Sax Appeal

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Speaker 1 I want you to imagine a world where you can just invent a musical instrument. I don't mean when you were a kid and you put some rubber bands on a tissue box.

Speaker 1 I mean you come up with a new instrument almost from scratch and then watch as that instrument gets taken up and played in nearly every marching band, jazz band, and high school music classroom across the country.

Speaker 1 There actually was a time where this kind of thing happened. That's reporter Jay Coburn.

Speaker 1 In the 19th century, Western Europe saw an explosion of instrument innovation, where the entire landscape of instrumentation was shifting, and where there was money to be made if your improvements caught on with the public.

Speaker 1 This is when many of the instruments we know today reached their modern forms.

Speaker 1 Trumpets had been around since Roman times, but in the 19th century they took on the valved form we know today, and flutes went from being conical wooden instruments to metal cylinders.

Speaker 1 But one of the greatest innovations to come out of this time was the saxophone.

Speaker 1 The saxophone wasn't an improvement on a previous instrument, it was a brand new invention, a hybrid of brass and woodwind that not only managed to secure a spot in the musical canon, but also went on to change American music forever.

Speaker 1 Its design came from the mind of a brash young entrepreneur. His name, perhaps unsurprisingly, was Sachs.

Speaker 1 Adolf Sachs was born in Dinon, Belgium, in 1814. His full name was actually Antoine Joseph Sachs, but at the time Adolphe wasn't, you know, taken, so he went by that instead.

Speaker 2 It's difficult not to remember him as this romanticized figure. The rags to riches to rags, the fiery temper.

Speaker 1 This is Dr. Stephen Cottrell, Emeritus Professor of Music at City St.
George's University of London.

Speaker 2 The brilliant innovator,

Speaker 2 yet saddled with personal demons and professional challenges throughout his life. Dr.

Speaker 1 Cottrell is the author of a book called The Saxophone, but that book might never have been written because Sachs nearly died before he invented anything. Like many, many times.

Speaker 1 Adolph Sachs was the eldest of 11 children, only four of whom made it to age 30. So the odds were stacked against young Adolph from the start.

Speaker 1 And I'm going to need a deep breath before I list the ways he apparently nearly died as a kid.

Speaker 1 He fell three flights of stairs and cracked his head on a stone floor. He drank a mixture of vitriol, probably what we would call sulfuric acid today, and water, mistaking it for milk.

Speaker 1 He was burned in a gunpowder explosion and then again when a frying pan was knocked over. A stone fell off a roof and left a lifelong scar on his head.

Speaker 1 And he once fell asleep in a room full of freshly varnished furniture, but was luckily found before he succumbed to the fumes.

Speaker 2 I think what we're getting here is a picture of somebody who is energetic, getting into scrapes, whether it's falling downstairs, whether it's going to sleep in a room where varnish is drying, whether it's having his head cracked open.

Speaker 1 Some of these stories might be apocryphal, but this long list of mishaps is probably why his mother once said that, quote, he's a child condemned to misfortune. He won't live.

Speaker 1 Thanks, mom.

Speaker 1 She was right about the first part, but not about the second, because against all odds, Adolph did survive his tragicomic childhood.

Speaker 1 And as a young adult, he joined his father in the family business, making musical instruments.

Speaker 1 Adolph's father, Charles Joseph Sachs, had gotten into instrument making because he was a musician himself.

Speaker 1 His professional training had been as a carpenter, but when he joined a woodwind band in Dinon, he didn't have an instrument, so he taught himself to make one.

Speaker 1 That must have gone pretty well because soon he moved to Brussels and set up an instrument shop. That's where young Adolph Sachs learned his craft.

Speaker 2 I think we have to remember we're now talking early 19th century. Musical instrument making in Europe at this time was not done in big factories.
There was no industrialization involved.

Speaker 2 It was small, artisanal, individual craftsmen.

Speaker 1 It's much more a craft-oriented tradition. Young Adolph clearly felt the pull of opportunity.
As a teen, he was enrolled in the Royal School of Music in Brussels.

Speaker 1 He was an impressive musician, a virtuoso on the flute and clarinet. When he was about 20, one composer even dedicated a clarinet piece to Adolf Sachs.

Speaker 1 There was a promising career as a musician waiting for him, but he was lured back to the family instrument workshop.

Speaker 1 While working alongside his dad, Adolf started experimenting with the instrument he knew best, the clarinet. Specifically, the bass clarinet.

Speaker 1 The bass clarinet was kind of a quirky novelty at the time. It was difficult to play and sounded kind of nasal, and it was so long that it was difficult to get your fingers in the right place.

