Best Guitars for Jazz: Hollow-Body, Archtop and Budget Options

The best guitars for jazz are hollow-body or semi-hollow electrics with humbuckers, round-wound or flat-wound strings and a tone knob you actually use: think Ibanez Artcore for a budget entry, an Epiphone ES-339 or Sheraton for the semi-hollow middle, and a carved archtop like The Loar LH-700 for a true acoustic jazz voice. Jazz asks for warmth, note clarity and low string noise rather than gain, so the shortlist below is built around those three things, with a solid-body fusion option for players who push into rock territory.

Our top picks

Top pickIbanez Artcore AS53

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Also greatIbanez Artcore AF55 Hollowbody Electric Guitar

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Also greatIbanez AF75GBKF AF Artcore 6 String Black

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Also greatIbanez Artcore AS73G Semi-hollowbody Electric Guitar

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Key takeaways

• Choose by how you play: fully hollow for classic warm comping at low volume, semi-hollow for gigging with fewer feedback problems, solid body for fusion.
• Flat-wound strings in a .012 to .052 range are the traditional jazz choice because they remove finger squeak and soften the highs.
• Body size matters. A 16-inch-wide archtop sounds big but is awkward; compact bodies like the ES-339 trade a little volume for comfort.
• Gypsy jazz is its own category: it uses Selmer-style acoustic guitars and a different technique, so it appears in a separate section below.

Quick comparison: best guitars for jazz by body type

1. Ibanez Artcore AF55: Best budget hollow-body for jazz

• Hollow-body linden construction in a Tobacco Flat finish, per the listing
• Infinity R humbucking pickups
• Artcore shape with f-holes and a bound top; around a 24.75 inch scale for the series
• Simple volume and tone controls with a three-way switch

Best for: students and first-time jazz players who want a real hollow body without a big outlay. Skip if: you want a refined carved-top tone; this is a laminate-style guitar at a budget tier.

Pros: authentic hollow-body look and warmth for the tier; light; comfortable for long sessions; works well with flat-wound strings.

Cons: feedback at louder volumes; stock hardware is basic; pickups are good, not great.

2. Epiphone ES-339: Best compact semi-hollow for gigging jazz

• Compact semi-hollow body in the 335 tradition, Vintage Sunburst on the listing
• Two humbucking pickups with separate volume and tone controls
• Shorter body than a full ES-335, which makes it easier to hold and reach
• Around a 24.75 inch scale, standard for the Gibson-style family

Best for: players who gig in small groups and want warmth without feedback. Skip if: you want an acoustic archtop’s carved resonance.

Pros: center block tames feedback; plays well in jazz, blues and rock; independent pickup controls help dial warm tones.

Cons: a bit solid for a purist; not as airy as a fully hollow guitar.

3. Epiphone Sheraton: Best semi-hollow with a premium look

• Semi-hollow body with Natural finish and gold hardware, listed with a gig bag
• Two humbucking pickups · tune-o-matic style bridge in this family
• Bound body and an elegant appointment package

Best for: players who want a handsome, warm guitar for jazz standards and soul. Skip if: you prefer a plain, understated look.

Pros: premium styling; semi-hollow construction handles volume; good for clean tones.

Cons: higher tier than the ES-339; gold hardware tarnishes with sweat.

4. Ibanez GB10SE George Benson: Best signature hollow body

• Hollow-body signature model from the George Benson line, Brown Sunburst on the listing
• Compact hollow shape designed for smooth, round lead tone
• Humbucking pickups voiced for jazz; check the listing for exact pickup names

Best for: smooth jazz, soul jazz and fusion-leaning players who want a hollow tone with clear note definition. Skip if: you mostly play loud rock.

Pros: authentic jazz voice; comfortable size; strong reputation among jazz players.

Cons: upper-tier cost; hollow bodies feed back in loud rooms.

5. Yamaha SA2200: Best premium semi-hollow for stage and studio

• Semi-hollow flagship from Yamaha’s SA line, Violin Sunburst and Brown Sunburst on the listings
• Set-neck construction and high-grade appointments for a professional tier
• Humbucking pickups voiced for warmth and clarity

Best for: working jazz and session players who want a refined guitar that handles both clean and mildly overdriven tones. Skip if: you are still learning, since the premium cost buys refinement, not skill.

