When I first happened across a De Villiers tenor in February 2009, I had no idea what I had stumbled upon. Nor did I know that this lowly De Villiers would end up becoming the catalyst in a drive for information that ultimately would see the Dörfler & Jörka company’s history being researched and recorded for the first time.

Over the last number of months I have worked with Uwe Ladwig. Uwe is a saxophonist, repair tech, historian, and writer for the German music journal Sonic: sax & brass. A few months ago he got a D&J-stencilled Impala into his shop. This was a stencil name that had been until now unknown to us.

Shortly after that sax was on his work bench, he asked if I could send him the photos of my De Villers. He had decided to write his next article for Sonic on this rather obscure German saxophone manufacturer.

After carefully researching Dörfler & Jörka’s (D&J) history, he wrote an article which was published in the September/October issue of Sonic. Uwe was kind enough to send me his research, and has given me permission to use it on my site.

Yesterday I spent the day updating the Dörfler & Jörka page on the main portion of my website.

What Uwe discovered fundamentally changes what we know about the saxophones that D&J produced, and his information is now included on my site.

Here are a few of the most salient points:

• D&J was very connected to, and interconnected with, the J. Keilwerth company.
• Like the Keilwerth company, D&J’s history is somewhat convoluted and complex.
• D&J produced their own saxophones, and never used Keilwerth body tubes.
• D&J horns are not Keilwerth stencil saxophones. For the most part, they are copies of J. Keilwerth horns.

If you are looking for information about the Dörfler & Jörka company, I suggest you take a look at the newly updated D&J page on my site. I think you might be surprised at what you read.

© 2010, The Bassic Sax Blog. All rights reserved.

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However, once you’ve hit 30, or once you’ve experienced the loss of someone close to you, you suddenly realize that after you’re gone someone has to deal with all your stuff. Such is the case with these 2 fine vintage saxophones currently listed by a seller on eBay.

     Source: eBay.com

The Conn curved soprano on the left is described like this:

This auction is for one saxophone. Up for your consideration is a Conn LTD Soprano Saxophone. I don’t know much about musical instruments as I am selling this for a friend who’s husband passed away. He was playing this and other instruments up until two years ago. I have another saxophone listed that was also his. This saxophone looks to be in wonderful condition. Some of the pictures have reflections that may look like dents. THERE ARE NO DENTS TO BE FOUND. I believe there is a guard piece missing from a bottom valve. I have shown this in my pictures. Other than that, it’s a beautiful looking instrument. It has a great patina which we will not touch. It is silver in color. I’ve never seen a saxophone this small before. On the front of the bell it says “MADE BY CONN LTD ELKHART IND.” On the back it says “PATD. DEC. 8, 1914. 1119954 S 51073 L.” I would guess that the buyer would be doing the usual upgrades that an older piece like this may need. Even if you don’t play a sax, this would make an outstanding display. It comes with a hard case that’s in good condition for it’s age, but it does have that old smell to it.

        Source: eBay.com

The Buescher True Tone alto on the right is described like this:

This auction is for one saxophone. Up for your consideration is a 1914 Buescher Tenor or Alto Saxophone. I don’t really know much about musical instruments as I am selling this for a friend who’s husband passed away. He was playing this and other instruments up until two years ago. I have another saxophone listed that was also his. This saxophone looks to be in wonderful condition. Some of the pictures have reflections that may look like dents. THERE ARE NO DENTS TO BE FOUND. It’s a beautiful looking instrument. It has a great patina which we will not touch. It is silver in color. On the front of the bell it says “THE BUESCHER ELKHART IND.” On the back it says “1 7 2527 TRUE-TONE TRADE MARK REGISTERED LOW PITCH LICENSE PAT. DEC. 8, 1914.” I would guess that the buyer would be doing the usual upgrades that an older piece like this may need. Even if you don’t play a sax, this would make an outstanding display. It comes with a hard case that’s in good condition for it’s age, but it does have that old smell to it.

