sound File(Similar TIP size MPC): Selmer (SBA) "Super Balanced Action", Couf "Superba 1", SML "Rev. D", Conn 10M

Lawton 7 star B Tenor:

Hand Made in England, by Geoff Lawton, This vintage Geoff Lawton metal mouthpiece model 7*B for tenor sax comes with the original ligature and cap. It is in very good condition, a few small bare spot in the silver show brass (see pics). Tip and rails are perfect, bite patch has always been protected, it measures .103".   You can tell it was played very little. This mouthpiece provides excellent projection and the intonation is great, from sub-tone to altissimo. The workmanship is beautiful.

SOLD - Sound File (actual mpc) SoloistD, Lawton 7* B, Brilhart Hard Rubber
Item: SP

Couf 'Metal - 5<7' Tenor, 1960s, Version A (Bob C Reface) - 0.100"

This is a rare Herbert Couf metal mouthpiece with gold plate, silver original ligature, red grain tooth pad. This was #5 marking, and was since refaced by Bob Carpenter for Sarge to keep. I know Sarge's love of Coufs would certainly have intended it to be a collection piece from the first chance Sarge saw it.

Sarge's Estate notes: "Couf metal, gold plated #5, silver plated lig"

VERSION A vs B?: This next info is my WWS Research an option:

• Version A: often linked to the designs similar to Wagner silver, metal mouthpieces with side-walls. I want to call this a one a "version A - Metal" and possibly add in another name label (made up by me) that ties the "Herbert Couf" script to a [Signature] style or [Artist] model. **Now, this is seen on the "Artist" model; however those are all hard rubber. I have not been able to see or find another example like this one with the red, woodgrain tooth pad--TBD. I also don't know if the gold is original, as Sarge may have plated it himself.
• Version B: If you search around, there is a second style of metal Couf mouthpieces with the 1970s/80s block-style logo. Those have a high baffle with cliff style. This is the vintage 60s/70s style with the side-walls to the low floor. These are seen in a satin silver color, like a bead-blasted, surgical steel look.

LIGATURE: yes - original Couf/Keilwerth single screw.

Sound Files featuring this mouthpiece!

Item #: SSP02.0S0.05252.3-C0

Brilhart 'Velvet Brass #4' Tenor, (RAC Reface) - 0.099"

An ultra rare Brilhart mouthpiece with Original ligature! This mouthpiece has serial # M1029 on it.

TONE: ... it's special. Wow. Like a velvety depth with presence also.

Sound File featuring this mouthpiece!

STORY TIME: After making the Sound File, I wrote to the customer who was purchasing it.

Item#: SSPestate00.00.11201.7-BC-002

Berg Larsen Vintage [110-2-M] hard rubber Tenor: This was an original 100-2-M with the M centered.  Real fat tone, it's the scoop bill + bullet chamber model.  So I had the tip redone by Bob Carpenter, who also make a custom band because there was a chuck chipped on the shank we didn't want to get worse, it's fixed permanently now. and the original pieces are put in place. This is now a [110-2-M] and the facing is right at 0.110-112", plays nice, has a fat tone. Comes with a replacement, nickel Berg lig with some cork glued in to fit the reed.SOLD Item: SP sarge says: "great playing mouthpiece!" Sound File(actual mouthpiece): Tonalin, Brilhart Hard Rubber, HR Berg 110-2-M, Weltklang, Dukoff D7 Sound File(actual mouthpiece): Here's a new Tenors mouthpiece file: Otto Link Tone Edge 9 vs. Steve Broadus NY "perfected" vs. Berg Larsen 110-2-M Sound File(actual mouthpiece): Jeff Kashiwa playing: SS scoop bill 120-2-M, Very Vintage HR 100-3-SMS, Vintage long bill hr 110-2-M(refaced) Sound File: Boattail 0.103", Longbill 0.110", mid era 0.109", MODIFIED 110-1-M @ 0.105", Stainless Cliff-baffle 0.119"! Chadd comments: This is probably one of the first Berg Larsens I ever played. ...I HAD TO HAVE ONE! ...and then I did. I ended up with a different one of Sarge's! (Man, that guy had some great stuff!). This was a special piece for me. I credit it for launching me into R&B tone and technique; it made me a better sax player. Last I knew, it moved to Australia with a Conn 30M via WorldwideSax. NICE! right?!

Berg Larsen 120-2-M(offset) "Scoop Bill" Tenor:

newly available from Sarge's Collection ... vertical denim machine marks, original lig! with the "T", stainless steel. Huge tone and big tip. Original tip = 0.112" (it may be a factory trait, because my other '120' Scoopbill arrived with a 112 tip)

450.00 Item:SSP

Vintage Otto Link New York "Model 4****" tenor:

From Sarge's Collection, it was refaced by Bob Carpenter to TIP = 0.087" and it plays great!

Vintage Otto Link sound with that true, vintage jazz tone. great response.  NO LIGATURE currently.

***Harrison ligature is not included. (it sold separately) I photographed it for your/my viewing of sizes.

TIP: now 0.087" REFACED by RAC

Item: SSP

Brilhart Personaline S6:

black hard rubber,  Bob Carpenter did the minor perfection of the reface to a 0.105". As usual, Bob's work looks excellent!  The chamber is a "medium", with no side walls, and does have a slight rollover baffle. The Table of the mouthpiece even has the original machine marks! It has a great sound.  Included is a Rovner ligature($20) and plastic cap.

375.00! Item:SSP00.0U0.1151.5BC05

SOUND FILE(on similar): Chester Hazlett, Personaline L4, Personaline S9(0.097")

Baritone Mouthpiece: MARTIN Slimline

Here you can hear one of his bands, "the Phantoms" do something kinda unique, off their 2nd C.D. "Box Of Wine"  (YOUTUBE LINK) he wrote this little instrumental and played all the saxes on this original tune. it's different than the usual "rockin' blues" style, but it's fun. take a listen...

I think he used a "The Martin Baritone" on the recording with his customized Martin slimline mouthpiece.

MPC Sound File:  Yamaha 4c, a Buescher "Pickle" and a Martin Slimline(Sarge's)

Chadd comments: Sarge only kept one baritone mouthpiece handy for his recordings. That should say something! ...and...I know that he was most often strictly a 'tenor player' type. I did get to play this one. It had a great bark and was a free blower. I recall a Bob Carpenter reface on it. I would memory-guess about 0.105" . 

SOLD in January 2015

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After getting finally settled in the new shop in 2014 (2014-18 era), Sarge's mouthpieces gained a grand view from the sidewall. This is a late-era photo--Meaning: we did sell 10-20 over the last few years. This photo shows a pretty neat array even though it only displays 80% of what is lurking around the shop! (not pictured: FL Otto Link tenor, Link slant-signature altos, more "Brilhart hard rubber" tenors, ...Etc!)

This photo was at the New location in 2015. I still made a Sarge Tribute Zone for his gear.

You See that red-tip "Charlie Ventura Berg Larsen"? yea... that one is definitely gonna end up in my stash! HA

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I hope you enjoyed looking at my collection.

Cheers, Sarge

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(Some of these were sold as Sarge's illness progressed. Some are for sale. Some will be for sale eventually. Some will migrate into Chadd's Collection and not be for sale.)

To hear more about Sarge's story, please see Sarge's Page.

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~ Thanks for viewing! Chadd ~

under construction: Chadd's (meager) Collection