Prof. Romeo Orsi (1843-1918) was born in Como, and he came young in the Royal Conservatory of Milan, where he got a Diploma just when he was 20. His career began in this way, at the Theatre "alla Scala" in Milan, as a concertist, where he first became Assistant Principal, then himself President. Moreover he was nominated Clarinet Teacher at Royal Conservatory of Milan. Orsi invented the double-tonality Clarinet which had a great success, and, thanks to several orders of this instrument, he joined Paolo Maino's modest factory giving birth to Maino & Orsi factory.
The happy activity of Orsi solved the problem of reducing all wind instruments from old to "diapason" or normal tuning fork; the War Minister entrusted this arrangement to him for militar bands instruments. In 1881, during the competition proclaimed by the War Minister, among all Italian manufacturers, in order to establish precisely the sample of every instrument to rearrange opportunely the Royal Army Bands, all the samples presented by Orsi factory were destined for the competitions and private tenders by the Technical Office. Since that time the House, become a Prof. Romeo Orsi' s exclusive property for some time, continued to widen.
For the special instruments of their works, Masters Mascagni, Puccini, Leoncavallo, Giordano, Montemezzi, Giuseppe Verdi and many others applied to Prof. Orsi' s industrial-artistic capacities, to whom, then, they always expressed their best recognizations.
SINCE 1836, Prof. ROMEO ORSI WIND INSTRUMENTS FACTORY ...
… produces the most complete range of wind instruments, following the construction principles of the great Italian traditional craftsmanship, of which "Prof. Romeo ORSI" represents an outstanding example.
Today, the founder's traditional craftsmanship lives together with the new construction technologies of its masters craftsmen.
The factory still keeps a copy of every wind instrument created and produced by his craftsmen during over 140 years of its fashinating history, along with their constructive plans and diagrams. This makes Prof. Romeo ORSI be the only one in the world today to produce any kind of wind instruments of its unique and vaste collection, including hundreds of models.
Sugeng Rawuh
Senin, 23 November 2009
Senin, 16 November 2009
The stencils
Usually is called “STENCIL” a musical instrument produced by a great musical company for a small firm or musical store which after put his own Brand on it.
Many musical shops (like Lyon&Healy, Würlitzer…) or small Companies purchased from the most important musical industries as Conn, Buescher, King, Holton, Martin; really also any Brands since 20’s beginning very important could often made his own saxophones by others; it’s just the case of SELMER with his “Selmer NewYork o Usa” builded by Buescher or Conn, and also for KING which purchased saxophones from Evette-Schaeffer or Kohlert and recently with King “Marigaux” models produced by French SML.
Instruments serial number are often not equals to manufacturer serial numbers and than we haven’t for many instruments a right year of production.
Also a SECOND LINES instruments really made by big groups is called “Stencil”; “second lines” instruments came by purchase of minor Companies (as “Cleveland Band Instruments” purchased by KING with “Cleveland” brand or “PanAmerican by Conn). These models were made usually with a good standard quality at popular, low prices.
I propose here a Brands-LIST of Stencils, with relating real makers and just for any case with property and period of production.
ADOLPHE: “Selmer” .
AMERICA FIRST: “Conn” (2nd line). Prop.: Conn.
AMERICAN ARTIST: “Buescher” . Prop.: Progressive Musical
Instrument Corp. (1920-’50).
AMERICAN STANDARD: “King” (2nd line). Prop.: KING-
H.N.White Musical Instr. Co.
ARTIST: “Buescher” ; “Blessing” . Prop.: Sears Roebuck & Co.
BANDMASTER: “Buescher”; “Conn” . Prop.: Elkhart Band
Instrument Co.
BEAUMONT American-Chicago: ------? Prop.: C.Meisel.
BETTONEY: “Conn”; “Martin” (rare).
BRUNO: “Conn”. Prop.: Bruno Musical Instr. Co.
BUNDY: “Conn”; “Buescher”; “Selmer”; “Keilwerth”.
Prop.: H&A Selmer-G.Bundy (Selmer USA).
(1927-oggi).
BUISSON: “V.Kohlert’s Söhne” (Germania/Cecosl.).
CARL FISCHER: “Buescher”; “Evette-Schaeffer”;
Carl Fischer was an important distributor
of european Brands as Selmer or Evette-
Schaeffer and a big Music-Store
in New York.
CAVALIER: “Conn” (2nd line). Prop.: Pan American
Band Instrument Co., after Conn.
CHALLENGER: “Conn”. “Prop.: Pan American Band
Instr. Co. – Conn.
CHAMPION: “Conn”. Prop.: Pan American Band Instr. Co. – Conn.
CLEVELAND: “King” (2nd line). Prop.: King-H.N.White Musical I
Instrument Co.
CONCERTONE: “Conn” ? Prop.: ------ ?
CONTINENTAL: “Conn”. Prop.: ------?
COUDET: “Martin Freres” (Francia). Prop.:Us Government.
C R PERONZE: “York” . Propr.: C.R.Peronze agente per la York.
DEVILLE: “Selmer” (2nd line ?).
ELKHART: “Buescher” (2nd line) ; “Conn”; “Martin” (rare);
Prop.: Elkhart Band Instr. Co. During 50’s this brand
was used only for Buescher instruments.
FRANCO AMERICAN: “Couesnon”. Prop.:------ ?
FREE-TONE: “Buescher”; “Conn”. Propr.: H&A Selmer-G.Bundy. (1927).
GLADIATOR: “King” (2nd line). Prop.: King-H.N.White Musical Instr. Co. (1930 ca.-’40).
GRETSCH: “Conn”; “Buescher”. Prop.: Gretsch Mus.Instr. .
HARWOOD PROFESSIONAL: “Buescher”. Prop.:---- ?.
HORACE-Landay Bros. NY: “Martin”. Prop.: ---- ?.
INNOVATION: “Buescher”; “Martin”. Prop.: Würlitzer Co.
JENKINS-HARWOOD0 o KANKAS: “Conn”; “Buescher”.
Prop.: ----- ? .
JETEL: “J.Thibouville-Lamy (JTL)” (Belgium-France); Prop.:
J.Thibouville well-known craftsman in France.
KALASHEN’S KLEARTONE: “Conn” .
KALASHEN o J KALASHEN: “Buescher”; “Conn” .
KARL MEYER: “Selmer” (or H&A Selmer); prop.: K.Meyer.
KING-“Lemaire”: “Amati” (Czech firm), 2nd line made by
Czech firm for King-H.N.White Co. in
60’s-70’s years.
KING-“Marigaux”: “SML” ; professional line made by
French SML for King in 70’s years.
KING “Tempo”: “Keilwerth” basic professional line made
In Germany for King-H.N.White Co.
KLEAR TONE: “Conn” ? Prop..: Bruno Musical Instr. Co.
KLINGSON: “Hammerschmidt” (Germania).
LAFAYETTE: “Couesnon” ? prop.: Bruno Mus. Instr. ??
(post 1900- ?).
LA MONTE: “Rampone&Cazzani”; Prop.: Us Government.
LA PREALPINA: “Rampone&Cazzani”.Prop.: Rampone&C.
(1919 - ?).
LEFLEUR: “Conn” ; Prop.: ----- ?
LYON&HEALY: Lyon&Healy used many instruments
manufacturer as“Buescher”, “Conn”, “Martin”,“King”,
“Holton” (King and Holton very rare).
L&H. had also a own production probably called
“Couturier”.
This firm or great musical store was established at
Chicago in 1864 by Patrick J.Healy and George W.
Lyon through Washington and Clark Streets; the
Great Fire of Chicago in 1871 involved also L&H
and his activity was damaged.
In1889 P.J.Healy purchased Lyon property preser-
Ving his name.
L&H instruments produced by many manufacturers,
they have of course a various, different design
and also were often named differently.
Any brand well-known was:
American Conservatory,American Professional,
American Star,Champion, Couturier (own models),
Henry Gautier, Inspiration, La Porte, NewChampion,
Vito Resotone.
