VINTAGE 1948 MARTIN COMMITTEE TRUMPET W/ ORIGINAL CASE Start Price USD 1,695.00 Current Price USD 1,695.00 Time Left - Bid Count 0 Buy It Now Price USD 1,750.00 Reserve Price - Start Time Friday, October 03, 2008 End Time Friday, October 10, 2008 Location Ware, Massachusetts See more about 'VINTAGE 1948 MARTIN COMMITTEE TRUMPET W/ ORIGINAL CASE ' Description                                                                          UP for your consideration is this                                            VINTAGE 1948 MARTIN COMMITTEE TRUMPET W/ ORIGINAL CASE.... made in usa  . THIS VINTAGE 1948 MARTIN COMMITTEE TRUMPET W/ ORIGINAL CASE  IS IN GREAT PLAYING CONDITION..THERE IS ENGRAVING  ON THE TRUMPET INDICATING IT IS THE SELECT COVETED " THE MARTIN " COMMITTEE MODEL.. AND THAT IT WAS MADE IN ELKHARDT INDIANA... USA ...   BENIFIT FROM NEW CORKS ON THE SPIT VALVES.... BEAUTIFUL ACTION,NO CREASING, VALVES WORK FREELEY.... APPEARS TO NOT HAVE HAD ANY SERIOUS REPAIRS ....ASIDE FROM SOME SURFACE RED ROT AND ONE SMALL DENT IN THE LEAD PIPE AT THE THE OUTSIDE OF THE FIRST BEND , AND A FEW SMALL DINGS..THIS INSTRUMENT IS IN NICE SHAPE... ALL ORIGINAL... THE  SERIAL NUMBER IS 168293 INDICATING IT WAS MANUFACTURED IN 1948..... IT IS A SWEET INSTRUMENT...  JUST A BEAUTIFUL INSTRUMENT... YOU WILL NOT BE DISAPOINTED-WONDERFULL TONE.....THIS IS THE MODEL USED BY MANY OF THE JAZZ GREATS... , DONT TAKE MY WORD,...DO A LITTLE REASEARCH AND YOU WILL SEE FOR YOUR SELF....  COMES WITH THE ORIGINAL MARTIN BROWN CASE WITH VINTAGE MARTIN LOGO AND THE VINTAGE LYRE FOR ALL YOU MARCHING JAZZ PLAYERS!...VINTAGE VINCENT BACK N.Y. 7C MOUTHPIECE INCLUDED... PLEASE VIEW PICTURES    THE FOLLOWING IS SOME RESEARCH THAT I HAVE SCRATCHED UP ON MARTIN AND THIS COMMITTEE TRUMPET. (please note i did not wrtite the following and it is meant purley as back ground to the instrument ...not gospel!) Committee In 1939, the Committee Handcraft, a company trade name at that time, was Introduced and became the top of the line. It was made with standard type water keys. These horns are identical to the later models except for the water keys, and play well, but are not as desirable because they lack the look of the more popular later horns. For pictures of Ted Carson's beautiful 1940 Handcraft Committee, go here. Here is picture of the slightly later Committee, with the famous water keys (along with the rare first valve trigger). From the 1938 Martin catalog, introducing the Handcraft Committee: Designed and built for YOU--to enhance YOUR playing and permit YOU to do the fullest justice to your ability and talent. The Committee--composed of player artists of symphony, radio and recording studio orchestras, dance bands, military and concert bands--who in collaboration with Martin craftsmen designed this trumpet, thought of everything and overlooked nothing in order to insure perfection of the instrument. To appreciate it, you must actually play it in regular routine. DON'T LOOK!!--LISTEN!! Don't look for "gadgets" because there are none. You will, however, find the traditional Martin craftsmanship incorporated in a trumpet of startling beauty. Listen for a tone of true trumpet character; resonant and bold (Ren Schilke with Chicago Symphony playing AIDA, etc.) Experience the flexibility which permits from this same instrument a quality as tender as a caress (Rafael Mendez playing DARK EYES, etc.) Listen to faultless intonation throughout all registers (Charlie Spivak, Kurt Schmeisser, Dana Garrett, Fred Berman, etc.) Test the response; the slightest attack produces tone but yet, you can give it all you've got and it will "take it" (Bunny Berigan, Charlie Teagarden, etc.) Actually, everything you could possibly want is built right into the Committee Martin. Mechanically, it's equally satisfying; the valve action is the finest ever--light, positive, fast and dependable. Listen to Rafael Mendez play "Flight of the Bumblebee"; no action but the very finest could keep pace with his technique. Pumps are made of a new alloy which will never discolor or corrode if a high grade oil is used as recommended. EXCLUSIVE FEATURES Martin built by the most skilled artist craftsmen in the band instrument industry! Designed to the specifications of top-notch players! Tested and retested during actual performances on the concert stage, in rehearsal halls, radio and recording studios, ballrooms, hotels and cafes! It's a trumpet built for sincere trumpet players who possess the ability to recognize and appreciate true musical and mechanical excellence.   