When Fender introduced the Jazzmaster in 1958, it was intended as the flagship of their lineup — a solid‑body designed to compete with hollow‑body jazz guitars while offering modern electric reliability. Over the next decade the Jazzmaster would evolve, often subtly, reflecting both changing musical tastes and the shifting manufacturing realities as Fender transitioned into the era of corporate ownership under CBS. Below, we highlight the key spec and aesthetic changes from 1960 to the end of the ’60s.
1960–1962: Cosmetic Tweaks and Early Refinements
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By 1960, the earlier anodized‑metal gold pickguard — a flashy nod to mid‑century style — had already been phased out. From mid‑1959 onward, the pickguard had become a more conventional laminated three‑ply plastic (either faux‑tortoiseshell or white), depending on body colour.
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The standard “3‑Colour Sunburst” finish remained dominant on alder bodies, but subtle shifts in appearance emerged: for example, the darker outer edge on early ’58/’59 bursts had a purplish hue which by 1960 had deepened to black; the red band in the burst also began to change in saturation, making some ’60‑era sunbursts notably different visually from their predecessors.
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Internally, the core specs remained the same: 25.5” scale, offset-waist body, slab rosewood fingerboard glued onto the maple neck, the wide flat single-coil “soapbar” pickups, floating‑bridge + tremolo tailpiece with trem‑lock, the dual‑circuit (lead/rhythm) electronics with their distinctive roller‑wheel controls.
This period marks the “classic” early Jazzmaster — Fender’s original vision, with premium finishing and hardware intended to make the guitar stand out both sonically and visually.
1963–1965: Transition and Slight Tweaks Before CBS
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Around 1962, Fender switched the fingerboard veneer: what had originally been a slab rosewood board became a thinner “veneer” rosewood board, glued atop the maple neck.
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Cosmetic details continued to shift: tortoiseshell pickguards (three‑ply plastic) became the norm for sunburst/wood‑toned guitars, with white guards for custom colours.
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Then came 1965 — a milestone year. That was when Fender was sold to CBS, and the final “pure” pre‑CBS Jazzmasters were made. These 1965 guitars are often regarded as the pinnacle of the original design ethos: balanced, well‑crafted, and with all the “correct” era‑appropriate components. Many collectors point to 1965 as the high‑water mark for vintage Jazzmasters.
Mid‑ to Late‑1960s (1966–1969): CBS Era Cosmetic & Production Changes
After CBS took control, changes — many cosmetic or production‑driven — began to accumulate. While the basic design and electronics remained, several shifts marked the move towards cost‑effective mass production.
Here are the main changes during this period:
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Binding and Block Inlays: From 1966, bound necks and block inlays began to appear on some models (a departure from the earlier slab-neck / dot‑inlay format).
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Maple Fretboard Option: Fender began offering maple‑fretboard Jazzmasters (in addition to rosewood) with black binding and block markers — a shift towards brighter tone options and simpler manufacturing.
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Headstock Redesign & Logo/Decal Change: By late 1967 / early 1968 the Jazzmaster headstock shape was altered to the slightly trimmed-down shape that matched post‑1965 Stratocasters. Alongside that, the classic gold “transition” Fender decal was replaced with the black “CBS” logo, and the stylised “Jazzmaster” script was swapped out for a bolder block-letter font.
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Pickguard & Tuners — Material & Style Tweaks: The tortoiseshell pickguard evolved in pattern, shifting towards a deeper brown-red with fewer white flecks and more black swirls. Some late‑’60s Jazzmasters have been found with non‑standard tuners (e.g., pearl‑button “Grover”-style tuners), though evidence suggests these may have been special-order or post‑factory retrofits rather than strictly factory‑standard components.
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Finish & Production Materials Shift (by 1968–1969): Around this time Fender — like with other models — began to move away from nitrocellulose lacquer in favor of thicker, harder polyester-style finishes, a shift likely driven by production speed and durability considerations (though it arguably changed the feel, resonance, and aging characteristics of the guitars).
By 1969 the result was a guitar that looked quite different in some respects from the 1958–62 originals — larger headstock, different neck/marker style, different aesthetic appointments — but under the surface, the offset body, scale length, electronics layout, bridge/tremolo design, and fundamental tone-generating hardware remained.
What Remained Constant: The Heart of the Jazzmaster
Throughout the 1960s — despite the cosmetic and production changes — several of the Jazzmaster’s defining characteristics remained consistent:
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The offset-waist body with rear contour layout, providing comfort and balance.
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The “wide‑flat” single-coil pickups with reverse winding/polarity for hum-cancelling when both pickups are used.
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The innovative floating bridge + tremolo tailpiece with tremolo lock — a system distinct from the Stratocaster’s tremolo, giving the Jazzmaster its signature resonance, feel, and vibrato behaviour.
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The dual-circuit electronics (Rhythm/Lead) with separate control sets — one of Fender’s most distinctive and forward-thinking wiring configurations at the time.
In short — though cosmetic and construction details changed, the DNA of the Jazzmaster remained intact across the decade.
Why These Changes Matter (For Collectors, Players & Vintage Hunters)
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Collector Perspective: Many vintage enthusiasts view mid-1965 Jazzmasters as the end of the “true” Fender era under founder control — the last models with full attention to detail before mass‑production pressures. As such, 1965 neck‑date stamps and serial numbers around L10000–L20000 are considered especially desirable.
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Playability & Tone Shifts: The introduction of maple neck/fretboard options and bound necks with block inlays changed both the feel and tonal response of late‑’60s Jazzmasters — maple boards tend to add brightness, and thicker finishes plus heavier hardware may subtly alter sustain and resonance compared to earlier nitro/rosewood models.
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Aesthetic or “Era Feel”: The switch to the larger “CBS‑style” headstock, new decal, different binding/markers, and newer colours/finishes mark late‑’60s Jazzmasters as truly distinct in look and “vibe” from the more classic, sunburst‑and‑tortoise 1958–62 guitars. For players chasing a particular era’s vibe (surf‑60s, early‑indie, or just vintage “plunk” tone), these visual and tactile details matter.
Conclusion
The 1960s were a decade of transformation for the Jazzmaster — not in radical redesigns, but in the steady, subtle shifts of materials, finishes, and appointments that reflected changing tastes, manufacturing priorities, and corporate ownership dynamics. What started as Fender’s bold bid to claim the jazz guitar market evolved into a cult classic offset instrument, its idiosyncrasies eventually embraced by surf, country, R&B, and later indie/alternative players.
For fans of the Jazzmaster — whether collectors, players seeking a certain tone, or historians tracing Fender’s evolution — those decade‑long spec changes are more than trivia: they mark the difference between a “golden‑era” vintage offset and a later‑’60s transitional piece.
