"According to Gibson Legend, their sales representative for the states below the Mason-Dixon Line requested that the company build a flat-top just for the South; he felt that Gibson flat-tops were especially appreciated in that area and that a guitar specifically dedicated to the sweet old sunny South would be Gibson's tribute to Dixie, especially its great music and its greater musicians.
It was under these perhaps apocryphal circumstances that Gibson designed a fancy new model that it brought to market in 1942, along with another newcomer, the J-45, to replace the J-35 and J-55, which were being phased out. Of these two new guitars, Gibson gave this fancier one a name that evokes warmth, tradition, romance, and wistfulness - the Southern Jumbo"
Oftened referred to as the SJ in short, the Southern Jumbo received the best materials available, in spite of shortages of supplies due to the War. Further, though nearly 90% of Gibson's work force was taken from guitar production and put to work on war contracts, the 10% remaining were the company's seasoned experienced craftsmen. The SJ's built during the War are especially remarkable creations, given the inevitable difficulties and upheavals stemming from the conflict and the changes in personnel.
The Southern Jumbo shows signs of improvisation in their construction, as Gibson dealt with changes forced upon them by the War. This earlier example, dated by its 2XXX FON number at its heel is a lovely sounding, and playing example - one that rarely comes up for sale. Its well aged spruce top, has multiple binding, with its rosewood bridge of the bottom-belly design (typically with two pearl dots, here having been replaced when the bridge was previously removed). A multiple ply sound hole rosette and a standard tiger-stripe pickguard in a teardrop shape. Internally, it has a nice typical sized maple bridge plate. This more standard, yet early example with a Mahogany neck, features the twin parallelogram inlay, which grace the unbound rosewood fingerboard. The iconic "ONLY A GIBSON IS GOOD ENOUGH" banner on the peg head unique to this '42-46 era (and its later reissues).
This example comes to us in very good condition from the previous collector. As mentioned the bridge had been shaved down at some point, a wise choice done in lieu of a possible neck reset. The neck angle is currently strong with the lowered bridge, although the pearl button covers were removed from its bridge and replaced with a simple cream lacquer (also seen at the fingerboards side dots). The guitar shows expected pick wear, checking and numerous nicks and dings - all typical for an instrument this age (one long notable scratch on its top). No cracks, or cleats are present, except a non-sealed, non problematic center seam split in its back. While this era does not have a truss rod, the thick mahogany neck is very straight, with its finish nicely worn off of its profile. The neck has a measurement of about 1" in thickness at the first position, tapering up subtly to 1.2" at the eleventh fret (before the curvature of the heel). It appears that the frets have likely been replaced some time ago, with deeper slots present. The frets themselves are in good shape with a fair bit of wear, but no significant issues with producing notes or buzz. The action is very comfortable, measuring 6/64" in height at the twelfth fret of the sixth string, and 4/64" on the first. It has a standard 1.75" nut width. The fingerboard itself is in good shape with its inlays still strong and intact. The tuners have been replaced in a past life, and currently it is outfitted with a very nice old gold Pat Pending Grover option.
Included in the sale is a nice older era correct case.
The "Banner" Southern Jumbos were constructed precisely and consistently well. They are superb vintage guitars, highly valued by country and blues musicians alike.