My first D'Angelico and I was blown away by the design, craftsmanship, quality and overall feel of this outstanding guitar.

It was a delight to play and that Vestax neck was the best feeling guitar I ever had played.

On top of all that, it was certainly the most versatile guitar of any I have owned.

Now:  In the capable hands of Walter Beltrami.

Having fallen for the NYSS-3b I hoped that the NYL-5 Thinline might be on a par with my Byrdland.

I had learned that Vestax guitars were out of production in early '05, however, I found this one at a store in New York and had it shipped over.

It was superb!   The design, craftsmanship and  quality of this guitar was outstanding.

Immediately it was a delight to play,  tons better than a modern Byrdland and just as nice as my classic Byrdland.    This guitar is here to stay.

Now:  Loved, polished and played regularly.

The only shortcoming with the NYL-5 is that the pickup lacks punch.    Great if I want to sound like Kenny Burrell but it won't deliver a Schofield.   The 3, however, has the most versatile electronics and I looked around for another.    

Now:  Bought by a collector who, I know, won't play it.

Not exactly a Modern Classic but a true British classic from the 50's.

I received a call one evening asking if I would be interested in this and frankly I knew nothing about Jack Abbott and his guitars.    It lead to some interesting research and I discovered a few experts, one of whom eventually bought the guitar.

Now:  I'm not sure whether it has moved on again!

By this time Vestax could do no wrong in my eyes.    I had tried the SS-3 but wanted something I could play acoustic.

I prefer short scale necks and this one has the same short neck as on the 3.     It also has a small body at 14.75" lower bout so close to the spec of Mike Vanden's Martin Taylor Artistry.   It is a really good spec for me  -  unimpaired acoustic tone and volume but lighter and much more comfortable against the body.    Quite a delight this one.   It is the guitar I play most!

Now:  A real favourite.

At the same time I saw this one advertised in the US.    Again Mint, virtually unplayed and finished in Natural.

The NYL-2 is the standard 17" body 3" deep with full scale and that same wonderful neck.   If you haven't yet tried a Vestax D'Angelico, well I can't recommend them highly enough.

I really liked this guitar.    Absolutely perfect but at this stage I already had three.   I chose to keep the small body NYS-2.

Now:  Making good jazz in Yorkshire.

I couldn't resist the look of this one.   It was a very early model and the pickup was much warmer than the later ones.     Even so I had grown to love #010 and just how many 5's can you play?

Now:  Jamming in Southend I believe.

I missed #036,  the full body version and when this CUSTOM cropped up I grabbed it with both hands.   It has all the virtues of the NYL-2 but with a carved solid Spruce top.   It has a very warm, rounded tone with superb harmonics.    Somehow a more complex sound with subtle undertones.    It is on a par with my Benedetto Fratello.

There is no way of telling that the this is a CUSTOM except that it has a hand made, bound Moccassa Ebony pickguard.   

.........  and it is in nitrocellulose Violinburst - stunning!     This finish was only available by special order for two years.    Not many Violinburst CUSTOMS were made!!

Now :   In the wrong hands.    So disappointing!

The 4 is an 18" big body version like the Super 400 and was something John D'Angelico was at the forefront in promoting when Big Band guitarists of that era complained their acoustic guitars were not capable of holding their own against the horns.

It really had a big sound but it was just too big physically for me and I felt I was wrestling with it.

Now:  Somewhere in London.

Another 2 and in Violinburst.  Gorgeous but three in a row is a bit excessive!

Now:  Down on the South Coast.

I had been looking for a Benedetto for a while. 

The Fratello is Bob Benedetto's classic design.

Fabulous, stunning in Opulent Brown, and Mint.    It is very jazzy with a rich majestic tone.   This guitar has the hallmark of a classy instrument in that it responds to the player.    It can be whatever you want it to be.    Play the same note in any position and it sounds just the same.     Perfect!

Now:  I should play it more!

Another 5.    They are so rare that when this one came up,  just like new, I thought I would keep it as a fall-back should anything ever happen to #010.

But you can't go through life doubling up, just in case.    So now I see at as an investment and a good one at that.    Definitely one to keep for now.

Now:  I look, polish and play every now and then.

The player who bought #026 asked if I wanted to buy it back.     I didn't hesitate.

