For Sale or Trade

Honest descriptions & photos of all instruments & products offered.  You may return goods for a full refund provided you notify us within three (3) business days of receipt, how, in detail, the goods received failed to materially meet our description. Upon return receipt of goods in the same condition as shipped a full refund will be issued within one business day. Your only risk is shipping cost.



Sopranos & Sopraninos
straight & curved 
the lyric ladies …
Bb & C-Melody
Bari & Bass Saxes
see below 
Special Features
see below
Non Saxophone
brass, percussion, strings
please email or call (918-625-9773) about items of interest

Featured Items

Buescher BBb Bass Saxophone

‘King of Beasts’

(s/n 192xxx — est. built early 1925)

This bright nickel plated monster was made with Buescher’s proprietary Snap-On Pad design. While we haven’t had the horn completely apart yet, the snaps are all present on every pad I can clearly see. The nickel plate is 90%, or so. There is some wear to the key touches and some plating peel (nickel doesn’t bond as closely with brass as the precious metals will). I think all of these blemishes are visible in the photos.

Before the horn goes out we will do a full disassembly, followed by a thorough cleaning. then I will personally reassemble the instrument, applying our ‘Total Saxophone’ set up/regulation process. This will be the smoothest playing bass sax you’ve ever touched — in addition to already being one of the most spectacular stage showers you are likely to see!

The horn has a huge, velvety tone, but with a definite edge imparted by the hard nickel plating. So much for a ho-hum bass sax experience. This beast packs power to spare. While the horn is keyed from low Bb up to only high Eb, the fifth harmonic separates out quite easily in the upper register, making it possible to play up to high F, and beyond. With a bit of practice a good player should be able to make this baby sing into its upper reaches. Of course the big, beautiful lower end is why we seek out a BBb bass saxophone. The horn already plays effortlessly all the way down to its bottom, so after our Total Saxophone set up you’ll be able to roll effortlessly around your own personal bassment.

Comes with a serviceable case, no mouthpiece. The neck is sized for a large chamber bari ‘piece. You can use bari reeds, or strap a honker bass sax reed on for a richer bass sound. There are lots of hi-res pix, so please look this baby over carefully & completely. It’s in excellent cosmetic shape — especially for a bass sax…

please click here for more pix

Selmer ‘Super’ Eb Baritone Saxophone

‘The Super Sax’
(s/n 169xx — built late 1932)

The early 1930s saw the world’s major saxophone builders busily at their drawing boards, performing a complete redesign of their saxophone lines. We can argue about who started this redesign clamor, but the important point is that the result was the world’s first truly modern saxophones. It is said that these early 1930s Selmer saxophones are the first to really sound like Selmer’s. And that is rather high praise for this rather limited (in numbers only) group of Selmer saxophones. Selmer would be forced to redesign its saxophones once again in 1936 (and this time there is no doubt that Conn forced their hand with the introduction of the line we know as ‘lady face’ or ‘naked lady’), so these early 1930s Selmer models were made in very limited numbers (s/n range: 14000 to 20000).

Some try to further divide this already small group of Selmer saxophones into minuscule segments, such as ‘Cigar Cutter’, ‘Super’ and ‘Radio Improved’. But truthfully, there are only minor differences between the instruments in these further divisions. Of the three (3) sub-group labels, ‘Radio Improved’ is the only one to actually appear in an instruments’ engraving. ‘Cigar Cutter’ was coined because of the neck octave arm’s appearance (which is what we would today consider the modern octave arm), and the term ‘Super Sax’ comes from Selmer’s marketing materials.

So h
ere’s an outstanding example of this hard-to-find classic Selmer bari sax. The instrument came to us from one of our most meticulous collector/player clients, who a number of years ago had the remaining lacquer stripped & the exposed brass lightly hand polished. Today, the finish is well-cured bare brass, with a beautiful patina that shouts superb maintenance & proper storage conditions. Pads are in excellent shape (70%+ remaining life) and the horn plays nicely. Of course part of our service on every saxophone we sell here at CS is Bear’s meticulous review of the instrument’s entire set up  — always performed immediately before delivering an instrument to its loving new home.