L&H followed also market variations, also introducing
new innovative models (just for L&H projects) as a
“Balanced Action” sax (really made by Martin) or a
“F- Mezzosoprano” similar to Conn models but with
great tone problems, after it was substituted by a
better similar sax in Bb.
LYRIST: “A.E. Sax” (Adolphe Sax son). Prop.: A.E.Sax.
(1925ca.-?).
MAJESTIC: “Buescher”; . Prop.: Wurlitzer co. (1856-1914).
MANHATTAN: “Martin ”: made by Martin for Selmer.
Prop.: H&A Selmer co. (1927-?).
MARCIL: “Selmer” Prop.: Selmer? (1927-?).
MASTERBILT: “Conn”. Prop.:------ ?.
MELODY: “Buescher”; “Martin”; prop.: Wurlitzer Co.
OLYMPIAN: “Conn” ; prop.: ----- ?
PAN AMERICAN: “Conn” (2nd line). Propr.:PanAmerican Band Instr.
Co. – CONN.
PERFACKTONE: “Conn” . Prop.: PanAmerican Band Instr.co.
PERFACKTEN: “Buescher”; “Conn” . Propr.: Bruno Mus.Instr.co
(Post1900-?)
PERFECTION: “ “ “ “ .
PRIMA: “J.Gras” (Francia). Prop.: J.Gras
PROM: “Conn” . Prop.: PanAmerican Mus. Instr. Co.
RAINBOW: “Conn” . “ “ “ “.
RAYMOND: “Selmer-Paris”. Prop.: H&A Selmer. (1927-?)
REALISTIC: “Buescher”; “Evette-Schaeffer ?”.
Prop.: Carl Fischer Co. (1923-?).
SELMER AMERICAN o US: “Conn” . Prop.: H&A Selmer-Paris.
SELMER NEW YORK: “Buescher” . “ “ .
SERENADER: “Conn”. Prop.: Pan American Band Instr. Co.
SIGNET: “Selmer-Bundy”. Prop.: H&A Selmer-Bundy.
(1927-?).
SILVER TONE: “King-H.N.White”; “Blessing” . Prop.: Sears
Roebuck & Co. (ca. 1930-’40).
SILVER TONE: “Buescher”. Prop.: Montgomery-Ward Inc.
SUPER ARTIST: “Blessing”. Prop.: Sears Roebuck & Co.
SUPERTONE: “Conn” . “ “ .
VEGA: “Martin” ; “Buescher” .
WINTERROTH: “Conn” .
WÜRLITZER: “ Martin” ; “Buescher” ; “Conn” .
Prop.: Würlitzer Musical Co
Many musical shops (like Lyon&Healy, Würlitzer…) or small Companies purchased from the most important musical industries as Conn, Buescher, King, Holton, Martin; really also any Brands since 20’s beginning very important could often made his own saxophones by others; it’s just the case of SELMER with his “Selmer NewYork o Usa” builded by Buescher or Conn, and also for KING which purchased saxophones from Evette-Schaeffer or Kohlert and recently with King “Marigaux” models produced by French SML.
Instruments serial number are often not equals to manufacturer serial numbers and than we haven’t for many instruments a right year of production.
Also a SECOND LINES instruments really made by big groups is called “Stencil”; “second lines” instruments came by purchase of minor Companies (as “Cleveland Band Instruments” purchased by KING with “Cleveland” brand or “PanAmerican by Conn). These models were made usually with a good standard quality at popular, low prices.
I propose here a Brands-LIST of Stencils, with relating real makers and just for any case with property and period of production.
ADOLPHE: “Selmer” .
AMERICA FIRST: “Conn” (2nd line). Prop.: Conn.
AMERICAN ARTIST: “Buescher” . Prop.: Progressive Musical
Instrument Corp. (1920-’50).
AMERICAN STANDARD: “King” (2nd line). Prop.: KING-
H.N.White Musical Instr. Co.
ARTIST: “Buescher” ; “Blessing” . Prop.: Sears Roebuck & Co.
BANDMASTER: “Buescher”; “Conn” . Prop.: Elkhart Band
Instrument Co.
BEAUMONT American-Chicago: ------? Prop.: C.Meisel.
BETTONEY: “Conn”; “Martin” (rare).
BRUNO: “Conn”. Prop.: Bruno Musical Instr. Co.
BUNDY: “Conn”; “Buescher”; “Selmer”; “Keilwerth”.
Prop.: H&A Selmer-G.Bundy (Selmer USA).
(1927-oggi).
BUISSON: “V.Kohlert’s Söhne” (Germania/Cecosl.).
CARL FISCHER: “Buescher”; “Evette-Schaeffer”;
Carl Fischer was an important distributor
of european Brands as Selmer or Evette-
Schaeffer and a big Music-Store
in New York.
CAVALIER: “Conn” (2nd line). Prop.: Pan American
Band Instrument Co., after Conn.
CHALLENGER: “Conn”. “Prop.: Pan American Band
Instr. Co. – Conn.
CHAMPION: “Conn”. Prop.: Pan American Band Instr. Co. – Conn.
CLEVELAND: “King” (2nd line). Prop.: King-H.N.White Musical I
Instrument Co.
CONCERTONE: “Conn” ? Prop.: ------ ?
CONTINENTAL: “Conn”. Prop.: ------?
COUDET: “Martin Freres” (Francia). Prop.:Us Government.
C R PERONZE: “York” . Propr.: C.R.Peronze agente per la York.
DEVILLE: “Selmer” (2nd line ?).
ELKHART: “Buescher” (2nd line) ; “Conn”; “Martin” (rare);
Prop.: Elkhart Band Instr. Co. During 50’s this brand
was used only for Buescher instruments.
FRANCO AMERICAN: “Couesnon”. Prop.:------ ?
FREE-TONE: “Buescher”; “Conn”. Propr.: H&A Selmer-G.Bundy. (1927).
GLADIATOR: “King” (2nd line). Prop.: King-H.N.White Musical Instr. Co. (1930 ca.-’40).
GRETSCH: “Conn”; “Buescher”. Prop.: Gretsch Mus.Instr. .
HARWOOD PROFESSIONAL: “Buescher”. Prop.:---- ?.
HORACE-Landay Bros. NY: “Martin”. Prop.: ---- ?.
INNOVATION: “Buescher”; “Martin”. Prop.: Würlitzer Co.
JENKINS-HARWOOD0 o KANKAS: “Conn”; “Buescher”.
Prop.: ----- ? .
JETEL: “J.Thibouville-Lamy (JTL)” (Belgium-France); Prop.:
J.Thibouville well-known craftsman in France.
KALASHEN’S KLEARTONE: “Conn” .
KALASHEN o J KALASHEN: “Buescher”; “Conn” .
KARL MEYER: “Selmer” (or H&A Selmer); prop.: K.Meyer.
KING-“Lemaire”: “Amati” (Czech firm), 2nd line made by
Czech firm for King-H.N.White Co. in
60’s-70’s years.
KING-“Marigaux”: “SML” ; professional line made by
French SML for King in 70’s years.
KING “Tempo”: “Keilwerth” basic professional line made
In Germany for King-H.N.White Co.
KLEAR TONE: “Conn” ? Prop..: Bruno Musical Instr. Co.
KLINGSON: “Hammerschmidt” (Germania).
LAFAYETTE: “Couesnon” ? prop.: Bruno Mus. Instr. ??
(post 1900- ?).
LA MONTE: “Rampone&Cazzani”; Prop.: Us Government.
LA PREALPINA: “Rampone&Cazzani”.Prop.: Rampone&C.
(1919 - ?).
LEFLEUR: “Conn” ; Prop.: ----- ?
LYON&HEALY: Lyon&Healy used many instruments
manufacturer as“Buescher”, “Conn”, “Martin”,“King”,
“Holton” (King and Holton very rare).
L&H. had also a own production probably called
“Couturier”.
This firm or great musical store was established at
Chicago in 1864 by Patrick J.Healy and George W.
