![Alto Alto](/uploads/1/2/5/8/125853756/778412027.jpg)
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French Alto Saxophone, Henri Selmer, Paris, 1969, Model Mark VI, serial number M173199, with case.
The Selmer Mark VI is a professional model saxophone that is generally considered the Selmer Company's best saxophone (many say, the best saxophone period) and is preferred by many jazz musicians. These have included Phil Woods, Paul Desmond, Bob Mintzer, Wayne Shorter, Stanley Turrentine, Michael Brecker, Candy Dulfer, Chris White, Bob Berg, Sonny Rollins, Dexter Gordon, Stan Getz, Eddie 'Lockjaw' Davis, King Koeller, Bill Clark, Ed Rusk, Branford Marsalis, Victor Goines, Dick Oatts, Eric Marienthal, Peter King, John Coltrane, David Sanborn, Lee Konitz, LeRoi Moore, Kenny G, Jazz Hamilton, and numerous others.
The Mark VI was introduced in 1954 and was available in alto, tenor, soprano, sopranino, baritone and bass saxophones for nearly 20 years until the introduction of the Mark VII model in 1975; however, there were no Mark VII sopranos, sopraninos, baritones, or bass saxes as these continued to be the Mark VI design until introduction of the Super Action 80 saxophones. There are reports of a select number of baritone saxophones labeled as Mark VIIs but these horns are of the same design as the Mark VI. The entire line of Selmer horns was not revamped until the introduction of the Super Action 80 series in 1980. In 2005 Selmer introduced the Reference 54 series, whose design, look, feel, and sound was patterned after the Mark VI.
The Mark VI was made in France and originally imported in parts to the United States in order to avoid import tariffs. They were shipped unassembled and with no engraving to the United States. They were then assembled and engraved in Elkhart, Indiana. The Mark VIs from this era have a few notable features that separate them from their French-assembled siblings.
Bell of a Selmer Mark VI Alto Saxophone in the 80,000 serial number range.
The 'American' engraving is generally of a flower and does not appear on the bow of the saxophone. Early examples of these saxophones have a serial number on the neck of the saxophone. It is believed that they were stamped with a serial number prior to exportation in France so that they could be matched upon arrival in the US. Eventually this practice was dropped. It is also believed that not all saxophones leaving the Elkhart factory had matching neck and body serial numbers. Technicians in the US also purportedly swapped necks to optimize the sound, which leads some to believe that American saxophones have better quality control than its French-assembled sibling. In the Japanese market, American Mark VIs are seen as more oriented toward jazz, whereas French saxophones are seen as catered to classical. It is believed that the difference in lacquer makes the American Mark IVs 'brighter' than the 'darker' French variants. Consequently, the Elkhart-assembled VIs are in greater demand in Japan. However, Selmer has never officially verified differences in quality-control or lacquer, so the perceived impact of the origin of assembly on the sound largely remains as speculation.
Aesthetically, the French-assembled saxophones have a more elaborate engraving, generally of a Fleur-de-lis and on the bow. In addition, the necks on the French instruments have a painted blue Selmer logo, whereas US-assembled Mark VIs are unpainted.
The design of the Mark VI evolved over time. Switching over from its predecessor, the Super Balanced Action, Selmer's earliest models were often transitional, incorporating design elements from both the preceding and the current saxophone. Tonally, early examples are considered to have a 'dark' tone, while later examples are thought of as having a 'bright' sound. The bore of the instrument changed throughout the history of the Mark VI. The shape of the bow was increased during the 90K serial number range to address certain intonation issues. In subsequent years the short bow was reintroduced. Latter-year Mark VIs gained a reputation of being lower quality than early versions (possibly due to Selmer's higher annual production output of the popular saxophone), leading to a greater demand of early-year Mark VIs with a five-digit serial number.
The high F♯ key also shows up on various serial number ranges, though some players believe that instruments without the high F# key have better natural intonation. There are also somewhat rare low A alto and baritone models. The low A baritone is especially sought after, whereas the low A alto model is somewhat less desirable (which presumably suffered intonation issues). Nonetheless, Ornette Coleman plays a low A alto.
The quality and ergonomics of the keywork design of the Mark VI can be observed in current saxophone designs: most modern saxophones have keywork that is influenced by the basic Mark VI design.
Years of Production by Serial Number
1954- 55201-59000
1955- 59001-63400
1956- 63401-68900
1957- 68901-74500
1958- 74501-80400
1959- 80401-85200
1960- 85201-91300
1961- 91301-97300
1962- 97301-104500
1963- 104501-112500
1964- 112501-121600
1965- 121601-131800
1966- 131801-141500
1967- 141501-152400
1968- 152401-162500
1969- 162501-173800
1970- 173801-184900
1971- 184901-196000
1972- 196001-208700
1973- 208701-220800
1974- (After 231,000/Mark VII) 220801-233900
1955- 59001-63400
1956- 63401-68900
1957- 68901-74500
1958- 74501-80400
1959- 80401-85200
1960- 85201-91300
1961- 91301-97300
1962- 97301-104500
1963- 104501-112500
1964- 112501-121600
1965- 121601-131800
1966- 131801-141500
1967- 141501-152400
1968- 152401-162500
1969- 162501-173800
1970- 173801-184900
1971- 184901-196000
1972- 196001-208700
1973- 208701-220800
1974- (After 231,000/Mark VII) 220801-233900