On Sep-02-10 at 09:09:07 PDT, seller added the following information:

I’ve been told by a kind ebayer that this is a very fine alto sax.

        Source: eBay.com

I personally find it sad that the widow of this sax player has to have a friend sell these 2 horns for her, since neither seems to know anything about saxophones. For example, saxophones don’t have valves. 

I guess they didn’t take them to a music store who knows something about vintage saxes for an appraisal either. Although I am curious to know how they knew that the Conn is a soprano, since it is more difficult to ID than the neck difference between an alto and a tenor.

In any event, had they taken the horns to a music store for an appraisal, they might have been told these instruments are in fact somewhat valuable even in their current state, and that a reserve auction, or an auction with a pre-set starting price might be in order. As it stands right now, vintage sax lovers have a chance to bid on a couple of classic vintage horns that currently have extremely low prices.

The auction for both of these classic vintage saxophones runs until September 11. The Conn curvy currently has 12 bids on it, and the price is $208.05. The True Tone alto has not seen as much action. Only 2 people have bid on it, with the high bid being $60.32.

So if you have a saxophone, or a saxophone collection, perhaps this will give you pause for thought. What have you done to help your loved ones with regards to disposing of your horns? And if you an extensive gear collection—things like expensive vintage mouthpieces—that’s something else to consider.

© 2010, The Bassic Sax Blog. All rights reserved.

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Williams’ last composition, Symphony No. 9 in E Minor, was written between 1956 & 1957, and was performed publically for the first time in London by the Royal Philharmonic Orchestra in April 1958—just 3 months before the composer’s death. It was for this symphony that Williams incorporated the seldom-used saxophone.

In the program notes for his Symphony No. 9 in E Minor, Williams made the following comments:

The usual symphony orchestra is used with the addition of three saxophones [2 altos and 1 tenor] and flugelhorn. This beautiful and neglected instrument is not usually allowed in the select circles of the orchestra and has been banished to the brass band, where it is allowed to indulge in the bad habit of vibrato to its heart’s content. While in the orchestra it will be obliged to sit up and play straight. The saxophones, also, are not expected, except possibly in one place in the scherzo, to behave like demented cats, but are allowed to be their own romantic selves. Otherwise the orchestra is normal, and is, the composer hopes, sound in wind and strings.

Source: wikipedia.org

Thanks to the wonders of YouTube, here is the third movement of William’s 9th symphony—the scherzo—where you can can hear for yourself how saxophones sound when they sit up and play straight.

Can you hear them behaving like demented cats in this movement? I’m not sure I even know what means. Do you?

For more information about this famous British composer, check out the Ralph Vaughan Williams Society website.

© 2010, The Bassic Sax Blog. All rights reserved.

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Here is a quintessential band photo of the early part of the 20th century. It was taken in 1927 of the Circle Six Orchestra, of Deseronto, Ontario, Canada.

  Circle Six Orchestra

     Image by: Deseronto Archives  Source: Flickr

This is what a newspaper clipping attached to the back of this photo said about this band:

This popular orchestra is composed entirely of Deseronto boys and has been organized for the past five years. Since this photograph was taken the traps player, James McVicker, has added a set of temple blocks to his equipment. Reading from left to right the players are – Reginald Dawson, Roy Woodcock, Clayton John, James McVicker, Marshall Woodcock and Roy Kitchen (now a resident of Tweed).

Notice that the sax player—Reginald Dawson—is playing a Conn C melody with a straight neck.

Now fast forward to the present day on the West Coast, and Vancouver’s Run With The Heard strikes a very different pose. Here they do their own retro trip back in time to the 80s.

  The Heard

     Photography by: kk+  Source: Flickr

This indie band has managed to generate a buzz in the local music scene, and puts on a live show that creates a circus-like feel. They are however, quite the juxtaposition to the Circle Six Orchestra of just 8 decades ago.

