Reintroduced in January ’24, D’Angelico’s Style B replicates design details from several of the archtops John D’Angelico first built in the 1930s.

The elegant aesthetics and Art Deco touches of his initial Excel line are well-preserved here, alongside a few smart updates for trad jazz players of this century. While the original line was conceived as an acoustic jazz guitar, this update owns the floating DeArmond Rhythm Chief pickup mod adopted by players who wanted to be heard in a band setting, and shaves girth from the chunky neck of yore. With the Style B, you can wrap your hands around a modern C neck and capture the vaunted D’A vibe.

Floating pickups like the DeArmond are designed to preserve the sound of an unadulterated acoustic top, which the Style B maintains with a floating ebony bridge, bottom-mounted “two bar” tailpiece, and pots on the pickguard. In the case of Style B’s laminated top, back and sides, it’s a somewhat closed and controlled sound, ideal for punchy rhythms and round, burpy leads. Before your nose goes up about the laminate, note that it’s also helpful for taming feedback on a hollowbody; it contributes to the guitar’s tight bottom, great for articulating low chord voicings. And, of course, it’s a major factor in affordability.

The three-piece neck is topped by an ebony fretboard sporting 20 frets along a 24.75″ scale. Dovetailed to the jumbo body at the 14th fret, it’s realistically playable to 12th position.

While the Style B is designed to “excel” (sorry) as a rhythm instrument, its fast, comfortable neck begs you to blow. You’ll also appreciate the balance and fullness of the DeArmond, which lures chord-melody playing. Jazz players won’t be surprised that the Style B’s tone shone most brightly through solid-state and acoustic amps, which opened its woodier acoustic qualities.

D’Angelico has simultaneously released the EXL-1, replicating a later single-cut that became the envy of L-5 owners, and a favorite of giants such as Johnny Smith and Chet Atkin.