Tony Horton

kidtulsa2003 · Post by **kidtulsa2003** » Thu Feb 20, 2003 10:24 pm

Hi there
Anyone know a Tony Horton? I bought a Favino about a year ago, and his name had been written on the label, presumably by Jacques or Jean Pierre. Thanks.

TedGottsegen · Post by **TedGottsegen** » Thu Feb 20, 2003 10:37 pm

Hey Tulsa,

kidtulsa2003 wrote:Hi there
Anyone know a Tony Horton? I bought a Favino about a year ago, and his name had been written on the label, presumably by Jacques or Jean Pierre. Thanks.

Since all Favinos are made to order these days, I believe that JP puts the name of the original purchaser on the label when he takes an order. Mr. Horton could be anyone. Out of curiosity, what year is your guitar? I also believe that putting the name on a label is a JP traite, not Jacques.

Best,

Ted

kidtulsa2003 · Post by **kidtulsa2003** » Thu Feb 20, 2003 10:49 pm

Hi Ted
the Favino's an '83, no.882.
best, Pete

djangology · Post by **djangology** » Tue Apr 01, 2003 11:54 pm

Is it true or is it not true that JP would sometimes get a guitar from another maker, do some work on it and then put his own label on the guitar, thereby blessing it as a Favino? Im just guessing here but I am also curious.

Post by **Zoot** » Wed Apr 02, 2003 2:21 pm

The son has been known to lay claim to his fathers work after various referbishments

TedGottsegen · Post by **TedGottsegen** » Wed Apr 02, 2003 5:18 pm

Zoot wrote:The son has been known to lay claim to his fathers work after various referbishments

Which is completely bizarre to me considering I feel that JP makes guitars that are heads and tails better than anything Jacques made. Having owned a number of beat to hell Favinos, there does come a point where if enough work is done on an instrument, it ceases to be original, at least in my opinion. I would take a used JP over a mint Jacques any day of the week....

Is it true or is it not true that JP would sometimes get a guitar from another maker, do some work on it and then put his own label on the guitar, thereby blessing it as a Favino? Im just guessing here but I am also curious.

I have never heard this before and I would doubt it. Where did you hear it? From the few conversations I have had with JP, he seems to be a very personal, proud and highly individual person who is proud of what he does.

Best,

Ted

djangology · Post by **djangology** » Wed Apr 02, 2003 10:44 pm

i got that idea (which i never thought was actually true) while i was looking at the 1970 Favino Enrico Macias #148 guitar at gypsyguitars.com . I was kindof guessing that JP took a guitar made by Enrico and blessed it as his own in this case... is that correct??

TedGottsegen · Post by **TedGottsegen** » Wed Apr 02, 2003 10:54 pm

Hey JTW,

djangology wrote:i got that idea (which i never thought was actually true) while i was looking at the 1970 Favino Enrico Macias #148 guitar at gypsyguitars.com . I was kindof guessing that JP took a guitar made by Enrico and blessed it as his own in this case... is that correct??

No, you are right in assuming that thats not correct. The Macias model guitar (laminated maple body and neck with pearl block inlays and in most cases white, plasic binding) was made for the Corsican singer Enrico Macias, not made by Macias himself. He has been a Favino endorser for years. That particular guitar was made by Jacques. I owned it for a little over a year. The label inside the body is correct for the period, stating the instrument was made by Jacques Favino, with a date and serial number.

The headstock logo is just a generic Jean-Pierre logo and he he did that as a way of indicating the instrument in it's present state is not original, i.e. that it has had some work done on it. Jean-Pierre currently puts a little paper label on the inside of the guitar, next to the label proper indicating that he has done some work on the guitar. This is a standard practice in lutherie.

Best,

Ted

stublag · Post by **stublag** » Thu Apr 03, 2003 1:05 am

Ted

I feel that JP makes guitars that are heads and tails better than anything Jacques made. Having owned a number of beat to hell Favinos, there does come a point where if enough work is done on an instrument, it ceases to be original, at least in my opinion. I would take a used JP over a mint Jacques any day of the week....

Hi

I couldn't agree more Ted!

As you know i've just been lucky enough to acquire the D-hole JP Favino made for the one and only Pierre'Kamlo' Barre in 1996.
What can i say!--words fail me!!!
Some of you know i work in a major London guitar shop--so i'm used to dealing with some pretty amazing guitars--Froggy bottoms;Marin Monteiro classicals;vintage guitars like a beautiful 1935 German Martin Colletti; even the occasional second hand Le Voi etc- it's one of the (few) perks of the job!

I can honestly say however i have never played a guitar to match this one in both pure sheer tone and volume( an orchestra).......i haven't slept much since i got it!!!-- It's remarkable! ....when you play a chord each note rings evenly--almost like a piano.......and suddenly i can hear all this stuff so much more clearly!
There is a God!.....and he's called JP!
Cheers
Stu

(who begs forgiveness for his bragging and excitement)

TedGottsegen · Post by **TedGottsegen** » Thu Apr 03, 2003 1:28 am

Damn Stu,

stublag wrote: I couldn't agree more Ted!
As you know i've just been lucky enough to acquire the D-hole JP Favino made for the one and only Pierre'Kamlo' Barre in 1996. I can honestly say that i have never played a guitar to match this one in both pure sheer tone and volume( an orchestra).......i haven't slept much since i got it!!!-- It's remarkable! There is a God!.....and he's called JP!

(who begs forgiveness for his bragging and excitement)

You had better get your ass over to Samois this year so I can check out this "Holy Grail" of guitars!

PS: Any chance you wanna sell it?

sofiztykat · Post by **sofiztykat** » Mon Apr 01, 2013 9:45 pm

Having only just joined this site, I really don't know why the original old post popped up. But, I note that no one appeared to answer the question. Anyway, here's what I know. Tony Horton was a member of the British gypsy jazz quartet, Parisian Swing. The other members of the band were David Richards, guitar, Beverley Woods, violin & Stephen Pritchard, bass. The band recorded an LP entitled "Parisian Swing", I think in the 80's, and, judging from the photo on the sleeve, they traveled to Paris to pose for the photo depicted thereon. This was a private pressing presumably for sale at their live performances. I am lucky to own what appears to be an unplayed copy of the LP which I bought because of the beauty of the sleeve design which depicts the band posed with their instruments in front of what appears to be a French autobus dating from the 1900 -1910 period and doctored to imitate a French impressionist painting.
Peter Campbell.

hubby · Post by **hubby** » Sat Sep 12, 2015 8:38 pm

The bus was actually situated in the grounds of Marwell Zoo and was used to tour round the grounds. I do not know when it was built, but it certainly was extremely old. I thought the direction trafficators were very ingenious; they did not swing out and finish their travel in the horizontal position - no, they came out to about 50 degrees and the movement of the bus made them swing from side to side as if being waved by someone. I hope that makes sense. David is sitting on the front, Tony and Steve are both standing and I am in the driving seat. I believe the bus was, along with others like it, in use in Paris right up to the sixties. If I`m wrong I would be interested to hear to the contrary. The sound of the bus was unforgettable - it had a very low revving four cylinder petrol engine; I don`t know it`s capacity. Well, as it says (I think) on the end of certain cartoons "That`s all for now, folks!" BEV (Wood)

Willmro · Post by **Willmro** » Thu Dec 03, 2015 4:10 am

Jean-Pierre currently puts a little paper label on the inside of the guitar,

www.hotclub.co.uk

Tony Horton

Tony Horton

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