Burns Jazz Split Sound Model Solid Body Electric Guitar (1964), made in London, England, serial # 9652, red/black sunburst finish, sycamore body, maple neck with rosewood fingerboard, black alligator hard shell case.
This is a good player's example of the Jazz Split Sound guitar, the most popular 1960s design from the always-eccentric James Ormston Burns of London. This model was available in the US labeled as Ampeg (1963-4) and Baldwin (after late 1965) but this "true Burns" example, dating to late 1964 or early 1965, is something of a rarity on these shores. Burns instruments were sold worldwide under the company's name, but very few made it to the US due to the English firm's lack of a dedicated distributor in this market.
The Jazz Split Sound was Burns' mid-price instrument; professional class but less expensive than the more dramatically styled Black Bison and Hank Marvin guitars at the top of the line. It is a relatively unsung Beat-Group era classic and still a stylish guitar. Obviously owing a lot to the Stratocaster, the JSS has three "Split Sound" Tri-sonic pickups with a rotary control giving four tone selections including the snarlingly out-of-phase "Wild Dog" and the patented "Split Sound" which combines different half-coils to accentuate bass and treble registers. The lavish Burns "Series II" vibrato system incorporates a floating bridge cradle that moves laterally and individual saddles and must rate as one of the best systems of its kind.
The sunburst-finished 23 1/2 inch-scale neck is slim and comfortable with a slightly less round feel than a Fender and a sunburst single sided headstock, later changed by Baldwin to a natural finish double-sided design. The red-black sunburst finish was standard for this model; this one has faded somewhat, and exhibits the fairly heavy checking than often seen on these UK-made guitars. This one comes in a very well-worn US-made hardshell case, so is likely one of a small number imported and sold in the US by New York jobber Maurice Lipsky in mid-1965. All the instruments from the Burns London period (1961-65) are extremely well-made, and this rates as a fine-playing guitar with tons of character and a very distinctive sound.
Overall length is 40 in. (101.6 cm.), 13 1/2 in. (34.3 cm.) wide at lower bout, and 1 3/8 in. (3.5 cm.) in depth, measured at side of rim. Scale length is 23 1/2 in. (597 mm.). Width of nut is 1 5/8 in. (41 mm.).
This is a good playing example of this guitar with some wear and tear but all original. The sunburst finish has faded somewhat to a pale orangey hue on the face with more vibrant color retained on the back. Overall the finish has a some dings and scuffs with typical heavy checking lines but only a couple of small spots of flaking on the back edge. The heaviest chipping is to the tip and edges of the headstock, which looks to have encountered a few walls or ceilings along the way. There is also a whimsical bunny head decal on the headstock face, worn but still visible. The back of the neck is very clean with just some check lines and very little wear. The pickguard has a spot of wear where the player's little finger rested below the bridge pickup.
The guitar remains all original, except for the bunny of course, with a complete set of hardware. The nearly always missing trem arm and tailpiece cover are included and the eccentric wiring scheme works as designed. The fingerboard has quite a bit of old divoting, some filled in in the lower positions. It was refretted with wire that looks close to the original pattern. In any event this is a nice playing and sounding example of this rare-in-America version of Jim Burns' most popular instrument, while not perfectly preserved solider and more original than many. A correct period US-made black alligator-grain hard case is included, VERY worn if still solidly functional. Overall Very Good + Condition.
