He was a young Mexican-American from Dallas named Trinidad “Trini” Lopez III.

But he was more popular with radio audiences and record buyers than any of Gibson’s jazz giants, and in some years his Gibsons outsold all other signature models. The most successful Gibson signature artist of that decade, however, was not a jazz player, and not even a virtuoso guitarist.

With Johnny Smith, Tal Farlow, and Barney Kessel (plus the Everly Brothers in the acoustic line and Howard Roberts as an Epiphone artist), Gibson had more signature-model clout than all other guitar makers combined. In the early 1960s, as Les Paul was leaving Gibson’s artist roster, the company recruited three of the most respected jazz guitarists to put their signatures on new “artist” model electrics.