Bourgeois Masterpiece SJ/C Custom

A one-of-a-kind, ultramodern fingerstyle guitar by Bourgeois master luthier James Witkus.

July 23, 2025

A graduate of the Galloup School of Lutherie, James Witkus joined Bourgeois Guitars more than 15 years ago. Having worked alongside company founder Dana Bourgeois, he now carries the title of Master Luthier. Dana says, “James can do anything I do.” A couple of years ago, Dana suggested that James build a guitar completely to his own specs, invoking a project similar to the “master” instruments that luthiers in the European apprentice system have to complete before working independently. Given Bourgeois Guitar’s history of combining vintage designs and modern building techniques, James suggested building two guitars, one more traditional, the other highly contemporary. We already featured the traditionally-inspired Masterpiece Concert Parlor, and in this video, I take a look at the highly modern Masterpiece SJ/C.

Naturally, the Masterpiece SJ/C is a one-off showpiece. One look at the instrument is enough to establish that this isn’t a typical Bourgeois. Though based on the SJ (Small Jumbo) body that has long been an option in the Bourgeois catalog, this guitar has a 12-fret neck joint (the first Bourgeois SJ to do so) and a fanned-fret multi-scale, which, combined with a modified peghead shape, an armrest bevel, and a cutaway, gives it a highly asymmetric appearance. The guitar was built with a gorgeous, highly figured set of ebony for its back and sides and a tightly grained and evenly colored sinker redwood top. A burl-maple rosette has the elliptical shape that Bourgeois has previously used on its Odyssey models, and matching wood is used for the top’s purfling. The Madagascar rosewood bridge and fingerboard are a relatively light shade of brown and offer an attractive contrast to the body woods. While the front of the guitar shows relative restraint in its approach to inlays and appointments, the back is sure to catch anyone’s eye. Not only does the ebony have highly dramatic figure and coloring, the two main back halves are separated by a wide center-wedge, which in turn features figured maple “hourglass” inlays that continue to the guitar’s endblock. The guitar’s flamed mahogany neck continues the idea of making the back of the guitar flashier than the front.

Small jumbo bodies, redwood tops, and multi-scales are all elements that are frequently found in cutting-edge contemporary fingerstyle guitars. So I was not surprised to see that the Masterpiece SJ/C continued this trend. Measuring 25.5 inches at the bass side and 25 inches at the treble side, the guitar’s multi-scale isn’t as radical as some, yet it allows for the softer feel and easier reach of a short scale on the high strings, while retaining the tension and punch of a long scale on the lower strings. The guitar has a lightning-fast response, fabulous tonal balance, lovely sustain, and excellent volume, even when played without much force. While this particular instrument is obviously a one-off, I would love to see Bourgeois use the Masterpiece SJ/C design on a standard model.

Between this guitar and the Masterpiece Concert Parlor, James Witkus has more than proved that he is a supreme master of his craft. By building this highly contemporary guitar, James has perhaps given us a glimpse of what may be to come.

Bourgeois Masterpiece SJ/C