ASSEMBLE A CLARINET

Taylor Guitars 314ce-L Grand Auditorium Acoustic Electric Guitar, Left Handed

A Grand Auditorium body, Venetian cutaway, and the Taylor Expression System add up to a versatile guitar that's perfect for both stage and home. Crisp, black binding flanks the satin-finish sapele back and sides and glossy Sitka spruce top, and then continues up the fretboard. The left-handed 314ce is truly a performer's workhorse, combining technology and craftsmanship with understated style.

Left-handed body
6-String Grand Auditorium with Venetian cutaway
Better amplification with the Taylor Expression System
Sitka Spruce top
Sapele back and sides
Ebony fretboard and bridge
Tusq nut and saddle
Chrome-plated Taylor tuners
Adjustable truss rode
Strung with Elixir Light Gauge Strings with NANOWEB Coating




Taylor's Grand Auditorium Shape
The Grand Auditorium was the first guitar shape designed from scratch by Bob Taylor. It was unveiled to commemorate the company's 20th Anniversary in 1994, and since then it has more than lived up to its promise. Although the GA has the width and depth of a Dreadnought, its narrower waist gives it the appearance of a smaller instrument, adds treble "zing" across the guitars tonal spectrum, sharpens the definition of individual notes, and also enables it to rest comfortably in the lap. Because Taylor removed mass from the width of the GAs braces, the guitar top moves faster, resulting in a snappy, bell-like tone. The GA is designed to be a strong fingerpicking guitar that also can handle medium strumming, and is exceptionally versatile.
A Venitian cutaway in the left-handed 314ce Grand Auditorium body allows better access to the upper frets. In the past, many players moving to acoustic guitars grew accustomed to the cutaways on their electric guitars, while others simply like the freedom of movement into the upper register that a cutaway allows. Now, cutaways are favored as much for their decorative appeal as for their function.

Solid sitka spruce top is joined with sapele sides and back for a crisp and bright sound.
Rings Bright and Clear
The top is made from Sitka Spruce, a dense, straight-grained wood that has the highest strength and elasticity-to-weight ratio among available tonewoods. It's these attributes that make Sitka Spruce an ideal material not only for soundboards, but also for internal bracing. The Sitka top will produce a tone slightly brighter tone than Engelmann Spruce.
The back and sides of the left-handed 314ce are made from the mahogany-like sapele wood, which has gained a legion of fans ever since Taylor introduced it in 1998. As a tonewood, it's denser and harder than mahogany, so it has a crisper, clearer, brighter, "pop"-ier sound than its more familiar counterpart. Loud and robust, with a lovely ribboned grain, sapele has been used by Spanish guitar makers for many years.

The Taylor Expression System gives you a natural acoustic sound.
Pure Reproduction of An Acoustic Sound
In the past, Taylor had relied on after-market pickups that employed traditional piezo technology. But the result was a distorted tone that failed to capture the natural acoustic richness and dynamics of a Taylor for live performance. After several years of research, Taylor designed their own groundbreaking pickup system that uses magnetics much like a microphone. The result is an exceptionally pure reproduction of an acoustic guitars natural sound. The Taylor Expression System delivers an amplified tone that will satisfy the most demanding pro player, yet makes it simple for anyone to plug in and sound great.
The Expression System incorporates three different magnetic sensors. Two strategically placed Dynamic Body Sensors affixed to the underside of the soundboard capture the complex nuances of the tops vibration, while a Dynamic String Sensor mounted beneath the fretboard extension registers string and neck vibration. The preamp boosts the pickup signal cleanly, without the need for artificial EQ "coloration." The balanced, low-impedance signal the Expression System produces can run direct into a mixer or PA in most situations, and is free of distortion at almost any volume.
Three simple, unintrusive onboard control knobs preserve the aesthetic beauty of your Taylor, yet allow you to easily adjust the volume, bass, and treble to suit your personal preferences and performance environment. When set flat, the tone controls add no color and produce the most natural sound. Or, add bass or treble (or subtract) to adjust for the room or personal tastes. The payoff is in the purity of high-fidelity amplified tone, unprecedented dynamic range, and extraordinary resistance to feedback and distortion. It enables all of the expressive subtleties of your playing to come through, just the way you intended.
Construction
Taylor takes pride in using the finest quality woods for their guitars, like ebony for every fretboard they make. The tone woods for the left-handed 314ce were quartersawn and carefully book-matched before being sorted, dried, and prepared by Bob Taylor and his experienced team of luthiers. The left-handed 314ce pearl inlay and binding work was also done by hand, providing care and "touch" that no machine can give. Taylor believes that precision matters, which is why they rely on laser cutters and computer-aided milling machines to consistently hit minute tolerances that were impossible a decade ago.
Balance and Bracing
A balanced tone is critical to a quality recorded sound. Guitars that are too heavily weighted towards a particular end of the tonal spectrum (too "bassy," for example) tend to be tougher to record. While the Dreadnought shape has more volume or bass than other shapes, the overall balance on the left-handed 314ce is not compromised.

