The Time Jumpers guitarist talks about how he fell for a rare Gibson model, his instrument lineup for the group’s new album, and playing in a four-guitar band with Vince Gill, Ranger Doug, and steel giant Paul Franklin.
We’ve all been haunted by the desire for a certain guitar or other magnificent piece of gear. For Nashville 6-string strongman Andy Reiss of Grammy-nominated Western swing band the Time Jumpers, the axe of his dreams is the Gibson Barney Kessel model—an attractive, ergonomic, and classically voiced archtop built between 1961 and 1972 at the company’s original Kalamazoo factory.
Reiss’ magnetic attraction to the big-bodied jazz box began in his adolescence and became a lifelong affair. “I was probably 12 or 13 years old, and I would take the streetcar to downtown San Francisco to Sherman Clay [a legendary music store that served the Bay Area for 142 years before closing in 2013],” Reiss recently recounted backstage at 3rd & Lindsley, the Nashville club where the Time Jumpers perform nearly every Monday night. “You could play the Fenders—the Jaguars and all that stuff, which I thought was great. But they had this big cabinet, and up on top was the Barney Kessel. It was like, ‘There it is! The Holy Grail!’ They wouldn’t let you touch it. It was awesome. I was haunted by it through the years—it was the thing I aspired to. Every time I saw one, I thought, ‘Ooooo … a Barney Kessel. When I make it, I’ll have that guitar.’”
Today, Reiss has two, and they can be heard in full service on the Time Jumpers new album Kid Sister, which is in part a tribute to their late singer Dawn Sears, who died of lung cancer in 2014. In addition to his two Barney Kessels, Reiss played a Gibson Tal Farlow model, a 1959 Gibson ES-335, a ’61 Fender Jazzmaster, and a Burns baritone—all from his own collection—on Kid Sister, which ricochets from swing to ballads to lounge blues to old-school steel-guitar-powered country weepers.
Reiss acquired his first Barney Kessel, a sunburst model, in 1995 on eBay for $1,300. “I just loved the guitar. Just loved it! Recently I found a blonde one, which is on the cover of the new album, and I think it might be the only blonde one. They’re both ’66s, within 15 serial numbers of each other.”
Why such enthusiasm for a relatively obscure Gibson? Besides his childhood fixation, Reiss was also a fan of the model’s namesake: “He was brilliant! Intelligent and funky and soulful. A great blues player.” And then there’s the guitar itself: “It’s a big jazz box, which I love, but it has all the ergonomics of an ES-335. It puts the neck way out, and you have great access to the upper frets. It’s a very friendly guitar. I also have a ’63 Tal Farlow, and it sounds very similar—as all the Gibson jazz guitars do. They all have a 25 1/2" scale, so to a large extent they’re similar sounding. But the Kessel is special to play.”
Andy Reiss’ Gear
GuitarsTwo 1966 Gibson Barney Kessels
1963 Gibson Tal Farlow
1959 Gibson ES-335
1961 Fender Jazzmaster
Burns baritone
1951 D’Angelico New Yorker
1931 Stromberg A2
Amps
Little Walter Andy Reiss signature combo (50 watts)
1950 Gibson GA-20
Effects
Strymon Flint Tremolo & Reverb
EP Booster
Okko Diablo overdrive
T-Rex Replica Delay
Leslie speaker emulator
Mad Professor overdrive
Strings and Picks
La Bella Jazz Flats (.011–.053) on the Kessels
La Bella Roller Wound (.011–.052)
V-Picks heavy
The instrument also helps Reiss stand out onstage in a four-guitar, 10-member band—at least to
fellow players, whose eyes are quickly drawn to
the double-winged model’s distinctive contours and whose ears are lured by the luxe, warm tone. It helps that Reiss is brilliant at heating up the basic bones of the band’s music with chord solos, cool chord substitutions, and melodies that would
sound as natural on a Charlie Christian album as they do in the Time Jumpers’ charged interpretations of Western swing chestnuts like “San Antonio Rose” and Wynonie Harris' “Don’t Roll Those Bloodshot Eyes at Me,” done the way Bob Wills might have tackled it.
And the Time Jumpers’ other guitarists? They’re
all stellar pickers: Ranger Doug from Riders in the Sky, steel great Paul Franklin, and country hit-maker Vince Gill. “We each have pretty well defined styles,” Reiss observes. “Ranger Doug is strictly in [swinging jazzman] Freddie Green’s world. He’s the acoustic rhythm guitarist and that’s what he loves to do. Vince is an astonishing player—a great country player, a great blues player. And I stay on the jazz side of things and maybe the old-school country side, more than he does. Vince is kind of a Tele guy, and I try to be more of a Grady Martin-style guy. And, of course, Paul Franklin is the steel player.” Martin, by the way, was part of the legendary Nashville A-Team of session players from the ’50s through the ’70s, and Franklin is an innovator on his instrument who has appeared on well over 500 albums, from Mark Knopfler to Barbara Mandrell to Megadeth.
