Abstract
The Grafton acrylic alto saxophone is an infamous form of the saxophone. Manufactured between 1950 and 1967, they have become rare collector’s items, due in part to their associations with several well-known musicians — most notably Ornette Coleman. Though used by Johnny Dankworth, David Bowie, and Charlie Parker, the Grafton was never associated as heavily with their performance images. Other papers like “The Social Life of Instruments” by Eliot Bates and “Instrumental Trouble” by Settimio Palermo explore the association of identity with instruments, the importance of relationships with instruments, and how instruments have their own agency in music. Through interviews, pictures, and advertisements, this thesis explores the fascinating history of the Grafton acrylic alto saxophone as an agent in aiding Coleman to develop his sound and form his performance persona. In this thesis, I argue that the Grafton horn not only aided Coleman in exploring his sound and creating a performance persona during his breakthrough in 1959 with The Shape of Jazz to Come and the so-called “battle of the Five Spot,” but its use also demonstrated Coleman’s philosophy surrounding music. Coleman and the Grafton horn both benefited from each other and affected the others’ history, creating an intriguing example of the connections between performers and instruments.