
Exceptional playability and scores of sounds make this much more than a simple electric/acoustic hybrid.
Super-sweet playability and superb setup. Wide range of available tones—including convincing acoustic tones.
Best-looking Acoustasonic yet—but may look pretty strange to some. No dedicated tone knob.
$1,999 street
Fender Acoustasonic Jazzmaster
fender.com
Back in June 2020, I reviewed the Fender Acoustasonic Stratocaster. It was my first long-term exposure to Fender's new Acoustasonic line, and like many old-school-leaning Fender-design enthusiasts, I greeted the concept with mild skepticism. But the Acoustasonic surprised and impressed on many levels—sparking fun and inspiration in ample measures and at many turns.
- Multi-Voices Clip: Acoustic track is blend of mahogany jumbo and small-body mahogany voices. Electric rhythm track is "fat semi-clean" setting with UA EMT-140 reverb emulation. Electric lead is "overdriven electric" voice with UA Space Echo emulation.
- Dreadnought Voices Clip: First segment is rosewood-backed dreadnought, second segment is a blend of rosewood- and mahogany-backed dread voices, the last segment is the mahogany voice only.
The new Corona, California-built Acoustasonic Jazzmaster is more than a Acoustasonic Telecaster or Stratocaster re-shaped for the surf set. For starters, there's a brand-new humbucking pickup designed by Fender's tireless tinkerer-in-chief, Tim Shaw. The Acoustasonic Jazzmaster also introduces a raft of new voices, adding J-200-style mahogany jumbo and 00-18 mahogany-style acoustic sounds as well as surprisingly versatile piezo settings.
The Jazzmaster's acoustic sounds—created via the onboard acoustic "engine" designed with Fishman—aren't digital models. They're generated via a combination of digital and analog processing that interacts with the guitar's actual acoustic body properties. Generally, the differences in these voices are most perceptible as shifts in EQ emphasis.
And without the Acoustasonic Stratocaster alongside for comparison, it's hard to say exactly how significantly the Jazzmaster's new "all-mahogany small body" voice, for instance, differs from the Stratocaster's "spruce-and-walnut, short-scale" voice. But other unique features like the Jazzmaster's "lo-fi piezo" voices and the humbucking electric sounds make the guitar feel geared toward contemporary, more experimental, and more hard-rockin' musical situations. That doesn't minimize the impressive utility of the very nice acoustic-style voices here. But the Jazzmaster, more so than its other Acoustasonic siblings, signals an invitation to invention and marks a real point of departure in this interesting line of the Fender family tree.
Deconstruction Derby
Stylistic appraisals of an instrument like the Acoustasonic Jazzmaster are subjective. And the look of the Acoustasonic instruments can be polarizing, in general. But Fender deserves credit for stretching the design envelope, and the Acoustasonic Jazzmaster is arguably the most balanced realization of the Acoustasonic design ethos yet. The offset body's proportions are well suited to the compound, sweeping curves that make up the instrument's visage. If you look at it just right, you can even see traces of other Fender designs. (I see more than a hint of the Kurt Cobain-designed Jag-Stang in the outline of the inlaid top.) As on the other Acoustasonic instruments, softer, more gently contrasting colors, like the natural and arctic white finishes offered on the Jazzmaster, suit the complex curves best. But our satin ocean turquoise review guitar looked super sharp, and is a nice nod to Fender's first great custom-color era.
Like all Acoustasonic guitars, the Jazzmaster is built around a mahogany body that is routed for the lightly braced Sitka spruce top (the turquoise finished section, in this case). The join feels virtually seamless, and that same sense of precision and craft is evident everywhere.
The "lo-fi" piezo is gloriously trashy and garage-y in the kind of way that a young Beggars Banquet-era Keith Richards would have savored.
Like any Jazzmaster, the Acoustasonic version's lower horn lacks the length of a Stratocaster of Telecaster, and it can slip off of your lap when playing seated—which, of course, is how many folks chose to have an acoustic guitar experience. But that is perhaps the only ergonomic complaint you can level against this otherwise supremely comfortable instrument.
Built to Rip
Fender's attention to detail on the Acoustasonic shines brightest when you put fingers to fretboard. Like the Acoustasonic Stratocaster's neck, the Jazzmaster's feels fantastic. The fretboard is shaped with a 12" radius to better suit the guitar's mission as an acoustic, but the "modern deep C" profile and rounded fretboard edges make the neck feel like a classic Fender with a more curvaceous radius. Chording is a breeze over the whole expanse of the neck, the action feels low and fast, and I couldn't find a trace of string buzz anywhere. The .011–.052 phosphor bronze strings that the guitar ships with make deep bends a more difficult proposition than on a lightly strung electric. But the narrow-tall frets that have become a standard feature on many Fenders beckon you to try, and facilitate nuanced finger vibrato techniques.