Lyon through Washington and Clark Streets; the
Great Fire of Chicago in 1871 involved also L&H
and his activity was damaged.
In1889 P.J.Healy purchased Lyon property preser-
Ving his name.
L&H instruments produced by many manufacturers,
they have of course a various, different design
and also were often named differently.
Any brand well-known was:
American Conservatory,American Professional,
American Star,Champion, Couturier (own models),
Henry Gautier, Inspiration, La Porte, NewChampion,
Vito Resotone.
L&H followed also market variations, also introducing
new innovative models (just for L&H projects) as a
“Balanced Action” sax (really made by Martin) or a
“F- Mezzosoprano” similar to Conn models but with
great tone problems, after it was substituted by a
better similar sax in Bb.
LYRIST: “A.E. Sax” (Adolphe Sax son). Prop.: A.E.Sax.
(1925ca.-?).
MAJESTIC: “Buescher”; . Prop.: Wurlitzer co. (1856-1914).
MANHATTAN: “Martin ”: made by Martin for Selmer.
Prop.: H&A Selmer co. (1927-?).
MARCIL: “Selmer” Prop.: Selmer? (1927-?).
MASTERBILT: “Conn”. Prop.:------ ?.
MELODY: “Buescher”; “Martin”; prop.: Wurlitzer Co.
OLYMPIAN: “Conn” ; prop.: ----- ?
PAN AMERICAN: “Conn” (2nd line). Propr.:PanAmerican Band Instr.
Co. – CONN.
PERFACKTONE: “Conn” . Prop.: PanAmerican Band Instr.co.
PERFACKTEN: “Buescher”; “Conn” . Propr.: Bruno Mus.Instr.co
(Post1900-?)
PERFECTION: “ “ “ “ .
PRIMA: “J.Gras” (Francia). Prop.: J.Gras
PROM: “Conn” . Prop.: PanAmerican Mus. Instr. Co.
RAINBOW: “Conn” . “ “ “ “.
RAYMOND: “Selmer-Paris”. Prop.: H&A Selmer. (1927-?)
REALISTIC: “Buescher”; “Evette-Schaeffer ?”.
Prop.: Carl Fischer Co. (1923-?).
SELMER AMERICAN o US: “Conn” . Prop.: H&A Selmer-Paris.
SELMER NEW YORK: “Buescher” . “ “ .
SERENADER: “Conn”. Prop.: Pan American Band Instr. Co.
SIGNET: “Selmer-Bundy”. Prop.: H&A Selmer-Bundy.
(1927-?).
SILVER TONE: “King-H.N.White”; “Blessing” . Prop.: Sears
Roebuck & Co. (ca. 1930-’40).
SILVER TONE: “Buescher”. Prop.: Montgomery-Ward Inc.
SUPER ARTIST: “Blessing”. Prop.: Sears Roebuck & Co.
SUPERTONE: “Conn” . “ “ .
VEGA: “Martin” ; “Buescher” .
WINTERROTH: “Conn” .
WÜRLITZER: “ Martin” ; “Buescher” ; “Conn” .
Prop.: Würlitzer Musical Co
SML (Strasser-Marigaux-Lemaire)
SML Company was established in Jan 1935 by 3 partners: Charles Strasser Swiss business man, Mr.Marigaux a wind musical instrument maker already worker at Buffet-Crampon, Mr.Lemaire a clarinets maker.
Saxophones production probably started only after 1935.
In a first time company is known especially for his oboes, after also for saxophones, flutes and bassoons.
At top of his productivity SML could made around 500 instruments for month, but usually from 100 to 400.
It seems produced only Altos, Tenors, Bari models, then no soprano or bass saxophones.
Company ended his sax production in 1982, except for “KING Marigaux” models made since ’86 for Us brand KING; maybe his activity ended just for incapacity to compete with Selmer.
Beyond “STANDARD” Models basic instruments for students , SML is well known for any professional saxophones.
It can’t be know exactly serial number list of SML production, but dividing around for periods or basing also on models seen/known, it can be indicate:
“REV. A” (from 0 to 46xx ca.)_ Early model, similar to 30’s saxophones of other brands; Bell-keys are on left side.
They were made only Altos and probably Tenors.
Maybe these models were made also with building differences among them, really it depended by different craftsmen that made saxophones.
In fact often it’s possible see differences about Bell dimensions or key mechanics.
“REV. B” (from 46xx to 6xxx ca.)_ Bell-keys now are on right side, remarkable also the introduction of “Rolled Tone Holes”.
“Coleman Hawkins Models” (from 3xxx to 6xxx?)_ Very similar to Rev.B, this model was made just for the most important testimonial Coleman Hawkins, it was available in two versions: 1 made after Rev.A models, the other after the Rev.B .
Any of these saxophones shows beautiful elaborated engravings with inscription “Coleman Hawkins” in big letters.
Also “C.Hawkins” saxophones had rolled tone holes and sometime a lightly oversize Bell.
“SUPER or Transitional” model (from 55xx to 73xx ca.)_
There’re at least 3 different versions with name “Super” engraved on the bell.
This saxophone is an evolution of Rev.B, maybe is worthy of note a better ergonomic for fingering of G#-C#-B-Bb notes group.
“REV. C” (from 73xx to 83xx ca.)_ Similar to previous models, anytime small improvements.
“REV.D” (from 83xx to 156xx ca.)_ The final evolution of Rev.B/C, with improvements especially on Keys totally handmade, also on screws in hardned steel, all characteristics could be found in following years.
“GOLD MEDAL or MkI” (from 156xx to 202xx ca.)_
The best expression of SML saxophones.
It’s possible find any “Gold medal” Alto already with serial nr. 15xxx.
Gold Medal model was advertised for his technical solutions not possible to find on Us saxophones:
Neck with a locking improved mechanism;
First quality hardened steel Screws;
totally handmade Keys;
more anatomic mother of pearl buttons;
reinforced Key-cups Rim.
Rolled tone holes;
Larger bore Bell.
It seems around serial nr. 18xxx any of these peculiarities couldn’t be.
It was called “Gold Medal” because these saxophones won just a gold medal at the International Music Festival in Netherlands in second-half of 50’s.
“GOLD MEDAL II or MkII” and “KING-Marigaux” (from 202xx to 27xxx ca.)_
It’s an evolution of Gold Medal I , it was the same saxophone made since 1986 for KING-Usa ; But there’s a small decline in quality regards previous model for more poor materials and sound quality lower even if it’s always high.
Remarkable is the “rolled tone holes” missing with the elaborated bell engravings now with a normal logo too.
The Sound of “Gold Medal” models generally was of dark timbre, this characteristic certainly for his complicated, jointed mechanics that made saxophone heavy.
Saxophones production probably started only after 1935.
In a first time company is known especially for his oboes, after also for saxophones, flutes and bassoons.
At top of his productivity SML could made around 500 instruments for month, but usually from 100 to 400.
It seems produced only Altos, Tenors, Bari models, then no soprano or bass saxophones.
Company ended his sax production in 1982, except for “KING Marigaux” models made since ’86 for Us brand KING; maybe his activity ended just for incapacity to compete with Selmer.
Beyond “STANDARD” Models basic instruments for students , SML is well known for any professional saxophones.
It can’t be know exactly serial number list of SML production, but dividing around for periods or basing also on models seen/known, it can be indicate:
“REV. A” (from 0 to 46xx ca.)_ Early model, similar to 30’s saxophones of other brands; Bell-keys are on left side.
They were made only Altos and probably Tenors.
Maybe these models were made also with building differences among them, really it depended by different craftsmen that made saxophones.
In fact often it’s possible see differences about Bell dimensions or key mechanics.
“REV. B” (from 46xx to 6xxx ca.)_ Bell-keys now are on right side, remarkable also the introduction of “Rolled Tone Holes”.
“Coleman Hawkins Models” (from 3xxx to 6xxx?)_ Very similar to Rev.B, this model was made just for the most important testimonial Coleman Hawkins, it was available in two versions: 1 made after Rev.A models, the other after the Rev.B .
