1981 Jeffrey Elliott SP/CSAR

Here we have another great instrument by Jeffrey Elliott. As we've mentioned many times in the past, Jeff's guitars feature distinguishing aesthetic characteristics in the headstock shape, and even in the label artwork, which to our eyes resemble the maple leaf, symbolic of this guitar's birthplace in the Pacific Northwest. Also of note - the entire neck, heel and head are made from a single piece of Spanish cedar, with rosewood veneers on either side of the head. The sound of course is lush and full with great clarity in all voices - it has the grandeur of Hauser and the beauty of Torres, yet carries the distinct sound of its builder at the same time. It is no wonder that his clientele include the likes of Julian Bream, Marcelo Kayath, Ralph Towner, Leo Kottke, Jonathan Leathwood, Earl Klugh, and Ekachai Jearakul, just to name a few. Although a second-hand instrument, it is in excellent condition with only wear from regular use but no prior damage at all. As with all Elliott guitars that come through our doors, Jeff always extends his personal warranty to the new owner.

Here are some very interesting insights from Jeff to the guitar's prior owner about the background on this instrument:

"This guitar was my second effort to satisfy a commission from Bream (he bought my fourth a few years later), and although he passed on it, his critique was favorable and encouraging. I sold it to a local player/collector, who after two years decided to sell it. Before another buyer came along, I discovered that the c# on the first string was not quite up to par with the rest of the notes on the guitar, which was likely why the first owner sold it. As an experiment, I had originally made the guitar without a bridge patch, as I much admired Bream's 1973 Romanillos which didn't originally have one (later, I learned that Romanillos installed one in 1981). So, to continue the experiment I decided to install one, and working through the soundhole I fit and glued in place 1mm thick segments. This made a world of difference, which was immediate. Not only was the c# now equally present, the entire instrument became more responsive, and was louder, with more complexity and sustain, and a larger envelope for the player. I have since added bridge patch segments like this to other guitars (not mine), most of which were much more imbalanced, with similar results. It's amazing the effect that such a slender, lightweight component (1-2 grams) can have. To be sure, not all guitars without bridge patches suffer for it, but in my experience installing one has solved the problems in many that did. The pearwood bridge was another experiment, which I judge to be as successful as using rosewood. I had heard a certain charm in the sound of Baroque guitars and lutes, and wondered if their pearwood bridges (usually stained black) had an influence in creating that sound. I've used pearwood bridges on six guitars over several years, one of them an 8-string, on which I later replaced the pearwood bridge with one of rosewood, and can't say that I've noticed any difference compared to using rosewood on any of them."

Orfeo Magazine No. 10 - West Coast Luthiers

Jeffrey Elliott's 12 year wait-list has been closed for many years now due to the overwhelming worldwide demand for his instruments. So we are pleased at this very rare opportunity to have acquired and offer one of his guitars here at GSI. His aesthetic (both tonally and visually) is unmatched and in our opinion, this instrument is an example that confirms his reputation as one of most unique, classy and timeless of contemporary luthiers. Elliott's work is extremely refined and all matters of detail are perfectly executed.