Gorgeous sounds of Henry Johnson, his heritage and packing tape

[mr. beaumont]

My "jazz mentor," who was full of good tidbits, always said "Don't borrow a lick, steal it...When you steal it, you have no intention of giving it back...you make it YOURS."

[Jim Soloway]

Henry's signature Heritage arch top is basically a Golden Eagle, with a 3.25" depth rather than the standard 3.00" . . . and it flaunts a Florentine cut away rather than a Venetian cut away.

Patrick, I think it does a disservice to the design of the cutaway on both the HJ and the KB to describe it as a Florentine. It's bee seriously modified to maximize access to the upper frets and while it looks a bit odd (mostly because our eyes are o well trained to see only two options), it is a wonderfully functional design.

[mr. beaumont]

I think it's gorgeous....I'd love it on a 16" body...that's the Jeff Matz model

[Philco]

It's a 17" according to this.

http://www.delortoguitar.com/henry_johnson.asp

[Philco]

As Patrick described......

[Patrick2]

Patrick, I think it does a disservice to the design of the cutaway on both the HJ and the KB to describe it as a Florentine. It's bee seriously modified to maximize access to the upper frets and while it looks a bit odd (mostly because our eyes are o well trained to see only two options), it is a wonderfully functional design.

While the shape of the cutway is different from Gibson's . . it's a sharp cutaway vs a rounded cutaway. Therefore the term Florentine is pretty much adopted. From a functional aspect . . yeah, the Heritage allows better access to the upper fret board. But, it's still a sharp cutaway. :-) I'm just at a loss as to understanding why they didn't use the same design concept on the 575 and the Sweetie.?.? I think it would have enhanced upper register access and looked pretty cool too.

[Jim Soloway]

While the shape of the cutway is different from Gibson's . . it's a sharp cutaway vs a rounded cutaway. Therefore the term Florentine is pretty much adopted. From a functional aspect . . yeah, the Heritage allows better access to the upper fret board. But, it's still a sharp cutaway. :-) I'm just at a loss as to understanding why they didn't use the same design concept on the 575 and the Sweetie.?.? I think it would have enhanced upper register access and looked pretty cool too.

I would guess that they were concerned about how a less traditional cutaway shape would be received by the guitar community. Being risk averse is not a bad idea when you're selling guitars. No one ever lost any money by overestimating just how conservative guitar buyers can be.

[xuoham]

Roller bridge, uh ?

What could be this extra knob on the pickguard ? Or is it a knob ? Looks triangular ...

[David B]

What could be this extra knob on the pickguard ? Or is it a knob ? Looks triangular ...

One of those plectrum holders/dispensers.

[Jazzophobe]

Look like a Heritage Super KB. Body width=18" Nice!

[jzucker]

Patrick, I think it does a disservice to the design of the cutaway on both the HJ and the KB to describe it as a Florentine. It's bee seriously modified to maximize access to the upper frets and while it looks a bit odd (mostly because our eyes are o well trained to see only two options), it is a wonderfully functional design.

i wouldn't call it a disservice. The cutaway that gibson made and featured on disparate guitars such as the 175 or the Florenine cut '60s L5 were perfectly functional. I've never run into problems where my hands bumped the cutaway on those. On the other hand, heritage has made a number of 335 style guitars where the cutout is too small and your hand bumps the cutaway in the upper register. The prospect and the early 535/555 for example. I believe the newer 535/555 have a deeper cutaway than the originals which looked a little mickey-mouse-like.

[Patrick2]

I would guess that they were concerned about how a less traditional cutaway shape would be received by the guitar community. Being risk averse is not a bad idea when you're selling guitars. No one ever lost any money by overestimating just how conservative guitar buyers can be.

One quick look at the head stock design tells us that the owners of Heritage are not too concerned about how their designs and/or focus on function as opposed to aesthetics might affect the guitar community. Add to that the repeated conversations that have taken place between the owners and many very well respected industry experts (who shall remain un named herein) that a more eye friendly head stock shape would enhance their products' image, acceptance and increase their sales exponentially have gone ignored for some 25 years . . and you'll conclude that they're going to follow their own path as it relates to aesthetics.

The Florentine cutaway on Super Kenny Burrell and the Henry Johnson models are noticeably different than those of their Gibson cousins, the Florentine cutaway Super 400CES and the L5CES. Also, as you'll remember my newest Heritage arch top with dimensions right in the middle of the 18" SE and the 17" GE or HJ models also has the Heritage Florentine cutaway. I actually think the Heritage shape Florentine would look better on a 16" than it does on the 17" and 18" archies.

[dingusmingus]

I'd never heard of Henry Johnson. What a great player--feel, time, taste, touch. Thanks for the tip!

[mr. beaumont]

I find the Heritage headstock, when bound and with some inlay, to be gorgeous.

Now the one on my 575, butt ugly. But that's okay, this way I still get some attention when I play it...plus, once you see the rest of her...

