New Marquis Series

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THE OFFICIAL NEWSLETTER OF THE MARTIN GUITAR COMPANY • VOLUME 17 • JULY 2004

TheSoundingBoardRory Block, Tom Paxton & Eric ClaptonHeadline New Artist Signature Editions

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Dear Martin Enthusiasts,The economy seems to be picking up. We’ve certainly noticed

that in the increased orders coming in for our guitars. You’rekeeping us very busy, and we appreciate the confidence youplace in us to deliver instruments of quality and integrity.

It’s no surprise that our instruments are so highly valuedoverseas. The fluctuations of the dollar sometimes affect thatbusiness in either direction, but one thing is quite consistent andthat is the passion that the Japanese have for Martin guitars. Irecently visited Tokyo for a show celebrating the 15th Anniversaryof T. Kurosawa & Co. as our distributor in Japan. I spoke withmany Martin owners and was amazed at how many of them ownseveral of our guitars – a D-28, a D-45, perhaps a 000-28EC EricClapton model. They really cherish the craftsmanship andattention to detail, as well as the incredible heritage that ourcompany holds.

Because of their tremendous enthusiasm for Martin products,Kurosawa initiated a Martin Club of Japan several years ago. Wewatched with curiosity the fervor that they put into this project.They published their own magazine, similar to The SoundingBoard in many respects, and offered special incentives and Martinbranded products to their Martin Club members.

We thought they had a great idea, and we began to considerthe possibility of creating something along that line. On June 1,2004, we proudly launched The Martin Owners Club, and alreadythe membership rosters are impressive. Find out how to join andread about the various club benefits on the back cover of thisissue and, of course, there is plenty of information about theMartin Owners Club on our web site at www.martinguitar.com.

In any event, we’re very excited about the launch of theMartin Owners Club, and we cordially invite you to join.

Sincerely,

C. F. Martin IVChairman & CEOC. F. Martin & Co.

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The Sounding Board™

VOLUME 17 • JULY 2004P U B L I S H E D B Y

The Martin Guitar CompanyP. O. Box 329, Nazareth, PA 18064

Phone: (610) 759-2837 Fax: (610) 759-5757

www.martinguitar.comE D I T O R

Dick Boak

C O N T R I B U T O R S

C. F. Martin IVMarshall Newman

Ronnie LippinShawn KelleyCyndi Fritz

Donna HunterChris ThomasDennis Tenges

S P E C I A L T H A N K S T O

John August SchroeterTom PaxtonRory Block

Hiroshi FujiwaraEric Clapton

© 2004 C.F. Martin & Co., Inc., Nazareth, PA 18064 USA.All rights reserved.

The Sounding Board™ is availablefor free from your local authorizedMartin dealership. You will also findrecent Sounding Board issues on ourweb site in downloadable PDF format.Typically, issues are published in Januaryand July of each year.

If you wish to be assured ofreceiving future issues of The SoundingBoard, we recommend that you considermaintaining an active membership in TheMartin Owners Club™. If you wish to beincluded on our temporary recipient list,please mail your request with completename and address to:

The Sounding BoardThe Martin Guitar Company

P. O. Box 329Nazareth, PA 18064

You may request a complimentary copyof our full color Martin catalog by writingto the above address or by calling us at(610) 759-2837.

