Gypsyjazz Guitars

Gypsyjazz Guitars

  • "Model Bertino"-serie von Polak-Guitars

    Die aussergewöhnlichen Gypsyjazz-Archtop-Gitarren der "Model Bertino"-serie von Polak-Guitars sind allein schon optisch ein Leckerbissen. Aber was ist so besonderes daran?

    Mod. Bertino - tobacco seriesIm Jahr 2013 traf Bertino zum ersten mal mit Alex Kashkin von Polak-Guitars (vorher ERG) in Augsburg zusammen. Durch einige Tipps von Bertino konnte ERG bereits in den folgenden Jahren seine damaligen anderen Gitarren-Modelle verbessern.

    Dann in 2015 erhielt Bertino die Anfrage ob er für die Fa. Polak-Guitars als Endorser zur Verfügung stehen würde. Bertino sagte zu, unter der Voraussetzung dass Polak-Guitars ihm eine eigene Gitarren-Serie widmen würde welche exklusiv für ihn nach seinen genauen Vorstellungen gebaut würde.
  • "Model Bertino"-series by Polak-Guitars

    The new outstanding Gypsyjazz-Archtop-Guitars of the "Model Bertino"-series by Polak-Guitars are already special by it´s view and making. But what is so special about them?
    collage mod bertino maple 01 640
    In 2013 Bertino met with Alex Kashkin of Polak-Guitars (former ERG) in Augsburg for the first time. Due to some tipps by Bertino in the followings years ERG was able to improve their other guitar models.

    Then in 2015 Bertino received the request by Polak-Guitars to join them as Endorser. So Bertino agreed, just under the condition that Polak-Guitars would build his own guitar-series which would be exklusively built for him regarding his advices and ideas.
    They both agreed and Bertino showed and explained Polak-Guitars his exact ideas on measures and form, features, form of head- and neck, tailpiece and tuners, colour and wood. In collaboration they also created special bridges that project the sound perfektly to the strongly arched tops and thus generate a superb Sound.
  • Betrug b. Verkauf Favino-Git.

    favino bj1979 no655
    Hier ist die Story eines Users der um das Geld für eine (zwar echte aber beim Verkäufer gar nicht vorhandene) Favino-Gitarre (SerialNo. #655) betrogen wurde.

    Die Gitarre wurde am 25.1.2010 über die „Petites Annonces“ auf ebay-Frankreich mit folgendem Text angeboten:

    <zitat kleinanzeige>
    GUITARE-MANOUCHE-JACQUES-FAVINO-1979

    Prix : 1000 €
    Paris, 75003

    Vendeur: Satto T 25/01 à 16h04

    Ne paser pas à coté de cette opportunité. Je cède cette belle guitare Jacques FAVINO de 1979. Guitare dite "manouche" car modèle popularisé par Django REINHARDT qui lui jouait sur guitare Selmer. Ce type de guitare est réservé à la musique jazz manouche.

    BON ETAT GENERAL, caisse palissandre, table epicéa, mécaniques SB ( Jeu de SB complet en trés bon état).Le manche est droit, les frettes sont un peu usées.La guitare est jouable immediatement sans aucun frais à prévoir. Elle n'a subi aucun choc, aucune réparation, elle est dans son jus. Elle a l' usure d'une guitare de son age qui a été correctement conservée. A signaler deux petites fissures naissantes de part et d'autre du cordier phénomène trés fréquent pour ne pas dire survient toujours sur les guitares Favino à plus ou moins long terme

    ENTIEREMENT D'ORIGINE
    L'étiquette collée dans la caisse précise qu'il s'agit d'une guitare Jacques FAVINO portant le N°655 de Fèvrier 1979 Sonorité traditionelle Favino

    Vendue avec un étui (pas d'origine).Un médiator en écaille sera offert
    </zitat ende>

    Dazu waren 4 Fotos eingestellt (1 Original-Bild oben links). Der Verkäufer nannte sich „Satto Trent“ und seine e-mail-Adresse war gtfac [at] live.com (inzwischen abgeschaltet).

    Beim folgenden eMail-Kontakt mit dem Verkäufer teilte dieser mit dass "...er einen Unfall in der Familie gehabt hätte und dass er dringend Geld bräuchte, daher sei das Instrument so günstig etc.".

    Er schickte dem geprellten Käufer den Link einer Londoner Spedition die europaweiten Versand mit einwöchiger Rückgabegarantie  - so etwas wie eine einwöchige treuhänderische Verwaltung des Kaufpreises mit garantierter Rückerstattung, wenn man mit der Ware nicht zufrieden ist. (Genau die gleiche Masche die von der rumänischen Web-Mafia" bereits bei mobile.de und autoscout24.de angewendet wurde um Käufern nicht vorhandene Kfz zu verkaufen. Bereits Hunderte von geprellten Käufern sind auf diese Masche hereingefallen!).

    Diese britische Spedition hieß „WestHarbor Capital LLP“, über Google findet man da aber nur eine Londoner „Fund Management Business“-Firma. Die Adresse ist aber dieselbe, nur Telefonnummer und Fax sind erfunden.
    Auf die Speditions-Homepage kommt man nur, wenn man „Horbour“ mit „u“ schreibt >>> www.westharbourcapital.com.
    Die originale Firma westharbourcapital gibt es also, nur ist es keine Spedition, sondern eine Investment-Firma.
    Auf der Homepage der angeblichen Spedition war dann die Gitarre bereits aufgelistet inkl. gefälschter Tracking Nummer etc. Die Londoner Spedition gibt es in Wahrheit also nicht, die Homepage war ein unglaublich professioneller Fake …

    Der angebliche Verkäufer „Satto Trent“ hatte dem Käufer dann ein Mail von einem angeblichen „Mark Semler“ (man achte auf den verdrehten Namen: Semler statt SELMER!) von „WestHarbor Capital“ mit allen Verkaufs- und Lieferdaten weitergeleitet und um Überweisung des Betrages auf dem Wege von "Western Union international" Geldtransfer gebeten.

    Nach erfolgter Überweisung brach der Kontakt dann schlagartig ab und der Verkäufer meldete sich nicht mehr und reagiert seither auch auf keine eMail mehr.



    Also: AUGEN AUF beim Gitarrenkauf! Lasst Euch nicht über den Tisch ziehen und seid wachsam !

    Immer wenn eine Sache zu einem "supergünstigen" Preis angeboten wird der wesentlich unter dem marktüblichen liegt muss man sehr misstrauisch sein, denn NIEMAND hat etwas zu verschenken! Nicht im richtigen Leben und schon gar nicht im Internet.


    TIPP: schaut zuerst in unserer JM-Guitar-Gallery nach ob die Gitarre ggf. dort gelistet ist. Falls nicht oder Zweifel bestehen FINGER WEG - auch wenn das Angebot noch so verlockend ist!

    Lest auch hier unsere 7 wichtigen Tipps zum Kauf von Gitarren


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  • Busato Gitarren

    1952er front2Busato 1932Busato-Gitarren gehören nach den raren Selmer-/Maccaferri-Gitarren wegen ihres unnachahmlichen Sounds heute zu den teuersten und meistgesuchten Gypsyjazz-Gitarren weltweit.

    Die "Busato"-Gitarren, benannt nach ihrem Gitarrenbauer Bartolo Barnabe "Pablo" Busato (BB), waren mit die ersten "nachgebauten" bzw. durch die original Selmer-Gitarren inspirierten akustischen Jazzgitarren.

    Bartolo Busato, geboren 1902 in Chiuppano (Italien) begann mit dem Gitarrenbau ca. 1925 und arbeitete bis kurz vor seinem Tod 1960. Busato hatte 2 Töchter und einen Sohn und sicherlich auch noch einige weitere Verwandte welche noch in Italien leben. Viele dachten Busato sei bereits 1952 gestorben, aber er signierte um 1958 seine letzten Gitarren. Bartolo Busato starb am 4. Juli 1960 in Champigny sur Marne.

    Busato-Gitarren haben, ähnlich den berühmten Selmer-Gitarren welche zuerst auf dem Markt waren, sehr besondere Klangeigenschaften. Insbesondere bestimmte bauliche Merkmale sind dabei von Bedeutung welche wir auch in der Artikel-Reihe Merkmale von original Busato-Gitarren im Detail noch genauer beleuchten und beschreiben.

    Hier skizzieren wir zunächst die wichtigsten Dinge als ersten Überblick:

    • Busatos haben meist dreieck-förmige Verstrebungen mit einer abgeflachten Spitze. Die Decken der Gitarren sind meist etwas dicker und werden von 3 Verstrebungen getragen.

    • Einige der Busato´s haben etwas "eingefallene" oder "wellige" Stellen unterhalb des Halsansatzes am Korpus. Die gleichen Merkmale finden sich interessanterweise auch an anderen von Busato unter anderen Synonymen wie "Sonora", "Symphonia", "Beuscher" und "Paris Musicals" herstellte, sowie einige Gitarren welche ohne Label aber dennoch in seinen Werkstätten hergestellt wurden.

    • bei vielen Busatos sind die Umrahmungen der Schallöcher (Rosette) mit kunstvollen Einlegearbeiten versehen.

    • Die Böden (Rückseite) des Korpus sind meist stark gewölbt und erinnern an Vorläufer von Archtop-Gitarren.

    • Die Decke dagegen ist nur weniger gewölbt als bei Gypsygitarren normal üblich.

    • des öfteren wurden sogar die Dekcen aus mehreren Stücken gefertigt.

    • Die "moustaches" der Brücken haben eine spezielle Form

    Viele weitere Details zu Busato und seinen Instrumenten auch in unserem 2. Teil dieser Artikel-Serie Busato-History und in Merkmale von original Busato-Gitarren.

    • die Mehrzahl der Hälse bei "Grand Modele" Busatos sind meist dreiteilig mit einer Mitteleinlage aus Ebenholz

    • in den Anfangsjahren wurden die Hälse oft aus gefärbtem Birnenholz gefertigt, später wurde dann wegen der besseren Haltbarkeit zu Rosewood mit Ebenholzgriffbrett gewechselt

    • der Hals ist einfach in den Bodyblock eingeleimt und wenig "verzahnt"

    • die Zargen waren oft nicht sehr stark oder haltbar da sie nur aus 2 Lagen Laminierten Holz bestanden im Gegensatz zu drei Lagen bei den meisten anderen alten Gypsyjazz-Gitarren

    • viele der von Busato gebauten Gitarren waren "nicht sehr perfekt" gebaut, d.h. viele kleine Fehler oder Unebenheiten waren odt die Folge

    • oft waren die Halsübergänge (Neckjoint) nicht sehr sauber mit dem Rest des Korpus abgestimmt und wies Kanten und Ecken auf oder die Hälse waren nicht wirklich mittig am Korpus ausgerichtet, heute würde man sagen "schlampig verarbeitet"

    • einige Kopfplatten sind wesentlich länger ausgefallen als andere des gleichen Gitarrenmodells

    • viele Busatos waren nicht wirklich "schön" anzusehen, mit grob verarbeiteten Decken welche grobe Maserungen oder unschöne Verwachsungen aufweisen (schlechte Materialauswahl), manche sogar aus grobem Kiefernholz

    Auch wenn viele dieser Fakten leider zutreffen sind, so haben Busatos dennoch "das gewisse etwas" und bestechen durch einen einzigartigen Sound, vielleicht grade wegen ihrer vielen kleinen Unzulänglichkeiten.

    Wenngleich einige Gitarrenbauer in der Vergangenheit versucht haben hinter das Geheimniss der Busato-Gitarren zu kommen und auch sicher einige dabei sind welche dabei ganz gute Erfolge verzeichnen konnten, sind doch bisher nie welche dabei gewesen  die es tatsächlich geschafft haben ein Instrument zu bauen was nur entfernt an die Eigenständigkeit einer Busato heran reichen kann. Manche (wie Dupont z.B.) besitzen gar nur den Namen und verwenden ihn, klanglich sind deren Instrumente aber Welten entfernt von echten Busatos.

    Bernabe Bartolo Busato produzierte Gitarren seit 1925 bis in die späten 1950er Jahre. Es gibt leider nicht sehr viel Informationen über Busato und seine Werkstatt. Lange war sogar unbekannt ob es wirklich eine Person namens "Busato" überhaupt gab oder ob dies nur der Name einer Gitarrenbau-Werkstatt war, denn es gab einige unterschiedliche Adressen und es existierten eine zeitlang sogar mehrere Werkstätten dieses Namens.

    Busato 1940 Moyen 01Mittlerweile ist bekannt dass es verschiedene Adressen gab an denen Busato arbeitete, so von 1934-1943 die Rue Orgemont und später die Cite Griset No.4 im 11. District in Paris.

    Seine erste Adresse ab ca. 1926 war 34, Rue de Chaligny, im 12. District in Paris. Von 1934 bis 1943 hatte er seine Werkstatt in der Rue d’Orgemont 40 im 20. District in Paris.
    Im Jahr 1943 eröffnete er ein Musikgeschäft mit dem Namen "Everything for Music" auf dem Boulevard de Ménilmontant 140 ebenfalls im 20. Pariser District. Ende 1943 verlegte er seine Werkstatt von der Rue d’Orgemont in die Cité Griset 4 im 11. Pariser Arrondissement. Zusätzlich öffnete Busato 1945 eine Produktionsstätte in der Avenue de Coeuilly 73 in Champigny sur Marne, ausserhalb von Paris.

    Er beschäftigte an den verschiedenen Standorten 20-30 Mitarbeiter, in den besten Tagen sogar bis zu 60(!) Personen welche verschiedene Instrumente für ihn in seinen Werkstätten herstellten.