Sounds That Span Ages
Unplugged, the Jazzmaster is surprisingly resonant and blooms with sustain. And in some amplified "acoustic" modes and isolated direct-to-DAW settings, that resonance can translate to a slight imbalance between deep low-end sustain and boxier high mids—particularly in the dreadnought voices. Such properties mean you may not want to make the Acoustasonic your first choice for recording a solo fingerstyle piece. But as part of a more complex arrangement, these voices can shine. The ability to blend voices means you can craft the Jazzmaster's acoustic sounds for a mix without having to tinker endlessly on the mixing side. And if you record the guitar direct to a DAW, a little vintage-style compression, console-style preamp thickening, and high-mid EQ tweaking can go a long way toward softening any less-than-natural artifacts.
The new humbucker has a very different tone profile than the single-coil in the Acoustasonic Stratocaster. Where the Strat's single-coil is unmistakably Fender-y, spanky, and clear, the humbucker is, predictably, more muscular. At its cleanest settings, it evokes hotter single-coil pickups like the Rickenbacker Hi-Gain and the P-90. Blend in the more aggressive "overdriven electric" voice and the P-90 presence gets stronger.
There isn't as much round, wooly PAF-style humbucker tone on tap as you might expect. But the volume pot has a nice taper and is an effective means of shaping cleaner tones and more specific gain profiles. The "lo-fi" piezo also merits mention, because it's essentially a third electric guitar voice. Its trebly but overtone-rich voice won't be everyone's cup of tea, but it is gloriously trashy and garage-y in the kind of way that a young Beggars Banquet-era Keith Richards would have savored.
The Verdict
The Acoustasonic Jazzmaster is a thoroughly modern instrument. It suits the needs of musicians that work across genres and in smaller studios and dwellings, where keeping a five-guitar quiver at hand isn't possible. But apart from its considerable practical upside, it's a true joy to play. And between its natural, comfortable feel and the ease with which you can access such a wealth of diverse sounds, the Acoustasonic Jazzmaster is full of musical potential.
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A rig meant to inspire! That’s Jerry Garcia with his Doug Irwin-built Tiger guitar, in front of his Twin Reverb + McIntosh + JBL amp rig.
Three decades after the final Grateful Dead performance, Jerry Garcia’s sound continues to cast a long shadow. Guitarists Jeff Mattson of Dark Star Orchestra, Tom Hamilton of JRAD, and Bella Rayne explain how they interpret Garcia’s legacy musically and with their gear.
“I met Jerry Garcia once, in 1992, at the bar at the Ritz Carlton in New York,” Dark Star Orchestra guitarist Jeff Mattson tells me over the phone. Nearly sixty-seven years old, Mattson is one of the longest-running members of the Grateful Dead tribute band scene, which encompasses hundreds of groups worldwide. The guitarist is old enough to have lived through most of the arc ofthe actual Grateful Dead’s career. As a young teen, he first absorbed their music by borrowing their seminal records, American Beauty and Workingman’s Dead, brand new then, from his local library to spin on his turntable. Around that same moment, he started studying jazz guitar. Between 1973 and 1995, Mattson saw the Dead play live hundreds of times, formed the landmark jam bandZen Tricksters, and later stepped into theJerry Garcia lead guitarist role with the Dark Star Orchestra (DSO), one of the leading Dead tribute acts.
“At the bar, I didn’t even tellGarcia I was a guitar player,” Mattson explains. “I had just heard him play the new song ‘Days Between’ and I told him how excited I was by it, and he told me he was excited too. It wasn’t that long of a conversation, but I got to shake his hand and tell him how much his music meant to me. It’s a very sweet memory.”
The Grateful Dead’s final studio album was 1989’sBuilt to Last, and that title was prophetic. From 1965 to 1995, the band combined psychedelic rock with folk, blues, country, jazz, and even touches of prog rock and funk, placing a premium on improvisation and pushing into their own unique musical spaces. Along the way, they earned a reputation that placed them among the greatest American bands in rock ’n’ roll history—to many, the ultimate. Although no one member was more important than another, the heart and soul of the ensemble was Garcia. After his death in 1995, the surviving members retired the name the Grateful Dead.
“I think Jerry Garcia was the most creative guitarist of the 20th century because he had the widest ears and the sharpest instincts,” opines historian, author, and official Grateful Dead biographer Dennis McNally, over the phone. “What we see after his death are the Deadheads coming to terms with his passing but indicating that it’s the music that was most important to them. And who plays the music now becomes simply a matter of taste.”
Dark Star Orchestra guitarist Jeff Mattson, seen here with Garcia’s Alligator Stratocaster (yes, the real one).
Photo by Susana Millman
This year marks 30 years since Garcia’s passing and 60 years since the band formed in the San Francisco Bay Area. Today, the guitarist’s musical vocabulary and unique, personal tone manifests in new generations of players. Perhaps the most visible of these musicians is John Mayer, anointed as Garcia’s “replacement” in Dead and Co. But dozens of others, like Mattson, Tom Hamilton Jr., and a young new artist named Bella Rayne, strive to keep the Dead alive.
The first few Grateful Dead tribute bands began emerging in local dive bars by the late ’70s. More than mere cover bands, these groups devoted themselves entirely to playing the Dead. A few of these early groups eventually toured the country, playing in college towns, ski resorts, and small theatres across the United States. Mattson started one on Long Island, New York. He tells me, “The first band I was in that played exclusively Grateful Dead was Wild Oats. It was 1977, and we played local bars. Then, in 1979, I joined a band called the Volunteers. We also played almost exclusively the Grateful Dead, and that was a much more professional outfit—we had a good PA and lights and a truck, the whole nine yards.” The Volunteers eventually morphed into the Zen Tricksters.