Features large pearl dot inlays.
Straight Necks Matter
Don't all guitars have straight necks? The answer is usually yes, but the real question is will they stay that way? Since its inception, the acoustic guitar had a major design flaw. The fretboard lacked sufficient support to remain truly straight because of top movement caused by changes in humidity. All guitars experience this phenomenon--often resulting in a slight bump at the 14th fret--but not all guitars respond to it in the same way.

100 discos esenciales del jazz (segun The New Yorker):

1. Fats Waller, “Handful of Keys”

2. King Oliver, “King Oliver’s Creole Jazz Band: The Complete Set”

3. Louis Armstrong, “The Complete Hot Five and Hot Seven Recordings”

4. Louis Armstrong, “The Complete RCA Victor Recordings”

5. Louis Armstrong, “Louis Armstrong Plays W. C. Handy”

6. Fletcher Henderson, “Tidal Wave”

7. Bessie Smith, “The Essential Bessie Smith”.

8. Bix Beiderbecke, “The Bix Beiderbecke Story”

9. Django Reinhardt, “The Classic Early Recordings in Chronological Order”

10. Jelly Roll Morton, “Jelly Roll Morton: 1926-1930”

11. Sidney Bechet, “The Sidney Bechet Story”

12. Duke Ellington, “The OKeh Ellington”

13. Duke Ellington, “Golden Greats”

14. Duke Ellington, “Never No Lament: The Blanton-Webster Band”

15. Duke Ellington, “Ellington at Newport 1956”

16. Duke Ellington, “Money Jungle”

17. Coleman Hawkins, “The Essential Sides Remastered, 1929-39”

18. Coleman Hawkins, “The Bebop Years”

19. Billie Holiday, “Lady Day: The Master Takes and Singles”

20. Teddy Wilson, “The Noble Art of Teddy Wilson”

21. Lester Young, “The Lester Young/Count Basie Sessions 1936-40”

22. Lester Young, “Kansas City Swing”

23. Count Basie, “The Complete Decca Recordings”

24. Count Basie, “The Complete Atomic Basie”

25. Benny Goodman, “At Carnegie Hall—1938—Complete”

26. John Kirby Sextet, “Night Whispers: 1938-46”

27. Chick Webb, “Stomping at the Savoy”

28. Benny Carter, “3, 4, 5: The Verve Small Group Sessions”

29. Charlie Christian, “The Genius of the Electric Guitar”

30. James P. Johnson, “The Original James P. Johnson: 1942-1945 Piano Solos”

31. The Nat King Cole Trio, “The Best of the Nat King Cole Trio: The Vocal Classsics, Vol. 1, 1942-1946”

32. Charlie Parker, “The Complete Savoy and Dial Sessions”

33. Charlie Parker, “Bird: The Complete Charlie Parker on Verve”

34. Charlie Parker, “Best of the Complete Live Performances on Savoy”

35. Dizzy Gillespie and Charlie Parker, “Town Hall, New York City, June 22, 1945”

36. Dizzy Gillespie, “The Complete RCA Victor Recordings, 1947-49”

37. Thelonious Monk, “Genius of Modern Music, Vol. 1”

38. Thelonious Monk, “Live at the It Club, 1964”

39. Thelonious Monk, “Thelonious Monk with John Coltrane: The Complete 1957 Riverside Recordings”

40. Lennie Tristano and Warne Marsh, “Intuition”

41. Miles Davis, “The Complete Birth of the Cool”

42. Miles Davis, “Bags’ Groove”

43. Miles Davis, “Kind of Blue”

44. Miles Davis, “Highlights from the Plugged Nickel”

45. Miles Davis, “Bitches Brew”

46. Bud Powell, “The Amazing Bud Powell, Vol. 1”

47. Gerry Mulligan, “The Original Quartet with Chet Baker”

48. Modern Jazz Quartet, “Django”

49. Art Tatum, “The Best of the Pablo Solo Masterpieces”

50. Clifford Brown and Max Roach, “Clifford Brown & Max Roach”

51. Sarah Vaughan, “Sarah Vaughan with Clifford Brown”

52. Charles Mingus, “Mingus at the Bohemia"

53. Charles Mingus, “Mingus Ah Um”

54. Charles Mingus Sextet, “Cornell 1964”

55. Ella Fitzgerald, “Ella Fitzgerald Sings the Cole Porter Songbook”

56. Sonny Rollins, “Saxophone Colossus”

57. Sonny Rollins, “Night at the Village Vanguard”

58. Sonny Rollins and Coleman Hawkins, “Sonny Meets Hawk!”

59. Tito Puente, “King of Kings: The Very Best of Tito Puente”

60. Sun Ra, “Greatest Hits—Easy Listening for Intergalactic Travel”

61. Abbey Lincoln, “That’s Him”

62. Art Blakey and the Jazz Messengers, “Moanin’”

63. Ahmad Jamal Trio, “Cross Country Tour: 1958-1961”

64. The Dave Brubeck Quartet, “Time Out”

65. Jimmy Witherspoon, “The ’Spoon Concerts”

66. Ornette Coleman, “Beauty Is a Rare Thing: The Complete Atlantic Recordings”

67. Ornette Coleman, “Dancing in Your Head”

68. Freddie Hubbard, “Open Sesame”

69. Jimmy Smith, “Back at the Chicken Shack”

70. Dinah Washington, “First Issue: The Dinah Washington Story”

71. John Coltrane, “My Favorite Things”

