32 GUITAR AFICIONADO

*Effects PROFILES

Collector’s SoulJOHN BONGIOVANNI HAS worked for ad agency Deutsch NY for more than 10 years. He is currently executive vice president, director of Creative Operations, in charge of overseeing a staff of 25 artists, which includes the agency production studio, retouching and editorial departments. He manages all department finances as well as the production of final creative work across all channels at Deutsch. A professional musician for more than 30 years, Bongiovanni has performed and recorded with Joe Lynn Turner of Rainbow and Deep Purple, Ted Mills of Blue Magic and American Idol 2005 semi-finalist Sarah Mather, among others.

When did you start playing guitar?As a child I spent summers in Palermo, Sicily, where my family

is from. At around age five, I became mesmerized by my grandfather playing guitar and mandolin at dinners that lasted well into the night. Everyone singing and dancing on the veranda... It’s a picture so vivid, it still influences me to this day. It’s what music is supposed to be—moving. In those early days, I craved to play the guitar, but I was too small then and, though I tried, it didn’t happen. When it finally did for me, at age 10, the guitar and I became inseparable.

How does the guitar fit into your daily routine?I practice daily: scales, reading, theory, technique, songwriting.

After a long day, it definitely winds me down. I’m obsessed. I’ve gotten great inspiration studying with masters like Harry Leahey and Vic Juris. The takeaway crosses over into every aspect of my life.

What song or piece of music are you currently learning to play?Other than jazz standards, I’m working on “Train to Düsseldorf”

by Tommy Emmanuel. Physically, it’s very demanding. The first time I

saw Emmanuel, he was an opener at the old Bottom Line in New York City—easily 15 years ago. I was sitting front row with no idea what was about to transpire. It was truly life changing. He might be the greatest player I have ever encountered.

What do you look for in a guitar?Sound is always the motivator; it’s an aural experience. If it

doesn’t sound good, it’s not good. The feel is important too: the wood has to have strong resonance, and the neck has to be comfortable. I also like all my guitars to be completely original. I want balanced pickups on electrics and no solder joints touched. I’m weird like that. Same with amps—completely original. Right now, I’m hyped on my Bludotone amps. Brandon [Montgomery, Bludotone’s founder] is the man.

What are some of the guitars in your collection?I have a 1963 Fender Stratocaster, a 1960 Fender Esquire, a 1961

Fender Telecaster, a 1959 Gibson ES-345, a 1962 Gibson ES-175, a 1968 Gibson Les Paul Deluxe, a 2003 Gibson ’59 Les Paul Historic Brazilian and a Baker Crucible. My amps include a Dumble Overdrive Special, a 1968 Marshall, a 1966 Fender Vibrolux and a Bludotone Ojai.

Which of your guitars is your favorite, and why?It’s hard to choose just one. My choice for “desert island guitar”

would have to be my 1963 Strat. Fender just seemed to have gotten it right that year. Everyone lusts over ’54s, and I’ve played some great ones, but there’s just something about that year. I’ve never played a bad one. 

What is your dream purchase, and why?I made it a long time ago: it’s the Dumble Overdrive Special. I

played a lot of the great ones, and this one is ridiculous. The way notes bloom from this amp is spectacular. “Mr. Dumble” equals “genius” in my book.

Bongiovanni with (on sofa, from left) his 1963 Fender Stratocaster, 1961 Fender Telecaster, and Tom Murphy–aged 2003 Gibson Les Paul Historic; (on floor, from left) 1968 Les Paul Custom, 1960 Fender Esquire, 1959 Gibson ES-345, 1962 Gibson ES-175, Taylor 814, 1972 Fender Stratocaster and 2002 Fender Eric Johnson Stratocaster; amps: 1968 Fender Vibrolux and Dumble Overdrive Special. PH

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