Any of these saxophones shows beautiful elaborated engravings with inscription “Coleman Hawkins” in big letters.
Also “C.Hawkins” saxophones had rolled tone holes and sometime a lightly oversize Bell.
“SUPER or Transitional” model (from 55xx to 73xx ca.)_
There’re at least 3 different versions with name “Super” engraved on the bell.
This saxophone is an evolution of Rev.B, maybe is worthy of note a better ergonomic for fingering of G#-C#-B-Bb notes group.
“REV. C” (from 73xx to 83xx ca.)_ Similar to previous models, anytime small improvements.
“REV.D” (from 83xx to 156xx ca.)_ The final evolution of Rev.B/C, with improvements especially on Keys totally handmade, also on screws in hardned steel, all characteristics could be found in following years.
“GOLD MEDAL or MkI” (from 156xx to 202xx ca.)_
The best expression of SML saxophones.
It’s possible find any “Gold medal” Alto already with serial nr. 15xxx.
Gold Medal model was advertised for his technical solutions not possible to find on Us saxophones:
Neck with a locking improved mechanism;
First quality hardened steel Screws;
totally handmade Keys;
more anatomic mother of pearl buttons;
reinforced Key-cups Rim.
Rolled tone holes;
Larger bore Bell.
It seems around serial nr. 18xxx any of these peculiarities couldn’t be.
It was called “Gold Medal” because these saxophones won just a gold medal at the International Music Festival in Netherlands in second-half of 50’s.
“GOLD MEDAL II or MkII” and “KING-Marigaux” (from 202xx to 27xxx ca.)_
It’s an evolution of Gold Medal I , it was the same saxophone made since 1986 for KING-Usa ; But there’s a small decline in quality regards previous model for more poor materials and sound quality lower even if it’s always high.
Remarkable is the “rolled tone holes” missing with the elaborated bell engravings now with a normal logo too.
The Sound of “Gold Medal” models generally was of dark timbre, this characteristic certainly for his complicated, jointed mechanics that made saxophone heavy.
Rampone & Cazzani
In 1818 Francesco Rampone and his nephew Egidio Forni both coming from Quarna Sotto (near Lake d’Orta in Italy) went to Milan working for lab of an important baroque flutes maker, Mr. Luvoni, here they learnt technique of wood-turning and began an activity as wind instruments maker.
After any time they constituted a Company with their titular. When Luvoni for his age and health problems ended own activity, he left his company share to F.Rampone and E.Forni.
But these one came back to Quarna S., here in 1847 Egidio Forni took over company from F.Rampone making for any time wind instruments marked “Forni”.
Forni’s sister, Maddalena married Teodoro Bonaventura Rampone ,kindred but no direct descendant of founder F.Rampone and in following years Forni’s descent wiped out on company direction.
Then at company direction followed Teodoro B. Rampone, after his son Agostino.
During this period in Quarna S. about their activity they were obliged to make use locality resources;
In fact they had the idea to make woodwind musical instruments using local woods, plants: laburnum, pear or box wood and for want of electricity making use of water as motive power for their machines (anyone still
visible in local ethnographic Museum of woodwind instruments) through water mills.
Then, at the beginning in Quarna Sotto in small environments or rooms, often near friends and relatives, they installed wood-turning laboratories near mills and small torrents.
The used tools were bar-lathes, hand saws, hand drills, small pedal-drive lathes.
It began so a slow conversion for Quarna S. from agricultural to industrial centre.
In 1860 Agostino Rampone took over factory by E.Forni and kept in his hands company, in this age he was already an established flute-player at “Scala di Milano”, in the following years he will be real author for increasing woodwind instruments production.
Maybe he was also a refined craftsman because he improved also the Bohm-system for flute.
In the second half of XIX century brought his firm to an international fame as it’s attested in many recognitions received at Paris, Rio de Janeiro, Harvard, New York.
Agostino Rampone produced, first in Italy, a saxophone probably in 1875.
Any of early sax wood-prototypes used for study of key-mechanics are now exhibited in Quarna Museum.
Of course it’s not excluded A.Sax and Agostino Rampone met during various world musical instruments exhibitions and then early wood-sax prototypes were influenced by inventor’s model.
The Wood was utilized for these first models just because Rampone’s craftsmen were from any generation expert wood-turners worked it very well and certainly because it was easier to assemble mechanics testing functionality.
From wood they passed to metal, with creation of early metal sax bodies and parts variously forged.
The first metal body certainly asked considerable investments for the age, however there’s a solid experience in metals working, before it was already started a trumpet and brass-winds production, and then modelling sax-body didn’t give many troubles but it was a problem positioning mechanics, holes on body to determine notes.
1875 was just a very important date for RamponeC. history.
In 1916 or ’18 there was also a marriage of Giuseppina Cazzani (her father was Giovan Battista Cazzani watch-maker and also maker/repair-man of brass musical instruments in Milan) with Egidio Rampone, Agostino’s son.
It was born the “RAMPONE&CAZZANI” or “Ditte Riunite Agostino Rampone & Giovan Battista Cazzani” and with this name especially in 30’s it reached success also for contribution of their extraordinary craftsmen.
The production in these years was probably connected to industry collaborations with musical Companies more important than RamponeC. as CONN Co.; during this period saxophone is not the most important product for RamponeC. too.
The 30’s Rampone saxophones still preserved in Rampone factory are very similar to Conn models of same age; among preserved old models particularly a model entitled “SOLOIST”, a Rampone leading model of 30’s, on this model the company designer Mr. Delle Piane applied a complicated mechanic which controlled with lonely right hand all notes (or keys) normally moved with left hand palm, also obtaining Bb with contemporary opening of low Eb Key.
Another model to mention produced between end of 20’s – 30’s was the “VADEMECUM”, with beautiful embossed engravings on bell, it’s a very rare model now really unfindable but it can be seen on advertise papers or illustrations of the age.
Just by advertise illustrations you can see also a Straight Alto made in same years, probably similar to a Buescher model.
Actually RamponeC. has brought again this project and in 2007 introduced in his R1JAZZ professional sax line a new Eb Straight Alto called “ALTELLO” with an optional G# Key.
During early years of XX century Rampone factory produced also a wood-prototype of a Bb half-curved Soprano still preserved in Quarna Museum, very similar to American “King SAXELLO” but sure previous to King model; this Rampone project was clearly abandoned, but could it be thinkable King copied this model?
Now by around 10 years RamponeC. makes again a beautiful new Bb half-curved Soprano for R1 and R1jazz prof. lines.
Really Rampone instruments mechanics of 20’s-30’s is very similar to Conn saxophones: many alto Rampone models still preserved, show a “microtuner” neck, rolled tone holes equals in aspect to Conn “new Wonder II” examples.
During this period the sax range production included a C- and Bb- Soprano, Alto (maybe Curved-straight), Tenor, Baritone, Bass, maybe any Contra-Bass.
However the 1st and 2nd World War didn’t help company luck, in this period at direction of factory there are also family Arrigoni members with Egidio Arrigoni who married a Rampone’s heir.
Just Egidio Arrigoni directed company coping with economic difficulties because, although there was a low cost of labour, the Rampone employees were really too much: if you look any pictures reproducing company workers you can see that probably almost all Quarna families had someone able to make only one kind of manufacture on instruments.
In 1957 Mr.Saltamerenda a manufacturer, kindred to Arrigoni family purchased Rampone Factory of Quarna, then he moved offices and warehouse at Gerenzano near Varese.
Under direction of Ferdinando Saltamerenda (son of manufacturer) at the age 23 years old, Rampone&Cazzani arrived at the top of productivity never again equalized, for his unquestioned entrepreneurial capabilities but also thanks to low cost highly specialized labour.
From 1957 to ’85 were produced around 800 instruments for month, on this total around 600 were Flutes (same actual Rampone owner Roberto Zolla began at R&C factory making Flutes).