Before moving to Nashville in 1980, Reiss played a wide variety of styles. “I started out listening to the Ventures, like everybody else my age,” he says. “And then my brother brought home a B.B. King record and it pretty much changed my world. I was a real blues nerd for a few years, and B.B. King, Albert King, and Buddy Guy were my lights. I was growing up in San Francisco in the ’60s and we also had the Grateful Dead, the Airplane, Jimi Hendrix … we had everything going on around us. Big Brother, Quicksilver. But I wasn’t so much into that scene. I went from the blues nerd thing to listening to a lot of country on the radio. At first I thought it was humorous, and then I fell in love with it. And then I started listening to a lot of jazz. I got into Charlie Christian and followed the jazz route simultaneously with the country route. There are a lot of us who’ve walked both sides of that street.”
Andy Reiss plays his first 1966 Gibson Barney Kessel guitar, acquired in 1995 via eBay, at the Nashville Jazz Workshop. “I don’t think I’ve changed the strings in 20 years,” he notes. Photo by Ron Wade
Reiss says he moved to Nashville with the goal of being “the perfect session guy. I wasn’t quite sure what that entailed, but I was really lucky. I got to hang out with a producer named Pete Drake and see the A-Team work, so I got to learn. Pete Drake was wonderful. He was a great steel player and he had what he called the Drake School of Music, where you’d hang out and he’d drop pearls before us swine. I picked up a lot of wisdom.
“I never really became an A-Team session player,” Reiss continues, “but I’ve been a C-Team session player for 30 years, and I’ve been on hundreds, if not thousands, of records, so I can’t complain.”
YouTube It
Andy Reiss and his sunburst 1966 Barney Kessel, his first, take the lead in this blues jam filmed at the Nashville Jazz Workshop in 2013. The performance is full of Reiss’ gorgeous melodies, trills, comping, and solos, which, in this example, reflect the style of his guitar’s namesake.
Besides his gig with the Time Jumpers, Reiss has his own guitar-piano-drums jazz trio called Bad Rhythm, and is in traditional country singer Mandy Barnett’s band. He’s also a member of the Nashville Jazz Workshop, which featured Reiss in a tribute to Charlie Christian earlier this year. But the Time Jumpers hold a special place in his heart.
“One of the fun things about playing Western swing,” he imparts, “is that the songs are just simple three- and four-chord progressions, but you can superimpose all kinds of other stuff on them. I do a lot of rhythm guitar playing in the style of another one of my influences, [former Bob Wills guitarist] Eldon Shamblin, and he superimposed chords all over the place. That’s always a lot of fun.”
A live editor and browser for customizing Tone Models and presets.
IK Multimedia is pleased to release the TONEX Editor, a free update for TONEX Pedal and TONEX ONE users, available today through the IK Product Manager. This standalone application organizes the hardware library and enables real-time edits to Tone Models and presets with a connected TONEX pedal.
You can access your complete TONEX library, including Tone Models, presets and ToneNET, quickly load favorites to audition, and save to a designated hardware slot on IK hardware pedals. This easy-to-use application simplifies workflow, providing a streamlined experience for preparing TONEX pedals for the stage.
Fine-tune and organize your pedal presets in real time for playing live. Fully compatible with all your previous TONEX library settings and presets. Complete control over all pedal preset parameters, including Global setups. Access all Tone Models/IRs in the hardware memory, computer library, and ToneNET Export/Import entire libraries at once to back up and prepare for gigs Redesigned GUI with adaptive resize saves time and screen space Instantly audition any computer Tone Model or preset through the pedal.
Studio to Stage
Edit any onboard Tone Model or preset while hearing changes instantly through the pedal. Save new settings directly to the pedal, including global setup and performance modes (TONEX ONE), making it easy to fine-tune and customize your sound. The updated editor features a new floating window design for better screen organization and seamless browsing of Tone Models, amps, cabs, custom IRs and VIR. You can directly access Tone Models and IRs stored in the hardware memory and computer library, streamlining workflow.
A straightforward drop-down menu provides quick access to hardware-stored Tone Models conveniently sorted by type and character. Additionally, the editor offers complete control over all key parameters, including FX, Tone Model Amps, Tone Model Cabs/IR/VIR, and tempo and global setup options, delivering comprehensive, real-time control over all settings.