Garcia’s death turbocharged the Dead tribute band landscape. Fanbases grew, and some bands reached the point where big-time agents booked them into blue-chip venues like Red Rocks and the Beacon Theatre. Summer festivals devoted to these bands evolved.
“The first band I was in that played exclusively Grateful Dead was Wild Oats. It was 1977, and we played local bars.” —Jeff Mattson
Dark Star Orchestra launched in 1997, and they do something particular, taking an individual show from somewhere out of Grateful Dead history and recreating that evening’s setlist. It’s musically and sonically challenging. They try to use era-specific gear, so on any given night, they may be playing through recreations of the Grateful Dead’s backline from 1971 or 1981, for example. It all depends on the show they choose to present. Mattson joined DSO as its lead guitar player in 2009.
Something else significant happened after Jerry died: The remaining living members of the Grateful Dead and other musicians from Garcia’s inner circle embraced the tribute scene, inviting musicians steeped in their music to step up and sit in with them. For Mattson, it’s meant playing over the years with all the core members of the band, Phil Lesh, Bob Weir, Bill Kreutzmann, and Mickey Hart, plus former members Donna Jean Godchaux, who sang in the band from 1971 to 1979, and Tom Constanten, who played keyboards with the Dead from 1968 to 1970.
Tom Hamilton’s Lotto custom built had a Doug Irwin-inspired upper horn.
In the newest post-Garcia tribute bands, many guitar players aren’t old enough to have seen Garcia perform live—or if they did, it was towards the end of his life and career. One of those guys sitting today at the top of the Garcia pyramid, along with Mattson, is Tom Hamilton Jr. Growing up in a musical family in Philadelphia, Hamilton saw Garcia play live only three times. Early on, he was influenced by Stevie Ray Vaughan, but Hamilton’s older brother, who was also a guitar player, loved the Dead and Garcia. “My brother wanted to play like Jerry,” he recalls, “so he roped me in because he needed me to play ‘Bob Weir’ and be his rhythm guitar sidekick.” Eventually, Hamilton leaned more into the Jerry role himself. “Then I spent my entire twenties trying to develop my own voice as a songwriter and as a guitar player. And I did,” Hamilton says. “And during that time, I met Joe Russo. He was not so much into the Dead then, but he knew I was.”
A drummer from Brooklyn, by about 2006, Russo found himself collaborating on projects with members of Phish and Ween. That put him on the radar of Lesh and Weir, who invited Russo to be a part of their post-Dead project Furthur in 2009. (And on guitar, they chose DSO founding member John Kadlecik, opening that role up for Mattson.)
“When Joe played in Furthur, he got under the hood of the Grateful Dead’s music and started to understand how special it was,” Hamilton points out. “After Furthur wound down, we decided to form JRAD. We weren’t trying to do something academic, not some note-for-note recreation. We were coming at it through the pure joy of the songs, and the fact that the five of us in JRAD were improvisers ourselves.”
“We were coming at it through the pure joy of the songs, and the fact that the five of us in JRAD were improvisers ourselves.” —Tom Hamilton Jr.
Today, Joe Russo’s Almost Dead (JRAD) is considered to be one of the premier Grateful Dead tribute bands. They formed in 2013, with Hamilton and Scott Metzger as the band’s guitar frontline, with Hamilton handling Garcia’s vocal roles. Eventually, Hamilton, too, found himself jamming onstage with the ever-evolving Phil Lesh and Friends. That, of course, further enmeshed him in the scene, and in 2015, he started a band with Dead drummer Bill Kreutzmann calledBilly and the Kids.
Now, there’s a new kid on the block, literally. Bella Rayne recently turned 18 and grew up in Mendocino, California. Her parents were into the Dead, but even they were too young to have really followed the original band around the country. At her age, they were big into Phish. By the pandemic, Bella started embracing the guitar out of boredom, woodshedding while social distancing in quarantine. She explains, “Like any other teen, I was bored out of my mind looking for anything to do.” Rummaging through her garage, she came across her mom’s old Strat. “At the time, I was really into ’90s Seattle grunge. I put new strings on the Strat, and then I tried to teach myself Pearl Jam songs, and I learned how to play them by watching YouTube videos. Then, I started posting videos of my journey online as I became more serious about it. I hit a point where I knew it would be my thing. The next thing I knew, one of the Bay Area Dead bands [China Dolls] reached out to me and asked me to sit in. I thought, ‘no way.’“My parents are huge Deadheads,” she continues. “That’s theirthing. I grew up with the Dead being pushed on me my whole life. But I ended up going, and it’s just been this awesome spiral ever since.” Bella calls her current Dead-related project Bella Rayne and Friends, and she, too, has been recognized not only by the new generation of Garcia players in the Dead tribute bands, but also by Melvin Seals, the Hammond organist who played for years in theJerry Garcia Band. “I was hired to just sit-in for a couple of numbers withMelvin and his JGB band,” she recalls, “and we were having so much fun he said to me, ‘Why don’t you just sit in for the whole second set.’ It was an amazing night.”Bella Rayne with her Alligator-inspired Strat, with a JGB Cats Under the Starssticker on the body.
