This is a gorgeous 1956 Super 400 with Alnico Staples, only made for a very short time. It sounds airy and open with the typical single coil sound those pickups produce. It is all original with no modifications (except my personal Barney Kessel style knobs for better visibilty of the setting). Of course it has the 1" 11/16th nut and an ebony fingerboard, nitrocellulose lacquer, split-parallelogram mother of pearl inlays and the classic S400 trapeze tailpiece. The parallel braced carved top in combination with the single coils makes the voice of this instrument so clear, open and articulated! I am a big Doug Raney fan and love the sound he had with his P-90 equipped ES-350. This Super 400 often reminds me somewhat of his recordings, e.g. his solos on Chet Baker's "Daybreak".

This is a beautiful 1968 L-5 with a Florentine cutaway, custom ordered in the color black - which makes it a unique and impressive masterpiece. With its pattern number sticker PUs, it sounds midrangy, warm and compressed, great for single line soloing and octaves.

It is all original with no modifications and looks absolutely stunning in the stage lights. Of course it has the 1" 11/16th nut and an ebony fingerboard, nitrocellulose lacquer, mother of pearl block inlays, flower pot headstock inlay and the classic L-5 trapeze tailpiece.

This is a real Bebop guitar, reminding me of the sound on some Pat Martino or Bruce Forman recordings.

For many years I wanted a vintage L5 (Wes's guitar) which was not easy to find: The good ones that sound great, have been treated well, are unmodified and - when you're lucky - also look beautiful are hardly ever for sale.

My 1967 L5 C-ES had everything I ever dreamed of: Atypical for that year, it has a round cutaway, 1" 11/16th nut and medium neck. When I first played it at a store in London it was love at first sight. From there, it got better. Playing hundreds of gigs with it, I learned how versatile and powerful it is. It has every beautilful jazz guitar sound you could possibly want for.

The original Pat# sticker PUs sound warm and rich. It has an ebony fingerboard, waffle back tuners, a tune-o-matic bridge, a beveled 5-ply tortoise shell pickguard, the original amber top hat knobs, block mother of pearl inlays, and the L5 gold tailpiece.

This is a beautiful sounding Super 400 from the early 60s when Gibson made them with the comfortable medium D neck profile that is my favorite of all times. The Charlie Christian pickup by Pete Biltoft produces an incredibly rich, smooth, open tone - you never want to put down this guitar.

The pickguard was custom made to fit the shape of the CC perfectly and is fitted with a Bumblebee capacitor for smooth tone transistion.

All original with no modifications other than the pickguard/pickup combination and no flaws this is a rare find! It has vibrant sunburst finish with a nitrocellulose lacquer that lets the wood breath and sound.

1" 11/16th nut with an ebony fingerboard. Kluson waffleback tuners, original compensated adjustable rosewood bridge, split-parallelogram mother of pearl inlays, trapeze gold tailpiece.

The X-braced carved top in combination with the CC pickup makes the voice of this instrument so powerful and deep yet clear and nuanced!

This is a gorgeous 1967 Gibson ES330, all original with loads of output. The P-90s have that unique single coil sound that works for Grant Green-like jazz lines, but also for bluesy or fully distorted solos.

This is my personal crazy mod: A 1969 ES-150 with three different pickups for a huge variety of sounds. Each PU can seperately be switched on or off, so every combination of 1, 2 or all 3 of them is possible.