1936 Original Jumbo

[rbpicker]

My local 5 Star dealer has one in stock. I stopped in yesterday and played it. It needs to open up of course, but it is like a beast waiting to be uncaged. Really wonderful instrument. The 1 3/4 nut and V-shaped neck felt odd at first, but I think I could get used to it. Almost 6 grand (sell price) on the sticker.

 

RB

[Murph]

Those necks are weird, eh?

[duluthdan]

I like wider necks, or rather, I don't avoid wider necks.

 

I wonder if there are speciaol components in this build, or different steps? Six Grand sounds like a whopping huge margin to me. I wish them luck.

[jedzep]

You mean an attempt to copy an original '36 jumbo, right? That's different than a 1936 original J. Jesus...the terminology is crap, not unlike these overpriced replicas. A prewar Jumbo would cost close to that and have a lifetime of rich vintage tone. The word 'copy' should be included in the description of these models. Grrrrr.

[retrorod]

How do you really feel, jedzep?????

[GotTheSilver]

I know these have been discussed here lately, but what are the specs on these? For $6,000 street price, I would expect it to be Legend-type specs - full hide glue, etc.

[tpbiii]

You mean an attempt to copy an original '36 jumbo, right? That's different than a 1936 original J. Jesus...the terminology is crap, not unlike these overpriced replicas. A prewar Jumbo would cost close to that and have a lifetime of rich vintage tone. The word 'copy' should be included in the description of these models. Grrrrr.

 

Of course, the Jumbo was discontinued in 1936 and replaced with the plainer, but structurally almost identical, Jumbo-35 (Trojan). When we got our 1935 Jumbo -- actually made in 1935 -- I contacted all the appropriate people I knew to see if anyone had seen anything besides three tone bars. I got an almost universal response of "no" except for Larry Wexler who said he knew of one two tone bar example -- I can't remember if he said he had had it or if he simply had a reliable report of one.

 

Ours has had a lot of work done to it -- even some top restoration. One of the reasons we bought it besides the good price was a large number of really well known bluegrass pickers -- Kenny Smith, Tim Stafford, ... -- went ga ga over it. IMO ours is one of the best bluegrass guitars ever, and we have three prewar D-28s, four prewar D-18s, and a 1936 AJ. But we also have a 1936 Trojan -- actually THE 1936 Trojan (960-12), the only one documented by name and number in the shipping ledger. It is exc condition, all original. Both the guitars are powerful and really loud, but the Trojan is too raw a sound to make a good bluegrass rhythm guitar. What seems to have happened is the work done on the Jumbo took just enough off its raw edge to move it into the bluegrass tonal pocket.

 

In my experiece, all of the early (1934-early 1937) mahogany "J" guitars shared that in your face raw personality. The RW stuff -- AJ and RSRG -- not so much. The old ones are too raw to appeal to bluegrass players. So who wants that sound. Well old-time rhythm player might like them, but that genre is certainly not focused on any particular guitar like the bluegrass genre is on the D-28s. I personally think if they really reissued them with their original tonality, I don't think they would have a wide appeal -- I am just guessing here. The modern Gibsons are identified broadly with the milder, warmer tones of the later J-35s, the J-45s and the blended sounds of the SJ-200, Hummingbirds and Doves. I bet they are designed to fit into the broader, milder, and less intense market of today -- very unlike the market of the mid 1930s.

 

Maybe I'll find one to play soon so I can test my theory.

 

Best,

 

-Tom

[Dave in SLC]

Of course, the Jumbo was discontinued in 1936 and replaced with the plainer, but structurally almost identical, Jumbo-35 (Trojan). When we got our 1935 Jumbo -- actually made in 1935 -- I contacted all the appropriate people I knew to see if anyone had seen anything besides three tone bars. I got an almost universal response of "no" except for Larry Wexler who said he knew of one two tone bar example -- I can't remember if he said he had had it or if he simply had a reliable report of one.