Photo by Sean Reiter
Jerry Garcia played many different guitars. But for those guitarists wanting to emulate Garcia’s tone, the focus is on four instruments in particular. One is a1955 Fender Stratocaster known as “Alligator,” which Garcia had heavily modified and began playing in 1971. The other three guitars were hand built in Northern California by luthier Doug Irwin: Wolf, Tiger, and Rosebud. Garcia introduced them in 1973, 1979, and 1989, respectively. Sometimes, in a jam-band version of being knighted by the Excalibur sword, a chosen member of this next generation of Dead players is handed one of Garcia’s personal guitars to play onstage for a few songs or even an entire set.
Although they started their journeys at different times and in separate ways, Mattson, Hamilton, and Rayne all have “knighthood” in common. Rayne remembers, “In March of 2024, I was sitting in one night with anall-girl Dead tribute band called the China Dolls, and no one had told me that Jerry’s actual 1955 Strat, Alligator, was there that evening. My friend [roots musician] Alex Jordan handed me the guitar unannounced. It’s something I’ll never forget.”What’s it like to strap on one of Jerry Garcia’s iconic instruments? Tom Hamilton recalls, “It wasRed Rocks in 2017, and I played with Bob Weir, Melvin Seals, and JGB at a tribute show for Jerry’s 75th birthday. I got to play both Wolf and Tiger that night. I was in my head with it for about one song, but then you sort of have a job to do. But I do recall that we were playing the song ‘Deal.’ I have a [DigiTech] Whammy pedal that has a two-octave pitch raise on it, real high gain that gives me a lot of sustain, and it’s a trick I use that really peaks a jam. That night, while I am doing it, I had the thought of, ‘Wow, I can’t believe I am doing this trick of mine on Garcia’s guitar.’ Jerry would have thought what I was doing was the greatest thing in the world or the absolute worst, but either way, I’m cool with it!”
“I was sitting in one night with an all-girl Dead tribute band called the China Dolls, and no one had told me that Jerry’s actual 1955 Strat, Alligator, was there that evening. My friend [roots musician] Alex Jordan handed me the guitar unannounced. It’s something I’ll never forget.” —Bella Rayne
Jeff Mattson has played Alligator, Wolf, Garcia’s Travis Bean 500, and his Martin D-28. He sums it up this way: “I used to have posters up in my childhood bedroom of Garcia playing his Alligator guitar. I would stare at those images all the time. And sowhen I got a chance to play it and plug it in, suddenly there were those distinctive tones. Those guitars of his all have a certain mojo. It’s so great to play those guitars that you have to stop in the moment and remind yourself to take a mental picture, so it doesn’t just fly by. It’s just a tremendous pleasure and an honor. I never imagined I would get to play four of Jerry Garcia’s guitars.”
With young people like Bella Rayne dedicating herself at the tender age of 18 to keeping the Dead’s music going, it feels like what the band called their “long strange trip” will keep rolling down the tracks and far over the horizon. “People will be listening to the Grateful Dead in one hundred years the same way they will be listening to John Coltrane, too,” predicts McNally. “Improvisational music is like jumping off a cliff. Sometimes you fly, and sometimes you land on the rocks. When you take that risk, there’s an opportunity for magic to happen. And that will always appeal to a certain segment of people who don’t want predictability in the music they listen to. The Grateful Dead is for people who want complete craziness in their music—sometimes leading to disaster and oftentimes leading to something wonderful. It’s music for people who want to be surprised.”
Grover has introduced Grover Guitar Polish, a premium, all-natural guitar care solution designed to clean, shine, and protect your guitar’s finish. Whether you're polishing your prized axe or simply maintaining your gear, Grover Guitar Polish offers a safe, effective choice for making your guitar’s finish look its best.
Grover Guitar Polish is specially formulated to remove dirt, fingerprints, and grime while enhancing the natural luster of your guitar. The versatile polish is safe for virtually all guitars: it works on gloss, matte, and satin surfaces without causing damage or altering the finish.
Key features include:
- Non-Abrasive & Streak-Free: Grover’s formula cleans without leaving streaks, ensuring a smooth, even shine every time.
- Effortless Cleaning & Restoring Shine: The easy-to-use formula requires minimal effort, so you can keep your guitar looking its best in no time.
- Protective Layer: Leaves a thin, smooth protective layer that guards your guitar from dust, dirt, and environmental factors.
- Pleasant, Non-Toxic Scent: Enjoy the fresh, non-toxic scent while you care for your instrument, knowing you're using a safe product for both you and your guitar.
"Grover Guitar Polish combines the best of both worlds – a powerful, all-natural cleaning solution with a formula that’s gentle enough for every finish," said Cory Berger, President at Grover. "We wanted to create a product that not only restores the shine and beauty of your guitar, but also provides a layer of protection that helps maintain its finish for years to come."
Grover Guitar Polish carries a $14.95 suggested retail price. For more information visit the Grover website at grotro.com.