    Busato baute etwa zur gleichen Zeit wie die Gitarren auch Mandolinen, Banjos und Kontrabässe die er in seinen Werkstätten herstellen liess. Auch gab es Busato-Akkordeons die möglicherweise in seinem Auftrag von einer anderen Firma (Castagnolo oder Fratelli Crosio) hergestellt wurden, die aber mit seinem Namen und in seiner Werkstatt verkauft wurden. Solche von Bartolo Barnabe Busato gebauten Instrumente existierten also wirklich, wie sich später herausstellte. Busato starb 1960 in Paris. Auch Django besass eine Busato-Gitarre (siehe Bild rechts oben, Djangos Busato, Bj. 1950).

    Viele später bekannt gewordene Gitarrenbauer wurden in den Werkstätten von Busato ausgebildet wie z.B. Jacques Favino, Siro Burgassi and Gino Papiri or Pierre Anastasio.

    Wie auch bei den berühmten Selmer- und Favino-Gitarren werden mittlerweile aufgrund der großen Nachfrage leider auch immer wieder gefälschte Instrumente als originale "Busato" für teures Geld angeboten. In unserem Artikel "Merkmale von original Busato-Gitarren" versuchen wir einmal die wichtigsten Faktoren zusammen zu stellen die seine Instrumente ausmachen. Und in dem Artikel "Fake Busatos" zeigen wir das Beispiel einer kürzlich im Internet angebotenen offensichtlich falschen Busato.

    mehr über Busato-Gitarren lesen


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  • Busato Gitarren

  • Busato Gitarren - More Infos - (de)

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  • Busato Gitarren -Pay articles- (de) (2)

    All payed articles about Busato
  • Busato Guitars

    1952er front2Busato 1932Busato-Guitars, almost same to the rare Selmer-/Maccaferri-Guitars, are the most expensive and sought after Gypsyjazz-Guitars worldwide due to their unique sound and making.

    The "Busato"-Guitars were named after their maker Bartolo Barnabe "Pablo" Busato (BB)(seeBusato-history), and were one of the first acoustic Jazzguitars that have been copied or better to say were kind of "strongly inspired" by the famous Selmer-Guitars.

    In the further article(s) of the Busato-series we focus and briefly describe the details and features of original Busato-Guitars with exact description and images. Be sure to also read the articles about the Busato-history and Features of original Busato-Guitars.

    Bartolo Barnabe "Pablo" Busato, born 1902 in Chiuppano (Italy) began buildig guitars around 1925 and worked until shortly before his death in 1960. Busato had two daughters and one son and probably some relatives are still alive in Italy.
    Many people thought that Busato already died in 1952, but he sigened his last known guitars around 1958. Bartolo Busato died on 4th of July 1960 in Champigny sur Marne/France.

    Busato-Guitars have, like the famous Selmer-Guitars which were first on the market, a very special sound signature.

    Especially some features of their making have this special influence, and are of course of great interest, which we will be showing and investigating more detailed in our article-series Features of original Busato-Guitars.

    Here we show you the main features for a first glimbse:

    • Busatos braces are usually pointy (triangle) or have a triangle shape with a flat top.

    • like many vintage gypsy guitars, Busatos have a thick top of 125 thousand of an inch and are braced underneath with 3 top braces.

    • some Busato´s do often have some irregularities at the lower bout level, due to worn moulds. Interesting enough you might find the same kind of features on other guitars made by Busato under different synonymes like "Sonora", "Symphonia", "Beuscher" and "Paris Musicals", as on some guitars which were made without Label but still were beeing produced in his workshops too.

    • on many Busatos the sound hole (rosacea) is reinforced below the top with a thin wooden layer or made with even beautifully (pearl) inlays.

    • the backsides are mainly strongly arched and remind to beeing prototypes of Archtop-Guitars.

    • the top instead is rather less arched than usually Gypsyguitars are regularely

    • often their tops were made out of serveral pieces of wood (maybe due to lack of material in the war times)

    • the "moustaches" of the bridges have a special Form

    More details on Busato and his Instruments in the 2. part of this article-series Busato-History and in Features of original Busato-Guitars.

    • most necks of "Grand Modele" Busatos are three-piece necks with an inlay of ebony

    • in the first years the necks were often made from Tinted pear wood, later on they changed it to Rosewood with an ebony fretboard

    • the necks were simply glued into the Bodyblock

    • the sides often weren´t very strong made due to only 2 layers of laminated wood, against usually 3 layers with most other old Gypsyjazz-Guitars

    • many of the guitars made by Busato weren´t really "perfect made", better to say they had many small mistakes or wrinkles

    • often the Neckjoints weren´t really clean made, not middle adjusted to the bodyline, today one would say "badly crafted"

    • some headplates were slightly longer than the ones of other guitars of the same model

    • many Busatos were not really "beautiful looking" with, a lot of guitar tops are not very beautiful, some are pretty ugly with super wide and irregular grain patterns in the spruce, some even made from cheap rough pinewood

    Even if these facts are real, the Busato-guitars still have "that special something" and convince with their special sound image.

    Although many other luthiers have tried to lift the secrets of Busato-Guitars in the past, some have made some real effort in building nice guitars, but still never made it sound like a real Busato, thus beeing way more far away from beeing the real thing. Some (like Dupont) even just own the name and use it, still their instruments are worlds apart from a real Busato.

    Bernabe Bartolo Busato produced Guitars since 1925 until the late 1950ies. There are truely not many informations about Busato and his workshops. Even long time it was doubted that there even had been a person called "Busato" at all or if there was really a workshop at all, as there were different adresses he resided in and a couple different workshops worked with his name as well.

    Busato 1940 Moyen 01Meanwhile it is known that these different adresses, were Busato used to work in, really existed. There was one of his workshops at the Rue Orgemont from 1934-1943 and later on another second one at the Cite Griset No.4 inside the 11th District in Paris were Busato ran has workshops.

    His first adress that was documented from 1926 was in the Rue de Chaligny 34, within the 12th District in Paris. Since 1934 until 1943 he had one workshop in the Rue d’Orgemont 40 inside the 20th District in Paris.

    In the year 1943 he opened up a musicstore with the name "Everything for Music" directly on the Boulevard de Ménilmontant 140, also located in the 20th Parisian District. At the end of 1943 he changed place with his workshop from the Rue d’Orgemont into the Cité Griset 4 inside the 11th Parisian Arrondissement. Additionally in 1945 Busato opened another production-workshop in the Avenue de Coeuilly 73 in Champigny sur Marne, outside of Paris.

    In the beginning he had employed around 20-30 workers and guitarmakers, in the best years he even had up to 60(!) persons which made all kinds of instruments for him in his different workshops.

    Many people dont know that but at the same time Busato built guitars he also made other instruments like Mandolins, Banjos and Upright-Basses that he mostly let make at his own workshops by his co-workers. There were even Busato-Akkordeons that have possibly been made on his order from another company (Castagnolo or Fratelli Crosio), but which have been sold under his name in his workshops and musicstore. These instruments really existed which is certain today. Busato died in Paris 1960.

    Until his death Busato had trained many famous guitarmakers amongst them Jacques Favino, Siro Burgassi and Gino Papiri or Pierre Anastasio,  all guys that have been under his staff that worked for him in the first years until they started their own businesses in later years.

    Alike the famous Selmer- and Favino-Guitars and because of the rarity and demand of these guitars there are always "Busato"-instruments beeing "faked" and put on the market for expensive prices. Be sure to read our articles about "Features of original Busato-Guitars" and "Fake Busatos" were we put down all most important and known facts about these great guitars, with an example of a faked Busato-guitar wich has been offered on the internet shortly.

    Read more -> Busato-history


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  • Busato Guitars - More Infos - (en)

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  • Deception Favino-Git.

    favino bj1979 no655
    Here is a story of a JM-User that has been cheated for his money for a Favino-Guitar (SerialNo. #655), which is real existent, but not belonging to the seller. What happened was that the seller organized some images from a shop in Paris put the guitar on sale without even beeing the owner at all.
    The guitar has been offered on „Petites Annonces“ on ebay-France (classifieds ads) on 25. January 2010 with the following original Text:

    <quote ad>
    GUITARE-MANOUCHE-JACQUES-FAVINO-1979

    Prix : 1000 €
    Paris, 75003

    Vendeur: Satto T 25/01 à 16h04

    Ne paser pas à coté de cette opportunité. Je cède cette belle guitare Jacques FAVINO de 1979. Guitare dite "manouche" car modèle popularisé par Django REINHARDT qui lui jouait sur guitare Selmer. Ce type de guitare est réservé à la musique jazz manouche.

    BON ETAT GENERAL, caisse palissandre, table epicéa, mécaniques SB ( Jeu de SB complet en trés bon état).Le manche est droit, les frettes sont un peu usées.La guitare est jouable immediatement sans aucun frais à prévoir. Elle n'a subi aucun choc, aucune réparation, elle est dans son jus. Elle a l' usure d'une guitare de son age qui a été correctement conservée. A signaler deux petites fissures naissantes de part et d'autre du cordier phénomène trés fréquent pour ne pas dire survient toujours sur les guitares Favino à plus ou moins long terme

    ENTIEREMENT D'ORIGINE
    L'étiquette collée dans la caisse précise qu'il s'agit d'une guitare Jacques FAVINO portant le N°655 de Fèvrier 1979 Sonorité traditionelle Favino

    Vendue avec un étui (pas d'origine).Un médiator en écaille sera offert
    </quote end>

    Additional were 4 images of the guitar (1 Original-image top left). The name of the seller was „Satto Trent“ and his e-mail-Adress was - gtfac [at] live.com - (which meanwhile is offline).

    In the following email contact with the seller he stated that "...he would have had an accident in his family and that he would urgently need money, hence, the instrument is sold favourably cheap.. " etc.

    He sent to the bruised buyer the link of a London-based transport and trust-agency with European-wide delivery with a one-week return guarantee - a sort of a "one-week trustee's broad management of the purchase price with guaranteed restitution" if one is not convinced by the product. (Exactly the same mesh as the Romanian "web-mafia" already used for selling cars at www.mobile.de and www.autoscout24.de and which was applied around buyers to sell not available vehicles. Already hundreds of bruised buyers have been cheated by this mesh!).

    This British "transport & trust-agency" was called "WestHarbor Capital LLP", about Google one finds there, however, only one London-based „fund management business“ company. However, the address is the same, only phone number and fax are invented.
    You will only find out about the fake of the transport trust-agency if one writes the correct adress - one is written "Horbour" (fake) the original website is with "u" >>>; www. westharbourcapital. com.
    So there is an original company westharbourcapital, only it is no "transport & trust-agency", but an investment company.
    Then on the homepage of the supposed "transport & trust-agency" the guitar was already listed incl. phone and "Tracking number" etc. but the London "transport & trust-agency" there is not in truth, the homepage was just an incredibly professional Fake …

    The fake seller „Satto Trent“ had then sent a mail to the buyer of a man called "Mark Semler" (one pays attention to the distorted name: Semler instead of SELMER!) from "WestHarbor Capital" passed on with all sales data and delivery dates and asked for the transfer of the amount on the way using "western union internationally" monetary transfer.

    After the buyer had payed the amount of 1.000.- € the contact to the fake seller immediately stopped, no more reaction...

    So: Take care while buying instruments ! Don´t let yourself be cheated by fake offers like these and walk around with open eyes !

    All things that will be offered for a "just too cheap price" that is way down under the prices on the market will be no bargain but a real cheat ! Nobody has to make gifts nowdays nor in real life nor on the internet - so take care to whatever is been offered to you and surely inform yourself in advance before buing.


    TIPP: take a look inside our JM-Guitar-Gallery first if the guitar on sale is listed there (we have 1.800+ images of old gypsyjazz-guitars of all kinds). If its not listed or you are in doubt in any way - keep your hands off the deal even if it sounds too good to be true...

    Be sure to also read our article about 7 important tipps for buying old JM-guitars.


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  • DiMauro Gitarren

    jazzsc10joseph-di-mauro-heart-hole-frontDiMauro-Gitarren gehören, neben den bekannteren Marken wie Selmer, Busatooder Favino-Gitarren (aus gutem Grund!) zu den berühmtesten Gypsyjazz-Gitarren weltweit.

    Weltberühmte Musiker wie u.a. Jacquel Brel, Sacha Distel, Henri Salvador, Georges Brassens, Django Reinhardt, Bireli Lagrene, Moreno Winterstein, Samy Daussat, Ray Ventura, Francis-Alfred Moerman, Tschavolo Schmitt, Boulou Ferré, Pat Matheny, Mondine und Ninine Garcia und viele viele mehr spielten und spielen bis heute diese Gitarren.

    Antoine DI MAURO (1900-1976), der Bruder von Joseph Di Mauro (1894-1966) dem Älteren, baute schon in Catania/Italien Mandolinen und Saiteninstrumente und kam 1934 nach Paris.
    Er beginnt im Hinterhaus eines Möbelgeschäftes in der Rue de Fontarabie in Paris. Hier baut er für 2 Jahre Mandolinen und Gitarren. 1936 eröffnet Antoine seine erste eigene Werkstatt in der Rue de Rançon in Paris.
    Seit 1993 werden Di Mauro Gitarren nicht mehr hergestellt. Bis heute sind sie eine Freude für Musiker und Sammler gleichermassen.  Das Haus Di Mauro ist auch bekannt durch seine eigenwilligen Kreationen wie z.B. das Modell "Special Chorus" mit den grossen F-Löchern im Korpus (Foto links oben), entworfen ca. 1940 oder das Modell "Hearthole" (Foto rechts oben) mit einem Herzförmigen Schalloch.

    Gegründet wurde die Firma von Joseph Di Mauro, dem Älteren (1894-1966) und seinem Bruder von Antoine Di Mauro (1900-1976). Beide immigirierten von Sizilien nach Paris wo sie in den Jahren 1925 bis 1966 lebten und arbeiteten.

