The Jazz Guitar Chord Dictionary
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  1. #26

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    Quote Originally Posted by John A.
    Sure, I promise not to buy a $1000 guitar because it offends people who own $30,000 guitars. Oops, too late.

    I mean seriously guys.

    John
    OK.. sprayed my coffee on that. Good one John.

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  3. #27

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    D'Angelico guitars were not cheap back in their day either. They were equivalent in price to a Gibson or even a bit more. So the notion any of these guitars were inexpensive is a misnomer.
    They might have been way more affordable than their current value, but nowhere near $1k in today's money.

  4. #28

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    Here's an older thread about that. Let us not forget that some Gibson guitars were named for their price. For example Gibson introduced the Super 400 in 1934 for $400.00 A LOT of money then.

    Original price of D'Angelico, D'Aquisto, etc. adjusted for inflation

  5. #29

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    No one is saying original D'Angelicos were cheap, or even questioning today's prices for them. The current production made-in-Asia ones are the ones that cost $1-2K. There's a groundhog day discussion around here about the hallowed d D'Angelico name being attached to guitars that are similar to other Asian-made guitars under the skin and nothing like made-by-John-D'Angelico guitars.

  6. #30

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    D'Angelico did have his "cheap" line. He bought bodies from two New Jersey manufacturers of "cheap" guitars (United guitars or Code guitars) and put his own necks on them (with the D'Angelico brand name intact). I do not recall the price for those (He did not keep a record of those in his ledger) and IMO, inflation calculators, while interesting are inaccurate.

    D'Angelico (used, 1959) Electric Archtop guitar built on a United body - Mandolin Brothers, Ltd.

  7. #31

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    The thing about those United and Code bodied guitars is that they weren't technically a lower line instrument like a Gibson L-7, but rather lam body electrics.
    A bit of an apples and oranges comparison to a less fancy carved guitar vs say a NYet or Excel.
    A better comp would be a Style A or B.

  8. #32

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    There is not a single person on this forum that does not know the difference between the guitars and history of D'Angelico the luthier and the D'Angelico brand producing guitars for mass consumption.

  9. #33

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    I have had the good fortune to obtain a bunch of high end archtops that say Gibson or D'Angelico on the headstocks and enjoy playing each and every one.

    If money was an object, playing a Korean made DA would certainly be under consideration for me. At least until I saved enough money for a Gibson.

  10. #34

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    after seeing that pic of JD a million times it just dawned on me he's fitting a guard to a lefty guitar.

  11. #35

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    Quote Originally Posted by deacon Mark

    That. Tailpiece. Right. There. Is. THE. Tailpiece of all Tailpieces. Of all. Ever.

    At least that's what I think.

  12. #36

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    I think the underlying intention of the D'Angelico videos with both Rodney Jones and Mark Whitfield is to compare the new imports to the original D'Angelico guitars legacy.
    And while I understand these players accepting money to do these videos,I'm basically offended by it. Both these players and the current owners are being disingenuous at best,by drawing any comparisons between these imports and the originals. At least Eastman doesn't claim to be a Benedetto.

  13. #37

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    Jazz guitarists have the same right to seek endorsements as any other entertainer, pro athlete or artist. That is how they make a living, rather than merely existing. Times are tough for professional jazz guitarists. Last year we saw one of the greatest jazz guitarists of all time, Kenny Burrell, go through a very public and terrible financial crisis. And even the massive GoFundMe efforts did not mitigate all of his woes.

    So why criticize a couple of guys for making a pitch for a guitar maker? They aren't hurting anyone. In my view, anyone who has the guts...and skills to try to make it as a jazz musician these days deserves our support, especially on a jazz guitar forum.

  14. #38

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    Quote Originally Posted by wintermoon
    after seeing that pic of JD a million times it just dawned on me he's fitting a guard to a lefty guitar.
    A lefty made in 1942.

    Quote Originally Posted by citizenk74
    That. Tailpiece. Right. There. Is. THE. Tailpiece of all Tailpieces. Of all. Ever. At least that's what I think.
    That's a mighty fine tailpiece. Here's my fave, which appears positively austere by comparison:

    Last edited by Hammertone; 01-17-2020 at 02:15 AM.

  15. #39

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    I get why they do it but when you lend credibility of your name, you basically are responsible for your actions. And sure we cut them some slack,but still it's a sell out. Both these players play very high end archtops in the $10 k and above range.

    So saying these cheaper guitars just as valid is really a stretch! At least George Benson actually plays his endorsed Ibanez guitar, as does Scofield and Metheny.
    Disappointed by such good musicians for such little monetary reward.