Printed On Recycled Paperin the USA

CHRIS’S COMMENTSCHRIS’S COMMENTS

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LETTERS

Dear Mr. Martin, I’m 1/3 of an acoustic trio called

Emerson, Smith & Phelps. One of mybandmates, Alan Phelps (above), hasbeen an avid wood and metal worker forover 25 years and an equally avidacoustic musician. One year, with abonus from his job, he bought theinstrument that’s still his pride and joy – a1926 00-21. When a downturn in theeconomy left his job outlook shaky in themid-’90s, he decided to turn his passioninto an avocation and open a luthierybusiness. He built instruments from kitsfor practice, attended a number ofworkshops, and studied under renownedcraftsman Michael Hornick. Beforeopening his shop (the A. C. PhelpsMandolin & Guitar Co.), Alan decidedhe’d visit the Martin factory to see howit’s done at “the premier guitar factory ofthe world” (as he told a radio interviewerearly last year). So he drove all the wayfrom Cary, NC, to Nazareth, PA, to seeyour facility. After taking the regular tour,he went over to see the old factory andwas completely taken with it: thesqueaky wood f loors, the old workbenches, the smell of spruce, mahoganyand rosewood still hanging in the air. Hewas so taken, in fact, that on the wayhome a melody began running throughhis head. By the time he got back, he hadcomposed an instrumental he titled“Pilgrimage to Nazareth” in homage toyour company. That song now appearson our CD, Acoustic-Americans, andfeatures Alan on his 00-21. The otherguitar used on the CD is my 1971 D-18. Ijust thought you’d like to know thatbefore the four gentlemen pictured inyour July 2003 issue made their“Pilgrimage to Nazareth”, my bandmatehad already written and recorded a songabout it! Sincerely,

Don Smith (Cyberspace !)

Dear Mr. Martin,I was intrigued to find this rare shot

of Ringo playing John’s Martin D-28while John tried his hand at Ringo’sdrum kit. That’s a switch!

Dan VanderhaarMenemmomie, WI

Dear Mr. Martin,I have one of those “old Martin in

the attic” stories for you. I f lew toHawaii for vacation a couple of weeksago. I had planned the weekend onOahu and the week on Kauai. My sisterhowever lives on the big island.

After some pondering, I decided tocatch an inner-island flight to have lunchwith her in the middle of the week, as itwould be silly to come all that way andnot see her. She’s 74, so I felt that it wasbetter that I make the effort to go seeher, rather than make her come all theway over to see me.

When I arrived she said, “I have agift for you. Have you ever heard ofMartin guitars?” My jaw dropped. Itturns out it was a 1909 0-30, in greatshape and very rich sounding. It wasgiven to her in 1946 at the conventwhere she was a nun. I’m currentlyhaving it worked on: resetting the neck,re-gluing the bridge, and having it re-fretted. Soon I should have myself apretty darn nice playable ax. My co-workers here at Acoustic Guitarmagazine are contemplating a GreatAcoustics feature on it, which would befun.

That’s the skinny. I’m sure you'veheard a million of these stories, but tome this one is very special. I promise toscratch it up and leave the strings on foryears. Sincerely,

Peter PenhallowAcoustic Guitar Magazine

Dear Mr. Martin,Well, we have survived another

Christmas season here in Ladoga,Indiana and in the process, we haveadded another generation to the C. F.Martin guitar family by presenting myson in law Chris with his first Martinguitar. I chose the DXM for himbecause of its tone and durability. Iknow he will get years of pleasure fromthis guitar and possibly pass it down tohis kids as they learn to play.

I have always loved my Martinguitars because of the superior qualityand excellent sound. I have an HD-28, aKenny Wayne Shepherd Signaturemodel, a CEO4, a jumbo J12-16RGT, aDC-16RGTE and a sunburst D-16RGT.These guitars are so beautiful andwonderful sounding I can notunderstand why anyone would ever buya “Brand X” guitar. I have owned theherringbone HD-28 for over twentyyears now and it has withstood elevenmoves to all climates. It sounds evenbetter now than when I first purchasedit, a testament to Martin’s quality andworkmanship.

And to the craftsmen who mademy CEO 4, thank you for the best guitarI have ever played.

I just want to thank you again formaking such great guitars that haveprovided my family with so much joyover the years. By the way, the photoabove is my son in law Chris Hagistwith his DXM, me with my CEO 4, andbrother in law Rick Goldsberry with hisD41. We proudly refer to ourselves as“The Martin Men.“ Sincerely,

Jim GeimanLadoga, Indiana

The Martin Men

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Robert SelvaggioRobert has quite a story. It all goes back to Fathers Day

in 1999. He was attending the three-day Telluride BluegrassFestival up in the beautiful Rocky mountains of Colorado.On the first day of the festival he passed a stand where raffletickets were being sold to win a Martin herringbone HD-28.He plopped down his two dollars, filled out all of theinformation, kissed his ticket, folded it, bent the corner up abit, and put it in the box.