It would be interesting to know what the band photos of 80 years in the future will look like. What attitude will the players display? What poses will they strike? Will base ball bats still be the accessory of choice?

© 2010, The Bassic Sax Blog. All rights reserved.

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This part of the story picks up where Part 2 left off. The new bass saxophone stand that Andreas Kaling came up with, and had metal designer Ferdy Rose manufacture, is now assembled.

After watching a few more videos of Deep Schrott—and paying particular attention to how they position their horns in their stands—I made some adjustments.

Now that I have the legs of the stand in the best position to give it the greatest stability, and the lower support brace adjusted a bit higher than I originally had it, this new bass stand is amazing. It is strong, supportive, and incredibly stable.

Note: All photos are by M. Margison.

Playing While Sitting

I’ve used this stool for playing for years. I use it not only in my studio, but also at shows that last longer than 1 set… In other words any show we play at that isn’t a festival.

I got it from a friend of mine who owned a couple of hair dressing salons. It is intended for stylists to sit on when they cut your hair. It adjusts in height, so it is ideal for whatever size of sax you play.

If you prefer to play your bass more transversely, this stands allows you to do so. You can adjust it for even more of an angle if you wish. This is my preferred angle of playing while seated.

   Playing While Standing

Transverse playing is now possible too while standing, and you no longer have to wear your 18 lb sax from your neck to do so.

   Some Detailed Pics

I am really pleased with my new bass sax stand. If you’re looking for a really versatile stand that will allow you to play your bass either in a sitting or standing position, and even allow you to adjust the angle at which you play, then this might very well be the stand for you.

Apparently I’m not the only person who thought this stand was a great invention for bass saxophone players. After Andreas read my previous articles he sent me a couple of testimonials from other players who bought the stands. I thought I’d share them here.

This first one is from a player in the USA:

The stand arrived today. It is wonderful. Your workmanship is excellent. It is all that I hoped it would be.

The second comment is from a player in France:

I have recovered the stand. And I just tried it: fabulous! I’m very happy to blow my Conn in these very good conditions. Very, very good product, and a very fine idea… This stand fit very well with my bass Beaugnier too…

These stands are not available through stores. They are only available through special order from Andreas. 

I’d also like to go on record and state that I’m not associated with Andreas in any way, and have no financial interests in his business. I receive no remuneration for sales of his stands. I’m only writing about them because I believe in the product, and think that the bass sax playing community could benefit from the knowledge of their existence.

If you would like to know more about these high quality stands, please contact Andreas directly. He would be happy to answer any questions you may have. He’s a very nice guy. I’ve found him to be a real pleasure to deal with throughout this whole exchange.

© 2010, The Bassic Sax Blog. All rights reserved.

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This story picks up where Part 1 left off. The new bass saxophone stand that Andreas Kaling designed has arrived from Germany.

Note: All photos, unless otherwise noted, are by M. Margison.

     Photo by: H. Kahlke

My dog Buddy acted as a secondary Customs inspector and wanted to inspect the package prior to opening.

This was one very well taped up box.

Nothing moved during transit. There was not a peanut out of place!

Andreas filled the extra space very well—unfortunately not with a “directions for assembly” sheet. This combined with my lack of spatial ability made assembling the stand way more challenging for me than it would for the average person.

“Did someone say peanuts?” Yes, he did actually eat one before we could get it away from him.

Buddy is 14 years old and is suffering from a form of doggy senility. He also has the beginnings of renal failure. Oh, and BTW, those are not tumors on his side; they are fat pockets.

You’re already beginning to see my spatial retardation. I’m trying to figure out where this will go. I can’t picture it in my head.

Oops, I suddenly find myself reading the packing material. Too bad it’s the sports section. I really don’t care for sports, no matter what language it’s in.

Wow! Talk about lots of bubble wrap. This is really well packaged.

Now I finally find box that contains the main part of the stand.

Ah yes, now the spatial retardation is really becoming obvious. Yes Helen, the thin pole has to slide into the larger one.

