I’m also quite behind in my emails. If you’re awaiting an email from me, hang in there. I’m not sure when I’m going to catch up, but I will eventually. I promise.

Why am I so behind in everything? I’ve made no secret of the fact that I moved over a year ago. However, what you likely don’t know, is that my own house wasn’t sold yet.

On April 1st I finally put it up for sale, and it sold a mere 21 days later. Given that it’s currently a buyer’s market, I’m very lucky that it sold as quickly as it did.

Since the subjects were removed in the beginning of May, we’ve been in a panic to sort out the last of our stuff, and dispose of the things we no longer need/want/have room for. The movers are booked for May 25, and then the large items, as well as the remaining things we have decided to keep, will finally be in our new home as well.

This new home isn’t really new to me, since it was the house my mom designed and my parents had built when I was a teenager. The house has quite a few European design features, and an unobstructed view of Mt. Baker—the area’s landmark, dormant, volcano.

Moving is always a lot of work, but this move is also a combining of 2 households: ours, and the contents of that of my parents. There is still so much sorting that needs to be done, and things of my mom’s that need to be disposed of or sold, that I’m truly overwhelmed. At times it feels like the job will never get done.

I just try to put one foot in front of the other, and do a little bit every day. Eventually things will get done, it will just take time.

My day is normally divided into 2 parts. The morning I spend writing an article for my blog, while the rest of the day is taken up with other, non-sax-related things. If I have time, I try to work on my website, or update my gallery in the evenings.

This is all dependant on how I feel of course. Some days I’m not well enough to do much of anything, or I have medical appointments that keep me busy. (My neurologist has me on a pretty short lease actually.)

As I’m writing this, the room is spinning uncontrollably, and I don’t know when this bout of vertigo will come to an end. Maybe in 5 minutes, maybe in 5 hours. This is getting old. Really old!

Update: Here we are 60+ minutes later, and things are still spinning. I can’t even look at this animation without getting nauseous and disoriented.

I’m so frustrated at how slow I now am. But whenever I battle these daily bouts of vertigo (they happen throughout the day with maddening regularity), I’m hanging onto the furniture to ensure I don’t fall over. This naturally slows down everything I do, since my body is having to compensate for the spinning.

You’re probably wondering how I play sax. It’s hard. Very hard. Trying not to fall over, or knock the horn while putting it together is really difficult. Once I’m playing it’s not too bad, but the set up, and the take down is a killer.

Anyways, enough about all of that. Suffice to say, between now an the end of May things in my life will be rather chaotic as we wrap up the sale of the house.

Naturally things here at the Bassic Sax Blog will not quite be how I like them to be, but oh well, shit happens. Things will get back to normal once June 1 rolls around, and the new owners have taken possession of our old house. Until then, I hope you’ll be patient with me. Thanks…helen

© 2012, The Bassic Sax Blog. All rights reserved.

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Discover a powerful story about a powerful instrument. It’s the story of a genius instrument maker cheered by audiences but jeered by competitors. It’s the story of a 1920s America wild about a new kind of sound. It’s the story of jazz, unleashed, free to roam and improvise like never before. And it’s a story of how music is made–an endless cycle of innovation as ancient as music itself, where musician, composer, listener and manufacturer stretch the boundaries of sound, composition and performance. “The Sound of Sax” runs from May 2012 to January 2013. It’s a story you won’t want to miss.

Source: MOMM

The exhibit kicks off this coming Saturday, with a reception hosted by special guests Blaise Garza, Rob Verdi and Vinny Golia. After a tour of the exhibit with these saxophonists, there’s a concert-conversation with Charles McPherson.

If you’re interested in getting tickets to the opening, or finding out more about the MOMM’s hours of operation and entrance fees, check out its website.

If anyone reading this goes/has gone to this exhibit, please chime in with a comment. Or if your the shy type, drop me an email. I’m curious to know what the exhibit is all about.

© 2012, The Bassic Sax Blog. All rights reserved.

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     Source: The Sax Group

This is how Christopher Elliott, Inc. describes this most unusually finished horn:

