Heritage D'Angelico New Yorker

[Max405]

Hi guys,
Back when I bought my L5 Wes Montgomery from Patrick, one guitar jumped out at me from the group in front of his desk. It was the Heritage D'Angelico New Yorker. I asked him about it and I stuffed the thought of it away in my memory.

I've been a fan of D'Angelico guitars for a while now. Ever since I saw the picture of George Benson holding his New Yorker by his Cadillac I hoped that one day, I'd be fortunate enough to have one just like it.


At 50-100 thousand, ain't happening.

So Ive thought about this carefully. I decided that a replica would not be suitable, unless it was really special. I read the D'Angelico book and thought that I would be totally satisfied if one of the original replicas became available to me at a reasonable price. That Special guitar would be the HDA that caught my eye at Patrick's house. I reached out to Chris an he honored the price that Patrick offered it to me for. After some great advice from Stringswinger, MartyGrass and Vinnyv1k I knew it was the right thing to do. Some help from a quick and decisive buyer of my L7c and a wife that always wants me have what I want, I free'd up some funds and was able to pick up the guitar a couple nights ago.

After detailing the guitar till 2am Friday morning I stood back and became smitten with this beauty. I know it's not the real thing but it's the closest thing to it I can ever imagine owning. It looks just like Georges D'A, plus one tone knob on the substantial pickguard.
How does it play? I was worried being able handle the 18" body. No more worries. If you can play a 17" then an 18" is no problem. To steal a phrase from Vinny, the Guitar is capable of feeler gauge action. However at the expense of some sustain on the lower strings. I raised it up to the same action height as I have on my other guitars. Now it rings all day and plays fast and easily. The neck is not as deep as my L5 or Tal or even my HJS. It is almost identical to the JP20, for which I am glad. The tuners are Super Rotomatics. They are nice but they will be replaced with Imperials. The pickup is really nice. Full and round, with some microphonic dimension added. Johnny Smith stretch chords and Joe Pass twister configurations are no problem with this guitar. The gold plated stair step tailpiece is in mint condition. No tarnish. The woods are top quality. There isn't a single dead spot and the guitar has a big acoustic sound. The added fullness produced by the 18" body is unmistakeable. Amplified it sounds superb. Deep and woody, very natural. The electronics are noiseless and work perfectly.
Guys, for me guitars just keep getting better and better. And with the HDA, Even better yet. I prefer this guitar all the others because it is a great guitar in its own right. It is a USA hand made replica of the pinnacle of jazz guitars. Let's face it, I own this guitar because I can't afford the real thing. But, I just so happened to stumble upon the best guitar I've ever touched. Stringswinger told me he played one of these many years ago and said its not in the same league as the real one. He knows what he is talking about. I suspect part of the reason is that the one he played didn't mature yet. This is a 25 year old hand carved masterpiece that has grown up nicely. I am totally content with this guitar. In fact, I am blessed to own it. If the real thing, just like this one comes my way, who knows.. Anybody want to buy a Rolex Submariner, Brietling Navitimer 01, all my other guitars and a perfectly working kidney?

If you have the book, D'Angelico, master builder, what's in a name. Turn to page 86. That's my baby right there. Thanks Patrick.

[Max405]

Here's Georgie!

[Max405]

Here's Joey!

[Eric Rowland]

You're on a roll Joe! Congrats!

[vinnyv1k]

Another touchdown for Team Joe. Love the tri-burst finish.

[vinlander]

Congratulations Joe, truly a beauty !
Must be special to hold Patrick's avatar, nice it goes to a fellow member

[AlohaJoe]

And it looks good on you!

[2bornot2bop]

Right on Joe! That's the one from the entire collection I salivated for. Being in Jersey is a good thing! I'm happy she went to you...she's a keeper!

So, are you digging that 18" SE body now? At 3" depth it's nearly as comfy to play as your L5 yes? Give it sum time...