Yeah, but where is this supposed to go? I don’t get it.

I decided to start from the bottom up.

It’s coming together now.

At this point I’m guesstimating where the best position for the lower support brace would be.

Project complete! Yeh Helen! Well done.

The cymbal stand alone is nearly as heavy as my bass. I’m guessing it to weigh nearly 15 lbs, but I’d have to put it on a scale to say for sure. (BTW, the bass is 18 lbs according to one of Buescher’s ads of the day.)

Since these last 2 photos were taken I have made some adjustments to the height of the lower support brace and to the positioning of the feet of the cymbal stand. Both of these changes have made the stand more stable, and both are visible in the photos that will be presented in the third, and final part, in this Series about Andreas’ bass stand.

While the idea for the stand came from Andreas, he worked together with a metal designer who helped turn his ideas into reality. Ferdy Rose is the builder of the stand, and the man who helped improve on Andreas’ original ideas.

© 2010, The Bassic Sax Blog. All rights reserved.

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Andreas was writing to inform me that he had designed a new type of bass saxophone stand. This stand was intended as a playing stand, and made it possible for players to not only be able to stand up while playing their horns, but also to sit down. Furthermore, the angle of the stand could be adjusted so that a player would be able to play the sax transversely if that was more comfortable for them.

I checked out the links that Andreas gave me where I could see the stand being used, and I was intrigued. Here is a good view of the stand being utilized as Deep Schrott performs the Beatles tune Helter Skelter.

Andreas has sold a number of these stands throughout Europe, and even as far away as the United States. I can see why people would buy them; there is something very appealing about these bass stands.

To my knowledge—and feel free to correct me if I’m wrong—Saxrax is the only company currently making bass saxophone stands. Now I really like the Saxrax stand, but they do not allow you to change the angle that you play your horn at.

Some players still use the old school Hamilton stands, but besides being incredibly unstable, they really only work if you’re sitting down.

If what Andreas said was correct, then the stand that he invented combined the best properties of each of these stands. I was most definitely interested.

Ever since becoming ill with this strange neurological condition nearly 4 years ago, my fatigue levels have been quite severe. Everything physical tires me out like it never did before. Playing bass is no exception.

Standing up while playing my bass only adds to this level of fatigue, and my current stand does not allow me sit down. I saw Andreas’ new stand as a possible aid in making bass playing much easier. I would finally be able to sit down while playing bass. This would make practicing a much less grueling undertaking for me.

So I fired off an email to Andreas saying that I was quite interested in his new stand, and that I would very much like him to send me one.

To be continued…

Part 2 while be a photo essay of the new stand’s arrival in my studio, and my efforts in assembling it. (Thanks to my neuro problem, I am even more spatially challenged than before.)

© 2010, The Bassic Sax Blog. All rights reserved.

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Yesterday we took the last in a series of photos that will be used in the articles about the new stand. While looking at the shots last night, this one just popped out at me. I decided to put a digital frame around it and include it in my photo gallery. I think it captures the enormity of the bass—compared to its everyday cousins—quite well.

   What The Right Hand Does

I don’t have tiny hands. I’m 5′9″ tall—that’s 175 cm for my friends who only do metric —and my hands are proportional to my body size.

Given that I haven’t polished my 1922 Buescher since I got it in 2000, I think it is holding up remarkably well. I really don’t like silver horns. They are a pain in the ass to own: Too much upkeep on their finishes. However, I own at least 5 of them, and as luck would have it, the biggest sax I have would have to be silver plated.

My big baby is remarkably photogenic given its lack of polishing. I think over the next few days—as you see it from almost every angle—you will be surprised what keeping it in its case when not being used will do. The real trick to that is, I believe, that I have 7 of the Hagerty anti-tarnish strips taped inside the case, and replace them every couple of years.

© 2010, The Bassic Sax Blog. All rights reserved.