The Committee came in the following bores: a small bore, #1 (0.445) medium bore #2 (0.451), sometimes designated with a star above the serial number extra large bore #3 (0.468). The most popular horns were the medium bore and the extra large bore. It is rumored that a medium large bore (0.460) horn was made, but they are very scarce, if they exist at all. The Committee had solid nickel valves with hard nickel plating. Instruments with serial numbers between 140,000 and 210,000 are apparently the most valued but good horns were produced later and earlier than those dates. The bell engraving was very stylish. A Dizzy Gillespie version with the upturned bell was also made and are currently worth double the standard bell configuration. For pictures of this, go here. Dizzy played Committees before he bent the bell. For pictures of one that might have been his (it has his named engraved on it), go here. I've never seen a trumpet as heaviliy engraved as that one. A Deluxe version of the Committee was also made with nickel silver slides and parts. Some Committees also have extensive artistic engraving. For pictures of Bill Faust's beautiful gold plated 1949 Committee with amazingly ornate engraving, go here. The Committee dominated the post war jazz world. Committees were played, at least at some point in their careers, by: Chet Baker (large bore, early in his career), Bill Chase, Miles Davis (whose loyalty to the horn is almost magical), Clifford Brown, Conte Candoli, Art Farmer, Maynard Ferguson (the MF Horn by Holton is thought to be based on the #3 bore Committee), Dizzy Gillespie, Al Hirt, Blue Mitchell, Lee Morgan, Red Rodney, and Clark Terry. The popularity of these older horns remain. Currently, light jazz player and Sting collaborator Chris Botti plays a 1939 large bore Handcraft Committee (his own website misidentifies the model) and Wallace Roney , as he explains below, plays both classic Committees and the modern versions. Perry D´Andrea describes the features of the classic Committee and attempts to understand its popularity. The old Committee has a warm-dark-amber-glow to the sound that no other horn can come close to duplicating. There's no other horn out there, new or old, that plays quite like a Committee. Some of the brand new pro horns of various makes have a "fatter" sound, that new, fat, spread-out, big-bottom sound with a biting, projecting edge that bounces off the back wall, that almost ALL new pro horns have. It almost has a cliched commercial quality to it, it's become so rampant now. And it has less density. That sound is nothing like the much denser yet still rounded warm, pancakes on the griddle in the back room sound of the Committee. As I understand it, the unique feature of the older Committees that was so much dug by the vintage jazz players was the fact that the Committees did NOT slot well. Rather than bite into a pitch, the Committees easily slid up and down on a pitch. I feel that about my 1949 Committee and use it for that effect. Players, like Miles, who loved to manipulate individual pitches, naturally gravitated to the Committee. Of course, that's the same feature that others describe as difficult intonation. Wallace Roney describes a couple of Committees from Miles Davis' collection: I have two of Miles Davis's horns of these vintages. One is an all copper Committee, black and copper color with a medium bore that progresses to a large bore. I also have a blue one that is a RMC Martin. It starts at . 342 in the leadpipe, at the end of the leadpipe, is . 453, the tuning slide, tapers to 460. The end of the tuning tube, is 462, and through the valves, it's 468 and the bell-tail is . 474. This is an amazing horn--it's all brass, but the inner slides are all nickel/silver. I've been trying to find another horn like that all my life, but can't seem to find one, because I do not take this horn out, although I've used it on some of my best recordings. Although both horns play magnificently, I've been trying to find one just like this particular Martin Committee. I've also seen a photo of Dizzy Gillespie playing this same vintage only with a solid silver bell, and no it wasn't his King trumpet. Although primarily thought of as a jazz trumpet, there were a number of orchestral players and recitalists, including Armando Ghitalla, who also played the Committee, especially prior to the Bach C trumpet dominance of recent times. The current Martin Committees made by Holton/LeBlanc: Dave Miller, who loves and knows as much about Committees as anybody, has this to say about the newer version of the Committee: The main difference is the leadpipe/crook configuration, particularly its bore. With the older Martin, the bore expands as it makes the curve of the main tuning slide. Now I see Callet and others using this design. With the new Martin, the