Steve Crow
Saxophone Specialist
◉ Repairs ◉ Modifications ◉ Tuning
Phone:0113 4400987
Mobile:07899 001099


New landline

01484 900788

078 99 00 10 99

stevecrowsax [at] gmail [dot] com



Dean Masser is a tenor saxophonist who is continuing the legacy of the greatest exponents of the instrument in the jazz idiom.

From an early age, Dean was exposed to the music of Duke Ellington and Count Basie, and the sounds of players like Ben Webster, Lester Young and Eddie Lockjaw Davis.

When he started to play saxophone in his teens, he was drawn to the big-toned, hard swinging style of Dexter Gordon, and later Sonny Rollins, John Coltrane, Johnny Griffin, Stanley Turrentine et al.

After studying at the City of Leeds College of Music for three years, emerging as saxophone prizewinner, he became a member of the Jack Parnell Quartet, which recorded a live album during a week-long stint at Ronnie Scott’s.

Since then, Dean has played alongside many of the leading names in British jazz at numerous venues and festivals. He has many television and radio appearances to his credit, and released his first album as leader in 2010.                                                                                    


Lara James is widely recognised as Wales'

foremost classical saxophonist and her varied

work as a musician extends from contemporary

classical to many other genres.


ROB BUCKLAND is internationally acclaimed as one of the most distinctive and versatile Saxophonists of his generation. Appearing as concerto and recital soloist, with his Equivox Trio (with pianist Peter Lawson and percussionist Simone Rebello), and with the Apollo Saxophone Quartet, Rob performs throughout the UK, Europe and Japan. Recent highlights include the British Premiere of Jacob TV’s Saxophone Concerto in May 2009, a solo performance of John Williams’ Concerto “Escapades” with the RLPO in Feb 09, and CBSO in Oct 09, a performance of Sir Harrison Birtwistle’s “Panic” Concerto at the Royal Festival Hall in London, at the invitation of the composer, a gala concerto performance by invitation at the 14th World Saxophone Congress in Slovenia, a performance with the Macau Chamber Orchestra and three performances with the Chinese National Symphony Orchestra in Beijing in the orchestra’s prestigious new-year concerts in Beijing, televised and broadcast to 1.5 million people. Forthcoming Concerto performances include the premiere of the orchestral version of Andy Scott’s Dark Rain (a double concerto written for him and John Harle) in the spring of 2010, and a performance of John William’s escapades with the Orchestra of Opera North in Feb 2010.



Andy Scott is a respected educator. As well as directing all size ensembles, giving workshops and master classes in composition, improvisation and ensemble technique at schools, colleges and universities across the UK, Andy is Tutor of Saxophone at the Royal Northern College of Music, and Saxophone Consultant at the Royal Welsh College of Music and Drama.




Mike Hall

Mike has been an active musician for thirty-five years. After playing the Mozart Clarinet Concerto with the Edinburgh Schools Symphony Orchestra he moved to saxophone with the National Youth Jazz Orchestra and to make frequent national broadcasts with composer/pianist Michael Garrick with whom he toured Malaysia in 1995.

Mike turned professional in 1993. Now, heading Jazz Studies at the RNCM, Mike teaches jazz improvisation, theory, history, saxophone and directs the RNCM Big Band and Jazz Collective. He also maintains a busy performance schedule all over the country.

Dave  o'higgins

“A stunning player in the neo-bop vein, with an apparently effortless flow of coherent ideas, beautiful time and a highly developed harmonic sense.”


Dave has played over the years with “everyone and their auntie” from Martin Taylor to Ray Charles, Matthew Herbert to Salif Keita. He has also done a fair amount of studio work (jingles, pop stuff, films, library), composes & arranges for jazz ensembles of all sizes, and teaches saxophone & harmony at the London Centre for Contemporary Music and Goldsmiths College.