The 1929 Gibson L-5 Andy Fairweather Low plays on Invisible Bluesman was a gift from Eric Clapton and was previously owned by J.J. Cale.
The MVP sideman has spent his life playing with the stars, but he’s also a bandleader with a hit new album, The Invisible Bluesman. Fairweather Low also explains why Steve Cropper is his favorite guitarist.
If debuting a new album at No. 1 on the U.K. Jazz and Blues chart seems a lifetime away from topping the U.K. pop charts with the singsong-y “(If Paradise Is) Half As Nice,” it’s certainly a good chunk—56 of Andy Fairweather Low’s 76 years, to be exact. And on The Invisible Bluesman, Fairweather Low’s newly released, tradition-rooted long player, the Welshman channels Arthur Crudup by way of Robert Johnson, delivers an overdriven “Bright Lights, Big City,” and proves up to the challenge of “Lightnin’s Boogie.”
Forget about tangents, dovetails, and hairpin turns when conversing with Fairweather Low. They come with the territory. “My dad liked Lonnie Donegan,” he recalls of the British skiffle king, “and he brought ‘Putting on the Style’ into the house, and ‘Does Your Chewing Gum Lose Its Flavor’ and ‘My Old Man’s a Dustman,’ which he was. ‘Rock Island Line’ was Lonnie’s only hit in America. I got to play with him later on, with Van Morrison. I also got to play with the Chieftains and Van, and I toured with [English jazz bandleader] Chris Barber. We played on Jools Holland’s show. That was an honor. Georgie Fame was in Van’s band when I was, and I’ve been in the Blue Flames [Fame’s group], and Georgie’s been on two of my albums. He covered ‘Wide-Eyed and Legless,’” a 1975 hit for Fairweather Low.
Despite that patter, he’s not a name-dropper; he’s just talking about his life. A life that has included teen-idol status fronting Amen Corner, the subsequent band Fair Weather and solo albums, inactivity, and then a second career as elite sideman and session guitarist with Roger Waters, Eric Clapton, George Harrison, Bill Wyman, David Crosby, Bob Dylan, Stevie Nicks, Dave Edmunds, Richard Thompson, the Who, Joe Satriani, Kate Bush, the Gaddabouts (with Steve Gadd, Edie Brickell, and Pino Palladino), Kevin Brown, B.B. King, Ringo Starr, Tom Jones, Bonnie Raitt, Mick Fleetwood, John Mayall, Procol Harum, and the inevitable “others.” His songs have been covered by Elton John, Thelma Houston, Joe Cocker, Richie Havens, and Three Dog Night. He even jammed, albeit clumsily, with Jimi Hendrix and later provided background vocals on Hendrix’s remake of “Stone Free.”
SoundStream
These days his band, the Low Riders, is Andy’s main priority. Previously, he has named Donegan, Harrison, Keith Richards, Hank Marvin, Ry Cooder, Albert King, Leon Redbone, Jimmie Vaughan, Blind Blake, and Rev. Gary Davis as favorite 6-stringers. In the following interview, he reveals his biggest 6-string influence, and exposes himself as an unrepentant guitar junkie.
You cut a number one blues album.
Two years ago I did an album, Flang Dang, where I played everything except the drums, and that to me was my full stop. I took a third of my pension out to make that album. Got no result whatsoever, so I figured I’m just going to enjoy playing live. Then Malcolm Mills, the head of Last Music Company, said, “People don’t know enough about your blues playing. We should do an album and call it The Invisible Bluesman.” On “My Baby Left Me,” obviously there’s a big tip of the hat to Robert Johnson—sort of “Kind Hearted Woman.” This is the strangest feeling. I’ve been sort of throwing about in the water, playing these songs for 20 years. All of a sudden I’m number one.
What is the old Gibson on the cover?
That is J.J. Cale’s guitar [a 1929 L-5] that he gave to Eric. I’m doing the B.B. King pose, from the old picture with his foot on a stool. I asked Eric if I could borrow that guitar, and he said, “Of course you can.” I loved J.J.’s Shelter records in the ’70s. Such an exciting time. He was in a box all his own.
Fairweather Low patched this guitar with gaffer’s tape when it fell before a gig, then he got it repaired. While it no longer has a crack, he applied the tape again after he discovered it makes the instrument sound darker.
Andy Fairweather Low’s Gear
Guitars
- 1929 Gibson L-5 (borrowed from Eric Clapton; previously owned by J.J. Cale)
- Knight Arena
- Three Eric Clapton Signature Strats with custom pickup arrays
- Black Strat w/one humbucker (rear)
- Knight Arena single-cutaway
- Supro Ozark with a lap-steel pickup
- Teisco Spectrum 5
- Vox Phantom w/gold-foil pickups (neck and middle) and a P-90 (bridge)
- Red Strat w/three humbuckers and parts from an
- Two Airline Res-O-Glas models
- Silverstone electric w/three pickups
- Guild S-200
- Danelectro bass
- Danelectro baritone
- Gibson Chet Atkins CE
- Ramirez classical
- Black Gibson L-5
- Martin Eric Clapton Signature Model OOO
Amps
- Cornell
- 2x10 cab w/Jensen speakers
Strings
- Flat wounds
How did you decide which guitar you were going to play on which song?