1953 Selmer Paris Super Balanced Action w/ High F# Tenor Saxophone

Sax #55017 – ONE OWNER

Model: 1953 Selmer Paris Super Balanced Action w/ High F# Tenor Saxophone Sax

Serial: 55017 Dates to 1953

Finish: Original Finish, super dark and patina. We know there is going to be questions as to the originality of the finish of this saxophone; it will create a lot of controversy, and some will question our credibility, some of you may even send us death threats and/or run to SOTW and post that we have no idea what we are talking about and there is no way that this is original. Before you do that, please consult with an expert on Euro SBA finishes. We have had this sax verified by some of the ‘leading experts’ in the world on European Selmer Paris Saxophone finishes, and ALL of them have concluded that this was in fact original finish, and would themselves be confident in listing it as such. Some have seen it in person; some have seen it only with the photos that you have seen here. The consensus is that, although unique looking, strange looking, and rare looking, not all that uncommon for a European SBA of this era and condition to look like this. Coupled with the fact that this was a ONE OWNER saxophone, bought in Europe at the Selmer Paris factory, by a professional musician who not only took great care of his instruments, but he also knew the acoustical consequences of refinishing his prized tenor, he vowed to never have the finish touched by any tech. This was confirmed by the family who insisted it was an oath of his. He has since passed away and his immediate family has (reluctantly) decided to sell this sax, the funds from the sale going directly to his widow.

Body Condition: No major dings or dents. No major repairs done to this instrument.

Pads: Newer pads, Selmer boosters

Key Work: All working.

Case: Original tri-pack case for flute and clarinet as well, old and worn but works

Comments: The bottom line is that this is a very rare, and remarkable instrument. It plays so smooth and effortlessly, the sound is so rich and full, the core of it being dark and lush. Selmer Balanced Action’s have that ‘feel’ that is unique to this instrument alone. If you have ever played a good SBA, you know what we are talking about. This sax has also been verified by our own tech and Selmer Expert (player & collector) Craig Christman as being original, and he has set up this sax to be ready to play by its new owner. You may not find another SBA like this; you don’t ever see them for sale, even though we know there are probably very few in existences in the world that look like this. After playing it, we know why no one will sell them. One thing we do believe is that the right person will come along who knows what they are looking for, and what they are looking at, and they will make a fair offer based on what they see.

Oh, and FWIW, IMO anyone who gets themselves so worked up over something as insignificant as the finish on a saxophone, and sends death threats to a seller on eBay, really needs to get a real life. Seriously. But hey, those are just my 2 cents worth to that.

Now getting back to the sax… Take a look at the following photos, and decide whether or not you think this is the original finish on this SBA.

  Source: The Sax Group

I am by no means “an expert on Euro SBA finishes”, however, this horn’s finish does bear a resemblance to my 1 owner, 1950 King Zephyr, which I bought from Sarge at World Wide Sax in 2009. (For more photos, check it out in Bassic Sax Pix.)

The Zeph came from the southern United States somewhere. Furthermore, we do know that the amount of humidity, salt content, etc, that a horn is exposed to, can in fact alter the appearance of its finish. These elements likely contributed to the Zephyr’s appearance today.

Is it possible that this SBA came from a climate that altered its finish? Possibly, although the seller claims it’s original, and besides, the horn is very shiny.

Lacquer is intended to protect a horn from the elements. You would think if the environment it was in had altered its finish, the lacquer would have been affected as well.

Perhaps the finish was a custom order from Selmer Paris. That’s possible too. Or perhaps the antique look was a possible finish option that could be ordered in the 50s from Selmer Paris for their European SBAs?

When it comes to Selmers, we all love a good mystery. I bet some of you didn’t know that Selmer made pink Mark VIs. Yes, it’s true. I’m sure they didn’t sell many, but they did make some. There is even one in the Music Museum in Phoenix.

In any event, this rather unusual looking, and perhaps controversial, SBA tenor is for sale on eBay for another 20 days from today (May 14, 2012). The Buy It Now price is $12,995.00, but Christopher Elliott, Inc. is open to offers. At the time of writing, they have had 1 offer on the horn already.

© 2012, The Bassic Sax Blog. All rights reserved.

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So to all you mothers out there, I hope your kids—both young and old—have remembered you, and have at least sent you flowers, or picked up the phone and given you a call.

If your mom is still alive, and you haven’t yet talked to her, what are you waiting for? Because let’s face it, if it wasn’t for her, you wouldn’t be here. 

  Happy Mother’s Day

     Photography by zaveqna  Source: Flickr 

May 13 also represents an anniversary of sorts. It was exactly 4 years ago today, on May 13, 2008, that I hit the Publish button for the first time on the Bassic Sax Blog.

Fast forward 4 years, and the Bassic Sax Blog looks like this: 1414 published posts; in 54 categories; with 314 tags; 3225 legitimate comments approved; and approximately 500,000 spam comments blocked. That’s a whole lotta’ sax—and spam—in approximately 1460 days.

Thanks to all of you who have been along for the ride thus far. Some of you have been around since the beginning, and some of you are fairly new to my site. No matter how long you’ve been reading my blog, a big Thank You.

My friends have asked me how I always seem to find something to write about in a field that’s so narrow. My answer to them is simple. I start most days with a Forrest Gump view of the world: “Life was like a box of chocolates. You never know what you’re gonna get.” After some research, I usually find something to write about. Sometimes it’s cream filled. Sometimes caramel. Sometimes it’s just simply nuts.  