Speaker 1 It looked a bit like a folded bassoon. So Adolf Sachs experimented with new keywork, the metal parts that you press to close the holes.

Speaker 1 He also used the science of acoustics to make the placement of those holes more precise.

Speaker 2 People would put these boreholes in more or less wherever they felt it looked about right. He came up with the measurements.

Speaker 2 He decided to make this a much more scientific operation than previously in determining where the holes actually needed to be cut.

Speaker 1 This improvement meant that each instrument sounded more in tune, and when played together, the bass clarinets sounded more harmonious.

Speaker 1 And so in 1835, in his early 20s, Adolphe Sachs took his bass clarinet to an instrument show. And 19th century Belgian instrument aficionados loved it.

Speaker 1 In fact, the bass clarinets used in orchestras today still owe their design to Adolf Sachs. A wooden tube covered in keys that curves into a metal bell shape at the bottom end.

Speaker 1 A top end crooks into a mouthpiece with a wooden reed to blow on. In other words, the bass clarinet looks a lot like the saxophone eventually would.

Speaker 1 With his redesign of the bass clarinet, the name Sachs was beginning to be known in musical circles. But if he really wanted to make the big francs, he had to move to Paris.

Speaker 2 Brussels was very small at the time and Paris was one of the major musical centers in Europe. And Paris was particularly the center of brass wind manufacture.

Speaker 2 You had to be seen to be producing your new brass and wind instruments if you were going to be successful.

Speaker 1 In 1843, Adolf Sachs set up a workshop there and got to experimenting.

Speaker 1 He came up with new families of horns: the Sax horns, which were valved brass instruments that looked a bit like upright trumpets, and the saxotrombas, which were valved brass instruments that looked a bit like upright trumpets.

Speaker 1 There are videos of people playing these on the internet. This is the sax horn.

Speaker 1 And this is the Saxo Tromba.

Speaker 1 And perhaps it's worth noting here that Adolph Sax didn't really invent these instruments so much as improve on things that already existed. And then added Sax to the name.

Speaker 1 If you asked Adolph though, he'd probably tell you this was a mere technicality. Don't be such a sax downer.
He'd say he was here to disrupt the industry, move fast and break things. Sax style.

Speaker 1 Although Adolph was churning out a variety of instruments, none of them had been a big enough hit to make him properly rich.

Speaker 1 He was one instrument maker among many in Paris, all competing for the attention of orchestras and private buyers. So he came up with a plan to secure his own niche in a competitive market.

Speaker 1 He went after a client so huge, so wealthy that their business could set him up for life.

Speaker 1 Because since time immemorial, there has been one tried and true way for an entrepreneur to make a ton of money. Adolf Sachs wanted to land a military contract.

Speaker 2 If you could get a contract with the French military to supply brass instruments or brass wind instruments, then that was going to be the backbone of your business.

Speaker 2 You were going to sell far more instruments to the French military than you ever were going to the orchestras in Paris.

Speaker 1 If cannons and cavalry were how a country demonstrated military prowess, then music was how it showed its cultural might. And France was lagging behind.

Speaker 1 Austria and Prussia's military bands were leading the way with fancy new valve technology and their brass instruments, which made for loud, impressive displays.

Speaker 1 France's military band, on the other hand, was still dominated by woodwind instruments, which are tuneful and elegant, but not loud enough to fill a parade ground.

Speaker 1 In 1845, the French Ministry of War established a commission to investigate improvements to military bands, and Sachs decided that he was going to hit it big by designing the perfect instrument to lift French military bands out of the toilettes.

Speaker 1 Adolphe thought he could have the best of both brass and woodwinds, with a little tinkering. His starting point was this other instrument that was common in bands at the time, called the Offerclyde.

Speaker 2 It's a little bit difficult to describe. If you turned a trumpet on its end with the bell pointing up to the sky and then made it about 30 times bigger, you've got the general shape of an Ophoclyde.

Speaker 1 The Ophoclyde had this going for it. It was loud, but other than that, it was pretty much a dud.
It's a big, honking instrument that was difficult to play in tune.

Speaker 1 This is a recording of an Ophoclyde I found online.

Speaker 1 The composer Hector Berlio said, the quality of these low sounds is rude. It is as if a bull escaped from its stall had come to play off its vagaries in the middle of a drawing room.

Speaker 1 The Ophoclyde was usually part of the low bass end of the orchestra, where the tuba sits today.

Speaker 2 And so Sachs saw this area of the bands and the orchestras as needing attention.

Speaker 2 And he therefore looked at the Ophoclyde and he experimented with the Ophoclyde.

Speaker 1 Adolph Sachs borrowed from his earlier project, the bass clarinet, and created a sort of hybrid brass and reed instrument.