On “Bright Lights, Big City” and “Gin House Blues,” I have to play the Strat with the humbucker. I’ve got a white one and a black one. On “So Glad You’re Mine,” another Big Boy Crudup song that Elvis did, I played a Knight Arena guitar. It’s made by a father and son, Gordon and Robert Wells, and it’s fabulous. When I play “Gin House,” its wire-wound strings on the Strat, but everything else is flat-wounds.
You were 15 when you saw the Rolling Stones in Cardiff.
February 28, 1964. Bill Wyman’s coffee table book has the dates and set lists. It wasn’t like a great big hand came down or finger pointing in any direction. It just seeped through the air, like a virus, and all of a sudden I wanted to play guitar. Their version of “Route 66” was the first guitar solo I learned note for note.
Did you go specifically to see them?
They were just on the bill. Also on the bill was Jet Harris, who was with Shadows’ bassist. Mike Sarne and Billie Davis were top of the bill, and there was Bern Elliott & the Fenmen. The Stones started with “I’m Talking About You.” It never leaves you. The first time I saw the Who play, in 1965, or the Stones again, in ’66, playing with Inez and Charlie Foxx… those moments. I saw Sam & Dave, Arthur Conley, Eddie Floyd, and Otis Redding at Finsbury Park, on the [1967] Stax tour. People like Booker T. & the MG’s were so far away. Come to think of it, they’re still that far away. I talk a lot about early guitarists, and in truth it’s got to be Steve Cropper. He’s got the biggest depth in what I do. “Don’t Mess With Cupid,” “Ninety-Nine and a Half,” “Soul Dressing,” “Bootleg”—there’s loads of them. And definitely his rhythm playing on the Wilson Pickett version of “Don’t Fight It.” He was perfect.
What was the Amen Corner tour like with the Jimi Hendrix Experience, the Move, Pink Floyd, and the Nice?
Onstage, I say, “I played with Jimi Hendrix”—and I did. Then I follow it with, “I played very badly with him.” He sidled over to me at 3 in the morning and told me, “You’re in the wrong key.”
“Jimi, I don’t have a clue what key you’re in.”
This was 1967. He wanted to play with Amen Corner, doing “I Can’t Turn You Loose.” We were just a very young soul band at the time. So he borrowed Clive Taylor’s bass, flipped it over, and I sang it.
A couple of months later, we had a residency at a club, and he decided he wanted to get up and play guitar. He took Neil Jones’ guitar, and [hums muted opening to “Voodoo Child”]. I knew Clive wasn’t going to be able to play, so I played bass. I moved around the neck a lot, figuring at some point I’m going to hit the appropriate key. Don’t write in telling me it’s in E; I know that—or Eb if it was on Jimi’s guitar.Fairweather Low has his Vox Phantom rigged with two gold-foil pickups and a P-90.
U.K. charts were different from American charts. Amen Corner’s “Gin House” was No. 3 in 1967, and “Albatross” by Fleetwood Mac was No. 1 in 1968.
It was pretty wide and varied. When we did the 1967 Windsor Jazz & Blues Festival, it was the first time Fleetwood Mac played. At one point, we were the highest paid act. We got rumors of this band Fleetwood Mac getting paid nearly as much as us. We thought, “That can’t be happening. They’re not on the charts.” But “Albatross”—what a record! I got to play that at the Peter Green memorial show at the Palladium, with David Gilmour on steel. Rick Vito was fabulous. He was definitely the most valuable player in that whole setup. I told [producer] Glyn Johns, “You’ve got to get him.” If anybody needed to be anybody who wasn’t there, he was it.
Glyn Johns produced the Joe Satriani album you’re on.
The big connection is Glyn. That was an interesting time. When Joe was interviewed, the first question they asked was, “Why Andy Fairweather Low?” Which is the first thing I’d ask. I can’t think as fast as he can play. But I had a few tonal things. His demos were so good, like “Luminous Flesh Giants.” He was very gracious to me. Joe had previously produced everything he’d done, and wasn’t used to this setup. Every day he’d make a beeline for me and show me what to play. “Use this finger, don’t use that finger.” By the time we got to 7 p.m., I had a headache. Then Glyn would say, “Joe, the reason these boys are here . . . why don’t you just let them play?” Then we’d play, and we’d get the track. The next day it was the same thing. I think Joe was struggling with letting go of the reins, allowing himself to go down this road. I’m glad. I had a great time.
I played a Supro Ozark with a lap steel pickup on one track. I sold it and a couple of other guitars. I was going to sell a bunch of them. When the guy came back and kept offering more for my black L-5, I went, “I’m done.” Not selling any more. I didn’t realize the attachment that I would have for those things.
You’ve got some oddball guitars.
Because I saw video of Ry Cooder at Sweetwater, playing a Teisco Spectrum 5, I eventually got one. He makes it sound like a bloody piano! The thing about Ry Cooder—whether it’s Gabby Pahinui, the Buena Vista Social Club, or that Jazz album—whatever you think of him, it’s the tip of the iceberg. You’re not even getting one-eighth of what’s below. On the Mambo Sinuendo album, with Cuban guitarist Manuel Galbán, there’s a version of “Secret Love.” The tone on his guitar!
