 |
The Zaffiro (which means sapphire) is made in the United States by a small-shop company called Jarrett in Westport Connecticut, whose motto is “Redefining the American custom shop instrument one hand-built guitar at a time…”. The slogan alone makes you want to stop and at least take a look, right? Even better, the company sells direct to the consumer in order to keep their prices as low as possible. In today’s economy, you can’t really ask for anything better! And it doesn’t seem to have affected their business at all. Orders have been steady, and they seem to make some pretty cool guitars, so that’s why we decided to take a look. So let’s do that.
The Zaffiro looks sort of like a fatter Les Paul, and as with any guitar, you either like the looks or you don’t. Personally, I think it looks great. The Zaffiro has a mahogany body with a nicely figured maple cap and a neck crafted from mahogany. The fingerboard is topped with macassar ebony then bound with maple and given a 12" radius. The width of the nut is 1-11/16". Unlike Gibson, however, Jarrett uses a 25.5" scale length, and the body is larger than a Les Paul. To me, this guitar just feels more comfortable to hold on to. And even though it may have a bit more chunk than a Les Paul, the body is chambered and weighs in at 8.8 lbs., which isn’t too bad, and may even be lighter than most. The top is unbound, and on this review model the quilt figure is quite striking. Overall, the finish work is good, as is the fretwork. Our review model came with pickups custom made for Jarrett by Seymour Duncan, although you can order it with a set of Bartolini pickups as well. Other features on the Jarrett Zaffiro XJ include a GraphTech Tusq nut, and top-of-the-line Gotoh 510 Delta tuners, which for my money are the best damn tuners on the market today. It also comes in a TKL hardshell case, which is nice!
Jarrett offers the Zaffiro in several configurations. Our sample is outfitted with a Pigtail aluminum bridge, but you can also get it with a wooden tailpiece for more of a jazz-style guitar look. And, if you want something more, Jarrett does custom work as well, and will build out your Zaffiro (or any of their other models) with your choice of tonewoods, scale length, finish, neck, etc.
Let’s Pick!
I’ll just start off by telling you that I like this guitar. I like its looks, and though the neck shape isn’t quite what I would pick, it just flat-out feels good. Although our sample isn’t the “jazz” model, it still feels like a jazz guitar. The neck is somewhat wide-ish and fairly thin, but not shredder thin. The ebony fingerboard is bound and the finish work on the frets is great, as you might expect from someone that builds them “one guitar at a time.” The frets are not super jumbos, and are in fact fairly low profile which can make bending a bit of a problem for some. But for straight head jazzin’, this guitar is simply the real deal. Low—and I mean loooooooow and comfy—action that feels like a guitar set at a way higher price point. Really, I can’t say enough about the great playability of this guitar except: excellent! Did I mention that the quilted maple top makes me drool?
Tone-wise, I think this axe could fit in almost any musical situation. Even though the body is chambered, the Zaffiro has nice sustain. The tone from the neck pickup is warm and clear, and the bridge pickup delivers plenty of bite. Pickups are, of course, very much a matter of personal taste, and the glory is that if you don’t like them you can just change them. Jarrett offers several different kinds including Duncans, Gibsons and Bartolinis, and are open to custom choices. So whatever your preference for pickups, just tell ‘em!
The only issue I found was that the good-looking wooden pickup rings were not well fitted to the top and I could see a gap between the ring and the top. They just didn’t want to lay flat on the top. I contacted Jarrett about this and I was told that they rushed to get the guitar ready for review and the wrong rings were used. OK, I can buy that. They said they would, of course, make it right for a customer, and I can buy that, too. So, it’s not really a big deal, but I always want to tell the whole story.