Frequently sax production in these years were “standard”, popular with few attention for manufacture details: sax with lacquered brass body and nickel-plated keys, although of better quality on standard actual products by other brands.
However Saltamerenda’s management in those years although with less quality relating to past quality, it was useful for increasing production and preserve employment of many people of Quarna Sotto.
From 1985 Saltamerenda left company especially because of competition of big industrial groups.
Roberto Zolla purchased R&C Factory in 1989 when Rampone’s saxophones were seen from professional musicians and sax-players simply like Band instruments, so he worked hardly to reach professional level for his saxophones.
Now the new totally handmade production of professional saxophones (from Eb sopranino to Baritone) again dislocated in Quarna Sotto, with “R1” (lacquered models) and “R1JAZZ” (unlacquered models to free better all the harmonics) saxophones and the new models as the “Saxello” (Bb half-curved soprano) and the “Altello” (Eb straight Alto) have brought again Rampone&C. among best world sax manufacturer, very appreciated from many sax-players and pride of “made in Italy”.
After any time they constituted a Company with their titular. When Luvoni for his age and health problems ended own activity, he left his company share to F.Rampone and E.Forni.
But these one came back to Quarna S., here in 1847 Egidio Forni took over company from F.Rampone making for any time wind instruments marked “Forni”.
Forni’s sister, Maddalena married Teodoro Bonaventura Rampone ,kindred but no direct descendant of founder F.Rampone and in following years Forni’s descent wiped out on company direction.
Then at company direction followed Teodoro B. Rampone, after his son Agostino.
During this period in Quarna S. about their activity they were obliged to make use locality resources;
In fact they had the idea to make woodwind musical instruments using local woods, plants: laburnum, pear or box wood and for want of electricity making use of water as motive power for their machines (anyone still
visible in local ethnographic Museum of woodwind instruments) through water mills.
Then, at the beginning in Quarna Sotto in small environments or rooms, often near friends and relatives, they installed wood-turning laboratories near mills and small torrents.
The used tools were bar-lathes, hand saws, hand drills, small pedal-drive lathes.
It began so a slow conversion for Quarna S. from agricultural to industrial centre.
In 1860 Agostino Rampone took over factory by E.Forni and kept in his hands company, in this age he was already an established flute-player at “Scala di Milano”, in the following years he will be real author for increasing woodwind instruments production.
Maybe he was also a refined craftsman because he improved also the Bohm-system for flute.
In the second half of XIX century brought his firm to an international fame as it’s attested in many recognitions received at Paris, Rio de Janeiro, Harvard, New York.
Agostino Rampone produced, first in Italy, a saxophone probably in 1875.
Any of early sax wood-prototypes used for study of key-mechanics are now exhibited in Quarna Museum.
Of course it’s not excluded A.Sax and Agostino Rampone met during various world musical instruments exhibitions and then early wood-sax prototypes were influenced by inventor’s model.
The Wood was utilized for these first models just because Rampone’s craftsmen were from any generation expert wood-turners worked it very well and certainly because it was easier to assemble mechanics testing functionality.
From wood they passed to metal, with creation of early metal sax bodies and parts variously forged.
The first metal body certainly asked considerable investments for the age, however there’s a solid experience in metals working, before it was already started a trumpet and brass-winds production, and then modelling sax-body didn’t give many troubles but it was a problem positioning mechanics, holes on body to determine notes.
1875 was just a very important date for RamponeC. history.
In 1916 or ’18 there was also a marriage of Giuseppina Cazzani (her father was Giovan Battista Cazzani watch-maker and also maker/repair-man of brass musical instruments in Milan) with Egidio Rampone, Agostino’s son.
It was born the “RAMPONE&CAZZANI” or “Ditte Riunite Agostino Rampone & Giovan Battista Cazzani” and with this name especially in 30’s it reached success also for contribution of their extraordinary craftsmen.
The production in these years was probably connected to industry collaborations with musical Companies more important than RamponeC. as CONN Co.; during this period saxophone is not the most important product for RamponeC. too.
The 30’s Rampone saxophones still preserved in Rampone factory are very similar to Conn models of same age; among preserved old models particularly a model entitled “SOLOIST”, a Rampone leading model of 30’s, on this model the company designer Mr. Delle Piane applied a complicated mechanic which controlled with lonely right hand all notes (or keys) normally moved with left hand palm, also obtaining Bb with contemporary opening of low Eb Key.
Another model to mention produced between end of 20’s – 30’s was the “VADEMECUM”, with beautiful embossed engravings on bell, it’s a very rare model now really unfindable but it can be seen on advertise papers or illustrations of the age.
Just by advertise illustrations you can see also a Straight Alto made in same years, probably similar to a Buescher model.
Actually RamponeC. has brought again this project and in 2007 introduced in his R1JAZZ professional sax line a new Eb Straight Alto called “ALTELLO” with an optional G# Key.
During early years of XX century Rampone factory produced also a wood-prototype of a Bb half-curved Soprano still preserved in Quarna Museum, very similar to American “King SAXELLO” but sure previous to King model; this Rampone project was clearly abandoned, but could it be thinkable King copied this model?
Now by around 10 years RamponeC. makes again a beautiful new Bb half-curved Soprano for R1 and R1jazz prof. lines.
Really Rampone instruments mechanics of 20’s-30’s is very similar to Conn saxophones: many alto Rampone models still preserved, show a “microtuner” neck, rolled tone holes equals in aspect to Conn “new Wonder II” examples.
During this period the sax range production included a C- and Bb- Soprano, Alto (maybe Curved-straight), Tenor, Baritone, Bass, maybe any Contra-Bass.
However the 1st and 2nd World War didn’t help company luck, in this period at direction of factory there are also family Arrigoni members with Egidio Arrigoni who married a Rampone’s heir.
Just Egidio Arrigoni directed company coping with economic difficulties because, although there was a low cost of labour, the Rampone employees were really too much: if you look any pictures reproducing company workers you can see that probably almost all Quarna families had someone able to make only one kind of manufacture on instruments.
In 1957 Mr.Saltamerenda a manufacturer, kindred to Arrigoni family purchased Rampone Factory of Quarna, then he moved offices and warehouse at Gerenzano near Varese.
Under direction of Ferdinando Saltamerenda (son of manufacturer) at the age 23 years old, Rampone&Cazzani arrived at the top of productivity never again equalized, for his unquestioned entrepreneurial capabilities but also thanks to low cost highly specialized labour.
From 1957 to ’85 were produced around 800 instruments for month, on this total around 600 were Flutes (same actual Rampone owner Roberto Zolla began at R&C factory making Flutes).
Frequently sax production in these years were “standard”, popular with few attention for manufacture details: sax with lacquered brass body and nickel-plated keys, although of better quality on standard actual products by other brands.
However Saltamerenda’s management in those years although with less quality relating to past quality, it was useful for increasing production and preserve employment of many people of Quarna Sotto.
From 1985 Saltamerenda left company especially because of competition of big industrial groups.
Roberto Zolla purchased R&C Factory in 1989 when Rampone’s saxophones were seen from professional musicians and sax-players simply like Band instruments, so he worked hardly to reach professional level for his saxophones.
Now the new totally handmade production of professional saxophones (from Eb sopranino to Baritone) again dislocated in Quarna Sotto, with “R1” (lacquered models) and “R1JAZZ” (unlacquered models to free better all the harmonics) saxophones and the new models as the “Saxello” (Bb half-curved soprano) and the “Altello” (Eb straight Alto) have brought again Rampone&C. among best world sax manufacturer, very appreciated from many sax-players and pride of “made in Italy”.
Martin
Henry Martin was born in Dresda Germany in 1835, maybe he learnt just there to make musical instruments, but after he went to United States around in 1855 at New York where opened a laboratory for repair musical instruments parts.
It seems he founded in 1865 his own firm “The MARTIN Company” in Chicago where he moved.
In 1871 his factory was destroyed by a fire, so he moved again in 1876 at Elkhart-Indiana where he began the 6th employee of C.G.CONN Co. and worked till health problems in 1902 forced him to retire. He died in 1920.