  16. #40

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    Quote Originally Posted by Stringswinger
    If money was an object, playing a Korean made DA would certainly be under consideration for me. At least until I saved enough money for a Gibson.
    Probably consistent the DA's marketing strategy. However, in this forum many, myself included, can afford pretty much whatever we want when it comes to guitars. They're all cheap compared to a good piano or cello. We've all played our share of Gibson's and even those of us who are not reasonably well informed on the workmanship and materials as they've evolved over the last several decades know who to ask. Believe it or not, some of us choose other products quite intentionally.

    And it depends on your application. If you like the neck, something like a DA EXL-1 with a pickup swap would be great for gigs involving the outdoors, running kids, and other challenges. All moot for me.. I'm completely out of space for new guitars and other gear. Besides, I'm deeply offended with the lack of respect shown to the Epiphone name. (OK.. maybe not)

  17. #41

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    Quote Originally Posted by jads57
    I get why they do it but when you lend credibility of your name, you basically are responsible for your actions. And sure we cut them some slack,but still it's a sell out. Both these players play very high end archtops in the $10 k and above range.

    So saying these cheaper guitars just as valid is really a stretch! At least George Benson actually plays his endorsed Ibanez guitar, as does Scofield and Metheny.
    Disappointed by such good musicians for such little monetary reward.
    The whole world of professional endorsement of tools of the trade is 99% bullshit. Athletes don't use their signature gear ("paint job" tennis rackets, custom made shoes in all sports, etc.) , guitarists don't play exclusively play their signature models, etc. etc. Advertising is an inherently unethical, deceptive medium. In the grand scheme of things, a guitarist exaggerating the virtues of a guitar that he maybe uses but maybe doesn't is not something I can get all that worked up about. Sorry -- have to cut this short because I have to go talk to my doctor about an anti-psychotic now being used to tread zits.

    John

  18. #42

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    Quote Originally Posted by Spook410
    Probably consistent the DA's marketing strategy. However, in this forum many, myself included, can afford pretty much whatever we want when it comes to guitars. They're all cheap compared to a good piano or cello. We've all played our share of Gibson's and even those of us who are not reasonably well informed on the workmanship and materials as they've evolved over the last several decades know who to ask. Believe it or not, some of us choose other products quite intentionally.

    And it depends on your application. If you like the neck, something like a DA EXL-1 with a pickup swap would be great for gigs involving the outdoors, running kids, and other challenges. All moot for me.. I'm completely out of space for new guitars and other gear. Besides, I'm deeply offended with the lack of respect shown to the Epiphone name. (OK.. maybe not)
    I get that Gibson archtops might not be everyone's cup of tea (I have owned a few Gibsons that were dogs myself) and I also get the benefits of having a "cheap" guitar for things like playing outdoors or in bars full of drunks. For me, playing a good Gibson (or real D'Angelico) inspires my playing (and I have never found an Asian made archtop that inspires me) so all ten of my archtops today have those names on the headstocks. To deal with the risk of damage, I carry an insurance policy.

    I wish that the venerable guitar brands Epiphone, Guild, D'Angelico, Gretsch, D'Aquisto and Stromberg had been left alone just as I have never liked the various resurrections of the Indian motorcycle brand. But if there is a demand in the marketplace, it should be met. That is what wise businesspeople do.

  19. #43

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    Quote Originally Posted by John A.
    The whole world of professional endorsement of tools of the trade is 99% bullshit. Athletes don't use their signature gear ("paint job" tennis rackets, custom made shoes in all sports, etc.) , guitarists don't play exclusively play their signature models, etc. etc. Advertising is an inherently unethical, deceptive medium. In the grand scheme of things, a guitarist exaggerating the virtues of a guitar that he maybe uses but maybe doesn't is not something I can get all that worked up about. Sorry -- have to cut this short because I have to go talk to my doctor about an anti-psychotic now being used to tread zits.

    John
    I read in interview with GB once where he said he's hesitant to play other guitars around people, because he did it once, someone took a picture and it ended up on a magazine, and Ibanez almost terminated their deal.

  20. #44

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    I think these new guitars look really cool and I'm happy to see they are available in 2020. Personally, I'm happy a company, any company, is making new archtop guitars.

    You can actually buy a new MIK D'Angelico and they're really nice guitars at a good price with a nod to the timeless designs of John D'Angelico. The fact of the matter is you
    can't buy a brand new D'Angelico made by John D'Angelico. You can't even buy a brand new Gibson archtop like an L-5 or ES-175.

