Share your go-to recordings of the Gibson L-5

[Mick-7]

That Tuck Andress clip above was really nice. He has a lot of the Cornell Dupree sound in his playing. It was great to see him go from super serious concentration scowl to beaming smile at the end.

I'd like to hear him in front of an R&B band, I bet he would really shine there.

He started out playing R&B and that's where he developed many of the comping techniques he uses.

[L50EF15]

I can’t think of the L5 without thinking of the man who originally popularized it and drove the tenor banjo to virtual extinction, Eddie Lang:

For that matter, his contemporary and sometime duet partner, Carl Kress, was amazing too:

As was Allan Reuss:

As is Reuss’ disciple and heir, Jonathan Stout a/k/a Campus Five:

As for electric, there are too many Wes Montgomery examples to choose from! But one of my favorites is from one of his last albums, “The Other Man’s Grass Is Always Greener,” from Down Here On The Ground:

Pat Martino used an L5 for a while. I think he was using one on the Exit album, as here:

But the ringer for me is Pat using the L5-S, the solid body version, on the “We’ll Be Together Again” album. To me, he never got a better tone:

[ThatRhythmMan]

Eddie was a big deal.

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[yebdox]

[equenda]

......OMISSIS

But the ringer for me is Pat using the L5-S, the solid body version, on the “We’ll Be Together Again” album. To me, he never got a better tone:

Hi!
Are you sure that the “We’ll Be Together Again” album was recorded with the L-5S (solid body) ?

Ettore

[L50EF15]

Hi!
Are you sure that the “We’ll Be Together Again” album was recorded with the L-5S (solid body) ?

Ettore

Yes. There is a thread here somewhere about using the Les Paul for jazz, and someone mentioned the L-5S, with a direct quote from Pat Martino saying that he used that model on that album. More, that it was plugged straight into the board, not mic’d from an amp.

Jim Hall got a similar tone in the same way, on an early Les Paul Custom, with the Chico Hamilton Quintet:

[equenda]

Yes. There is a thread here somewhere about using the Les Paul for jazz, and someone mentioned the L-5S, with a direct quote from Pat Martino saying that he used that model on that album. More, that it was plugged straight into the board, not mic’d from an amp.

Jim Hall got a similar tone in the same way, on an early Les Paul Custom, with the Chico Hamilton Quintet:

Thank you so much for the information you gave me. For me they are important and give me confirmation that the Gibson L-5S is an extraordinary instrument.

Thanks again.

Ettore

[Cunamara]

In interviews, Pete has said that L5 was a singularly uninspiring instrument for him and not one of the "good" L5s. He sold it on and bought the Zeidler. He also kept his previous blonde ES-175, as I understand it, but was happy to see the L5 go. Not all iconic guitars are created equal, I guess.

[wintermoon]

In interviews, Pete has said that L5 was a singularly uninspiring instrument for him and not one of the "good" L5s. He sold it on and bought the Zeidler. He also kept his previous blonde ES-175, as I understand it, but was happy to see the L5 go. Not all iconic guitars are created equal, I guess.

That L-5 suffered a nasty headstock break somewhere along the way and came up for sale twice in the last month.

Just a moment...

[ThatRhythmMan]

I have no idea if Andy Summers used an L-5 in the studio for the song, but he used one for the video. Andy is a total jazz enthusiast, so it’s not a total surprise.

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