A 2nd Company was in the meanwhile established in 1904-’06, by his five sons: “The MARTIN Band Instrument Company”, since 1910 these brothers made their instruments at home.
In 1910 they moved to Elkhart , where opened their factory in Baldwin st.
In 1928 Martin Co. purchased “The Indiana Band Instrument Co.” which was a separate firm with own production since 1942, making always a popular musical instruments line.
Just at the end of 30’s was produced the most famous trumpet made by Martin, the “Committee”.
In this project, about “Committee” design had a basic rule just Renold Schilke; it was for many years the trumpet of many jazzmen as Miles Davis, Chet Baker, Dizzy Gillespie and others.
Really Martin had always a limited production relating to other brand like Selmer, Conn, King, but with a high quality standard.
In spite of production almost clandestine during WWII and Korea-War it survived just for his reputation.
Many people as Chet Baker told quality production decreased from second half of 50’s, maybe after any fusion, union with other companies like “Reynolds” and “Richard Music Corp”; only during 70’s under property of French LEBLANC, Martin instruments conquered again popularity and high quality.
Sax MODELS:
“HANDCRAFT”_ Similar to Conn “ChuBerry” this sax is heavier of Conn for Neck,it has the characteristics “Bevelled Tone Holes”: raised side of holes where go to lean pads, they are not part of sax but soldered and then not obtained for extrusion.
Sound is definitely of dark timbre, with very good tone.
“COMMITTEE”_ the first Committee saxophones were made in 1938-’39, made with collaboration of any professional players or technicians, particularly for collaboration of Steve Broadus a reeds-mouthpiece maker, well known player and Acoustic technician too. They were similar to “Handcraft” models but with tone and mechanics certainly improved.
Bell-Keys are both to left side regard previous model not one on right and one on left.
Sound has always a dark timbre but definitely stronger and centred.
It was the preferred from many professional players as Art Pepper; by second half of 40’s were made also a “COMMITTEE II” Model.
“The MARTIN” Model created at the end of 40’s with a more actual and fluid mechanic, it had still Bell-Keys on left side but Neck had an under inclination giving this sax higher than previous.
A particular big clamping screw was on front side of neck; frequently these models had very rich engravings.
Sound is typically dark with perfect intonation.
Another remarkable model was
“The MARTIN MAGNA” produced during 50’s-60’s, it had generally same tone-colour characteristics, a sonority really nearest to Committee.
It seems he founded in 1865 his own firm “The MARTIN Company” in Chicago where he moved.
In 1871 his factory was destroyed by a fire, so he moved again in 1876 at Elkhart-Indiana where he began the 6th employee of C.G.CONN Co. and worked till health problems in 1902 forced him to retire. He died in 1920.
A 2nd Company was in the meanwhile established in 1904-’06, by his five sons: “The MARTIN Band Instrument Company”, since 1910 these brothers made their instruments at home.
In 1910 they moved to Elkhart , where opened their factory in Baldwin st.
In 1928 Martin Co. purchased “The Indiana Band Instrument Co.” which was a separate firm with own production since 1942, making always a popular musical instruments line.
Just at the end of 30’s was produced the most famous trumpet made by Martin, the “Committee”.
In this project, about “Committee” design had a basic rule just Renold Schilke; it was for many years the trumpet of many jazzmen as Miles Davis, Chet Baker, Dizzy Gillespie and others.
Really Martin had always a limited production relating to other brand like Selmer, Conn, King, but with a high quality standard.
In spite of production almost clandestine during WWII and Korea-War it survived just for his reputation.
Many people as Chet Baker told quality production decreased from second half of 50’s, maybe after any fusion, union with other companies like “Reynolds” and “Richard Music Corp”; only during 70’s under property of French LEBLANC, Martin instruments conquered again popularity and high quality.
Sax MODELS:
“HANDCRAFT”_ Similar to Conn “ChuBerry” this sax is heavier of Conn for Neck,it has the characteristics “Bevelled Tone Holes”: raised side of holes where go to lean pads, they are not part of sax but soldered and then not obtained for extrusion.
Sound is definitely of dark timbre, with very good tone.
“COMMITTEE”_ the first Committee saxophones were made in 1938-’39, made with collaboration of any professional players or technicians, particularly for collaboration of Steve Broadus a reeds-mouthpiece maker, well known player and Acoustic technician too. They were similar to “Handcraft” models but with tone and mechanics certainly improved.
Bell-Keys are both to left side regard previous model not one on right and one on left.
Sound has always a dark timbre but definitely stronger and centred.
It was the preferred from many professional players as Art Pepper; by second half of 40’s were made also a “COMMITTEE II” Model.
“The MARTIN” Model created at the end of 40’s with a more actual and fluid mechanic, it had still Bell-Keys on left side but Neck had an under inclination giving this sax higher than previous.
A particular big clamping screw was on front side of neck; frequently these models had very rich engravings.
Sound is typically dark with perfect intonation.
Another remarkable model was
“The MARTIN MAGNA” produced during 50’s-60’s, it had generally same tone-colour characteristics, a sonority really nearest to Committee.
King-H.N.White
The Company was founded in 1893 by Henderson N..White as musical Publishing House and also as Company for repairing Wind Musical Instruments in Cleveland-Ohio, at this time one of the important financial, industrial, cultural centre of United States.
Already in the first time production H.N.White Co. begins a collaboration with a famous local Trombone-player Thomas King and a first musical instrument line (particularly trombones), was called just “KING”.
The success of these instruments persuaded Company to extend production for other Brasswinds, and also to confirm “KING” as definitive Brand name.
From 1908 in answer to a mounting request, KING Co. begins to distribute first saxophones made by French Evette-Schaffer, less expensive and than competitive with Usa saxophones.
But in 1910 Evette&Schaffer sold exclusive rights for his saxophones to Carl Fischer importer of New York forcing KING to change, importing saxophones made by Kolhert co. in Germany.
Only in 1916 the H.N.White Co. arranged to made own saxophones, but only Alto models, marked KING.
From 20’s KING produced also Tenor, Baritone and C-melody models.
KING obtained very soon a great reputation as sax-maker just after Conn and Buescher.
But in 1926 it extended his saxophones range with introduction of a C-Soprano, straight and curved Bb Soprano, and particularly with an half-curved Bb Soprano model called “SAXELLO”.
Besides from 20’s to 30’s H.N.White Co. could propose 3 sax and brasswinds lines with different price ranges: “KING”(1st.line), “Cleveland” and “American Standard” (both 2nd line).
In 1932 were made new models of Alto and Tenor sax, known as “VOLL-TRUE II”.
In 1935 the early “ZEPHYR” models, really a “Voll-TrueII” modified saxophones especially for high-E mechanism.
Around in 1940-41, was introduced for “Zephyr line” the “socket neck” mechanism, to reduce clearance and dispersion among Neck and Body ; besides in 1939 KING introduced also a new “ZEPHYR Special”, many of these models were made with a Solid-Silver Neck.
After WWII in spite of many problems concerning world market troubles, KING introduced a new, legendary model,
The “SUPER 20”: the first models were substantially a “Zephyr”-modified with more elaborated bell or key engraving and with a different Neck which was a distinctive mark of this model, designed by Fred Meyer.
After “SUPER 20” was proposed also with a Solid-Silver neck and bell.
But already at the end of 60’s, KING saxophones quality including “Super 20” it begins to be really poor , especially when production was transferred from Cleveland (historic location) to Eastlake.
There was also a discontinued production of “Super20” till 1975, but in 70’s industry profits decreased.
From 1960 since 80’s KING imported a sax line too,
The “MARIGAUX” from French SML (Strasser-Marigaux-Lemaire), it was very similar to SML-“Gold Medal II” model (No “rolled tone-holes” model), and than it was a SML not a King sax.
IN 1995 KING seems came back to past fame, announcing a new top professional model production: the “SUPER 21”.
It was shown in any exhibition and were made around a dozen saxophones, but after “Super21” project was quite left.