Paul Dunmall

After turning professional at seventeen and touring Europe for one year with progressive rock group Marsupilami he moved to America and lived there for 3 years playing with many musicians including Alice Coltrane and toured with Johnny Guitar Watson for one year. On his return to the UK he worked with folk musicians Polly Bolton/Kevin Dempsey and groupings worked around the Dando Shaft band. In 1979 he became a founder member of the jazz group Spirit Level with pianist Tim Richards plus playing free improvised music with the Nigel Morris trio. At this time also Paul played in the London Improvised music scene.  In 1985 the group Tenor Tonic was formed with Alan Skidmore, Tony Levin and Paul Rogers. In 1987 Paul joined the London Jazz Composers Orchestra lead by Barry Guy and joined Danny Thompson's Folk/Jazz hybrid Whatever. The following year the outstanding collective quartet Mujician was formed with Keith Tippett, Tony Levin, Paul Rogers. Whilst playing in these groups Paul was also still playing in many ad hoc groups plus playing in several of Elton Deans ensembles. Since 2000 Paul is still freelancing and has been playing in the composer's Brian Irvine's 14 piece band. In 2003 Brian was commissioned by the BBC to write a full orchestral piece with freely improvised saxophone,


 John Helliwell. 

The first Helliwell official public appearance with Supertramp was in March ’74 at the Queens Club in Westcliff although he had also performed the new single with them on the BBCs “Rock On” some weeks previously. Recording for Crime of the Century was finished by June and released in September.




Munch Manship was born in Guisborough, in the North East of England in 1952.

An early interest in Jazz prompted him to take up the Saxophone. The late great Ronnie Asperey taught him and by the age of eighteen Munch was working as a professional musician. His first gigs were with the Gene Jarred Orchestra performing at the Marton Country Club near Middlesbrough. He then joined the Eric Delaney Band, touring the U.K. It was whilst being an itinerant musician he secured an engagement for the Mecca Ballroom Circuit. His first Mecca engagement being with Gene Mayo and his Orchestra at The Top Of The World Ballroom in Stafford.



Matt London


Matt has a growing reputation as a classical contemporary saxophonist and composer specialising on tenor saxophone and is committed to performing, commissioning and composing new music for the instrument. 

Matt completed his postgraduate studies at the Royal Northern College of Music in Performance and Composition with Rob Buckland, Andy Scott (saxophone) and Larry Goves (composition) graduating with a distinction. Matt continues his efforts to develop a modern soundworld of composition and saxophone performance. In July 2009, Matt received a scholarship to perform at the 15th World Saxophone Congress in Bangkok, representing the UK and RNCM.



Alan Barnes

1977-80 Alan studied saxophone, woodwinds and arranging at the Leeds College of music.

In 1980 he moved to London, playing with the Midnight Follies Orchestra and the following year was with the Pasadena Roof Orchestra, touring Europe until 1983. In that year he left to join the hard bop band of Tommy Chase where he attracted considerable attention on the UK jazz scene for the first time.

He left Chase in 1986 to co-lead The Jazz Renegades with rock drummer Steve White travelling as far afield as Japan and recording four well received albums. In 1988 Alan was asked to fill the chair recently vacated by Bruce Turner in the Humphrey Lyttleton band where he stayed until 1992. 1987-97 he also found time to lead the Pizza Express Modern Jazz Sextet with Gerard Prescencer and Dave O’Higgins. Since leaving the Lyttleton band, Alan has concentrated on his freelance career.

     Fiona Asbury

In 2000, Fiona was awarded a scholarship by the Associated Board (ABRSM) to study saxophone at the RNCM, where she studied with Rob Buckland. Whilst a student at the College, she was awarded the RNCM’s highest performance award, the Professional Performance Diploma, (PPRNCM). She has since graduated with a first class honours degree. During Fiona’s four years at the RNCM, she appeared in master classes with John Harle, Ken Radnofsky and Phil Woods.

    Musical instrument insurance.

In The Devil's Horn, Segell traces the 160-year history of the saxophone a horn that created a sound never before heard in nature, and that from the moment it debuted has aroused both positive and negative passions among all who hear it. The saxophone has insinuated itself into virtually every musical idiom that has come along since its birth as well as into music with traditions thousands of years old. But it has also been controversial, viewed as a symbol of decadence, immorality and lasciviousness: it was banned in Japan, saxophonists have been sent to Siberian lockdown by Communist officials, and a pope even indicted it.







An ingenious and revolutionary product that will improve your sound and comfort when playing the saxophone. Libero is a remarkable patent pending product; high quality brass clamps that attach to 'shoestring' and 'ribbon' design straps/slings, an aluminium central rod with a unique contrary thread action which allows width adjustment whilst attached to the strap/sling.

