Back in 1996 when I first picked up a guitar, the 7-string guitar was a rare sight, almost an anomaly. It certainly wasn’t on my radar as something I would ever play.
Fast forward to 2004, and I found myself at a Benedetto Players concert in Savannah. The lineup was a dream for any jazz guitarist: Bucky Pizzarelli, Frank Vignola, Jimmy Bruno, Howard Alden, and Martin Taylor. I was completely blown away by all of them, each with their unique and inspiring approaches to the instrument. However, it was Howard Alden who truly captivated me. The way he utilized the extended lower range of his 7-string was something I had never experienced before. It opened up a whole new sonic landscape that was incredibly intriguing.
In the years that followed, my gigs started to lean more towards solo and duo performances. Having studied with some fantastic teachers, the idea of making the guitar a self-sufficient rhythm section was always appealing. I was regularly working with vocalists and horn players, and occasionally in duo settings with drummers.
Taking the Plunge in 2009
This was a significant year for me, marking one of the biggest musical investments I’d ever made. I had built a good relationship with Jerry Sims at Sims Music in Columbia, SC, and I had the opportunity to try out several guitars in his shop. Among them was a Benedetto Bravo 7-string. It was instant infatuation.
By 2010, once the guitar was completed, it became my primary instrument. The thought of adding an extra string had initially seemed daunting, but the learning curve was much smoother than I anticipated. Adopting the George Van Eps tuning (standard tuning with a low A) definitely eased the transition. Being heavily influenced by the legendary Joe Pass, I was already comfortable with his chord melody and walking bass line techniques. Now, with the 7-string, I had over half an octave of extra low range to explore! Understanding chord construction on the standard low E string and applying that knowledge to the low A string unlocked richer, fuller sounds and more interesting chord voicings that were simply unattainable on a traditional 6-string guitar.
The difference was immediately noticeable to my fellow musicians, especially the bass players… but I won’t dwell on that too much, I still value their friendship!
A 7-String Convert for Life
At this point, playing a 7-string feels completely natural, my most comfortable playing situation. Whenever I switch back to a 6-string, it almost feels more challenging than that initial transition to the 7-string! I would encourage any guitar player, regardless of genre, to spend a couple of weeks with a 7-string and see if they don’t feel the same pull. Rock players often tune the low string to a B, which makes perfect sense for that style, but I personally prefer the Van Eps tuning.
While we 7-string players might be a smaller community, we are definitely out there. George Van Eps introduced the instrument to the jazz world many decades ago, and we all owe him a huge debt of gratitude. Today, there are incredible players like Bucky and John Pizzarelli, Howard Alden, Craig Wagner, Steve Herberman, Ron Eschete, Ted Ludwig, Steve Masakowski, Howard Paul, Chip Henderson, and Gerry Beaudoin, all making their unique mark on the 7-string landscape. And for something truly groundbreaking and a player who has been a massive influence on me, check out Charlie Hunter. His approach is unorthodox and revolutionary.
The extended range of the 7-string is a game-changer for solo guitar and accompanying vocalists, but it also fits surprisingly well in various ensemble settings. When playing with a bass player, it’s simply a matter of being mindful of their register. It even works wonderfully in an organ trio, offering a break for the organist if needed.
These days, most of my performances are solo, and I’m constantly learning new tunes, which continuously opens up new avenues for exploring the guitar. I can confidently say that I am a 7-string player for life.