 

Ours has had a lot of work done to it -- even some top restoration. One of the reasons we bought it besides the good price was a large number of really well known bluegrass pickers -- Kenny Smith, Tim Stafford, ... -- went ga ga over it. IMO ours is one of the best bluegrass guitars ever, and we have three prewar D-28s, four prewar D-18s, and a 1936 AJ. But we also have a 1936 Trojan -- actually THE 1936 Trojan (960-12), the only one documented by name and number in the shipping ledger. It is exc condition, all original. Both the guitars are powerful and really loud, but the Trojan is too raw a sound to make a good bluegrass rhythm guitar. What seems to have happened is the work done on the Jumbo took just enough off its raw edge to move it into the bluegrass tonal pocket.

 

In my experiece, all of the early (1934-early 1937) mahogany "J" guitars shared that in your face raw personality. The RW stuff -- AJ and RSRG -- not so much. The old ones are too raw to appeal to bluegrass players. So who wants that sound. Well old-time rhythm player might like them, but that genre is certainly not focused on any particular guitar like the bluegrass genre is on the D-28s. I personally think if they really reissued them with their original tonality, I don't think they would have a wide appeal -- I am just guessing here. The modern Gibsons are identified broadly with the milder, warmer tones of the later J-35s, the J-45s and the blended sounds of the SJ-200, Hummingbirds and Doves. I bet they are designed to fit into the broader, milder, and less intense market of today -- very unlike the market of the mid 1930s.

 

Maybe I'll find one to play soon so I can test my theory.

 

Best,

 

-Tom

 

Tom,

 

I have one of these '34 Jumbo reproductions I bought at the Gibson Homecoming last month in Bozeman. I bought it because it reminded me of that great '35 Jumbo your friend David is playing in the videoclip at

! Now all mine needs is, maybe, 78 years of being played in, and a great flatpicker like David!

 

Do you remember much of your discussion on the tonal or playing differences between that '35 Jumbo and the '36 AJ at

? Your friend is playing the same tune - Cascade by David Grier - and it sounds absolutely wonderful on both of those guitars.

 

Thanks for posting the Vimeo clips and comparisons,

 

Dave in SLC

[tpbiii]

Tom,

 

I have one of these '34 Jumbo reproductions I bought at the Gibson Homecoming last month in Bozeman. I bought it because it reminded me of that great '35 Jumbo your friend David is playing in the videoclip at http://vimeo.com/54422642 ! Now all mine needs is, maybe, 78 years of being played in, and a great flatpicker like David!

 

Do you remember much of your discussion on the tonal or playing differences between that '35 Jumbo and the '36 AJ at http://vimeo.com/54419930 ? Your friend is playing the same tune - Cascade by David Grier - and it sounds absolutely wonderful on both of those guitars.

 

Thanks for posting the Vimeo clips and comparisons,

 

Dave in SLC

Hi Dave,

 

I agree that that tonality is a near perfect matched to David's style. He tamed all that edgy power and created something really beautiful. I wish I could do that!

Best,

-Tom

[Rambler]

Interesting that you mention Grier. Those D18s like he sued to play (specially with the straight braces) can approach 'raw.' In fact, Mrs Rambler has a 50s D18 that personifies raw (brings to mind the Earl Scruggs "You are a Flowr" sound). Great guitar, but not for me.

 

I think that raw quality lurks in a hog guitar, unless the builder rounds off the edges.

[Phelonious Ponk]

Are these new OJs supposed to be truly "authentic?" I developed an interest in the originals after I acquired my '03 OJ (which is defintely not authentic, but a great guitar) about 5 years ago and have watched for them on the net since. I know the details probably were not consistent (this is Gibson we're talking about), but I don't think I've seen one with the big, J-45-style sunburst these new ones have, and I don't recall seeing one with a bound fretboard.

 

Of course they're aren't many out there. In five years of watching for them, I've run across pictures of a handful.

 

P