  21. #45

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    Sorry but for me pissing on D'Angelico and D'Aquisto is personal, I'm Italian LOL!
    Seriously it degrades a great legacy of building great instruments. And it's preying on an individual, not a company.

    There is something wrong about it, so disrespectful and I get that business is business. But all of you players here should know better,and have higher ethic level. Instead of just acquiring the most instruments,etc.

    Reminds me of when Kenny G put himself on a Louis Armstrong recording. That is totally unacceptable in my book!

  22. #46

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    So we shouldn't buy Gibsons because Orville got pushed out of the company, or Fenders because Leo's real legacy is G&L, or a Tesla because Nikola never built a car and hated DC current? Etc., Etc.

    I mean the thing is, people die and their names become brands subject to what others choose to do with them. Are we all really unethical because we buy from someone other than blood heirs carrying on in the same way as the founder? That's a pretty tough standard.

  23. #47

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    Not saying that,and again I understand business can be really ruthless most of the time. Im saying claiming these guitars have any real DNA other than looks is crossing the line in my book.
    The specs are pressed tops,sides,backs,etc not carved by a person. The finish is probably poly,not nitro,etc. The parts are probably cheaper imports to originals.

    At least Gibson followed the same basic formula with their archtops.And actually tried improving them with their last Crimson series. But their price reflected hand crafted instruments as well.

  24. #48
    Quote Originally Posted by zephyrregent
    These are all cosmetic differences except the Seymour Duncan pickup in place of the Kent Armstrong "Jazzy Joe" pickup that is on almost all the D'Angelico and Eastman guitars. The Style B is a nice guitar with a thinner top and more resonance than their other guitars but I prefer their original version, also the sunburst finish. The F-holes aren't right for a guitar trying to represent the 1930's. The price difference of $1999 vs $1559 is not justified. You could get a standard Style B and add a better pickup and come out paying less.
    Hey, just wanted to clarify a few points here! The idea of the Throwback series was to pull various design characteristics from different points in D'Angelico's career— not pinning it down to just the 1930s specifically. In fact, John D'Angelico didn't build his first cutaway EXL-1 style model until 1947. Obviously certain details are associated with certain eras of D'Angelico's career— the full fret blocks are indeed very 30s, while the headstock is more later-period D'Angelico style. And yes, the F-holes are very D'Aquisto inspired— John in fact never built with this style F-Hole so I totally understand why traditionalists take aim there. We just feel it's a nice point of differentiation from the standard models.

    The price point increase is due to the Ebony fingerboard and pickguard, the Macassar headstock and the larger MoP inlays. The guitar also has extra binding, particularly a multi-ply binding on the F-holes. Some of these details are subtle, but they definitely amount to some nice upgrades.

    Hope this clarifies some points, we appreciate all of the feedback and don't take it lightly.
    Last edited by D'Angelico Guitars; 02-28-2020 at 09:29 PM.

  25. #49
    Quote Originally Posted by jads57
    I think the underlying intention of the D'Angelico videos with both Rodney Jones and Mark Whitfield is to compare the new imports to the original D'Angelico guitars legacy.
    And while I understand these players accepting money to do these videos,I'm basically offended by it. Both these players and the current owners are being disingenuous at best,by drawing any comparisons between these imports and the originals. At least Eastman doesn't claim to be a Benedetto.
    Hey, just want to clarify your suggestion here. Mark and Rodney are both D'Angelico artists who we've worked with for quite a while and collaborate on these videos with us because they genuinely play the stuff and love it. Everything that they reference in the video is honest with no intention from the brand other than to have great artists share their opinions on the models.

    Our intention here is not to directly compare these models with the older D'Angelico's, but rather to show how various design elements from John D'Angelico have inspired our current designs— and you see this with guitar brands across the board. The original D'Angelico's will always stand on their own pedestal and be the kingpin of archtop guitars, we will always honor that as a brand. But we feel that the modern D'Angelico's are a way to expose D'Angelico's legacy to people who may not be able to afford the originals— especially the younger generation. What's amazing to see is how the newer D'Angelico's have generated so much interest in John D'Angelico's history and his original designs. We will always strive to improve and update our instruments but to me, there is no better way to keep that legacy alive. All the best!

  26. #50

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    TBH, until recently recently never heard of D'Angelico the luthier, or the Korean brand. I'm new to jazz and to jazz guitars. I did however buy Excel SS because I really loved the sound, the huge discount and I took the Art Deco stuff (which I don't like) for granted.

    If I ever will be able to perform in a combo with this guitar and somebody will be offended by my faux D'angelico, I'll just kindly ask him to close his eyes and listen to the music.