기타 & 장치
재즈 기타의 우리의 숙녀의 호의를 보인 장치.
그녀가 장비에서 하고 좋아한 무슨을과 모든 가용정보 관련된 것.
오늘 후원 예정표에 널리 퍼진 그것으로 음악 산업에서 곳에 아닙니다 때 다량 예술가가 좋아한 장치와 계기의 이름 제공에 주문되는 이렇게 이번에 기록되는 Emily. 그녀의 CD의 모든 삽입은 목록으로 만들어 다만 위에 놀기 것과 같이 일시적으로 그녀를: 기타.
그러나 그녀는 그녀의 손에서 일정하게 있던 무슨이의 기사와 면접시험에서 그녀의 마음에 드는 상표의 언급 때때로와 명확하게 사진의 제비가 있다, 저것으로 우리가 알고 있는 우리가 당신이 아무데도 찾아낼 그녀의 장치에 관하여 원근법을 보고 희망이 있 제공하는 무엇이라고, 무슨을 우리는 덮고.
를 위한 그녀의 열정 Gibson ES-330 아주 잘 문서화된다. 그녀의 형제 330가 그녀가 위에 연주 시작한 계기다는 것을 알아내는 것은 단단하지 않다. 당신은 그녀의 경력을 통하여 그림에서 그것을, 그것이다 주 Emily의 기기묘묘한 버찌 빨강 모형 주의할 것이다 그러나 기타는 이 특정한 포도 수확 계기에 아주 희소한 수정이었을 humbucking 픽업으로 변경되었다. 1개 소유에서 심각할 것이 그들은 경매 위치에 그들을 정기적으로 찾아낼 것이다.
첫째로 석방될 때 Gibson ES-330는 학생 계기이기 위하여 예정되었다. 그것은 더 적은을 위한 "가난한 사람 점 감적"의로 실제로 이렇게 많은 소유자가 최고 선 335's의 specs에 330를 당시에 사고 주문을 받아서 만들기 수 있었기 때문에, 가격 멀리 불렸다. 그것은, 주축대에 크라운 주제를 놓쳐서 장식되어, 이용한 단 하나 코일 P90가 humbuckers 대신에 올리고, 제 16 번민에 몸에 가입해 달라고 했다 fretboard를 교량의 다른 장소로 옮기기 일으키는 원인이 된 정상적인 제 19 아닙니다 쑤신다 결코 없었다, 그러나 레테르를 붙여서 기타가 그것을 초래하지 않은 학생이라고 음질 또는 전문가 구조는 이다. 초심자 선수 저쪽에 호소하는 입증되는 330's 멋진 성과. 그리고 결국, 배우골 그리고 어쨌든 음악에 올 때 우리는 모든 끊임없는 학생이 아닌가? 기초가 튼튼한 ES-335에서 thinline 330에 가장 큰 변화는 더 컸던 것과 더 일반적으로 bodied 청각 전기 모형을 연관된 기타에서 깊은 가능하게 한 나무로 되는 중심 구획 결핍, 가득 차있는 소리를이었다. 이른 방출의 꼬리 조각은 정확하게 그것이 나누어 준 우아해고, 그러나 부유한 음색, 놀기 위하여 그것에게 꿈을 만들어진 안락한 크기, fretboard 차원 접근가능성이 아니었다.
그녀는 시도했다 Gibson ES-175 
일찍부터 그러나 저것을 보고하는:
그것은 나의 장점인, 나의 채집이 피로하게 얻을 것이다 그런 방법으로 너무 뚱뚱하 나의 오른팔을 제한했다. The 330 has a nice thin body, so I don’t have the problem. 
Emily’s 330 is showcased on her very first two albums, Firefly and Take Two, and again later you will see it in the promo photos for Transitions and is pictured in the inserts for This Is Me, so she never traded it in, from the beginning to the end, the 330 was clearly one of her favorites.
velvet boots, floral leg warmers and a 330, can you dig it?
