#7001 – Gibson ES175CC Charlie Christian – used/1980

£4479

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Overview Comments – In the jazz world the Gibson ES175 is probably the best selling arch top model – I’m excluding all the more budget based arch tops from the days of the Sears Catalogue and indeed a host of European arch tops that were mainly built in the 50’s and 60’s – Ditto a host of affordable copies from the far east – It certainly will have been heard on many recordings, by various guitar hero’s, as well as been seen on stages, cafes and theatres etc throughout the world – Yes there has been a few tweaks to the model over the years, but as an overview, the 175 has pretty much retained its original features, despite its first appearance in the Gibson catalogue some 75 years ago – It has spawned a few close siblings in the ES295, the Herb Ellis ES165, as well as the Steve Howe signature model, but the bulk of 175’s that have been sold will have been spec’d with two humbuckers  – Around 1979, Gibson released a limited run known as the Gibson ES175CC Charlie Christian – According to various data it appears as though just under 500 were ever made over a 2/3 year period – Granted it was never a Charlie Christian Signature model, as the great man had long since left us by then – But it was spec’d with the Walt Fuller designed blade pick-up that has always been dubbed the Charlie Christian pick up – Today I can offer for sale a used example from 1979 – I acquired it from a deceased estate and it is believed that it has only had one owner from new – All original with genuine playing wear – Plays read below for a host of key data :-

Additional points :- 

Condition – No nail wear on the rosewood fingerboard – Wear in places to the thin nitro finish – hence ‘worn patches’ from playing, be it the left hand on the neck, or right forearm on the base side of the body – Note the wear is nice and smooth so no pitting or rough/blistered edges etc – Genuine playing wear that the likes of Gibson/Tom Murphy and Fender Custom Shop try to ‘copy’ – Otherwise wear and tear is acceptable with no nasty nicks etc – The neck is smooth as you let your left hand glide up/down the fingerboard, so no dings etc to worry about

Frets – They are original and no grooves to worry about – However and this maybe more me than you – I’m not a fan of Gibson frets from the late 60’s era through to most of the early millennium – Some call them rail track – To wide with not enough height – But that is me and based on what other guitars I play and like to own    – So I had two options to consider – Do I leave the guitar all original as I know many player/collectors will favour such an approach – Yet if it was me I’d go for a good professional re-fret – Something like modern medium/jumbo 6150/6130 gauge – A good job would cost close to £300 and in my opinion improve the feel/playability – Technically there is nothing wrong with the frets in that they will still do the job Gibson intended it to do and it obviously pleased the previous owner for many many years – Its condition reflects that of a well played guitar and a happy owner – But for me, I know which I prefer – And in my opinion a good pro re-fret will not have any impact on any ‘vintage valuation’ – But I’m happy to chat about this as required

Re-strung with a set of 12/56 gauge strings – Traditional nickel wound – I first tried 11-148 but took them off after 10 mins – They just felt so wrong and to light – Always a matter of taste on such guitars about the gauge and indeed nickel wound or flat wound – Which ever I favour and select, then another player will choose the other option – So no win at my end, but I can adjust as required  – Set up with an easy action that responds to a fairly light touch, so not a guitar that you need to fight with in order to play it – Of course easy to take the action up a touch as required

Tonal character :- Of course the CC pick up is the reason many will be hooked on to such a guitar – It is not that smooth and silky humbucker tone that many will be familiar with from a 175 or indeed other Gibson arch tops – It is more ‘crude’ but I mean that in a good way and it is certainly distinctive – It does mean it cuts through – Probably more of a ‘throaty’ voice that is more akin to say Louis Armstrong than say Tony Bennett – That doesn’t mean good or bad – Just different – But it does reflect the tone of a guitar that was used extensively in the 40’s and early mid 50’s – It possesses a musical girth and balls – Again less Ella and more Billie Holiday – Hope you can see, or hear, where I’m coming from

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Guitars4You is not another corporate high street guitar store - My selection of premium grade guitars is about quality not quantity. Every guitar has been selected, inspected and approved by me, with particular attention to the set-up and playing performance. Every sale, phone call, email and mail order transaction is handled by me. A journey that is now over 40 years old, has fuelled my knowledge, experience, love, devotion and passion for exceptionally fine guitars.