Kevin stumbles upon a ''60 J-Bass owned by Walter Booker
I’ve been scouring the planet for great basses for well over 30 years. I’ve been on so many wild goose chases I could write a book. Usually, a guy knows a guy whose uncle heard of a girl whose husband left, and she has this bass that belonged to his brother… yadda yadda... Most of the time the chase is futile, but occasionally, the gods smile and I turn up a good bass. On rare occasions, I turn up a piece of history. This story is about such a bass.
The bass I went in search of was none other than the 1960 Jazz Bass owned by Walter “Uncle Bookie” Booker. While Booker is not a household name in the rock world, he was The Don, The Big Kahuna, in jazz circles. Among the folks he played with were Cannonball Adderly, Thelonious Monk, Stan Getz, Sonny Rollins, Sarah Vaughan, Chick Corea… the list goes on. I have never in my 35 years as a bass player been this fortunate, indeed blessed.
How It All Started
About a month or so before the adventure began, my shop sold a wonderful ‘70s Jazz Bass to a really nice guy. The guys at the shop called me up and asked me if we had room on the price. I was in a good mood, so I said, “If the customer is a nice guy, cut him a break.” They gave him the price, and he scratched his head and said he’d be back. “Ok,” I thought, “another tire kicker.” The client came back in the next day, though, and paid in full. He didn’t have all the cash the day before and didn’t want to lay it away. He had a question, so we chatted over the phone. That’s how I got to be friends with Jerry Barnes (though it hadn’t dawned on me then that it was the Jerry Barnes).
Later that week, I got another call: “Kev, it’s Jerry. My brother wants a J. What else do you have?” I was just back from the Arlington and Philly guitar shows, so that weekend Jerry, his brother and sister-in-law came over to my home and we played J-basses all afternoon. After a few hours, Jerry took a bass out of a gig bag to show me. It was owned by a friend of his, he told me, and the owner had no idea what the bass really was. He wanted to know the wholesale and retail values, along with the pedigree.
This bass was a disaster! But even though it was a total wreck, it vibed me like no bass had in a long time. I mentioned that if it were ever for sale, I’d love to take it on as an aggressive project. About two weeks went by and I got another call: “Kev, it’s Buddy… Buddy Williams, Jerry’s friend.” I was thinking, “Wow, this is a coincidence. One of the hottest drummers in the world is named Buddy Williams. Jerry confirmed it, though—it was that Buddy Williams. I’ve met hundreds of famous folks, and I always said the only person who I knew would tongue-tie me would be Paul McCartney. Buddy tongue tied me! When I met him, I said it was a pleasure to meet one of my heroes. He was a true gentleman and very humbly, as is Jerry. When they were talking about the bass, Jerry kept referring to it as “Bookie’s bass,” and Buddy referred to it as “Uncle’s bass” and “Bookie’s bass.” I was thinking the bass belonged to a bookie. It was not until we struck a deal over the phone that I found out this was Walter Booker’s Jazz Bass—I never knew that he was known as Uncle Bookie.
On Cloud Nine
I phoned my pop, since we always talk about the business and my basses. When I told him about the bass I’d just found, Dad said, “That is cool!” (for the first time in about 15 years.) The next day, I left my day job on Wall Street and ventured up to Central Park South on the NYC Subway. Me, a lifelong New Yorker, went the wrong way to Buddy’s Columbus Circle office when exiting the station. Maybe it was sugarplums dancing in my head, or just Christmas in NYC… no, I was just plain fermisht from the anticipation of closing this deal. I met Buddy, handed over the check and walked to Jerry’s studio about 15 minutes away to pick up the bass. Inside, I ran into some old friends. We went to an upstairs office and the Bookie bass was finally mine! After an hour of conversation, I had to venture to Penn Station for the Amtrak home—no case, no gig bag. I couldn’t take the old girl outside naked, so I borrowed a gig bag from Jerry.
Next month, I’ll discuss the bass in full detail. So, until then, drop the gig bag and bring the cannoli!