[Marty Grass]

I have a small story about this guitar.

Patrick bought this quite a few years ago from Jay Wolfe, whom many on this forum know as a fine guitarist and a very highly reputed guitar dealer in Florida. This was from Jay's personal collection.

I can personally attest to the high quality of this instrument BTW. I don't know exactly how an original D'Angelico could be better. Yes, the body dimensions are somewhat different. But really, this is a very fine guitar.

About a month after Patrick died I was in the process of finding options for Patrick's family to sell the guitar collection. I called Jay and got some advice and helpful offers. Jay was a friend of Patrick and had sold Patrick several guitars and discussed others over the years. Jay said that the only guitar he can honestly say he truly regrets selling is the HDA New Yorker. I've never heard higher praise.

Here are some of his photos.

[Stringswinger]

I am thinking with the L-5, Heritage Johnny Smith, Ibanez Joe Pass and this guitar, Joe D. is set for life...

[cgratham]

Hi Joe,
Wow! Such a beautiful guitar and story too. Big congratulations.

Chris

[sgcim]

Thank God they kept the D'A headstock design. That must have been a very hard decision for them to make!
Congrats, JD- that's a beauty! It reminds me of one of the Mel Bay book covers.

[Jabberwocky]

Was wondering in whose hands that Heritage ghost-built D'Angelico would end up. Couldn't have gone to a more deserving paisan than Joe De Nisco.

Congrats, brah!

P.S. What happened to the 17" Heritage-D'Angelico Excel, do you know?

[Greentone]

Joe,

Man, oh, man. Congratulations! That guitar is indescribably excellent. Patrick used to talk about his Heritage D'Angelico(s)...didn't he also have a 17"? He told me that the HDA and the Unity guitars were his best of the best. Then, again, all of Patrick's guitars were top of the line great.

Your guitar is stunning. I bet that it sounds fabulous when played acoustically. Plugged in...with that BJB pickup it has to shine.

You are now playing in a different league altogether. My hat is off to you--and your understanding wife.

GT

[silverfoxx]

Joe, Amico mio,
What a good decision, there aren't many of us who could stretch
to an original, but what you have now you'll treasure more,
because of it's provenance. It looks absolutely stunning. we all
look forward to hearing it. Patrick will be glad that you have it now.


Arrivederci , Va bene !

[Max405]

Was wondering in whose hands that Heritage ghost-built D'Angelico would end up. Couldn't have gone to a more deserving paisan than Joe De Nisco.

Congrats, brah!

P.S. What happened to the 17" Heritage-D'Angelico Excel, do you know?

Jabbs, thanks buddy. Patrick's family still has the Excel. They still have a lot of his guitars. More heritages, the unitys and the x700. Anyone who is interested, Reach out to Chris.

Joe,

Man, oh, man. Congratulations! That guitar is indescribably excellent. Patrick used to talk about his Heritage D'Angelico(s)...didn't he also have a 17"? He told me that the HDA and the Unity guitars were his best of the best. Then, again, all of Patrick's guitars were top of the line great.

Your guitar is stunning. I bet that it sounds fabulous when played acoustically. Plugged in...with that BJB pickup it has to shine.

You are now playing in a different league altogether. My hat is off to you--and your understanding wife.

GT

its sad seeing the guitars all cased up and not being enjoyed. If anyone is interested, reach out to Chris. He works a lot of hours but he will get back to you. They are very fair people. Very reasonable. But they know what things are worth. They won't go the dealer price route so they are content with selling them one at a time.
The guitar is different than most heritage guitars I've played. It's made to a spec not there own. So it Is different. It has an amazingly solid feel. But the neck on this one is way different. Not full. Identical to the JP20. That contributes to the feel. It's a players guitar that you can just stare at all day and all night.

Joe, Amico mio,
What a good decision, there aren't many of us who could stretch
to an original, but what you have now you'll treasure more,
because of it's provenance. It looks absolutely stunning. we all
look forward to hearing it. Patrick will be glad that you have it now.