    Später übernahm der Sohn von Antoine, Joseph Di Mauro (der jüngere) das Geschäft seines Vaters und führte es bis zu seiner Pension im Jahre 1993 weiter.

    Hier kann man mehr über die Historie der Di-Mauro-Gitarren und die Merkmale originaler Di Mauro-Gitarren nachlesen.






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  • DiMauro Gitarren

  • DiMauro Gitarren - More Infos - (de)

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  • DiMauro-Guitars

    jazzsc10joseph-di-mauro-heart-hole-frontThe Di Mauro-Guitars, besides the more known brands of Selmer, Busato or Favino-guitars, belong (for good reason!) to the worldwide most famous Gypsyjazz-Guitars ever.

    Worldfamous musicians like for example Jacquel Brel, Sacha Distel, Henri Salvador, Georges Brassens, Django Reinhardt, Bireli Lagrene, Moreno Winterstein, Samy Daussat, Ray Ventura, Francis-Alfred Moerman, Tschavolo Schmitt, Boulou Ferré, Pat Matheny, Mondine and Ninine Garcia as many, many other musicians more played and still play these guitars until this day.

    Here you can read more about the History of Di-Mauro-Guitars and the exact Features of original DiMauro-Guitars. In these article-series about DiMauro we briefly describe the most important features of DiMauros as of their history.

    Antoine DI MAURO (1900-1976), the brother of Joseph Di Mauro (1894-1966) the elder, also makes mandolins in Catania/Italy, arrived in Paris in 1934. He sets his works in the background of a furniture store in the Rue de Fontarabie in Paris. There he made mandolins and guitars during 2 years. In 1936 Antoine opens up its first workshop in Rançon-Street in Paris.
    Since 1993, Di Mauro guitars are no longer manufactured. Today they are still the delight of musicians and collectors.They are appreciated by Gypsy jazz guitarists with its models of Selmer-Maccaferri type, played by Django Reinhardt, whose house Di Mauro was one of the first to propose versions. The house Di Mauro is also known for his own original creations, like the famous jazz guitar "Special Chorus" whith the openning in "S" (image left above), created in the 40s or the model "Hearthole" with a soundhole in form of a heart.

    The company of DiMauro-guitars was founded by Joseph Di Mauro, the elder (1894-1966) and his brother Antoine Di Mauro (1900-1976). Both of them were immigrated from Sicilia/Italy to Paris in the early 1920ies where they both lived and worked from around 1925 until 1966.

    Later on the youngest son of Antoine, Joseph Di Mauro (the younger) took over the business of his father, leading it until his own death in the year 1993, also working and living in Paris.

    Read more -> DiMauro-history

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  • Django Reinhardt - Guitar-Maestro (1/4)


    Django 1932 with Selmer/Maccaferri-GuitarGeboren als Jean-Baptiste "Django" Reinhardt im belgischen Liberchies in der Nähe von Charleroi am 23. Januar 1910, wird Django Reinhardt Zeit seines Lebens und darüber hinaus zu einem der berühmtesten Gitarristen weltweit.

    Durch und durch in einer Musikerfamilie aufwachsend (schon sein Vater war unter den Sinti ein berühmter Musiker), lernte der junge Django mit ca. 10 Jahren Musik zunächst auf dem Banjo zu spielen. Gänzlich ohne Noten und als reiner Autodidakt spielend, war sein junges musikalisches Genie schnell zu hören.django reinhardt 12years

    Django Reinhardt wächst in den frühen 1920er Jahren zusammen mit seiner Mutter Negros und seinem jüngeren Bruder Joseph "Nin-Nin" hauptsächlich im Raum Paris auf (siehe auch Django Reinhardt - Private Life).

    Django spielt schon sehr früh so gut dass er, bereits im Alter von 12 Jahren (siehe Foto ganz rechts), zunächst von seinem Onkel zu ersten Auftritten mitgenommen wird. Kaum ein paar Jahre später hat er sich bereits einen Namen in Musikerkreisen erspielt.

    Erstmals wird er um 1926 herum kaum 16 Jahre alt, von dem damals in Paris sehr bekannten Akkordeonisten namens Guerino (Foto links unten, Django 2. v.r.) und danach auch sehr bald von weiteren anderen bekannten Musikern der französischen Metropole Paris zunächst erst als Begleitmusiker engagiert. Guerino

    Seine Mutter Negros schenkt ihm im Alter von 16 Jahren seine erste eigene Gitarre und er beginnt fleissig zu üben.
    Relativ schnell wechselt er dann dauerhaft auf die Gitarre, immer interessiert an neuen musikalischen Herausforderungen und ganz besonders fasziniert durch den aus Amerika nach Frankreich gekommenen Jazz der frühen 20er Jahre.
    Doch er lernt sehr schnell alles was er hören und irgendwie nachspielen konnte mit einem nahezu fotografischen, musikalischen Gedächtnis.

    Ein schwerwiegendes Ereignis unterbricht 1928 im Alter von ca. 18 Jahren jäh seine junge Karriere als Musiker als er beim Brand seines Wohnwagens so schwere Verbrennungen erleidet dass er für 1 1/2 Jahre keine Musik mehr spielen kann.

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  • Django Reinhardt - Guitar-Maestro (1/4)


    Django 1932 with Selmer/Maccaferri-GuitarBorn as Jean-Baptiste "Django" Reinhardt in the belgian village Liberchies in the near of Charleroi on January 23rd 1910, Django Reinhardt was to become one of the most famous guitarrists worldwide and from all times.

    Growning up in an absolutely musical family (his father already has been a very famous musician in french/belgian Gypsy-circles), the young Django learns to play music at first on a Banjo at the age of 10. Completely without reading or playing any sheetmusic and learning all things completely autodidactical, his musical genius was to develop very fast in his young years.django reinhardt 12years
    Together with his mother Negros and his younger brother Joseph "Nin-Nin", young Django grew up mainly in the subburbs of Paris in the early years of 1920 (see also Django Reinhardt - Private Life).

    Soon Django played really good just after a couple of years of practise, but in these few years he was using every free minute that he had for that purpose. He played so well that he received his first invitations around the age of about 12 years (image right) to play concerts in the band of his uncle. Very soon he had made his name in the circles of musicians, so well that Django who is not even 16 years old, around 1926 he was hired from Vetese Guérino to play for his orchestra. Guérino was a very famous accordeonist in Paris at that time (image left below, Guerino middle, Django 2. f.r.) who played at the "Bals musettes" (so called "dancefloor parties" that were really hip that time all over France). Very soon followed other musicians of the french metropol Paris that hired Django for accompaning them in the following years.

    His mother Guerino Negros buys him his first guitar at the age of 16 years and young Django starts to work real hard and practise playing music even more.

    Pretty fast Django changes over to play the guitar permanently, always interested in new musical challenges. Especially he is interested in the "new sound" of JAZZ of the early and roaring 1920ies that swapped over from America to France and was beeing played in the parisian nightclubs by many american musicians that had stayed over there in the old world after the 1. worldwar.

    Django learned everything that he could hear and copied it somehow so very fast, soaking up sound and music like a sponge, like with an almost "photographic musical memory". His genius in playing grows incredibly fast and soon he becomes the "inside tip" under the parisian musicians of that time.

    In 1928 at the age of around 18 years a serious event abruptly interrupts his young growing career as a musician. A fire in his caravan injured him so heavily that he suffered from heavy combustions of 2nd degree on his whole left side of the body including his leg, arm and hand and he had to stop playing music for almost more than one year completely staying in a hospital.

    Read more -> Django Reinhardt - Guitar Maestro (2/4)

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  • Django Reinhardt - Guitar-Maestro (2/4)

    Djangos linke HandA dramatical event at November 2nd 1928 stopps the carreer as musician of young Django, just 18 years old.

    His wife Bella had prepared flowers of plastic which were made for sale on the market the next day, and had spread them around all over the caravan.
    Django 1930By accident a burning candle dropped  down and just within a few seconds the whole caravan ablazed in big fire!

    Django just had the time to securely save his wife, himself breaking down unconscious afterwhat. He barely himself could be saved alive by others in the last second from the burning caravan.

    Heavily injured and burnt by the blazing fire in his caravan Django Reinhardt is brought to a hospital in Paris. He is to stay in hospitals and sanitariums for the next 1 1/2 years.

    The fire had burned him so strongly that all of his left bodyside was heavily injured, especially his left hand was burned so vast that he wasn´t able to use his ringfinger and pinky anymore very well, even after recovering (see photos top left and bottom right).
    Django will always keep having problems with his health for the rest of his short life with lots of pain very often in the following years, thus never recovering completely from this accident...djangoshand

    The (wrong) prophecy of the doctors in the parisian hospital was stating that he would never ever be able to play banjo or guitar again cause of his heavy injuries. At that time his combustion could be medically treated only insufficiently and Django has big pains over and over again.

    After a few weeks the doctors even offer him to amputate his left arm and leg, otherwise they wouldn´t be able to help him anymore... Django immediately changes to another hospital in  Fontainebleau.lamusicajazz magazin

    As it seems this was a good decision, as after another half year of well going recovery his brother Joseph is able to bring Django´s beloved guitar into the hospital and Django starts practising guitar again with an absolute iron will, always working against his heavy pains.

    He is practising and working, working, working to get back his playing skills... until after another one year later Django will be able to leave the hospital again. He had then spent about 1 1/2 years there and in this time worked like mad to get back to old playing-abilties.

    Due to his disablilty left over and caused by the burnt skin of his left hand (see top photos above) he wasn´t able to play regularely used chord-voicings anymore (e.g. like full barré-chords), so Django had to change his way of playing chords as of his soloing all the same, to be able to play without pain.accord 6e mineur f

    But Django starts to develop his very own unique play-techniques and voicings on the guitar (known as the famous "three-finger"-voicings, e.g. our example right Am6), which later on will be later on taken over by many famous Jazz-musicians, thus influencing all of the jazzworld entering into modern jazz-harmonics in the later years...

    In these dark and heavy days Django had made the impossible and recaptured back the music for himself. He was to become one of the greatest and most famous guitarrists of all times on this planet... and his greatest success is just ahead of him and yet to come up.

    Read more -> Django Reinhardt - Guitar-Maestro (3/4)


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  • Django Reinhardt - Guitar-Maestro (3/4)

    jazzhotmagNachdem er einigermaßen wieder hergestellt das Krankenhaus verlassen hat beginnt er langsam wieder regelmäßig zu spielen und arbeitet 1930/31 als Begleitgitarrist in einigen Formationen die in Hotels, Bars und Restaurants und auf Bals Musettes spielen. delaunay

    In den folgenden Monaten lernt er Charles Delauney (Bild rechts) kennen, ein französischer Jazz-Fan und Förderer und dieser wird ab da zu seinem persönlichen Mentor, der ihn anschliessend viele Jahre begleitet.
    Charles Delauney verlegte mit seinem Verein u.a. auch das kleine Mitglieder-Magazin "Jazz Hot" (Bild links oben) in welchem immer aktuelle  Künstler vorgestellt wurden.

    Durch Betreiben des "Hot Club de France", einer Art Verein zur Förderung des französischen Jazz, brachte Delauney mit seinen Mitstreitern in den Jahren 1933 bis 1950 viele später weltberühmte Jazz-Musiker wie z.B. Dizzie Gillespie, Charly Parker oder Duke Ellington für Konzerte und Jam-Sessions u.a. nach Paris und auch mit Django Reinhardt zusammen.

    Im Jahre 1934 erfolgt dann auf Anregung von Charles Delauney die Gründung der ersten Besetzung des JM Greats LouisVola"Quintette du Hot Club de France" als offizielle Band, nachdem Django Reinhardt und Stephane Grappelli - HCDF_1938beide Mitglieder der damaligen Band von Louis Vola, sich 1933 bei Auftritten persönlich kennen gelernt hatten.

    Der Bassist Louis Vola leitete damals eine Tanzkapelle welche ein festes, regelmässiges Engagement im Hotel Claridge im Pariser Arrondisment St. Germain hatte.

    Alle Musiker spielten die damals angesagten französischen Lieder und Chansons zum Tanz auf, doch alle waren an stark der "neuen Musik", dem Swing-Jazz der um 1920 aus den USA nach Paris herüber schwappte, interessiert.
    Auch in den Bars und Nachtclubs von Paris war diese Musik inzwischen angekommen, da nach dem 1. Weltkrieg viele US-Soldaten in Europa und auch in Paris blieben und dort in den Clubs und Restaurants meist Jazz spielten. Da sie diesen Jazz in der Tanzkapelle von Louis Vola aber nicht bei ihren Auftritten spielen durften spielten sie immer in den Pausen ihrer Auftritte in den Garderoben oder Hinterzimmern des Hotels alle diese neuen Songs die sie so sehr faszinierten. 

    Als Besetzung der ausschliesslich aus Saiteninstrumenten bestehenden Band kristallisierte sich durch diese Sessions später die folgende Besetzung heraus: Django Reinhardt (Sologit.), Stéphane Grappelli (Viol. Piano), Joseph Reinhardt (Rhythmgit), Roger Chaput (Rhythmgit.), der später durch Pierre "Baro" Ferret abgelöst wurde und am Bass Louis Vola später dann auch Francis Luca (siehe Foto links oben). Das berühmte "Quintette du Hot Club de France" war geboren!

    qhcfprogAus dieser Besetzung entstand auch der spätere Begriff des "String-Jazz" (also Saiten-Jazz), da normal Jazz damals nur mit Blasinstrumenten (Saxophon, Klarinette, Trompete) gespielt wurde. Aus Ermangelung solcher Instrumente spielten die MuHCDF_1940siker des "Quintette du Hot Club de France" den Jazz eben mit ihren eigenen, also Saiteninstrumenten wie Geige, Gitarre und Kontrabass.

