Innehållsförteckning för October 2017 från Guitarist

This month, we celebrate the pioneering sounds of Vox, the trailblazing British company that gave birth to some of the most viscerally exciting tones in rock history, which celebrates its 60th anniversary this year. It’s a massive achievement given the ups and downs of the industry in Britain over the past six decades. To read the whole quintessentially British story, in which E-Type Jags, chip shops and pure engineering talent all play their part, turn to page 58 — I’m sure you’ll join us in wishing Vox a happy birthday. While we were making the feature, we got talking about the ex-George Harrison AC30 explored in detail on page 74 and other famous bits of kit that have stepped from the floodlit stage of history into the relative obscurity of…

CHARVEL GUTHRIE GOVAN SIGNATURE £3,029 Latest of two Guthrie signatures, this one has a caramelized ash body and caramelized flame maple neck and is loaded with player-centric features Part of the Fender empire since 2002, Charvel’s reputation was founded by making custom guitars for great players. It’s currently signature home to Warren DeMartini, Joe Duplantier, Jake E. Lee and our own Guthrie Govan, who’s first signature model appeared in 2014 after two years of development. Earlier this year two Charvel Guthrie Govan Signature models were announced with virtually identical features and price, the difference lying primarily in their woods. It means the full title of our reviewed model is the, deep breath, Charvel Guthrie Govan Signature HSH, Caramelized Ash, Caramelized Flame Maple Fingerboard, Natural – the other being the Charvel…

There’s two lots of good news for Mansons Guitar Shop this year – the Exeter store isn’t just bringing its show back for 2017, it’s also celebrating its 25-year anniversary. With guitar shows in the south of England becoming more rare, this one is looking to be Mansons’ best yet. Alongside a host of gear exhibited by top names, the last show in 2015 hosted a performance by Steve Howe and the launch of a new Mansons Guitar Works’ Matt Bellamy model. We spoke to Manson Guitar Works and Mansons Guitar Shop MD Adrian Ashton about this year’s event. It’s great to see the show returning – is there anything you want to do differently this year? “Thank you. We’re celebrating our 25th anniversary as Mansons Guitar Shop, so we…

Recently, I was playing a gig and an old friend, who just so happens to be an excellent guitarist, was in the audience. I was playing a new Japanese-made bolt-on with a pair of humbuckers and a clearly non-Fender shape. For the fourth number in the set, as planned, I switched to an original series Fender Road Worn ’60s Strat; halfway through I caught my friend’s eye and he was giving me a big thumbs-up. Chatting between sets he said that when I’d picked up the Strat it sounded really classic – just right. “What’s that other guitar you’re playing?” he then asked. It made me wonder whether my friend was making his judgement on sound or looks. Possibly both. A non-classic looking guitar is never going to sound rightis…

“Is mojo a figment of our imagination? I don’t think so, as it’s something everyone in a room can feel” BERNIE MARSDEN For as long as I can remember, I’ve always played Got My Mojo Working by Muddy Waters, and about ten years ago in Mississippi, I was given my own personal mojo by a blues musician I had met in Clarksdale. He gave me a little black bag and said that the “Mojo” would take care of me out on the road. That little black bag has hung on the side of my travel bag ever since. The bag holds all the vital travel items: passport, a bit of local currency, a notepad, plectrums, toothpaste, a spare toothbrush, that kind of thing, but it also has my ‘mojo’ attached…

NO REAL ALTERNATIVE? I’m writing in about the Different ‘Cuts review by Dave Burrluck issue 424. In Dave’s appendix about the real Les Paul Standard, he makes the point that this guitar is better than ever. When I was gigging in my teens, my dad bought me a new Japanese-made CSL (Antoria) Les Paul Custom copy, on the basis that he couldn’t afford the real thing, which was almost four times the price. That the CSL was a great guitar in its own right – the gigs using it funded my first Gibson and many other musical things – is not the point. Back then, there were only two choices: a cheap Japanese copy, or the real thing. Both made equal sense, and still do in the world of Epiphones…