Speaker 2 He quite literally took the brass mouthpiece that was on the Ophoclyde and replaced it with a bass clarinet mouthpiece. That's what we believe he did in the late 1830s.

Speaker 2 And the reed mouthpiece would make a smoother, softer sound. It would make a richer harmonic spectrum.

Speaker 1 Adolph also placed the boreholes scientifically, the way he had with the bass clarinet. Crucially, this wasn't just one instrument, it was a whole family.

Speaker 1 Adolph Sax was looking to improve the entire ensemble, and so he created families of similar instruments at different pitches.

Speaker 1 He'd already done this with the sax horns and saxotrombas a few years before.

Speaker 1 The idea was to create a chorus of instruments working together, a little like a choir of human voices, with altos, tenors, sopranos, and bass all working together in harmony.

Speaker 1 And just like his sax horns and saxotrombas, he named them after himself, the saxophones.

Speaker 1 Adolph Sachs patented his family of saxophones in 1846. There are eight figures on that patent, ranged by size and pitch.

Speaker 1 Some of them are straight, some are more like an offocly, but right at the center of that lineup was an instrument with a bell-shaped horn, a reed mouthpiece, and an iconic S-shape.

Speaker 1 Adolph had created a brand new kind of instrument, one that was light and sturdy. The S-shape in particular was easy to hold while marching.

Speaker 1 It was loud enough to carry over a parade ground, but with the rich harmonics and refined tone of a clarinet. This was the perfect instrument for a military band, and it sounded like this.

Speaker 1 This is the sound of a saxophone made by Adolph Sachs himself in the 1860s.

Speaker 1 This antique is being played by Dr. Paul Cohen.
When I was reading about the development of the saxophone, pretty much every article was either written by or had contributions from Paul.

Speaker 1 After I called him up, he invited me to visit his saxophone museum in New Jersey.

Speaker 1 When saxophonists come here, it's like a saxophone painting zoo because they're allowed to play all these instruments if they bring their mouthpieces. How many saxophones do you have?

Speaker 1 I stopped counting a while ago, but it's around 250. Some people say that it's the largest private collection in the world.
The Adolph Sachs original is a beautiful instrument.

Speaker 1 The brass has barely dulled with age. It carries Adolph Sachs's maker's mark engraved next to some ornate cursive script detailing the address of his workshop in Paris.

Speaker 1 How does it feel as a player compared to your modern performance saxophone?

Speaker 1 It's so light and the sound is so transparent. I feel like I'm playing on a cloud.
Oh. And I feel that if I play too hard, I'm going to fall through the cloud.
That is a lovely metaphor.

Speaker 1 Sachs had created and patented a whole line of saxophones and sax horns. But that didn't mean he'd he'd sealed the deal for the French military contract.

Speaker 1 He still needed to present his inventions to the military and convince them that these instruments were the key to bringing their band to the next level.

Speaker 1 Military bands, like the orchestra, can be stuffy, conservative places.

Speaker 1 You can imagine how they might bristle at a brash young Belgian who slapped his name on a trumpet and called it a sax horn, especially when he starts saying that the military should abandon their oboes and bassoons for all these saxtraments that he just made up.

Speaker 1 But like any good entrepreneur, Adolphe Sachs did a lot of networking in Paris, and he made friends with some very influential composers and writers who really did believe in the superiority of his instruments.

Speaker 1 They wrote about Adolphe's creations in the musical press, helping him make the case for his vision of a new type of military band.

Speaker 1 So there was this ongoing debate in the press about what kind of instruments should be in the French military.

Speaker 1 Ultimately, the commission decided to let the public settle the matter in the the only way a musical debate can be settled. A battle of the bands.

Speaker 1 The French Ministry of War set up a competition to find out whether Sachs's instruments could actually outmatch the instrumentation of a conventional military band.

Speaker 1 On one side, the Sachs band, full of sax horns and saxophones, led by Adolph Sachs. His supporters were known as, no surprises here, Saxons.

Speaker 1 On the other side, a traditional military band, which at the time was Woodwind Heavy, with two oboes, two bassoons, and 13 clarinets.

Speaker 1 Adolph Sachs did away with those obos and bassoons, and he kept just seven clarinets. In their place, he had 18 sax horns and two saxophones, as well as some more modern trumpets and trombones.

Speaker 1 This was a big deal. The press was full of rumors about nefarious forces trying to interfere.

Speaker 2 Now, there are stories that people tried to sabotage Sachs's bands. They balked off some of his instrumentalists.
They tried to find ways in which the saxophones couldn't be played, etc., etc.

