Tone Report Weekly 194 - Page 34

6 ARCHTOPS FOR THE WORKING CLASS JAZZER Words by Jamie Wolfert Today it has become perfectly ordinary to see a jazz guitarist working a serious gig or studio date on a Tele, SG, Jaguar, or some other solid-body instrument not traditionally associated with jazz. Times change of course, and the tastes and expectations of musicians and their audiences change with them. Despite this modern open-minded attitude, however, the traditional archtop hollow-body will likely always be the gold standard of jazz guitar tone for players and listeners alike. The aesthetic beauty of a fine archtop guitar has a timeless quality, with a lineage that goes back to violins and cellos, and its lively, warm acoustic resonance is impossible to perfectly replicate with a solid-body guitar. For all their wonderful sonic and aesthetic qualities (or more accurately, because of them), high-quality archtop guitars were in decades past out of reach financially for many young and working class jazzers. The quality of materials necessary, as well as the complex construction techniques 34 TONE TALK // involved in building a professional level archtop, kept them from being quickly and cheaply mass produced in the manner of a bolt-neck, slab-body Fender. Aspiring jazz artists without wealthy benefactors had to save every penny to acquire a proper instrument, or make do with something of lesser quality. Modern day jazz cats are in a much better place. Today just about any R6v&WGG7vVWB&6FgFVvFW@7VFr&Rf"BFRvV@7VB72&GV6VB6ƖB&G`6֖"VƗGRVVF( BWfVfRF6WGFRf"wVF"vF֖FVBF0FV2vF6ƖB7'V6RF26PFR6vb&RWV6fR&fW76VƗG7G'VVB&Rrf&PWrf"fW'&V6&R&6W2&6ǒF2FWfVVB267W'&VBBFPvVFR6FV&'wVF&7B6&&&ǒvWBvvFrW7B&W@B67G&r7FvR7V62ƖfRWN( 0FRBFgVbFR&W7BFW&&6F2f"F&gGW'2b&6F2f"FRv&r672W