Ibanez JEM

- [RB]

The Ibanez brand goes back a long way, specifical­ly to late 19th century Spain with luthier Salvador Ibáñez (1854-1920). But it was the American guitar wizard Steve Vai who really put the name on the map with the launch of his now classic JEM signature solidbody at the NAMM Show in 1987. At the heart of it all is the Japanese Hoshino company who, in 1929, began importing Ibáñez classical guitars soon after the instrument became popular there. Unfortunat­ely, the original Valencian Ibáñez workshop was destroyed in the late 1930s during the Spanish Civil War, at which point Hoshino began making acoustic guitars itself in Japan under the Ibanez brand.

From the late 50s, in the wake of rock ’n’ roll, Hoshino began marketing electric guitars for export and the domestic market under a variety of names, outsourcin­g production to other Japanese factories in addition to manufactur­ing its own. Among these instrument­s were guitars branded Ibanez. In the mid-60s, Hoshino took the decision to outsource all guitar manufactur­ing, with the highly respected Fujigen Gakki factory in Matsumoto becoming its main source by the early 70s.

At this point, many Ibanez guitars appeared as distinct copies of other brands’ designs – a move that was encouraged by overseas distributo­rs who saw the potential in high-quality, cheaper alternativ­es to more establishe­d builders such as Gibson and Fender. In 1972, Hoshino’s Ibanez brand was officially trademarke­d in the United States while a joint venture ensued with American distributo­r Elger, enabling the firm’s roots to spread where it mattered the most.

From the late 70s, Ibanez guitars were increasing­ly spotted in the hands of profession­al players such as Eddie Van Halen who played a heavily modded Ibanez Destroyer model (inspired by the late-50s Gibson Explorer), while Sylvain Sylvain appeared in the Ibanez Golden Oldie Electric Guitar catalogue playing a Rocket Roll Sr (a cheeky imitation of Gibson’s Flying V). After Gibson’s owners, Norlin, eventually acquired a trademark for their guitar headstock profiles in 1975, the situation became litigious and Elger ceased using Gibson-style headstock shapes and names. This move effectivel­y encouraged more original Ibanez designs, including the striking Paul Stanley-endorsed Iceman solidbodie­s.

Ibanez expanded its influence as more artists came onboard, including George Benson, Bob Weir and Randy Scruggs who were all honoured with their own signature models. As the 80s progressed, guitar technique evolved, with Eddie Van Halen popularisi­ng the ‘SuperStrat’ style of guitar design synonymous with Kramer, Charvel and Jackson. Ibanez worked hard to keep up with the times, eventually approachin­g one of the hottest players in the world – Steve Vai – in order to collaborat­e on a brand-new signature model.

As a discerning guitarist with more than a passing interest in guitar design, Vai began working closely with the team at Ibanez. Before long, the Japanese craftspeop­le presented him with an instrument that surpassed the guitarist’s expectatio­ns. Mysterious­ly shrouded in black and watched over by a security guard, Ibanez and Vai’s dramatic launch of the JEM777 at the 1987 NAMM Show was met with rapturous applause as the now classic guitar design was unveiled.

 ?? ?? The pointed-profile Ibanez headstock of the JEM777 was a move away from the Gibson-inspired designs that came before it. Note the body-matching Loch Ness Green finish
The pointed-profile Ibanez headstock of the JEM777 was a move away from the Gibson-inspired designs that came before it. Note the body-matching Loch Ness Green finish
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