Fender Jazzmaster

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Fender Jazzmaster

Postby guitarslim101 » Thu Aug 17, 2006 2:25 am

I'm keeping my eye on an old Jazzmaster on ebay and I'm wondering if anyone's ever used one. I've played some of the newer models in the store and I've liked the sound but I don't know how true they are to the originals. Anyone have any information they'd like to share?
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Postby leftyguitarman » Thu Aug 17, 2006 5:15 am

I have never played one, but if I had the money to buy one, I wouldnt hesitate. I have never heard anything bad about them. They arent very common in stores. Some one here once posted that they had a '62 J-Master. I think it was a 62. I'll search around and read and see who that was. Maybe they can tell you.
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Postby leftyguitarman » Thu Aug 17, 2006 5:16 am

http://www.bigroadblues.com/forum/viewt ... 60&start=0

Theres the post from Watertore. Ask him. He has a 63 according to his post.
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Postby maxx england » Thu Aug 17, 2006 3:14 pm

Knew a player with a Jazzmaster. Lovely tone through a Twin Reverb. The floating (work of the Devil) bridge of the strat is replaced by some sort of internal plate arrangement that doesn't give the tremolo range of a Strat, but it doesn't go out of tune as bad either.

The tone is different to a Strat because of the 2 (single coil) pickups and softer than a Tele because of the width of the windings.

Grab it if you can, otherwise some bloody collector will hang it on a wall and just polish it.
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Postby guitarslim101 » Thu Aug 17, 2006 5:17 pm

Well, the guy ended the auction early due to an error in the listing. I'm guessing he wanted to put a reserve on it because it was only at $253.
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Postby leftyguitarman » Thu Aug 17, 2006 11:06 pm

If he reposts it, you should definately go for it.
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Postby guitarslim101 » Thu Aug 17, 2006 11:25 pm

I probably will if he doesn't put a high reserve on it.
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Postby watertore » Sat Aug 19, 2006 10:27 pm

When I hit austin in the mid 80's, my guitar was an old funky thing, that soon couldn't compete with volumes going on in that town. Anyway, I was given this 63 jazzmaster. It was originally owned by lonnie mack, and he gave it to stevie vaughn after they did his album. I was given it with this hitch. I can never sell it-play it or give it back to lonnie. I contacted him a few years ago, and he said keep it. Here it is. The one leaning on the amp, my first electric, was the one I came to austin with.

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People complain about the strings moving around on the bridge set up. This is true, and if you are a hard hitter, like stevie was, it didn't work well. I have seen people put mustang bridges on, or notch the originals. I have never had a problem with it. I play with my fingers. It has less bite than a tele, and more warmth than a strat or tele IMO. I love mine, but have been taken over by this new MIK tokai copy of a 335. The fender sound is based on the thin side, and with my 1 man band being my main gig, the JM was too thin. So were strats and teles I tried. They are great guitars, and the last real deal on vintage fenders. Walter
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Postby guitarslim101 » Sat Aug 19, 2006 11:52 pm

Thanks for the info, Walter.
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Postby leftyguitarman » Sun Aug 20, 2006 7:10 am

That Jazzmaster is one beautiful axe IMO.

And just out of curiosity, is that a Reso Uke I see? And if so, who makes it?
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Postby watertore » Sun Aug 20, 2006 3:44 pm

leftyguitarman wrote:That Jazzmaster is one beautiful axe IMO.

And just out of curiosity, is that a Reso Uke I see? And if so, who makes it?




thanks, I recently had the JM refretted. It hasn't had a lick of work done to it since it left the fender factory in 63.

the one resonator is a 1940 national steel, style O
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the other is the black cat mojo guitar-with quite a story behind it. If you would like to hear it in action, go to my site below. Tom Cattin the boogie, Thumpin the Bass, and a bunch of other songs feature it. It has a sound like no other. I play the bass lines with my palm of my slide hand(left) and the slide, at the same time.

