What I take from these interviews is that there is still a promising financial future in investing in vintage guitars. As has always been the case, some guitars will appreciate in value more than others. Now might be a good time to buy while prices are down if you are willing to hold onto the guitar for a while.

While celebrity collectibles have been a good investment for years, guitars themselves have largely been overlooked. However, the guitar was perfected between the 1930s and the 1960s, depending on the model, and instruments from this period are highly regarded. Some people think that in fifty to a hundred years, guitars from the mid 20th century will be thought of in the same way as violins and cellos from the 17th and 18th century.

The appeal of any guitar grows over time, and there hasn't yet been a period when the market sank. That makes a vintage guitar a great investment choice, as well as a visually and emotionally rewarding collectible. There's nothing like being able to say that you own the guitar once played by a legend.

Values only continue to go up, too. While a 1959 Fender Sunburst Stratocaster, one of the most famous types of guitar, originally cost about $250, it brought between eight and nine thousand dollars in 1997. Today, you might have to pay seventeen thousand for a model with a slab fingerboard.

Recent stock market unpredictability has meant that people are more interested in guitar collecting. These vintage instruments are a great type of protected investment. For collectors who want to cover all the bases, consider a varied collection - acoustic, electric, exotic, antique, vintage, contemporary and even custom guitars.

Over the past couple of years the vintage guitar market has taken a hit here and there but overall has proven to be a sound investment for most. The experts say that when inflation accelerates and the dollar shrinks collectibles prove to be a good place for your money.

People are starting to realize how much these instruments from the 50's 60's, and 70's really meant to our culture.

There is a very limited supply and there still seems to be a high demand for these pieces of history which has proved to be a good choice for those who have invested in these instruments, such as the Gibson Les Pauls' and Fender Telecasters and Stratocaster's from the same era. (50's, 60, and 70's).

A good place to start collecting vintage guitars as an investment would be to focus your research on obtaining guitars from the list below. This list includes that have been inducted into Vintage Guitar Magazine’s Hall of Fame. There are, of course, other lists and other guitars worth investing in, but this is certainly a great place to begin.

In the coming weeks, I will be featuring each of the exquisite instruments in detail. This information will prove useful in your search for vintage guitars that will provide a good return on your investment.

Gibson SG Standard

Inducted in 2009
By 1960, declining sales of the Les Paul model had Gibson looking to revamp the guitar. So the company gave it a radically redesigned, much thinner (and lighter!) body intended to better compete with Fender's Strat. But the things that made up its very heart and soul - especially its humbucking pickups - remained. Today, the early-'60s version is a true classic.

Gibson Les Paul Model (Goldtop)

Inducted in 2008
Les Paul tried for years to convince Gibson it needed a solidbody in its line. Finally, Ted McCarty brought a single-cut experiment guitar to Les for his approval. Though its origianl bridge/tailpiece was far from perfect, the instrument served as Gibson's test bed through the '50s. Eventually, it reached the pinnacle among guitars and today sits among the top collectibles.

Gibson J-45

Inducted in 2007
Martin's "dreadnought" flat-tops were big and dominated the guitar market of the 1930s. By the early '40s, Gibson knew it needed a big flat-top to compete, and he J-45 ("J" for Jumbo, "45" indicating its price in dollars) was it. A 16" round-shoulded flat-top, even in the tough times of its launch, it received a very warm welcome and has ever since remained one of - if not the - most popular Gibson guitars.

Fender Jaguar

Inducted in 2006
Jumping on the speeding Fender bandwagon in 1962, it helped the company stay on top throughout the decade, with its fancy new vibrato tailpiece, sophisticated electronics, and (usually) a funky custom color. If you played instrumental rock at the time, you either had one of these or you were probably ignored!

Gibson ES-5

Inducted in 2006
One of the first guitars built after Ted McCarty took charge of Gibson, it helped solidify the company's position as the world's preeminent electric archtop maker. Today, its late-'50s variant with three PAF humbuckers and Switchmaster tone control is one of the most collectible of its ilk.