    Bei Ausbruch des 2. Weltkrieges 1939 ist Django Reinhardt mit Stephane Grapelli grade in London für einige Konzerte mit dem Quintett. Doch Django will nicht in London bleiben und fährt ungeduldig zurück nach Paris zu seiner Familie.

    So blieb Stephane Grapelli zunächst während des Krieges allein in London und Django reist mit anderen Musikern des Quintetts zurück nach Frankreich.

    In den späteren Jahren zwischen 1939 und 1950 spielte Django in wechselnden "Quintette du Hot Club de France"-Besetzungen, auch u.a. mit dem Klarinettisten Hubert Rostaing und Alix Combelle am Saxophon (siehe Foto rechts).


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  • Django Reinhardt - Guitar-Maestro (3/4)

    jazzhotmagAfter Django left hospital again in 1930/31, almost recovered from his injuries, he starts to play regularely again, working as accompanying guitarist in some formations that worked at theHotels, Bars and Restaurants as of the famous "Bals Musettes". delaunay

    In the following months he meets Charles Delauney (photo right), a great french Jazz-Fan. Charles will become his personal mentor who will be at his side for many years after.

    Initiated by Charles Delauney from 1933 to 1950 the "Hot Club de France", a kind of association for promoting the french Jazz, brought together many famous jazz-musicians such as Dizzie Gillespie, Charly Parker or Duke Ellington for concerts or Jam-sessions in Paris, also with Django Reinhardt. Charles Delauney also released a little Member-Magazine named "Jazz Hot" (image left) with the association, in which actual artists of the Jazz-scene were presented.

    In the year 1934 as well on initiative of Charles Delauney the founding of the first setup of the  JM Greats LouisVola"Quintette du Hot Club de France" as an offial Band was done, after Django Reinhardt and Stephane Grappelli - HCDF_1938both members of the Band of Louis Vola, personly met in 1933 for the first time at their gigs with him.

    The bassplayer Louis Vola at that time was the bandleader of a danceband which had a regular booking at the Hotel Claridge in the Parisian Arrondisment St. Germain.

    All musicians in this band used to play french songs and chansons that were "hip" for dancing in this time. But nevertheless all musicians were absolutely excited by and interested in the "new sound" of Swing-Jazz that had swapped over to Paris from the USA around 1920.
    This music-style had been established in the bars and nightclubs of Paris, mostly played by US-soldiers that had come to Europe within the 1st worldwar and that had stayed over there in the old world after. These musicians always used to play Jazz in Clubs and Restaurants.

    But Django Reinhardt, Stephane Grappelli and Louis Vola weren´t allowed to play Jazz in the hotels for dancing. So they just used to jam on their favoured tunes in the backrooms of the hotel during their breaks between the gigs, faszinated by the new music.

    The setup of the first Quintette du Hot Club de France, which was only made up from stringed instruments was formed by these jam-sessions, resulting in the following musicians-setup: Django Reinhardt (Sologit.), Stéphane Grappelli (Viol. Piano), Joseph Reinhardt (Rhythmgit), Roger Chaput (Rhythmgit.), later on exchanged by Pierre "Baro" Ferret, and Louis Vola on Bass. Later on it was also Francis Luca (see photo top left) and Emmanual Soudieux on bass. The famous "Quintette du Hot Club de France," was born!

    qhcfprogFrom this setup the term "Stringed-Jazz" (Jazz played with stringed instruments) was invented, as normally Jazz would have solely been played with wind-instruments (Saxophone Clarinette, Trumpet) in this time. HCDF_1940But due to the lack of any wind-instruments in their setup the musicians of the "Quintette du Hot Club de France," used to play Jazz just with their string-instruments like  violin, guitars and bass.

    In 1939 when the 2nd worldwar was due to begin
    Django Reinhardt and Stephane Grapelli stay in London for some concerts with the Quintette. But Django doesnt want to stay there and eagerly returns to Paris to his family.

    So Stephane Grapelli remains alone in London during the war-time and Django returns back to France with the rest of the musicians of the Quintette.

    In the later years between 1939 and 1950 Django starts to work in different setups of the "Quintette du Hot Club de France," together with clarinette-player Hubert Rostaing or Alix Combelle at the saxophone (see photo right).


    Read more -> Django Reinhardt - Guitar-Maestro (4/4)

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  • Django Reinhardt - Guitar-Maestro (4/4)


    ststNach seiner Rückkehr aus England nach Kriegsende 1946 trifft Stephane Grapelli wieder mit Django Reinhardt zusammen. Zwar gab es danach zwischen 1946 bis 1949 auch noch einmal eine "Reunion" der ursprünglichen Besetzung des Quintetts mit Stephane Grapelli, diese war allerdings nicht von sehr langer Dauer und mündete nur in einigen wenigen Schallplattenaufnahmen (u.a. dem Album "From Swing to Bop").

    Schon in den Kriegsjahren ab 1941 bis 1947, war Django Reinhardt sehr stark  interessiert am populären Swing-Jazz und Bigbandsound der damaligen Zeit. Django Satchmo Duke MixAuch hatte der anfängliche riesige Erfolg des Quintettes der ersten Jahre in Europa und speziell Frankreich nachgelassen, der Musikgeschmack hatte sich mittlerweile wieder gewandelt.

    Im Jahr 1949 wird Django Reinhardt (initiert durch Charles Delauney seinen Freund und Manager) für einige Konzerte auf eine grosse USA-Tournee mit Duke Ellington eingeladen und lernt dabei während seines Aufenthaltes in den USA fast alle damaligen Grössen des Jazz kennen.  Schon ab 1941 und wieder nach seiner Rückkehr nach Frankreich experimentiert er selbst mit diesem neuen Sound und spielt mit einigen neuen Besetzungen des "Quintette du Hotclub de France" u.a. mit Musikern wie Alix Combelle und Hubert Rostaing (an Klarinette und Saxophon).

    Die jüngeren Aufnahmen des Quintetts schon ab 1946 bis Ende 1950 zeigen eine deutliche Wandlung seines Spiels hin zum eher elektrischen, Bebop-beeinflussten Spiel eines Charly Christian oder Charly Parker. Django Reinhardt war Zeit seines Lebens immer interessiert an neuen Sounds und Einflüssen aber verehrte vor allem die "klassischen" Komponisten wie Bach, Beethoven und Grieg.

    django3a Die in den späten 20er und bis in die frühen 1950er Jahre durch das "Quintette du Hotclub de France" gemachten Tonaufnahmen sind bis heute legendär und nach wie vor Zeitzeugen aller dieser aussergewöhnlichen Swing-Musiker.

    Django Reinhardt verstirbt sehr früh, am 16. Mai 1953, im Alter von grade einmal 43 Jahren, im Krankenhaus von Fontainebleau an den Folgen eines Gehirnschlags (siehe auch Django Reinhardt - private Life).Djangos Beerdigung

    Bei seiner Beerdigung waren ausser seiner Familie auch viele seiner engsten Freunde und sehr viele seiner Fans zugegen um ihm, dem grossen Idol und Vorbild, die letzte Ehre zu erweisen (Bild rechts).

    Sein unnachahmliches Spiel, seine Kreativität und Spielfreude und die Fähigkeit Melodien zu erschaffen die in Ihrer Schönheit und Präzision kaum zu überbieten sind begeistern bis heute Heerscharen von Gitarristen und Musikfans in aller Welt.

    Django Reinhardt war auf seine Art ein musikalische Genie welches immer unerreicht bleiben wird. Sein Einfluss auf das Spiel der Gitarristen (nicht nur im Jazz) sind bis heute ungebrochen.

    Wer weitergehend an Djangos Lebensgeschichte interessiert ist kann bei uns auf JazzManouche.de hier mehr über sein Privatleben erfahren. Doch auch im Internet findet sich hier eine recht detaillierte und gut gemachte Biografie über Django Reinhardt  (in englisch) zum nachlesen.

    Weiter zu Django - Private Life (1/6)

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  • Django Reinhardt - Guitar-Maestro (4/4)


    ststAfter his return from London to France in 1946 Stephane Grapelli again meets with Django Reinhardt.
     
    But although there are some tries for "reunions" of the original setup of the Quintette with Stephane Grapelli between 1946 and 1949, these were not for good and long lasting, thus resulting just in a few recordings (for example the Album "From Swing to Bop").

    Already beginning with the first years of war around 1941 until 1946/47, Django Reinhardt was very much interested in the more popular sound of Swing-Jazz and the new Bigbandsound of that time. As well the first great success of the Django Satchmo Duke Mix Quintette in the 20ies and 30ies all over Europe and especially in France had vanished a bit and the musical taste of the public had changed, so Django was looking for new frontiers.

    In 1949, again initiated by his friend and Manager Charles Delauney, Django Reinhardt gets invited for a big USA-tour with the Duke Ellington Orchestra. During this tour he is to meet all american famous Jazz-players of that time like Satchmo, Benny Goodman, Harry Volpe and many others.
    As already since 1941 and the more after his return to France from this Tour in 1949, Django himself more starts to experiment with this new sound of "Bebop"-jazz that he adapted in America. He forms another setup of the "Quintette du Hotclub de France" together with musicians like Alix Combelle or Hubert Rostaing (on clarinette and saxophone).

    The later recordings of the Quintette since 1946 until theend of 1950 clearly show a strong change in his own playing, strongly influenced by the bebop-sound of the electrical guitarstyle of a Charly Christian or saxophonist Charly Parker.
    For all his life Django Reinhardt was always interested in new sounds, in extending frontiers and taking up challenges, but especially adoring the "classical" writers like Bach, Beethoven and Grieg.

    django3a The recordings made from the 1930ies until the late 1950ies by the Quintette du Hotclub de Francetoday are legendary and the best whitnesses of these great Swing-musicians.

    Django Reinhardt dies, still very young, on May 16th 1953, just at the age of 43 years, by a brainstroke in the hospital of Fontainebleau (see also Django Reinhardt - private Life (1/6).Djangos Beerdigung

    Apart from his family many friends, admirers and fans were coming to his burrial to give a last honour to their great idol and model. (image right).

    His unique and inimitable playing, his creativity and playing joy as the ability to create melodies in pure beauty and precision still excite thousands of guitarists and music fans with enthusiasm till this day all over the world.

    Django Reinhardt was a musical genius who will remain untouched. His influence on the playingof guitarrists of all kinds (not only in Jazz) as well remain until this day.

    If you want to read more about Djangos Lifestory be sure to read the article-series about Django Reinhardt - private Life (1/6). On the net there are as well more infos, here a well made and detailed biography on Django Reinhardt.

    Read more - Django Reinhardt - private Life (1/6)

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  • Django Reinhardt - Three Finger Lightnin - Documentation

    Hier ist eine sehr gut gemachte Video-Dokumentation mit dem Titel "Django Reinhardt - Three finger lightnin".





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  • Django Reinhardt - Three Finger Lightnin - Documentation

    Here´s a great Video-Documentation with the Title "Django Reinhardt - Three finger lightnin":





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  • eBook: The REAL Gypsyjazz Book

    the real gypsyjazz book a5 salesDas brandneue "The REAL Gypsyjazz Book" ist eine Sammlung von Chordcharts (Grilles) aus 322 (Gypsy-)Jazz Songs alle zusammengefasst in einem eBook in pdf-Format.

    "The REAL Gypsyjazz Book" enthält 322 Songs, angefangen von typischen Gypsy-Traditionals und raren französischen Musettewalzern, über Songs von Sinti-Komponisten wie Django Reinhardt, Fapy Lafertin, Dorado Schmitt, Angelo DeBarre, Bireli Lagrene, Stochelo Rosenberg, Moreno, Tschawolo Schmitt und vielen, vielen mehr, als auch die meistgespielten "contemporary Jazz tunes" die in jeder (Gypsy-)Jamsession weltweit Anwendung finden. getyourfreecopy

    Dieses Buch ist das einzigste und ausführlichste momentan erhältliche Sammelwerk von raren (Gypsy-)Jazz-tunes und Traditionals. Es ist ein idealer Begleiter zu jeder Jam-Session für jeden (Gypsyjazz-)player, aber auch interessant für den interessierten Gypsygitarristen der neue und vor allem eher seltene exotische Songs lernen möchte die es sonst nirgends zu finden gibt. Es ist nicht zu vergleichen mit den allgemein erhältlichen "Jazz-Realbooks", da dort fast ausschliesslich anglo-amerikanische Jazztunes zu finden sind. "The REAL Gypsyjazz Book" legt ganz klar den Focus auf die europäischen, französischen und Sinti-Komponisten.

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    Entdecke hier die unglaubliche Vielfalt des Inhaltes... hier nur eine kleine (!!!) Auswahl, ein ausgewählter Auszug der über 300 Songs welche im "The REAL Gypsyjazz Book" enthalten sind.

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    This book is the most comprehensive and detailed collection of (Gypsy-) Jazz-tunes available all put together into one book. It may become the ideal compagnion for any Jam-Session for any (Gypsyjazz-)player as well as for the student who is eager in learning new and exotic tunes rarely found anywhere else. "The REAL Gypsyjazz book" is NOT compareable with the well known available "Jazz-Realbooks", as in these are mostly only anglo-american Jazztunes beeing featured. "The REAL Gypsyjazz Book" instead clearly focusses on the european, french and Sinti-composers, but contains Standard Jazztunes as well.

