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  1. #251

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    It's a humble AG75. Must be one of the first that got to the Stores in 2002. I jumped on it as soon as Ibanez brought the Artcore to the market. Later I added a wooden bridge which makes a lot of difference. The best thing is that played without an amp it still is different to the GB – but not that much worse. It's maybe 1/3 inch deeper and a bit lighter than the GB.
    Unfortunately played into an amp the difference in quality is more apparent. I bought a Seymour Duncan Jazz Pickup on ebay that will go into it at the end of month when the luthier finds time for that. I hope it will make a really nice backup than.
    BTW our organ player posted a video of our last gig (me playing the GB10) on facebook: Last weekend with DOG (Drums Organ... - Alexander Tschersich
    I hope the jazzguitar forum can tolerate the funk.

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #252

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    Any guitar that Wes Montgomery is playing.

  4. #253

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    Quote Originally Posted by cooltouch
    A beautiful guitar. I've wanted one since the late 70s. I get by these days with an AG85, which I love. Got a question, though -- which model is that in the background? Looks a little bit like my AG85, but different.
    My AG75 now sports the Seymour Duncan Jazz pickup I bought on Ebay. It brought the guitar forward quite a bit (more acoustic, transparent tone – that was what I hoped for) but it's still not in the same league as the GB10. The GB just sounds better, nicer and punchier at the same time. It should as it costs like 8 times more. ;-) I guess the maple neck and ebony fretboard produce that tone to a great amount.

  5. #254

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    I was too lazy to read through all the answers, but in my opinion the best jazz guitar is which fits you the best...

    I have an old korean Aria Pro II-FA 70, and I would never change it to another axe, not even for a Gibson. Thats the best for me.

  6. #255

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    For me, the Gibson L5CES epitomizes the ultimate jazz guitar and has since since the early '60s. I used to drool over them in the Gibson catalog and dream of the day that I would own one. That day came in the late '90s. I custom ordered one from my local dealer. Waited almost 2 years for it. Right out of the case for the first time it had fret rattle on two different frets and the tailpiece was mounted off center. I was never more disappointed in a guitar. It sounded great but the craftsmanship was very shoddy. I found out too late that Gibson's custom shop was turning out some real duds in the '90s. I'd still love to have one but I'll try the next one out before purchasing. I also like the Tal Farlow model but the L5CES is my all time favorite.

  7. #256

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    Quote Originally Posted by TheThunder
    In your opinion, what would you describe as the best all around jazz guitar, either currently produced or out-of-production, and what makes it so amazing. just for fun Thunder
    Based on my onservations so far. A vintage 1940s or 1950s Gibson ES 350 or 300 is pretty close to perfection IMHO for the classic bop sound. Light weight, responsive, woody and dry and ... loads of thunk.

    Heck, the 175s, 150s and 125s from that era are great too ...

    DB

  8. #257

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    Quote Originally Posted by TheThunder
    In your opinion, what would you describe as the best all around jazz guitar, either currently produced or out-of-production, and what makes it so amazing.

    just for fun

    Thunder
    That's a heck of a question, Something very personal!

    As for me, the best jazz guitar ever produced is the prewar ES-150 Charlie Christian that Gibson put on the market from 1937 to 1940. Funnily enough, it was also the very first electric guitar made by Gibson. If you can get a good model (some have aged nicely, others not so much) it's just divine in terms of sound and playability. The Charlie Christian magnet generates a huge magnetic field, envelopping the strings as no other magnet has done after. The sound is difficult to describe with words, very much medium-range and well balanced, mellower than a classic P90 but crispier than a good humbucker, kinda ideal mix of the two worlds. The carved top is extremely responsive, giving this guitar an incredible dynamic range. Also it's a 16" wide lower bout guitar which means you hold it very comfortably in your hands.

    Here is s pic' of my personal 1938 model. My favorite guitar.

