This Mario Beauregard SJ guitar was built during 2008 and pairs a European Spruce top with a spectacular, top grade set of Brazilian Rosewood for the back, sides and head plate. The neck is Mahogany, and the fingerboard and bridge are Ebony.
Gibson launched the Sheryl Crow Southern Jumbo Model A as a 2013 model to celebrate these classic guitars. Ms Crow has long played the SJ, or its renamed descendant, the Country-Western model. While these officially launched for the 2013 model year, they started appearing in late May 2012. The documentation for this early production guitar specifies a final checkover date of June 18, 2012 at the Gibson Acoustic plant in beautiful Bozeman, Montana.
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The Gibson Southern Jumbo is closely related to the classic J-45, and at times the differences have been mostly market driven and cosmetic. Apparently named to appeal to Gibson dealers in the American South – referring to the Mason-Dixon line, the Southern Jumbo or SJ uses slope-shoulder, spruce and mahogany body construction. The key differences are additional binding on the fingerboard and split-parallelogram position markers.
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Here we have a vintage Gibson SJ from 1972 at the historic plant in Kalamazoo, Michigan. It features a Spruce top with Mahogany for the back, sides and neck, with Rosewood for the fingerboard and bridge. The SJ is a somewhat more ornamented model, so the fingerboard is bound and has split-parallellogram position markers. It also features a standard adjustable saddle, in Rosewood; some earlier models used a ceramic saddle. The finish is the original sunburst executed in nitrocellulose lacquer. The scale length is longer than many other Gibson models at 25.5 inches. This brightens the tone slightly and brings the feel closer to Gibson’s main competitor, Martin.
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When Bill Collings decides to make something, as we have all come to know, he doesn’t mess around! So when he decided to tackle the task of creating a ‘small jumbo’ that would offer a different sonic slant to the Collings tone palette, it was no surprise that the Collings SJ workmanship was immaculate and the wood selection of the highest standards.
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I came to Twelfth Fret with an all original 1967 Gretsch Chet Atkins Tennessean which I had purchased online. The guitar was barely playable, would not tune and was just a very expensive disappointment. After a consultation with Scott, he came up with a plan to see if this guitar could be brought back to life. After great communication, Scott put his skillful hand to work and gave me back one of the greatest guitars I have ever played!
I went from totally disappointed with this guitar, to it being one of my favorites. I don’t know how Scott did it, but unbelievable. Great communication throughout the process, incredibly skillful work, and most of all just a real desire on Scott’s behalf to bring this thing back to life as best he could. I went from having totally given up, to very boastful to own this guitar. Completely blown away.
Absolutely no hesitation bringing any future projections to Scott and the rest of the staff. Thank you so much!
Brian – the guitar is home! No problems, it took a long time to leave Canada (strikes I presume), but then it was fast, no problems with customs agencies and all. It’s really a great guitar, exactly what I was expecting, it suits perfectly to my playing.
Thanks!
Picture attached: the Piccolo with her old sisters.
