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Howdy from Westminster, MD


Howdy, All. Newbie here. Found this forum by doing some surfing, looking for articles on vintage axes.

My current stable consists of the following:
C Piccolos - mid 1960's wooden Geminhardt, early 1930's silverplate George Haynes
Db Piccolo - three digit ser # wooden Wm S Haynes
Flutes - mid 1970"S Armstrong "Heritage" Thinwall, Armstrong Model 102, Nacht Meyer 8 key
Clarinet - late 1950"s Buffet, 1930's Comet et Cy
Bass Clarinet - early 1950's Noblet
Soprano Sax - 1920 Buescher "Tru-Tone"
Alto Saxes - 1930 Selmer "Cigar Cutter", 1920 Martin stencil "American Professional"
Tenor saxes - 1928 Selmer Modele 26 & 1929 "Super Sax"
Bari Saxes - 1908 Buescher "Tru-Tone", 1950's Antonio Santini
Oboe - 1990's Selmer "Bundy"
Bassoon - 1030's Kohlert
Assorted tin whistles and other toys,
and an 1860's fife, which I played when I worked with the Williamsburg Fife and Drum Corps


Senile Member. Scandinavian Ambassadour of CaSLM
Hi picconose, welcome to the Cafe :)

Impressive collection you got there.


ex Landrover Nut
Big welcome from me as well. Hope you get time to play all those old instruments!


Try Hard Die Hard
Hi Picconose

Welcome to the cafe,hope you enjoy being with us sax nuts...john

Young Col

Well-Known Member
Hi. I nearly misread that as Westminster MP and thought we had a joiner from our UK Parliamentary Jazz Society (especially as we had a recent thread about the Parliamentary Jazz Awards), but no matter you're still just as welcome from Maryland!
Like the Ben Webster quote. Not entirely sure what he meant but words from one of the masters are worth savouring.


Welcome Picconose, it must be like living in a museum at your place/ fantastic collection do they all play?



New Member
Hi there Picconose!!
I'm really impressed with your collection!!! Hope you've got time to play with all these!!!
But anyway... Welcome to the sax Locos!!:sax:

old git

Tremendous Bore
Welcome to the caff, picconose.

No nose flutes? If not, your user name is slightly misleading. I cannot really complain as I am a naive seventeen year old blonde, still at Convent School.



Well-Known Member
Welcome to the Cafe ...

Hey hey Picconose ...

Glad you found us mate ...

You sure have a fine and varied collection there ...

I saw in another thread - you are a clockmaker by trade - and that you are happy to work on your instruments to repair them ... :welldone ;}

These a great skills, which must be very satisfying ...

Two Voices

Senior Member
Hi Picconose,

Welcome to the Cafe! Very impressive collection of instruments you have!

I'm tempted to get a Piccolo as my next instrument but will problably end up with a Flute!



Among the pigeons
That old bassoon has been around a long time, how many owners has it had?.


ex Landrover Nut
I heard that Edward the Confessor was a mean player...
Is that where Händel got his idea for The Water Music from?

Edit - I've just realised that I mixed up Canute with Edward the Confessor :blush:
Last edited by a moderator:


Responses to a couple of comments, but first - I have to add that just for S & G, I have been surfing some references about vintage horns. Turns out my Selmer Super is some sort of transitional between the SUpers and the aRadio Improved - has all the features of the Ser no 19xxx Radio Improved in the Vintage Sax photos on the USA site, but not the Radio Improved Bell stamp - also has a suffix letter in the seril number, which I have never heard of on Selmer saxes of that vintage. MY Conn C melody is a "New Wonder" Series 1, straight neck, finish No 4 (silverplate and standard engraving)

Now - on to responses:
Yes, I play them all. I do a lot of theater work, so usually am packing from three to five instruments to each gig. The most I ever had to have at one show was 10 for the Reed I book for The Secret Garden. (piccolo, flute, alto flute; sopranino, soprano, alto recorders; tin whistles in F, D, Bb, and Low D; panpipes; and Bb clarinet) I do not own, and did not use a sopranino recorder or panpipes; I played those parts on piccolo. I borrowed an alto flute from a friend of mine, with whom I split the gig. (The next two major purchases are going to be a decent headjoint for my flute, and an alto flute. But I have to save my pennies, 'cause each is going to set me back about $2000 US)

A couple of years ago, I decided thqt if I was serious about theater work, I needed to learn double reeds. That is why I have a basoon and an oboe. The Kohlert bassoon is pretty old (no whisper key) but I got it to teach myself the basics of how to play the thing. I got it on eBay for only $350 US, so you can imagine how terrible it is. It had no varnish left on it, so I bought a can of spar varnish from my local hardware store, and stripped the keys and brushed on two coats. It is prettyt ugly, but it seals the wood. The upper ring was missing, so I made one from a piece of scrap I had floating around in the metal bin. That was funny stuff to turn - it seemed to make a lot of dust, and smelled funny, kind of like real old aluminum. So I took a small amount in a coffee can outside and touched a lit match to it - SUPER BIG FIRE!!!! I guess I have the only bassoon in the world with a magnesium top ring. I have concluded bassoon is a lot like saxophone; it is a very easy instrument to learn to play BADLY. LOL _ I am not yet ready to play it in public; and my oboe playing is worse. I never know what is going to come out of that thing when I stick it in my mouth. I think it is posessed, hates me and stalks me sometimes while I am sleeping. :)

Because I do so much theater work, and becasue I have, like most of the world, a limited budget, my secondar hoirns are really second line instruments. I have them as backups for when the others are in the shop. I can repair clocks, but I don't work on my own horns; that is an entirely different art form.

As to buying a piccolo instead of a flute for a "double" instrument, I don't recommend it. There is not nearly as much call for piccolo, and it is a vastly more difficult instrument to play in tune than flute is. I was a flute major/tenor sax minor during my four year enlistment in the US Navy. I had the good fortune (some would say misfortune) to be stationed for three years in a shore-based band. That meant we were used as a "holding" unit for guys who did not have enough time left in their enlistment to serve out a full cruise. So we always had a lot of reed players around who doubled on flute. The Navy did not issue piccolos to people who were not flute majors, so I played mostly piccolo for those three years. Because I was playing an average of six to eight hours a day, five or six days a week, I got very good on piccolo, despite my best efforts. :) (My only musical regret is that I did not take Arthur Feidler's offer to audition for the Utility Flute/Piccolo chair with the Boston Symphony - I have often wondered if I was really that good. But as the great ball player, Sachell Paige once said, "Don't look back; someone might be gaining on you.") But as to intonation, there is a reason for the old joke:
Q: How do you get two piccolo players to play in unison?
A: Shoot one of them.

So my advice to would-be doublers is, start with a flute. If you later want to add another instrument in the flute family, get an alto flute. Go for piccolo as a third choice, unless you are going to be playing in a concert or marching band.
Saxholder Pro

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