This is the story of an exceptionally rare and wonderful all original balanced action 29xxx that I was lucky enough to get.  I got it in raw condition with all original pads, case and a bunch of original case accessories.  I did a full restoration from the ground up and it is a truly phenomenal horn, now with original Tone-X resonators on a horn made when there were very few microphones, so this is very loud.  A real original balanced action like this is just about impossible to find, most were relacquered long ago. This is in apex playing condition and it’s stunning as well.  Read and see below.

As found:

Restored:

Original article (pre-restoration):
This just came in here and required immediate photographing.  An original intact Selmer Balanced Action is a very very rare creature.  This particular horn has had no significant damage or alteration, has original pads and is basically a used version of exactly as it came from Selmer in the 1940’s.

This has as well, the original Selmer case, the first version of the trey-pack design, with original keys and “Balanced Action” tag as well.  The original “table B” mouthpiece is also in mint condition.

The horn obviously has some wear and some more on the left side, but there are really very few original examples to be found anywhere at this point, especially with American engraving pattern and lacquer.  I have not played it yet, requires some key adjustments and it will surely be a moldy experience with this old pads but I am curious.  It will need a full restoration but It is sure to be great.

What a feast for the eyes!

These pics are about as close to the actual color as I could get them-

Continue reading →

This is a truly amazing piece and find, Selmer Tenor MK VI #70xxx in original U.S. engraved gold lacquer that has turned rather dark.  This horn is from the estate of “Count” ‘Red’ Hastings, (Lowell Hastings).

“Hastings was active in the New York jazz scene from the late 1930s; first recordings were made in 1939 with the Savoy Dictators (“Rhythm and Bugs” (Savoy Records), with Alfred “Chippy” Outcalt, Clem Moorman, Al Henderson and Bobby Plater). In the following years he played with Tiny Bradshaw (1944), Bob Merrill (1947) and participated in recordings of Sarah Vaughan with (“I Cover the Waterfront”). In 1948 he recorded under his own name for the label Gotham the title “Begin the Beguine” and “Candid Yam” on; In another session in the early 1950s with Cliff Smalls, Keter Betts and Shep Shepherd, songs such as “Minor in the Diner”, “Diga Digo Doo” and “She’s Funny That Way” were created, but initially remained unpublished.

From 1949 he worked with Earl Bostic, Panama Francis, Illinois Jacquet, Lucky Millinder, Bull Moose Jackson, Louis Jordan, Sammy Lowe, Sy Oliver and Louis Metcalf, as well as accompanying musicians of vocalists such as Annie Laurie, Varetta Dillard, Ace Harris, Wynonie Harris , Connee Boswell, Little Willie John, Bobbie & Ronald, Earl King, Big John Greer, Jerry Dorn, Joe Medlin and Jimmy Witherspoon. In 1958, an EP of King Curtis and Count Hastings with Leroy Kirkland’s Hi-Flyers: “The Battle for the Beat” (RCA Victor) appeared. [2] In the field of jazz he was involved between 1939 and 1959 in 55 recording sessions. he wrote the number “Salt Lake City Bounce” with Tiny Bradshaw.”
(https://de.wikipedia.org/wiki/Lowell_Hastings”

Included is the original trey-pack case in decent condition with a slightly functional zipper, as well as the original case cover (in ratty but fitting condition).  Also included are numerous original photos (showing him playing THIS HORN) as even music arrangements probably used by famous names written in his own hand.  We even have a receipt for an overhaul ordered and signed for by Louis Jordan himself.  This is a treasure trove of thrilling history.

The horn itself is in excellent condition with normal lacquer wear from age and use, scratches and some very minor dings, no serious damage.  The neck shares the original serial number and has a few scratches but structurally it is near perfect and still looking very nice.

** I have finally gotten around to restoring and overhauling this horn; full set of original Tone-X resonators, fresh harder pads, all toneholes dressed, key fitting, minor dings addressed etc. It was actually a rather extensive job even though the horn was not in bad shape at all. The result is a LOT different than I expected, much brighter and more powerful than I imagined.  This had to have been specially chosen, as it is a very uniquely interesting horn. Hear it here:

Hear “Count” Hastings here (check out that tenor sound on the solo on second video, that can only be THIS horn, in those years and with that sound:

*********

Continue reading →