If you know of more Casino/330-toting jazzers, please include a video below! Next up: bluesmen … She was an incredible player and musician, and I am certain that she would have attained the status of “one of the greatest” in the eye of the general public had she not be taken from us so soon. A purist would not include her in this thread – her 330 had humbuckers on it – but it is unthinkable to write about 330s & jazz and omit a reference to her. The other major player to have embraced the 330 is Emily Remler. A master of groove, phrasing and – yes – tone. Still the fact is there: there has been only one big jazz name to my knowledge to use the 330 in stock form, and that’s Grant Green in the first part of his career (approximately ’61-’64).

Even the overwound P-90s on mine, which I’ll swap out eventually, are capable of a wonderful bop tone with some careful knob turning.

Most importantly, sonically they are perfect for the genre: they have the delightfully short sustain that only a hollowbody can give, and the P-90s have bite will still being very warm. The Epiphone Casino still has the same classic look, sound, and features that have made it the go-to guitar for two generations of artists including Paul McCartney, Paul Weller, Noel Gallagher, Keith Richards and Gary Clark, Jr.It is kind of a paradox that 330s / Casinos have not been very successful as jazz guitars.

While models such as Masterbilts, Broadways, Wilshires, Coronets, Emperors and Texans are some of Epiphone's most memorable models, the Casino is arguably our most famous due to its close association with The Beatles. Epiphone has made a name for itself by producing some of the greatest and most innovative musical instruments for over 120 years.

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