W.J. JONES

“I consider handmade musical instruments such as the guitar to be one of the consummate multi-disciplinary examples of craftsmanship and design. Not only is this an object at which to look and admire, it is also a tool for creating something beyond itself. Guitar music is the product of the union or symbiosis between instrument and player, setting a daunting list of challenges before the guitar craftsman.

These guitars represent my passion and further evolution as an artist craftsman.”  - From the William Jeffrey Jones Website

Fun and mind-boggling fact: In the last 15 years, more guitars have been produced than in all of history proceeding. Amidst the tremendous abundance of options produced by the major manufacturers, mass manufacturers overseas, and even those coming from well-established smaller “boutique” builders, it is easy to overlook the very real subset of artisan-made guitars.  Yet, the varied landscape of lutherie is replete with individuals who are still bravely keeping the flame alive, builders who embody the very essence of our often-celebrated romantic vision of one man making a guitar by hand. Unfortunately, in light of the competition, very few of these builders ever achieve the recognition that delivers a healthy and viable career in guitar building. For every Jim Olson, Ervin Somogyi, Kim Walker, or Paul Languedoc, there scores of very talented luthiers existing in relative, if not complete, obscurity.  Thus, whenever a hitherto unknown, but manifestly high-quality guitar, such as this iO Longhorn appears before us, we are genuinely excited and intrigued.

Along the lines of the remarks above, the builder of this guitar, William Jeffrey Jones, does not have much of a presence in the guitar market.  Evidently, he is multi-disciplined artist with interests in ceramics, sculpture, woodworking, and music. Needless to say, his enthusiasm for woodworking and sculpture are readily on display with regard to his guitars, many of which feature elaborate relief carvings, in addition to a general theme of unique wooden components (e.g., cover plates and pickup covers).  Though this iO Longhorn model does not feature any relief carving, there is certainly a very considered approach to its sculpted body design that is at once familiar but novel (a tricky thing to achieve in art!).  For example, the slightly oblong double horn body channels elements of both Alembic and PRS, but the sight lines of the body contours, the headstock shape, and the set flamed maple neck joint are more dramatic. Regardless of the inspiration, these design elements culminate in a truly elegant visual and, more importantly, physical balance.  Meanwhile, the Danish oil and Tru-oil finishing approach seen on this guitar is more consistent with that of furniture makers and wood turners.  One could argue that hand-rubbed oil finishes of this nature yield the ultimate satin finish, both in terms of feel and texture. The oil finish creates warm, shimmery visual depth that allows the hue and grain of the woods to pop without being garish.  All of these features, including the wood choices themselves, reflect the sensibilities of a craftsman who has profound respect for nature and who greatly values the materials he utilizes.

 Of course, we frequently see instruments that are beautiful displays of woodworking talent that disappointingly miss the mark when it comes to their principal function as a musical tool. In the case of this iO Longhorn, we are very pleased to see that the function of this instrument is on par with the quality of build. For example, our primary concern when evaluating any guitar’s function as a musical tool is its neck. Here, we were most impressed by the fantastic fast neck feel of the iO Longhorn—without being too thin, the shape is a relatively low C, reminiscent of a modern “pointy guitar.”  Likewise, the fingerboard and fretwork are consistent with what we would hope to find on any top quality build.  Finally, in an amplified setting, the Jason Lollar P-90s deliver excellent sustain, body, and detail, as well as that distinctive and very appealing P-90 aggressiveness-on-demand response. 

Thus, while this W.J. Jones iO Longhorn is certainly not an instantly recognizable guitar, it is absolutely a living portrait of guitar making at its core—a highly expressive musical tool that is the realization of a disciplined craftsman’s unique artistic sensibilities.  Whether for a collector or a player looking for inspiration from something that is well off the beaten path, this beautiful guitar is a true find!

Condition

This guitar has no structural issues to note, and otherwise exhibits minimal signs of us. NEAR MINT Condition

• Double Cutaway Solid Body
• Single Piece Carved Curly Walnut Top
• Walnut Body with Maple Veneer Center
• Danish Oil and Tru-Oil Finish
• Flamed Maple Neck
• Medium-Thin C-Shape Neck Carve
• Macassar Ebony Fingerboard
• Walnut Headstock Veneer with Ebony Logo
• Dual-Action Trussrod
• 12” Fingerboard Radius
• 24 Frets (Excluding Zero Fret)
• Mother of Pearl Side Dots
• Black Tune-O-Matic Bridge (String Through Body)
• 6-In-A-Line Lock Gotoh Tuners
• Lollar P-90 Pickups
• Graphite Nut
• Ebony Control Knobs (Master Volume, Master Tone)
• 3-Way Toggle Pickup Selector
• 1-11/16” Nut Width
• 25 ½”” Scale Length
• 7.55lbs
• Rectangular Open Cavity Gator Hard Case