Where most people might associate Glen Campbell with hit country songs such as Rhinestone Cowboy, Wichita Lineman and By The Time I Get To Phoenix, many will know that he was also a stellar guitarist. He was, at one time, a member of The Wrecking Crew, a group of first-call session players based in LA during the 1960s, however, back at the beginning, things were very different indeed… Glen Travis Campbell was born on 22 April, 1936 in Billstown, Arkansas. He was the twelfth child of a sharecropper John Wesley and Carrie Dell Campbell, entering the world in the depths of the Great Depression. His parents’ farm grew a few basic crops including cotton, corn and potatoes. The going was tough and, later on, the young Glen would help supplement…

What Vox amps do you rely on in Radiohead – and why? “I love Vox amps. The Vox amps that I really like are the AC30s and I used one for years. Thom [Yorke] has got the old ones – he’s got the 60s ones, which are great. We had brand-new AC30s quite a few years ago and they got rebuilt by David Petersen, who is the same guy that rebuilt Brian May’s [Vox AC30] for We Will Rock You. He took everything out and converted it to a single, normal channel for me. Fucking hell, they’re loud! Brian [May] can obviously turn up – he’s the only guitarist and that’s part of the sound, but it wasn’t working for me, so Daniel Steinhardt [of The GigRig and That Pedal…

It was August 1987, and Def Leppard’s newly released fourth album, Hysteria, had all the makings of a cautionary tale. Over three agonising years, the Sheffield rockers had clawed forwards through a hail of bombshells, ranging from fired producers to a horrific car crash that cost drummer Rick Allen his left arm. “You really did start to think,” frontman Joe Elliott muttered in one interview, “that we were cursed.” Now, with the final studio tab nudging $5 million, the band toured Hysteriaacross the States to discover if the fans who’d bought 1983’s Pyromaniahad deserted them. “You’re out there touring, you’re in debt, no-one’s showing up,” reflects Leppard guitarist Phil Collen. “I remember, when we’d just released Hysteria, we played the Tacoma Dome, Washington, and got 11,000 people in. Which is…

TECH21 FLYRIG5 £329 With Tech21’s long-established analogue Sansamp technology at its heart providing amp simulation (or overdrive), plus reverb, plexi distortion and a boost with independent footswitches. At the end of the signal chain is a delay, voiced to sound like a vintage tape echo, with a separate tap tempo footswitch. www.tech21nyc.com VALETONDAPPER £145 An effects strip featuring overdrive, distortion and delay (with a tap tempo footswitch) effects plus a tuner and an FX loop. There’s also selectable cab simulation for recording or going straight into a PA. Besides the original model there’s the downsized Dapper Mini (£85) and Dapper Dark (£152) with boost, distortion, chorus and delay. www.valeton.net CARL MARTIN QUATTRO £439 The Quattro pre-dates the FlyRig and puts four effects into one chassis, beginning with a compressor/limiter and…

“My main criticism of modern amps is that too many try to do too many things – like a Swiss army knife” There isn’t much that Neil Perry doesn’t know about the workings of a good vintage guitar amp. Starting out as a guitarist in the late 70s, he quickly progressed to running his own 4-track reel-to-reel studio where he repaired, modified and made his own equipment. He then further honed his craft under the watchful eye of an ex-Decca maintenance engineer at Trad Electronics in North Watford during the solid-state frenzy of the early 80s. It was during this time that Neil jumped into the deep end of vintage music gear as Trad Electronics began dismantling studios such as Decca and Pye, relieving them of their classic analogue and…

