Whatever the explanation,
this particular Super 20 alto is especially blessed. It's been played,
but well maintained. It is a saxophone with 'experience', the sort of horn
that makes a statement about the player who takes it out of the case --
long before a sound is ever heard. There is a reason why a particular horn
gets played a lot. This one has the lush sound and slick action that instantly
reminds us why. It has that sort of Kirk Douglas set in it's jaw from the
bronzed warrior he played in Spartacus -- the one that says, "Victorious
I've been, and will be again".
If you examine this sax closely you see the lacquer is worn on the brass parts of the key touches, and on the usual spots where saxes naturally touch the player's body. Most of the lacquer is gone from inside the bell, as well. Still, the patina of these bare spots melds so well with the aged lacquer of the rest of the sax that what you see when viewing it is an overall vision of honeyed loveliness. Assessing lacquer coverage is very difficult on a sax like this one. It is probably about 70% in truth, though it has the appearance of a 90% plus, super clean horn. Some saxes look much better in pictures than in person. With this one the opposite is true. These pics -- fine as they may appear -- do not do this instrument justice. This alto has the second generation Super 20 pearl arrangement, which has a superior look and feel to the earlier flat keys that were much like those found on Zephyr Specials. The spatula cluster on this model is rounded and ergonomically sculptured for a feel you just have to experience to appreciate. The spatula action is a very natural and comfortable, reminiscent of the Selmer Super Balanced Action horns from the same period. It is in perfect playing condition, wearing near new premium pads with oversize domed plastic resonators. The horn can cut like a Silver Sonic or chill in the manner of Paul Desmond. The response to player input and different mouthpiece/lig/reed combinations is superb. Signature King features such as the 'eyebrow' key guards and conical pad cups are a gas. For strength and rigidity King used solid nickel silver rods for longer runs. These rigid rods combat stress and contribute to the Super 20's precise action. Thumbrest is also nickel silver. Note that the use of solid nickel silver is a quality touch, in no way comparable to the nickel plated brass keywork used on student model saxophones simply for surface endurance. Solid nickel silver keywork is found on a number of other legendary vintage saxophones. Among others, Martin used solid nickel silver on many of its great saxophones, Buescher used it on the fabled 400 "Top Hat & Cane, and Selmer even used some on the Mark VI.
The body of the instrument is virtually perfect and the double socket, solid sterling silver neck is in superb condition. The sax is not without its flaws however. If you run your fingers over the inside bow area you can detect where some dings have been rubbed out. You cannot visually detect this work, but it is there. If there is a tragedy concerning this sax it is that it apparently took a fall that bent the lower bell lip. This has been straightened, but is visually noticeable when looking directly into the bell and can be felt from the underside. This bell rim incident is what prompted the earlier comparison to Kirk Douglas's chin -- another rather noble, if flawed, classic feature that no one really would want to be any different. The repair job on this bell crease could be improved, but I cannot recommend work that risks changing the wonderful overall look of this fine instrument with no promise of improved performance. This great old gal has both class and character just as she is. Looks, sound and action -- she has it all. What more can the demanding player ask from an instrument? If you're ready to make classic music with a classic American alto saxophone your search is over....
Thank you for your interest in this fine vintage King "Super 20"alto saxophone, offered at $3,385, plus shipping. |
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