This venerable old Selmer baritone saxophone is extremely clean, has very few blemishes, and has obviously had any & all prior damage repaired in top drawer fashion. We know that our client acquired this instrument while living in Europe, personally importing it to the USA. Accordingly, the instrument bears no decorative engraving — just the Selmer logo information (which includes the serial number as part of the main engraving). Comes with a serviceable case, no mouthpiece. There are lots of hi-res pix, so you can thoroughly see the condition for yourself. I think you’ll agree that this instrument is in amazing condition for a bari sax approaching its 75th birthday…

please click here for more pix

Selmer Paris ‘Super Balanced Action’ Bb Bass Saxophone   … 73k s/n traces to 1958 … $10,985

(click to see more pics)
This old warrior has a serial number within the Mark VI run, though it doesn’t bear a ‘Mark VI’ stamp. The left pinky spatula table is Super Balanced Action style (B-Bb-C# keys not linked), and it’s documented that Selmer has continued to produce older models well into the runs of newer ones. For this reason we are classifying this sax as a Super Balanced Action as opposed to a Mark VI. Wichita Band recently offered an SBA bass which they characterized as the finest bass saxophone ever built. It sold rather quickly …

Approximately 80% honeyed original lacquer remains. In addition to lacquer lost to wear there is some flaking & pitting (common with 1950′s Selmer finishes). Lack of decorative engraving indicates a French assembled instrument. Good playing condition, newer domed metal resonator pads (another SBA indicator). Sturdy (and ugly) original lime green case. No mouthpiece.

Here are the flaws we’ve noted:  Some dings & scratches (hard to avoid with the larger saxes). Most dings are concentrated in the bow area. Scuff mark between low C# & B cups appears to be from a stand collar.  Stop post for high D key is pushed in about 1/8th inch (cosmetic, easily pulled if it bothers you). No major repaired damage apparent. We can arrange to go over it inch by inch with an interested buyer …

Bare Brass Restorations please email or call for quote
The Selmer 27k SBA & 251k Conn Transitional altos pictured (sorry, thse horns are not available) are beautiful examples of bare brass horns that we recently stripped of all the old, ugly lacquer & gave them a nice, gentle hand polish. These saxes now have a fabulous ‘old gold’ look, that slowly over time will develop into a striking, aged brass patina.

Our bare brass restoration process eliminates the real issue with refinishing a saxophone: the destructive buffing that’s needed to make the brass shine brightly before the new lacquer finish is applied. Until the early 1930s no saxophones had lacquer finishes, so for almost a century all the saxophones came from the builder just like the results of our bare brass restorations. Some of the early bare brass instruments are renowned for their extremely rich & free vibrating tone nuances. It’s from the same source — no restrictive lacquer coating — as the great sounds so many pros get from their ugly old horns where all the lacquer has worn off naturally over the years. 

Our strip & polish treatment leaves saxophones it in that same wonderful harmonic state as the pre lacquer saxophones & those old jazzers’ horns — but we have chemically removed all the ugly mess & given your sax an even sheen by our tedious, detailed hand polish process. After polishing, we fit each sax with all new premium pads, plus new corks & felts, and replace springs as needed. I personally set each sax up to play flawlessly – and they do, or they just don’t leave here. One of the pluses in working with bare brass instruments is that dings, damage & solder repairs can be made virtually invisible because of our freedom to work in a finish free environment. This is THE answer for a really nasty old sax of great pedigree (like the ones pictured were) that you want to play regularly, plus have it it look clean & even again.

With the correct-for-design pads we use on our restos (Res-O-Pads on Conn, Snap-In on Buescher, plastic or metal button on Selmer, moderate-sized, flat metal reso on others), you have the flexibility to play any style of music by merely changing mpc/reed/lig combinations & your oral inputs. You will find these saxes will do raunchy Rock ‘n Roll or cello-like lullabies, all at the player’s whim (you just have to know how to ask). Of course if your heart is set on pads & resos of a more exotic bend we will accommodate you (at additional cost), but CS cannot be responsible for the way the sax sounds or responds as a result, and to some extent we may not be able to set the action & intonation to our usual exacting standards where pad thickness & reso size interfere with an instrument’s design tolerances. Please keep in mind that we are neither fast nor cheap on our resto projects here at CS. We are, however, your dependable source for top quality restoration work on your very valuable & most cherished vintage saxophones.  You can’t hurry quality – so we don’t even try … :-) also specializes in fine silver & gold plated saxophone restorations

1945 King Zephyr Special Tenor Saxophone      … 276,xxx …
sold (but we have others)
Superbly styled, top line art deco era tenor in 95%+ original dark, honeyed lacquer. The sax is in fine playing condition, and makes a striking overall appearance. Distinctive Zephyr Special touches include three ring strap hook, double socket solid sterling neck, ornate art deco engraving and pearl touches on palm, side, octave and G# keys. The pearl touches are addictive. They have a warmth that bare brass can never yield, and a feel of fit and comfort you must experience to understand. Action is slick and sure. Offered in nice original tweed case, no mouthpiece.

 please click here to visit feature page on this item

King Saxello … a semi curved Bb soprano saxophone …
sold !

