Jazz guitars for non-jazz music?

Discussion in 'Guitars in General' started by GuitarRuss, Jun 15, 2008.

  1. GuitarRuss

    GuitarRuss Member

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    I usually play an old strat but have decided that I have to have something thicker and warmer in the Les Paul type vain, but I don't want to spend too much money. I tried out a bunch of Epiphone Les Pauls and found one that played well and it sounded great...until I grabbed a real Les Paul for comparison. Damn...I just can't live with that much difference. Then for kicks I tried the Epiphone Joe Pass (Korean made) and it sounded way fatter and heavier in the way that the real Les Paul did.

    Why don't more players play jazz guitars for non-jazz music? There was lots of top end on this guitar, it didn't naturally have the top end rolled off or something. It didn't sound particularly jazzy, it just sounded like a meaty sounding guitar. Is there something I'm missing? I know there are players like Malcolm Young and Brian Setzer playing great rock tones on arch tops, but those don't quite look like the serious jazz guitar that this does.

    What is keeping more players from playing these jazz guitars for other styles of music?
     
  2. Dave Orban

    Dave Orban Gold Supporting Member

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  3. 8Painting

    8Painting Member

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    I guess you could say Jags/Jazz's are in this weird pool.

    As fendery as they are.
     
  4. GuitarRuss

    GuitarRuss Member

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    Quite the concise answer there! There's a lot to be said for brevity.

    I have to admit that I had a lot of preconceptions about how that guitar would sound and was surprised by how different it sounded then I thought it would.
     
  5. GuitarRuss

    GuitarRuss Member

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    I'm not talking about Fender Jazzmasters or Jags. I'm talking about archtop jazz guitars, in this case the Epiphone Joe Pass.
     
  6. re-animator

    re-animator Senior Member

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    here's something on the flipside - the big gretsch hollowbodies were originally made for jazz - quickly they became the choice/voice of rock and roll.
     
  7. slopeshoulder

    slopeshoulder Senior Member

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    Two words: STEVE HOWE (ES-175)
     
  8. HammyD

    HammyD Member

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  9. GuitarRuss

    GuitarRuss Member

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    Good point, I didn't know that. I love Brian Setzer's tone, a totally under-rated guitar player in my book. He doesn't have chops galore, but his tone, feel, musicality and melodies are fantastic.
     
  10. GuitarRuss

    GuitarRuss Member

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    That was really cool. That's the best playing I've heard from Coryell. His later stuff was just too heady for me, but this playing had some fire in it.
     
  11. Mark C

    Mark C Member

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    Feedback. I have a 175, and it likes to howl at higher volumes. Of course, you can stuff them with foam, or balloons, but then you're basically making a sort of solid-hollow hybrid. That being said, if you dig it and can make it work for you, then by all means, use it!;)
     
  12. HammyD

    HammyD Member

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    That's a great album with some really tasty playing! His rhythm work is great, too. From what I recall form the album cover they were in some studio in Memphis using Super's and Twins!

    It was produced by Tom Dowd!!!

    http://en.wikipedia.org/wiki/Memphis_Underground
     
  13. GuitarRuss

    GuitarRuss Member

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    When you say "Higher Volumes" how high are you talking about? I wonder how Malcolm Young handles it, because he plays an Arch-Top. He also plays on really big stages where he can put some distance between himself and his amp, so maybe that's the answer.
     
  14. Pietro

    Pietro 2-Voice Guitar Junkie and All-Around Awesome Guy

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    I've had at least one "jazz" guitar in my arsenal for over 15 years. I don't play jazz. It's all good...
     
  15. Dave Orban

    Dave Orban Gold Supporting Member

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    I have sound posts fitted under the bridge on my '53 ES-175. These are essentially fairly sizable wooden dowels that are "pressure fit" between the top and the back and "couple" them together, helping to minimize unnecessary vibration. I also have the wooden bridge held "in place" with a couple of spots of Elmer's glue. Both tips I got from Little Charlie Baty, who cranks a Super and can be quite loud with his ES-295.

    As long as you can keep yourself out of direct line of a loud sound source -- such as a stage monitor -- you can manage to play fairly loudly. I've done outdoor festivals with no problem. I just spent a half hour sitting directly in front of a new 50-watt amp, and put it through its paces, and got very loud, and had no feedback howl. Of course, if you add high gain into the mix - say, through a pedal -- things can get out of control pretty quickly. ;)
     
  16. Bluedawg

    Bluedawg Member

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    +1 for feedback

    But don't forget Ted playing his Birdland.

    :JAM
     
  17. openbar

    openbar Silver Supporting Member

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  18. stratotonedude

    stratotonedude Senior Member

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    I play in a band that plays what could best be described as roots music or alternative country. I usually play a 1956 ES-175D or a 1960 ES-330TD.
     
  19. tim gueguen

    tim gueguen Member

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    Some of the guitar on the first couple of Creedence Clearwater Revival records was ES175, "Proud Mary" being a well known example
     
  20. stratocat63

    stratocat63 Member

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    I'd say, in addition to feedback, less access to the upper fingerboard where a lot of rockers live.
     

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