National Tri-Cone series

Inducted in 2005
Its warm, sustaining tone emanates from three aluminum "resonators" designed to help guitarists stand out in big-band or orchestra settings. But, soon after being introduced, Nationals were adopted by Hawiian and blues players. Today, the Tri-Cone produces what many consider the ultimate acoustic blues tone.

PRS Custom

Inducted in 2004
The first production instrument from a company that has become the guitar's preeminent modern success story.

Gretsch White Falcon

Inducted in 2004
Like many great guitars, it has evolved through several versions. But it has been a classic since day one, for both it sound and utterly unique aesthetic.

The 1954-'56 Gibson Les Paul Custom

Inducted in 2003
Can you say "Black Beauty?" Though Gibson didn't give it the name, Les Paul himself chose black as the secondary color for the guitar bearing his moniker. Gibson did, however, use it to experiment with a three-pickup configuration and to introduce its famed Alnico-magnet pickup.

Fender Jazzmaster

Inducted in 2002
Designed and marketed by Leo to cut into Gibson's jazz market, it supplanted the Strat at the top of Fender's line in 1958. And though its sound kept it from catching on with jazzers, garage surf bands of the day ate it up. It is one of the most copied solidbody designs of all time.

Gibson SJ-200

Inducted in 2002
A landmark amongst acoustic flattops, the SJ-200 was designed for cowboy guitarist Ray Whitley, and any cowboy worth his salt played one. Its popularity carried over to other genres, and never faded. From its jumbo-sized, sunburst-finished body to its ultra-fancy pickguard, bridge, and headstock, it was considered the consummate flat-top. Just ask Emmylou!

Gibson ES-150

Inducted in 1999
Gibson's first electric Spanish guitar was also the first good-quality electric to hit the market. Favored by Charlie Christian, it housed Gibson's first pickup, which is still in high demand and considered a classic.

Martin D-45

Inducted in 1998
Originally the fanciest of Martin's innovative dreadnought line. If you had one of the 96 made in the 1930s and early '40s, your net worth would be considerably higher than it is now.

Rickenbacker 360/12

Inducted in 1997
It was good enough for George Harrison and gave us the "jingle jangle" of Roger McGuinn. That's more than enough for the 360/12 to be the only 12-string in the VG HoF.

Gibson Flying V

Inducted in 1996
One of the most distinct guitar designs ever created, but it wasn't a hit when it came out in 1958. Rock and rollers discovered it the late '60s and the V still makes a unique statement today.

Gretsch 6120

Inducted in 1996
If you play rockabilly, you better have one of these! Introduced as the Chet Atkins Hollowbody in '54, the 6120 soon shed the "G" brand and western inlays of the early versions, but never lost the Western Orange finish or the cool twang.

Fender Jazz Bass

Inducted in 1995
With its two specially designed pickups, offset waist, and slimmer, narrower neck, the Jazz Bass was intended to be the more tonally diverse, slicker-playing descendant of the Precision. The fact it was available in Fender custom colors (often with matching headstock) makes it all the more cool.

Gibson L-5

Inducted in 1994
Introduced in 1922 and with a design guided by the legendary Lloyd Loar, the L-5 was the first modern archtop guitar. Initially a non-cutaway acoustic, the L-5 went through many changes, ultimately becoming a single-cutaway with two humbuckers.

D'Angelico New Yorker

Inducted in 1993
George Gruhn said of it in the March 2000 issue of Vintage Guitar, "The New Yorker is significant due to its superb quality and aesthetic artistic appeal," and is "one of the finest guitars in the history of the instrument."

Gibson Super 400

Inducted in 1993
Introduced in 1934, with its 18" body and deluxe features, the Super 400 was the largest and most expensive guitar in the Gibson line. Its influence was soon apparent in the designs of many of the great archtops built by others. Whether the earlier non-cutaway acoustic version or the later double-pickup cutaway, it remains a true work of art.