Pros: excellent build quality; versatile tone; stage-ready.

Cons: premium tier; weight and body size.

6. The Loar LH-700-VS Supreme: Best acoustic archtop for rhythm comping

• Acoustic archtop in a Tobacco Sunburst finish, Supreme series, per the listing
• F-holes and a carved-style top voiced for projection; confirm wood details on the listing
• No electronics; add a clip-on or floating pickup if you need to plug in

Best for: acoustic jazz, swing rhythm and players who want the classic archtop sound. Skip if: you need to play loudly with a band without adding a pickup.

Pros: true archtop voice; strong chop for rhythm; handsome look.

Cons: a niche sound; requires amplification for gigs.

7. Yamaha Pacifica PAC612VIIFM: Best solid-body for fusion and jazz-rock

• Alder body with a flamed maple top, per the listing (Fired Red and Indigo Blue finishes)
• Three Seymour Duncan pickups · rosewood fingerboard
• Solid body for stability at loud volumes and with effects

Best for: jazz fusion, funk and players who add pedals and gain. Skip if: you want a hollow, woody tone.

Pros: versatile pickups; stable at volume; durable.

Cons: not a traditional jazz look or sound; needs a warm amp to avoid brightness.

Also consider

• Ibanez Artcore AS73G: a maple semi-hollow with a rosewood fingerboard and dual humbuckers, per the listing.
• Ibanez Artcore AS53: a lower-tier semi-hollow with a sapele laminate body.
• Gretsch G5420T Electromatic Hollow Body: a hollow body with a brighter, twangier voice.
• Ibanez Artstar AM153QA: a step-up semi-hollow for players who want a refined Ibanez.

Best electric guitars for jazz: hollow, semi-hollow or solid?

A fully hollow guitar has the most air and the softest attack, which suits comping and chord-melody at modest volume. A semi-hollow adds a wooden block under the top, which cuts feedback while keeping warmth. A solid body gives the most control with effects and high volume but loses some of the woody resonance. For most players the semi-hollow is the safest choice. If you play only at home or with an acoustic group, a hollow body gives you the traditional sound. If you play fusion with pedals and drive, a solid body is practical.

Best acoustic guitars for jazz and best gypsy jazz guitars

Acoustic jazz is dominated by two types. The archtop, like The Loar LH-700-VS, has a carved-style top and f-holes that give a punchy, dry chop for swing rhythm. The Selmer-style gypsy jazz guitar has a larger oval or D-shaped soundhole, a flat top with a distinctive bridge, and a strongly projecting tone suited to the Django Reinhardt style of rhythm (“la pompe”) and fast lead. Makers such as Eastman, Gitane and Dell’Arte build gypsy jazz guitars; model names change often, so confirm the exact model and neck width on the maker page before buying. Gypsy jazz guitars use heavier, ball-end or loop-end strings and a different pick technique, so budget for both the guitar and a short learning curve.

Best jazz fusion guitars: what changes when you add gain

Fusion sits between jazz and rock. It uses fast lines, extended chords and often distortion or modulation effects. A solid body with versatile pickups, such as the Pacifica 612, is a natural fit. Look for a comfortable neck for fast runs, a bridge pickup with clarity and a neck pickup that stays round without mud. Many fusion players also add a compressor and a light overdrive. Choose a guitar with a coil split or a five-way switch if you want to move between jazz warmth and rock bite.

Pick by situation: a decision matrix

Strings and tone settings for jazz: a step-by-step starting point

1. Start with flat-wound strings. A set around .012 to .052 is a traditional jazz gauge. Flat-wounds remove finger squeak and soften the highs for a rounder tone.
2. Use the neck pickup for most playing. It gives the warm, thick voice that defines jazz guitar.
3. Roll the tone knob back. Many jazz players keep the tone between about three and six to remove harshness.
4. Keep the amp clean. A clean amp with plenty of headroom lets chord voicings ring clearly.
5. Add a touch of reverb. A little reverb adds depth without muddying chords.
6. Adjust your picking. A thick pick, often called a jazz pick, and a soft attack suit this style.