[Patrick2]

i wouldn't call it a disservice. The cutaway that gibson made and featured on disparate guitars such as the 175 or the Florenine cut '60s L5 were perfectly functional. I've never run into problems where my hands bumped the cutaway on those. On the other hand, heritage has made a number of 335 style guitars where the cutout is too small and your hand bumps the cutaway in the upper register. The prospect and the early 535/555 for example. I believe the newer 535/555 have a deeper cutaway than the originals which looked a little mickey-mouse-like.

Jack; at the risk of rudness for responding on behalf of Jim Soloway to something that he said "disservice" I think you're misinterpreting what he considers to be a disservice. I believe Jim was saying the Heritage's sharp cutaway is a radical departure from the typical Florentine cutaway, due to its more open design.

Heritage has been using the very same pattern to cut the shape of the 535 since its inception. But, you're definitely correct about the Prospect.

I got a good warm memory from reading your comments about the hand bumping the cutaway on double cutaway guitars. Years ago I bought a 1963 ES335 that was owned by an old black dude . . . a typical Chicago blues player who felt he needed to wear a big ass gawdy ring on every finger except his thumbs. The inside of the treble cutaway actually had gouges in the wood from where the rings on each of the four fingers of his left hand rubbed the wood when he was up there. The warm memory was due to the fact that I remember that guitar as the 2nd best ES335 I've ever played. I stupidly traded it and cash to Buck Sulcer of Guitar Network in Frederick, Maryland . . (anyone here remember ol' Uncle Buck?) for his personal 1959 long guard dot neck ES335 . . . which was actually the best ES335 I've ever played. I miss them both dearly!

[Patrick2]

I find the Heritage headstock, when bound and with some inlay, to be gorgeous.

Now the one on my 575, butt ugly. But that's okay, this way I still get some attention when I play it...plus, once you see the rest of her...

As a somewhat marketing savy business professional, if I owned Heritage, the very first thing I would do is change the head stock design. It's not only the shape of it, with its straight line snake head design that troubles me. But, the shear thought of a water slide decal on the head stock of $3,000 guitars which are supposed to compete with Gibson's 175, 335 and Les Paul models is just plain wrong.

I've grown to accept, even like the shape and classy look of their head stocks on the higher end SE and GE type guitars. But, I'd change them anyway from a buyer acceptance marketing stand point.

[mr. beaumont]

I remember that guitar...gorgeous. perfect headstock, imho.

Could be a double bonus, too, as all of us Internet forum idiots would start clamoring for those "pre - patrick era" headstocks...If you want guitar players to like something, just stop making it

[ecj]

God, those headstocks. Just ugly as sin. I don't know why they do it.

[jzucker]

Jack; at the risk of rudness for responding on behalf of Jim Soloway to something that he said "disservice" I think you're misinterpreting what he considers to be a disservice. I believe Jim was saying the Heritage's sharp cutaway is a radical departure from the typical Florentine cutaway, due to its more open design.

Right and my comment was that it may "look" radical but IMO, the bigger cutaway doesn't serve much useful purpose because the cutaway on the 175 and florentine L5 are just fine. I don't see a need to make it bigger. It does look cool but I don't think it really adds a significant feature to the playability of the instrument.

[Patrick2]

I remember that guitar...gorgeous. perfect headstock, imho.

Jim and Marv actually liked the design of that head stock but were very against the break angle of the G and D strings going from the nut to the tuning head post.

Could be a double bonus, too, as all of us Internet forum idiots would start clamoring for those "pre - patrick era" headstocks...If you want guitar players to like something, just stop making it

Yeah, that's sad but true. But, more so with collectors than players. I'd continue to offer the current head stock design for the benefit of those over on the HOC forum . . . all of whom have defended the design with their blood. But, just because they booted me out, I only make it available to them at a $500 up charge.

[wintermoon]

isn't there a builder out there using that headstock design? I've seen it somewhere before, maybe on a Monteleone.

[Jim Soloway]

Right and my comment was that it may "look" radical but IMO, the bigger cutaway doesn't serve much useful purpose because the cutaway on the 175 and florentine L5 are just fine. I don't see a need to make it bigger. It does look cool but I don't think it really adds a significant feature to the playability of the instrument.

Jack, what works perfectly for you doesn't necessarily work for everyone. I regularly bang my wrist (and my wristwatch) against the point of a conventional florentine cutaway. Both the HJ and the KB open cutaway and the modified cutaway on the Peerless Martin Taylor would proven that without any functional sacrifice.

[David B]

I might be wrong about this . . but, I believe the total number of the Henry Johnson model Heritage guitars sold up to this point in time, is less than . . 1

:-( I have a thing for florentine cutaway L5s (Joe Cohn fan) but not the prices.

[Doug B]

he's one of the nicest guys you'll ever meet too but unfortunately was chased off of this and other forums by the hobbyists who knew better.

He does indeed come across as a real nice guy. I've seen his Truefire videos and you couldn't hope to meet a more down to earth guy. Great teacher too.

[Hammertone]

I might be wrong about this . . but, I believe the total number of the Henry Johnson model Heritage guitars sold up to this point in time (January 29, 2014), is less than . . 1

Seems like the right place for this picture of the Heritage Super Patrick, clearly inspired by the Heritage Henry Johnson. A quick search reveals a few Heritage Henry Johnson models out there, but there's only one Super Patrick.