Arrivederci , Va bene !

thanks foxy. It's hard not to play it. The neck is settling in to my setup so it will be a couple of days before it's perfect. But even this 25 year young guitar has more newness left in it then a real DA. So it fits my "shiney new things" criteria more than your typical 50 or 60's DA would. It really is a gorgeous guitar, suitable to be played for hours and then back to the glass case. If that makes any sense..

[skykomishone]

Way to go, Joe! That's a very cool experience to have. I've considered the 18" guitars as being too big for me for years until I played the pre-war Emperor's and 2B's Super-Eagle. I think they're awesome and it's good to see you digging it the way you do. I bet it sounds superb!

Keep on playing and thanks for sharing.

Steve

[Max405]

Sky, thanks buddy. I am so fortunate to have this stuff I have. What a great experience this whole thing has been. And it's enhanced at JGF. If I didn't have you guys to share this with then who the hell else would even care? Great experience. Really great.
JD

[2bornot2bop]

So Joe, I'm wondering, if the guitar is the identical specs and dimensions as a Super Eagle? 18" width, 3" depth?

I had a Heritage Gretsch Eldorado, which Heritage ghost built some 25 or so for Gretsch, and the guitar was identical to the Super Eagle except at the headstock, bridge, and tailpiece.

[Max405]

2B, Yes it is 18", 3" depth. It is amazingly playable. The only difference, I believe is the neck. I read that when the buyers ordered these guitars, they were able to specify certain things. The neck on this guitar is not the typical Heritage Neck. My HJS is a tiny bit shallower than an L5 neck. The HDA is almost identical to my JP20. I would like it a little better if the neck had the L5 dimensions. That neck makes the Guitar "feel" more substantial. But the JP/HDA neck allows you to fly on it and it also makes the twister chords a little easier on my hands.

All in All, I love it.

JD

So Joe, I'm wondering, if the guitar is the identical specs and dimensions as a Super Eagle? 18" width, 3" depth?

I had a Heritage Gretsch Eldorado, which Heritage ghost built some 25 or so for Gretsch, and the guitar was identical to the Super Eagle except at the headstock, bridge, and tailpiece.

[Marty Grass]

It is amazingly playable. The only difference, I believe is the neck. I read that when the buyers ordered these guitars, they were able to specify certain things. The neck on this guitar is not the typical Heritage Neck. My HJS is a tiny bit shallower than an L5 neck. The HDA is almost identical to my JP20. I would like it a little better if the neck had the L5 dimensions. That neck makes the Guitar "feel" more substantial. But the JP/HDA neck allows you to fly on it and it also makes the twister chords a little easier on my hands.

JD

Here's the Kalamazoo perspective on the neck fatness issue.

Long ago there were no truss rods. Necks were fat to help keep them straight and allow for planing to compensate for changes over time. Gibson came out with the truss rod nearly 100 years ago. This permitted thinner necks. But those didn't happen right away.

With amplification, solo guitar became more popular. With that style there was more demand for closed chords with finger stretches and to use the thumb for fretting. Fat necks were an impediment. So in the 50s and more so in the 60s thinner necks on archtops were in demand.

Here's the part where some get really honked off, especially Les Paul fans. There are those who believe a fat neck transmits string vibration to the top better than a thin neck. Better is a subjective term of course. Reasoning that supports this is very weak. Contrary evidence is stronger.

One experiment is to put a capo on the 12th fret. Pluck a few notes and record them. Then do the same with a cloth dampening the strings between the nut and the 12th fret and grasp the back of the neck to diminish any vibration. Compare the recordings. There will be little or no difference in an amplified guitar. This has been done several times before with A/B testing.

Here's another consideration. A fat neck increases the distance between the thumb and the fretting finger pad. This enhances the chance of tendinitis at the thumb base due to the need to exert the same amount of thumb pressure but with mechanical disadvantage.