Ownership realities: what wears first on a hollow or semi-hollow

Hollow and semi-hollow guitars use laminated or carved tops that are sensitive to heat and humidity. Keep them in a case, and follow maker guidance for acoustics of about 40 to 50 percent relative humidity. The bridge on many archtops is a floating piece held in place by string tension, so mark its position before changing strings. Binding and finishes can crack in dry conditions. Electronics are usually durable, but jacks and pots on thin tops can loosen over time. Flat-wound strings last a long time, which is part of their appeal, though they can feel stiff when new.

Best budget jazz guitars: where the money should go

Jazz does not require a costly instrument, but it does punish certain weaknesses. A guitar that buzzes on open chords, will not stay in tune or has a harsh bridge pickup will frustrate you faster than a plain finish ever will. If you are shopping at the lower end, such as the Ibanez Artcore AF55 or AS53, follow this order of priorities:

1. A clean setup. Have the neck relief, action and intonation checked. A hollow body with high action is hard to play in jazz chord shapes.
2. Strings. Swap to flat-wounds early. They change the feel and tone more than almost any hardware upgrade.
3. A modest amp with clean headroom. A small amp that stays clear at medium volume matters more than a pickup swap.
4. Tuners and nut, if needed. Replace them only if tuning drifts after a setup.
5. Pickups last. The stock humbuckers on these guitars are usable. Upgrade only when you know which tone you want.

This order is a general approach rather than a verdict on any one model. It keeps spending low and avoids the common mistake of replacing parts on a guitar that only needed a proper setup.

Controlling feedback on a hollow or semi-hollow guitar

Feedback is the main practical drawback of hollow bodies. The top acts like a loudspeaker diaphragm, so sound from the amp vibrates the guitar and loops back to the pickups. These steps reduce the problem:

• Lower the volume or move away from the amp. Distance breaks the loop. Standing a few feet from the speaker often solves it.
• Turn the tone down. Feedback usually lives in the highs; rolling off treble helps.
• Angle the amp. Tilting the amp toward your ears instead of at the guitar reduces direct coupling.
• Use a semi-hollow. A center block, as in the ES-339 and Sheraton, damps the top.
• Fit soft foam or a soundhole cover for acoustic archtops with pickups. This reduces resonance without changing the instrument.

Amps, cables and the clean tone that jazz needs

A jazz guitar sound begins with headroom. A tube combo with a 12-inch speaker or a solid-state amp with a warm voicing both work, as long as the amp stays clean when you turn it up. Many jazz players use a modest amount of reverb and keep the treble low. Avoid heavy EQ boosts; a gentle roll-off at the high end and a small lift in the mids give a round, vocal tone. For a hollow body, an amp with a well-defined clean channel and a tilt-back stand helps keep the sound clear and reduces feedback. For fusion, add a transparent overdrive and compressor after you have the clean tone you like.

Comping and chord-melody: what each guitar type does well

Comping, the rhythmic chordal accompaniment behind a soloist, is where an archtop shines. The short decay and woody attack of a carved-style top cut through acoustic ensembles. A semi-hollow offers more sustain, which suits melodic single-note lines and chord-melody arrangements. A solid body gives the most control for effects but less natural warmth. If you play mostly solo chord-melody, a compact hollow or semi-hollow guitar such as the ES-339 or GB10SE is comfortable and clear. If you play with a drummer and bassist at medium volume, a semi-hollow with a center block is the safest choice. If you sit in on loud jam sessions, a solid-body guitar with warm tone settings prevents surprises.

Gypsy jazz in practice: what to check before you buy

Gypsy jazz guitars are built for a very specific job: loud, rhythmic, unamplified playing with a strong attack. A few details separate a good one from a decorative one. First, the soundhole shape: a D-shaped hole gives a drier, punchier tone, while a longer oval hole is a little warmer and more open. Second, the bridge and tailpiece: the traditional design has a floating, moustache-style bridge and a string anchor at the bottom of the body, and string choice affects tone strongly. Third, the neck: many gypsy jazz guitars have a wide nut and a flatter profile that suits fast chromatic runs. Fourth, the top: a solid top is the standard expectation. If you are curious but unsure, try one before ordering, because the technique of “la pompe” rhythm is different from regular strumming, and not every player enjoys the feel. Because model names change across makers, treat any specific model as a starting point and confirm its current specs.

