Selmer MK VI alto here that is just exceptional in both condition as well as function.  The lacquer finish is original and is a wonderful bright gold the same as they were made without much darkening.  Physically the horn is in just great condition with no damage or repair that I could find. The original matching  neck has never been pulled and is in very nice shape along with bell rim and bow cap.  You may observe some lacquer wear on one side of the neck but that is just wear, the neck has been structurally unaltered. The lacquer does show some ‘water spots’ dark coloration here and there where we can see it’s age but these are not solders nor evidence of damage.  One area of the bell does show some lacquer breakdown.

This horn is a concise and fast player with a fine balanced projection featuring both nimble aggressiveness as well as complexity of tonal character.  It is a ‘vintage’ tone yet not weighed down by sluggish heaviness of the air stream.  I personally prefer this alto among many but I don’t play enough alto to keep it to myself.  I’ve listed it here mainly because people were asking and it deserves use, it’s very very good.  Years past I struggled with intonation on long bow altos but for whatever reason this, for me, tunes up beautifully.

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This is going to be a fun one for someone.  It’s original lacquer, been played, shows some history on it, but in good condition and needs a real cleaning and overhaul.  I don’t have time to take care of it at the moment, maybe in t he future but for now I am offering it to someone to make this their special player.  These early 100k tenors just play great; a wonderful balance between quickness, punchy, brightness and vintage complexity.  This is pretty much the end of the early period tonal depth as they started to brighten up the horns (for amplification?)

There is some evidence of a life lived here, a few minor resolders of guard feet and some minor dents and dings, normal stuff.  Overall it looks quite nice with a very warm lacquer color.  It has been sitting and has some corrosion which will clean up nicely with either white vinegar or brass cleaner.  Bright dip would work well here too. There are some pads missing and it’s quite dirty so don’t ask if it plays.  It does not now but it sure will!!  The original (matching serial) neck is in excellent condition, obviously NEVER pulled down. The key pearls are also nice, almost no wear at all. Someone will get a project deal here.

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Here we have a MK VII tenor, first I’ve played.  Word has it the “M” Prefix serials play better.  I cannot say if that is true but this plays really quite big and wide with a bright forward  presence that is very satisfying.  The pads are older but I’ve got it running at the moment.  I would suggest an eventual overhaul once played enough to decide how you want it set up.

This horn has lived, has normal bumps and bruises and some repairs but overall in fine shape for a player. Neck is in excellent condition, never bent it appears. The attached video illustrates the response pretty well, was a surprise to me.

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This horn exudes character and lyricism.  It has the ‘that look’ in droves and it sounds pretty much like it looks in my opinion- just one of those horns.  The serial number is 87xxx, US engraved and lacquered and it is has lived a lot.  It has dings, dents, repairs, blemishes etc.  If you are looking for a mint collector’s item this is definitely not it, but it IS a player.  It very much has a certain complex sound, I would say a darker core with a pretty intense mellow quality and then a shimmering warm edge o top of the sound that is typical of this model period.

The neck is not the original but is an earlier VI model with the low octave saddle, possibly European market.  That is what came with the horn and by the look of it, it has likely been with this horn a long time.  I have experimented with late 80k necks on this horn and so far I still like this neck best on this one; it has a certain focus and speed that is beneficial and somehow seems to let the proper character shine.  With this neck it absolutely sounds like an 87k would be expected to, and I think it can even be heard on the video.

I am not enamored of the pads and resos, but I’ve gone through the horn and got it playing quite smoothly.  I can only imagine how amazing it would be with a proper treatment, but it’s going well at the moment and the pads are not old at all.  These mid-late 80k horns are very rarely available now, most who have them do not willingly sell them and everyone is looking for just this serial number.  Collector’s condition examples are extremely expensive, so this, given the serial number is a serious bargain these days.  If this is what you are hunting, don’t sleep.

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This is an interesting 1960 MK VI tenor originally made for the French market; no engraving, light yellow French lacquer and that light blue enamel on the octave ‘S’.  The serial number is 87xxx although the 7 is stamped at such an angle that is looks like a 1.  I was confused as first but it has all the identifiers of an 87xxx as well.