Jamie Dickson Guitarist editor Jamie is as happy with steel wool in his hand as he is with Steely Dan in his headphones, and loves vintage-gear restoration and ambitious signal chains. Dave Burrluck Guitarist’s assiduous reviews editor is also the author of numerous guitar books. Very handy with a fret file and indeed any aspect of a finely fettled six-string. Mick Taylor Ex-editor of Guitarist, Mick has wielded Allen keys, screwdrivers and sandpaper from an early age; he also has a worrying obsession with pedalboards. Neville Marten Edited Guitarist for 13 years, after working for both Fender and Gibson as a repairer. From desirable Les Pauls to dream Strats, he’s owned and worked on the lot. Nick Guppy Guitarist’s amplifier specialist has built up a wealth of experience gained from…

1955 Two DeArmond Dynasonic pickups, block inlays and Melita Synchro-Sonic intonation-adjustable bridge 1956 Hump block inlays Early-1958 ‘Thumb print’ crescent shaped inlays over bass edge of fretboard up to 17th fret Mid-1958 Roller bridge added allowing space control between strings 1958 Two Gretsch Filter’Trons replace DeArmond Dynasonic pickups and master tone control changes 1959 Zero fret added 1961 Symmetrical double cutaway added for easier access to upper frets 1962 Burns vibrato and standby switch added; gold hardware and pickguard 1963 Discontinued as separate model (available as Duo-Jet custom finish order)…

l FINISH VIBRANCY As with any vintage guitar with a unique finish, collectors will prioritise individual guitars that deliver an especially striking visual panache. For that reason, the vibrancy and originality of the silver sparkle on this model can make or break the desirability of a particular specimen. l BINDING CONDITION Gretsch guitars produced in the 50s are widely known for the poor quality of the binding. Chipped and cracked binding is not uncommon on vintage Gretsches and, while it’s more of an issue with the hollowbody guitars, it’s something that prospective buyers should be mindful of when considering a Silver Jet purchase. l ORIGINAL COMPONENTS For the 1958 model year specifically, there are two components that rank as essential inclusions: the original roller bridge and original Filter’Tron pickups. Pickup…

Electrics FenderStrat, team built Custom Shop NOS 1956 in Fiesta Red. Vintage tweed case and all the candy. Bought purely for investment, ill health forces sale, never gigged and absolutely in mint condition. Had professional set up by Fender UK. £1,700, no offers. Save hundreds on current price: paulcurtis1@btinternet.com. 01296 435520. Aylesbury FenderStratocaster USA plus deluxe 1984. Candy Apple Red, Lace Sensor pickups. Good condition. £1,200 ono. Call Rob 07773 414812. Ipswich Gibson ES345, 2006, cherry (as Guitarist issue 423). Superb condition: £2,150 ono. Contact: mark.heydon@hotmail.com. 07455 741001 Gibson Les Paul Standard Traditional 2011, faded cherry burst, nice variegated flame. BK Mules and aged stopbar. Excellent condition with OHSC. £1,535 ono. Call Ian on 01904 593787 Email janderson.jnr@gmail.com. York GretschSuper Chet 7691 Walnut. Year 1977. With Gretsch case, original condition,…

Richard Thompson The former Fairport Convention man is one of the greatest guitarists these shores have produced. He discusses his first love, the acoustic guitar, on p52 Crowning Glory The ‘59 Epiphone Coronet Rod Brakes examines in this issue is the quintessence of stripped-down cool. Where do we get one? p88 Def Leppard Phil Collen’s candid interview reveals in detail the struggle to achieve sonic perfection on their landmark album Hysteria on its 30th anniversary p82…

DANELECTRO ‘66 £999 WHAT IS IT? Dano’s reboot of a mid-60s Mosrite is a (semi) hollow victory You might recall the occasion last year when Danelectro released its ‘64 model, a guitar that betrayed very little of the brand’s own heritage. In fact, the ‘64 owed the lion’s share of its features to the late Semie Moseley’s Mosrite classics as brandished by instrumental cats The Ventures and punk icon Johnny Ramone. Say you eyeballed the ‘64 and thought ‘I’d be all over that if only they axed the Bigsbyesque vibrato and made it a hardtail.’ Well, the new ‘66 model should make your day. With this latest release, Dano have spec’d a chunky six-saddle, wrap-around bridge/tailpiece with intonation adjustment. The other metal bits of note including the small UFO volume…

