Model GB

    The G.B. model was designed in cooperation with respected jazz guitarist Gary Benson. Gary and Doug both wanted an instrument with archtop qualities, but without the tendency to feedback at higher volume levels. This design satisfies both requirements, as well as being a very comfortable guitar to play.

    There are currently two versions of the basic design.

    Version 1 has a chambered (mostly hollow) body, with a solid section under the bridge. This offers best feedback rejection and increased sustain.   Version 1 is available with or without "S" holes.

    Version 2 has an "X" braced top with a more open body. This gives more acoustic output and more closely matches the archtop sustain characteristics.Version 2 comes with "S" holes as a standard feature.

Comments

    I have been meaning to send you a note, to let you know how pleased I am with the hybrid GB. In my view it is an absolute work of art, every detail far exceeded my expectations, and it really is a perfect match to my larger 'Harrison', which continues to get better with time and increased playing. As far as sound and playability is concerned, re the GB, it sounds incredible (wide range of tones), and effortless to play. I have tried out many guitars, and found none to compare. The same comments go for the big 17" archtop as well. I have literally abandonned all my other guitars,my quest for the best is over,and will be selling them soon. It is clear that I will not ever use them again.   Howard J Carter

    It won't surprise you to learn that I bought a second Harrison guitar, a smaller semi-hollow masterpiece. On any given day I agonize over which one to play -- such a problem.   Rudi Engel

    As a discerning collector of vintage guitars, I can only say that Doug's workmanship is of the highest standard. His guitars are a pleasure to play and have outstanding acoustic quality. Overall, he is a master guitar builder.   Anthony Melman

    I have to say this is one of the most comfortable feeling instruments I have ever played. The balance, waist placement and neck shape are perfect. This is a workhorse of a guitar for the working jazz musician!  Every Harrison 'GB' that I have played has been a study in ergonomics. These guitars are simply the most comfortable jazz guitars that I have ever played. As with all work by this talented luthier, the craftsmanship is impeccable and the materials of the highest caliber!   David Wren

    With true hand carved top and back plates, fully hollow 16", 17" and 18" bodies (the CJ-16, CJ-17 and CJ-18 respectively), hand made exotic wood tailpieces with matching finger rest, bridge and fingerboard,  as well as a wide array of custom options ... the Harrison Classic Jazz Series is the pinnacle of jazz guitar luthiery.  These instruments have that classic tone that cuts through in any jazz environment ... articulate, with an exceptionally wide dynamic range, a solid note core and a very complex layer of partials.

Comments

Doug: Just wanted to drop you a quick line to say what an absolutely wonderful Guitar you have created, visually, its incredible tone and effortless to play. Realizing that the sound will improve over time (hard to imagine much better), will be something else to look forwrd to. Even though I am certainly not a pro guitar player, I love the archtop guitars and have studied and played most of the well known arch tops in various cities across the US and this guitar is as good as/ better than all of them. To say I am pleased with it is the understatement of the year. Thanks for taking the time to listen to my thoughts you have captured the vision I had of what I wanted in an Archtop perfectly; I can now safely say that I will likely never pickup the other Archtops (Already compared them and there is no comparison) I have so they will go on sale, right away (After I get them valued).  Howard J. Carter

I've owned my Harrison for almost two years now, and I feel truly privileged to own this masterful instrument-- it's fantastic.  As I continue to venture into music stores playing "vintage" hollow bodies, I can  appreciate the finer qualities, nuances and sheer expressive potential of this guitar-- it's the best sounding jazz box that I've ever played.  Your meticulous craftsmanship is stunning, and the visual appearance of the guitar has impressed everyone I've played for, but it's the tone that gets them!  Thanks again for your time and attention to detail.  Kenneth A Kempinski (USA)

Doug Harrison has amply fulfilled his role as master luthier, exploring new dimensions of sound production through the judicious use of a multiport design on the archtop which he built for me. I say 'judicious' because I laud his choice of discreet porting, rather than an open airy and ultimately self-defeating design as other luthiers have pursued. After all, there is a huge difference in sonic production between pushing the envelope and escaping the envelope entirely, the envelope being the basic box.

I knew in the first few days of ownership of my blue guitar that Doug Harrison had fulfilled my expectations of instrument design. As you may or may not realize, Doug Harrison chooses to lightly lacquer the inside of his creations. Since the lacquer was fresh, I could actually smell the results of the multiport design. The player's head is directly above the side port area. As the instrument pumps air, that air flow is translated into a pulsating mass not only directed forward from the f-holes, but upwards from the multiports. Here indeed is a simple, provable and repeatable elucidation of the laws of physics in a way entirely gratifying to the player.

This brief comment of mine may seem baffling and awkwardly wordy to those new to the sideport concept, but I would suggest that a few minutes actually playing a Harrison jazz guitar equipped with the multiport option will transcend the words into a memorable musical moment. T.R. (owner Harrison Blue Guitar)

My big Doug Harrison archtop is drop-dead gorgeous and sounds even better. Doug's immense talent as a luthier and his meticulous nature conspired to create a truly great instrument. When I'm not gigging with it, it's on display in my living room as a genuine piece of art. Rudi Engel

    Completed in June 2010, the "Neo Jazz 17" (or NJ 17) was designed to include some structural and visual changes that I had been wanting to incorporate. To achieve a fuller sound from the top I moved the position of the sound holes away from the center. This allows for the central section of the top to be wider and more directly effected by the bridge vibration. To further increase fullness, the side port acts as a monitor to the player without reducing the forward sound projection. Also the pickguard is positioned so not to obstruct the treble side sound hole.

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