Very vintage Selmer fluted Soprano mouthpiece, similar to Coltrane models, wonderfully balanced and colorful tone.
Beautiful original Otto Link Florida USA 6. These are hard to find in excellent original condition, and later models with an extra bit of punch.
Clean original Soloist E, hard to find excellent vintage vibes!
Here we have a beautiful vintage piece, Selmer MK VI soprano 146xxx in strikingly fresh and shiny original US lacquer with original pads and set in very nice playing condition. Essentially, this horn is nearly new. It is super responsive and sonorous with a great lively warmth to it. I completely enjoy blowing this one and would be perfectly happy to have it as my main soprano, as would most people who like MK VI’s. There is nothing to disappoint on this one. There are basically no issues, damage etc, just a great horn from the 1960’s just as great as everyone says they are.
This Selmer MK VI tenor is within the excellent 80-90xxx model range with the solid key guards. I bought this horn originally after playing it and noticing it was nearly identical to the way my 87xxx felt with its original pads on it; a huge ringing open and extremely even sound throughout the range. This horn has original pads, resonators factory key heights and everything.
Of course the US engraving and lacquer are original. It is a bonus that this is one of those horns with really dark lacquer that has either a green or copper tint depending on the light. The body and neck are in excellent structural condition with only very few minor dings, normal scratches and some speckle, and no resolders. This horn has not been abused at all, and probably played very little.
This horn has that booming, dark+bright lyrical crying sound that most Selmer player love. It needs the overhaul of your choice, as the pads are very old, but it is currently playing within certain limits. The bottom is not subtoning all that great at the moment, but this is sold as is, original for a new owner to setup fresh. It is going to be amazing!
This here is a vintage 1967 Selmer MK VI tenor. Someone with the knowledge has told me that this was the model year Stan Getz preferred in later years. The condition is EXCELLENT! I don’t think this horn has been played much at all. There is no structural damage that I can see at all, no past repairs, no damage beyond scratches corrosion and tiny dings. The bow, bell, neck, and body are all simply excellent shape.
The lacquer is original from 1967, and so is everything else except the neck cork which is new. The pads are also from 1967 and strangely, they play very very well. If you look carefully you will notice the ring of original lacquer around the outside of the pads. Take a look at my video and you may be as shocked as I was. This horn basically feels like a new horn and plays like one. This really just feels like 1967 out of the box. Although it shows some lacquer spotting the pads and the setup is truly great. It is ready to take to the gig right-now, no question. At some point one might want to overhaul it just to have fresh pads, but in terms of playing it really does not need them at the moment.
In my estimation the sound is huge. It has a wonderful modern edgy MK VI sound, very loud, but it also has an impressive spread and depth that really does remind me of 1960 models in some ways. This is NOT a small nor simple sound. It plays so clean and fun, with edge but also a lot of darkness. All round this is a truly excellent horn in excellent condition that is a thrill to play.
This is like finding a sunken ship of Spanish gold! Meyer Bros. New York 5M original facing, table, tip baffle etc. This is a pice I received with a wonderful late 1950’s Selmer MK VI alto that was clearly owned by a working pro jazz musician. Among the materials in the case was a gig book, with song lists including many standards etc. Stacked boxes of vintage reeds and other equipment and then… this amazing mouthpiece.
I first played this mouthpiece on that 78xxx alto and I immediately realized that this person, exactly knew what a great alto setup was. To my feeling, this piece plays extremely lyrical and smooth, almost clarinet-like, but then it has a very impressive brightness that does not get harsh at all. It is plenty loud and just a joy to play.
It does have a few scratches and nicks on the outer body of the mouthpiece, but the table, facing, tip and baffle are all extremely clean. The baffle, also worthy of note is very high along with a rather high floor. This is not a shy mouthpiece. When I got this there were some tooth marks in the bite area which I filled and then covered with a patch. At the moment it is hard to tell that was ever done, looks and feels great!
These are prized by jazz players and with good reason, Cannonball Adderly knew exactly what was what apparently. I highly doubt a better playing one of these can be found, and this one is in very fine condition as well. Original box included!
Wow! Not too often we see these. This is an absolutely beautiful original early FL Link W.T. untouched, unaltered, played very little, with a perfect original facing table, and tip. This piece REALLY plays; very crisp, clear, rich and accurate. Original box, original (?) ligature a well. It’s surprising how much projection it has, with visually not much obvious baffle, due to that WT curve.
What a great find!
This is truly top tier alto that I received in trade. At serial # 139xxx this is exactly the most desired model period for many alto players and the “Sanborn model” with the medium bow, excellent intonation as well as a very impressive powerful and loud response. This particular alto has a kind of dark core with a very loud bark and projection with a bright edge.
The pads are very recent, owner informed me the overhaul was done by tenormadness and it feels extremely tight and easy to move around. Everything seals well with a rather hard pad response and the appropriate Selmer plastic resos. There is nothing that needs fixing on this horn it is gig-ready and super smooth and reliable.
The lacquer is original and the engraving and finish were done in the USA in 1966. There is no damage or repair that I have seen, besides perhaps a tiny ding here or there, nor any resolders that I could identify. It has its original case with a non-functional zipper.
This is both a collectors piece and a fierce and excellent playing MK VI alto of certainly the most desired model made. Grab it!
Well, again these are the Iconic large chamber classic jazz mouthpieces. Everyone from Benny Golson, Charlie Rouse, John Coltrane made their signature tones on these. They cover many album covers from the 1940’s to the 1960’s and beyond with good reason.
This piece is a very very rare original 7 table stamped facing. A piece like this would only have been a special order from the factory in a size this large. The facing tip and rails appear to still have a fair amount of plating cover, though there is some plating loss and wear. The tip measures for me at .110 (shocking I know). In my experience Links of this period are usually below .090 at stock sizes, though generally the measurements were not very consistent, so as unusual as this is, it is also not surprising that it does not correspond to what a 7 would be now, or then.
The biteplate shows some indentation, as evidence that someone loved this piece. it does play rather loud for me with a hard 2.5 strength reed on it, kind of unexpectedly edgy and aggressive but your response may vary depending on reeds and other factors. It does not visually appear to have a high baffle, yet the entire ramp and floor has a subtly curving angle which may have something to do with that power. TO me, for the size as well, it was really not hard to play. It actually felt pretty easy and I usually play around .098 or so.
Again this is very very rare. I have had a couple in my life and this table stamped 7 is the real stamp in the original gold plating. The mouthpiece HAS lived a life so it is not mint but it is very rare. This also happens to be the later (latest) model of Tonemaster, which we see in the Bluetrane, Soutrane and Giant Steps album covers. it is a slightly different design from the earlier ones, with inner contours a bit more similar to the early NY Double Ring “super tonemasters”, therefore I feel these are a bit of a transitional model as well.