    Perfect Jazz Guitar?-es-150-jpg

    Cheers.

  9. #258

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    I have a very nice 335, and have had other hollow and semihollow guitars. The more I play, the more it seems to me that something like this might be my perfect jazz guitar. A couple of classic PAFish humbuckers and it'll do anything. And from a sheer practicality angle, it's hard to beat a Fender style guitar. this isn't mine, but you get the idea
    Perfect Jazz Guitar?-jcmbjw26hhhix7nkotix-jpg
    Last edited by Average Joe; 03-06-2020 at 06:23 AM.

  10. #259

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    I'm tiny bit into jazz, but if I was hardcore heavy into jazz only, .... I would take something like this one.


  11. #260

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    First of all Epi Sheraton & Gibson '57 pups, flats /.011
    But then... threw a SH-1 in neck of a korean Squier Tele, plus .011 and... maaaaan! That does it!
    They both work great for jazz in my gigs...
    Perfect Jazz Guitar?-2017-12-23-11-12-54-jpg

  12. #261

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    Perfect Jazz Guitar?-9f53d3ac-e782-4ab3-8bbc-008160ce1479-jpeg

  13. #262

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    Perfect Jazz Guitar?-img_0271-jpg

    Redhead, Blonde or Brunette?

    Tal Farlow, ES175 or L5 CES...somedays it's hard to decide......

  14. #263

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    perfect jazz guitar? that was proven years ago. hint, it's one of these


  15. #264

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    The perfect jazz guitar would make my single notes sound like Coltrane playing tenor.

  16. #265

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    Synthaxe baby

  17. #266

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    Too many great options to choose from.









    PRS rules !!

  18. #267

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    Quote Originally Posted by Scotto
    I've been very curious about a casino because it is a total hollowbody and you get a warmer sound. Would be very interested in putting 57 classics into one. One of my favorite jazz\funk guitarists plays a Casino but his sound doesn't have the warmth I'm looking for... it may be the P-90's. Look up Eddie Roberts if you get a chance... he's from the UK.
    Is this him ?

    I like the tones.

    [url=https://youtu.be/Y2tfsiqVR6o]EDDIE ROBERTS Tribute to #GrantGreen #SaintPaulSoulJazzFestival #2018 -
    Last edited by Robertkoa; 05-21-2020 at 07:30 PM.

  19. #268

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    I don't like Gibson pickups.

    I mean, they sound great, but giving 3 times more money to Gibson 57 Classics over DiMarzio Air Classics - just not worth it.

  20. #269

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    I found mine recently, a 1973 (pre-Norlin) ES-175 in tippy top condition! I paid out the wazoo for it, but it's truly special and they ain't making any more of them, as they say.

    Honestly, Eastman, D'Angelico, Ibanez (a used GB10 was my runner up), Heritage, and Peerless seem to all make great jazz boxes. However, I feel like shelling out $1,700 for a Chinese or Korean guitar is lost money. So is shelling out $3.5K for a Heritage or an Ibanez (most Ibanez's aren't that expensive). If you plan to keep it forever and play it into the ground then I say go for it. However, if there is the slightest chance you're ever going to sell it one day then you have got to go with something that will, at least somewhat, keep its value.

    My first real guitar was a '79 Les Paul Custom Silverburst that I bought with dishwashing money for $450 at Sam Ash in NYC. I couldn't even afford to buy the case and had to ride the train home from Manhattan to Jersey with it loose (never prouder). I could sell that guitar for $5K today, but that one is staying in my collection since it was my first. BTW - I played jazz with it in high school back in the early '80s. I did sell a Fender Relic Strat I bought in 2014 to help fund this one. It was like playing it for free for 6 years since I sold it for what I paid for it (minus some selling fees). Still...

    Finally, one other thing that I've learned is that it's cheaper to initially get the one you want versus three others you don't end up keeping. Good luck finding YOUR perfect jazz guitar!

