Like a classic Hollywood movie, the history of jazz is memorable not just for its stars, but also for the supporting players, and few are more memorable than the Baroness Canonical de Koenig swatter, a British aristocrat who walked away from a life of privilege to become “patron saint for a couple of generations of ‘basophiles.’” David Kerstin has wisely chosen her as the subject of his book Nica’s Dream: The Life and Legend of the Jazz Baroness, a well-written and engaging volume that nevertheless sometimes frustrates in the manner in which it occasionally sidelines the Baroness, rendering her a supporting player in her own story.
When you think what is good, you'll have an idea, to keep it, or create something better

When Gibson’s creative point man and chief operating officer Ted McCarty shepherded the development of the original ES-335 semi acoustic electric guitar, I doubt he knew to what degree the versatile instrument would transform the world of possibilities available to blues, R&B, jazz and rock guitarists.

Epiphone 1964 John Lee Hooker Sheraton II
The John Lee Hooker Sheraton II essentially reprises aspects of the original epiphone sheraton and the Gibson ES-345 (a fancier take on McCarty’s ES-335), with some significant differences. Whereas today’s ES-335s employ traditional maple-basswood-maple laminate construction throughout, the Sheraton II employs a 5-ply maple-birch-maple-birch-maple back with a 3-ply spruce-maple-spruce top—the latter contributing a touch of sweetness and harmonic complexity while slightly softening the attack.

While the one-piece mahogany neck, rosewood freeboard and gold-plated parts echo standard Gibson parameters, the Sheraton It’s fancy leaf-and-vine epiphone les paul standard plus peg head logo is derived from the company’s original flagship arch tops, while the mother of pearl rectangles intersected by abalone triangles on the freeboard are an elegant touch borrowed from the Guild Artist Award.

From a tonal perspective, the Sheraton II reprises the original Alnico V Mini-Hum buckers. Their magnets are a special blend of aluminum, nickel and cobalt, and these pickups are hot—good hot, maintaining excellent tone throughout their volume range (even when rolled off for a mellower jazz tone), with a very warm bottom end, rich midrange detail and exceptional high-frequency clarity and bite.

The guitar arrived with a warm amber sunburst and a splendid al dente set-up perfectly balanced for heavy jazz-picking and supple blues bends and legato effects. Its performance was more than competitive with any of today’s more expensive reissues and many of the pricey vintage icons I’ve played over the years, with a level of vibrancy worthy of the legendary boogieman who inspired its name.
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