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  • Faked GJ-Guitars

    Regrettably there are many cheaters and forgers around anywhere trying to ripp off someone elses money... especially this is, like in real life, all the same often happening on the internet.
    c3af 1
    So at this place we like to give out a warning as there are always also faked guitars around, trying to be sold as "real rarities". Very often these are gypsyjazz-models of the famous luthier Favino (but all the same Selmer- or Busato-Guitars), beeing offered on the Internet.
    Sometimes they are beeing offered just as "Django-guitar" another time "original old Favino of Jacques Favino", as well as "original Selmer" oder "Busato"...
    Fake Busato
    As these guitars are, according to their age and rarity, beeing sold for high prices starting from 4-digit prices for Favinos or to up to 5-digits when talking about Busatos or even open-end-prices when it comes to rare Selmers - always depending on their state and age of course - there are always criminal tricksters that want to make their business from these facts.
    But if one really knows about the details and facts of old Gypsyjazz-guitars, one also may distinguish faked guitars from the real originals, as there are lots of details that make it possible to determin if such an instrument is really original or not.

    As a good example for faked guitars here we show an obviously faked Favino-guitar which has been on sale in 2008 for about 6.500.- € (image left) offered as a rare Favino-model built in 1982. At first this guitar has been offered thru eBay, after a while beeing offered thru the private website of the "owner".

    Additionally here we show another impressing example of a faked Busato (image right) which also had been offered on the internet thru eBay in 2010. And the more we have another example of a faked Selmer-guitarwhich also was on sale on eBay in 2009 for the reasonable price of 13.500.- €, just - it wasn´t original (image left below)!Selmer 1932 No361 Fake 5

    If you closely look at all these guitars you will very easily determin the features why these are faked guitars and why they can´t be originals. We additionally offer a lot more information on these subjects in our article-series Features of original Selmer-Guitars, Features of original Busato-Guitars, Features of original Favino-guitars and Features of original DiMauro-Guitars, were we briefly describe the most important facts and details on these rare instruments.

    So if you are suggesting to buy such a fine and expensive instrument you should inform yourself closely in advance, collecting as much information possible, to avoid possible fraud or loss of money. As a first step e.g. you might take a look inside our JM-Guitar-Gallery searching for the details of such guitars (we have 1800+ images of old Gypsyjazzguitars in our gallery which is updated constantly). Otherwise you may spent a whole lot of money to burglars that cheat you with a faked guitar which you cannot sell yourself afterwhat anymore, thus having lost all your money spent on it.

    But it´s not only about the faked guitars but also about the way these cheaters use to work, which happens all around... as it happened to one of our JM-Users. Forgers are selling instruments on the net which they don´t own at all, trying to collect the money for it thru different channels (Western-Union or alike) off their potential buyer in advance. Many of them are trying to sell thru portals like eBay and others.

    These cheaters often show images that they collected on the net, offering rare instruments on classified ads, most of the time offering for prices which are way beyond lower than the original prices on the market. The potential buyer is encouraged to send his payment to a "trust forewarding"-company or Western-Union in advance, which in real never exits. Be sure to read the story of our JM-user in our article deception while selling Favino.

    Regrettably even with cheaper instruments of this kind there are people who try to cheat others. There are guitars which are beeing offered as "high-quality" Selmer-copies beeing offered for a multiple price of their original cost, and which are not worth even part of the price beeing offered for. Here you find such an actual example of a Selmer-copy which was offered as "high class wood" instrument for double of the original new price. This is a Richwood-Guitar (new price 399.-€) which was offered for 798 .-€ in used condition! So one really has to be careful when buying such a guitar on the internet.
    fake richwood 01

    Überteuerte Gitarren im Internet Beispiel

    fake richwood 02

    Überteuerte Gitarren im Internet Beispiel


    If you dont have an clue by yourself on these kind of guitars ask a friend or someone who really knows about these guitars. Because otherwise the first look cheap bargain may end up in a draged buy very soon in the end...

    Also be sure to read our 7 tipps for buying JM-guitars. on these subjects. And of course whenever you buy an (expensive) guitar always take care!

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  • Favino Gitarren

    favino bj1960 nolabelFavino-Gitarren zählen heute zu den berühmtesten Gypsyjazz-Gitarren überhaupt, direkt nach den originalen Selmer-Gitarren. Einen ähnlich hohen Stellenwert haben nur noch die ebenfalls mittlerweile sehr seltenen Busato-Gitarren.Jacques Favino

    Der große Erfolg der Favino-Gitarren liegt in erster Linie in ihrer speziellen Bauart die durch Jacques Favino (siehe Bild rechts) in den späten 40er Jahren entworfen wurde.

    Jacques Favino (in Piemont, Nord-Italien geboren)war, wie schon vor ihm einige andere sizilianische Gitarren- und Instrumentenbauer aus dem sizilianischen Catania, 1923 mit seiner Familie nach Paris  immigriert.

    Jacques Favino erlernt bereits in den frühen 1940er Jahren den Gitarrenbau. Er arbeitet zunächst in den Werkstätten von Bartolo Bernabe Busato und eröffnet erst um 1956 seine erste eigene Werkstatt in der Rue de Clignancourt 9 im Pariser Distrikt Montmartre und baute dort bis ca. 1982/83 seine Gitarren.

    Ab ca. 1982 übernahm dann sein Sohn Jean-Pierre Favino seine Geschäfte, wobei beide einige Jahre bis ca. 1984 gemeinsam in der Werkstatt Gitarren herstellten.

    Nach 1984 baute Jean-Pierre Favino zunächst die Gitarren im Stil seines Vaters für einige Jahre identisch weiter, bis er dann Ende der 1980er Jahre begann seine eigenen Wege im Gitarrenbau einzuschlagen und seine eigenen Gitarren-Modelle zu entwickeln. Weitere Details zu Favino-Gitarren in unserem Artikel Favino-History und Merkmale originaler Favino-Gitarrenfavinocatalog2
    Bis heute zählen die Favino-Gitarren seines Vaters Jacques Favino zu den Besten und teuersten Gypsyjazz-Gitarren auf dem Markt.

    In den späten 1950er Jahren beginnt Jacques Favino mit der Konstruktion von eigenen Gypsyjazzgitarren-Modellen (siehe Bild links oben eine Favino, Modell No.10, Bj. 1960).

    Grundsätzlich bot er dabei 2 Grundmodelle an: das Modell Jazz No.10 "Gitans" und das Modell Jazz No.10 "Macias" (siehe auch Bild links, Auszug aus einem alten Katalog von Jacques Favino aus dem Jahre 1978.

    Preislich unterschieden sich die Modelle weniger in Ihrer Konstruktion als in ihrer Ausführung. So gab es Modelle aus Ahorn, Rio Palisander und Indian Rosewood. Ganz typisch für Favino-Gitarren von Jacques Favino waren von Anfang an die dreiteiligen Ahorn-Hälse, die heute von einigen Gypsyjazz-Gitarrenbauern (z.B. Eimers Guitars od. Dell-Arte) nachempfunden werden.
    Ab den frühen 1990er Jahren beginnt Jean-Pierre Favino dann mit der Verwendung von 2-teiligen Ahorn-Hälsen. Weitere Infos zu Favino-Gitarren kann man hier in unserem Artikel "Merkmale originaler Favino-Gitarren" nachlesen.

    Berühmt gemacht wurden Favino-Gitarren durch viele berühmte Musiker die, bis heute, Favino-Gitarren spielen und/oder gespielt haben.
    Hierzu zählen Musiker wie z.B. Matelot Ferret, Louis Fays, Jacques Montagne, Henri Salvador, Georges Moustaki, Sarane Ferret, Baro Ferret, Georges Brassens, Paul "Tschan Tschou" Vidal, Mondine Garcia, Chatou Garcia, Enrico Macias, Ninine Garcia, Boulou Ferre, Elios Ferre, Christian Escoude, Maurice Ferret, Fapy Lafertin, Francois Moerman, Rodolphe Raffalli, Romane, Raphael Fays, Bireli Lagrene, Hansche Weiss, Ziroli Winterstein, Lulu Reinhardt, Holzmanno Winterstein, Dorado Schmitt, Patrick Saussois, Moreno Winterstein, Stochelo Rosenberg, Tschavolo Schmitt, Wawau Adler und viele, viele mehr.

    Weitere Infos hier in unserem Artikel zur History von Favino und auch auf der Website von Jean-Pierre Favino.

    In unserer Guitar-Gallery haben wir ein Archiv für alte Favinos angelegt um einen Überblick über die Modelle zu geben. Hier kann man wunderbar nach diesen Gitarren forschen und, z.B. auch im Falle eines Kaufes eines solch edlen Instrumentes die Bilder mit dem angebotenen Instrument zu vergleichen. So kann man, zumindest einigermaßen, im Vorfeld die Echtheit eines angebotenen Instrumentes vergleichen (siehe auch unsere Artikel zum Thema "falsche Favinos" und "Tipps zum Gitarrenkauf").

    Weiter zu History - Favino-Gitarren (1/2)


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  • Favino Gitarren

  • Favino Gitarren - More Infos - (de)

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  • Favino Gitarren -Pay articles- (de) (2)

    All payed articles about Favino
  • Favino Guitars

    favino bj1960Directly behind the original Selmer-/or Busato-Guitars the rare Favino-Guitars are within the most expensive and sought after Gypsyjazz-Guitars and count (for good reason) to the most famous as well.

    The great success of the Favino-Guitars (especially the Gypsyjazz-Models) are founded in their special way of making, invented by their creator Jacques Favino (image right) who started making them in the late 1940- and early 1950ies.Jacques Favino

    Jacques Favino (born in Piemont, North-Italy)immigrated in 1923  with his family from the sizilian village of Catania to Paris/France, like many other sicilian Guitar- and Instrumentmakers did before him, fleeing from the fashist Mussolini-Regime and plus suffering from unemployment.

    Jacques Favino started to learn the making of Stringed-instruments in the early 1940ies. Arriving in Paris he soon started to work in the workshops of Bartolo Bernabe Busato and opened up his first own workshop around 1956 in the Rue de Clignancourt 9 in the Parisian Distrikt of Montmartre, building and selling his guitars there until aproximately 1982/83.

    In 1978/79 Jacques started to withdraw from the business more and more. Beginning to work in his fathers workshop around 1976 his son Jean-Pierre Favino 1982 took over his business officially.
    But still the two, father and son, were working together there in the workshop until around 1984, supported by two more sicilian guitarmakers helping them in building all kinds of instruments. This time (1980-1984) is what was called the "transition period" afterwhat, as there were some instruments already signed by Jean-Pierre Favino but still made by his father or the two together in the old way of making.

    After 1984, when his father finally retired, Jean-Pierre Favino kept on building guitars in the same workshop in the Rue de Clignancourt 9 almost identically the same way he had learned it from his father, copying his type of models and designs. It was just until the late 1980- early 90ies when he began walking his own path in building guitars, developing his own kind of guitar-models. More Details about Favino-Guitars and their story you´ll find inside our articles Favino-Historyand Features of original Favino-Guitars.
    favinocatalog2Until today the Favino-Guitars, especially the ones of the father Jacques Favino, are considered the most expensive and best Gypsyjazz-Guitars on the Market.

    In the mid 1950ies when Jacques Favino started the construction of his famous Gypsyjazz-Guitar-Models (image top left, Favino Model No.10, built in 1960).

    Generally he offered 2 basic-models: the Model Jazz No.10 "Gitans" and the Model Jazz No.10 "Macias" (image left, an extract of an old Favino-catalog from the year 1978).

    The two models less distincted in their price but the making. Favino offered guitar-models made out of maple, Rio Palisandre and Indian Rosewood.

    Typically for Favino-Guitars of Jacques Favino from the beginning were the three-piece-maple-necks. A feature that today is again beeing copied by many guitarmakers that are building Selmer- and Favinostyle-Guitars (e.g. Eimers Guitars or Dell-Arte).
    In the early 1990ies when Jean-Pierre Favino began his own model-series he also started to invent his own style of this time 2-piece-maple-necks. More detailed Infos on Favino-Guitars you can find in our article "Features of original Favino-Guitars" were we briefly describe their special features.

    Favino-Guitars have been made so famous by the many musicians who played or still play until today.
    These are musicians like Matelot and Baro Ferré, Louis Fays, Jacques Montagne, Henri Salvador, Georges Moustaki, Sarane Ferré, Baro Ferret, Georges Brassens, Paul "Tschan Tschou" Vidal, Mondine Garcia, Chatou Garcia, Enrico Macias, Ninine Garcia, Boulou Ferre, Elios Ferre, Jacques Brel, Christian Escoude, Maurice Ferré, Fapy Lafertin, Francois Moerman, Rodolphe Raffalli, Romane, Raphael Fays, Bireli Lagrene, Hansche Weiss, Ziroli Winterstein, Lulu Reinhardt, Holzmanno Winterstein, Dorado Schmitt, Patrick Saussois, Moreno Winterstein, Stochelo Rosenberg, Tschavolo Schmitt and many, many more.

    More Infos on Favino in our articles on the History of Favino and on the actual website of Jean-Pierre Favino.

    In our JM-Guitar-Gallery we have put online anorganized Image-Archive for old Gypsyjazz-Guitars like Favinos (as well as Selmer-, Busato- and DiMauro-Guitars) to give you a detailed overview on the different models and for research on these rare guitars. Here you might take a look and find detailed information on these guitars, in case for a possible buy of an old Gypsyjazz-Guitar to define and compare the quality or details of an instrument to buy. So you might relatively sure get information about or if an instrument offered is really authentical. Be sure to read our articles about "Fake Gypsyjazzguitars" and "Tipps for buying guitars".

    Go to History - Favino-Guitars (1/2)


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  • Features Busato-Guitars (1/3)

    busato bj1950busato-oval-hole-grand-modeleAlike in our article-series about "Features of original Selmer-Guitars", "Features of orirginal Favino-Guitars" and "Features of original DiMauro-Guitars", here in these article-series we briefly describe the details of original Busato-Guitars.