I also want to mention the body shape. I have never been comfortable with Les Pauls. I think they look very nice, but I can never get comfortable with them. While the Jarrett does have the look and overall vibe of a Les Paul, it just works a lot better for me. Because it is wider, it sits in your lap better and seems … well, just more correct in terms of how deep the body is compared to how wide it is. The fact that it’s chambered means it is a bit lighter to hold, and it still sustains great. The body width also feels more comfortable on my right arm as it hangs over the body. The peghead may seem a bit unusual to some, but to me it looks pretty classic, in an art deco sort of way, and I like it. I showed the Zaffiro to some friends and got mixed reactions. For some, the peghead can make or break the deal and that has always amazed me. If a guitar plays and sounds great, why would you worry about how the peghead looks? To each his own, right?
All this got me asking myself, “What I would do differently if I were to order one?” Hey, you don’t end up reviewing guitars unless you can envision yourself owning every guitar that goes by, right? To answer the question, I would have a slightly narrower neck, but with a thicker profile like my trusty ES-330. I think I could also go for some way cool P-90 pickups, and maybe jumbo frets for sure. I might go for a sort of Gretsch orange color as the finish. Actually, I lie awake at night thinking these sorts of thoughts … do I need help? What would you pick for options?
The Final Mojo
Jarrett is doing the direct sales thing à la Carvin, and they are making a great product at a very reasonable price. These are made-in-the-USA guitars with a one-year parts and labor warranty, and they even give you seven days so you can make sure you like it. Jarrett also seems very open to making the customer happy, which is not only good but necessary in direct sales. As we all know too well, one unhappy customer can mean a lot of lost sales, thanks to the internet. Jarrett can do custom work that includes six body styles and you get to pick the rest. Style, tone, playability and even a nice case—what more do you want? So considering the price, the custom features, quality and just that it is a kick ass guitar, I would recommend it for sure. Ratings-wise, I wound give this guitar a 5, knock off a half point for the pickup rings, but add a half point for the quality-to-price ratio.
Buy if...
you want a high quality American-made guitar at an import price.
Skip if...
I can’t think of a reason. Perhaps if you want a body shaped like a croissant?
Rating...
MSRP $1495 - Jarrett Guitars - jarrettguitars.com |
Lehle P-Split Iii Signal Splitter
- Stereo split, summing, double DI box and problem solver
- Hum-free and lossless splitting and isolating
- Two high-impedance LEHLE TRANSFORMER HZ
- Phase and ground switch per channel
- Suitable for unbalanced or balanced signals
- Passive – doesn’t need power
The LEHLE P-SPLIT STEREO combines passive intelligent splitting with the highest possible signal fidelity in a double pack.
The classic solution for splitting, eliminating hum, balancing and reamplification in recording applications, now appears in a doubled version and this time adds the passive summing of signals.
Two LEHLE TRANSFORMER HZ are working at the heart of the LEHLE P-SPLIT STEREO, galvanically isolating the particular ISO outputs from each other, eliminating any possibility of ground loops and hum.
Building on its brand legacy of innovation and creating many of the world’s finest guitars, the TAG3C TransAcoustic guitar from Yamaha offers an unmatched experience in sound, versatility, and playability to spark creative expression – making it the ideal instrument for the modern guitarist. The guitar features a solid Sitka spruce top and solid mahogany back and sides, available in natural(TAG3 C NT) or sand burst finish (TAG3 C SDB), and includes a convenient magnetic charging port to enhance its functionality and ease of use.
“TAG3 C is the ultimate tool for players looking to push themselves artistically. The ability to dial in custom reverb, delay, and chorus settings without needing any extra equipment is a game changer for creative workflows, and the intuitive looper and Bluetooth audio functions make it easier than ever to write, practice, and perform,” says Brandon Soriano, marketing manager, Yamaha Guitars.“Even with TransAcoustic technology turned off, TAG3 C is a fantastic acoustic instrument built with all solid wood and high-quality craftsmanship. TAG3 C is a no-brainer for the modern guitarist!”
TAG3 C is equipped with powerful built-in tech and effects including but not limited to loop capability with touch sensitivity, a rechargeable battery, Bluetooth capability, new and improved user interface, controls, and indicators. Guitarists can also access the TAG Remote mobile designed for enhanced control and optimization.