The finish is original as is the neck with part of the serial scribed into the tenon as well. This horn has really lived, has plenty of scratches blemishes and some repairs but it is sturdy and solid.  It’s just not very pretty which is exactly why it is a bargain for someone hunting for a player’s mid-late 80k tenor, which are usually very very expensive and hard to find.  People love these specifically because of how they play.  Of course some people are obsessed with the Brecker mystique but again, he played these because of how they play, apparently.

With a Berg Larsen-

And with a FL Link-

This one is a bit more focused than spread on the scale of how they might play. It is quite aggressive and punchy with an edgy bright thing that takes plenty of air and turns it into power. It feels fast and nimble.  I am not a huge fan of the pads and resos but they are not especially old.  I just think it could be set up better to reach its full potential. I’ve already gone through it and got it playing quite efficiently, but this would be a great project for someone to polish up.  This will be quite an opportunity for the lucky 80k-seeker.

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Super rare and desired 1960 MK VI Low A baritone, 88xxx – magic numbers!  This horn is original and amazing.  Pro owned, pads still have some life but old.  Being as baritones are this has normal bumps and bruises around the bow but but most of this will smooth out in the hands of a skilled technician as they are normal and non-critical. I have just cleaned up a bit of amateur solder on the low Eb guard feet (seen in last photos,) again non-critical issue but leaves some cosmetic evidence; it is nice and smooth and sturdy there and the patina will come in time.

Original serialed neck included in very good shape.  original US engraving, this horn just has a wonderful feel in the hands.  New arrival I’ve just played it, and I am not a great Bari player, but what would one expect from an 88k low a original US Bari?  -amazingness of course!  These are VERY hard to find.

Includes a very excellent SKB travel case with wheels, super convenient.

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Excellent coveted Conn New Wonder Chu  Berry gold plate tenor.  This horn was owned by a pro and very well loved.  Someone clearly held this by the bell  a lot.  The lady-face portrait engraving is clear but the plating is gone and the engraving a bit worn in the areas it was handled.  Normal age and blemishes throughout, neck missing plating but looks to be in very very good physical shape. Frosted gold plate and the silver underneath is showing in many areas on the horn.  These are phenomenal players with a cult following.  New arrival so I’ve not played it yet but will edit description in future.

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Beautiful original MK VI alto from 1957, original dark aged lacquer.  This horn has been played and shows some mileage but still in very good shape.  It is a new arrival I’ve just played it, sounds and feels excellent, pads still have life in them.  Neck is undamaged, body has a few minor bumps and blemishes, solid players horn with much cool factor.  Undoubtably the sound is amazing as these early ones are with all the subtlety and lyricism.

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This horn is a wonderful piece of vintage precision craftsmanship.  It only feels ‘vintage’ because its intonation is not rigid and therefore tonally stifled by modern computer engineering.  Such as it is, the notes are far more flexible than modern engineered horns and the tone is much more complex and malleable.  That said, this still has a precise feeling and it is extremely loud and powerful with particular mouthpieces.  It has very much a shimmering silver-ish quality to the sound, plenty bright.  It is no doubt a wonderful horn.

I set this up with large brass flat resos, and excellent pads, it rings like a bell. Everything is tight and optimal. It has very minimal lacquer wear, minor to invisible brass work- if you can even find it and just generally in amazing condition. Case is original and includes a clarinet and flute situation. Latches still mostly work.

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This is a custom Marin Spivack setup vintage piece that starts with the same blank used for the Dukoff/Zimberoff “House of note” Supersonic model.  This blank was used by Zimberoff, Selmer, George Bundy, and several others names as well from probably the early 1950’s to the 1970’s.  It is a very good blank very much akin to the Otto Link Slant signature Tone Edge of those time periods.  It has a round chamber with scooped walls and yet not an extremely large chamber, which is why (if setup properly) they will have a similar power to a Slant Link or a straight sig FL Link.

This is the later version of the blank which features a slightly longer shank, as the early shorter ones tend to play a bit sharper and have to be pretty far out on the cork.  This is the same inside (and mostly outside) but solves that issue.

This one was custom set up from the ground up to a tip size of .100 and a medium shelf baffle.  it plays with a  very fat and solid booming tone with just the right amount of edge for clarity.  I would say it may be a bit brighter than most stock Florida Slant signature Links, but I would not consider this extremely bright either, a very nice balance with a lot of clarity and a solid tone one can lean into.

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