March 2006 Jazz Instrument Update

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March 2006 Jazz Instrument Update

Tuesday, 13 February 2007 11:37

Andy Crockett JC1 Guitars
Luthier Andy Crockett started building his unique semi-acoustic jazz guitars back in 1975, to a design by his long time friend and guitarist Jon Case. The culmination of their partnership is the JC1. Built in the D’Angelico tradition, but with a contemporary twist, it’s asymmetric shape gives it the look of a full size jazz guitar, while coming with the balance and comfort of a more compact model. Used by players such as Jim Mullen, it has the advantage of a greater bass string length, with consequently more tension, offering the player the opportunity to use lighter gauges at the lower end. With a customising facility, these instruments can be built to your very own specifications. But be warned – perfection comes at a price. March 2006 Jazz Instrument Update

Trevor James Performers/ Masters Alto Flutes
With its dark ethereal tones, the Alto Flute is seeing something of a renaissance, particularly in jazz circles, and the Trevor James company have just produced a couple of excellent silver plated models in the shape of the “Performers” and the “Masters.” Both instruments come with a hand cut embouchure hole and blow like a dream, offering the player extraordinary tonal flexibility, while the double skin yellow pads give an accurate airtight seal that produces a clear and immediate response every time a key is pressed. Indeed the whole key mechanism on both of these flutes has been designed to give the very best in comfort and ease of playing. The Masters model though is exceptional, with a 925 solid silver head joint and French style pointed key arm mechanism. We reckon that this is a flute that will outshine many twice the price. If you prefer a curved head joint, you’ll enjoy playing the silver plated Performers, which also comes with a straight head joint or a combined double head package. The Masters however, only sports a straight head joint. But whichever way you look at it, these flutes are very definitely where it’s at.

Tomastick Infeld George Benson Jazz Strings
These nickel round and flat wounds are something else. Made in 12 and 14 gauge sets, they are as smooth as silk and remarkably responsive, with the sort of pure and clean tone that jazz guitarists die for. Needless to say, they offer true intonation. But they also have excellent sustain capability that will hold that note where you want it for a seemingly indefinite period of time. The same could also perhaps be said for the “lifespan” of these remarkable strings. Unless your one of those players who religiously puts on a new set for every performance, these Tomastiks will give weeks of reliability for the regular gigger. OK, they’ll cost you a few pence more than your standard set of D’Addarios. But boy, do they sing!

Yamaha Elvin Jones Snare
Not exactly new to the market, but with a style, sound, feel and quality that’s sure to raise an eyebrow or two, the Elvin Jones snare is about as jazz specific as you can get. They say that Jones requested a snare drum that would cover everything from intricate brushwork to dynamic rolls. The result was a 14X7in, all maple 7-ply shell, fitted with vintage wood hoops, small gold lugs and finished in ‘Gold Sparkle’ – to complement the hardware. Fitted with a standard Yamaha coated head, this extraordinary drum has a unique dynamic and timbric quality that will warm the cockles of even the most discerning skin skimmer. Give it a road test – and be amazed.

Zildjian K Custom Hybrid
These brand new K Custom Hybrid cymbals are just what the doctor ordered – a cymbal line with maximum versatility, where a natural brilliance and darkness co-exist to create a magical palette of sound. Designed in collaboration with top Japanese drummer Akira Jimbo, the Hybrid cymbals bring a new and innovative design to cymbal making, combining the unlathed, brilliant finish of the K Custom Ride on the inner half, with the traditionally finished K Zildjian lathing on the outer half. This offers the possibility of two different sound dynamics, depending of course on where the cymbal is played. Added to this, the unlathed section helps to control the wash and sustain, making these Hybrids ideal for recording and live situations. Particularly interesting is the new ‘Hybrid hammering’ to the 13 inch hi-hat, resulting in an increased surface area contact between the top and bottom cymbals. This gives a warmer chick and wash than is normally found in standard Mastersound

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