Speaker 1 This kind of thing seemed to happen to Sax all the time. Throughout his career, you can find wild tales of shadowy enemies and their plans to thwart him.

Speaker 1 There's one story of a bomb being planted in Sax's bed. I found another story of one of Sax's top employees being murdered, stabbed through the heart by an assassin who mistook him for his boss.

Speaker 1 Apparently, these stories are possibly true, and lots of them originate in sensational newspaper reports or biographies where the original source was Saxe himself or his close family.

Speaker 1 But it's clear that he had made a lot of enemies. And on the day of the Battle of the Bands, seven of Sax's musicians really didn't show up.

Speaker 1 They were apparently, apparently, bribed to stay out of the way. But that didn't stop Sax, who played some of the instruments himself, apparently.

Speaker 1 On April 22nd, 1845, two bands, two different sets of instruments, and one audience showed up at the Champs de Mars, a long public park in Paris.

Speaker 1 Today the park is home to the Eiffel Tower, but back then its focal point was the École Militaire, the military school.

Speaker 1 The press had drummed up public interest, so the bands were facing a large crowd. Among the audience were members of the military commission, journalists, artists and senior officers.

Speaker 1 They were there to judge the quality of the sound and how well it carried outdoors. The two bands played the same pieces of music, one after the other.

Speaker 1 The traditional woodwind-centric band went first. Then it was the turn of the rousing horns of the Saxe band.

Speaker 2 Sax's instruments would have been more homogenous. They would have sounded better together,

Speaker 2 in part because he was making most or all of them. And so the brass instruments were all made to his specifications.
He added the saxophones in, which would have given more volume to the band.

Speaker 2 So clearly volume is an important issue here.

Speaker 1 These were louder instruments, probably in closer harmony because of Sachs's scientific approach, played outdoors by military bands.

Speaker 1 And the Sachs band had much more bass presence thanks to his Sax horns.

Speaker 1 After four hours of performance, the audience cheered for both bands, but the cheers for Adolphe Sachs' Sachs band were louder, loud enough for him to be declared the winner of the battle.

Speaker 1 That seal of approval was enough for the French military. Adolphe Sachs won that sweet, sweet military contract.
I've got a properly French quote translated from a newspaper here.

Speaker 1 A stradivarious violin compared with a violin from the village. A glass of generous Bordeaux next to an adulterated beverage made in Sorraine, that's a suburb of Paris.

Speaker 1 That is the difference which exists between the old music and that proposed by Monsieur Sachs.

Speaker 2 He won the contract to supply the French military with instrumentation for their bands that was more along the lines he wanted. So for a while then Sachs's business is booming.

Speaker 1 Sachs's victory meant that he had a huge influx of cash and a steady customer. A standard military band was now required to include his inventions.

Speaker 1 No more oboes and bassoons, now there were sax horns and saxophones. He even made some technical improvements to the other brass instruments and sold his own versions of those as well.

Speaker 1 Military life was hard on instruments and they needed to be replaced often. All this added up to big business for Sax.

Speaker 1 But despite his success, Adolph's hubris and his enemies eventually caught up to him. He got tied up in expensive lawsuits over the patents for his instruments.

Speaker 1 The saxophone patents did hold up, but when France lost the Franco-Prussian War, the military downsized its bands. Sachs took on loans he couldn't afford and went bankrupt three times.

Speaker 1 He lost his factory, but perhaps more heartbreaking to him, he lost his music. Adolf Sachs's collection of over 400 musical instruments was taken from him and sold to pay off his debts.

Speaker 2 He would have been collecting those instruments because they really represented what he wanted to know about musical instruments. I think they would have really meant something to him.

Speaker 2 And so, although there was relatively little monetary value in them, emotionally that would have hurt because he'd spent a lifetime building up that collection, keeping them carefully, and to see them all sold off to other people like that would have probably hurt as much as anything else that happened.

Speaker 1 That final bankruptcy was in 1877. He spent the last 17 years of his life scraping by, begging friends and family for money.

Speaker 1 Antoine Joseph Adolphe Sachs died of pneumonia in absolute poverty in Paris on February 7th, 1894.

Speaker 1 After a lifetime of work by Adolphe Sachs, his instrument was no longer a commercial success, but he still earned a permanent place in history. There are statues of him in Dinon, where he was born.

Speaker 1 Those statues probably wouldn't be there if it weren't for what happened next, an ocean away.

Speaker 1 That's after the break.

Speaker 1 Even as the French military was pulling back funding and saxophone sales in Europe were falling off, the instrument was gaining traction in the United States.

Speaker 1 The saxophone's place in the US, however, was not just in the military. It was marketed as a cheap, fun instrument that was relatively easy to play, and people loved it.

