First catalogued in the early 1930s, the L-7 was a mainstay of many a bandstand in the golden age of Jazz. Built to compete with almost any horn section in an era before amplifiers, guitarists valued the powerful yet sweet tone of Gibson archtops, and this instrument is no exception. With a voice that manages to cut and project, this Gibson L-7 is one of those great instruments that adds sweetness and a full complement of resonant overtones to the mix. Sporting a gorgeous early ‘60s faded sunburst factory re-finish, the guitar is crack free and in otherwise excellent condition.

17” non-cutaway body, carved maple back and sides, carved Sitka spruce top, maple neck with bound Brazilian rosewood fingerboard and pearl parallelogram inlays, Brazilian rosewood adjustable bridge. Pearl inlaid Gibson headstock logo, original nut, curling pickguard, and frets. Five original patent applied for Kluson tuners, and one ‘no-line’ Kluson that’s from the early 1950s, all with original buttons. The chrome-plated tailpiece is original but has been replated. A few minor nicks and wear marks are the only signs that betray its age; and overall, the guitar is in very fine condition. No cracks, excellent neck angle, perfect top arch. Flawless refret and replacement bone nut by our shop, set-up with Thomastics.

25.4” scale, 1-11/16” nut. Round full-feeling neck with a depth of .89” at the first fret.

This guitar shipped from Kalamazoo to Turner Music in Toronto on April 8th, 1949. Factory records indicate that it was a natural-finished L-7N. Our guess is that the original owner of the guitar wanted a Sunburst finish applied and sent the guitar back to Kalamazoo in the early 1960s. There is no evidence of any other reason the guitar would have been refinished, there are no repairs or worn sections under the finish.

It’s a particularly fine sounding L-7 with perfect playability and a wonderful neck carve.

With modern deluxe double-arched case.