Music

Having represented James Goodall’s guitars since the early 1990s, we can attest to the fact that his instruments are truly some of the finest guitars available.  His skill and artistry as a woodworker are readily evident when one considers the precise and tasteful construction of a Goodall guitar, where the natural beauty of the wood is the focus and nary a piece of plastic can be found.  More significantly, the voice of a Goodall guitar is an articulate shimmering display of acoustic dimension. In many respects, James’ approach to shaping the guitar’s sound exemplifies what we often describe as a “contemporary voicing.”  In short, “contemporary voicing” alludes to an emphasis on qualities that would be desirable for modern fingerstyle and melodic applications, including:  quick response, even balance, clear string separation, and sharp/brilliant note definition.   In his early days, Goodall honed his skills alongside the likes of Bob Taylor and Larry Breedlove in the American Dream workshop (which eventually morphed into Taylor Guitars, and otherwise spawned the Breedlove and Deering brands).  Given their association in the formative years, it is perhaps not too surprising that the guitars produced by James Goodall, Bob Taylor, and Larry Breedlove exhibit similar focus on contemporary voicing and innovative design elements.  Yet, of the three makers, Goodall most faithfully stayed the course of the small production shop. His shop in Kailua-Kona, Hawaii eventually reached a production capacity of hundreds of guitars a year; but, following the closure of the Hawaiian shop in 2006, James now builds exclusively with his son, Luke, producing approximately eight guitars a month.Due to his small production approach, Goodall was able to distill and refine the elements of this contemporary voicing championed by the now major manufacturers like Taylor and Breedlove.As a result, his instruments offer the player all of the clarity and precision inherent in this modern approach to voicing, but with an enhanced degree of responsiveness, dimension and overall presence.  For those players seeking a high degree of acoustic refinement as well as profound depth and breadth in a guitar’s voice, this Goodall Jumbo would undoubtedly be a top contender. Apart from the undeniable visual appeal, this RCJ’s stunning East Indian Rosewood back and sides provide an extra degree of warmth and tonal complexity, softening the edge of the note, thereby bolstering the clarity of this guitar’s pianistic low end.  The Master Sitka top is a very fitting choice for this RCJ, as the general stiffness of Sitka generates excellent clarity, sustain, and headroom. Yet, being more flexible than some stiffer spruces (e.g., Adirondack), Sitka yields an appealing (be it subtle) “played-in” response in the context of a guitar with an extra large soundboard template.  In turn, this subtle infusion of warmth and lushness in an otherwise crispy jumbo recipe rounds out the voice just enough to make the guitar equally appealing as a rhythm instrument as it is a melodic one.  Thus, whether you are strumming cowboy chords or playing intricate alternative tuning instrumentals, this RCJ has a commanding presence and incredible dimension that will both delight and inspire.Condition: It is clear that this wonderful Jumbo was well-loved over the years, in that its owner was concerned with its maintenance but was also not afraid to actually use the instrument as it was intended! Thus, any wear on this guitar can genuinely be described as “honest wear.”   Along that line, while there are a number of minor points of wear to note, it is fortunately the case that none of this wear is truly glaring or significant.  There are some minor dimples on the back (most likely caused by finish settling), as well as a ding near the edge of the bass side lower bout (measuring approximately 2x5mm).There are a collection of dents on the treble side at the upper bout curve of the waist, most likely caused by impressions from pocket items.  There are also light scratches on the headstock finish, and some finish swirls at the butt.  Before this particular piece came to us, there was a pickup installation done that unfortunately leaves something to be desired.  It appears the bit went in at an angle, making the hole somewhat ovular—otherwise, the shaft through the endpin is, itself, straight, such that there is no excessive slop/play in the pickup input.  Meanwhile, we have done our best to minimize the visual impact of the oversized hole with an enlarged washer and a better-centered strap jack.  As such we would consider this guitar to be in EXCELLENT CONDITION Specs and Features·Super Jumbo Body (17” Lower Bout)·Venetian Cutaway·Master Sitka Spruce Top·East Indian Rosewood Back and Sides·Curly Koa Body Binding·5-Ply Black/White Wooden Purfling·3-Ply Black/White Wooden Side and Back Purfling·Curly Koa Backstrip and Endpiece with 3-Ply Black/White Wooden Purfling·Curly Koa Heelcap·Abalone Rosette·Mahogany Neck·Ebony Fingerboard·Ebony Fingerboard Binding·Abalone Slotted Diamond Fingerboard Inlays·Ebony Headstock Veneer·Curly Koa Headstock Binding·Mother of Pearl and Abalone Headstock Logo·Clear Pickguard·K&K Pure Mini·Ebony Fingerboard·Ebony Bridge·Brushed Brass Gotoh 510 Tuners with Snakewood Buttons·Gold Schaller Style Strap Lock Installed on Neck Heel·1 ¾” Nut Width·25.5” Scale Length·Original Ameritage Deluxe Hard Case

The Goodall Traditional D features a classic Dreadnought body shape, providing rich, deep tones.