Not matter what tomorrow’s topic might be, here’s to the next ½ million blocked spam comments. 

© 2012, The Bassic Sax Blog. All rights reserved.

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Vibes Sax Partner Source: vibesmusic2006 on eBay.com

A thread I read on SOTW this morning, got me thinking about my living situation. I have made a conscious decision not to move back into Vancouver. This decision is primarily due to the fact that I play a very loud instrument.

As likely many people know, Vancouver has some of the most expensive real estate on the planet. Twenty years ago I nearly bought a house there. It’s too bad I didn’t, because today the most I could afford is a condo—and not even a very big one.

I live in a suburb of Vancouver. This allows me to have a house, in which I can make as much noise as I want from 7:00 AM to 11:00 PM. After 11:00 at night, it’s possible that the neighbours could phone the police about my playing, but it’s highly unlikely.

My studio is situated in the centre of the house. The only people who really hear my playing, are those who live with me. And they’re not complaining.

In the thread Help! My neighbours hate me… , the OP, ThelmaTheSelmer, described an incident that left her rather shaken:

I was playing alto for a while and now I’ve got my beautiful new tenor and tonight I was practicing and I literally heard this: “Shut the f*** up you p****k” repeated continuously and quite agressively. When I played my alto, my neighbour Jon banged on the wall so I saw him and sorted things out and assured him I wouldn’t play before 11am or after 10pm. Tonight, I don’t think the guy shouting out was Jon. Whoever it was though, they obviously hate my guts and I don’t want to **** them off any more as they sounded, very very angry, it was quite frightening…

To try and quiet her playing down, the OP tried a saxophone mute. That didn’t really work. Nor did playing in different areas of the house, or playing softly.

A variety of SOTW members chimed in with all the usual suggestions (e-mutes, playing in the closet, soundproofing a room, etc.). One member also provided photos of custom practice chamber that she had built, which was very unique.

After 79 replies to the original post, I’m not sure that ThelmaTheSelmer is any wiser. Really, what is the answer?

A friend of mine lived in a townhouse in White Rock. In her basement was a totally soundproof room. She told me that the previous owner had been a drummer. Yup, that’s one way to do it. I can’t imagine what that would have cost though.

If money is not barrier, your choices are pretty limitless. However, most musicians I know, don’t have a great deal of excess money to soak into a room. And if you’re renting, that likely doesn’t make much sense anyway.

In any event, I thought this was something worth writing about. Since the majority of the world’s people don’t live in single family homes, just how do those of you who live with neighbours close by, deal with your instrument’s noise level? Have you taken to practicing somewhere else? Did you invest in an e-mute? Did you build a soundproof room? Or did you come up with some other creative idea?

© 2012, The Bassic Sax Blog. All rights reserved.

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In this video Randy is performing Septieme Solo de Concert, by Jean Baptiste Singelee. The piece was published in 1863 by Adolphe Sax, for baritone saxophone and piano.

Randy is performing the piece on his Eppelsheim low A contrabass saxophone.

I’m currently working on the Eppelsheim section of my website. Here’s a teaser: When I’m finished, there will be some very interesting information available about Benedikt Eppelsheim’s saxophones. Information that has until now, not been available in English.

http://www.youtube.com/watch?v=dE7jToqFoqk

© 2012, The Bassic Sax Blog. All rights reserved.

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  Sax-y

     Photography by: nme421  Source: Flickr

This is without a doubt, the most interesting, and beautiful piece of saxophone graffiti that I’ve seen. Two different artists have 2 very different styles, and 2 very different versions of female sax players.

The 1940s graphic-style depiction of a saxophone player, reminds me of some of the pin-ups that were popular during WWII, and also the nose art that adorned the air craft of WWII.

I wonder who the artist for this particular painting was? Maybe someone who works on graphic novels?

© 2012, The Bassic Sax Blog. All rights reserved.

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KEILWERTH Saxophones are IN PRODUCTION and available NOW!!

check out www.facebook.com/keilwerthusa

Curiosity got the better of me, and I clicked on Keilwerth’s facebook page. I didn’t know what I’d find.

What I found were the same models that Keilwerth was selling prior to its sale to Buffet. The photos page on facebook shows:

•Alto, tenor, and bari versions of the SX90R – Shadow Series
•Bass version of the SX90
•7 different finish options for the SX90R alto
•7 different finish options for the SX90R tenor
•An article about the SX90R Vintage tenor
•As well as some generic photos of JK saxes, and unnamed people with JK saxes

Ever since JK was sold to the Buffet Crampon Group in August 2010, I haven’t really known what to expect. Would they continue with their SX series of pro horns? Would production continue in Markneukirchen, as they said it would in their original press release?