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Over the past couple of years we’ve seen prices for new, American-style, Asian-made bass saxophones go all over the place. Check out the other posts in this series to see what the prices on these horns have been. When you do, you’ll notice that none of the prices have been as low as they currently are on this JinYin.¹

     Source: eBay.com

JinYin is the manufacturer of all the new American-style bass saxophones—regardless of what name appears on them, or what finish they come in.

The good people at Music Factory Direct do mention in their ad that JinYin is the manufacturer of this bass. Here’s how they describe it:

The JinYin Model A600G Bass Saxophone. Through its vast resources of engineering and manufacturing skills, JinYin is only one of a handful of companies in the entire world producing a bass saxophone. This instrument they produce has it all! Excellent tone and response, good intonation and comfortable key work. This bass sax, without a doubt, is one of the most incredible values you will find, with other models costing anywhere from $3,000.00 to $10,000.00 more. Comes complete with mouthpiece, cap, ligature and deluxe lightweight case.

Features:

Key of Eb

Execellent tone and response

Affordable price

Ergonomic hand position

Comes complete with mouthpiece, cap, ligature and deluxe lightweight case.

Oops, I guess that was a typo. I’m sure they meant to write that this bass is in Bb, not Eb. That aside, they certainly seem excited about this bass saxophone.

     Source: eBay.com

     Source: eBay.com

Here’s the case that looks just like the one that Glenn G. recently bought for his Keilwerth bass. He wrote a review about his new case on June 16, 2010.

     Source: eBay.com 

If you are in the market for a cheap bass saxophone, I don’t know how much cheaper than this you can get. At the time of writing there was 1 bid of $3,600.00 on the horn.

This no reserve auction for a new JinYin bass sax ends today at 11:29 PDT. So there is not much time left to get your bid in… If’n your interested in a cheap bass that is.

___________________________________

¹ There is 1 brand of American-style bass that was—for a very brief period of time—apparently available for considerably less than this JinYin is currently being sold for. The Canex bass saxophone was listed for a mere $2,000 in June 2009, but in September that same year it had jumped to $3,000. 

Last time I checked Canex no longer includes a final price for their bass. The listed price was apparently for “reference” only, and a ”… detailed price due to final confirmation !!!!” Whatever the hell means.

I assume that means they don’t want to change their website regularly, or be held to the price that they state on their website. Perhaps they got burned and actually had to sell a bass at 2 grand. That’s gotta’ cut into their profits.

© 2010, The Bassic Sax Blog. All rights reserved.

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     Source: eBay.com

The seller writes this about this little toy horn:

Fun, unusual item – a toy tine saxophone from the 1933 Century of Progress World’s Fair in Chicago.

The souvenir sax measures 4 1/2″ long.

It bears a sticker from the fair – a bit scratched, but clearly shows this was sold at the Chicago’s COP. The label partially covers the word “Japan” – place of manufacture.

Anyone else see some irony—and as it turns out, more than a little foreshadowing—here? The 1933 World’s Fair theme was A Century Of Progress, and this little tin toy was imported from Japan.

When exactly did we start importing most of our stuff from Asia? I didn’t realize that this trend was beginning as early as 1933.

Other examples of vintage saxophone-shaped toys might have come from Europe, but the rest were made in the U.S.A. This is certainly the earliest one from the Asian continent that I’ve come across.

As it turns out, this particular little toy sax from the World’s Fair might have lost its original lustre. Here is what the seller wrote in response to a question about the finish:

Q: Can you tell me about any rusting or damage to the saxophone? Thanks.

A: No rust or damage. I think the saxophone at one time must have had a silver coating. There is a small amount of silver residue. Now it’s uniformly worn down to the base tin. I will post another picture (of the reverse view) this weekend to try to show this. Thanks for asking.

The auction for this saxophone collectible runs until September 5. Bids are to start at $9.99. At the time of writing there were no bids yet on this souvenir of the 1933 World’s Fair.

© 2010, The Bassic Sax Blog. All rights reserved.

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