Fender Precision Bass

Inducted in 1992
The first bass in the VG Hall, and why not, it only forever revolutionized how the bass was played. One of the most innovative ideas in modern music history.

Gibson ES-335

Inducted in 1992
Born during Gibson's "golden era," the semi-hollow body ES-335 wedded archtop looks with solidbody performance. Whether it has dot inlays or blocks, it remains one of the coolest designs in guitardom.

Martin D-28

Inducted in 1991
The first acoustic in the VG Hall, the D-28 launched Martin's line of incredible big and loud dreadnoughts in 1931. The D-28 has inspired many guitarists and builders, and remains one of Martin's most popular models.

Fender Telecaster

Inducted in 1991
Leo Fender's timeless classic is about as simple as an electric guitar can be, but still has the magic to appeal to guitarists playing just about any style of music. Every guitar player has a Telecaster (or should). Along with the Strat and Les Paul, the Tele is among the most popular designs around.

Fender Stratocaster

Inducted in 1990
The VG Hall of Fame was started in 1990 and we had little doubt the Strat would be among the first instruments selected for inclusion by our readers. Three single-coils, a vibrato (usually), and that great contoured, offset-double-cutaway body. Some 50 years after its introduction, it is still one of the most popular designs.

Gibson Les Paul Standard ('Burst)

Inducted in 1990
Also an easy first-year selection, LP Standard was introduced with a sunburst finish in 1958, and the '58 to'60 models are the most valuable vintage solidbody guitars. The Les Paul Standard is a classic no matter what finish it bears.

If I asked you to guess an investment that can give you 500% appreciation of six months, what would it be?
I'll bet that guitars wouldn't be your first response.

In the forty years since Jimi Hendrix played his white Fender Stratocaster before a 500,000 people at Woodstock, guitars are now firmly established as collectible items.

Such legendary events have led thousands of enthusiasts to seek out vintage Fender Stratocasters from the 1970s.
A late '60s Strat', then worth a couple of hundred dollars, can today sell for as much as $30,000.
Other items, like a '60s Gibson Les Paul Jr., can appreciate by an incredible 500% after six months of ownership.

And the best news is, with the guitar market down alongside stock prices, there are plenty of opportunities for new investors.

"Now, the baby boomers that bought the guitars are selling them back," Harvey Moltz of Rainbow Guitars, an Arizona-based vintage and modern instrument dealership, told Forbes.

Guitar prices are dropping by as much as 40% - so dealers are stoking up their storage rooms with vintage guitars for the first time in 30 years.

There is one particular factor that can guarantee a guitar's appreciation...

Aside from being in mint condition (with original parts, electronics and paint), the guitars must be tied to an artist or event that resonates in the modern popular conscience.

For instance, 1980s ESP guitars were played by, and are associated with, Metallica.

While such guitars hold value now - particularly with today's wealthy who loved metal in their youth - the value of shred-friendly guitars is likely to fade as the collectors themselves age.

But Woodstock and other classic-rock-associated guitars are likely to increase in value yet again - partly due to music releases and merchandising from labels like Warner Bros to coincide with Woodstock's 40th anniversary.

But, even if prices are more affordable - with a '56 Gibson P-90 Les Paul Gold Top dropping from $80,000 in 2007 to as little as $35,000 - you should still be cautious with your cash.

The year of a guitar's manufacturing date can affect the value dramatically.
For instance, electric guitar production increased dramatically after the Beatles' 1965 North American tour. Guitars from this era are less rare, and therefore less valuable.

A scarce guitar is the black mid-'60s Gibson ES-345 played by Jefferson Airplane's Jorma Kaukonen at Woodstock. The model is a much rarer find due to its colour.

Many guitars can increase in value over time, but few instruments will exhibit the long-term value or prestige of Woodstock instruments, despite their current (relatively) low prices.