    Busato-Guitars, named after their creator the italian luthier Bartolo Barnabe "Pablo" Busato, were one of the first acoustic Jazzguitars that were "strongly inspired" by the original Selmer-Guitars of the famous italian luthier Mario Maccafferri (see also Busato-Guitars).

    A long time it was of doubt if there really existed a person called "Busato" or if this has just been a workshop with this name, as there  existed several adresses and workshops of that name.

    At the same time that Busato built guitars there were also Mandolins, Banjos and Uprightbasses beeing produced under his name. Even some Busato-Accordeons existed that were made on his order by some other makers or company (propably Castagnolo or Fratelli Crosio), which were sold under his name and in his workshops. So later on it was found out that Barnabe Busato truely existed. Busato died in Paris in 1960 (see also Busato-history).

    In these further article(s) of the Busato-series we focus and briefly describe the details and features of original Busato-Guitars with exact description and images.

    Because Bartolo Busato built many different guitar-models himself and let build by co-workers in his workshops, plus additionally it is known that he had built special edition-guitars for customers "on demand", today it´s a fact that there are all kinds of different Busato-guitars around that don´t have the typical features that Busato-guitars normally have, nevertheless they actually have been built in his workshops. Also there were guitars been made in his workshops for big musicstores in Paris and elsewhere which were sold under other brands for example Sonora, Symphonia, Paris Musical or Beuscher.
    In all there are more Busao-guitars then one might think, surely according to Busato´s long living- and working-period. Busatos were built between 1930 until 1959 in different sizes and all kind of shapes.

    General Features


    Generally Busatos can be divided into three main-categories: the so called "Grand modeles" (see image 1 left), the "Moyen Modele" and "Special Modeles". Some of the "Grand Modeles" have also been made as variation "Deluxe" or as D-hole-models.

    Bild 1: Busato1932Bild 2: Busato_1952_GrandModThe "Grand modele Deluxe" so to say was the Luxury-version, often decorated with wonderful inlays (see image 2, right).

    In the early 1930ies of his working-period Busato also produced some unusual shapes like the so called "Oblong-Modele" (see image at next page) as well as a couple of rare F-hole-Models.

    Very often many his guitars are just labeled as "1936" or "1940" the year they were built in, as often it´s Label inside the body misses.

    The most Busato-Models generally differ only in the way of their makings and features.

    Model-Variantions


    From the early 1940ies Busato mainly produced five different Variations of his guitarmodels:

    • Model 43 ("Moyen Modele"), mostly made out of Mahagoni, often with a pickguard and the typical BB-Tailpiece. Tuners were simple DeLaruelle with yellow tuning pegs.
    • Model 43 BIS, same size for sides 40cm, sides made from Mahagoni, brasilian Rosewood or Maple and tuners by SB Bilardi or BB DeLaruelle with caps.
    • Model 44, the famous "Grand Modele" with size of sides 41 cm and often (not always) 2 Braces at the bottom. Very othen these models were built with a three-piece-neck made from brasilian Rosewood with a stripe of black ebony in the middle, equipped with golden BB-tuners ("Grand Modele Deluxe"), actually all these original made by Salvatore Bilardi (same as for Favino).
    • Model 45, same Model like 44 but with additionally white bindings
    • Modele 46, in black Finish, a special pickguard and white bindings (see photo next page)

    Read more ->Features of original Busato-Guitars (2/3)

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  • Features Busato-Guitars (2/3)

    In Part 2/3 of our article about Feautures of original Busatos we briefly describe the exact details of Busato-Guitars with descriptions and images.

    Label-Variations


    Busato-Guitar mostly had Labels glued into the insides, regrettably not stating any year of making or alike the original Selmer-Guitars with a continuing serialnumber, or as with original Favino´s with additional years. Many of these old instruments have "lost" their Labels over time or it has been removed (for whatever reason).

    So basically here are four different Busato-labels to distinguish: square ones and ovals with different stamps and printed statements. Commonly they were stating the name "B. Busato" plus additionally the adress of the workshops they were made in (Cite de Griset 4, Paris XI). In rare cases (mostly in the younger years from 1950) they even had a year on it and additionally the signing of Busato.

    label-moyen-griot Label_Busato_1940er
    green-label_z84g2jtx label signature busato-1956


    As stated earlier some guitars were made by Busatos workshops for other musicstores and/or distributors, so these guitars may have Labels of Symphonia, Paris Musical, Sonora and also some of them "Paul Beuscher".

    All of Busato´s guitars basically were made identically, which means the size of the bodies, shapes or design variated just litte (mostly 40 or 41 cm sides). Also the guitarmodels were mostly equipped with four "Bracings", as original Selmers do.

    Model-Features


    • The sides and backsides of the "Grand models" mostly were made from brasilian Rio-Palisandre.

    • the simplest "Moyen"-Model was made from walnut-wood, the top out of french spruce, the necks from Rosewood or also walnut.

    • some of the "Grand models" were also made from Rosewood, sides and backsides laminated brasilian Rio-Palisandre.

    The Headplates Bild 3: Kopfplatte Busato 1950

    Busato_Bj1950_2_05_2
    • The headplates of the "Grand Models" in pre- or after wartimes were decorated with a small metal-plate (brass) with the engravings "Busato Fabricant, 140 Blvd. Menilmontant" mounted (see image 4 right).

    Additionally many "Grand Modele Deluxe" had wonderful inlays and carvings on their headplates (see image left). It seems that some of the co-workers had left over their marks on those kind of wooden carvings for Busato´s Deluxe-guitars.

    Bild 5: Deluxe Busato Hals


    The Neck


    • another important feature of original Busatos are the three-piece-necks which have an inlay of ebony in the middle (see image 5 right).

    • the necks were often made from exotic Mahagony or Rosewood often with the midlle inlay of mahagony or ebony.

    Although the first Favino-Guitars (aprox. until 1990) have a three-piece-neck, but mostly made from maple. The typical feature of many "Grand or Moyen"- Busatomodels is the black ebeony stripe in the middle, starting with the year 1940. Some luthiers have begun copying this feature afterwhat, also often using a black inlay in the middle of the backside of their guitarnecks, but mainly not made from ebony...


    Read more -> Features of original Busato-Guitars (3/3)

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  • Features Busato-Guitars (3/3)

    In Part 3/3 of our article about Feautures of original Busatos we briefly describe the exact details of Busato-Guitars with descriptions and images.

    The Tailpiece


    Another typical feature of original Busato-guitars are their tailpieces (if not changed...). The original Brass-tailpieces used by Busato had two big "BB"s (for Barnabe Busato, see image 6 left) engraved. Often on his guitars pure brass or silverplated brass-tailpieces were beeing used. On older models of the early period (1930-1938) also other metal tailpieces (see image 12 at the very bottom) might have been used.

    Bild 6: Busato Tailpiece busato-tuners

    The tuners


    The typical tuners (if not changed after) used from 1939/40 on Busato-guitars most of the time had the initials "BB" engraved on the outer tuner-caps all the same (like the tailpieces). Before that time also older kind of open-tuners came to use.

    The typical tuners are SB-Mechanics originally and were especially made from Salvatore Billardi for Busato with these engravings "BB" (similar to the Selmer-Guitars which also used SBs but had the big "S" engraved instead).

    Regrettably the tuners or tailpieces often have been changed on many guitars around, as if they might have been broken thru the years or if the owner wanted to use something else on his guitar instead (similar to Selmer- or Favino-Guitars). So these may not original if you find such an old instrument...

    Arched Top- and Backside


    Another, real unique characteristic of Busato-Guitars is the typical strong arched top-and backside, similar to today´s electric Archetop-Jazzguitars (see images 9 and 10). This was a feature that solely was invented by Busato in the late 1940ies with his guitars. No other Gypsyjazz-guitars from that period have this. busato-oval-hole-1940

    Alike Mario Maccaferri developed special features for his famous "Selmer-Guitars", which generally were the blueprint for Bartolo Busato´s guitarmodels, Busato also experimented already early with unusual methods to optimize his guitars continuesly and to develop them constantly.

    And also as Maccaferri once had developed sound-optimizations with his "Resonator" and other features, Busato all the same quickly understood that the arching of the tops and backsides had a great influence on sound and volume of a guitar.
    The principles of his development of the arched top- and backsides later on were the blueprint for other luthiers when developing their electric Jazzguitars ("Hollowbodies" and "Archetops") to optimize sound- and volume of their instruments.

    Busato-Guitars are the only acoustic Gypsyjazz-Guitars from that time which were equipped with rather stronly arched tops and backsides. 

    To achieve such strong arching different techniques were used: one technique was to scrape a bigger piece of wood to the right form, so the wood was tapered inside until the right form was achieved. Because this was a lot of work to do, a second technique was developed and used later on: serveral thin pieces of wood were glued together whilst beeing heated and pressed into the right arching-form until the glue was cold and solidified, thus keeping the arched form. After everything beeing laminated.

    Here is an example of a typical "arched backside" of a Busato made in 1946:
    Busato_1946

    Summary: to clearly identify an original Busato-Guitar without doubt take in account different facts and features.
    These are special features like model depent forms and other features (alike with Selmer- or Favino-Guitars):

    • the typical makingwith arched top- and backside
    • special inlays with the "Grand Models"
    • three-piece-necks, often with a black stripe of ebony in the middle of the backside
    • Tailpiece with engraved initials "BB"
    • SB-tuners with engraved initials  "BB" on the outside-caps

    Busato-guitars also have been made on demand (see page 1 of these article series) as "special custom models" for guitarrists, so it is most likely that even other strange shapes or atypical guitars that differ from the described features are to be found, which nevertheless originally have been made by Busato or came out of his workshops sold in his name (see images 11, 12, 13 and 14). Certainly most of the time real original Busato-guitars show the described typical features like described above.

    1952er_front2

    Busato, built 1952

    Busato_1938er_02

    Busato, built 1938

    busato_1933_oblong_front

    Busato, built 1933

    Busato 1952 GrandMod 01

    Busato, built 1950




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  • Features DiMauro-Guitars (1/2)

    hist2The guitars of the brothers  DiMauro which mainly were built between 1930 and 1976 always have had the highest prestige amongst Gypsyjazz-players worldwide. It is known that even Django Reinhardt played DiMauro-guitars (see image below).

    dimauroworksEven if not as famous as the instruments of the other famous makers (Selmer, Busato, Favino) the brothers DiMauro always gave their instruments a very unique and special personal character.

    In this article about Feautures of original DiMauros we briefly describe the most common details of DiMauro-Guitars, with description and images.
    Django2

    Special inlays, a special kind of pickguard or the form of the soundhole - Di-Mauro-Guitars have always been something special in the kind of their making.

    The guitar-models built by the two brothers DiMauro over the years had serveral names or models:

    "Boogie Woogie", "Heart", "Saint Louis Blues", "Modele Jazz", "Chorus" or "Special Chorus" and "Special Chorus DeLuxe". Later on they created two elektric Jazz-Guitar-Models named "E 1" and "E 2" with one or two pickups installed.

    DiMauro_1940_02_Ch_02

    Modele "Swing"
    "Boogie Woogie"

    joseph-di-mauro-heart-hole-front

    Modele "Heart"

    DiMauro_Swing_03_1950_02

    Modele
    "Saint Louis Blues"


    0001-original

    Modele "Jazz"

    DiMauro_1950_SPC_05

    Modele "Special
    Chorus Deluxe"

    DiMauro_ModJazzEl_1950_03

    Modele "Jazz E 1"



    One very unique and outstanding Guitar-series of Di Mauro´s always has been the models called
    "Chorus", "Special Chorus" or "Special Chorus DeLuxe" which existed in different makings.


    jazzsc2 jazzsc10 jazzc6 chorus_luxe


    (here you may take a look at the whole catalogue)

    Read more -> Features of original DiMauro-Guitars (2/2)


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  • Features DiMauro-Guitars (2/2)

    In Part 2/2 of this article about Feautures of original DiMauros we briefly describe the exact details of DiMauro-Guitars, with descriptions and images.

    Modele Special Chorus


    DiMauro_1950_InlaysThe following special characteristics are only to find with DiMauro-Guitars of the "Chorus" and Special Chorus"-Series:

    DiMauro_1950_f_holesBig F-holes, more known from el. Jazzguitars today, in the middle area of the top (Image 4 left). Even small details like the end of the fretboard show great a personal note and this has always been "different" with DiMauros compared to other guitarmakers.


    The fretboard shows diamond-shaped inlays (image 5 right) typically for DiMauro "Chorus" and "Special-Chorus"-models, which were in the beginning made from real mother-of-pearl, later on also from hardplastic (supposedly because of the lack of material in the postwar-times). Some cheaper models of the"Chorus" also had normal position dots from mother-of-pearl.

    The Tailpiece


    The brothers DiMauro used different types of special fancy shaped tailpieces which only were to find on original DiMauro-Guitars (Images 5, 6 and 7 below). So the tailpieces are one important feature to distinguish an original DiMauro from other Gypsyjazz-guitars from the same era.


    DiMauro_1940_Tailpiece_01 DiMauro_1940_Tailpiece_02 DiMauro_1940_Tailpiece_03


    The Tuners (machine heads)


    On their first guitars around the years 1930 until approximately 1940 the brothers DiMauro often used simple latch-tuners, pretty often also with small mandolin-knobs from bone or hardplastic (Image 7 left below).


    DiMauro 1940 02 Ch 03a

    simple Tuners, 1938

    DiMauro_1950_SPC_07

    SB-tuners, 1949



    On many of their later Guitarmodels starting from about 1940, especially on the more expensive "Special Chorus" and "Special Chorus Deluxe" (which also were the two high-class models of DIMauro) the famous SB-tuners (Image 8 above right) were installed which were also used on Selmer-, Busato and Favino-Guitars ever since.