The first we see of the Ovation acoustic was around the mid 80’s. Emily was gearing up for her recording with Larry Coryell in Charlottesville, Virginia and Ed Deasy took several black and white photo’s showing her in trance with a 1984 Collectors Series Ovation (some of my absolute favorite images of her). Indeed, the credits for the album, Together, lists Larry playing a ‘67 circa Gibson Super 400 electric and Ovation Adamas acoustic and Emily playing the Ovation Adamas acoustic and Borys B120 electric. She also used that Ovation for the 3 standout solo performances captured on The Guitar Show JazzMasters series.
It’s a gorgeous, dark walnut finish guitar with a leaf motif around the soundholes. ADAMAS II Models were introduced in 1981 with the standard Ovation neck and bridge, and was available as acoustic electric only. The Collectors Series followed in 1982 with the wood-top Adamas prototypes named Elite, and labels that were marked with N-19-82WTSL ( the WTSL for Wood Top Super Legend).
2,637 were made for that year and if you are patient, you can still find them up for sale now and again. The collectors series was a super shallow body, spruce top with an ebony fretboard, inlaid at the 12th fret with hard maple and the year 1984 contrastingly set into that.
It has a beautiful acoustic sound plugged in, with the classic ovation overtones and the super low action coupled with wide frets gives it an electric fretboard feel.
She really played it to all it’s perfections in the JazzMasters show. You can check a few of those solos out on the Em-cast page.
Korocusci Classical Guitar
If you ever heard Emily playing some of her Brazilian style jazz (and it’s very apparent on her version of Afro Blue) and thought hey, that sounds like a nylon string guitar, it was. This is the least searchable of all her guitars but she does talk about it in a few articles around ‘80 - ‘81 , where she says:
” I recently bought a new Japanese classical guitar called a Korocusci. I got it because I do a lot of work with Astrud Gilberto, and she does a lot of bossa nova tunes. So the classical guitar is a necessity. I used to borrow one every time I worked with her, but because we were going into the Brecker Brothers’ club, Seventh Ave. South, I wanted a new guitar for the job. ”
It appears to be a virtually unknown guitar model name or manufacturer so I have no further info to offer, but if you know this guitar or have pictures, feel free to use the contact page and share your knowledge.
Could this be a picture of the elusive Korocusci ??
Peroria, Illinois, 1981 Emily, Monty Alexander & Paul Berner
Casio PG-380 Synth Guitar
Early on, Emily leaned toward being a traditional player with a straight ahead, hard bebop style and no desire to alter those pure tones. She had a great respect for the music she was trying to convey from such Masters as Clifford Brown, Sonny Rollins, Wes Montgomery and Bobby Timmons, and felt it would be wrong to “wash” the delivery of their songs with any guitar or amplifier effects. But near the end of her career, as she was establishing her own style and playing with the new technology of the times, she did begin to venture into the electronic side of jazz music and her instrument of choice was the Casio PG-380 Synth Guitar. The only commercial album that featured her Casio was her last, This Is Me, and is so prominently displayed on the song, Simplicidaje, but you will immediately notice that the entire album has a different feel and attitude from her previous releases, due in part from the inclusion of her new found special effects.
It’s too bad for us that most of her playing and experimenting with this guitar’s limitless sounds was done in her home studio without the benefit of a recorder but some of her friends remember enjoying many jams and soloing out of the Casio that we will unfortunately never know.
Casio PG-380
Initially released in 1987, this series of synth guitars were based on a “Strat” style Ibanez design and featured an easy transition from normal electric vocals to well over
60 preset sounds.
Casio introduced five MIDI guitar models in ‘87: The MG-500 and MG-510, and the PG-300, PG-310, and PG-380 that were part of their second generation of professional instruments (which also included the VZ-series synthesizers and the FZ-series samplers).
The guitars themselves were produced under contract for Casio by Fuji Gen Gakki, who also built the Roland and Ibanez MIDI guitars.
The PG-380 was Casio’s top of the line guitar listing for about $1500 and sported an Alder body longer than a Strat’s and without the tummy cut and armrest contouring of a Strat, due to the numerous cavities routed in the body to accommodate the electronics. The neck and bridge pickups were both a single-coil humbucker splittable by a push-pull switch on the tone control and a Gotoh Floyd Rose-style locking vibrato. The neck was made of maple with a 22-fret ebony fingerboard and locking nut.