This enables the musician to adjust Libero to a width which allows optimum comfort, producing maximum resonance when playing. Libero is a stylish high quality, hand assembled product, designed to be quickly fitted and removed.

By preventing a traditional sling from constricting the sides of the neck, Libero enables players to free up their breathing, thereby achieving a better sound. This can transform a saxophonist’s playing for a relatively small investment.

Libero has the flexibility to be used with 'shoestring' and 'ribbon' design straps/slings, making it ideal for players who prefer to use different slings for different sizes of saxophone. It can be used with players’ existing favourite sling(s), removing any need to adapt to a different style of sling, and can even be adjusted while playing. Although designed for the saxophone player, Libero is equally suitable for clarinet players who choose to play with a neck sling.

Libero is a stylish high quality accessory, designed to be quickly fitted and removed, and can be adjusted very easily, even while playing. 

Available in black with solid brass clamps.







Selmer Serial Numbers

Selmer (Paris) Sax Legend
Year Model Serial Number
1922 Model 22 750-1400
1923   1401-2350
1924   2351-3350
1925   3351-4450
1926 Model 26 4451-5600
1927   5601-7850
1928   7851-9700
1929   9701-11950
1930 Cigar Cutter/Super Sax 11951-14000
1931 14001-15750
1932   15751-17250
1933   17251-18700
1934 Radio Improved 18701-20100
1935   20101-21750
1936 Balanced Action 21751-22650
1937   22651-25600
1938   25601-27650
1939   27651-29300
1940   29301-29750
1941   29751-30500
1942   30501-31150
1943   31151-31580
1944   31581-31850
1945   31851-32350
1946   32351-33700
1947   33701-35800
1948 Super Action 35801-38500
1949   38501-41500
1950   41501-45100
1951   45101-48300
1952   48301-51800
1953   51801-55200
1954 Mark VI 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
1975   233901-246800
1976   246801-261100
1977   261101-276100
1978   276101-289700
1979   289701-303100
1980   303101- 315500
1981 Super Action 80 315501-327300
1982   327301-340200
1983   340201-353300
1984   353301-366400
1985   366401-378800
1986 Super Action 80/Series II 378801-391000
1987 391001-406000
1988   406001-422500
1989   422501-439600
1990   439601-457500
1991   457501-473600
1992   473601-490000






Conn Serial Numbers



Date Serial Number
1894 High Pitched Models 2,000
1895 2,000
1896 2,000
1897 2,500
1898 3,000
1899 3,500
1900 3,900
1901 4,400
1902 5,100
1903 6,700
1904 8,500
1905 9,600
1906 10,800
1907 12,000
1908 13,000
1909 15,400
1910 17,800
1911 21,200
1912 22,500
1913 25,000
1914 Low Pitched Models, High F 30,000
1916 35,000
1917 40,000
1919 50,000
1920 58,000
1921 64,000
1922 83,000
1923 101,775
1924 124,600
1925 Chu Berry's


1926 167,900
1927 193,450
1928 209,250
1929 224,600
1930 237,800
1931 Cross-over Models 244,700
1932 249,230
1933 256,501
1934 M series


1935 263,500
1936 271,000
1937 278,000
1938 284,000
1939 285,000
1940 288,300
1941 295,250
1942 304,500
1943 309,250
1944 309,300
1945 310,200
1946 314,000
1947 320,000
1948 Rolled Tone Holes Discontinued 327,150
1949 332,150
1950 337,250
1951 341,850
1952 341,851
1953 354,742
1954 359,251
1955 500,001
1956 571,750
1957 652002


1959 779657
1960 Production moved to Mexico 834200
1961 898556
1962 949465
1963 C00S0l
1964 C73854
1965 E54106
1966 H31247
1967 K35274
1968 L20454
1969 "M"-Pretix
1970 "N"-Prefix
1971 "P"-Prefix
1972 "R"-Prefix
1976 83000-89496
1977 91314-98992
1978 98993-111820
1979 111821-128691
1980 128692-145001
1981 145002-154753
1982 154954-170073
1983 170074-184336
1984 184337-201207
1985 201208-221243
1986 221244-240141
1987 240142-261465
1988 261466-273178
1989 3900000
1990 4000000
1991 4100000







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