    The new one is blonde like I used to be! Perhaps, I should be playing the grey one now...

    Perfect Jazz Guitar?-s-l1600-3-jpg

    Perfect Jazz Guitar?-s-l1600-5-jpg

    Perfect Jazz Guitar?-s-l1600-8-jpg

    Perfect Jazz Guitar?-s-l1600-9-jpg

    Perfect Jazz Guitar?-s-l1600-7-jpg

    Perfect Jazz Guitar?-s-l1600-6-jpg

    Perfect Jazz Guitar?-1979-jpg

  21. #270

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    Quote Originally Posted by briancopeland
    I found mine recently, a 1973 (pre-Norlin) ES-175 in tippy top condition! I paid out the wazoo for it, but it's truly special and they ain't making any more of them, as they say.

    Honestly, Eastman, D'Angelico, Ibanez (a used GB10 was my runner up), Heritage, and Peerless seem to all make great jazz boxes. However, I feel like shelling out $1,700 for a Chinese or Korean guitar is lost money. So is shelling out $3.5K for a Heritage or an Ibanez (most Ibanez's aren't that expensive). If you plan to keep it forever and play it into the ground then I say go for it. However, if there is the slightest chance you're ever going to sell it one day then you have got to go with something that will, at least somewhat, keep its value.

    My first real guitar was a '79 Les Paul Custom Silverburst that I bought with dishwashing money for $450 at Sam Ash in NYC. I couldn't even afford to buy the case and had to ride the train home from Manhattan to Jersey with it loose (never prouder). I could sell that guitar for $5K today, but that one is staying in my collection since it was my first. BTW - I played jazz with it in high school back in the early '80s. I did sell a Fender Relic Strat I bought in 2014 to help fund this one. It was like playing it for free for 6 years since I sold it for what I paid for it (minus some selling fees). Still...

    Finally, one other thing that I've learned is that it's cheaper to initially get the one you want versus three others you don't end up keeping. Good luck finding YOUR perfect jazz guitar!

    The new one is blonde like I used to be! Perhaps, I should be playing the grey one now...

    Perfect Jazz Guitar?-s-l1600-3-jpg

    Perfect Jazz Guitar?-s-l1600-5-jpg

    Perfect Jazz Guitar?-s-l1600-8-jpg

    Perfect Jazz Guitar?-s-l1600-9-jpg

    Perfect Jazz Guitar?-s-l1600-7-jpg

    Perfect Jazz Guitar?-s-l1600-6-jpg

    Perfect Jazz Guitar?-1979-jpg
    ES-175 are awesome. Congratulations, and play it in good health!

  22. #271

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    I’m sure there are a lot of great instruments around to fit in this “category”, which is pretty subjective and it depends on the situation and the needs of the player.

    In my case, the perfect jazz guitar is the one you can take with you anywhere, gigs, jam sessions, lessons, traveling, without worrying too much and it should sound great in all those situations. I’m playing an Ibanez AKJV95-DAL for two years now and works the best for me. I changed the electronics and the pickup to a DiMarzio 36th ann. PAF model and the hardware to a chrome instead of the original “reliced” gold, which I did not like. Anyway this is just my opinion.
    Attached Images Attached Images Perfect Jazz Guitar?-20200729_093355-jpg 

  23. #272

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    This is such an interesting topic because of the breadth and variety of jazz: warm fat tones, gypsy jazz tones, slightly gained out fusion tones, acoustic jazz guitar tones, you name it. Wes, Green, Di Meola, Django, Bruno - they all sound different and there are more players to add to the number of dimensions, of course. McLaughlin, Noy, Christian, the list goes on and on.

    I'm primarily an electric player and in the soul jazz vein. Grant Green, Boogaloo Joe Jones, that kind of stuff.

    I had been using an L5 Signature and an ES-335 as my main instruments, and both are terrific.