John Mayall 17 October to 26 November Various UK venues It’s remarkable enough to see an 83-year-old musician undertake a UK tour as encompassing and intensive as this, despite the fact it was John Mayall himself who helped define the sound of British blues 50 years ago. If 36 dates with scarcely a day off between them would give most players pause for thought, it certainly isn’t phasing Mayall. “Being out on tour is very easy for me, it always has been,” Mayall tells us. “People coming out to the tour will have a good time; that’s my mission,” he adds. “Every time I get up on stage I just want people to connect with the music and be part of the excitement.” The tour is in support of John’s…

When thinking about what to ramble on about this month, it occurred to me that what I’d been doing (playing in the house band for a new television series for the BBC, recorded at their facility in Manchester) was pretty much exactly the same as what I’d been up to in the previous month – with exactly the same gear setup (the Boss MS-3 still in heavy use and performing excellently for those of you who’ve been paying attention), so therefore not of huge interest to anyone who happened to read last month’s column. In fact, save for iPads and some different gear, the basic process of this kind of TV work hasn’t changed a huge amount since I started doing it around 20 years ago. Except for one unexpected…

“Last November, I did my first ever vocal in my entire life without a cigarette. It wasn’t easy” 1 What was your first guitar and when did you get it? “It was a Hofner Sunburst V3. I got it in a pawn shop in Middlesborough and that would have been 1971. The story behind it was a seaman put it in over the weekend because he’d run out of money or something, and I thought, ‘I wonder if it was bought in Hamburg?’ Romantically, it was like, wow! – because of The Beatles connection.” 2 If the building were burning down, what one guitar from your collection would you save? “I would save the blue Italia Maranello. Funnily enough, it’s the cheapest guitar I’ve ever bought. When I plugged it…

The annual Cropredy Festival in Oxfordshire is a high point in the folk rock calendar and this year’s event was especially significant as it marked hosts Fairport Convention’s 50th anniversary. So, naturally, when we found ourselves sitting in an out-of-hours restaurant with Fairport founder member and all-round folk legend Richard Thompson, our opening gambit was to ask how the momentous occasion had gone for him on a personal level. “Cropredy was fun. Historic 50th year… this means we must have started when I was three.” he deadpans. “We were always friends, which is a nice thing. Even people who left the band didn’t drift too far away. It’s always a joyful thing to get back together and play with those guys.” Resident now in the US, Richard’s appearances at Cropredy…

In the late 1950s, Gibson’s Kalamazoo factory experienced an unprecedented increase in its range and production of solid-body and semi-acoustic electric guitars. Having ventured into manufacturing this new breed of instruments in 1952 with the introduction of the Les Paul Model in addition to its traditional archtops and flat tops, Gibson became increasingly experimental with regards to guitar form. Not only was the well-established Les Paul range – including the Custom, Model/Standard, Special and Junior models – beginning to alter in appearance, but some fairly radical designs had also just commenced production, such as the ES-335, Explorer and Flying V (all released in 1958). Gibson’s owner, CMI (the Chicago Musical Instrument company) had, in 1957, acquired the Epiphone brand and in addition to their own range of Gibson branded guitars,…

01 DISPLAY Shows patch information in Memory mode and a visual representation of the footswitches in Manual mode 02 LOOPS LEDS These small red LEDs show you which of the nine effects (six internal, three loops) are active in a patch 03 MEMORY/ MANUAL Press this to change modes – the LED colours change accordingly – Memory: blue, Manual: red CTL IN/OUT You can control external gear from the MS-3, and plug in expression pedals and footswitches to control specific parameters MANUFACTURER ROLAND UK MODEL MS-3 PRICE £439 01792 702701 WWW.ROLAND.CO.UK Occasionally a product comes along that is a real ‘no brainer’ pairing of two useful tools in one box – the new Boss MS-3 is one such item. An ingenious hybrid melding two related-but-quite-different things, this is a…

