The latest collaboration between Jeff Loomis and Jackson Guitars.
Loomis’ relationship with the Jackson brand has spanned over two decades and reached an exciting milestone in 2020 with the release of his signature Kelly and followed up two years later by the release of a robust signature seven-string Soloist.
“It’s a seriously metal-looking guitar,” said Jeff Loomis. “My favorite feature is the heel mount truss rod wheel. As a touring musician, it’s perfect if I need to adjust the neck on the fly. The playability is truly superior and the single volume and pickup toggle switches make it simple yet effective. I’ve played Jackson’s from an early age so working with them again to create this signature model has been incredibly fulfilling. I just really love how this guitar turned out and I know fans will too.”
The through-body, graphite-reinforced neck with 12”-16” compound radius bound ebony fingerboard makes for a light and agile playing experience. The Seymour Duncan Jeff Loomis Signature Blackouts pickups give this metal monolith its roar of clear and articulate tones, even when under the heaviest distortion. A Hipshot HardTail Bridge will handle the rigors and ravages of the road, while a heel-mount truss rod adjustment wheel makes for quick and painless neck relief tweaks. Luminlay side dots on the neck allow for playing on the darkest of metal stages and the black sandblasted ash top finish with white binding gives the Loomis Signature Kelly a distressed and menacing look.
Jeff Loomis Unleashes His Signature Kelly HT | Jackson Guitars
“The Jackson team has delivered a guitar that perfectly encapsulates Jeff's identity as a musician: the intersection of technical mastery and raw power," said Jon Romanowski, Vice President of Product at Jackson. "Following the success of the last two Jeff Loomis signature models, it was clear that fans would be ecstatic to see his unique take on the Kelly model that embodies his preferences and specifications that set an industry standard.”
For more information, please visit jacksonguitars.com.
Jackson Limited-edition Pro Series Signature Jeff Loomis Kelly HT6 Electric Guitar - Satin Black
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Greg Koch performing live.
Greg Koch - Guest Picker
Recorded in 1964, this album has been essential listening for generations of guitarists.
A: Going from the gut, I would say B.B. King’s Live at the Regal would be something every guitar player should listen to as it is the well from where every other electric blues guitar player drank from—whether they know it or not. Blues Is King is another one, but Live at the Regal is really the essence of what electric blues is all about.
Another worthy choice is this live album from 1966 which features an incredible take on Willie Nelson’s “Night Life.”
Obsession: I would say playing slide in open tunings. I have been playing mostly standard tuning for the simple convenience of it, but nothing is quite as filthy as playing slide in open G or open E. I’ve been bringing out two guitars specifically for those two tunings and it’s been a lot of fun.
Bret Boyer - Reader of the Month
Photo by Jamie Hicks
Recorded in a single take in 1971, Spence’s vocal style complemented his folky, angular guitar approach.
A: If you’ve never listened to the Bahamian guitarist Joseph Spence, you are in for a treat. Joseph is such a unique guitar player and singer, and his music is the purest expression of joy I’ve heard on an album. Start with Good Morning Mr. Walker; it’s a great reminder to have fun and be yourself.
Obsession: Hub Hildenbrand’s music is very personal and unlike anything I’ve heard on guitar. Check out the album When the Night Lost Its Stars. He even bows his 1953 Gibson archtop on two tracks. Hub draws deeply from non-Western music, with a strong influence from the oud tradition in his playing. His music is quiet, deeply reflective, and searching.
Nick Millevoi - Senior Editor
A: Steve Reich’s “Electric Counterpoint,” the original version performed by Pat Metheny. It shows that since the guitar is capable of anything, you might as well use it to do exactly what you want to do and have some fun. And for experimentalists, it’s a great reminder that there’s so much you can do using nice, tonal chords.
Obsession: The EHX Attack Decay has been delivering loads of inspiration lately. After buying one earlier this year, it hasn’t left my board. The premise is simple—create swells with controls for attack and decay speeds—which leaves so much to be discovered.
Ted Drozdowski - Editorial Director
A: Son House’s Father of the Delta Blues, because it’s a reminder that music is something elemental. It comes from the soil and is more deeply embedded in us than our own DNA. House’s performances are Heaven and Hell, doubt and surety, love and death. It’s that raw, true, and beautifully imperfect—poetry that breathes.
Obsession: Prog rock, thanks to recently experiencing the BEAT Tour and David Gilmour live in the same week. That reminded me of how sublime prog can be when it functions on an empathetic level first. My bedrock for prog remains In the Court of the Crimson King.