bore remains the same. Leadpipe-to-bell bracing is pretty much the same. However, the brace within the two receivers of the #1 slide are gone. The back bell bow on the new Martin is not as round as the original Martin. The newer Martin bell is slightly larger too. The location of the water key nipple is now located where most manufacturers position theirs. The original Martin's were more to the side (and higher), and resulted in a "spitty" sound quicker than most horns, since the moisture could not collect in the nipple. You'll hear Miles "get wet" quite often in his older recordings. By installing Amado water keys on my horn, I guess it comes closer to the original, at least as far as spittiness in sound is concerned. And of course, the pistons are different. I prefer the monel of the new, but here's what gets me about Holton-made products--the blasted valve stems. The valve stems of the new Martin (as well as most Holtons) are nickel plated brass. The action would be so much quicker if Holton would tool some anodized aluminum valve stems for some of their products besides their student horns. Unfortunately, those particular stems will not fit on the Martin or MF horns. Bach stems will not fit either. The lighter weight of the aluminum stems could really make this horn take off, in my opinion. As it is now, valve action is "weighty". This is one thing I am still trying to get right on my newer Martin. The real question should be "How does the sound compare to the original?". In my case, I really love the sound, and believe it or not, on some classical things, like the Charlier. The new Martin has several characteristics of the old. One is the slight distortion on the lower end. You can really hear this when slurring from low C to D. The vibrations set up in the horn interfere with the tone. This is a classic feature however. Listen to some Miles and you'll hear what I am talking about. I am of the belief that it is the light bracing of the bell that causes this distortion. It is also this light bracing that caused one famous trumpet player to end up playing an upswept bell Committee after someone tripped over his horn. Martin produced several of these horns for Dizzy and his band after the accident. The pure tone of the new Martin is quite nice. Response is a bit different than the old ones, but in my opinion, it is more even. The two things that I think would improve the newer Martin would be: Go back to the original design and configuration of the leadpipe and tuning slide. Give me a quicker valve action. Throw away all those tooled brass stems and go aluminum. Renold Schilke, towards the end of his life, also noticed the differences in the then newly released new version. As Wallace Roney tells the story, Mr. Schilke met Larry Ramirez [the designer of the new Committee] at [Schilke's] last Brass Conference before he died [in 1982], and in his usual gruff way strolled over to the Martin booth, and said "let me see what you all did with my trumpets! " He looked at it, felt the outside of the horn and it's tubing, looked at Larry and said, "Boy, you all really messed up my horn, you all don't know what you are doing over there." Larry humbly said to him, "Master Schilke, I humbly respect you, can you please tell me what I'm doing wrong?" Mr. Schilke smiled, and put his arm around him, took him in the back, and told him everything for hours. The next day, Mr. Schilke would visit Larry's booth, and he stated "you're going to be all right kid." He told Larry that he also used to work for Holton, but the Martin Committee was his pride and joy until he started making his own horns. LeBlanc/Holton announced in 2004 that they had recently measured the trumpet of "smooth" jazzer Chris Botti, a vintage committee, and they plan to introduce into production a copy of that early Martin Committee model. Perhaps the deficiencies of the current LeBlanc Committee model will the rectified. For more information about that, go here. Whether this project survives the purchase of G. Leblanc by Conn-Selmer, Inc., the wind instrument business's 600 pound gorilla, is anybody's guess.         The glare in pictures is from the overhead lights .  Please view the photos and ask questions before bidding .          If someone comes in and offers the buy it now price it will  be removed from e-bay. If there is a first bid on the item the buy it now option will  no longer be available and the item will be sold to the highest bidder.        If there are any questions please direct them to  Marc at   susiesguitars@gmail.com or click on the contact seller link in this auction.                               BID NOW-NO RESERVE-LOW BUY IT NOW Place a Bid!