OLSON

For those who have followed the development of the artisan steel string acoustic guitar market, Jim Olson needs little introduction.  Perhaps most famously associated with James Taylor (who embraced the Olson SJ very early on in his career), Olson guitars have garnered a sterling reputation in the small production and artisan guitar market. Given his very limited output and persistently high demand, Olson guitars are some of the most sought after and coveted acoustic steel strings in the world.  

If one is lucky enough to encounter an Olson in the wild, a word that immediately comes to mind is: precision. Beginning with a foundation of carefully-selected, premium materials, the quality of Jim’s woodworking is manifestly exceptional. Fine purflings and bindings are mitered with machine-like accuracy, bracing is so clean that it appears to be sculpted, and the inlay work is flawless.  In the case of the SJ model, the body design, itself, is fundamentally appealing in terms of its aesthetic proportions and physical balance. Furthermore, the physical comfort of such a well-proportioned body is appropriately mated with a slender and solid 5-piece neck that exemplifies both tasteful and natural ornamentation as well as structural reliability.

Meanwhile, the precision of the build is indeed mirrored in the Jim Olson’s voicing. His guitars consistently project with laser-like focus, presenting powerful, exceedingly clear, and well-separated notes that ring with a pure, bell-like sustain.  In many respects, the signature Olson voice could be characterized as an exercise in evenness, as Olsons rarely exhibit an emphasis on any particular band of the guitar EQ curve.  Yet, thanks, in part, to their inherently potent note foundation, this profoundly even and articulate voicing does not come across as abundantly clinical or sterile. Rather, the player is presented with a tonal palate that is highly refined and malleable. While certainly appealing in any context, this acoustic precision is particularly well-suited for recording and live applications, where the guitar’s voice can readily cut through the mix to take center stage, all without an acerbic or artificially bright texture. 

SJ number 1309 is certainly a wonderful example of Jim Olson’s remarkable craft. From an aesthetic standpoint, we are particularly impressed with the tasteful natural appointments, which include: a striking Brazilian rosewood and Koa rosette, Brazilian rosewood top purfling, Brazilian rosewood headstock veneer and backstrap, and a flattering flourish of Koa and Spruce on the back of the headstock.  More importantly, Jim has chosen a exceptionally fine Western Red cedar for the soundboard and what we can only describe as stunningly beautiful quartersawn Indian rosewood for the back and sides. This classic pairing of tone woods infuses the inherently clear and bright Olson voicing with additional warmth, color, and harmonic content. In turn, this additional vocal color, combined with the innate responsiveness of cedar, makes for a very pliable tone, especially when wielded by a skilled right hand.  Despite the softer nature of the cedar top, number 1309 exhibits an impressive dynamic range, remaining more defined and resolute than one might expect when digging in. All in all, by achieving such a high degree of clarity and expressiveness in such a comfortable and exquisitely-crafted instrument, Jim Olson has done about as much as one can to make a guitar that practically plays itself.  As a result, the only enviable downside for those fortunate to own an Olson is the onus of forever working to perform up to the guitar’s impeccable standards. 

Condition:

While this instrument was very well maintained, we noted some finish blisters upon its arrival.  Having encountered this before, we consulted with Jim Olson, who agreed that these blisters were indicative of problems with finish adhesion. Thankfully, Jim was willing to take on the project of addressing the guitar’s finish.  Refinishing a guitar is, of course, no mean feat!  One of the greatest challenges inherent in the job is contending with remnants of the previous finish, particularly with more porous materials like Brazilian rosewood, where the pores can create small pockets/voids for old finish to collect.  Along that line, we do note a few very minor streaks of finish irregularity in the vicinity of the high E tuner bushing that can undoubtedly be attributed to both the inherent porosity of Brazilian rosewood and perhaps some trace remnants of the old finish.  This aside, following its finish restoration, this SJ has a new lease on life and it is about as clean a used guitar as one could possibly hope for.  EXCEPTIONALLY FINE Condition

• Small Jumbo Body
• Solid Western Red Cedar Top
• Indian Rosewood Back and Sides
• Figured Koa Body Binding
• 7-Ply Fiber Top Purfling with Brazilian Rosewood Center Strip
• 3-Ply Fiber Side and Back Purfling
• 7-Ply Fiber Back Strip with Koa Center Strip
• Multi-Ply Single-Ring Rosette with Koa Center and Brazilian Rosewood Outer Rings
• 5-Ply Mahogany/Maple/Rosewood Neck
• Ebony Fingerboard
• Long-Pattern Koa “Bird” Fingerboard Inlays with Mother of Pearl Borders
• Ebony Headstock Binding
• 3-Ply Fiber Headstock Purfling
• Brazilian Rosewood Headstock Veneer and Truss Rod Cover
• Brazilian Rosewood Backstrap (Rear Headstock Veneer) with Koa and Spruce Flourish
• Koa Headstock Logo with Mother of Pearl Border
• 25 1/2” Scale
• 1 3/4” Nut Width
• Brushed Gold Gotoh Delta Series 510 Tuners with Ebony Buttons
• Bone Nut and Saddle
• Ebony Bridge Pins and Endpin with Mother of Pearl Dots
• Passive L.R. Baggs LB-6 Pickup Installed
• Strap Button Added at Heel
• 1 3/4” Nut Width
• 25 1/2” Scale Length
• Original TKL Arched Top Tweed Hard Case