Speaker 1 In fact, in the early 20th century, the U.S. experienced what became known as a saxophone craze.
American saxophone manufacturers churned out dozens of novelty instruments.

Speaker 1 One of them glides like a slide whistle. Another is so small it looks absurd to play.
Paul Cohen has quite a few of them at his saxophone museum in New Jersey.

Speaker 1 I recorded Paul playing a bunch of novelty saxophones. They sound amazing.
I promise you that we'll play them later. There's even one that scares my cat.

Speaker 1 Pretty soon, these saxophones were being played in circuses, in vaudeville acts, and in people's homes. It was marketed as a great social tool.
Play the saxophone and be more popular.

Speaker 1 Would it be like, you know, you go around your friend's house and it would be quite likely they'd have a saxophone there. More than likely, they'd have two.
Home music making was a big deal.

Speaker 1 And we have many pictures in catalogs and articles that show the family surrounding the piano and the saxophone player looking over the shoulder, playing off the piano part, participating in the musical merriment.

Speaker 1 The saxophone craze lasted from 1915 to around the time the depression hit. With less money in people's pockets, there was less demand for wacky saxophones.
But the saxophones didn't disappear.

Speaker 1 And all those instruments from the sax craze were still floating around. And they got picked up and used to pioneer what would become America's defining musical genre.

Speaker 1 When we got to the late 1920s, jazz in a big band form was starting to become the happening music and music ensemble.

Speaker 3 Depression's here, but we're all still drinking and partying.

Speaker 1 All right.

Speaker 3 30s come along. Now the band's job is to keep the dancers on the dance floor.

Speaker 1 This is Lakeisha Benjamin. She's played saxophone with Prince, with Stevie Wonder and Alicia Keys, and she's been nominated for six Grammys.

Speaker 1 But like, she's played saxophone with Prince, and I feel like that alone is enough of an intro. She says that 1930s jazz was all about getting people moving.

Speaker 3 It's different when it's your job to keep the party going. And the instrument that they called on for that was a sax one.
They were even sax battles.

Speaker 3 People would go and just see Cal Basie band versus Duke of Lands event, and they would just completely try to murder each other. Their saxophone plane was real raunchy.

Speaker 3 I'll just sing it, even though it's going to sound terrible. It'd be real.

Speaker 1 As jazz evolved, the saxophone wasn't just a part of the horn section. It became a soloist's instrument, commanding the stage and forcing you to pay attention to the player.

Speaker 3 So I'm not sure if that's because all the men are in the war or wherever they are, but

Speaker 3 the small group comes and they, I guess, who's the founder that it's debatable. We all say Charlie Parker, Dizzy Gillespie, and Thelonius Monk were the three.

Speaker 3 And they invent this style of music called bebop. So we go from big band to bebop.

Speaker 1 That's Charlie Parker. playing Coco.

Speaker 3 And this is really what we think of the saxophone as really intellectual music, fast notes,

Speaker 3 and they're like virtuosos. And you can say from that moment on, no one ever danced to jazz again.

Speaker 1 The way jazz instrumentalists use the saxophone showcased the flexibility Adolph Sachs had aimed to perfect in his instrument.

Speaker 1 While traditional saxophonists used the big brash tones, some jazz players leaned into the saxophone's ability to be smooth and nuanced, almost mimicking the human voice.

Speaker 3 I guess I'm such a jazz funk saxophone player that to me, I would be inhibiting myself. So like a good example of that is classical saxophone.
Here's this how my voice sounds.

Speaker 3 This is how it sounds classical.

Speaker 1 Hey, how are you? How's everybody doing? I'm playing classical saxophone. But no, this is my real stop, stop, stop.

Speaker 3 You see? So like I felt,

Speaker 1 I just felt oppressed because I'm just like, why can I play like this when this is how I talk? Why are you whopping and doing this? Please, please, I want to play jazz.

Speaker 1 By this point, the saxophone had come a long way from its roots in Europe. It was no longer the brash young upstart trying to make it big in the French military.

Speaker 1 Over the course of a century, the instrument had woven itself into the fabric of life in the US, traveling with concert bands and hanging out in living rooms across the country.

Speaker 1 It was an iconic American instrument, and now, with jazz, it was a black Americans instrument.

Speaker 3 It gets more political because it was founded by African Americans.

Speaker 3 So if you ever got a group of people that are founding a music that starts off with the oppressed, it's already the music of revolution.

Speaker 1 The saxophone's new associations did not come without pushback. Some, mostly white musicians, felt that the saxophone shouldn't be debased by jazz.

Speaker 1 They thought it was a proper instrument for proper people.

