Hi
Jerome usually has a number of vintage horns passing thru that he sometimes takes in on trades because he is still a dealer of Callet horns.
Back when Jerome was a dealer of Calicchio horns he was partial to the 1S bells and thats what he was seen playing on gigs in New York in the seventies.
Yes in some years Jerome had as many night time gigs as many of the full time pro's in New York plus he ran other enterprises in normal daytime hours.
However the 3/9 is pretty much a different animal than the New York Callets.
One of the main differences is that Jerry maintained exceptional projection even in the New York Callet's without copying Caliccho's bell taper or flare. The Calicchio taper and flare as well as bell bow radius is very similar to the pre war Besson designs.
Jerome implemented in the later New York Callets and early Kanstul manufactured Callet horns the very unique bell bow which is between a Monette Ovate shape and neither is it a completely round bow. The design falls in between the two extremes. Uniquely Callet was using this design concept before Monette or others were adopting the Ovate and fully round radiuses. I have digitizes dozens of brands and models and the Callet is unique.
Additionaly Jerome took the good projection of the Calicchio Besson type designs to a new level by freeing up the bell bow area, using a thicker metal for the bell construction which helped to retain the projection even though he used a more open bell throat and wider final flare. A very good combination of compromises which (along with some hand tuning) were some of the finest slotting horns in their time still even today.
The Soloist and the Jazz models continued with even more improvements which are very unique desgns and NOT copies of vintage horns which was falsely asserted on the internet some months back by a very misinformed poster.
Back on course here
The New York Callet .472 SLB had the freedom of blow of a 3/9 yet the Callet projected sound a good bit better and had more stable upper register slots.