Every time I play this guitar I marvel at it  -  everything is right and it feels so good to play.

Now:  Loved a little less  -  played and enjoyed much more and at the centre of the London Jazz Guitar Society.

This was the nearest I could get to a real D'Aquisto.   

The modern ones just aren't quite right but, back in 1980,  Jimmy D'Aquisto worked with the  Fender Custom Shop in Japan to produce guitars when he could not keep up with demand.

Two models were designed  -  the Standard and the Elite.    Some Elites were single pickup versions and these have become "the ones"!

Initially they were destined only for the US but it was agreed that a few could be sold direct to the Japanese market.      This is one of those.

Now:  Really swinging in Antwerp.

I found this "2" lurking in Philadelphia.    Again Mint, virtually unplayed but finished in Vintage Sunburst.     The Vestax Sunburst until 2007 was so rich,  so evocative of those early D'Angelicos, that I couldn't resist it.    

Now:  Much played and greatly loved in Australia.

This is lovely.    Again Mint, this FH (fixed Humbucker) was a Vestax Factory-fitted option.

The original Kent Armstrong has now been upgraded with a Benedetto A6.   A good move!  

Now:  Lovingly played and polished in France.

#071 (above) was a revelation and it made me look out for the real thing.    By that I mean an Elite Black Beauty with the D'Aquisto designed, Schaller made,  12 pole-piece pickup.    This one came from a little old music shop in North Carolina.  

When it arrived,  it immediately felt very special.  You know,  some guitars just feel right and sound just right.    This was the bluesiest guitar I had played for a long while.

I put D'Aquisto flatwounds on it and suddenly it was also a great jazz guitar.   

I play it quite a lot.

Now:  Back in the USA06

The Black Beauties are stunning but I had always loved the "Iced Tea" finish that was created for this model.     It is quite unlike anything else and I was delighted to have found this guitar,  another one-owner example.

Absolutely mint, still in its mint case and almost unplayed.   A very rare beast.

I strung this one with D'Addarios and it was so, so sweet!     It had superb tone.

Now:   Much loved in the Midlands.NYSS-3b.

I find myself continually drawn to these amazing NYL-2s but this time in Wine Red.    D'Angelico describe it as a rich Burgundy climaxing in a transparent Rosé.    Gorgeous ......... and, of course,  its a Vestax guitar so it plays wonderfully and sounds just right.    It is a 2000 guitar and so benefits from the earlier,  warmer,  pickup.

Now:   In professional hands.

This outstanding guitar is also listed in the Guild Gallery.

The 60's Johnny Smith Award is widely acknowledged as the ultimate Guild archtop but I was always impressed with the knowledge that Johnny Smith actually didn't like the Award and went back to plying his X-500 Stuart and his treasured D'Angelico.

But Bob Benedetto's reworking of the original Johnny Smith takes this guitar to new heights.     It is an amazing guitar.    I understand that BB consulted respected Award players and asked how they would improve it,  incorporating those ideas with his own feelings about how to create the best Guild ever.

In my view he succeeded.    This is just fabulous. 

Now:   I am looking forward to playing this over the winter.

I had heard that there was a small guitar shop in Tokyo which had a new NYSS-3b in stock.

The prospect of a "New" NYSS-3b warranted some serious investigation.    I contacted the shop and talked at length and also contacted my friends at Vestax, who I knew were still making very small quantities but for the Japanese market only.    The information I had from Vestax satisfied me that this was genuine and I ordered this amazing instrument in Violin burst.   

When it arrived here I was entirely happy that it is exactly the same as the other Vestax guitars I have owned.    The quality is exceptional and, of course,  it has THAT neck!   Since the outset, Vestax guitars have been made by Terada.   This one left the Terada plant on 24th July 2011.

Every time I play this guitar I marvel at it  -  everything is right and it feels so good to play.   The sustain is massive and yet it responds so well to gentle and subtle touches.     Magnificent!!

Now:  One to keep.

#089   Campellone 16" Standard.

Mark Campellone first came into view when I was loaned a copy of Blue Guitar.   I really liked his style and design sense but you have to play these lovely instruments to really know what they are like.    Not easy in the UK where very few exist.

I had been aware of this one for  three years before I finally acquired it.  

It is an acquired taste!!

Now:   I need to spend time with this exceptional guitar!