    The Logo or brandmark


    DiMauro_ModJazzEl_1950_06 DiMauro_1940_LabelOne of the most typical signs and features of original DiMauro-guitars are the Logo or brandmarks the guitars were signed with. On some older models they installed a little plastic-plate with an engraved brass-logo "DIMauro", attached to the top left beside the fretboard-joint (Image 9 right).

    More often the DiMauros were signed with a real "brandmark" which with hot iron had been stamped into the backside of the headstock, stating the Logo and writing "A. Di Mauro" (Image 10 left).
    Stempel Label
    Sometimes the Label was also been staped on the backside of the headplate like a kind of normal stamp (Image 11 right below).

    This kind of brandmark was a very unique way of signing their guitars which was solely to find with DiMauros. Unlike on Selmer or Favino-guitars on DIMauro-guitars no Serialnumbers are existent at all.

    DiMauro_1985_Jazz2_03Some guitar-models made around 1950 were also equipped with paper-labels underneath the soundhole glued to the backside of the bottom. The labels were stating for example "Mod. Jazz 2" and the signet "Joseph Di Mauro, Luthier a Paris" (Image 12 left). Some of the older DiMauros also had these kind of paper-labels, but may have "lost" them over the years (or it has been removed for whatever reason).

    Other special features


    DiMauro_1950_ArmauflageSome of the DiMauro-models "Special Chorus DeLuxe" had special "arm-guard" made from white plastic to save the sides where the arm of the player always used to leave scratches on the laquer (Image 13 right). These were taken off later on at some models by the players

    DiMauro_1950_BridgeMany of the later models from around 1950 had installed very modern hight-adjustable bridges (Image 13 left), unlike on many modern Jazzguitars nowdays is standard.

    Joseph DiMauro worked until the sudden end of his carreer in 1993, building instruments. He died in the year 2001 in Paris.

    DiMauro-Guitars, same as Selmer-, Busato and Favino-Guitars, meanwhile have become collectors-items, even if not as famous they usually are not sold at same high prices as equivalents of Selmer-, Busato- or Favino-Guitars of the same years... even if their quality of crafting and true tone doesn´t stand back behind their competitors.

    So a well aged DiMauro in great condition may be a payable and worthwhile alternative to all the other higher priced Gypsyjazz-Guitars...


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  • Features Favino-Guitars (2/3)

    As already done in our article-series about Features of original Selmer-Guitars, Features of original Busato-Guitars and Features of original DiMauro-Guitars, in these article-series we briefly describe the most important features of original Favino-Guitars.

    The Serial Numbers #


    A very important and characteristic feature of Favinos of all years and ages starting around 1960 are the Serialnumbers. All Favino-guitars, alike the original Selmer-guitars, were equipped with continuing serialnumbers which are to find on a paperlabel inside the bodies glued into the bottom of the backside underneath the soundhole. The numbers printed and/or written by hand onto different kind of Labels started with No. 001 (1959) and went until No. 890 (built around 1982/83).

    In the beginning Jacques Favino was using pretty simple made printed Labels with the following insriptions:
    "Jacques FAVINO, Luthier Artisan, 9, Rue Clignancourt, Paris XVIII (Arrondisement), Année xxxx (year) and No. xxx (Serialnumber)" (image 1 left below).

    Favino_1956_Label_02 Fav_1973_No296_Label

    Later on (from about 1969) Jacques Favino changed the Label to a sligthly bigger form with added decorations (image 2, right). The inscription on these later Labels (starting around 1969) stated the following: "Jacques Favino, Luthier Artisan, Paris, No. xxx (Serialnumber, three digits!), Année xxxx (year)". Favino-1991-1050-Label

    Mostly the year and serialnumber on the Labels were filled in by hand (with Indian ink or fountain pen), so that the inscriptions might possibly have become unreadable over the years. In some cases it as well contained the signet of J. Favino and/or the name of the customer it was built for (supposedly if it was a custom made guitar).

    Another important fact is also that Jean-Pierre Favino after he had taken over the business from his father around 1983/84 was still using the same Labels for some years around!
    So between 1984 and 1990 there have been a couple of guitars been made by Jean-Pierre Favino which held the same old Labels than those of his father Jacques Favino - thus beeing mixed up and sometimes sold as original Jacques Favino´s guitars by accident, even if these were made by his son.

    To really distinguish these models from the years in question, one has to closely look at the exact making and Serialnumber, as there has been this transitional-period betwen 1980-1984 when both, father and son, were making guitars together in the workshop in the Rue de Clignancourt.

    With the beginning of 1990 Jean-Pierre Favino changed his Labels and used a new designed and blue decorated Label with the following contents (image 3, top left): "Jean-Pierre Favino, Luthier, 31160 Castelbiague, 61901027, No. xxxx (Serialnumber, now 4-digits!), personal signing and on the right the year of making (written by hand with Inkpen).

    The Tuners (machine heads)


    SB-Mechaniken Favino_1959_roundhole_03From the very beginning Jacques Favino always used the so called SB-Tuners (made by Salvatore Billardi), as already Busato and Selmer did on their guitars.

    These high-class tuners, which still do their duty on many of these old Favinos, were actually made in two different styles: in chromed metalwith additional metal caps and turning knobs made from horn later on also in hard-plastic (see image 12 right) and another variation completely made from chromed metal with additional metal caps (image 11 right/left).

    One distinctive feature of the SB-tunes were the big letters "SB" on the side of the metal-caps, of which he also produced in two different kinds: the older type (aproximately built between 1940 and 1950) with slightly smaller caps (image 12 right, with horn knobs) and a more modern type (aprox. from 1950 to 1985) with some bigger metal-caps and knobs (image 11 left).

    Salvatore Billardi, who was also an italian immigrant, worked from the late 1930ies until the mid 1980ies with all the great makers of Gypsyjazz-Guitars like Selmer, Busato and Favino as a supplier.
    Favino 1991 1050 - 09
    All these ordered the tuners with him, as of their high quality, but ordered their tuners especially handcrafted for them, with different engravings on the outside caps.

    Selmer had a big "S" on the side, Busato his typical "BB" and Favino used the standard-models of Billardi with his own engraving SB on the caps. Salvatore Billardi stopped his business and production when he retired in 1980 - one reason why Jacques Favino could only built his guitars with left over remainders of stock after that.

    Jean-Pierre Favino since 1990 solely uses the newly invented so called "Open Schaller"- Tuners (made by Schaller/Germany) on his guitars which are similar to SBs in quality and precision. Nevertheless do the SBs enter the rarity market today with high prices from around 300-400.- € per set.


    Read more -> Features of original Favino-Guitars (3/3)


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  • Features Favino-Guitars (3/3)

    As already done in our article-series about Features of original Selmer-Guitars, Features of original Busato-Guitars and Features of original DiMauro-Guitars, in these article-series we briefly describe the most important features of original Favino-Guitars.

    The Tailpiece


    Jacques Favino used different types of tailpieces on his guitars. On his older instruments starting from about 1959 until 1980 he mostly used tailpieces from silverplated-brass. (Image 1, left), like to see on the picture the tailpiece of a Favino built in 1964. To the right (image  2, middle) there is the tailiece of a Favino built in 1982. Form around end of 1970 Jacques Favino used a silverplated barss-tailpiece with an inlayed stripe of ebony in the middle, unlike the original Selmer-guitars were equipped with.

    Fav_1964_Tailpiece

    Silver-plated brass-tailpiece
    Favino built in 1964

    1982 Favino tailpiece

    Silver-plated brass-tailpice with
    inlayed ebony, Favino built in 1982

    Favino_1991_1050_-_35

    Carved ebony-tailpiece with
    brass-bracket, Favino built in 1991



    Nevertheless his son Jean-Pierre Favino also used the typical silver-plated brass-tailpiece also on his later built guitars until around end of 1990 (Image 1 left above), which had become something like a trademark for original Favino-guitars.

    It was just about end of the 1990ies when Jean-Pierre Favino began to go his own way in building guitars. Her started to used carved ebony-tailpieces with brackets made out of brass (Image 3 above right).
    Although there were a couple of guitars out of Jean-Pierre´s workshop been made after 1990 still using the old silverplated-brass-tailpieces later on, supposedly on demand by customers or just by nostalgic reasons.


    Period 2: Jean-Pierre Favino

    Changed construction and shapes

    Favino_1991_1050_-_01
    But not only the tailpieces have been changed over time. Did Jean-Pierre Favino still built his guitars according to the exact construction-plans of his father Jacques Favino, looking absolutely close as if they had been made by his famous father (mostly the Model No.10, see also the original Favino-catalog on page 1 of our series), from then on it was a new era coming up. 

    Jean-Pierre Favino started to experiment more and as well as using the older construction-plans of the original Selmer-measurements. Here is an example of a Favino built in (Image 4 right). Favino_1991_1050_-_17
    The sides of the guitars started to be made slightly smaller as well as the body-shape was formed a little smaller as well. (Image 5 left).

    The new Headstock


    There were more and more experiments going on by Jean-Pierre, thus the headstock was widened slightly bigger, changing the measurements over the years. The new headstock now looked bigger in all and from 1990 the initials "JPFavino" were attached in golden writing, variated by brass inlays or engraved laquered writing. Later on the initials were reduced to only "Favino".
    Here are examples of Favino-headstocks from 1991 (Image 6 left below), from 1998 (Image 7 middle) and 2004 (Image 8 right).


    Favino_1991_1050_-_10

    Headstock, Favino built 1991

    favino 1998 head

    Headstock, Favino built 1998

    favino 2004 head

    Headstock, Favino built 2004



    The Necks


    Another big change of the newly developed models by Jean-Pierre Favino after 1990 were the necks. Until then even Jean-Pierre had also always installed the three-piece maple-necks of his father, which had become a real brandmark for original Favino-guitars. From 1990 on Jean-Pierre Favino changed as well the form of the necks in different sizes and widening as well as changing from three-piece maple to two-piece maple-necks with only one(!) stripe of rosewood-inlay. Newly he also used two-piece Indian Rosewood-necks on some of his guitars.

    Summarized meanwhile the since 1990 newly invented two-piece-necks have become another typical characteristic of guitars made from Jean-Pierre Favino (see Image 9 left and 10 middle below). Also from then on he was experimenting more with the neckjoint of the fretboards, also according to old construction-plans of Selmer (see Image 11 below right).
     

    Favino_1991_1050_-_39

    2-piece maple-neck
    Jean-Pierre Favino Bj. 1991

    Fav_1996_Neck

    2-piece Rosewood-neck
    Jean-Pierre Favino Bj. 1998

    Favino_1991_1050

    New neckjoint (Selmerstyle)
    Jean-Pierre Favino Bj. 1991



    The Tuners (machine heads)


    But not only the body-shapes had been changed. Since there very beginning his father Jacques and also Jean-Pierre himself had been using the very reliable  SB-tuners, from 1990 he also changed his tuners to the newly invented Schaller-tuners (Image 20, right). Favino_1991_1050_-_09The so called "Open Schallers" were more "up-to-date" at that time.

    But the real mainproblem and one reason why he finally changed tuners was the availablity of the SBs, as Salavattore Billardi had retired in 1978 finishing out his production. So no more of the original SBs were to organize on the market no more... Until around 1990 Jean-Pierre Favino could use the SBs remained in stock that he had left over from the workshop of his father.

    Nevertheless the new "Open Schallers" are a good substitute according to a similar quality as the SBs. Thats why Jean-Pierre Favino today solely uses "Open Schaller"-tuners on all of his guitar-models.

    Favino_Logo
    Generaly the Favino-Family has always been open-minded in guitarmaking, thus experimenting with lots of different types of instruments: they also built classical guitars (especially in 1960/70ies), electrical Jazz- and Rockguitars, 12-strings and electric basses (1970ies) and even other strange kind of instrument-models (Image 16 below right, Mod. "Tres Rosas" built in) from the Favino-workshops.

    More on the history of the Family Favino also in our articles about "Favino-History" and on the Homepage of J.P. Favino.


    1967er favino classic 01

    Favino Classic,
    built 1964

    1950er favino steelguitar 01

    Favino Steelguitar, built 1950

    1966er 12str 01

    Favino 12-string,


    built 1967 rare acoustic 01

    Favino, Mod.


    TresRosas, built 1998





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  • Features Favino-Guitars(1/3)

    As already done in our article-series about Features of original Selmer-Guitars, Features of original Busato-Guitars and Features of original DiMauro-Guitars, in these article-series we briefly describe the most important features of original Favino-Guitars.

    Time-periods


    Generally one has to distinguish two basic time periods in Favino-Guitars:
    the Gypsyjazz-Models of the father Jacques Favino which were built between 1956 until 1983/84 and the Gypsyjazz-Models of his son Jean-Pierre Favino, built from 1983/84 until today. Additionally there is a short transition-period between 1980 and 1983/84 when both father and son, were building guitars together in the fathers workshop, until Jean-Pierre officially took over the business from his father.

    Here you can see the main differences: two Favinos built 1960 (image 1 left), a D-hole Model from 1980 (image middle), and respectively one model built by Jean-Pierre Favino as of 1996 (image 3 right).

    favinotable Fav_1982_Dhole_849 1996favino_02


    Period 1: Jacques Favino


    Both time periods and instruments generally vary amongst each other. The guitars built from around 1956 by Jacques Favino show slightly bigger bodies than the original Selmer-Guitars. Additionally the have completely other bracings, especially developed by Jacques Favino inside their bodies (see images below).
    All Models were exsitent as O-hole and also as D-hole-Models (see also Features of original Selmer-Guitars), whilst the O-hole models by far are in majority with both father and son.