Here are some guitars to look out for....
Carlos Santana
Guitar: Pre-1965 Gibson SG Special with P-90 Pickups
What You Should Pay: $5,000-6,000
These guitars were the favoured choice of Santana and Pete Townshend even after Gibson phased it out in the '60s.

Stephen Stills
Guitar: Late-'50s Gretsch White Falcon
What You Should Pay: $30,000
This guitar has not been hit hard by the recession, and has the potential for future growth in value due to its connection to several star performers.

But avoid post-1967 models. Baldwin manufacturing bought the company from Fred Gretsch, and made poorer-quality guitars.
Jimi Hendrix
Guitar: 1968 Olympic White Fender Stratocaster w/all-maple neck and cap
What You Should Pay: $25,000-30,000

Don't buy just any '60s Strat, as not all have Hendrix's rare, all-maple neck, fingerboard and Olympic White paint. Non-Jimi models depreciate more due to generalisation of value.

To buy the Jimi Strat, you'll have to pay big, but your investment will be safe. The link between the instrument and Jimi is enough to keep this guitar - made after 1965 - appreciating in value.

For some people, selling goods at the Treasure Hunters Roadshow in Middletown has been music to their ears — particularly if the good was a guitar.
The Roadshow, which evaluates valuables and antiques, has been at the Manchester Inn since Tuesday; today, Oct. 24, is its last day.
Many items, even if they’re antiques, haven’t been fetching high prices in the weak economy, said Greg Taylor, a manager at the Middletown show. However, gold, silver and guitars are the exceptions.
“Gold and silver prices are so high, and with vintage guitars, the wood they used can’t be reproduced today,” Taylor said.
For example, earlier this week in Middletown, someone brought in a Gibson ES 330 from the early 1960s. It sold for $300 when it was new, but a collector bought it for $4,500, said Taylor.
Someone else brought in a gold coin from 1871 that had a face value of $20, but sold for $3,500.
The Treasure Hunters Roadshow looks somewhat similar to “Antiques Roadshow” on PBS, but experts there appraise items for insurance purposes, Taylor said. The Treasure Hunters Roadshow buys items for collectors and gives the sellers a check.
As of Friday afternoon, 312 people had visited the show since it started Tuesday. Taylor didn’t have local sales figures but said a typical week brings in $100,000 or more.
Kim Holt of Middletown came to sell off some coins and “did pretty well.”
A man from Springboro, who asked not to be identified, was trying to sell a Disney toy train set that he guessed dated from the 1940s or ’50s. He was offered $300 for it, but decided to try his luck on eBay, where the same set sold for $600.

Vintage Guitar magazine the market bible on all things Vintage Guitar, developed the "The 42-Guitar Index" in 1991. It tracks the ongoing values of excellent condition original pre-1970 Gibson, Fender and Martin guitars. Pre 70's because those instruments are the most valuable, however guitars from after 1970 are starting to rise steadily.

The average value of an instrument in their index for 2007 is a very healthy $19,706, and that represents a staggering 438% increase since 1991. This equates to an average of 27% compounded annually.

The bulk of that growth has occurred in the past few years. Last year alone showed an amazing 54% increase. Why the sudden and massive increase? Simple, stock is drying up and these instruments have gone underground in collections world wide.

There are three main brands of guitars that lead the pack in investing circles, Gibson, Fender and Martin, all American guitars. Gibson however leads the pack in the vintage guitar market and outranks all other vintage guitar brands in terms of increase in value over the past 20 years, slightly edging out Fender and far exceeding Martins.

As an example, an all original museum quality 1959 Gibson Les Paul Standard may soon fetch over US$500,000! This particular guitar made between 1958 to 1960 is not only rare, but is also one of the greatest sounding guitars of all time and has been used on many of the finest rock albums of all time.

Fender guitars, and in particular the custom colors models are still highly desirable instruments for both players and investors. If we take a 1962 Fiesta Red Slab Stratocaster from 1996 to 2007. In 1991 they sold for an average price of $10,650. Find one now and you will have to pay an average of $41,500 - this equates to a low of $29,000 and a high of $54,000.