Kevin Borden
Kevin Borden has been a bass player since 1975 and is currently the principle and co-owner, with “Dr.” Ben Sopranzetti, of Kebo’s Bass Works: kebosbassworks.com. He can be reached at: Kebobass@yahoo.com. Feel free to call him KeBo.
Leveraging 3D printing technology, the new Floyd Rose Original locking nuts are designed to deliver unmatched precision and consistency, replacing the traditional “lost wax” casting method that dominated for decades.
The shift to 3D printing allows for intricate detailing and tighter tolerances, ensuring each nut meets exact specifications.
The process begins with powdered metal, which is precisely 3D printed into the desired shape using advanced metal printing technology. After printing, the parts are depowdered and cleaned before undergoing a sintering process—an advanced heat treatment—during which the parts achieve full density and hardness. Lastly, the nuts are CNC “kiss-cut” to exacting specifications for consistency and control of the fit before receiving a premium electroplating finish.
“Floyd Rose has always been synonymous with innovation, and by embracing this incredible new technology we are able to continue that legacy,” said Andrew Papiccio, president of AP International Music Supply of which Floyd Rose is a division. “The accuracy and flexibility of the new 3D printing method will allow us to make a more consistent piece while also giving us full control of the manufacturing right here in the USA.”
Initially, the 3D-printed locking nuts will be available in ten classic sizes with a 10” radius, with plans to expand the range to accommodate various fretboard radii in Spring 2025. This augmentation will offer players more options for customizing their setups to match a wide variety of fretboard curvatures.
To get a sneak peek at the new Floyd Rose USA Series, come visit us at NAMM in booth 5734 in Hall D.
With flexible voltage adjustments, precise control, customizable protection, compact design, and affordable pricing at $299, the Brownie is the ultimate solution for optimizing tone and safeguarding your gear.
AmpRx, the trusted name behind the industry-renowned BrownBox, has unveiled its newest innovation: The Brownie, a voltage-optimizing power supply for modern amps and the first of its kind.
Designed by AmpRx co-owner and CEO Cassandra Sotos (2024 NAMM Female Entrepreneur of the Year), the Brownie provides unparalleled control, flexibility, and protection specifically for modern tube amplifiers by allowing the player to both increase and decrease voltage with volt-by-volt precision.
Priced at $299, the Brownie offers an affordable and essential solution for protecting your investment in your high-quality tube amp. It allows you to optimize your tone and safeguard your gear from variations in voltage by givingthe ultimate advantage: knowing exactly what you’re feeding your amp.
Known as the secret weapon of touring professionals, AmpRx products have been spotted on stage with bands like the Red Hot Chili Peppers, Lynyrd Skynyrd, Zac Brown Band, Iron Maiden, and many more. AmpRx is now bringing its game-changing technology to an even broader audience with this compact, affordable, and versatile product. Try the Brownie for yourself and discover exactly why artists, amp designers, and technicians rely on AmpRx to provide consistent sound, performance, and extend the life of their gear.
The Brownie will be available January 20th, 2025, presented at NAMM Global Media Day and on display at Booth #5630.
WHAT MAKES THE BROWNIE SPECIAL? Building on the success of the flagship BrownBox, the Brownie offers key innovations tailored for modern amplifiers:
- Flexible Voltage Adjustments: The Brownie is the first in the AmpRx line to both decrease and increase voltage, providing optimal performance for modern tube amps (often at 117-120V).
- Precise Control: Adjust voltage in ultra-precise -1V increments when decreasing, and by +3V or +5Vwhen increasing, allowing musicians to fine-tune their tone with precision.
- Customizable Protection: The Brownie ensures safe operation, putting control directly in the player's hands, and includes two fuse options: 2A for smaller setups and 4A for larger setups, ensuring compatibility with diverse gear.
- Compact and Portable Design: Smaller and lighter than the original BrownBox, the Brownie is perfect for musicians seeking portability, durability, and streamlined functionality. It can even fit on a pedalboard or in a backpack.
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Email sales@brownbox.rocks to order and stop by NAMM Booth #5630 to see the Brownie in action, talk with the owners, team and artists, and see exactly why so many people insist onAmpRx products when they make music.
For more information, please visit brownbox.rocks.