The King Saxello is a rare & beautiful example of semi curved soprano experiments conducted during the 1920′s saxophone revolution. Satin silver body with brightly polished gold keywork. The instrument has been beautifully restored in the recent past. 71,xxx serial number traces to about 1923-25. Clean & sturdy original case. Offered without mouthpiece.

please click here to visit feature page on this item


custom made saxophone necks
impeccable old world design & craftsmanship

Let us help you select & order a solid copper, sterling silver or even gold saxophone neck to improve your saxophone’s resonance, projection, intonation & sound quality. We can even help you order a Gloger neck to replace that hard-to-find lost or damaged original neck for SATB, C-Melody, or even bass saxophones.

shown: Gloger-Handkraft solid sterling silver double socket, reverse tenon Conn Conqueror 26M neck in the 30M style (also called the ‘New York’ style Conqueror alto neck) compared to the Conn original design

Eb Baritone Saxophone … Conn Copy … est. built 1935-1950
sold !
Check this old warrior out carefully. If you can figure out who made it your saxual prowess is certainly greater than mine. The one thing that’s clear is that the designer had studied the Conn transitional baritone sax of the early 1930s quite well. The Conn tranny bari characteristics are followed closely enough to fool you in pictures if you’re not careful, but a close in-person examination eliminates Conn right away. For one thing, Conn never used the 10M style left pinky spatula on their baritones, and though the adjustable thumbrest is a darned good copy of the Conn item, the real Conn deal had a set screw that doesn’t stick out like the one on this instrument. The overall keywork has a general similarity to Conn’s, as well, but careful study reveals the parts are different. My best guess is this instrument was made in Europe, but there are no country of origin stamps or brand name — just a four digit number below the lower thumbrest.

Now for the best news: The designer of this instrument was no slouch. The horn is sturdily made. The keywork is efficient & effective, and the old honker has a wonderful voice. Playing with several different bari mouthpieces revealed that this gnarly old dude can tone down to soft, sweet lullabies, or pound out a mean, honking array of R&B bari riffs. The pads are in good shape, and the horn plays well from low Bb on through high F, then up into the altissimo range. It can stand a few adjustments (and certainly a good cleaning), but this sax is a pretty mean player right now. As far as cosmetics, the pix tell the story. So check ‘em all out closely. The highlights include a reasonable number of shallow dents & dings, burned finish from solder work at the crook & the bow/body juncture, and not much finish left after an old relacquer job. The engraving was once rather extensive, but the details are weak from buffing. What the hey? You’re not after this one for its looks, anyway — and the horn is structurally sound.

So here’s the deal: Take this mongrel monster as is, including a sturdy, reasonably clean case, at the posted price. You do the clean-up. You arrange to have the few minor play adjustments done (some clanks, a few sticky pads, probably a few minor leaks), and drag away this bargain of a playing baritone saxophone. I wish we had a bari mouthpiece to throw in, but I’m sorry, we don’t.

If you’d like to explore CS doing more work on the horn: That’s a possibility, but if you need to get a playing bari in your hands quickly the turnaround time for any significant amount of work in our shop might be prohibitive. If you’re a bit handy, and either have a little experience with DIY sax projects or have a good relationship with a local tech that you trust, whipping this old dude into top shape will be a snap. Of course you can always just play ‘er as she lies.

please click here for detailed pix

Selmer Paris Mark VI Baritone Saxophone    … keyed to low Bb, s/n 97,xxx  (1958) …
sorry, this one is no longer for sale…
Nice old five digit VI bari for someone willing to accept less than perfection in return for their bargain on arguably the best bari sax ever made. It has a lot of lacquer wear, but nothing really significant in the way of dents. The pads are good replacement OEM Selmer with the domed brown plastic resonators. These pads have at least 80% remaining life — the duration of which will depend upon your use and maintenance of the instrument. The original lacquer is maybe 65%, with a good amount of copper bleed in the bare spots. This horn has one of the richest, deepest sounds you can imagine, true to the vaunted reputation of this Mark VI vintage. It absolutely rocks, top to bottom, but the low notes are particularly strong on the old beast. If you love to play bari sax (me), and have been fortunate enough to play really good ones (me again :) you know what it is to just play & hold the long tones down low so you can feel the vibrations relax your every nerve & muscle. It’s a soul filling experience … now, if I could just manage circular breathing on a bari …

