I started learning jazz guitar back in 2002. I didn’t get heavily into it until 2009, when I started the Master’s program in jazz studies at San Diego State University. One of my guitar teachers suggested I try a more jazz-oriented pick to get a more authentic sound. I had been using 1.5mm Dunlop Gator Grips, which are great for rock and blues, but as I found out later, lack the smooth attack necessary for fluid, horn-like bebop lines. My instructor recommended Dunlop Jazz IIIs, so I bought some, made the switch, and called it a day.

During one of my first rehearsals at school, an elder saxophonist was giving advice to younger players, suggesting variance in their practice equipment, specifically reeds. While he had a favorite brand and type of reed, he frequently swapped it out, leaving his comfort zone. I realized I could apply the same concept to guitar picks. I knew there were several “jazz guitar picks” on the market, but the extent of my exploration had been to adopt what my teacher used.

So I went to Musician’s Friend, searched for “jazz” in the guitar picks category, and bought 12 different six-packs. They all happened to be Dunlop picks, and at $3 apiece, this was not expensive. I stuck one pick from each set into a Ziploc bag, and I carried it in my case to rehearsals, lessons, and jam sessions, using a different pick every day. I’ll run over my thoughts on each one below.

Jazz III

This is the standard. It is by far the most popular jazz pick on Musician’s Friend, and I see others using it for jazz more often than any other pick. It’s a little smaller than I’m used to, so I have to be careful not to drop it. It forces me to play a bit softer, but the attack is very clear. The nylon material combined with the sharp tip contribute a bare minimum of noise to the pure sound of a plucked string.

Eric Johnson Jazz III

Apparently, Dunlop laser-scanned one of Eric’s own vintage Jazz IIIs and recreated it in this signature model. It’s so close to the standard Jazz III that I could hardly tell the difference. But much of the character in a guitar pick is in the subtleties, and I eventually came to appreciate this pick’s unique qualities. It’s slightly more flexible, and the edges have a smoother, more broken-in feel.

Jazz III XL

This is a larger version of the Jazz III. Same material, same pointy tip, just physically larger. The size made it feel at home in my fingers, but its thinness didn’t. I’ve been using heavy picks, 1.5mm – 3mm, for my entire guitar-playing life, so these thin nylon picks felt weak and floppy, especially when they’re a little larger like this. I did enjoy the tone though, same as the Jazz III.

Jazz III XL Stiffo

Identical to the Jazz III XL except in color and stiffness. Same material, thickness, shape, and feel, just a tiny bit less bendy. I overlooked this difference for a while, as there’s no indication on the pick itself.

Stubby Jazz

I already had a bag of these lying around. I used to be a big fan of the Big Stubby, and I once ordered a bag of Stubby Jazz by mistake. These are small again, roughly the size of the Jazz IIIs, but they are fat in the other dimension, 3.0mm! It’s a strange shape to hold in my fingers. There’s no flexibility whatsoever, just how I like it. But I have a problem with the tone. Because of its weight and material, it makes a new tone every time it hits the strings. It sounds to me like someone tapping a fork against a glass: tink, tink, tink.

Ultex Jazz III

Same classic Jazz III shape, new material and new color. The “Ultex” material is clearly stiffer than the original, but it also has a different interaction with the strings. It doesn’t seem to glide across them as easily, creating a more audible attack. This isn’t necessarily bad, as it can serve specific situations.

Tortex Jazz 1.14mm

Another new material in a shape that’s similar to the Jazz III but seems a bit wider. At 1.14mm, this pick is the thinnest of the bunch, but the material is strong, so it seems less flexible than the nylon picks above. The surface feels almost chalky, like my trusty old Gator Grips. With its minimal size and thickness, it can feel like this pick is barely there.

JazzTone 204

This begins the series of five JazzTone picks. They all use the same material and thickness, no flexibility. The models differ only in their shapes and tips. Using the 204, small with a round tip, is almost like playing with a button. I never could get used to it, but it does have a particular sound quality unachievable from any of these other picks. As with any rounded tip, there’s some pick noise in the attack and a more fundamental tone from the strings.

JazzTone 205

Identical to the 204, but with a pointy tip. Like the Ultex above, the material has a small amount of catch on the strings, providing the slightest pick attack. It’s not as smooth as the Jazz III, and it doesn’t clink like the Stubby. I really like the sound of this one, but the smallness gets to me.

JazzTone 206

This is the only teardrop shape in the bunch, pointy tip, like an elongated 205. And I love it! It fits nicely in my fingers, the inflexibility feels great, and the tone is spot-on for my taste.

JazzTone 207

This is the biggest one so far. There’s no way it’s leaving anyone’s fingers. With its round tip, it’s suitable for constant rhythm playing, perhaps Freddie Green or gypsy jazz style. The tone is similar to the round 204, but with some more girth behind it.

JazzTone 208

Even bigger than the 207, this monster could double as a frisbee. It’s great if your strings and amplification (if any) can handle really loud picking. I use it when I want my acoustic single-note lines to sound like they’re being played by a lumberjack.

Results
Since the big experiment, I loved the 206, later latched onto others, and now I’ve been favouring the red Jazz III XL for a while. I originally didn’t care for it, but I noticed over and over that during the critical auditions and juries of music school, I simply felt more confident using this pick. I still don’t know why, but that’s a sign I can’t ignore. These days, I don’t change my picks so regularly, but I try to mix it up when I can.

If you’re interested in picks of any sort, I highly recommend this process. Create a collection of different picks and force yourself to use a new one each day, whether or not you have a favorite. I found that in addition to discovering what worked for my playing, I gained a sense of what works in different situations. I don’t have to stick to a single pick all the time; I can grab whichever one is most suitable for the setting I’m playing in or the sound I’m going for. I also found it revealing to observe how each pick affects not only my sound, but how I play and what I choose to play. I know that if I picked up the yellow Ultex and improvised a line right now, I would not play the same thing as if I had chosen my usual red Jazz III XL. I think that’s profound.

About the Author

Joe Walker teaches rock, blues, and jazz guitar lessons in Seattle and all around the world via Skype. You can find out more about Joe, his lessons and check out his guitar blog at DeftDigits.com.