There was a benefit concert for a fabulous guy called Fred Walecki, who had Westwood Music in L.A., and I was onstage with Ry. Definitely other side of the stage, because there are a few guitarists who don’t need another guitar player. Ry is one, Jeff Beck’s another one, and Pete Townshend is. I found out when I played with the Who. Pete wasn’t there because he was cleaning out in America. For three weeks with Kenney, John, and Roger, I sort of filled in, just to be a guitar player in the room. Then Pete came back, and we went through the first day of playing together. What anyone will realize is that when Pete plays an A chord, there’s nobody in the world that can make it any bigger. There was no point in playing when he was playing. I went into the control room and told him, “I think I’ll go off and play some tennis.” I did his Psychoderelict tour in 1993. Tricky, but fond memories of that.“I played with Jimi Hendrix. I played very badly with him.”
What’s going on with the Vox Phantom with gold-foil pickups?
I was doing this concert in Santa Monica for Fred Walecki, who had throat cancer. Ry had a guitar with those pickups, and said he got them from Fred. The next day I went to Fred, who only had two: $15 each. They’re now in the neck and middle on that Vox, and there’s a P-90 in the bridge position. I play “Pipeline” on it, for that ’60s tone.
I got an Airline, known as the J.B. Hutto model, for $750. But I struggled to make it work, intonation-wise. Gordon and Robert [Wells], who made my Knight guitar, took all the electronics out of that and put them into a pink Strat, with all the knobs. But I’m a one-tone man. Everything up, one position, leave it. On the J.J. Cale song “Can’t Let You Do It” from Eric’s I Still Do album, I’m playing that Strat with the Airline parts.Much to his surprise, Fairweather Low’s new album hit the top of the U.K. blues and jazz chart, despite being a low-key, off-the-cuff affair in the studio.
In terms of session work, did you ever get thrown any curve balls?
Two times. I was doing something with Glyn at Olympic Studios, and in the other studio was Georgie Fame with a big band. He said, “Why don’t you come in and do the session?” It was, “Alright, fellas, letter B four bars in….” All I did was look at the other guitar player, Bernie Allen, and watch what he did. I realized I was way out of my depth. I got through it, but only because I watched him.
The next time, working with Glyn again, it was with Linda Ronstadt. We finished the album on Friday, and she was going in on Monday with George Massenburg to do something with Aaron Neville. She asked if I’d stick around and do something. I said, “Yeah, let me see what you’re going to do.” The first song I could get my head around, “Please Remember Me”—only playing rhythm. The second one was a Jimmy Webb song, where no chord was ever any chord that I had any idea existed. If it was a D, it had an F#; if it was C, it had an E. I spent the whole weekend trying to make my sense of these chords. We get into the studio, and I’m in the booth strumming away on “Please Remember Me.” Then I’m wondering what we’re going to do now. Before I could raise my hand and say, “I’ve got to tell you, I can’t do this,” they said, “You know what? We’re not going to do that song.” [laughs] But I was right on the edge, in front of everybody, gonna have to go, “It’s too much for me.”
“You can be the greatest musician in the world, but if you’re a pain in the ass on the gig, you won’t last.”
How did you end up backing George Harrison, and playing slide?
Roger Forrester, who was Eric’s manager, called and said, “George is going to Japan; Eric’s band is going to back him, and George wants you to do all the intricate slide parts.” “Okay, I’ll think about it.” I put the phone down and realized I don’t play slide. I had met George backstage at a Ry Cooder show; he must have assumed I was into slide playing. Things were not going great financially, and this was a life-changing moment. So I had to make a decision. I either turn up, and they all realize I can’t do it, or I own up now and risk losing the gig.
I asked Roger for George’s number, and I rang him up. I said, “I know this tour’s coming up, and you want me to do the slide parts, but I don’t play slide. I mean, if you tell me what you want me to do, I know the principles and all that, but I can never seem to make it sing.” He said, “I’ve never heard you play, but everybody seems to like you. Why don’t you just come up to the house?” I turn up at Friar Park with my Volkswagen Polo, and he comes out to meet me and looks at my car … because George is a big car guy. He goes, “Do you have to drive that?” [laughs] We got on really well, lots of jokes. Living in the Material World I knew inside and out. My bass playing is based on Klaus Voormann on that album, so melodic. George said, “Let’s do something.” “Material World,” I knew it; I could sing the slide solo. Little did I know I was going to have to learn that thing; plus I had to play “My Sweet Lord.”
“You do the intro.”
“No, George, you’re the slide player.”
So I had to wear this intro that everybody knows, and you better play it right. It’s a bit like the front of “Layla,” which I might have to play as well. We were doing “My Sweet Lord” one night in Japan and I forgot to press the pedal that makes the guitar audible. There was a towel on top of my amp, and I just put it on my head. One of those rock & roll moments.
Andy Fairweather Low is a legend of the British stage and studio, having played with Eric Clapton, Pete Townshend, David Gilmour, and a host of other 6-string greats.
George’s slide style is so distinctive. But there are videos of that tour, and you nailed his sound really well.