Martin guitars have produced similar rises in value and make excellent investments as well, but the really big money is in the Fender and Gibson models.

It may sound like rock-opera fiction, but it happens: Weekend Warrior hits garage sale and buys dusty old Fender guitar for $50 (or, cleans attic and finds the Gibson he bought in high school for $100). He visits a guitar shop in "Antiques Road Show" fashion -- and discovers the "beat-up axe" is a vintage collectible, worth $10,000. Or $20,000. Or $100,000.

The vintage guitar market has declined like other investments in this recession. But if you have cash to seed a small collection, why not start a fun hobby that's financially savvy? After all, when your 401K takes a beating, you're broke. When your vintage guitar takes a beating, it may continue to appreciate anyway, just because it looks so cool. Besides, who ever plugged a stock portfolio into a Vox amplifier and woke the neighbors?

I tapped a veteran vintage guitar expert, Wayne Sefton, owner of Midwest Buy and Sell in Chicago since 1990, for tips on what to look for when building your own collection. (His Web site is being revised; visit his MySpace page here.) Sefton has sold instruments to Wilco, Franz Ferdinand and Death Cab for Cutie. And in a 2002 Chicago Tribune article (now only available via an old Geocities link), I rated Wayne's shop as Chicago's coolest and friendliest, along with Terry Straker's Guitar Works in Evanston, Ill.

Here are Wayne's five tips for starting a valuable vintage guitar collection on a budget -- in this case, less than $5,000 per instrument, usually 10-years-old or more.

1) Buy brands collectors love. Sefton says Fender and Gibson are heritage brands bound to rise in value. Rickenbackers (played by the Beatles, Byrds and Tom Petty) are a bargain because even the rarest often sell for under $5,000. "They're great American-made guitars," Sefton says.) Avoid overseas brands.

2) Beware eBay. Guitars get bid into a frenzy there. "There's also a lot of shill bidding going on," Sefton warns. "They'll start stuff at $2,000 you can easily buy for $1,500 elsewhere." Plus, you can't pick up and play the guitar if it's halfway across the country.

3) Get an honest appraisal. Guitar Center chain stores can't do it; they may even try to give much less than your attic axe is worth. But guitar genius George Gruhn of Gruhn's Guitars in Nashville, does appraisals for the bargain price of $50. Many (including this writer) think Gruhn's is the best in the business, and so does Sefton. "I' do written appraisals for free, but that's because I'm a nice guy," he says, laughing.

4) Inspect for cracks, replacement parts and playability. A re-glued neck, refinish, or new tuners can drive a guitar's value down, Sefton says. If the guitar is all original and "mint," that's great. But so are older Fender Stratocasters and Gibson Les Pauls with that "road-worn" look. "Make sure the neck is good and playable," Sefton adds.

5) Relationships matter. Sefton takes time to educate and advise his customers, steering them toward smart investments. (Instruments I've bought on his advice have appreciated up to 300%.) "Get to know who you're dealing with," Sefton says, noting that a dealer wanting your money is far different from a dealer earning your loyalty.

