Gypsy Jazz Guitar, with its distinctive tone and rich history, holds a captivating place in the world of music. Originating from the collaboration between Italian luthier Mario Maccaferri and French instrument maker Selmer in the 1930s, this unique instrument quickly became synonymous with the legendary Django Reinhardt and the vibrant genre of Gypsy jazz. This guide dives deep into the world of gypsy jazz guitars, exploring their origins, defining characteristics, and what to consider when choosing one for yourself.
The Birth of an Icon: Selmer-Maccaferri and its Legacy
The story of the gypsy jazz guitar begins with an innovative partnership. Maccaferri, a musician and luthier, joined forces with Selmer to create an instrument that was revolutionary for its time. The initial Selmer-Maccaferri design was truly unique, characterized by a large D-shaped soundhole, often called grande bouche (French for “large mouth”). It also featured a wide, floating bridge, an ornate tailpiece, a gently arched French spruce top (not carved like traditional archtops), and ladder bracing for the top and back. Notably, it was the first guitar to incorporate a cutaway and a steel-reinforced neck, forward-thinking features for the era.
While forever linked to Gypsy jazz and Django Reinhardt, the Selmer-Maccaferri guitar was initially designed with classical guitarists in mind. Thomas Davy, owner of djangoguitars.com and a renowned Gypsy jazz guitarist, explains, “The first examples were built with [Maccaferri’s] internal resonating chambers to be very present and loud guitars.” Maccaferri’s goal was to create an instrument with exceptional volume and projection, suitable for concert halls.
Close-up of a Selmer-Maccaferri guitar's large D-shaped soundhole, showcasing its unique design and historical significance in gypsy jazz music.
Interestingly, unlike many high-end steel-string or classical guitars that utilize solid backs and sides, the Selmer-Maccaferri guitars typically featured laminated Indian rosewood for the back and sides. This wasn’t a cost-saving measure but a deliberate sonic choice. Davy clarifies, “The use of laminate was designed to isolate the top. An arched/bent pliage top and laminated back and sides make the sound reflect outward as much as possible, so the attack of the guitar is quite immediate.” This construction technique contributed significantly to the guitar’s bright, projecting tone, essential for cutting through ensemble performances.
Maccaferri’s collaboration with Selmer was relatively short-lived, lasting only 18 months. After his departure, the original design underwent modifications. One significant change was the introduction of a smaller, oval soundhole, known as petite bouche (“small mouth”). Another key modification was the adoption of a longer scale length of 670mm (26.38 inches). Despite these changes, Maccaferri’s name remains indelibly linked to this iconic instrument, forever associated with the distinctive sound of Gypsy jazz.
Navigating the Gypsy Jazz Guitar Market: Key Considerations
When embarking on the journey of purchasing a gypsy jazz guitar, the intended musical style becomes a crucial factor. If your passion lies in authentic Gypsy jazz, whether as a dedicated hobbyist or aspiring professional, seeking out a Selmer or Maccaferri replica is highly recommended. Davy emphasizes, “For an authentic sound, you’ll definitely want to look for some of the things that were found on the original guitars.”
Essential features to look for include a solid, arched spruce top, laminated rosewood back and sides, and a walnut neck. The later-Selmer style, characterized by a 14th-fret neck-to-body joint and a longer scale length, is a popular and versatile choice. This configuration generally produces a brighter, more cutting tone, making it well-suited for a variety of playing situations. Conversely, the earlier Maccaferri style, with its 12th-fret neck joint and shorter scale length of 648mm (25.5 inches), offers a slightly sweeter, more harmonically rich sound and can be more comfortable for some players due to the shorter scale.
It’s a common misconception that Django Reinhardt primarily played the 14-fret model, often seen in later photographs. Davy points out that Reinhardt initially used a 12-fret guitar, as heard in early recordings like “My Sweet” and “Sweet Georgia Brown.” This highlights that the 12-fret model is not merely a rhythm guitar but a capable instrument for soloing as well.