TAG3 C Highlights At-a-Glance
- Built-in effects: chorus, delay and reverb
- Built-in looper• Bluetooth connectivity
- On-board tuner
- Solid Sitka spruce top
- Solid mahogany back and sides
- Dreadnought-style cutaway with ebony fingerboard
- Available in natural or sand burst finish
- Superior acoustic sound quality
TAG3 C | Yamaha TransAcoustic Guitars - YouTube
For the first time in the band’s history, the Dawes lineup for Oh Brother consisted of just Griffin and Taylor Goldsmith (left and right).
Goldsmith’s lyrics spoke to me the loudest, with lines like “Well, you can judge the whole world on the sparkle that you think it lacks / Yes, you can stare into the abyss, but it’s starin’ right back” (a casual Nietzsche paraphrase); and “Oh, the snowfall this time of year / It’s not what Birmingham is used to / I get the feeling that I brought it here / And now I’m taking it away.” The way his words painted a portrait of the sincere, sentimental man behind them, along with his cozy, unassuming guitar work and the band’s four-part harmonies, had me hooked.
Nothing Is Wrong and Stories Don’t End came next, and I happily gobbled up more folksy fodder in tracks like “If I Wanted,” “Most People,” and “From a Window Seat.” But 2015’s All Your Favorite Bands, which debuted at No. 1 on the Billboard Folk Albumschart, didn’t land with me, and by the time 2016’s We’re All Gonna Die was released, it was clear that Goldsmith had shifted thematically in his writing. A friend drew a thoughtful Warren Zevon comparison to the single, “When the Tequila Runs Out”—a commentary on vapid, conceited, American-socialite party culture—but it still didn’t really do it for me. I fell off the Dawes train a bit, and became somewhat oblivious to their three full-lengths that followed.
Oh Brotheris Goldsmith’s latest addition to the Dawes songbook, and I’m grateful to say that it’s brought me back. After having done some catching up, I’d posit that it’s the second work in the third act, or fall season, of his songwriting—where 2022’s Misadventures of Doomscrollercracked open the door, Oh Brother swings it wide. And it doesn’t have much more than Dawes’ meat and potatoes, per se, in common with acts one or two. Some moodiness has stayed—as well as societal disgruntlement and the arrangement elements that first had me intoxicated. But then there’s the 7/4 section in the middle of “Front Row Seat”; the gently unwinding, quiet, intimate jazz-club feel of “Surprise!”; the experimentally percussive, soft-spoken “Enough Already”; and the unexpected, dare I say, Danny Elfman-esque harmonic twists and turns in the closing track, “Hilarity Ensues.”
The main engine behind Dawes, the Goldsmith brothers are both native “Angelinos,” having been born and raised in the L.A. area. Taylor is still proud to call the city his home.
Photo by Jon Chu
“I have this working hypothesis that who you are as a songwriter through the years is pretty close to who you are in a dinner conversation,” Goldsmith tells me in an interview, as I ask him about that thematic shift. “When I was 23, if I was invited to dinner with grownups [laughs], or just friends or whatever, and they say, ‘How you doin’, Taylor?’ I probably wouldn’t think twice to be like, ‘I’m not that good. There’s this girl, and … I don’t know where things are at—can I share this with you? Is that okay?’ I would just go in in a way that’s fairly indiscreet! And I’m grateful to that version of me, especially as a writer, because that’s what I wanted to hear, so that’s what I was making at the time.
“But then as I got older, it became, ‘Oh, maybe that’s not an appropriate way to answer the question of how I’m doing.’ Or, ‘Maybe I’ve spent enough years thinking about me! What does it feel like to turn the lens around?’” he continues, naming Elvis Costello and Paul Simon as inspirations along the way through that self-evolution. “Also, trying to be mindful of—I had strengths then that I don’t have now, but I have strengths now that I didn’t have then. And now it’s time to celebrate those. Even in just a physical way, like hearing Frank Zappa talking about how his agility as a guitar player was waning as he got older. It’s like, that just means that you showcase different aspects of your skills.