72. John Coltrane, “The Complete 1961 Village Vanguard Recordings”

73. John Coltrane, “A Love Supreme”

74. John Coltrane, “Ascension”

75. Eric Dolphy, “Out There”

76. Eric Dolphy, “Out to Lunch!”

77. Bill Evans, “The Complete Village Vanguard Recordings, 1961”

78. Jackie McLean, “A Fickle Sonance”

79. Stan Getz and Joao Gilberto, “Getz/Gilberto”

80. Dexter Gordon, “Our Man in Paris”

81. Andrew Hill, “Smokestack”

82. Lee Morgan, “The Sidewinder”

83. Albert Ayler, “Spiritual Unity”

84. Archie Shepp, “Four for Trane”

85. Horace Silver, “Song for My Father”

86. Wes Montgomery, “Smokin’ at the Half Note”

87. Cecil Taylor, “Conquistador!”

88. Betty Carter, “Betty Carter’s Finest Hour”

89. Frank Sinatra, “Sinatra at the Sands with Count Basie & the Orchestra”

90. Frank Sinatra, “The Capitol Years”

91. Nina Simone, “Sugar in My Bowl: The Very Best of Nina Simone, 1967-1972”

92. Pharoah Sanders,

ELLIOTT MURPHY

35 years have passed since the release of Elliott Murphy's first ground-breaking album Aquashow in 1973 and since that time Elliott Murphy, singer-songwriter, rock troubadour, indefatigable road warrior (over 100 shows a year!) and prolific author of fiction has time and again proven his dedication to his music and his commitment to his growing legion of fans. Once again his uniquely poetic musical vision is being praised with the release of his 30th CD Notes From The Underground featuring eleven new Elliott Murphy songs. The album is already making impact in European radio where lead-off track And General Robert E. Lee is receiving continued radio play across the continent. All Music Guide’s Thom Jurek gave Notes From The Underground a glowing four star review (giving Murphy a rare total of twelve four-star albums on the AMG site) and called the album “His best record in a decade.”

Notes From The Underground features French guitarist extraordinaire Olivier Durand (Little Bob, Luz Casal) along with keyboardist Kenny Margolis (Willie Deville, Cracker) and Murphy's touring band The Normandy All Stars consisting of drummer Alan Fatras (Moon Martin) and bassist Laurent Pardo (Kid Pharaon) along with a guest appearances by Elliott's guitar playing son Gaspard on Frankenstein’s Daughter.

Born to a show business family in New York, Elliott began his career by winning the New York State Battle of the Bands 1966 followed by a troubadour like odyssey across Europe where he played on the streets in Amsterdam, Paris and Rome including a bit part in Federico Fellini's film Roma. Returning to the US he quickly secured a recording contract and following the critical success of Aquashow came in quick succession Lost Generation (Produced by Doors producer Paul Rothschild), Night Lights (featuring Billy Joel), Just A Story From America (featuring Phil Collins and Mick Taylor) and many other acclaimed albums.

In 2006 the prestigious UK magazine Uncut featured a full page article on Aquashow proclaiming it as an “album classic.” Recent highlights in Murphy’s career include a live album with guitarist Chris Spedding (Live Hot Point) a duo album with Iain Matthews (La Terre Commune) and an extraordinary duet with Bruce Springsteen (Selling The Gold) who often invites Elliott on stage with him during his European tours. In October 2008 he was honored with a monumental exhibition in Paris (where he lives) at the Town Hall which featured hundreds of posters, photos, videos, album covers and memorabilia entitled Elliott Murphy - Last of the Rock Stars - Retrospective.

Murphy is also a published author of various collections of short stories, the most recently being CafE Notes (Hachette) and two novels Cold And Electric and the neo-western Poetic Justice (Hachette.)

The T3 continues Taylor’s quest to expand the range of tones available to the electric player. Inspired by both the T5 and the SolidBody, we’ve taken the classic semi-hollowbody sound and applied our signature Taylor design and tonal touches, blending our high-definition Style 2 pickups with a coil-splitting application to give players killer humbucker and single coil sounds in one guitar. A push-pull tone knob brings two sweeping modes of tone control. We’ve also paired a Bigsby tailpiece with a roller bridge on the T3/B model, giving players a high-performance vibrato bar without the pitch issues. Players who don’t need a vibrato bar can instead opt for a T3 with a stop tailpiece.