    I recently picked up a Gibson ES-275 (the full hollowbody version), and I think it is the perfect electric jazz guitar. The slightly smaller and thinner body make it so comfortable to play, and it's not so expensive that I'll fear to take it out of the house. It is very light. Mine has humbuckers and I'm already on the lookout for one with P90s. The tone is a touch bright, but the previous owner had 0.010 gauge rounds on it. I'll soon switch to heavier flats.
    Attached Images Attached Images Perfect Jazz Guitar?-es-275-jpg 

  24. #273

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    The Byrdland does it for me but my income has been covidized so I am looking at a discounted cigar box guitar to fit the bill.


  25. #274

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    Anybody here played ES-135/7? I’ve got the hots for an ES-235: it looks so sexy. Anyone played it?


    Sent from my iPhone using Tapatalk

  26. #275

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    Quote Originally Posted by Eck
    Anybody here played ES-135/7? I’ve got the hots for an ES-235: it looks so sexy. Anyone played it?


    Sent from my iPhone using Tapatalk
    I have an ES-137 from 2006 I really like. The thin body is very comfortable to play, and the available tones are nice. I might prefer the more expensive VariTone-equipped model, as I am a fan of VTs, but the more Spartan model I have is just fine.

  27. #276

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    I own a Gibson ES-335, a Tele, and a Strat, but for jazz, I prefer my Eastman Hollowbody. It has a very warm sound, with great acoustic overtones.
    Perfect Jazz Guitar?-img_20191213_161709-jpg

  28. #277

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    I heard a Godin A6 on YouTube. On its humbucker it had a great woody sound. But it takes forever getting through all the mansplaining and open G chords to find some one playing decent.


    Sent from my iPhone using Tapatalk

  29. #278

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    I don't recall many players who got an L-5 and then moved on to something else.

    The exception was, back in the day, guys who got an original D'Angelico. But, an original D'Angelico is simply too valuable to take to gigs, so I'm going to eliminate it as the perfect jazz guitar. That's arbitary, of course.

    So, there's an argument that the L-5 is the perfect jazz guitar -- because after a player gets one, he's more likely to stick with it than any other guitar. That's in my experience, thinking about players I've known.

    That said, the L-5 feels too big to me and I've never wanted one. I've never played a perfect jazz guitar. There's always something.

  30. #279

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    Quote Originally Posted by rpjazzguitar
    I don't recall many players who got an L-5 and then moved on to something else.

    The exception was, back in the day, guys who got an original D'Angelico. But, an original D'Angelico is simply too valuable to take to gigs, so I'm going to eliminate it as the perfect jazz guitar. That's arbitary, of course.

    So, there's an argument that the L-5 is the perfect jazz guitar -- because after a player gets one, he's more likely to stick with it than any other guitar. That's in my experience, thinking about players I've known.

    That said, the L-5 feels too big to me and I've never wanted one. I've never played a perfect jazz guitar. There's always something.
    I have taken all three of my original D'Angelicos to gigs. What good is having a great guitar and gigs and being unwilling to use them together? Value? That is why having an insurance policy (which BTW is tax deductable) is important. As my DA's are all non-cut, they are not the "perfect" jazz guitar for me but I dig them nonetheless and enjoy being the caretaker of such fine instruments.

    I also have two L-5's and three ES-175's. I go back and forth between those models as the perfect jazz guitar. For me that is. I think each player needs to figure out what works for them and inspires their playing.

  31. #280

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    It's hard to argue against the L5 being close to the platonic ideal of the jazz guitar, in its various incarnations.

    But given how many varieties of jazz exist, and at various volumes, different players will have their idea of "perfect". I've owned many carved archtops including Guild X-700, Guild/Benedetto Artist Award, Gibson L5CT, Gibson L5 Signature, Heritage Eagle Custom, and I've sold all but one, and that is probably going soon, too. I seem to prefer the sound of laminate hollowbodies and semi-hollows for the music I play, so something like the ES-275 or other laminated, thin, hollowbodies are very close to ideal for me.