The Buffet Crampon Group, headed by Antoine Beaussant, is acquiring all the assets of the German manufacturer Schreiber & Keilwerth, which had filed for insolvency in March 2010.

The new Buffet Crampon Deutschland GmbH will continue the W. Schreiber & Julius Keilwerth brands which are part of the European musical heritage.

The area of Markneukirchen has a long tradition in musical instruments manufacturing. The modern factory at Markneukirchen has a capacity of 50.000 instruments per year. Its integration into the Buffet Crampon Group will save more than 140 jobs.

BTW, did everyone know that JK was being made in Markneukirchen, and no longer in Nauheim? I had heard some parts were being made there, but I didn’t realize all production had been moved there. However, I think there was a lot about the former Schreiber & Keilwerth company that wasn’t widely known.

Regardless of where in Germany JK is now made, it is nice to know that saxophone production in the country in not entirely dead. For a country that at one time produced some of the world’s prettiest, and most innovative saxophones, Germany lost a lot over the past 70 years.

Saxophone economics have not been kind to European horn manufacturers in general. It can be argued that German saxophone manufacturers suffered even more, due to the country’s division after WWII. The East/West split, and the loss of innovative firms like G.H. and F.X. Hüller, Oscar Adler, et al, all contributed to Germany (West) having only a couple of firms, immediately post WWII.

And while Kohlert only had a couple of great models after its relocation to Germany after WWII, the Julius Keilwerth company flurished. However, they stood alone as Germany’s premier saxophone manufacturer. Smaller companies like Dörfler & Jörka and Hammerschmidt did build saxophones, but these were not, and are not considered on par with JK horns.

© 2012, The Bassic Sax Blog. All rights reserved.

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Bobby Dukoff Source: Bobby Dukoff's facebook page

The man who provided the sound for a generation of saxophone players, passed away last week.

Bobby Dukoff was born October 11, 1918. He was first and foremost a phenomenal saxophone player. After he bought his first horn at the age of 14, for $45, with money he earned working at a delicatessen, he went on to become a member of some of the most famous Big Bands in history.

After his Big Band days—with notables such as Benny Goodman, Tommy Dorsey, and Jimmy Dorsey, were over—Dukoff went on to have a very successful solo career. He was known for his lush tenor sound, which became a defining feature of his brand.

According to the Dukoff website, this is how Bobby Dukoff’s mouthpiece business started:

Bobby has always been fascinated with the mechanics of mouthpieces as he realized that “the sound started there.” While playing top shows in California he started experimenting in his garage and soon all his friends from the Big Band days were coming around to have Bobby just “touch up” their mouthpieces. This naturally led to his own mouthpiece business and today those early California models are collectors’ items.

In 1956, Dukoff moved from California to a suburb of Miami, and set up his own recording studio, Dukoff Recording. He ran that studio until the early 1970s.

However, as saxophone players, we likely know Bobby Dukoff’s passion for mouthpieces, more than his work as a recording engineer.

After he relocated to Florida, Dukoff continued to develop his mouthpieces, and introduced many innovations which were appreciated by players everywhere. It would not be overstating it to say, that Bobby Dukoff literally changed the sound of saxophone players the world over.

I have been playing on Dukoff mouthpieces for over 15 years now. Their lush, rich, yet bright, projecting, overtone-full, edgy sound, has come to define my tenor sound.

I will always be grateful for the work of Bobby Dukoff. He put an end to my search for the perfect mouthpiece.

News of Bobby Dukoff’s death broke on May 4, on saxophone websites, as well as Kenny G’s and Bobby Dukoff’s Facebook pages. So far there has been nothing posted on the Dukoff website, or noted online in newspapers.

The saxophone world did indeed lose another giant with the passing of Bobby Dukoff. His life’s work will live on however, not only through his plentiful recordings, but through all of those players who use Dukoff mouthpieces the world over. There really can be no better legacy than that, for a man who sought to build the best mouthpieces he could, for working musicians.

________________________________________

Written with additional materials from the following source:

JazzSphere: Bobby Dukoff was born here

© 2012, The Bassic Sax Blog. All rights reserved.

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Rather than being competitive about it, they were rather easy-going about the whole thing—yet focused. Almost, well, zen-like. Their styles were complimentary. Their approach to the music was in-tune to what the other was doing. Their sounds were very similar. Even their appearance and gear choices was almost the same.

Had these 2 players worked together before? Did they perhaps study with the same instructor? Did they maybe originate in the same parts shop in China?

   I Think We Got Screwed Over On This Deal

   At Least We’re Not Getting Paid In Beer Nuts

© 2012, The Bassic Sax Blog. All rights reserved.

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