Actually KING (like Conn) is in a Industry Musical Company , under Selmer control, it makes only a student musical instrument line.
Already in the first time production H.N.White Co. begins a collaboration with a famous local Trombone-player Thomas King and a first musical instrument line (particularly trombones), was called just “KING”.
The success of these instruments persuaded Company to extend production for other Brasswinds, and also to confirm “KING” as definitive Brand name.
From 1908 in answer to a mounting request, KING Co. begins to distribute first saxophones made by French Evette-Schaffer, less expensive and than competitive with Usa saxophones.
But in 1910 Evette&Schaffer sold exclusive rights for his saxophones to Carl Fischer importer of New York forcing KING to change, importing saxophones made by Kolhert co. in Germany.
Only in 1916 the H.N.White Co. arranged to made own saxophones, but only Alto models, marked KING.
From 20’s KING produced also Tenor, Baritone and C-melody models.
KING obtained very soon a great reputation as sax-maker just after Conn and Buescher.
But in 1926 it extended his saxophones range with introduction of a C-Soprano, straight and curved Bb Soprano, and particularly with an half-curved Bb Soprano model called “SAXELLO”.
Besides from 20’s to 30’s H.N.White Co. could propose 3 sax and brasswinds lines with different price ranges: “KING”(1st.line), “Cleveland” and “American Standard” (both 2nd line).
In 1932 were made new models of Alto and Tenor sax, known as “VOLL-TRUE II”.
In 1935 the early “ZEPHYR” models, really a “Voll-TrueII” modified saxophones especially for high-E mechanism.
Around in 1940-41, was introduced for “Zephyr line” the “socket neck” mechanism, to reduce clearance and dispersion among Neck and Body ; besides in 1939 KING introduced also a new “ZEPHYR Special”, many of these models were made with a Solid-Silver Neck.
After WWII in spite of many problems concerning world market troubles, KING introduced a new, legendary model,
The “SUPER 20”: the first models were substantially a “Zephyr”-modified with more elaborated bell or key engraving and with a different Neck which was a distinctive mark of this model, designed by Fred Meyer.
After “SUPER 20” was proposed also with a Solid-Silver neck and bell.
But already at the end of 60’s, KING saxophones quality including “Super 20” it begins to be really poor , especially when production was transferred from Cleveland (historic location) to Eastlake.
There was also a discontinued production of “Super20” till 1975, but in 70’s industry profits decreased.
From 1960 since 80’s KING imported a sax line too,
The “MARIGAUX” from French SML (Strasser-Marigaux-Lemaire), it was very similar to SML-“Gold Medal II” model (No “rolled tone-holes” model), and than it was a SML not a King sax.
IN 1995 KING seems came back to past fame, announcing a new top professional model production: the “SUPER 21”.
It was shown in any exhibition and were made around a dozen saxophones, but after “Super21” project was quite left.
Actually KING (like Conn) is in a Industry Musical Company , under Selmer control, it makes only a student musical instrument line.
Keilwerth
The Keilwerth brothers were three: Max, Richard and Julius, this last began in early years of XIX century to work for KOLHERT company at Graslitz then in Czechoslovakia, this was first most important Firm for winds musical instruments in Germany; after this experience Julius and Max established their own workshop in 1925 just in their home.
In a first time they worked for many other small Companies or factories dislocated in Markneükirche- Germany, historic location of most important craftsmen and woodwinds/brasswinds in Germany, at 30 miles ca. from Graslitz, particularly for ADLER small and well-known musical instruments brand left after WWII and also for F.X.HǗLLER another small maker Max K. developed saxophone production in about 1923-’25; Max and Julius worked also for SELMER building the “Pennsylvania-Special” models.
“EARLY MODELS”_ It’s possible to find it with different various names as “King”, “Soloist”, “Deluxe”, “Exclusiv”, the same “Pennsylvania special” (Keilwerth stencilled) it can be considered among early Keilwerth saxophones.
All these models seems very influenced by Usa saxophones, especially from CONN-NewWonder models, not only about mechanics but also for any innovations as “microtuner neck” and “rolled tone holes”.
Many saxophones made in Germany since 30’s are very similar or equals, really they’re just few factories which make saxophones in Germany during these years, first of all Keilwerth brothers and Kohlert company they worked with.
In fact Julius K. began to work often giving sax Bodies and parts to some German brands, these last added only keys-mechanism and finishing, all began before and after WWII.
Before of WWII J.K. became one of most important saxophone maker in Germany, he had at this time around 150 workers, except for Kohlert Co. which had ca. 600 employees, there was no other comparable musical industries.
During war time there’s no informations about Keilwerth co., it’s known Nazi regime judged saxophone like a menace of “degenerate” West, but it’s real few companies still continued to make saxophones.
After war in 1948 Keilwerth co. dislocated in East Europe in Czechoslovakia was nationalized like other firms as “Amati”, F.X.Hüller, Kohlert which formed together a collective combine.
Richard K. just worked for “Amati” since 1949, Max K. since ’51; just Amati co. continued using for his saxophones models frequently same name of Keilwerth “Toneking” models; actually you can see many similar saxophones Amati or Keilwerth named “Toneking”.
IN 1947 Julius Keilwerth escaped to Nauheim in Germany where he returned to his activity with a new factory.
In 1962 he passed management to his son Josef.
Max K. during 50’s left Amati going to Germany, here he continued buiding saxophones for HOHNER Company since 1967, particularly creating a very good sax model “the President”.
Richard K. also left Amati moving to Markneükirchen in Germany where he established his factory building woodwind instruments, especially clarinets; he continued making saxophones for other companies,particularly for WELTKLANG Co. (already F.X.Hüller co.) in following renamed “B&S” Comp. (a division of JA-Musik).
KEILWERTH MODELS_
After early models, the most important saxophones produced by J.Keilwerth co. are 2 models:
“TONEKING” and “NEW KING” (from end of 30’s to 70’s): there are many versions of these models as the “Special” or the “EX” (Exclusiv) models, relly equals; on many saxophones it’s possible find “rolled tone holes” on each other no more.
They were made Bb Soprano, Alto, Tenor and Baritone models.
Lonely and regular diffenece about TONEKING and NEW KING Models (except for “Special” of both) was the High F#-Key usually absent on “NewKing”.
Really the “NewKing” could be considered as “younger brother” of “Toneking”, built poorest tools, materials relating to other model, however 2 models were equals except for engraving/name on bell.
Then high F# key was introduced on these models just few years before war.
Over all saxophones is engraved the characteristic brand “JK – the Best of the world” written inside a circle, it was Julius K signature.
There are 4 SERIES of these saxophones and looking easier to “NEW KING” it’s possible make a difference between:
“SERIES I” (from 10xxx to 20xxx ca.) _ Maybe the nicest models, built insecon half of 30’s, with beautiful Bell engravings, a Key correcting high E, with microtuner neck / rolled tone holes too.
“SERIES II” _ They were made probably from 500 to 1000 examples after WWII, just before/after Julius escaped in Germany.
They’re totally different by early first models, they missed “rolled tone holes” but had “bevelled tone holes” like Martin or Couesnon saxophones in this period.
It’s possible to meet also “Toneking-AMATI” models, a Keilwerth copy and on each other of them to see the JK signature.
“SERIES III” (from 21xxx to 45xxx ca.) _ It begins to find the characteristic beautiful “Angel-Wings” Keys-Guards (on Alto-Tenor models) describing an half-arc over all Bell-Keys till low C key, made of Plexiglas or metal.
Missing the mictoruner neck, on many models there’re rolled tone holes.
“SERIES IV” (from 45xxx to 905xx ca.)_ There’s no important changes regards to previous models, however were used poor materials and finishings, the “angel-wings” key-guards is missing.
About differences among AMATI and KEILWERTH “Toneking”, frequently (not always) on Amati saxophones there’s not JK signature and microtuner, never also the “angel-wings” keyguards and finishing are poor relating to Keilwerth models.