A Seamless Ecosystem of Tones
TONEX Editor automatically syncs with the entire TONEX user library within the Librarian tab. It provides quick access to all Tone Models, presets and ToneNET, with advanced filtering and folder organization for easy navigation. At the same time, a dedicated auto-load button lets you preview any Tone Model or preset in a designated hardware slot before committing changes.This streamlined workflow ensures quick edits, precise adjustments and the ultimate flexibility in sculpting your tone.
Get Started Today
TONEX Editor is included with TONEX 1.9.0, which was released today. Download or update the TONEX Mac/PC software from the IK Product Manager to install it. Then, launch TONEX Editor from your applications folder or Explorer.
For more information and videos about TONEX Editor, TONEX Pedal, TONEX ONE, and TONEX Cab, visit:
www.ikmultimedia.com/tonexeditor
Two Iconic Titans of Rock & Metal Join Forces for a Can’t-Miss North American Trek
Tickets Available Starting Wednesday, April 16 with Artist Presales
General On Sale Begins Friday, April 18 at 10AM Local on LiveNation.com
This fall, shock rock legend Alice Cooper and heavy metal trailblazers Judas Priest will share the stage for an epic co-headlining tour across North America. Produced by Live Nation, the 22-city run kicks off September 16 at Mississippi Coast Coliseum in Biloxi, MS, and stops in Toronto, Phoenix, Los Angeles, and more before wrapping October 26 at The Cynthia Woods Mitchell Pavilion in The Woodlands, TX.
Coming off the second leg of their Invincible Shield Tour and the release of their celebrated 19th studio album, Judas Priest remains a dominant force in metal. Meanwhile, Alice Cooper, the godfather of theatrical rock, wraps up his "Too Close For Comfort" tour this summer, promoting his most recent "Road" album, and will have an as-yet-unnamed all-new show for this tour. Corrosion of Conformity will join as support on select dates.
Tickets will be available starting Wednesday, April 16 at 10AM local time with Artist Presales. Additional presales will run throughout the week ahead of the general onsale beginning Friday, April 18 at 10AM local time at LiveNation.comTOUR DATES:
Tue Sep 16 – Biloxi, MS – Mississippi Coast Coliseum
Thu Sep 18 – Alpharetta, GA – Ameris Bank Amphitheatre*
Sat Sep 20 – Charlotte, NC – PNC Music Pavilion
Sun Sep 21 – Franklin, TN – FirstBank Amphitheater
Wed Sep 24 – Virginia Beach, VA – Veterans United Home Loans Amphitheater
Fri Sep 26 – Holmdel, NJ – PNC Bank Arts Center
Sat Sep 27 – Saratoga Springs, NY – Broadview Stage at SPAC
Mon Sep 29 – Toronto, ON – Budweiser Stage
Wed Oct 01 – Burgettstown, PA – The Pavilion at Star Lake
Thu Oct 02 – Clarkston, MI – Pine Knob Music Theatre
Sat Oct 04 – Cincinnati, OH – Riverbend Music Center
Sun Oct 05 – Tinley Park, IL – Credit Union 1 Amphitheatre
Fri Oct 10 – Colorado Springs, CO – Broadmoor World Arena
Sun Oct 12 – Salt Lake City, UT – Utah First Credit Union Amphitheatre
Tue Oct 14 – Mountain View, CA – Shoreline Amphitheatre
Wed Oct 15 – Wheatland, CA – Toyota Amphitheatre
Sat Oct 18 – Chula Vista, CA – North Island Credit Union Amphitheatre
Sun Oct 19 – Los Angeles, CA – Kia Forum
Wed Oct 22 – Phoenix, AZ – Talking Stick Resort Amphitheatre
Thu Oct 23 – Albuquerque, NM – Isleta Amphitheater
Sat Oct 25 – Austin, TX – Germania Insurance Amphitheater
Sun Oct 26 – Houston, TX – The Cynthia Woods Mitchell Pavilion
*Without support from Corrosion of Conformity
MT 15 and Archon 50 Classic amplifiers offer fresh tones in release alongside a doubled-in-size Archon cabinet
PRS Guitars today released the updated MT 15 and the new Archon Classic amplifiers, along with a larger Archon speaker cabinet. The 15-watt, two-channel Mark Tremonti signature amp MT 15 now features a lead channel overdrive control. An addition to the Archon series, not a replacement, the 50-watt Classic offers a fresh voice by producing retro rock “classic” tones reminiscent of sound permeating the radio four and five decades ago. Now twice the size of the first Archon cabinet, the Archon 4x12 boasts four Celestion V-Type speakers.