It gets very good reviews from current owners and is one of those guitars that will pop up from time to time on auction sites for less than half of it’s original price.
The beloved B120 HollowBody Electric was maybe her favorite choice toward the end of the 80’s. It appears in many of the pictures you can find of her, and most notably on her two excellent lesson videos, Bebop & Swing Guitar and Advanced Latin & Jazz Improvisation. It is also mentioned as her electric choice for the Together album with Coryell and you can see in Ed Deasy’s photo’s of the Charlottesville sessions, it was already her guitar of choice before recording the duo album.
Even without seeing the inlaid name in the head stock, you will always know a Borys by the unusually thin and angular pick guard (Emily’s was made of a dark wood, either walnut or one of the tropicals, but this was probably an extra option). He began building guitars in 1974 in Burlington, Vermont, eventually evolving to a series of guitars with jazz musicians in mind. Ken Armstrong developed a special pick up just for them, that induced a rich tone from the trebles while retaining a crisp edge in the bass. They came with ebony pickguards and knobs, mother of pearl markers and one of the finer adjustments was the ability to change string tension by raising or lowering the solid brass tail piece. It’s a beautiful guitar and the tone speaks for itself.
Borys apprenticed with Jimmy D’Aquisto and made laminated body plates for Jimmy’s jazz electric guitars ( the Jim Hall - D’Aquisto guitar) into the 1990’s. The BG series was designed in collaboration with Jimmy D’Aquisto and Barry Galbraith, hence the “BG” in the name.
I understand Roger Borys is still building guitars in northern Vermont with limited production. But they are after all still made by hand, one at a time. Good luck in finding a used model at vintage guitar sites or ebay and if you do, expect to open your wallet a little wider than normal.
see the special collections page for more vintage Borys brochures and literature.
Of interest, in one interview Emily spoke of owning an Ibanez GB-10 
(early on in her New Orleans experience ) , a signature series George Benson model, which is a little like the Gibson ES-175, Here’s what she had to about it.
It was good because it was thin enough, but I found that it was good only if you wanted to sound like George Benson. the top strings were very chinky and trebly. the low strings were warm and bassy, but they didn’t sustain at all. It got a very percussive sound, like the way George plays. It was perfect for me in some ways, but I wanted a guitar that I could use for rock work, and it was terrible for that.
Other Gear
Amplifiers
On the list of amps Emily is known to have liked are: Roland Chorus, Walter Woods, Music Man, Polytone and Fender. Besides of course the tone, one of her biggest considerations for an amp was related to the weight. When you schlep your own gear, how much you have to lug is a factor.
” I owned a Polytone, which is kind of like a Fender Twin Reverb, except the Twin is much too heavy for me. I can’t pick one up, so I use the Polytone. I’d much rather use a tube amp, though. I buy amps that i can pick up, otherwise I have to get strange men from the street to help me take it out of the car.”
Of note, she was a proud owner of a VW Rabbit, Volkswagen of America headquarters was located on the industrial side of her hometown, Englewood. Try stuffing a Twintube into the back of that!
Strings
The only strings I’ve ran across her mentioning or endorsing was D’Addario Half Rounds of which she said she wasn’t fussy about the exact guage and would use .011 gauge for the top but didn’t care what the rest of the strings were, but she also mentions later to leaning toward their Jazz Light gages.
Half round guitar strings are round wound with 430 stainless steel, then precision ground, leaving the outer surface semi-smooth. They retain the flexibility and tonal characteristics of round wound strings, but provide a smoother feel.
Right Down To The Pick
As her fans know Emily played a majority of her style without a pick, thus the comparison to Wes Montgomery for the use of her thumb. She was masterful with it. But when she wanted to accent a lead she would grab a pick she had been holding between her teeth and casually use it for a few minutes, then store it again. The only pick she ever mentioned using was the Fender Extra Heavy and before that she states, ” I used bits of Tupperware and pieces of wood…”.
Enough said.
