![]() ![]() ![]() It was-and remains today-the “Cadillac of Guitars”. Designed more as a concept “guitar of the future” than an actual production guitar, Webster’s stunning white and gold beauty caused such a stir with sales reps that Gretsch had no choice but to offer it in their 1955 lineup. At the July Summer NAMM Show Webster unveiled the ultimate “dream guitar”, the opulent White Falcon. He also took marketing cues from the auto industry by introducing guitars finished in Cadillac Green, Jaguar Tan, and Copper Mist and conducting traveling “Guitarama” shows and demonstrations around the country.ġ954 was truly a banner year for Gretsch and Jimmie Webster. It was Webster’s idea to cover the top of the solid body Silver Jet guitar with a flashy, sparkle drum finish from Gretsch’s drum department. Webster and Gretsch led an industry “color revolution” and took guitars beyond their conservative natural or sunburst finishes. Throughout the decade, Webster proved to be Gretsch’s main “idea man” in his quest to distinguish Gretsch guitars from the competition. Based on industry trade journals, the event was well attended and very successful in getting Gretsch the awareness and exposure the company needed. Webster demonstrated the new Gretsch single cutaway Electromatic and Electro II hollow body electric guitars. Webster led a successful, three-day promotional show for music dealers and professional musicians at New York’s Park Sheraton Hotel. In 1951 Gretsch informed the music industry (and market leader Gibson) it was serious about manufacturing a professional line of electric guitars. The 1950s: A Golden Decade for Jimmie Webster and Gretsch Guitars. Webster’s long association with Gretsch guitars would span four decades. where he became more involved with the Gretsch Company. After the war, Webster moved to Long Island, N.Y. Webster was also an in-demand professional piano tuner, ran a small music store, and began doing a little consulting work for the Gretsch Company.ĭuring World War II Webster served as a musician in the U.S. In the 1930s Webster was a professional musician in the New York City area and married L’Ana Hyams, one of the first women jazz bandleaders. ![]() Keeping the family tradition alive, Webster excelled at piano but also had a passion for the guitar. Both parents played as well as taught piano and his sister, Virginia, became a well-respected jazz pianist. ALL of the guitars in this period are considered to be 1954 production.Jimmie Webster was born on Augin Van Wert, Ohio into a very musical family. The #13950-13999 range was a 50 unit group of Round-Ups (6130), and finally at #14000-14049 there was a 50 unit batch of Country Clubs. The guitars made just after this interesting cluster were a mixed batch of a couple of Burl Ives (6004) guitars, a couple of Baritone Ukes (6945) and the rest of the #138xx batch in addition to #13900-13949 were Jet solidbodies, including several Tenor jets (6127). perhaps preparing for the 1954 NAMM show? Maybe. Within this group of 50 labels there seems to be a lot of unique and "custom" activity happening at the Brooklyn factory. Those are actually all the numbers I've encountered from the #13750-13799 range of labels. Then at #13773 I've documented another special build, a model 6028 acoustic archtop with Cats-eye soundholes. with Chet's Streamliner Special (6120 prototype) at #13753, this pre-production White Falcon at #13757, and I've documented the other two known pre-production examples of the 6120 at #13767 and #13770. Then the production history gets interesting. ![]() The following batch was a group of 100 Corvette hollowbodies (#13550-13649). Serial number 13450 is attributed to the Mary Osborne Falcon Prototype (block markers), but the next 99 numbers were applied to a batch of Jet solidbodies (#13451-13549). ![]()
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