Thank you. At the Concert For George, it was a Friday, and Joe Brown was going to do “That’s the Way It Goes.” Typical of Eric, he said, “Andy’ll do it.” I think the show was on Tuesday or something. I got away with it, but I didn’t sleep. George’s solos, you have to know them before you even play them. It’s as simple as that. In fact, that applies to Robert Johnson or whatever you’re learning. When I’d finished “That’s the Way It Goes,” Eric comes onstage and says, “You’re sweating a bit.” I said, “I am, for goodness sake. You should have done this.”
Didn’t George play slide melodies up and down the length of the string, rather than across?
Which I did. I got to play Rocky [Harrison’s psychedelic painted Strat], the 6-string bass that’s on “While My Guitar Gently Weeps,” and his [Fender] 12-string on Concert For George. Olivia Harrison allowed Rocky to be played on the rehearsals and the concert, but it had to go back to Friar Park every night.
What’s the big archtop you’re playing on Eric Clapton’s Unplugged?
It’s a Super 300 that Alan Rogan lent to me. The Martin I played was Eric’s; best sounding Martin I ever played. The only guitar I owned was the one that’s on “Tears in Heaven”—a Ramirez classical that I still have.
“I played with the Big Town Playboys for about 16 months. We did a tour of Europe, got back from Germany, and they gave me my check. Thirteen pounds [laughs]. It was worth it, man, so exciting.”
Tell me about the Martin you play onstage that’s held together with gaffers tape.
That’s an Eric Signature Model OOO. We were opening up for him in Poland, and it fell out the back of the van, in its case. Got some gaffers tape and taped it back together, and when I played it that night everyone, including me, thought it sounded better. Back in England, I had it fixed, but I didn’t like it. So I put the tape back on. Eric likes a really bright guitar. Mine takes a bit of that top end off, so it’s warmer.
What’s your main amp?
It’s a Cornell based on the Fender Vibro-King. I started off with a Bandmaster, and moved on to the Bassman with four 10s, and then the Vibro-King with three 10s. Bit by bit, no matter how many times you replaced the valves, replaced the speakers, polished the circuits, they just got tired. They never sounded as good as the day you bought it. Denis Cornell came to a gig and said, “Show me what you want.” I turned up the Vibro-King to about 4, which was enough to sound dirty. He said, “Are you serious?” I said, “Yes, I want you to make me an inefficient amp.” Now I’m down to two 10s, which is basically a Tremolux cabinet. “TV Mama” on Lockdown Live [from 2021] starts with that growl. Get it out there. Frighten them!
After years of sideman gigs, you formed the Low Riders.
You can be the greatest musician in the world, but if you’re a pain in the ass on the gig, you won’t last. Everybody in the band gets along really well. It’s a cooperative. The roadie gets exactly the same as me. Because when the gig is over, I’m sitting down having a glass of wine; he’s packing away and driving us somewhere. He’s worth as much as I am.
I played with the Big Town Playboys for about 16 months. Ian Jennings and Mike Sanchez are top players. We did a tour of Europe, got back from Germany, and they gave me my check. Thirteen pounds [laughs]. It was worth it, man, so exciting. I’m proud of being in that band. I did a live double-album with them, Off the Clock.
I’m lucky. And I know it, too. I can’t see this round-peg of me fitting into any hole of anything that’s going on now. I’m glad I had my time when I did. I loved working with those people, but I quit touring because I just needed to play more.
Watch John Bohlinger test this tweaked-tweed concept, 11-watt combo with active EMGs, a '50s Strat, and a goldtop.
Divided by 13 CJ11
Drawing from the iconic 50’s era 1×12 tweed combo from Fullerton that created the quintessential “American” guitar sound, the CJ 11 elevates this classic with enhanced tone shaping, mid/gain pull boost circuit, improved output performance, and the addition of a master volume, all while maintaining the original design’s signature appeal.
In contrast to the original’s setup of a single tone knob and dual inputs with individual volume controls, the CJ 11 features a single channel equipped with both Treble and Bass filters, along with a Master Volume. The addition of a Bass control enables the reduction of lower frequencies when the amplifier is pushed into saturation, avoiding the muddiness and compression typical of earlier designs. However, when desired, the classic low-end response and heavy compression that define the vintage circuit are preserved at higher bass settings. With the addition of a Master Volume, the CJ 11 can deliver a range of drive tones, from a subtle edge of breakup to moderate overdrive and full “tweed-style” saturation, enhanced by the onboard boost, all at more controllable volumes than vintage models.
The CJ 11 power amp maintains the classic dual 6V6 power tube complement while upgrading the rectifier from a 5Y3 to a more robust 5AR4/GZ34. Along with an augmented power supply and custom-built transformers, this design delivers enhanced headroom, louder output, improved low-end clarity, and a broader spectrum of usable overdrive.
Although the CJ 11 builds on a classic ’50s design with thoughtful updates informed by years of experience, it preserves the essence of what made the original exceptional while offering greater versatility. With its 1×12 cabinet and a Celestion G12H speaker, the CJ 11 remains portable yet delivers performance that far exceeds what its 11 watt power rating suggests.