Guitars used to play jazz have some special characteristics. They produce a certain type of sound that has been developed over the years. Due to the specialization, not just any guitar is appropriate for an acoustic jazz guitar. Learning about the characteristics of acoustic jazz guitars, and how to make them the most unique, will help you in your quest to purchase the perfect instrument to learn and perform with.
The Body Style
Certain types of instruments have become commonly accepted as essential acoustic jazz guitars. These include arch-top guitars, a physical feature that both early pioneers, modern day legends, and the stars of tomorrow are relying on for practice, performance, and recording purposes. The arch-top originally appeared in jazz because its unique shape tended to amplify the sounds of the guitar greatly, allowing it to soar over screaming horn lines and drums in larger jazz orchestras. Today, with the advent of advanced electronics, most mid to high end arch-top guitars feature built in plugs for amplifications. For these types of jazz guitars, this is an important feature because it allows you to practice or participate in a jam session easily without hauling an amp around, but you also have the option to plug in and play loud when you need to. The arch-top, despite the prevalence of electronics, still plays an important role in creating that signature jazz sound.
Another unique characteristic of typical acoustic guitars used in jazz is that they often feature unique sound holes, sometimes in the shape of the letter D or F. They often resemble classical instruments like violins, and the purpose of the sound hole design is to achieve maximum tone production.
The Sound
Every jazz guitarist wants to avoid feedback and distortion when they plug in. Acoustic guitars used for jazz are generally fortified against feedback, and other troublesome excess sounds. They are designed with clarity and distinction in mind, and this is something you will also want to listen for when you are looking for a good jazz guitar. These guitars are not intended to be played with effects pedals, and this is an instrument that will be valued for the trueness and forwardness of its tone. Jazz guitarists also try to avoid a great deal of sustain when they play, they want their instrument to produce a tone that is crisp and clear, but it does not need to ring in the back of the hall moments after it has been played. To new listeners, the sound can be “choppy” or “muted”, but to a certain extent, that is what the instrument should sound like.
The Playability
Acoustic jazz guitars should be extremely playable, all over the neck of the instrument. Melodic lines and funky solo licks need creative freedom, and a good guitar will feature a smooth, manageable, and playable neck from top to bottom. This does not mean that the instrument should have a thin neck, but it does mean that it should feature smooth frets and a reasonable action in order to maintain playability in the higher frets.
Now that you understand why and how jazz guitarists get their sound, you can experiment on your own.
By: David Smithe
The word “gypsy” in itself is a bit mysterious. Dictionaries define the word in a myriad of ways, and it is hard to imagine how the term became attached to a genre of jazz. French guitar master Django Reinhardt made the genre famous. It is a combination of the popular American style of jazz and the musical techniques of a nomadic group of tough-to-classify gypsies of European descent. The instruments used to play gypsy jazz are very specific in a number of ways, and possess a rich history unlike any other.
History
In order to begin learning about guitars used for gypsy jazz, it is important to understand a bit about the history of the genre. Gypsy jazz is a genre derived from the work of French musicians during the 1930’s. It is a combination of improvisational jazz techniques and historical traditions passed down from generation to generation from one musician to another. In general, gypsy musicians do not read standard music notation and beginners will spend hours learning by ear, studying recordings and learning from their elders. Guitar and violin play important roles in gypsy jazz; they are the two most commonly featured instruments. As a result, the guitars used for gypsy jazz generally have a few specific features that are a combination of tradition and practicality for the style of music.
Features
Guitars used for gypsy jazz are characterized by a sound that is quite dry, but also offers intensity in the tone at the same time. The instruments are generally hollow bodied with arched tops. Some of the technical traits of the guitars are floating bridges, easily accessible fingerboards, and simple bracing. Gypsy jazz guitars need to be able to play supportive, rhythmic accompaniment roles, as well as shine in the spotlight with punching solo capabilities as well.
Popular Brands
Probably the most notable guitar used for gypsy jazz is made by Selmer. Django Reinhardt made the unusual Selmer guitar famous with his unique styling and musical interpretation. The guitar is often incorrectly referred to as the Selmer-Maccaferri or just simply the Maccaferri, which was the name of the man who invented it. The design of this legendary guitar has been copied by many other manufacturers including Dell’Arte Guitars, Busato, and Patenotte. These companies tend to produce high-end copies closely resembling the Selmer design. Other manufacturers have tapped into the student and amateur markets by offering more affordable models, like Cigano, which makes student gypsy guitars.