The prejudice for fat necks is mostly based on a peculiar bias that is an artifact of history. The old archtops had fat necks. Many of these are very well made instruments that came from premium woods that are definitely mature and have "opened up". It would be easy to mistake the source of their rich sound as coming from the neck. What belies this is that some old guitars (1960s Johnny Smiths for example) don't have fat necks and sound fabulous. Nonetheless, the myth persists.

Another force that perpetuates the fat-neck-makes-good-tone idea is the earliest Les Pauls. These became highly desirable after Gibson stopped making them due to public disinterest in the model. Gibson made a fat neck on them in the 1950s because they made fat necks on most everything. It was a one piece neck, so perhaps they thought fat equals more stable. Also, the solid body was very controversial, and most professional guitarists were conservative. A fat neck made the guitar feel more "usual". Despite the ideas on acoustic transmission through woods that are put forth in "The Beauty of the Burst", I doubt that the neck fatness was based on anything more noble than what would sell.

Nowadays, fat necks are not the rule in solid bodies. If they offered significant tonal benefits, they easily could be and at no additional cost. The love affair with the 1950s LP is mostly nostalgia and hype. Some of them are beauties and the woods are generally lighter. The neck is almost certainly not the draw, at least not for the reasons most give.

So all things being otherwise equal, there can be advantages to a thinner neck. It can be "faster" because the thumb can be in the relaxed position as it goes up and down the neck, not actively lifted off of the neck. The hand is more in a neutral position. And thumb wraps are easier for most. Lastly there is less neck diving with a lighter neck.

I have average sized hands. The neck carve makes little difference to me. I have some guitars that have fat necks, personally carved by one who did the original '59 LPs. And I have two thin necked guitars plus several mediums. For me, I get comfortable with any of them within 15 minutes or less, the same as switching between a 335 and a 17" archtop. But for high performers, subtle differences in neck carve, scale length, string tension and more can substantially handicap their very complex playing.

So everyone can chose what they want, including their beliefs. Play on in peace.

[Max405]

MG,
Well said. Everyone is different. For me that 15 minutes of getting used to a guitar is precious. Now that I have 2 Guitars that conform to hands that are adjusted to the shallow neck design, I am doing cartwheels.
I think the one thing that got my attention was the shallow neck was attached to the only 18" body I've ever played. That's 2 things going in opposite directions, and because of that, the difference "seems" more pronounced.
Bottom line, I really loved the guitar when I brought it home. 4-1/2 days later, I love it even more. I look forward to it. That's saying a lot because there are some other pretty desirable guitars hanging in the queue. The HDA is coming with me on my annual pilgrimage to the WaterClub for the Thanksgiving Holiday.

By the way, Happy Thanksgiving to all my buddies here. Wrap yourselves around the ones you love and be thankful for what you got. That's the only thing that really matters.

And, thanks for being there for me. You people enhance one of my passions in life. I appreciate it.
Joe D

[vinnyv1k]

Personally I hate fat necks. I wear a size medium glove. L5's,175's,Tal's,Brydlands,Guilds all feel good to me. I have played a fat neck 335 I did not like and some Heritages with very fat necks. I just can't play chords on fat necks period. Guess my hands are not big enough. Everybody wishes they had Tal Farlow hands. It all comes down to hand size. Big hands need big necks and vise versa.

[Hammertone]

Personally I hate fat necks. I wear a size medium glove. ….It all comes down to hand size. Big hands need big necks and vise versa.

Personally I love fat necks. I have medium-sized hands. I find it that I play with a much more relaxed left hand with a fat neck, and tend to squeeze the neck harder with a smaller neck. Most of the Heritage necks I have encountered over the years are too small for me. It's one reason why I have only one Heritage archtop.

[Bluedawg]

I love fat necks ....

I don't think my hands are huge by any means ... but they tend to be too big for the large gloves you usually find in stores