Like we said before, it’s not a perfect saxophone. There’s a patch about one by three-quarter inches hidden on the underside of the crook, a peppering of shallow dents (probably from a chair) on the inside of the bow, and of course the bow bottom is slightly flattened (looks like the old warrior did some school band duty at one time in its career). The low Eb keyguard is missing, as well as a bolt-on brace in the crook assembly. Neither item is essential to play & enjoy the horn as it is, but both should probably be replaced because of the rigidity and protection they provide in the design of the horn. Both parts are available new, estimated at around $35 total (plus a few bucks to get your favorite tech to install them properly). If the horn lasts long enough we’ll order & put the parts on here. The crook has had some repair work, as the patch would indicate. The work is effective and looks reasonably good, though again, don’t buy this horn for its appearance — buy it to rock on down that yellow brick road. Functional replacement case, no mouthpiece. Terms will be ‘AS-IS’ concerning the issues we’ve mentioned. The horn doesn’t look bad at all – just has ‘character’ — and it roars …

(click here to view a full pic layout on this instrument)

Note: We finally have all the parts needed to complete this great old VI bari — it will ship totally complete!

King-Lemaire Eb Baritone Saxophone … 108xxx … est. built 1980 …
sold !
This instrument is of a good design derived from the great old Kohlert saxophones. It was built by Amati in Kraslice, The Czech Republic under an arrangement between them, King & SML, where King marketed instruments in North America that were designed & made in Europe by the other two firms. The Kraslice area is in Bohemia, which has changed hands many times over the years as wars raged through Central Europe. Kraslice itself is very near the current German border, and is where Julius Keilwerth and Joseph Kohlert (Amati claims ties to the Kohlert legacy today) built great saxophones & bassoons for many years. The town was called ‘Graslitz’ at the time Keilwerth started there in 1925. The horn doesn’t have a bad pedigree at all, and though it doesn’t currently play, the old Kohlert baris that I’ve played are really rockin’ ole dudes. 

This is a fixer-upper, but it’s all here, including a good neck & serviceable case. Another plus is it’s fairly clean, with no terrible odors or excessive corrosion. Looks like it may have been a school horn in the past. There’s a lot of lacquer missing from the crook area, and the neck tenon has been re soldered, resulting in a lot of lacquer loss on the neck. The crook itself is tight & straight though, which is important in a bari you’re considering as a project. The pads are a good quality flat metal reso type that all look to be in good shape. You may need to to replace a few to make everything seal up as you go through setting it up to play again, but there’s a good chance maybe none will need to be changed, too. The remaining life will probably average about 60 to 70%. Exactly how long that is will depend on your play patterns and maintenance habits. No mouthpiece is included. A blow-by-blow assessment of what it will take to make this monster whole again for you appears below in the section titled ‘more’.

We’re going to let this one go in ‘as-is’ condition for our friends who like the DIY horns — or at least you can ‘manage’ the rebuild therapy yourself if you aren’t up to tackling the actual work. Check the pix closely & ask your Qs, but please keep in mind that bargain baris from sources you can trust to give you all the skinny don’t last long …

please click here for detailed pix
The horn is going to need the body side of the bell/body brace re soldered, which will entail raising a dent under the body side juncture first. It appears that someone has tried to re attach the body side (bell side is solid) without the proper prep work. Obviously the job didn’t last long, either. Everything moves — that’s supposed to — though some keys are sluggish. Count on a full disassembly & mechanism cleaning, then fitting and straightening as you put it back together so all works smoothly again. Count on replacing some missing & worn corks & felts, and maybe a spring or two. As she goes back together you need to check the upper body to see if the slight bend (probably due to the damage that broke the body brace joint loose) needs straightening for the action to work freely for you. All in all, the scope to put this honker back into service isn’t a lot, but will take some time & skill. From the pix you’ll see that there are lots of little dents & a cockamamie bell lip that are strictly cosmetic issues. We would view doing any significant dent work as optional, though raising that strap ring area back to level while the horn is apart is a good idea. The horn will play fine again without the extra dent work, and it actually looks pretty good from a few feet away now. How far you take the rebuild depends on your tolerance for imperfections in great playing old bari saxes, I suppose …

(please right click on images to view them full screen)

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