Gypsy guitars are a very specific type of instrument, and stem from a long tradition of music that was developed over the course of time. You needn’t own one in order to experiment with playing this style of jazz; it can be performed on different varieties of guitars with a similar effect. The difference will be in the generated tone. Django Reinhardt’s classic Selmer guitar gave gypsy jazz its trademark, and it is a distinctive sound that will remain forever engrained in the ears of music enthusiasts.
By: David Smithe
Benedetto jazz guitars are internationally renowned for their
exquisite design and craftsmanship. Benedetto is considered the
world’s foremost maker of arch top guitars. Bob Benedetto will
also custom-craft one-of-a-kind instruments on request starting
at about $45,000 and going up depending on what people want in
the guitar. Benedetto’s jazz guitars range in price from $5000 to
over $100,000.
They are prized by jazz guitar players such as John (Bucky)
Pizzarelli, who donated one of the seven-string guitars custom-
made for him by Benedetto to the Smithsonian Institution.
Since the original creation of the Benedetto Guitar introduced in
1968, many people have enjoyed the harmonic sounds that have
flowed from it. Noted jazz guitarist’s who play Benedetto jazz
guitars are: Howard Alden, Jack Wilkins, Frank Vignola, Kenny
Burrell, Johnny Smith, Ron Eschete, Cal Collins and Joe Diorio.
Bob Benedetto has worked hard with the jazz world’s greatest
musicians to refine laminated, smaller-bodied Benedettos that
feel and sound like the great carved Benedetto guitars but are
better suited to the demands of the road and nightclub.
Widely considered the contemporary master of the archtop jazz
guitar. Benedetto jazz guitars are available in:
(a) special one-of-a-kind custom order guitars
(b) the Flagship series
(c) the Professional series
The Flagship series models include – La Venezia / Manhatan /
Fratello / Bambino Elite and Bravo Elite.
The Benedetto jazz guitar Professional series include – Bravo /
Bravo Deluxe and Bambino.
The Benedetto jazz guitar is by far one of the most distinguished
archtop guitars. The Bravo’s parallel spruce bracing, rather
than the X-bracing of most of today’s finest acoustic archtops,
further enhances the rigidity, punch, and (electrified) nature of
the design, although it’s nice to see the laminated spruce here
rather than the traditional maple a detail that Benedetto says
maintains a visual link with his carved-top guitars.
The Benedetto Bravo Features:16″ body with three-ply binding,
laminated maple back and sides, laminated spruce top, parallel
spruce bracing, adjustable ebony bridge, three-piece bound flame-
maple neck, ebony fret board, body-mounted volume and tone
controls with ebony knobs, Benedetto A-6 humbucking pickup,
bleached bone nut, Schaller tuners with ebony buttons, gold-
plated hardware, nitrocellulose gloss finish.
The Bravo is every bit a Benedetto, and has many high-end
features you typically find on more expensive instruments,
including a gorgeous laminated flame-maple back and matching
sides, a select clear arched laminated spruce top, three-piece
flame maple neck with a dark ebony fretboard and adjustable ebony
bridge.
At first glance the Benedetto Bravo may appear to be a little
steeply priced for a laminated-wood instrument doesn’t have the
sylvan, multi-dimensional timbre or tonal succulence of
Benedetto’s Manhattan, Fratello, or La Venezia models, but it
gets you a portion of the Benedetto pedigree, and that’s still a
pretty amazing deal.
“In my earlier years, I was able to make instruments that were
more affordable to guitarists,” says Benedetto. All of which
implies that the Bravo is an “affordable” guitar, and although
such a claim seems contradictory for a model that retails for
$5,000, Benedetto’s carved-top La Venezia goes for $26,000, so
you can see the relativity at play here.
In summary the Benedetto Bravo is a flawlessly crafted archtop
with a very live and responsive top, effortless playability, and
an unmistakable high-end vibe without the top-end price tag.
Bob Benedetto has been built some of the finest musical
instruments to appear in the last 30 years. Each guitar is built
by hand using top-shelf materials, and each is inspected by
Benedetto before being shipped. Bob still works one week per
month at the Benedetto factory with as much care and enthusiasm
as he did way back in the 1960’s.
If you ever have a chance to hear of play any of the Benedetto
jazz guitars live, you’re in for a treat, they don’t make them
any better than this.
By: Mike P Hayes