MT 15 Amplifier Head
Balancing aggression and articulation, this 15-watt amp supplies both heavy rhythms and clear lead tones. The MT 15 revision builds off the design of the MT 100, bringing the voice of the 100’s overdrive channel into its smaller-format sibling. Updating the model, the lead channel also features a push/pull overdrive control that removes two gain stages to produce vintage, crunchier “mid gain” tones. The clean channel still features a push/pull boost control that adds a touch of overdrive crunch. A half-power switch takes the MT to 7 watts.
“Seven years ago, we released my signature MT 15 amplifier, a compact powerhouse that quickly became a go-to for players seeking both pristine cleans and crushing high-gain tones. In 2023, we took things even further with the MT 100, delivering a full-scale amplifier that carried my signature sound to the next level. That inspired us to find a way to fit the 100's third channel into the 15's lunchbox size,” said Mark Tremonti.
“Today, I’m beyond excited to introduce the next evolution of the MT15, now featuring a push/pull overdrive control on the Lead channel and a half-power switch, giving players even more tonal flexibility to shape their sound with a compact amp. Can’t wait for you all to plug in and experience it!”
Archon Classic Amplifier Head
With a refined gain structure from the original Archon, the Archon Classic’s lead channel offers a wider range of tones colored with gain, especially in the midrange. The clean channel goes from pristine all the way to the edge of breakup. This additional Archon version was developed to be a go-to tool for playing classic rock or pushing the envelope into modern territory. The Archon Classic still features the original’s bright switch, presence and depth controls. PRS continues to stock the Archon in retailers worldwide.
“The Archon Classic is not a re-issue of the original Archon, but a newly voiced circuit with the lead channel excelling in '70s and '80s rock tones and a hotter clean channel able to go into breakup. This is the answer for those wanting an Archon with a hotrod vintage lead channel gain structure without changing preamp tube types, and a juiced- up clean channel without having to use a boost pedal, all wrapped up in a retro-inspired cabinet design,” said PRS Amp Designer Doug Sewell.
Archon 4x12 Cabinet
As in the Archon 1x12 and 2x12, the mega-sized PRS Archon 4x12 speaker cabinet features Celestion V-Type speakers and a closed-back design, delivering power, punch, and tight low end. Also like its smaller brethren, the 4x12 is wrapped in durable black vinyl and adorned with a British-style black knitted-weave grill cloth. The Archon 4x12 is only the second four-speaker cabinet in the PRS lineup, next to the HDRX 4x12.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40 th Anniversary limited-edition guitars throughout the year. For all of the latest news, click www.prsguitars.com/40 and follow @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.
For two decades, Clapton's Choice Signature Strings have delivered the legendary tone Eric Clapton relies on every time he picks up an acoustic guitar. To celebrate this milestone, Martin Guitar is introducing limited-edition 20th anniversary packaging for these fan-favorite strings--available now through March 2026.
Every limited-edition pack also gives players a chance to win a Martin 000-EC 30th Anniversary guitar--a beautifully crafted instrument with a retail value of $4,999, inspired by the Martin guitars Eric played during his legendary MTV Unplugged performance. The guitar will be awarded to one lucky winner who finds a special ticket inside a pack of strings.
Fans can also enter a second-chance giveaway online for more opportunities to win exclusive prizes, including a Martin guitar strap, poster, collectible lanyard with three custom patches, or even a year's supply of strings.This contest is open to U.S. residents only and ends March 31, 2026. No purchase necessary.
Enter now and learn more at martinguitar.com/eric-clapton-giveaway.
The anniversary release also coincides with the upcoming arrival of Unplugged: Enhanced Edition on vinyl and CD, available May 9. The iconic installment of the MTV Unplugged series--and the greatest-selling live album of all time--returns over 30 years later in an all-new extended, remixed, and remastered version. Featuring never-before-heard commentary from Eric recorded just before the original 1992 performance, the release offers fresh insight into the inspiration behind the songs and includes tracks not featured in the original MTV airing.
Crafted from 92/8 phosphor bronze, Clapton’s Choice Signature Strings are known for their warm, rich tone, smooth feel, and long-lasting performance. They're the same strings Eric uses in the studio and on stage--including during his current eight-night residency at the Nippon Budokan in Tokyo--and he calls them "the sound that I demand."
Whether you're chasing Eric's iconic tone or simply looking for strings that deliver great sound and playability, now is the perfect time to pick up a pack--available in a music store near you or online at
martinguitar.com--and celebrate two decades of signature sound.