Everywhere John Entwistle went, his one-of-a-kind bass guitar and "Boris the Spider" necklace usually went with him.
Now The Who bassist has gone where his belongings can't travel — he died of a heart attack in 2002 — and his beloved Buzzard bass and Boris necklace remain behind.
They're more than just mere belongings, though.
They're artifacts from the golden age of rock 'n' roll.
"He changed the face of music," said friend Steve Luongo, who drummed in The John Entwistle Band.
Those same artifacts are on display this weekend at Sidney & Berne Davis Art Center — along with other Who memorabilia, vintage rock posters from the 1960s and ’70s, signed guitars and more.
It’s probably the highest-profile event ever held at the fledgling art center, said center director Jim Griffith.
Sure, he said, they’ve had big-name Broadway actors and jazz musicians.
“But this is rock n’ roll,” he said. “It’s a whole other audience.”
In all, there will be 800-1,000 pieces in the show, said Paul Cola, a board member for The John Entwistle Foundation. The exhibit — plus an invitation-only party Sunday night — is a fundraiser for the foundation, which helps sick and poor kids get access to musical instruments and training.
The show features other rock memorabilia, including about 30 guitars signed by The Rolling Stones, Aerosmith, Sammy Hagar, James Taylor and more. All those are for sale.
But the Entwistle items, organizers said, should be the biggest draw.
Before those things arrived at the center, though, most of them lived at Luongo’s south Fort Myers house. Luongo is a former drummer for Mountain, Rat Race Choir and The John Entwistle Band (best known for “Horror Rock,” the theme song in the cartoon Van-pires”).
Recently, Luongo showed off many of those pieces to a visiting news-press.com reporter. From a back room, he hauled out a black guitar case, clicked open the latches and carefully lifted the lightweight, angular Buzzard bass into the light.
“That’s the one,” Luongo said. “That’s an old friend.”
He smiled weakly.
“I sat next to him every night and listened to it bark,” Luongo explained. “For years.”
For Luongo, these pieces are more than just memorabilia.
They’re memories.
And this weekend’s event isn’t just any show. It’s a tribute to his best friend — a man who happened to be the bass player in one of the most important rock bands of all time, The Who.
The necklace and the bass guitar will sit alongside rare 45 RPM records from Entwistle’s personal collection, outfits he wore on tour with The Who, handwritten lyrics and pen-and-ink drawings of his bandmates.
The Boris the Spider necklace, of course, gets its name from the classic Who song written by Entwistle. The bassist commissioned the pendant — the first of several — to commemorate his first hit with the band.
At his house, Luongo lifted the top off a cardboard box to reveal the spider. Its onyx body and ruby eyes gleamed in the kitchen light. “Don’t worry,” he joked. “He’s been anesthetized.”
Luongo smiled.
“He probably won’t bite you,” he said.
The Boris necklaces were special to Entwistle, said his son, Chris Entwistle of Stroud in the county of Gloucestershire, England. It’s rare to find a photo without him wearing one version of the pendant.
“The spider became very much associated with him,” his son said. “He had to play the song at every concert.”
John Entwistle wrote the lighthearted tune after chatting with friends about movie stars and wondering aloud what kind of animal would best represent them. Horror actor Boris Karloff, they decided, would be a spider.
John Entwistle wrote the song the next day.
“He said it only took him seven minutes to write” his son said.
Each piece in the show triggers countless memories, Luongo said. He’s only now gotten to the point where he can do something like this: Talk openly about his friend and immerse himself again in Entwistle’s world.
The wound still aches. While showing off the memorabilia, Luongo accidentally stumbled upon an old photo from June 27, 1987 — the day he and Entwistle met.
“Wow,” Luongo said, his voice choked, his eyes tearing. “I didn’t know this was in here.”
It gets easier with each passing year, though.
“This is the first time I can talk about him without turning into an idiot,” Luongo said. “I still can’t listen to any of our records.
“It’s painful. It’s extremely painful.”

Rediscovering his inner Hendrix inspired Jazz Festival marketing vice-president Jacques-Andre Dupont to launch musical instrument shows and a blues camp.