The black cat mojo guitar was given to me by Paul Sessoms, the owner of the black cat lounge in austin, Tx, when Judy and I moved in 96 to California. Will and Charlie Sexton had set up a few weekends of gigs for me at Stubbs BBQ, to serve as a going away party for us. I had Ken Cooke, who joined my band as an eager teenager, on drums(James Harman is his best known gig), Mike Vernon on bass(guitarist/band leader of 3 balls of Fire), Will Sexton on bass, Charlie on guitar and as soundman, and Marc Rubenstien on Accordian. Lots of musicians came out and sat in over those 3 weekends. One night, Paul Sessoms walked in with his wife, a painting, and a guitar case. Paul always was giving guitars away to musicians that played his club. I played there for almost 10 years, and more frequently than anyone, yet he never gave me anything but a hard time. He was always telling me to fire my band, put a mic under a rug that I would tap on with my feet, and play solo. If I did this, he would book me 7 nights a week. I was into my trio set up, so never did it. If now was then, I would be doing the one man band Paul made many predictions to me, about my future. The one man band set up was just one of many. As with all his predictions, I thought him nuts.

He would often tell me I was the worst musician to ever play his club, but the only real artist to. He said I played like an old black man. He said that was a rare thing, and my main problem was my over concern with pleasing the audience. Again I thought him nuts. Again he was right. THis was the first time a musical community accepted me, and man was I knee deep in good stuff in Austin!

Anyway, When he came in, he opened the case and put the picture on the stage. The photo, was one of his wife's Roberta's famous watercolors, that look like a real photo. They are that lifelike. He had her paint the musicians he really liked, who played the club. They were framed and on the walls of the club, and did tours of places to eat in Austin. I remember seeing my photo over where I sat and ate breakfast with Jimmie Vaughn, at Trudys South, near Ray Hennings Music store. Nobody ever bought mine, and they gave it to me as a going away present.

Then came the guitar. Man, I never saw anything like it. Paul said he had it made by a mojo man, especially for me. He was more excited than I had ever seen him. He wanted me to play it, and man, did I want to. I plugged it in and it just crackled and popped, and would not go in tune. I gave it to Charlie to figure out. He fiddled with it for awhile and gave it back to me, and said it was a piece of junk, and to just hang it on the wall. Paul was pissed.

Fast forward in time to about 2000 or so. Mike Vernon called me to let me know Paul had died. He had bought up an entire little town, on the gulf, called Polacious(sp?). It was an old WWII military base. My father trained there as an anti aircraft gunnery instructor. The few remaining buildings were renamed PAUL TOWN. Paul was the mayor, sheriif, and everything else. He was fixing the places up, and was going to bring down the best austin bands. Anything would go, and anyone who remembers Paul, it could never get too wild! He was driving back to austin, when his van flipped and he was killed. That was Paul. He was always doing new, and often laughed at by all, things. He really inspired me on this level.

I pulled out the guitar, and for some reason, plugged it in. It was in perfect tune, and sounded great through my amp. I had not even opened the case since that night at stubbs.

Then I posted my smiling with hope foundation website. That same day, Mike called me again, to tell me the black cat burned to the ground, and all the music memorillbelia inside burned too. Now all that was left is the this guitar.

If you read the spell, you will see how Paul predicted my foundation, and self recording endevour. When he handed me those papers, again, I thought he was nuts. I started recording 3 years ago with a mini disc, and instead of late night tv, I used the internet. I have my own studio now, where I am inspired all the time to play, and a mobile recording set up too. Paul often told me a real artist plays for himself, because he has to play. Whether people like it or not, is not the point. I finally am understanding what he told me night after night, and at the time, refused to listen. I play because I have to, and when I let go of the crowd pleasing angle, it gets real good, and the crowd gives me a ton of energy, which in turn I channel back.

This guitar only plays when it wants. Often I get real excited to play it for people, but if it is not calling my name, it won't go in tune and crackles and pops like crazy. But when it calls, it has to be played, and I swear, it plays itself. I was itching to play it when BC Blues was at my gig the other night, but it never called. I have a bunch of songs with it on my site below if anyone is interested. You have to sift through the songs for them.





here it is. the action is high, like a lap steel.


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here it is in action


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here is the case just as Paul gave it to me. I don't mess with anything on this guitar. I haven't changed the strings or anything.

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here is the spell on it

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Postby leftyguitarman » Mon Aug 21, 2006 1:23 am

Quite an amazing story! That guitar seems "unique" and I'm sure it is.
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Postby maxx england » Tue Aug 22, 2006 10:07 am

Walter - great stuff - and I'd forgotten about them little bridge pieces on the Jazz Master inverting if you hit too hard.
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Postby 1dustyeod » Tue Aug 22, 2006 7:43 pm

Thats a great story Walter. The pictures are iceing on the cake.

8)
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