The "forgotten" models 58, 60 and 62 in the Juan Orozco Range

 The slanted short sides are on both the model 60 and 62 not 
present. The headform also differs from the models 8, 10 and 15 
though their headstock also changed over time. I think it is a wise 
decision to put an extra story around the higher models of that range 
(58, 60 and 62) here.The models 60 and  62 also are equipped with 
superior tuners.

As the model 60 and 62 haven’t been mentioned on the Dutch 

pricelist further in this Blog it is likely also because of remarkable 

structural differences showing that they are not from the Tama / 

Ibanez factories but made somewhere else. That also makes it 

harder to place them on the so called “quality ladder”. The model 

62 here beyond has been equipped with Brasilian rosewood 

sides. No ebony reinforcement lines in the neck and other tuners 

as well. And even the slots for the rollers are certainly executed 

otherwise but anyway different from the models 8, 10 and 15.

The later "Artesano" branded guitars will be discussed here

as well but hey are in no way equal in quality to the guitars

equipped with a Juan Orozco label. Thanks to the different

persons that shared their instruments with me in order to be

able to tell the readers more about this brand.

MODEL 58. (1972)

This model 58 has been made by Juan Orozco II and

is an entirely different instrument compared to the later 

Japanese guitars, also made by different luthiers. 

About that later here. Cheaper woods so to see.

The back shows us also not the later widely used

rosewood but possibly related to rosewood.

What makes everything clear in this case is the 

label used for this guitar. Made by the father of

Juan Orozco III

A nice carved headstock indeed but poor tuners as

the axe holders are not clinched on to the base plate

but bowed out of the plate.

And definitely not an ebony fingerboard

Also a different bridge. The short slanted sides aren't

there and most likely even painted black?

MODEL 58. (1981)

This later 58 model bears the marks of the later 

models 60 and 62 presented here though not the

well known Cashew nut finish used by Ibanez /

Tama.  The name is derived from the color these

finishes are showing. More luthiers did this.

The later headform with the rather square ending

slots for the rollers.

These axe holders are clinched to the plate. Better quality!

No short slanted sides on this bridge so definitely 

not from the Ibanez / Tama luthiers.

MODEL 60

 

A model 60 Juan Orozco guitar with a genuine label.

Comparable with the model 10 by Hoshino Gakki 

(Ibanez / Tama) but made somewhere else. 

Apart from differences Juan Orozco was using the same label.

Sometimes metal and sometimes "golden"

tuners but even between earlier and later models 

of the same number and same luthier differences

simply are there. 

The bridge with the the two white stripes which

could stand for a certain luthier, but who???

MODEL 60 (1990)

Though stamped by Juan Orozco, presented here is a later

Artesano guitar. The headform is also there but according

to the label: Made in Spain.

Good tuners as they are clinched.

In fact made after the golden Era of the

Japanese made guitars around 1980

Probaly Juan Orozco has sended some designs

to the company who made these guitars.

Among them the parallel sound braces.

The rosette can be studied here.

And a bridge design as is common.

I doubt the use of real ebony for the finger-

board as it looks a lot like rosewood to me.

MODEL 62 (1977)

Presented here a model 62 from 1977 luxury in

every detail.

Provided with the well known Orozco label.

The model 62 equipped with Brasilian rosewood sides 

and back. A luxury guitar in every aspect and comparable

with the model 15 made by the Tama / Ibanez workshops.

Beautifully purfled headstock covering.

And the same counts for the rosette in all its' details.

MORE INFORMATION:

According to Juan Orozco’s published statements, he cooperated with several Japanese makers since 1969 through early 1980s. He mentioned names Tamura, Matsuoka, Yairi and workshops Takamine and Hoshino Gakki. Hoshino Gakki and Takamine Gakki were closely cooperating with Masaru Kohno workshop. Some Juan Orozco models made by Hoshino Gakki luthiers were exact copies of Kohno guitars. The parallel sound bars on the top are one of the things you are able to compare.

The 58, 60 and 62 numbered guitar are certainly not copies of Kohno guitars. Their scale, cedar top, construction method and material selection suggest that it was most likely made by Hiroshi Tamura. Hiroshi has mastered “double back” construction and used it to make his P80 and P100 models (sold in early/mid1970s). A comparison between these guitars can always be done.

Juan Orozco III (born on April 14th, 1937 and died February 15th 2020) was a Spanish luthier and guitar impresario who lived in New York from 1965 to 1995, where he had a famous guitar shop at 56th Street (in the vicinity of Carnegie Hall). This address was actually the third location of Juan’s guitar shop. Since 1960s his shop was moved twice to new locations. Juan was also known as the maker of Aranjuez guitar strings and guitar cases. He was also known as organizer of guitar concerts. He befriended many other luthiers and guitar virtuosos.

Juan was the third generation in family of guitar makers. Juan’s father (Juan Orozco II) built guitars in Spain, Uruguay and Brazil and his son was also actively involved in these workshops.

Between 1969 and 1983 Juan Orozco closely cooperated with several famous Japanese luthiers (Ryoji Matsuoka, Hiroshi Tamura, Sadao Yairi, Masaru Kohno, Masaki Sakurai, Takamine Gakki and Hoshino Gakki. (Gakki in Japanese means Musical Instruments Company)

With many thanks to others, including Dariusz Marczak and others presenting their guitars on the site of REVERB which is a great place to sell and buy guitars. Dariusz made me wanting to make this addition.