Month: December 2009

  • December 2009

    FEATURES

    Jay Geils
    Blues & Archtops
    His name is most associated with ’70s party rock. But for the last 15 years, Jay Geils has immersed himself in the jazz and swing of the 1940s and ’50s – and the guitars required to purvey the form. By Tom Guerra

    The Fender Tremolux
    Most amp nuts are utterly fascinated by Fender’s evolution through the ’50s. The final version of the tweed Tremolux, fascinating in and of itself, is also worthy of study for the many transitional elements of Fender circuitry that it displays. By Dave Hunter

    1937 Martin 0-21
    Martin is known for its orderly model-naming system, but anyone who assumes changes in size were uniform sometimes finds a surprise. This guitar illustrates that many 0 and 00 models did not change in step with the larger models. By George Gruhn and Walter Carter

    Neil Levang
    Six Strings Behind – and Beyond – Champagne Music
    His greatest mark was as a studio guitarist in Hollywood from the late 1950s through the late ’80s, where his work spanned all genres, TV, and film. But you might be more familiar with his work following the cue, “Uh one and uh two…”By Rich Kienzle

    The Penco A-15-JD
    The ’70s are often called “the copy era,” when Japanese manufacturers honed their chops. But look closer and you’ll see that many guitars of the time were whimsical, even innovative. This is one of the former. By Michael Wright

    Bruce and Butter
    Part of REO Speedwagon bassist Bruce Hall’s arsenal for decades, this ’65 Fender Jazz Bass is the instrument heard on the band’s classic early albums, including You Can Tune a Piano, But You Can’t Tuna Fish. By Willie G. Moseley

    DEPARTMENTS

    The VG Hall of Fame Giveaway
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    Vintage Guitar Price Guide

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    FIRST FRET

    Reader Mail

    News and Notes
    James Burton Guitar Fest, Lawrence Teams with Lace, Harp Guitar Foundation, String Dog Sells, In Memoriam, more!

    Laughing, Crying…
    With the Reverend Horton Heat
    By Michael Dregni

    Kirk Fletcher
    Flying Solo
    By Oscar Jordan

    Gary Loizzo
    The Breed, And Baldwins
    By Willie G. Moseley

    Ask Zac
    By Zac Childs

    Dean Armstrong
    No End in Sight
    By Rick Allen

    Rocky Athas
    Mayall’s New Slinger
    By Ward Meeker

    JohnLeventhal
    Producing The List
    By John Heidt

    COLUMNS

    The (Way) Back Beat
    Beat Portaits: Burns Oddities and Ends
    By Peter S. Kohman

    Q&A With George Gruhn

    Fretprints
    Robin Trower
    By Wolf Marshall

    “401K” Guitars
    Pre-War Martins
    By Gil Hembree

    Acousticville
    Dinner With Les
    By Steven Stone

    TECH

    Talkin’ Amps With…
    Randy Jamz: Tube-Tester Truths
    By David Jung

    Dan’s Guitar Rx
    Gas Attack!
    By Dan Erlewine

    Shop of Hard Knocks
    Home Shop Must-Haves
    By Will Kelly

    REVIEWS

    The VG Hit List
    CD, DVD, and Book Reviews: George Harrison, Robben Ford, Jefferson Airplane, Albert King/Stevie RayVaughan, Motley Crue: A Visual History, more!

    Check This Action
    The Wrecking Crew
    By Dan Forte

    Vintage Guitar Gear Reviews
    Gibson J-45 TV, Gruhn Electric, Seymour Duncan Effects, Grosh Electrajet Standard, DiMarzio True Velvet/Area pickups, Empress Superdelay, Xotic XJ-1T, JangleBox JB2

    Gearin’ Up!
    The latest cool new stuff!

  • J.W. Jones – Bluelisted

    On his latest album, Jones proves a master of several styles of American music, and is joined by other impressive guitarists to purvey it.

    Jones goes toe-to-toe with Little Charlie Baty and Junior Watson, and more than holds his own. The three share the spotlight while picking on cuts like “Double Eyed Whammy,” a great ’60s-style soul tune driven by guitar solos and a great lyric. While soul music pops up frequently, the blues are the main driving force here on cuts like “That’s Wrong Little Mama.” The three guitars dominate. “Waiting on You” is a perfect example of Jones’ considerable playing skills. It’s a simple boogie with a great lyric and a solo that shows him taking his time, unlike many younger players. “Mad About You” is a rave-up with Jones entering the solo like a long-lost descendant of T-Bone Walker, and following up with clever choices of notes and fine right-hand theatrics. “Looking the World Straight in the Eye” is a gritty minor-key blues with stop-time licks, a great sound, and huge vibrato.

    Vocally, Jones continues to mature. He understands the music, writes good songs, and once his voice catches up to the rest of his talents, he just might set himself up to thrive on the R&B scene.

    This article originally appeared in VG‘s Aug. ’08 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.