In 1942, war-time production shortages prompted Gibson to totally revamp their acoustic catalog. For slope-shoulder dreadnoughts, the prewar J-35 and J-55 were replaced by the J-45 and Southerner Jumbo. According to Gibson lore, the sales rep who handled the Southeast region requested the company build a flat-top targeted for the Southern states. He felt that Gibson flat-tops were especially appreciated there, and apparently he was able to convince Gibson execs that a model dedicated to the South was just what they needed to boost sales.
The result was a 14-fret, slope-shoulder dreadnought originally called the "Southerner Jumbo," but quickly shortened to just "Southern Jumbo" then later just "SJ." With a Spruce top, Mahogany back and sides, and a sunbsurt finish, the SJ shared the same size and basic construction as the J-45, but it featured fancier details: multi-ply body binding, split parallelogram inlays, and fingerboard binding. The Southern Jumbo was Gibson's most expensive flat-top during the war years. After the war, it remained a popular model, and its specs didn't change much until the mid-'50s.
This 1952 Southern Jumbo is a great example of the early-'50s specs with the small pickguard and scalloped X-braces influenced by the prewar J-35 and J-55. When the small teardrop pickguard was changed to the bigger western pickguard, Gibson also opted for stouter straight braces, which make the top stiffer and change the tone. The earlier scalloped braces are more responsive and expressive, and they're more in touch with the prewar sound.
This 1952 Gibson SJ finds us in impressive cosmetic condition. There is of course some wear and tear, and the worst is a bump on the back of the neck behind open position (see photos). The body is very clean all around, and the finish fluoresces consistently under a blacklight. Nevertheless, there is lacquer visible inside the sound-hole and over the pickguard, so at least the top has been oversprayed. But based on how clean it is, it's probably safe to assume the entire guitar has been oversprayed.
At some point along the way, the neck was reset, and it's possible that the bridge has been re-glued (or partially re-glued). The bridge plate is clean, and the bridge is still held on with metal pins. The frets show the Gibson "nibs" on the binding, especially in the upper register, so it's possible some are original. Since the guitar hasn't been mishandled, it might not have been played enough to require new frets. The tuners are the appropriate-sized MIJ replacements, and it has an end pin jack installed for an LR Baggs M1 pickup, which is included. It also includes a replacement saddle for a quick action adjustment.
At present, the action is very low with light gauge strings. This 1952 Southern Jumbo plays smooth and easily, and it sounds just right. Its tone is warm, sweet, and steeped in the classic Gibson "thump." It's a rich, unassuming sound that has become refined and nuanced with age. With a lighter touch, it responds quickly with bell-like attack, and it doesn't take much effort to produce rich tone. When you dig in, it growls in a way that is instantly bluesy and distinctly Gibson.
This 1952 Southern Jumbo includes a modern Gibson hardshell case.