    The bracings


    In contrast to the orginal Selmer-guitars designed by Mario Macafferri, Jacques Favino built his first acoustic Jazz-Guitars (named Model No. 10) with 5 bracings (image 4 left below), against the normally used 4 bracings of the Selmer-Guitars (image 5 below).

    This results in a completely other oscillation behaviour of the top, which primarily is responsible for the sound of an acoustic guitar.
    Favino 5 Bracing Selmer 4 Bracing
    Nevertheless there was also a kind of transition-period with Selmer-guitars according to bracings when Mario Macafferri had left Selmer in 1939, as the luthiers at Selmer then were experimenting with different variations of the basic-models originally constructed from Macafferri.
    This also explains why there are even different Selmer-Models with different bracings, as there are ones with 4, 5 or even only 3 bracings.

    favino construction planThe kind of special bracings developed and invented by Jacques Favino around early 1950ies for his own guitar-models, are responsable for the "typical  Favino-Sound" which supplies a round, balanced bass, crisp highs and a very assertive mid with a touch of the typical "growl" or "bark". At the right is a copy of the orginal contruction-plan for the old Model10-series (image right).
     
    You can distinguish this typical Favino-sound resulting from his way of making on many records of famous Gypsyjazz-Guitarrists like Tschan-Tschou Vidal, Bireli Lagrene or Hännsch´che Weiss, Moreno Winterstein or Tschavolo Schmitt (and many many other more) which all were typical Favino-players in the beginning. favinoManche

    The Necksfavino 1969 macias


    Commonly Jacques Favino installed three-piece maple-necks with a fretboard made out of ebony on all of his guitar-models (image 6 left). So this is a really typical feature of these guitars, which today is beeing blueprinted by other guitarmakers.
    One of his first series, the model Macias (originally introduced for Jaques Brel), additionally had wonderful inlays of real mother-of-pearl (image 7 right).


    The neckjoint

    fav neckjoint
    The neckjoint of Favino-guitars have been worked out very fine (see image 8 right), so that the higher registers of the guitar are accessed easily even despite of their bigger bodies. This also is a very typical feature in comparison to Gypsyjazz-Guitars and Selmer-copies of other makers, which often have clearly more roughly made neckjoints.

    The Headstock


    favino_010

    One more specialty of old Favino-Guitars (1960 - 1984) made by Jacques Favino are their headplates, which are different in the making compared to original Selmers: smaller at the top, therefore slightly bigger at the bottom (image 9 left). Favino 1991 1050 10

    The headstock of the later made guitarmodels made by Jean-Pierre Favino (starting from early around 1990) instead have been changed away from the original sizes of his fathers guitars to a form a little broader generally (see image 10 right).
    Between the years 1984 and 1990 Jean-Pierre Favino experimented with different forms, so there is a transition-period with different sizes of headstocks going on.
    Since around 1990 Jean-Pierre Favino additionally added his initals at the top of the headstocks of his guitars, stating: "JPFavino". The headstock on the guitars of his father between 1956 and 1983 never showed any initials instead.

    Read more -> Features of original Favino-Guitars (Part 2/3)


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  • Features Selmer-Guitars (1/3)

    Thru the decades the Selmer-Guitars for Swing- and JazzManouche-Guitarrists have become somewhat like the "holy grail" of acoustic Jazz-Guitars. Not only made up by the guitar-genius of Django Reinhardt and his band the "Quintette du Hotclub de France" (short: QHCDF) in which all guitarrists had played these Selmer-Guitars on their way to success making them almost immortal with their bandsound, but also due to hundrets of other famous Gypsyguitarrists who have been (and still are) playing SELMERs later on, these guitars are legendary today.

    In the early years of 1899 to 1932 the Selmer-Company (Paris) was only building Horns, Clarinettes and Saxophones, starting their guitar-production in early 1932 until late 1952 when they finally stopped their guitar production-series. More on that in our article Selmer-History.  selmer orchestre 1932 20121025 1036074088 Selmer/Macafferri von 1932 (D-hole)  

    Nowadays the Selmer-guitars, of which only around 950 of them have been produced in the short period of 20 years between 1932 and 1952, have become really rare and sought after.
    On the actual market they often get sold at prices between 15.000.- to 30.000.- EUR up to "OpenEnd"-prices depending on their age and state. A real pristine looking like "out of the box" SELMER might cost even up to 40-50.000.-EURos as of its rarity.

    Lots of myths and stories are ranking around Selmers but many (Gypsyjazz-)guitarrists don´t know about the real facts of these instruments.

    For that reason we have done intense research and put together all these facts on one place here into our articles. All features of the original SELMER-Guitars (Paris) get listed with images and exact details and features (see also -> The Selmer-/Maccaferri-Guitar).
    So you may inform yourself about the true facts, for example before buying such an expensive instrument,
    or as well just for the fun of it to know more about these fascinating guitars.

    In the further article(s) of this series we focus and briefly describe the details and features of original Selmer-Guitars with exact description and images.

  • Features Selmer-Guitars (2/3)

    In the further article(s) of this series we focus and briefly describe the details and features of original Selmer-Guitars with exact description and images.

    reso1

    The Resonator


    The first of the Maccaferri D-hole-Models "Orchestre" of 1932 - 1934 were equipped with the so called "Resonator" (see image right).

    The crafting of the Resonators (a kind of sound-funnel inside the body, like a kind of Subwoofer that was supposed to amplify the sound of the guitar) was stopped in the production pretty soon by Selmer
    as the results have been marginal and relatively low but the crafting of it extremely difficult and thus expensive.

    The Resonator was built in two versions: one Version with just one, another with two holes in the slightly bent wooden soundbox directly underneath the soundhole. Only the first variation did show any real effect, but by the difficukt craftings to built it there was no comparison for work and price so Macafferri and Selmer finally decided to leave it away in the late 1930ies.

    Selmer von 1939 (O-Hole)But of course there are lots of other features that can tell an expert if a Selmer-Guitar (or any other Gypsyjazz-Guitar) is a real one or not, as we briefly describe it in our article-series "Features of original Favino-Guitars" and "Features of original Busato-Guitars"). It is certain that of course these attibutes may be faked by a good luthier or carpenter as described above, so there is no guarantees - just take care and watch out for the real things...
    Selmer Neckjoint Head

    The Neck


    • the Selmer-Models of all D-hole ("Orchestre") and as well as the O-hole-Series ("Jazz") were without any exception equipped with three-piece-necks, that are joint shortly underneath the headplate (see photo 1, right), as well as fit shortly before the neckjoint (apparently a short space before the body)  (see photo 2).

    This was maybe due to the shortness of wood already in these pre-war times. And it seems that there wasn´t enough wood in the later war-years  around 1939 to 1945 as one-piece wooden pieces to use for to make necks out of it. So there were in many cases different grained wood beeing used to fit the neck out of three shorter pieces (see photo 1). The necks of almost all SELMERs were made out of three-piece walnut-wood with ebony fretboards. In some rare cases also rosewood was used for the fretboards.

    Foto 2: Neckjoint am Body• the necks of the early Selmer-Models were almost retangular (see photo right), to guarantee more stability, as ther ewere no trussrods beeing used inside the necks, like nowdays. Later on from the late 40ies the necks of SELMER-guitars were made little more rounded (D-shaped) to give better playablity to the musicians.
    Foto 3: SB-Mechaniken

    The tuners


    • Selmer-Guitars were only equipped with the so called SB-tuners (SB = Salvatore Billardi), which were especially ordered by Selmer/Macafferri (and later on also by Busato and Favino who wanted these quality-tuners also for their own guitars) and were produced by Billardi by Hand.
    They are identifyable at the charakteristic "S"-Initials (S = for Selmer) caps of the tuners. (see photo 3 left).
    The tuners that have been produced ordered by Busato and Favino for their guitars in the later years at Billardi´s workshop just differ by their engravings on their outside caps (BB for Busato and SB at Favino´s) but not the mechanics itself. 

    There were two different types beeing used at SELMERs, but no other tuners have been used on Selmer-guitars ever. Of course there are some broken tuners beeing replaced on some even old Selmer-guitars as a replacement. So that is just one evidence for an original Selmer but no proff.Foto 4: Kopfplatte Selmer

    The Headplate


    • Another characteristic feature of an original Selmer-Guitar is the size and shape of the head. In comparison to many of the later made Selmerguitar-copies of other luthiers (see Django-Guitarmakers) the headplates of SELMERs are slightly smaller. This distinguishes clearly in many cases from copies (See photo 4 right, headplate). The sound-characteristics of a guitar are definately influenced by that.

    Foto 5: Selmer Tailpiece

    The Tailpiece

    • Here is one more detail that distinguishes real Selmers from Selmer 512 Tailpiecemany other of their copies: the tailpiece. The original tailpieces of real Selmer-Guitars are made out of real brass (sometimes with silver alloying) with an engraved "S" for Selmer and a piece of ebony in the middle (see photos 5 left, 6 right).

    These Tailpieces aren´t to mistake with the cheaper tailpieces that the SAGA Gitane-guitars nowdays are equipped with, even if they also show the engraved "S". The originals are brass, the copies made out of gilded metal plates.
    Today the Miller-company in Switzerland is distributing those kind of higher classed gilded brass tailpieces. So it is almost possible to find some "original looking" tailpiece nowdays and the feature is just one more evidence to take in account when evaluating the features that make up a "real original" Selmer-Guitar...

    (All images remain copyrighted by their respective owners ©2010)

    Read more Details -> Features of original Selmer-Guitars (3/3)


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  • Features Selmer-Guitars (3/3)

    In the further article(s) of this series we focus and briefly describe the details and features of original Selmer-Guitars with exact description and images.
    One of the most important and clearest features to distinguish a real original Selmer-Guitar is (alike original Favino-Guitars) the Serialnumber and the Label.

    Serialnumbers:


    • all(!) Selmer-/Macafferri Guitar-Models have been numbered with continuesly altered serialnumbers from the very beginning in the early 30ies. That means that these guitars are clearly identifiable alongside off their serialnumbers, of which the year they were manufactured can exactly be determined and categorised. 

    The serials are to find inside the body on their labels glued inside to the back underneath the soundhole.

    selmer-863-labelThe numbers on the label (inside the body) started with No. 001 in the year 1931 and endetwith number 950, the last production series in 1952. After that the production was finally canceled.
    Here is an example of a Selmerlabel with serial, the guitar was built in 1951/52 and had the serial no. #863 (see photo 6 right).

    A real Selmer from 1936 cannot have a Serialno. #800 for example, because this number has been produced much later around 1949/50. So the serialnumber is one clear feature to distinguish and determin if a Selmer is original or not.

    Usually the guitars have been lackered inside so the label was strongly glued inside. But of course there are also SELMERs around that have "lost" their labels over the years or of which it has been removed (for whatever reason).

    label selmer 1935Should you ever get an offer for a Selmer-guitar of which the label is missing (and thus the serialno. as well), one needs to check and determin closely all the other described and characteristic features: shape of the headplate, three-piece walnut-neck, Brass-Tailpiece and SB-tuners (with the engraved "S") as of its exact measures (see description below) before safely buying it.

    For that determination our JM-Guitar-Gallery may a good help.  Here we try to build up an extensive archive of old Gypsyjazz-guitars of the Labels Macafferri, Selmer, Busato, Favino, and DiMauro, ordered on their age and serialnumbers to get a most detailed information of as max. features we can offer our readers.

    At the moment we have 1.800+ images of old guitars in our archive which worldwide now is one of the biggest archives reachable on the internet on one place. Especially for Selmer-guitars there is a great book "The History of Selmer Guitars" made by Francois Charle that may help you further as well.

    Measurements:


    • another last and really unique feature to determin the originality of a Selmer-guitar are their measurements. While many of the copies have slightly bigger bodies, the original SELMER-guitars are limitedto the following measures:

    Model Maccaferri (D hole, 65' short scale):

    • Neckjoint at 12th fret
    • Body at the widest point 40 cm
    • Body at the smallest point 25,8 cm
    • Body at cutaway 29 cm
    • Length of the body 46,8 cm
    • Width of the neck at the zero fret 4,8 cm
    • Width of the neck at the body joint (12-th fret) 5,9 cm

    Model Selmer (oval sound hole, 67' long scale):

    • Neckjoint at 14th fret
    • Body at the widest point 40 cm
    • Body at the smallest point 25,8 cm
    • Body at cutaway 29 cm
    • Length of the body 46,8 cm
    • Width of the neck at the zero fret 4,5 cm
    • Width of the neck at the body joint (14-th fret) 5,8 cm

    (Please note that the measurements, especially of the neck can vary amongst Selmers. In the transitional periode (1938-1940) some experiments were going on. So neck dimensions can vary because of this. (in that period they also experiment with the sound braces. I restored a Selmer with 4 sound braces not 5 as usual.) These infos on the measurements have been supplied to us by Leo Eimers (www.eimersguitars.com/), thank you Leo!
    selmer-book
    Well, these are the most important features of original Selmer-/Macafferri-Guitars, even if we surely are aware of the fact that this list definately is NOT complete!

    If these are not enough details for you or you just might want to know more exact facts on these fabulous guitars, you should definately give a try and have a look at the earlier mentioned book of Francois Charle "The History of Selmer Guitars" (255 pages, 75.- EUR + delivery, you may order directly at Francois Charle online).

    This book shows many details of history and lots of images that the guitarexpert Francois Charle had put together into this book. It´s the most detailed one on the market about these great guitars.

    Everyone who thinks about buying such a wonderful and great but also real expensive SELMER should take a close look to all the details, as there are always cheaters and forgers around trying to get a hold on other peoples money. There are ones around that are selling cheap forged guitars as "the real thing" like we describe it in our article-series of Fake Selmer, Fake Busato and Fake Favino.

    Be sure to also read the article about our 7 important tipps for buying guitars.

    (All images remain copyrighted by their respective owners ©2010)


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