Speaker 1 I've got this magazine column here written by a couple couple of saxophone purists in 1917. Let me just read a bit.

Speaker 1 God save us from the hideous cat calling that is so much in vogue at present termed jassing.

Speaker 1 The listener who hears some of these jazz players and has never before heard a saxophone is liable to form some very erroneous opinions of the much talked of instrument.

Speaker 1 Really, the jasser should be subject to the same quarantine restrictions as if he had the foot and mouth disease.

Speaker 1 In the first half of the 20th century, jazz, and by extension, the saxophone represented the forbidden. They were synonymous with sin.

Speaker 3 When prohibition is going on, you go to the jazz place to get the liquor. If you're trying to drink and party and fornicate all night, that's where you go.

Speaker 3 And the music that's playing for that is the blues and jazz. That's where the mafia is.
So it's associated with a, and it's funded for a long time. Jazz is funded by people that are doing wrong.

Speaker 3 Like even in my own household, my grandmother didn't want me to play the saxophone. She told me, if you're going to play that in here, you better learn some church songs on this saxophone.

Speaker 3 So I'm in there trying to practice my Duke Ellington and also playing holy, holy, holy. So I think if you're from that generation,

Speaker 3 any sound of it or any recollection of it, you just associate with my daughter's going to hell.

Speaker 1 This reputation. for being a black instrument, an instrument associated with smoky clubs and sex.
It's that reputation that followed the saxophone back to its birthplace in Europe.

Speaker 1 This association was strong enough that the saxophone ran afoul when the Nazis came to power in the 1930s. Jazz music was considered Negro music.
This is Darius Jones.

Speaker 1 He's a composer, a saxophonist, and assistant professor of music at Wesleyan University. Nazis don't, you know, they want to ban everything.

Speaker 1 They're not really about the fullness of the human experience. And I feel like the saxophone, it really was about that.
It was really about this sort of like, you know, full sense of expression.

Speaker 1 The Nazis banned what they called entartete music, degenerate music. That included anything with excesses in tempo, Jewishly gloomy lyrics.
I am quoting the Nazis there.

Speaker 1 They even had an exhibition showcasing all the styles of art that were supposedly morally terrible. It was, apparently, much much more popular than the one showcasing fine German art.

Speaker 1 There's a poster from that degenerate exhibition showing a racist character of a black man holding a saxophone with a Star of David pinned to his lapel.

Speaker 1 He's playing a saxophone with the German words for degenerate music printed over him. The Soviet Union also sent saxophonists to the gulag for being too bourgeois, too Western.

Speaker 1 The saxophone was excluded from the Vatican, and then by churches the world over, including in the US.

Speaker 1 It might be hard to imagine that for a while in the late 20th century, the saxophone was the boogeyman of fascist regimes. Then again, maybe it's not.

Speaker 1 Over the course of the 19th and 20th centuries, the instrument had already done some dramatic shape-shifting.

Speaker 1 It had been an obscure money-making scheme, a fallen military instrument, a novelty item, and a powerful symbol of black American music.

Speaker 1 So why not enemy number one of several countries and the Catholic Church?

Speaker 1 But things that were once taboo often eventually go mainstream, and the saxophone was no exception. Instead of remaining a symbol of rebellion, it began to ripple out into a variety of genres.

Speaker 3 In the 80s, especially some from New Yorker, we're going to start to introduce hip-hop. So, they'll take like a eight-bar Donald Bird song

Speaker 1 and start their song with that: bump, bum, bum, bump, bump, bump, bump, bump, bum, bump, bump, bump.

Speaker 1 If Diggable Planets and other hip-hop artists put saxophone to hip-hop, artists like James Brown brought it into mainstream pop music.

Speaker 1 The 80s were really peak saxophone. The sax became so pervasive that it kind of jumped the shark into cheesiness.
It was like of a time.

Speaker 1 Like, you know, leather pants, like, you know, that image of this ponytail, just like playing with saxies all like slicked up and stuff. Think careless whisper.

Speaker 1 In the end, the scorching sax solo faded out of fashion, and the saxophone was so ubiquitous that it became kind of just another instrument.

Speaker 1 One you might pick up in music class at school, or a bit of extra flavor added to the standard modern rock or pop lineup. Guitar, drums, bass, keys, and, oh, why not a sax?

Speaker 1 Still, I'd argue that this image of the saxophone is incomplete. It doesn't do justice to the versatile, flexible instrument that Adolph Sachs put into the world.

Speaker 3 When people think of love and they think of an instrument, they usually think of some saxophone player coming out and seducing somebody.

Speaker 3 When it's time to really shred and rock out, you could really crank that thing up and take it all the way to Metallica land. So for me, it's just the most versatile way to be all your complete self.

