C Melody Saxophone Forum

Swirve.com Links: Swirve.com Free Email Games Fantasy Sports E-Cards Movies Horoscopes Freebies Web Search

NOTICE: Beginning July 10th, 2008, this message board service will no longer be active or available for use.

C Melody Saxophone Forum / C-Tenor (C-Melody) Saxophones / Harwood Pro

Trace
User ID: 8506593 Feb 16th 7:25 AM
Does the "professional" in "Harwood Professional" mean anything? Is this a "professional grade horn?

cmelodysax-uk
User ID: 8200143 Feb 16th 8:13 AM
Sadly, the word 'professional' neither meant that it was (or wasn't) a pro horn. Most pro's used the 'name' varieties, i.e Conn, Buescher etc.

Stencils were sold, in the main, by stores or dealers, so it was an attempt to inflate the status. Another one is the Lyon & Healy "American Professional"

Happily tho' - as the stencils were built by Conn, Buescher, Martin etc., they were (imho) frequently as good as the 'named' models, but without some features (e.g. without Conn rolled toneholes, or Buescher snaps). But as there were effectively no 'student' models back in the 20's, chances are it'll play just as well....

Harwood Pro's were, I think, made by all 3 makers mentioned above at some time in the 20's - any idea what yours is ? Any pics ?

Kristen
User ID: 0352454 Feb 16th 8:49 AM
I'v got a Harwood Professional tenor which is as Alan says - a Buescher without snap in pads. Otherwise it seems to have everything my Buescher c-mel of the same era has.

trace
User ID: 8506593 Feb 17th 12:47 PM
no, it was a listing on ebay --still there --Item number: 7391115283
Krister: I also have a buescher but I did't realize it had "snap in" pads. I have several c mels, but the buesher is the one I like. I want to try a martin and a king.

Mel: so in the 20's and 30's, "professional" wasnt' yet a term to describe the quaility of a horn. Thanks. I'm thinking Martin, King, Buescher and maybey Selmer Paris?

cmelodysax-uk
User ID: 8200143 Feb 17th 1:44 PM
I don't suppose the 20's are a lot different that today - if you saw a new sax advertised as a 'pro' model (as was an Earlham) today - would you believe it ?

Martin & King both have bigger, gutsier sounds, and more in reserve than the Buescher (imho, with the right setup), but for smokey-smooth the Buescher is great.... I have all three, and the Buescher is of more slender dimensions (to put it subtly). See the "Time to stop collecting ?" topic at www.c-melody.co.uk for a pic of my three.

You don't mention Conn, they were certainly pushed as the 'pro' of the time, the straight-necked one, certainly. Your choice may be restricted to certain models or years if you like having the aux front-F key.

cmelodysax-uk
User ID: 8200143 Feb 18th 5:10 AM
trace - here's one of those "Earlham pro's" - nothing's changed in 80 years...

http://cgi.ebay.co.uk/Earlham-Alto-Sax-Professional-Series-2-mint-condition_W0QQitemZ7389819694QQcategoryZ16232QQrdZ1QQcmdZViewItem

trace
User ID: 1007814 Feb 18th 9:36 PM
o.k. so "pro" means nothing.

I actually have one of those straight neck conns (needs a little work), but I don't like the feel of it and it sounds harsh to me. I guess that's what people like about it--the "big" sound? I think the buesher is for me cause I like the "smokey" sound. I wanna sound like stan getz on a c melody. (started out on flute and can't change to Bb)

Are saying the Martin and the King will sound "big" (harsh) ? Maybe I should be satisfied with my Buecsher. I also have a Wurlitzer that might be a Martin or Buescher--it sounds soft (smokey?) too and I like it.

cmelodysax-uk
User ID: 8200143 Feb 19th 12:18 PM
trace, I wouldn't agree with you that 'big=harsh', just sometimes we need a range of dynamics to cope with exciteable (and loud) guitarists and/or keyboard players. It isn't all down to stuffing a mic down the bell of a sax.

Stan Getz would have found it hard in a blues band, or even in a section of more forceful players. The C-Mel, by design, has more of a natural 'parlour voice', but things have moved on a little since the 20's.

The Buescher was prized for it's smoothness, so if it suits, great. Remember that a lot of the sound comes from the player, so even if you play a 'big' horn, it may still be a smoothie for you. Same way that a 'rasper' could probably ellicit that sort of sound from a Buescher.

Captain Muggles
User ID: 8945823 Feb 19th 4:15 PM
The sound comes from within (The Player)! The reed-mouthpiece combination is of equal importance!

