吉他&齿轮
我们的爵士乐吉他的夫人偏爱的齿轮。
所有有用的资料相关对什么她在设备演奏了并且更喜欢。
在音乐界每次记录Emily没有，同样多重视在提供给予齿轮和仪器的名字艺术家更喜欢，作为它很流行以今天保证人议程。 她的cd的所有插入物偶然地列出她如演奏： 吉他。
但时常有她喜爱的品牌的提及在文章和采访上和确定地许多什么的相片她经常有在她的手，并且与那我们将盖什么我们知道，什么我们看和有希望地提供透视关于您将发现无处的她的齿轮。
她的激情为 Gibson ES-330 很好被提供。 发现是不坚硬的她的兄弟的330是她开始弹奏的仪器。 您将注意它在图片在她的事业中，它是一个奇妙樱桃红模型，但笔记Emily的吉他修改了与将是非常罕见的修改在这台特殊葡萄酒仪器的humbucking的搭便车。 那些严肃在拥有一周期性地将发现他们在拍卖站点。
Gibson ES-330意欲是学生仪器，当首先释放。 它实际上指“贫困者的小点标志”，因为许多所有者能当时买和定做330到顶面线335's的specs，为价格。 它未曾是如被装饰，错过冠主题在床头柜，使用的唯一卷P90采摘上升而不是humbuckers，并且安排fretboard参加身体在第16苦恼不是正常19个，导致改变位置桥梁，但被标记吉他没有影响它的学生是品质优良或专家修造。 330's雄伟表现证明呼吁在新手球员之外。 当它来到无论如何时，学会和音乐并且在最后，不我们是否是所有永久学生？ 从源远流长的ES-335的最大的变动对细线330是使能深刻的缺乏木中心块，充分的声音从通常同大联系在一起bodied音响或电模型的吉他。 早期的发行的半端梁不确切地是典雅，而是它给予的富有的口气，做它的舒适的大小、fretboard维度和可及性梦想演奏。
她尝试了 Gibson ES-175 
在初期，但报告那：
它是太肥胖的并且制约了我的右臂，在这种情况下我的采摘，是我的优点，将得到疲乏。 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.