Inspecting a D’Angelico Excel during a full restoration.
When every guitar claims to be special, how can any guitar truly stand out?
In the guitar world, a transformation is underway that reminds me of the rise and fall of empires. The modern boutique guitar market, which once felt to me like an underground treasure trove, now seems poised on the precipice. It has grown, matured, and, in my opinion, overextended itself. Are we cresting the wave? Has the boutique boom run its course, or is it simply shedding its skin in metamorphosis?
Guitar building has been around for centuries, mostly as an individual, artisanal endeavor until the late 19th century, when it began to be dominated by manufacturing entities. The boutique guitar category as we know it today began as a reaction to the hegemony of big brands. It was a calling and philosophy—a return to individual builders and small shop manufacturers in the mainstream consciousness. Builders crafted instruments that evoked the patinated romance of vintage instruments as well as the hot-rod aesthetic. What started with a handful of outliers has now become an ecosystem. But, like all trends, there’s a limit to how far it can stretch before it must adapt or collapse.
Pioneers to Proliferation
In the early 1970s, builders like Rick Turner, John Suhr, Michael Gurian, and Bernie Rico, among others, stook as renegades of the modern boutique scene. They were voices bucking the production-line trend with craftsmanship that evoked past masters like D’Angelico, Bigsby, or even Stradivarius. These builders weren’t just producing instruments; they were making statements. A guitar by Parker or a Manzer wasn’t just a tool, it was a declaration of the builder’s ethos and vision—something that might have been lost in the guitar boom of the ’60s.
Today, the boutique world is a crowded stage where hundreds, if not thousands, of builders compete for the attention of an audience with only so much disposable income. Plus, the custom allure is no longer the sole province of artisans; custom shop offerings from major brands like Fender, Gibson, and PRS have blurred the lines. CNC machining and production streamlining have made “boutique” features practical, even necessary, for larger operations. To their credit, unlike at the birth of the vintage market, the big guys saw the wave as well. The once-clear delineation between boutique and mainstream is murkier than ever, which by its nature dilutes everyone’s impact in the segment.
In economic terms, this is a textbook example of market saturation. There are only so many players willing and able to spend $5,000, $10,000, or more on a guitar. Supply has exploded, but demand may be plateauing. Handmade boutique guitars, once a rarefied niche, are now ubiquitous at trade shows, online marketplaces, and across social media feeds. This leads me to a pressing question: When every guitar claims to be special, how can any guitar truly stand out?
The Instagram Paradox
Online, custom guitars have become as much about image as they are about sound. It seems any builder with a board and a butter knife is trolling for your approval. A scroll through Instagram reveals a sea of small-batch instruments, but there’s a creeping sense of déjà vu. How many “offset” guitars with stained burl tops and pre-distressed finishes can one truly appreciate before they begin to blur together? Social media, once a powerful tool for builders to connect with their clientele, has become a double-edged sword. On the one hand, it’s never been easier to showcase work to a global audience. On the other, the sheer volume of content has weakened the impact.
“A guitar by Parker or a Manzer wasn’t just a tool, it was a declaration of the builder’s ethos and vision—something that might have been lost in the guitar boom of the ’60s.”
The Buyer’s Shift
Meanwhile, players too are evolving. With the pandemic-fueled spike in sales fading, some tastes are turning away from the museum-worthy builds in favor of simpler, more traditional guitars. In a way, the legacy brands may now be a salve for the disaffected. In an ironic twist, they are seen as the true foundation of the industry—the original and genuine as opposed to a hip fad.
What Comes Next?
So, has the boutique guitar market peaked? Perhaps. But a peak doesn’t necessarily signal decline. Just as the boutique segment was born from a reaction to mass production, the next wave may be driven by a return to fundamentals. Builders who adapt to a changing landscape or who have built their own legacy will continue to thrive. Those who have not entered the general consciousness may find themselves left behind.
In the end, the boutique guitar market will endure, not because of its size, but because of its soul. Just as guitar building began as an individual endeavor, that heritage will continue. The challenge is to capture the essence of what makes a guitar special in the first place: the connection between builder and player—and the magic of turning wood and wire into music.