If Jacques-André Dupont hadn’t had one of those benign midlife crises, it’s entirely possible that a depressed 15-year-old kid wouldn’t be healed by playing the blues this summer. If Dupont hadn’t rediscovered his inner Hendrix, guitar fanatics from all over the world might not have a place in Montreal to gather every year and talk guitar geek. Most important, if a meeting with Montreal International Jazz Fest sponsors hadn’t been cancelled at the last minute, he might never have walked into Steve’s Music Store in Toronto.
That unexpected visit to the music store in 2003 was the turning point. Dupont, the marketing and business development vice-president of the jazz festival’s company, Equipe Spectra, had just turned 40. He hadn’t picked up a guitar in a couple of decades, but with his meeting called off and time on his hands, he walked into Steve’s.
And he emerged with a Gibson ES-335.
“I took the train home and there was space to play,” Dupont said during a recent interview at an Eggspectations restaurant in the Plateau Mont-Royal. On the train ride, he hammered out some remembered blues licks. “I was like a kid,” he said. “From there, I got crazy.”
It wasn’t long before Dupont started collecting vintage guitars, creating, in the process, a Web site to connect with other collectors. Before long, the business and marketing man was right-braining his energy into promoting music-making as part of the festival. When his bosses, jazz fest honchos Alain Simard and André Ménard, gave him the green light, the Montreal Musical Instrument Show was born.
The first show in 2005 offered not only a showcase for all kinds of musical instruments, but hands-on attractions like lessons on how to play guitar in an hour (the main secret: knowing the chords A, E and D), djembe jams and successful workshops by the likes of Pat Metheny and John McLaughlin.
This year, the instrument show is back, featuring the usual displays, activities and the 100% Guitar series, which offers free nightly shows at the new MMIS-GM Pavilion.
An offshoot of the instrument show, focusing on Dupont’s first musical love, was inevitable. The Montreal Guitar Show made its solo debut in 2007. Classes, concerts and interactive activities for would-be fretburners became as successful as the guitar exhibitions showcasing the world’s best luthiers.
During the guitar show’s second year, singer-songwriter Francis Cabrel bought $70,000 worth of instruments, Dupont said.
“There are more guitars sold every year than all other instruments put together,” Dupont said. “Have you ever heard of a clarinet hero?”
This year, nine ticketed Guitarissimo concerts at Cinquième Salle of Place des Arts, by Stanley Jordan and Russell Malone, among others, are also part of the event. Free shows at the Hyatt Regency Hotel between July 3 and 5 make up the Guitar Guitar series. The guitar show itself moves to the Palais des Congrès, near the jazz festival site.
As always, Dupont said, state-of-the-art instruments by the world’s best luthiers will make it the place for guitar fanatics from all over the globe to admire, discuss, buy, sell, try out and generally drool over some wondrous high-end axes. And this year, acoustic and electric models will each get their own room for exhibitors, mini-concerts, lectures and workshops, Dupont said.
If one of Dupont’s jazz festival projects seems close to his heart, it’s the Blues Camp, which, he said, was born of his desire to bring teenagers into the jazz festival. The day camp, offered in French, gives young musicians between 13 and 17 a chance to immerse themselves in the magic 12 bars in all their manifestations over a seven-day period.
While drums, piano, bass, horns and harmonica figure into the camp’s daily schedule, guitar – a staple of modern blues – is a heavy presence.
The rules are intricate, with an audition process that whittles about 400 applicants from all over Quebec down to 100 finalists. More rigourous interviews leave 55 standing. That group will spend an intensive week soaking up instruction from teachers and mentors, writing songs and forming bands – six groups, divided according to age. On the last day of the festival, the bands play an outdoor show on the Club Jazz TD Canada Trust stage.
Dupont said he has observed the life-changing effect of the event during the interview process. “I hear so many things like ‘I tried to kill myself and the guitar was the way I found to survive,’ or ‘I lost my mother and my dad this year and music is the way I get through.’ I even saw a 13-year-old boy who said to me: ‘I want to be the next Nina Simone,’ ’’ Dupont said.
“I see the impact,” he said. “I see that we do a job not enough people are doing. There’s less and less music in schools. Somebody has to step up to the plate.”
The Montreal International Jazz Festival’s third Montreal Guitar Show will be at the Palais des Congrès July 3 to 5. The fourth annual Blues Camp runs from July 6 to 12. The fifth annual Montreal Musical Instrument Show will be at the Village de la musique from July 10 to 12, although some activities are offered throughout the festival.

The Montreal International Jazz Festival runs from Tuesday to July 12. For further details, go to montrealjazzfest.com or montrealgazette.com/festivalcentral