    The sound of the Guild/Benedetto Artist Award was unreal unplugged or at low to medium amplified volumes. The only better acoustic archtop I've played was 30's L5 that was an orchestra, sound of angels.

  32. #281

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    Quote Originally Posted by GuitarJay
    It's hard to argue against the L5 being close to the platonic ideal of the jazz guitar, in its various incarnations.

    But given how many varieties of jazz exist, and at various volumes, different players will have their idea of "perfect". I've owned many carved archtops including Guild X-700, Guild/Benedetto Artist Award, Gibson L5CT, Gibson L5 Signature, Heritage Eagle Custom, and I've sold all but one, and that is probably going soon, too. I seem to prefer the sound of laminate hollowbodies and semi-hollows for the music I play, so something like the ES-275 or other laminated, thin, hollowbodies are very close to ideal for me.

    The sound of the Guild/Benedetto Artist Award was unreal unplugged or at low to medium amplified volumes. The only better acoustic archtop I've played was 30's L5 that was an orchestra, sound of angels.
    The best unamplified sound I ever heard from an archtop was a late 30's L5. And, that includes a bunch of D'Angelicos and other L5s.

  33. #282

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    My Blonde L5Ces Crimson Custom Shop. + Black L5 Wesmo Crimson Custom were undoubtedly
    the very best I have had, both acquired new, and tried before bought. The Tal Farlow and
    Byrdland ditto, I am putting my money on a superb Campellone currently undergoing it's
    final stages of build being the top of the pile.
    Very sad to hear that Jumpnblues (post 255) had a duff 90's L5CES, Gibson had poor QC in
    that era. The Crimson Custom shop generally produced better QC instruments.

  34. #283

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    Quote Originally Posted by rpjazzguitar
    I don't recall many players who got an L-5 and then moved on to something else.

    So, there's an argument that the L-5 is the perfect jazz guitar -- because after a player gets one, he's more likely to stick with it than any other guitar. That's in my experience, thinking about players I've known.

    That said, the L-5 feels too big to me and I've never wanted one. I've never played a perfect jazz guitar. There's always something.
    Can I suggest alternatives? The Gibson Lee Ritenour is smaller than an L5CES, the L5CT is similar to an L5CES except the body depth is
    shallower, but still produces the L5 "sound", also the Collings LC eastside .lightweight, one CC/ HB pickup ,Ibanez GB10 and numerous
    others. The ultimate , one might consider is a Campellone, hand built , a contender for the L5 crown, and considerably less $$
    just my 2p. but I am fortunate in possessing a number of perfect guitars.

  35. #284

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    Whichever one I happen to be playing at the moment...................

  36. #285

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    Les Paul played jazz on a.....Les Paul!



  37. #286

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    Quote Originally Posted by 73171 View Post
    Les Paul played jazz on a.....Les Paul!



  38. #287

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    Quote Originally Posted by silverfoxx View Post
    Can I suggest alternatives? The Gibson Lee Ritenour is smaller than an L5CES, the L5CT is similar to an L5CES except the body depth is
    shallower, but still produces the L5 "sound", also the Collings LC eastside .lightweight, one CC/ HB pickup ,Ibanez GB10 and numerous
    others. The ultimate , one might consider is a Campellone, hand built , a contender for the L5 crown, and considerably less $$
    just my 2p. but I am fortunate in possessing a number of perfect guitars.
    My Lee Rit was perhaps the most beautiful guitar that I ever owned, but it didn't sound like an L5 CES. Like other small guitars it couldn't - because it's smaller. Physics, don't ya know.

    But there's a place for it.

  39. #288

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    Quote Originally Posted by 73171 View Post
    Les Paul played jazz on a.....Les Paul!


    Here's a 21 year old playing jazz on a Les Paul. He's pretty good too.