Based around OTA (Operational Transconductance Amplifier) circuitry like the MXR Dyna Comp, a two-knob job, the Tone Corset goes beyond the standard output volume and a Sustain knob for turning up the compression. It offers control over the attack with varying degrees of sharpness at the front edge, and a Blend knob sets up parallel compression. It also has a ‘Pad’ switch to set the right input for your guitar, preventing distortion caused by high-output humbuckers or an active bass. The compression sits well with the sound, keeping it in check and, with the extra gain that’s available via the Volume knob, the Tone Corset offers a consistency that means you’ll keep it permanently engaged. Rather than compressing the whole signal, Blend enables a more nuanced approach, keeping your natural…

“Our challenge hasn’t been about which is ‘best’, it’s been a journey into the unknown” Supro Black Holiday with Dave Burrluck Writer DAVE BURRLUCK Gear reviews editor, Guitarist Our Supro versus Supro test concludes. Which is best? The one that ain’t broke! Crap! And, indeed, double crap! It seems our-old-versus new Supro comparison has taken a turn for the worse. As part of our brief for the Long Term Tests we supply the pictures, and while setting up a couple of shots for my last instalment, I had my ’68 Supro Stratford lent up against a similarly aged Watkins Dominator. But, as I went to check the image I’d just taken, the ’68 slipped forwards on the laminate-wood floor and came crashing down on its back with a sickening thud.…

Q I have a reasonably large pedalboard with the usual selection of drive, modulation, delay etc. However, I have always struggled to find an amplifier that I really like, having tried a number of valve, transistor and digital combos over the past couple of years. I saw some videos online recently that were highlighting the advantages of using a small power amplifier and speaker cabinet instead of a ‘full’ amp. Is this possible to do from the pedalboard alone, and if so, what would you recommend to try. I am not prejudiced against solid state amps as so many tone snobs seem to be! John Roberts, via email A It is absolutely possible John, while keeping in mind what a ‘full’ amplifier is actually doing. You have a preamp section…

1. SERIAL NUMBER 5 digits typically in the 27000-30000 range ink-stamped onto label located in control cavity 2. HEADSTOCK ‘T-roof’ Gretsch logo; single-bound peghead 3. PLASTICS Grey plastic pickguard with black ‘T-roof’ Gretsch logo; white plastic heel overlay; black plastic truss rod cover 4. HARDWARE Open backed metal tuners; chrome plated Melita Synchro-Sonic intonation-adjustable bridge; chrome plated ‘G’ tailpiece; four metal ‘arrow’ knobs; 3-way pickup selector switch; chrome plated thumbscrew strap buttons 5. PICKUPS Two high output DeArmond Dynasonic single coil Alnico V pickups with large adjustable pole pieces; independent pickup volume pots, master volume pot and master tone pot 6. BODY 13¼-inches wide, 2-inches deep, single-cut chambered mahogany with pressed laminated maple arched top; triple (white/black/white) top binding; silver sparkle finish 7. NECK 24½-inch scale length, glued in mahogany…

FENDER GEORGE HARRISON ROSEWOOD TELECASTER £2,289 An understated look but unique-sounding tribute to one of The Beatles’ most iconic moments Almost 50 years since The Beatles brought London’s West End to a standstill with a free concert on the roof of their Apple building in Savile Row, and where George Harrison debuted an unusual dark-brown Telecaster, Fender is issuing a limited edition model to honour George, the gig and that guitar. The legendary instrument, put together by Roger Rossmeisl (of Rickenbacker design fame) and Phil Kubicki (who went on to create the fantastic Factor basses), was the prototype of a short run or two of instruments that has become hugely collectable. Built from solid East Indian rosewood it was a sultry looking creation that reflected its recipient perfectly: dark, handsome,…

