Musicians Hotline is proud to bring you this special feature on the history of Hamer Guitars and founder Jol Dantzig. Over three decades of history and passion for guitar luthiering. Here is what Jol Dantzig shared with us.

MH: Jol, as founder of Hamer Guitars, provide us with a history of how and when the first Hamer models were available? Can you recall the first model you built?

JD: I started Hamer Guitars in the Chicago area in 1973 by building a bass for myself in the back of Northern Prairie Music, a Vintage Guitar store that I owned. This first instrument was based on a Flying V design because I wanted something unusual, and Gibson was not making Flying V's any longer (and certainly not as a bass.)

MH: Tell us a bit about the designs of the early models.

JD: Initially, my designs centered around combining the best features of the vintage instruments I loved, in a kind of tasteful, hybrid fashion. Our intent was never to compete with mass produced instruments, but rather to provide professionals with a ready supply of vintage-style guitars and basses, and they were priced accordingly.

MH: As a player and collector yourself, what do you feel is unique about Hamer Guitars?

JD: True quality as opposed to hype is what we are all about. Most guitars today are aimed at the casual player, someone who is concerned with style without real substance. Guitarists who are not willing to compromise their music can understand how we feel about the guitars we build. This is not hyperbole, just look into our electronics cavities or at the sharpness of our binding joints. There is even quality in places where you can't see! Hamer ownership says that a musician cares about what is real and genuine.

MH: Was there a time frame or an endorser that seemed to propel the Hamer brand?

JD: It started immediately. From the very beginning Hamer instruments were used by big name bands including Jethro Tull, Wishbone Ash, Bad Company, Thin Lizzy, Kiss, The Who, and of course, Cheap Trick. We actually started with the big name endorsers before our guitars were available to the public!

MH: Hamer started in Chicago, but you are now in Connecticut. Why the move?

JD: In 1997 we decided to consolidate operations in New England where Kaman is located. We took our ten best artisans and moved to New Hartford, Connecticut, where we found space on the second floor of a 120 year old brick factory building. Our current workshop is a bright, airy place with high beamed ceilings and sturdy wood floors, more like an artist's loft than a factory.

MH: How would you compare what you are doing now to the old shop?

JD: Our builders are crafting the most detailed and glorious guitars we have ever made. The attention to detail and build level is astounding. The selection process for our materials and hardware has been raised to mind-boggling levels as well. Although we do not make the largest quantity of instruments in our industry (far from it!) we feel that we are making some of the absolute best. We have received five "Editor's Pick" awards in a row in as many years, and we have the undeniable respect of our peers. This relentless spirit of excellence is what defines Hamer and the people who play them.

MH: Tell us about the custom shop aspects of Hamer...

JD: We're fond of saying that everything we do is custom quality. Right now most of what is on the shop floor is optioned in one way or another. We won't build anything that a customer wants just because they have the cash; we're not a "job shop." We offer custom options based on thirty years of working with the best guitarists on earth. Our customers benefit from that experience, and are rarely disappointed.

MH: Tell us what is new and exciting in the R& D department atHamer these days, and were there new models at NAMM?

JD: Most recently we have brought our immense building knowledge to bear in the area of semi-hollow style instruments. As we mature as a company we are concerned with solidifying our connection to the future of guitars as much as honoring our past. New designs like the Monaco III and the Improv, which we showed at NAMM, expand the idea of what kind of guitars are viable for different forms of music. These guitars blur the distinction between styles, opening up new areas for guitarists. The Improv sounds like a big jazz box, but it's relatively compact and easy to play. The Monaco III will surprise you sonically. I love it because it sounds completely different then the way it looks.

MH: Hamer Guitars are now making an impact on the guitar show scene as collectable scores. How do you feel the early models evolving to collectability status?

JD: Vintage Hamers? That doesn't surprise me because of where we started. Hamer has always stood for quality and substance over hype, and collectors are starting to appreciate that our longevity is based on solid workmanship and creative design. The burgeoning market for collectable and vintage Hamer guitars is testimony to Hamer's belief in itself.

MH: What do you see in Hamer's future?

JD: We aren't trying to reinvent the wheel here; only to refine what we know is important to real musicians. I like a back-to-basics approach as much as I like the fancy stuff. While other builders are scrambling to make their guitars all things to all people, we remain focused on making instruments with character.

Info:
Kaman Music Group
P.O. Box 507
Bloomfield, CT 06002
860-509-8888
www.hamerguitars.com