However, if strict adherence to historical accuracy is not a primary concern, and you seek the core sonic character and feel of a gypsy jazz guitar with broader tonal possibilities, exploring instruments with non-traditional features can be rewarding. Davy suggests, “If you’re going to be doing stuff other than straight Gypsy jazz—and you want a bit more mid- or high-presence, for example—you might try a guitar with solid back and sides.” Experimenting with different materials and construction techniques can lead to unique and inspiring sounds.
Understanding the Unique Sound and Setup of Gypsy Jazz Guitars
First-time encounters with gypsy jazz guitars often bring surprises regarding their sound and playability. Many musicians are initially struck by the distinctive tone, which Davy describes as “nasal- or crunchy-sounding—or just weird.” He affirms, “But that’s exactly how a Gypsy-jazz guitar should sound. And it’s also why it’s best to first experience Gypsy-jazz guitars in person.” This unique tonal quality is integral to the Gypsy jazz sound and contributes to its characteristic charm.
Playability also differs significantly from typical steel-string guitars. The optimal setup for a gypsy jazz guitar involves a higher action. Davy explains, “The action on a Gypsy-jazz guitar is generally three millimeters above the 12th fret on the low-E string and around 2.8 on the high-E,” which is noticeably higher than standard steel-strings. Attempting to lower the action too much, a common mistake among beginners, can result in a loss of projection and power. The higher action, coupled with appropriate string tension, is crucial for achieving the characteristic volume and responsiveness of these instruments.
Close-up of a Selmer-Maccaferri guitar's large D-shaped soundhole, showcasing its unique design and historical significance in gypsy jazz music.
While higher action is part of the design, it’s essential to ensure a proper setup. Entry-level gypsy jazz guitars may require additional adjustments to optimize playability and sound. If purchasing online, factoring in the cost of a professional setup, potentially around $200, is advisable. Davy notes that common setup tasks include “fret dressing, adjustment of the bridge feet to properly contact the top, notching the bridge to ensure proper string spacing, and making sure that the tailpiece insert is fitted to ensure that there is no rattle.” These adjustments are crucial for unlocking the full potential of the instrument.
String choice is another critical aspect. Standard medium phosphor-bronze strings are not suitable for gypsy jazz guitars. The recommended strings are silver-plated copper on a steel core, such as Savarez Argentine Gypsy-Jazz Acoustic Guitar Strings. Davy mentions, “The standard gauge for these is .010 on the high-E string. They’ve been used by every famous guitarist in the genre, including Django.” These strings provide the correct tension and tonal characteristics for the instrument.
Finally, the plectrum, or pick, plays a vital role. A typical medium flatpick used for steel-string guitars may not produce the desired tone and volume on a gypsy jazz guitar. Specialized, thicker picks, often up to 6mm thick, are preferred. Davy recommends brands like Wegen or Djangojazz, handmade picks favored by many Gypsy jazz players. His shop also produces plectrums from Galalith, a casein-based synthetic material similar to tortoiseshell in sound.
Embracing the Gypsy Jazz Guitar Journey
Purchasing a gypsy jazz guitar is the beginning of a unique musical journey. It’s important to approach it with realistic expectations regarding sound and feel. In many ways, it is a distinct instrument from a flattop steel-string guitar, demanding new techniques and requiring patience to master. As Davy aptly puts it, “You have to learn to play these guitars. It’s an acquired skill that comes with time and experience.” The journey of learning to play gypsy jazz guitar is a rewarding one, opening up a world of expressive musical possibilities and a connection to a rich musical heritage.
While the article mentions specific guitar models available at the time of writing, it’s important to note that product availability changes. However, brands like Gitane Cigano Series, Altamira, Dell Arte Manouche, Geronimo Mateos, and Dupont are historically significant and worth researching when exploring gypsy jazz guitar options.
Just as players embark on a learning curve, so do builders. Eastman Guitars’ experience, as shared by Bob Bakert, highlights the challenges in capturing the authentic voice of a gypsy jazz guitar. Their dedication to achieving the “beautifully loud sound” underscores the nuanced craftsmanship required to create these instruments. Exploring the world of gypsy jazz guitar is an exploration into a fascinating intersection of history, craftsmanship, and musical expression.