“I am a changing person. It would be weird if I was still writing the same way I was when I was 23. There would probably be some weird implications there as to who I’d be becoming as a human [laughs].”
Taylor Goldsmith considers Oh Brother, the ninth full-length in Dawes’ catalog, to be the beginning of a new phase of Dawes, containing some of his most unfiltered, unedited songwriting.
Since its inception, the engine behind Dawes has been the brothers Goldsmith, with Taylor on guitar and vocals and Griffin on drums and sometimes vocal harmonies. But they’ve always had consistent backup. For the first several years, that was Wylie Gelber on bass and Tay Strathairn on keyboards. On We’re All Gonna Die, Lee Pardini replaced Strathairn and has been with the band since. Oh Brother, however, marks the departure of Gelber and Pardini.
“We were like, ‘Wow, this is an intense time; this is a vulnerable time,’” remarks Goldsmith, who says that their parting was supportive and loving, but still rocked him and Griffin. “You get a glimpse of your vulnerability in a way that you haven’t felt in a long time when things are just up and running. For a second there, we’re like, ‘We’re getting a little rattled—how do we survive this?’”
They decided to pair up with producer Mike Viola, a close family friend, who has also worked with Mandy Moore—Taylor’s spouse—along with Panic! At the Disco, Andrew Bird, and Jenny Lewis. “[We knew that] he understands all of the parameters of that raw state. And, you know, I always show Mike my songs, so he was aware of what we had cookin’,” says Goldsmith.
Griffin stayed behind the kit, but Taylor took over on bass and keys, the latter of which he has more experience with than he’s displayed on past releases. “We’ve made records where it’s very tempting to appeal to your strengths, where it’s like, ‘Oh, I know how to do this, I’m just gonna nail it,’” he says. “Then there’s records that we make where we really push ourselves into territories where we aren’t comfortable. That contributed to [Misadventures of Doomscroller] feeling like a living, breathing thing—very reactive, very urgent, very aware. We were paying very close attention. And I would say the same goes for this.”
That new terrain, says Goldsmith, “forced us to react to each other and react to the music in new ways, and all of a sudden, we’re exploring new corners of what we do. I’m really excited in that sense, because it’s like this is the first album of a new phase.”
“That forced us to react to each other and react to the music in new ways, and all of a sudden, we’re exploring new corners of what we do.”
In proper folk (or even folk-rock) tradition, the music of Dawes isn’t exactly riddled with guitar solos, but that’s not to say that Goldsmith doesn’t show off his chops when the timing is right. Just listen to the languid, fluent lick on “Surprise!”, the shamelessly prog-inspired riff in the bridge of “Front Row Seat,” and the tactful, articulate line that threads through “Enough Already.” Goldsmith has a strong, individual sense of phrasing, where his improvised melodies can be just as biting as his catalog’s occasional lyrical jabs at presumably toxic ex-girlfriends, and just as melancholy as his self-reflective metaphors, all the while without drawing too much attention to himself over the song.
Of course, most of our conversation revolves around songwriting, as that’s the craft that’s the truest and closest to his identity. “There’s an openness, a goofiness—I even struggle to say it now, but—an earnestness that goes along with who I am, not only as a writer but as a person,” Goldsmith elaborates. “And I think it’s important that those two things reflect one another. ’Cause when you meet someone and they don’t, I get a little bit weirded out, like, ‘What have I been listening to? Are you lying to me?’” he says with a smile.
Taylor Goldsmith's Gear
Pictured here performing live in 2014, Taylor Goldsmith has been the primary songwriter for all of Dawes' records, beginning with 2009’s North Hills.