t the time of going to press no cause had been attributed to the death of Walter Becker on 3 September. The news broke initially on Becker’s website, sending shockwaves across social media, many believing that the lack of any accompanying information indicated a hoax. Sadly, this was not the case as his bandmate and friend, Donald Fagen, issued a heartfelt statement confirming the news later the same day. “Walter Becker was my friend, my writing partner and my bandmate since we met as students at Bard College in 1967,” he said, referring to the facility at Annandale which features in the Steely Dan song, My Old School . After leaving college in 1969 and moving to Brooklyn to try their hands at songwriting in the famous…

As you might have guessed by now, I very much enjoy musing on the myriad topics of ‘Guitarism’. So, for this month’s instalment, I thought it might be interesting to explore the subject further. In my initial Guitarist column, I offered this phrase as food for thought: “Hey, take it easy – you’re not getting paid by the note.” And we’re off... When I was a young fella back in NYC, like so many of my guitar-playing peers, I wanted to be‘the fastest gun in town’ (and the loudest too). Maybe it had to do with age and inexperience… To be clear, most of the playing I do these days is related to the genres called‘Rock’, ‘Blues’, ‘Pop’ and‘Jazz’. In all of these, I have found a certain type of…

CAVE DWELLER I guess I’m not the only one, but I started a very long-overdue covers band for my 50th birthday party having spent eight months rehearsing songs (last played when I was 18 and not very well – but the power of YouTube and the Internet sorted that!). It was meant to be a one-off, but somehow for the last seven years we’ve been gigging regularly and rehearsing off the back of it. I wasn’t expecting it, but it’s been great fun! However, as with other readers I imagine, I am sadly banished to a spare bedroom to practice. This has been met with, shall we say, annoyance from the wife! Especially the foot tapping on the floor, which apparently pounds through the ceiling whilst she is watching TV,…

What was your first gig and how did it go? “My first paying professional gig under my own name would have been 8 November 1989. It was $5 at the door and we had about 600 people show up. We ended up earning $3,000 which, after paying the band and expenses, I netted $500. I bought a Super Nintendo games console and a set of Joe Barden’s pickups – then I was broke again, which basically, over the course of 30 years, has been the story of my life.” Describe your current stage rig… “I use four 80 watt Tweed Twins, three of which are from 1959 and one is a 2016 prototype of the Joe Bonamassa 80 watt Tweed Twin, which will be out by the end of the…

Atmospheric textures and evocative tones are your trademark as a guitarist. What drew you to the little Vox AC10? “I first had a Vox AC10 when I was about 17 or 18. I had two Vox AC30s and an AC10. I loved the AC10 but it just wasn’t loud enough on stage at the time, because back then we didn’t mic amps up, so I switched to an AC30, which was too loud! So I used to turn it around facing the wall and crank it. Most of the things I do these days are pretty quiet, so the AC10 is great for that, but in fact it can still get surprisingly loud. “The AC10 I have at the moment is in my studio a lot of the time, I’ve…

1951 The Univox, a monophonic synth/organ with a built-in valve amplifier and loudspeaker, is launched. Inspired by a popular French product called the Clavioline, the Univox is allegedly used on the Joe Meek-produced 1962 hit Telstar. By some accounts Jennings had tried to re-cycle the Univox’s valve circuit for guitar use without much success 1958 The AC1/15 amp launched in January, Thomas Jennings’s first big success. Re-named AC15, it featured a Denney-designed circuit using a pair of EL84 valves driving a single 12" loudspeaker, in a cabinet designed by Jennings. According to legend, the AC part of the name stood for Amplifier Combination. It also conveniently stood for Alternating Current 1959 Vox hit on a masterpiece with the concept of a ‘double AC15’; four EL84s powering two 12" loudspeakers, called…