Speaker 1 The saxophone's brilliance has always been in its versatility. When Adolph Sachs invented the saxophone, he designed it to be a marriage of loud and soft, bold and smooth.

Speaker 1 The saxophone is loud enough to hold its own on any stage, but it's also soft and nuanced enough to rise and fall like the human voice.

Speaker 1 I feel that I'm playing something that is so connected to me internally and physically that it feels like it's an extension of my inner soul.

Speaker 1 The sound on a fundamental level might be made by air vibrating inside a mathematically appropriate metal tube, but how it makes you feel-that's all about the human who's blowing on that reed, pressing those keys, and feeling the sex appeal.

Speaker 1 After the break, Jay is going to play us some of his favorite novelty saxophones from Paul Cohen's Saxophone Museum.

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Speaker 1 So we're back with Jay Coburn. Jay, I hear you have some weird saxophones to play me.
I absolutely do.

Speaker 1 So we mentioned the saxophone craze, and I promised you I'd play you some recordings of the kind of weird and wonderful instruments that Paul Cohen has in his Sax Museum.

Speaker 1 I'm really excited to hear Weird Saxes, but first I want you to paint the scene for me because I'm very curious about Dr. Paul Cohen and his saxophone museum.
It sounds like this fascinating place.

Speaker 1 Totally. So the museum is in Englewood, New Jersey.
So pretty easy to get to from New York. It's basically just the lower half of his house.

Speaker 1 And when you walk in, you're just surrounded by saxophones of all shapes, sizes, materials. And you can actually go there too.
If you're a bit of a saxophone geek, just search for Paul Cohen online.

Speaker 1 You can find his email address. And if you send him a message, he will invite you to view his collection too.

Speaker 1 If you can play, bring your own mouthpiece and he'll let you have a go on all these saxophones. I love that.
Saxophones shouldn't be just displayed on a wall. They should be played.

Speaker 1 They should live the life that they're supposed to have. Yeah.
And as well as being a professor, he is a professional musician too. So he uses some of these instruments himself in his work.
Okay.

Speaker 1 So I'm ready to hear some saxophones, some weird saxophones. So what do you want to play first? Okay, first up is a slide saxophone.

Speaker 1 So you've heard of a slide guitar, I'm sure, but there is also a slide saxophone. And so instead of having loads of holes and keys all over it, this is just a straight tube.

Speaker 1 This one's actually made of wood, and there is just one long hole down the side of it.

Speaker 1 And the player kind of presses down a long strap, like literally just a fabric strap, to make that hole longer or shorter, which means you can do a glissando or a slide.

Speaker 1 And this is how it sounds.

Speaker 1 I think it sounds kind of like a theremin, you know, the weird electric instrument. Totally.
Or the fanciest slide whistle you've ever heard.

Speaker 1 Yeah, it's a really expensive kazoo or something like that.

Speaker 1 So what do you have next? So I have the extremes of the saxophone now, the biggest and the smallest. So Adolf Sachs designed a whole family of saxophones at different pitches.

Speaker 1 But later on, manufacturers really took the saxophone to sort of almost comic sizes. And Paul has collected like like all of them.

Speaker 1 He has this teeny tiny little guy that honestly looks like a toy but is actually a one-of-a-kind curved sopranino. So that's higher than soprano.

Speaker 1 And these are usually straight but the one Paul has looks like a really intricate toy saxophone and here it is.

Speaker 1 That's delightful. I'm picturing like his big grown man hands on this tiny little thing.
Is that what it looks like? Yeah, that's exactly what it looks like.

Speaker 1 Like, it looks, I mean, this is a respectable instrument, and we should give it the degree of respect that it deserves. You know, I believe that was a solo from a Gershwin piece, actually.

Speaker 1 Yeah, no, it's beautiful. It sounded so good.
It's just delightful. I love it so much.
Okay, so at the other end of the spectrum, we have the biggest saxophone.

Speaker 1 And this is the reason that the study door you can see behind me is actually closed right now. I have two cats, and this one freaks them out.
So, this is the subcontra base.

Speaker 1 Oh, that's awesome. I can see what that freaks them out, though.
It sounds like

Speaker 1 an old truck, you know, idling outside your house when it gets to the lowest levels.

Speaker 1 So that is the sub-contra bass. That is the lowest, largest type of saxophone.
It goes lower than the lowest end of a piano. And it is huge.

Speaker 1 Like this thing is being played on a stand because it's taller than Paul is. And it's gorgeous, though.
It's this beautiful black with brass keywork.

Speaker 1 And if you're in the room with it being played, or if you just want to crank your speakers, it kind of shakes your guts around and makes you reconsider what what you had for lunch.

