Last Friday Dr. J walked into a music store south of Indy and saw this Japan-era Roadstar II hanging there. Oil finish neck. Setup was great. Cosmetically, it was in better shape than this pic I found on the net. Long story short…it followed me home. "Can I keep it?" he asked himself.
Now why would a music theory and production expert like John Jinright, be interested in an Ibanez guitar? Sure, he could be a guitarist. By why Ibanez?
Apparantly, many years ago, he sold them. Yep, you heard right. John Jinright sold Ibanez guitars to the public and the yearning musician.
Here, he tells us his story:
"I was hired right out of college to work at a large regional music dealer in Birmingham, Alabama. In those days, full-line Hoshino dealers sold Korg synths, Ibanez guitars, Tama drums, and Marshall Amps.
I remember that I was at the winter trade show in Chicago when Steve Vai’s JEM series was first “unveiled”. Most Hoshino dealers ordered at least one autographed guitar as part of that trade show restocking order and we were encouraged not to discount them. When we got our first autographed JEM in stock, everyone coming in the door wanted to play it and we were concerned that it would be “shelf-worn” before it ever had a chance to be sold. So the boss put it in a glass display case (i.e. “off limits”) and we kept ours probably longer than most Ibanez dealers in the country.
In my mind, the thing that distinguished the Ibanez guitars from the competition was how well they were setup to play right out of the case. Ibanez finishes and mid-level tremolos were hands-down better than anything found on competitors’ guitars. Yes, we still sold a lot of Gibson and Fender guitars, but they didn’t seem as interested in marketing to the rock crowd.
And that's how Dr. J, a music production and theory expert, a music professor, and musician, came to know Ibanez.
This post was based on a post from Jon Jinright's current music blog. For more on John Jinright, check out his blog: Control Room-Mixin' It with Dr. J.