Photo by Tim Bugbee/Tinnitus Photography
Guitars
- Fender Telecaster
- Gibson ES-345
- Radocaster (made by Wylie Gelber)
Amps
- ’64 Fender Deluxe
- Matchless Laurel Canyon
Effects
- 29 Pedals EUNA
- Jackson Audio Bloom
- Ibanez Tube Screamer with Keeley mod
- Vintage Boss Chorus
- Vintage Boss VB-2 Vibrato
- Strymon Flint
- Strymon El Capistan
Strings
- Ernie Ball .010s
In Goldsmith’s songwriting process, he explains that he’s learned to lean away from the inclination towards perfectionism. Paraphrasing something he heard Father John Misty share about Leonard Cohen, he says, “People think you’re cultivating these songs, or, ‘I wouldn’t deign to write something that’s beneath me,’ but the reality is, ‘I’m a rat, and I’ll take whatever I can possibly get, and then I’ll just try to get the best of it.’
“Ever since Misadventures of Doomscroller,” he adds, “I’ve enjoyed this quality of, rather than try to be a minimalist, I want to be a maximalist. I want to see how much a song can handle.” For the songs on Oh Brother, that meant that he decided to continue adding “more observations within the universe” of “Surprise!”, ultimately writing six verses. A similar approach to “King of the Never-Wills,” a ballad about a character suffering from alcoholism, resulted in four verses.
“The economy of songwriting that we’re all taught would buck that,” says Goldsmith. “It would insist that I only keep the very best and shed something that isn’t as good. But I’m not going to think economically. I’m not going to think, ‘Is this self-indulgent?’
Goldsmith’s songwriting has shifted thematically over the years, from more personal, introspective expression to more social commentary and, at times, even satire, in songs like We’re All Gonna Die’s “When the Tequila Runs Out.”
Photo by Mike White
“I don’t abide that term being applied to music. Because if there’s a concern about self-indulgence, then you’d have to dismiss all of jazz. All of it. You’d have to dismiss so many of my most favorite songs. Because in a weird way, I feel like that’s the whole point—self-indulgence. And then obviously relating to someone else, to another human being.” (He elaborates that, if Bob Dylan had trimmed back any of the verses on “Desolation Row,” it would have deprived him of the unique experience it creates for him when he listens to it.)
One of the joys of speaking with Goldsmith is just listening to his thought processes. When I ask him a question, he seems compelled to share every backstory to every detail that’s going through his head, in an effort to both do his insights justice and to generously provide me with the most complete answer. That makes him a bit verbose, but not in a bad way, because he never rambles. There is an endpoint to his thoughts. When he’s done, however, it takes me a second to realize that it’s then my turn to speak.
To his point on artistic self-indulgence, I offer that there’s no need for artists to feel “icky” about self-promotion—that to promote your art is to celebrate it, and to create a shared experience with your audience.
“I hear what you’re saying loud and clear; I couldn’t agree more,” Goldsmith replies. “But I also try to be mindful of this when I’m writing, like if I’m going to drag you through the mud of, ‘She left today, she’s not coming back, I’m a piece of shit, what’s wrong with me, the end’.... That might be relatable, that might evoke a response, but I don’t know if that’s necessarily helpful … other than dragging someone else through the shit with me.
“In a weird way, I feel like that’s the whole point—self-indulgence. And then obviously relating to someone else, to another human being.”
“So, if I’m going to share, I want there to be something to offer, something that feels like: ‘Here’s a path that’s helped me through this, or here’s an observation that has changed how I see this particular experience.’ It’s so hard to delineate between the two, but I feel like there is a difference.”
Naming the opening track “Mister Los Angeles,” “King of the Never-Wills,” and even the title track to his 2015 chart-topper, “All Your Favorite Bands,” he remarks, “I wouldn’t call these songs ‘cool.’ Like, when I hear what cool music is, I wouldn’t put those songs next to them [laughs]. But maybe this record was my strongest dose of just letting me be me, and recognizing what that essence is rather than trying to force out certain aspects of who I am, and force in certain aspects of what I’m not. I think a big part of writing these songs was just self-acceptance,” he concludes, laughing, “and just a whole lot of fishing.”
YouTube It
Led by Goldsmith, Dawes infuses more rock power into their folk sound live at the Los Angeles Ace Hotel in 2023.