This I've tried quite a few times - changing necks, using different wood.
First hand experience tells me that the neck is the biggest tone shaping device made of wood on the "solid" guitar. Body wood type is not as much of a difference as folks might make it out to be. I've got two guitars, each with 52 reissue Tele pickups - one is mahogany, one medium weight ash. Same neck, same new string type, same exact - measured - set up. Tone not a whole lot different. Sustain not too different. More like very minute shades of the same overall flavor... hard to describe. The word "lively" might be applied to the ash one. Maybe a little better attack... very very subtle difference. The necks made a HUGE difference. Going from goncalo-alves, to birdseye maple was night and day. Interestingly, at the time I had a birdseye maple neck, and a straight maple with pau-ferro board. Tone was the same.
When I built that amber tele thinline of mine, with the black binding, I put a P90 at the neck and a warm Burstbucker #3 at the bridge. It had a goncalo-alves neck and was way too warm. I put in 500k then 1m pots. Still too warm. It saddened me. Finally, I switched to an all maple neck. The tone was so bright, I had to switch back to 250k pots! That guitar has a "middle" control (like the Gibson L6s) and it was useless with the goncalo neck. Quite usable and very nice tones now with the maple neck. Night and day difference.
I took the goncalo neck, put it on a solid ash guitar with a mini humbucker at the neck, and hot Fralin tele pickup at the bridge. Thats also doing well with tone, not too bright, but still nice and quacky.
You really need to consider more than body wood for tone. The neck and pickups must also be matched with the body, especially solid vs thinline.