Speaker 1 Yeah, yeah, like it's definitely something you feel in your sternum when it points.

Speaker 1 Okay, so blow my mind. What's the weirdest saxophone you saw there? Okay, so the weirdest one I found in Paul's saxophone museum was this.
Take a look at this picture.

Speaker 1 Okay, so this is a black and white photo of a man.

Speaker 1 He's kind of sitting perched on a little seat, and he has a stand where three saxophones are fixed in position, and he seems to be playing them all at once. He is.
He's playing them all.

Speaker 1 He's playing one with each hand, and then there's a middle one that he's also blowing that is operated with the foot pedals you can maybe see on the floor there. And he blows them all at once.

Speaker 1 He was called Billy True. He was a pipe fitter at a steelworks, but he was also known as the one-man saxophone section.
And Paul actually has this triple saxophone contraption in his museum.

Speaker 1 And so, can Paul play this thing? No.

Speaker 1 And I do not blame blame him for not trying. But I do have a recording of Billy True playing it.
All right, Billy True playing three saxophones at the same time.

Speaker 1 I mean, that one strikes me as more of a ridiculous novelty,

Speaker 1 more than anything.

Speaker 1 But that's great. That's a wacky sax.
I like it. Okay, I've got two more that are wacky, but are not strictly saxophones.

Speaker 1 They are not in Paul's saxophone museum, but they are from the mind of Adolph Sachs himself.

Speaker 1 Because back when our man Adolph was trying really hard for that military contract, he came up with some truly unhinged ideas. And this one is a real hear me out, the Saxo cannon.

Speaker 1 I mean, so are we talking about just an instrument here or is this actually like a weapon?

Speaker 1 It's a cannon with Sax's name on it. Yeah.

Speaker 1 Like a giant cannon. He's branching out.
He's branching out. He's really, he wanted the military contract so much.
He was like, look, my tubes don't have to just fire sounds.

Speaker 1 They can also fire balls of metal. And in this case, it was a 30-foot-wide shell.
So in theory, it would generate an explosion big enough to level a city. Wow.

Speaker 1 I'm kind of glad he stuck to instruments in the end. Yeah.
Okay. So one last absurd Sachs invention.
Also huge. This one is a train with an organ on the back.

Speaker 1 It would have been called the saxotonaire, which I believe translates literally as sax thunder, or maybe it's thunder sax.

Speaker 1 Why would anyone want or need an organ the size of a train? To scare the Prussian army, of course.

Speaker 1 Oh, right. Yeah.
You know, why else would anyone want a massive organ? That Prussian army always causing trouble.

Speaker 1 The idea was that they'd just blast sound at them like the Scottish did with their bagpipes and the English. And I can say from experience that one worked.

Speaker 1 I should say that these two Sak stories, the Saks Tener and the Saks Cannon, bit like lots of Adolph Sack stories, kind of shrouded in myth and lacking reliable primary sources.

Speaker 1 But I have spent a lot of time with Adolph over the last few months. And I've got to say, sounds like something he'd do.

Speaker 1 Yeah, yeah, like, because he just likes to take an invention and like make it bigger, more ridiculous, maybe maybe add some valves and some scientific thinking to it, and then just slap his name on the front of it.

Speaker 1 I mean, that's a definitely an adult sex move.

Speaker 1 Um, well, this was so much fun, Jay. I enjoyed the story so much, and I enjoyed this tour through even weirder saxophones.
This is fantastic. Thanks for having me, Roman.
It's been a joy.

Speaker 1 99% Invisible was reported this week by Jay Coburn and edited by Kelly Prime. Mixed by Martin Gonzalez, music by Swan Real with Kaylee K.
Moy Malloy on saxophone. Fact-checking by Graham Haysha.

Speaker 1 Kathy Tu is our executive producer. Kurt Colstead is our digital director.
Delaney Hall is the senior editor.

Speaker 1 The rest of the team includes Chris Barubay, Jason DeLeon, Emmett Fitzgerald, Christopher Johnson, Vivian Lay, Laush Madon, Joe Rosenberg, Jacob Medina Gleason, Talon and and Rain Stradley, and me, Roman Mars.

Speaker 1 The 99% of his logo was created by Stefan Lawrence. We are part of the SiriusXM podcast family, now headquartered six blocks north in the Pandora Building in beautiful uptown Oakland, California.

Speaker 1 You can find us on all the usual social media sites, as well as our own Discord server. There's a link to that, as well as every past episode of 99pi at 99pi.org.

Speaker 1 Hey, everybody, it's Rob Lowe here. If you haven't heard, I have a podcast that's called Literally with Rob Lowe.

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