This model’s lack of soundholes indicated that acoustic qualities were of no concern to D’Aquisto himself. That alone was a departure for him; even his true electric models had soundholes.

The figured maple top reflected the growing market for vintage reissues of Gibson’s Les Paul Standard or the newly introduced PRS solidbodies. This model was not solid, however; it had only a solid center block.

The Jazz Master name was familiar, of course, as a Fender model, but Fender had dropped its Jazzmaster model in 1980. Not only did the D’Aquisto bear no resemblance to the solidbody Fender, it was more appealing to jazz players than the Fender had ever been.