Many design changes also were enacted during the 20 years of production, leading to inconsistencies across the brand. The Mark VI saxophones were designed and manufactured in France and then assembled in the territory they were shipped to resulting in subtle differences from country to country. The Mark VI returned to small-bore design, the key work was rethought to eliminate playing constraint, and the Selmer ‘S’ was engraved on the neck with a blue background, although you’d be hard-pressed to find a Mark VI with the original blue paint still intact. The sixth model since Selmer began saxophone production in 1922, the Mark VI followed the blueprint of the Selmer Balanced Action and Super Balanced Action saxophones of the ‘30s and ‘40s. Selmer always has had a reputation for quality among woodwind players since Henri Selmer founded the company in 1885, and this horn certainly is no exception. The most popular, mystical and sought after of all the vintage horns, the Selmer Mark VI has been played by many of the greats, including John Coltrane, Sonny Rollins, Wayne Shorter, Paul Desmond, Stanley Turrentine and countless others. King tempted fans with the experimental Super 21 some years after the Super 20 ceased production, but this model never made it past prototypes. This was a popular saxophone among many jazz greats, including Charlie Parker, Julian ‘Cannonball’ Adderley, James Moody and Yusef Lateef.
As with many instrument models of all types, the early Super 20s (1950-1959) are the most desirable as the quality of materials and manufacturing degraded over time. In 1947 silver bells were added as an option on the horns and manufacturing remained consistent until 1965 when company was sold to. Manufactured in Cleveland, Ohio, the early Super 20s are characterized by their generous helping of mother-of-pearl keys, well-designed underslung octave key, double-socket neck, and elaborate circular flares engraved on the low-B and Bb keys. Eleven years later, the famed alto and tenor King Super 20 models were introduced to great success with the Super 20 baritone following in 1960. An important stepping stone for King was its 1935 Zephyr model, which drastically improved intonation and response and served as a template for the Super 20. White began making saxophones for World War I era bands. has a long and storied history dating back to 1916 when Henderson N. Although the brand essentially disappeared after its acquisition, these vintage horns are highly valued among saxophonists. Vintage Buescher horns are very similar to vintage Conns, Buescher was a former employee after all, and competed with Conn, Martin and King until the company was acquired by Selmer in 1963. Duke Ellington’s lead alto player Johnny Hodges performed throughout his career on the Buescher Aristocrat and 400. This horn also is recognizable by its flared bell, rear low-B and Bb keys, and an underslung octave key similar to the King Super 20. In 1941 Buescher introduced its most popular model, the Buescher 400 featuring a recognizable ‘top hat and cane’ engraving on the bell. Sigurd Rascher, author of “Top Tones for the Saxophone,” and a young Sonny Rollins both played on these horns.
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The first model introduced by the Buesher was the True Tone saxophone, followed by the popular Aristocrat series in the early ‘30s. Noted for their rich sound, these are the some of the earliest saxophones manufactured in the United States. Gus Buescher left Conn in 1894 to form Buescher Manufacturing Co., later renamed Buescher Band Instrument Co., also in Elkhart.
Conn M saxophones, while often requiring more maintenance than other horns, offer some of the fastest key action you'll find anywhere. The 6M alto, 10M tenor, and 12M baritone were incredibly popular through the late ‘40s until the introduction of the Selmer Mark VI, which proved to be the downfall of Conn and the rise of Selmer as the dominant manufacturer.
The Conn M horns were played by the likes of alto saxophonists Charlie Parker and Benny Carter, tenor saxophonists Dexter Gordon and Lester Young, and baritone saxophonists Gerry Mulligan and Harry Carney. These horns commonly are referred to as the ‘naked lady models’ because of the engraving of a woman on the bell.
These horns featured rolled tone holes, low-B and Bb keys on the inside of the bell, previously they were split on different sides, an enlarged pinky spatula for better facility and the underslung octave key. In the early ‘30s, Conn began transitioning to the now-famous M series. The Conn New Wonder, introduced in the 1920s, was the brand’s first model of note and was unofficially dubbed “the Chu Berry” after tenor saxophonist Leon ‘Chu’ Berry. Conn is one of the oldest instrument manufacturers in the United States and first tried its hand at saxophone production in 1888 in Elkhart, Indiana.
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