Neck, frets and hand comfort for jazz chord shapes

Jazz uses wide stretches, extended chords and fast position shifts. A neck that feels comfortable under a thumb-behind or a slightly rolled grip makes a difference. Compact semi-hollows often have slim, fast necks, while archtops tend toward thicker, more vintage profiles. Medium frets keep chord notes clear without catching your fingers. If you have small hands, a shorter body and a slim neck, as on the ES-339, reduce strain. If you have large hands, the wider nut of a gypsy jazz guitar or an archtop may feel roomy. In every case, check that the action is moderate: too high is tiring, too low can buzz on hollow bodies that vibrate sympathetically.

How We Chose

We did not play or handle these guitars ourselves. The picks come from maker and retailer listings, general descriptions of hollow, semi-hollow and archtop construction and common jazz string and tone practices. Where a listing lacked exact specifications, such as pickup models on the Ibanez signature guitar or wood details on the archtop, we say so. We chose at most two guitars per brand, covered budget, mid, premium, acoustic and fusion needs, and kept gypsy jazz as a separate category because model availability is narrow and changes often.

Buying guide: how to choose among the best guitars for jazz

Body size and depth

Big bodies sound bigger but can be uncomfortable. If you are short or sit to play, a compact semi-hollow like the ES-339 is easier. If you want the classic archtop feel, accept the larger body.

Scale length

Most of these guitars use a Gibson-style 24.75 inch scale, which has a looser feel and warm tone. A 25.5 inch scale, as on the Pacifica, is tighter and brighter.

Pickups

Choose warm humbuckers for traditional tone. A bridge-position clarity pickup helps for lead lines. Avoid overly hot pickups that muddy chords.

Neck and frets

A slimmer neck suits fast lines; a thicker neck suits comfort for big chords. Medium frets work well for both.

Amp and tone

A clean amp with plenty of headroom is the standard. Solid-state and tube amps can both work. Choose an amp with a clean channel that stays clear when you turn up.

Setup

A good setup with moderate action is key. Flat-wound strings and lower action give a smooth feel for chord work.

Left-handed note

Many models are available in left-handed versions, but availability for hollow bodies is limited.

Frequently Asked Questions

What are the best guitars for jazz?

Hollow and semi-hollow humbucker guitars such as the Ibanez Artcore, Epiphone ES-339, Yamaha SA2200 and The Loar archtop are classic choices.

What are the best electric guitars for jazz?

The Epiphone ES-339, Ibanez GB10SE and Yamaha SA2200 are strong options for different budgets.

What are the best acoustic guitars for jazz?

An acoustic archtop like The Loar LH-700-VS suits swing rhythm, and a Selmer-style guitar suits gypsy jazz.

What are the best gypsy jazz guitars?

Makers such as Eastman, Gitane and Dell’Arte build Selmer-style guitars. Confirm the current model and neck width before buying.

What are the best fusion guitars?

Solid-body guitars with versatile pickups, such as the Yamaha Pacifica 612, suit fusion.

Do I need a hollow body for jazz?

No. A solid body can play jazz well, especially with a warm tone setting. A hollow body gives a more traditional sound.

Are flat-wound strings necessary?

No, but they are traditional because they reduce squeak and soften the highs. Try them and see.

Which one should you buy?

Buy the Ibanez Artcore AF55 to start. Buy the Epiphone ES-339 for gigging. Buy the Epiphone Sheraton for a premium look. Buy the Ibanez GB10SE for a signature hollow tone. Buy the Yamaha SA2200 for professional work. Buy The Loar LH-700-VS for acoustic archtop rhythm. Buy the Yamaha Pacifica 612 for fusion.

One last thought on spending. Jazz is a language of listening, and the guitar you will improve on fastest is the one you pick up every day. A modest hollow body that sits on a stand in your living room and gets played will teach you more than a premium instrument kept in a case. Choose a body size that fits you, set up the action for comfortable chords, install flat-wounds and add a small clean amp. After a few months you will know whether you want a fuller archtop sound, a semi-hollow for gigs or a solid body for fusion, and the guitars above give you a clear upgrade path in each direction.

Sources

• Ibanez Artcore and George Benson product pages
• Epiphone product pages
• Yamaha SA and Pacifica product pages
• The Loar product pages
• Eastman, Gitane and Dell’Arte maker pages

Last updated: October 2026.