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Crescent Saxophones  |  Artists

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Elliott “Stackman” Callier

(Just Saxes Crescent soprano prototype)
– Fats Domino Band, Lee Dorsey, Treme Brass Band, Dirty Dozen Brass Band and many more –
Around New Orleans, everybody who knows music knows Stackman. He is the voice of New Orleans soul, and can embarrass everybody on stage with three notes, when he’s feeling his horn. He has been a saxophonic landmark in this city for many, many years, and along with my old friend Frederick Sheppard formed half of the two-tenored nucleus that could turn any horn section into something terrible (as in Ivan the Terrible) and marvelous to behold. Stack is one of a disappearing breed, men that really know how to play in a section — how to breathe together — and how to solo from the heart without every saying too much. He is a professional musician from the time he wakes up in the morning until the time that he goes to sleep, and when I talk with him I often have the feeling I am talking to a national treasure. I could not be more pleased that among his quiver is a Just Saxes soprano, ready for service in as a force for good.


Reggie Houston

(Just Saxes Crescent soprano prototype)
– Fats Domino, Charmaine Neville, Irma Thomas and innumberable others –
Reggie Houston is one of New Orleans’ mainstays, an anchoring presence whether here or in Portland, OR, where he now makes his home and spreads the gospel of New Orleans and Jazz music. There are few men who walk the earth with greater presence of mind, or devotion to music and culture. Surely no one who has ever had the opportunity to hear him in an intimate setting, whether with Snug Harbor with Charmaine Neville or in his new home in Oregon, has ever forgotten the experience. Reggie is downhome yet he knows and has seen all of the world, a citizen of the all wrinkles in the universe without ever ceasing to be a living incarnation of New Orleans culture and music. He is a personal hero of mine, and I could not be more pleased that he should find a saxophone with the Just Saxes name on it worthy of his esteemed chops and music.



Calvin Johnson, Jr.

(Just Saxes Crescent soprano and baritone prototype)

– Jazz at Lincoln Center, Big Sam’s Funky Nation, many more –
Calvin Johnson, both Calvin Sr. and Calvin Jr., have been family friends to me going back to the earliest days of Just Saxes’ time in New Orleans. I’ve had the pleasure of watching Calvin Jr. grow up from a talented teen, studying at the side of masters of the idiom, to become a bearer of culture himself. I’ve been able to watch from the most privileged of vantage points, the live audience and the repairman’s chair, as he has graduated from playing with brass bands, touring local acts and visiting big name acts, to performing as a featured soloist on Jazz’s most prestigious stage, Jazz at Lincoln Center. Like all salt-of-the-earth, dyed-in-the-wool New Orleans masters, going back more than a century, Calvin brings to the larger world of jazz music a unique and personal voice — something to say that is of a place and time and tradition, as well as completely individual and from the core of one’s self — that is increasingly difficult to find as culture and music ev0lve. I could not be more pleased that Calvin counts among the tools of his craft a Just Saxes Crescent soprano and baritone.

Pat Salvador

 (Just Saxes Crescent tenor prototype)

– Bill Haley’s Comets, Al “L’il Fats” Jackson, Henry Hitt –
Pat has come home, musically speaking, to the city where Rock & Roll saxophone thrives. Get him onstage with a mic in front of him, and his tenor in hand, and you will discover he is a bad, bad man (in the best possible sense).


Mark Rybiski

 (Just Saxes Crescent alto)

– Bugs Henderson and the Shuffle Kings, Robert Ealey, The Texas Topcats. many more –

A true bar-band pro (a high compliment among ol’ skool’ practitioners), Mark was one of Just Saxes’ earliest clients, going back ten years. Mainly a tenorman in the Texas tenor tradition, it’s particularly gratifying to be able to include Mark on this page for two reasons in particular: (1) He came to the Crescent on his own, from his own curiosity and collecting, purchasing it secondhand from another valued client, and (2) over the years I’ve worked with Mark on a good number of vintage and new instruments, so his seal of approval means a great deal. Thanks very much, sincerely, Mark, for sending me these videos.



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