Present models “ST-90”, “SX-90”, “EX-90”(rolled tone holes) made in Series I-II-III-IV of last years can be considered as an evolution and involving of previous “Toneking”/”NewKing”.
In 1989 Keilwerth was purchased by Boosey&Hawkes company, and these last in 2003 sold Keilwerth to T’M Musical group.
KEILWERTH-“Stencil” Models:
Before war K. made saxophones for many German manufacturers, maybe producing also for Brands referable to same K. as “DORFLER-JURKA saxophones.
The collaboration with SELMER began in 20’s and also in following years since 50’s, with alto, tenor, Baritone models made by Keilwerth.
It was the 50’s model “BUNDY-“ or “BUNDY-Special-H&A SELMER”, they are same “Toneking” seriesIV, sold as intermediate-student model but very appreciated for quality and sound; on these we can find they’re marked “made in Germany” too.
Also BOOSEY&HAWKES co. after war asked saxophones to K., they’re intermediate level models, each one produced also with brand “Champion”.
Keilwerth Co. From 1965 to ’86 made for Herbert Couf director of WT-ARMSTRONG Co., 3 sax models marked “H.COUF-“ “SUPERBA I”, “SUPERBA II”, “ROYALIST”, also these very similar to “Toneking-Special” (Superba I) and “Toneking” (Superba II) this one without high F#-key.
In 60’s-70’s also KING-H.N.White imported Keilwerth saxophones, the “KING-TEMPO” models, very good quality instuments, similar to “NewKing-seriesIV”.
Recently in 1987 they were produced the “PETER PONZOL-KEILWERTH” saxophones, a limited edition of professional models made just for three years.
In a first time they worked for many other small Companies or factories dislocated in Markneükirche- Germany, historic location of most important craftsmen and woodwinds/brasswinds in Germany, at 30 miles ca. from Graslitz, particularly for ADLER small and well-known musical instruments brand left after WWII and also for F.X.HǗLLER another small maker Max K. developed saxophone production in about 1923-’25; Max and Julius worked also for SELMER building the “Pennsylvania-Special” models.
“EARLY MODELS”_ It’s possible to find it with different various names as “King”, “Soloist”, “Deluxe”, “Exclusiv”, the same “Pennsylvania special” (Keilwerth stencilled) it can be considered among early Keilwerth saxophones.
All these models seems very influenced by Usa saxophones, especially from CONN-NewWonder models, not only about mechanics but also for any innovations as “microtuner neck” and “rolled tone holes”.
Many saxophones made in Germany since 30’s are very similar or equals, really they’re just few factories which make saxophones in Germany during these years, first of all Keilwerth brothers and Kohlert company they worked with.
In fact Julius K. began to work often giving sax Bodies and parts to some German brands, these last added only keys-mechanism and finishing, all began before and after WWII.
Before of WWII J.K. became one of most important saxophone maker in Germany, he had at this time around 150 workers, except for Kohlert Co. which had ca. 600 employees, there was no other comparable musical industries.
During war time there’s no informations about Keilwerth co., it’s known Nazi regime judged saxophone like a menace of “degenerate” West, but it’s real few companies still continued to make saxophones.
After war in 1948 Keilwerth co. dislocated in East Europe in Czechoslovakia was nationalized like other firms as “Amati”, F.X.Hüller, Kohlert which formed together a collective combine.
Richard K. just worked for “Amati” since 1949, Max K. since ’51; just Amati co. continued using for his saxophones models frequently same name of Keilwerth “Toneking” models; actually you can see many similar saxophones Amati or Keilwerth named “Toneking”.
IN 1947 Julius Keilwerth escaped to Nauheim in Germany where he returned to his activity with a new factory.
In 1962 he passed management to his son Josef.
Max K. during 50’s left Amati going to Germany, here he continued buiding saxophones for HOHNER Company since 1967, particularly creating a very good sax model “the President”.
Richard K. also left Amati moving to Markneükirchen in Germany where he established his factory building woodwind instruments, especially clarinets; he continued making saxophones for other companies,particularly for WELTKLANG Co. (already F.X.Hüller co.) in following renamed “B&S” Comp. (a division of JA-Musik).
KEILWERTH MODELS_
After early models, the most important saxophones produced by J.Keilwerth co. are 2 models:
“TONEKING” and “NEW KING” (from end of 30’s to 70’s): there are many versions of these models as the “Special” or the “EX” (Exclusiv) models, relly equals; on many saxophones it’s possible find “rolled tone holes” on each other no more.
They were made Bb Soprano, Alto, Tenor and Baritone models.
Lonely and regular diffenece about TONEKING and NEW KING Models (except for “Special” of both) was the High F#-Key usually absent on “NewKing”.
Really the “NewKing” could be considered as “younger brother” of “Toneking”, built poorest tools, materials relating to other model, however 2 models were equals except for engraving/name on bell.
Then high F# key was introduced on these models just few years before war.
Over all saxophones is engraved the characteristic brand “JK – the Best of the world” written inside a circle, it was Julius K signature.
There are 4 SERIES of these saxophones and looking easier to “NEW KING” it’s possible make a difference between:
“SERIES I” (from 10xxx to 20xxx ca.) _ Maybe the nicest models, built insecon half of 30’s, with beautiful Bell engravings, a Key correcting high E, with microtuner neck / rolled tone holes too.
“SERIES II” _ They were made probably from 500 to 1000 examples after WWII, just before/after Julius escaped in Germany.
They’re totally different by early first models, they missed “rolled tone holes” but had “bevelled tone holes” like Martin or Couesnon saxophones in this period.
It’s possible to meet also “Toneking-AMATI” models, a Keilwerth copy and on each other of them to see the JK signature.
“SERIES III” (from 21xxx to 45xxx ca.) _ It begins to find the characteristic beautiful “Angel-Wings” Keys-Guards (on Alto-Tenor models) describing an half-arc over all Bell-Keys till low C key, made of Plexiglas or metal.
Missing the mictoruner neck, on many models there’re rolled tone holes.
“SERIES IV” (from 45xxx to 905xx ca.)_ There’s no important changes regards to previous models, however were used poor materials and finishings, the “angel-wings” key-guards is missing.
About differences among AMATI and KEILWERTH “Toneking”, frequently (not always) on Amati saxophones there’s not JK signature and microtuner, never also the “angel-wings” keyguards and finishing are poor relating to Keilwerth models.
Present models “ST-90”, “SX-90”, “EX-90”(rolled tone holes) made in Series I-II-III-IV of last years can be considered as an evolution and involving of previous “Toneking”/”NewKing”.
In 1989 Keilwerth was purchased by Boosey&Hawkes company, and these last in 2003 sold Keilwerth to T’M Musical group.
KEILWERTH-“Stencil” Models:
Before war K. made saxophones for many German manufacturers, maybe producing also for Brands referable to same K. as “DORFLER-JURKA saxophones.
The collaboration with SELMER began in 20’s and also in following years since 50’s, with alto, tenor, Baritone models made by Keilwerth.
It was the 50’s model “BUNDY-“ or “BUNDY-Special-H&A SELMER”, they are same “Toneking” seriesIV, sold as intermediate-student model but very appreciated for quality and sound; on these we can find they’re marked “made in Germany” too.
Also BOOSEY&HAWKES co. after war asked saxophones to K., they’re intermediate level models, each one produced also with brand “Champion”.
Keilwerth Co. From 1965 to ’86 made for Herbert Couf director of WT-ARMSTRONG Co., 3 sax models marked “H.COUF-“ “SUPERBA I”, “SUPERBA II”, “ROYALIST”, also these very similar to “Toneking-Special” (Superba I) and “Toneking” (Superba II) this one without high F#-key.
In 60’s-70’s also KING-H.N.White imported Keilwerth saxophones, the “KING-TEMPO” models, very good quality instuments, similar to “NewKing-seriesIV”.
Recently in 1987 they were produced the “PETER PONZOL-KEILWERTH” saxophones, a limited edition of professional models made just for three years.
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