As is typical of 633 the build quiality is exceptional and the parts first class It’s been a busy year for 633 founder and chief designer, Cliff Brown. He’s moved 633 into a new factory, developed new models, and fulfilled a growing order book, all while continuing a second burgeoning musical career fronting his own band. However, 633 Amplification continues to be Cliff’s main focus and this month we’re shaking down the two latest designs to taxi out onto the runway, the Drive King 50 head and the Jazz & Blues combo. The Drive King 50 is a new addition to 633’s more-or-less standard range, given that every new build can be significantly customised to suit its owner. Meanwhile the Jazz & Blues combo is a better example of 633’s…

1 What was the first pedal you built and how did the design come about? “I was 15 years old when I sold my first pedal, although it wasn’t branded as ZVEX. I got a copy of Popular Electronics magazine and begged my Dad to go to Radio Shack and get me the parts so I could build a Jordan Boss Tone. I showed it to a guy at school and he offered me $10 for it! ZVEX started in June 1995 and the first effects pedal I shipped was the Octane – an octave-up fuzz. It was based on a 1960s Shin-Ei Apollo Fuzz Wah. I bought a broken one at a guitar shop for $25 and modded it up using silicon transistors, a booster circuit and also added…

CONFUSED! I have a nice American Standard Telecaster and a PRS Santana SE but I’d really like to add a Strat…oh and maybe a 335. I’m fully aware of my limitations as a player and don’t subscribe to ‘all the gear but no idea’ attitude. I really do want a genuine Fender though. What’s puzzling me is there’s now a bewildering array of specification up and down the range. What I’d like to see is a simple grid layout of the available range, maybe for the major manufacturers, with average price, spec differences and a rating score. Any chance of that? Dino, via email You’re definitely not alone, Dino. It’d certainly be possible to make that grid as you suggest, but in truth we’re not sure how much it would…

Like the Fender Telecaster and Gibson Les Paul, the Silver Jet was a seminal instrument in terms of its shape The Gretsch 6129 Silver Jet was originally released in 1955 and has its origins in the design of the black top finish Gretsch 6128 Duo-Jet released in mid-1953 (later made famous by George Harrison). There are few distinguishing differences between the two guitars aside from finish, although they couldn’t be further apart in terms of modesty. The silver sparkle finish is a Gretsch hallmark akin to the sparkle-finish drums they manufactured in the 1950s, and it just smacks of 50s sci-fi! According to anecdotal reports it was an employee of the factory that suggested Gretsch apply these eye-catching finishes to the Duo-Jet, and so the Silver Jet was born. The…

In 1953, Gretsch introduced its entry into the nascent solidbody guitar market with the now iconic black Duo-Jet (model number 6128). In 1955, the New York factory expanded the line with a handful of variants including the deep-red Fire Bird (6131), the honky-tonk orange Round-Up (6130), and the focus of our attention today, the Silver Jet (6129). The Silver Jet, with its glistening sparkle finish, holds a special place for vintage guitar collectors and fans, and stands out as one of the truly unique Gretsch designs of this era. For all of these Gretsch solidbodies (and really all Gretsch guitars), 1958 was a crucial year. While Gretsch was also updating and evolving its designs, 1958 saw the introduction of the famous Filter’Tron pickups to replace the earlier DeArmonds, as well…

Barney Kessel’s Bluesy Bop Difficulty 10 mins per example Tutor: Chris Corcoran Gear used: Framus Broadway archtop (with flatwound strings) through a Honeyboy 5 amp BARNEY KESSEL (1923- 2004) was known as a jazz guitarist, but, as the saying goes, you can’t play jazz without knowing the blues! Barney was also a first call session player during the 1960s and a member of the LA studio scene’s infamous Wrecking Crew, playing on countless hit singles of the day. He was also an educator and exponent of the jazz guitar style nicknamed ‘chord melody’. Surely this level of sophistication is miles away from the raucous jump blues style we’re looking at here? In fact, no. There is a close relationship between the stylings of jazz – especially in its big-band manifestation…