Eric
User ID: 0958254 May 3rd 10:12 PM
Harwood was the house brand of the Jenkins Music Co. in Kansas City.

Trace User ID: 8506593	Feb 16th 7:25 AM Does the "professional" in "Harwood Professional" mean anything? Is this a "professional grade horn?
cmelodysax-uk User ID: 8200143	Feb 16th 8:13 AM Sadly, the word 'professional' neither meant that it was (or wasn't) a pro horn. Most pro's used the 'name' varieties, i.e Conn, Buescher etc. Stencils were sold, in the main, by stores or dealers, so it was an attempt to inflate the status. Another one is the Lyon & Healy "American Professional" Happily tho' - as the stencils were built by Conn, Buescher, Martin etc., they were (imho) frequently as good as the 'named' models, but without some features (e.g. without Conn rolled toneholes, or Buescher snaps). But as there were effectively no 'student' models back in the 20's, chances are it'll play just as well.... Harwood Pro's were, I think, made by all 3 makers mentioned above at some time in the 20's - any idea what yours is ? Any pics ?
Kristen User ID: 0352454	Feb 16th 8:49 AM I'v got a Harwood Professional tenor which is as Alan says - a Buescher without snap in pads. Otherwise it seems to have everything my Buescher c-mel of the same era has.
trace User ID: 8506593	Feb 17th 12:47 PM no, it was a listing on ebay --still there --Item number: 7391115283 Krister: I also have a buescher but I did't realize it had "snap in" pads. I have several c mels, but the buesher is the one I like. I want to try a martin and a king. Mel: so in the 20's and 30's, "professional" wasnt' yet a term to describe the quaility of a horn. Thanks. I'm thinking Martin, King, Buescher and maybey Selmer Paris?
cmelodysax-uk User ID: 8200143	Feb 17th 1:44 PM I don't suppose the 20's are a lot different that today - if you saw a new sax advertised as a 'pro' model (as was an Earlham) today - would you believe it ? Martin & King both have bigger, gutsier sounds, and more in reserve than the Buescher (imho, with the right setup), but for smokey-smooth the Buescher is great.... I have all three, and the Buescher is of more slender dimensions (to put it subtly). See the "Time to stop collecting ?" topic at www.c-melody.co.uk for a pic of my three. You don't mention Conn, they were certainly pushed as the 'pro' of the time, the straight-necked one, certainly. Your choice may be restricted to certain models or years if you like having the aux front-F key.
cmelodysax-uk User ID: 8200143	Feb 18th 5:10 AM trace - here's one of those "Earlham pro's" - nothing's changed in 80 years... http://cgi.ebay.co.uk/Earlham-Alto-Sax-Professional-Series-2-mint-condition_W0QQitemZ7389819694QQcategoryZ16232QQrdZ1QQcmdZViewItem
trace User ID: 1007814	Feb 18th 9:36 PM o.k. so "pro" means nothing. I actually have one of those straight neck conns (needs a little work), but I don't like the feel of it and it sounds harsh to me. I guess that's what people like about it--the "big" sound? I think the buesher is for me cause I like the "smokey" sound. I wanna sound like stan getz on a c melody. (started out on flute and can't change to Bb) Are saying the Martin and the King will sound "big" (harsh) ? Maybe I should be satisfied with my Buecsher. I also have a Wurlitzer that might be a Martin or Buescher--it sounds soft (smokey?) too and I like it.
cmelodysax-uk User ID: 8200143	Feb 19th 12:18 PM trace, I wouldn't agree with you that 'big=harsh', just sometimes we need a range of dynamics to cope with exciteable (and loud) guitarists and/or keyboard players. It isn't all down to stuffing a mic down the bell of a sax. Stan Getz would have found it hard in a blues band, or even in a section of more forceful players. The C-Mel, by design, has more of a natural 'parlour voice', but things have moved on a little since the 20's. The Buescher was prized for it's smoothness, so if it suits, great. Remember that a lot of the sound comes from the player, so even if you play a 'big' horn, it may still be a smoothie for you. Same way that a 'rasper' could probably ellicit that sort of sound from a Buescher.
Captain Muggles User ID: 8945823	Feb 19th 4:15 PM The sound comes from within (The Player)! The reed-mouthpiece combination is of equal importance!
Eric User ID: 0958254	May 3rd 10:12 PM Harwood was the house brand of the Jenkins Music Co. in Kansas City.