Two days later on stage, miraculously, Robert’s namewas drawn from thousands of entries. In Robert’s ownwords: “I was rooted to the ground with my arms and fistsstraight up in the air…screaming my head off!”

After he calmed down somewhat, he found his waybackstage to claim his “treasure,” and since that day, Robertand his guitar have been inseparable. His career as asinger/songwriter/performer took off. Releasing his first CDin June 2001, Rob lived out of his truck for eight months tosave money for his first European tour. He traveled inEngland and Wales, had his guitar stolen, then got it back!

Robert now lives in Columbus, Ohio where he continuesto pursue his music. Through a grass roots effort, he hasmanaged to distribute his CDs across the US, Europe andASIA. He’s working on a new album currently. When he can,he likes to perform in schools and spread as much good willas possible.

One thing is for sure. That Martin guitar changed his life! v

Charbroiled D-35David Neely, who manages a Martin Warranty Repair

Center in LA, recently furnished us with these “before” photosof a D-35, which was badly damaged in a fire. Miraculously itsurvived and will be back in shape soon. David has promisedus “after” photos when his refurbishments are completed. v

Gadz-Ukes !David Barry sent us this photo of his father Charles Barry

taken in Denver in 1918 when David’s father was just twoyears old. The ukulele is still in great condition and is now ofcourse a special family heirloom. v

NASCAR Busch SeriesMartin’s Chief Operating Officer Keith Lombardi (left)

and Administrative Services Manager Sylvia Fehnel (right)presented polesitter Kyle Busch with a special Concept IIIprototype prize at the 2004 NASCAR Busch Series race atNazareth Speedway in May of 2004. v

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Author and outdoorsman Rob Lyons has been featured inprevious issues of the Sounding Board. (See BackpackerStories, Volume 12, January 2002). His most recent expeditiontook him and his companions down the Green River of Utahon a canoeing adventure connected with Origin Expeditions,a non–profit company in the San Juan Islands dedicated togetting kids into the wild. The trip was a reconnaissance effortexploring curricula for future programs.

In addition to Rob and his wife Pamela in one canoe,Anna Lindall and Cedar Charnley were along working up acourse guide of the Green for a college project. Paul Lewis,another Origin Expeditions director, was their field supervisorwho led the other two canoes.

They spent a couple of weeks all told on the river,traveling to the Southwest. Coming from the verdant San JuanIslands, they found it quite an adjustment floating on waterthat seemed more like liquid mud. (“They really should havenamed it the Brown River!”)

One of the culinary delights of the expedition was theabundance of freshly caught channel catfish, which kept thegroup supplied with fish entrées virtually every night, but eventhe catfish shared the river’s earthtone hue.

To soothe the desiccating mood of life on the ColoradoPlateau, Rob had the good sense to bring along a pair ofMartin Backpacker® Mandolins for the journey, one with eachparty, and a little mandolin rif f drifting out across thedesertscape each night went a long way towards nourishing aparched soul. v

Die Deutsch-AmerikanischesDAFT Folksänger-Treffen

The folksingers of the DAFT Tour ‘03 (German AmericanFolksinger’s Gathering) include (left to right) Larry Hill,Heidrim Eichler (Museum Director), Rik Palieri, Eric Hansen,Sandy Wolfrum, Manfred Maurenbrecher, and WilfriedMengs. Co-sponsored by SmartWoodCM and C. F. Martin, theAmerican leg of the DAFT Tour will resume in November ‘04.For more information, go to: www.daft-tour.com. v

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Folksinger Rik Palieri (above) views the Martin guitar displayat the Musikinstrumenten Museum in Markneukirchen(below), the hometown of founder C. F. Martin, Sr. v

A Journey On The Green

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Gordon LightfootAfter a sudden illness in September, 2002 that very

nearly took his life, Canadian veteran singer and songwriterGordon Lightfoot is well on the road to recovery. Check itout for yourself when you listen to his newest album,Harmony. Here he is pictured with his vintage Martin D-18that he uses in the studio as well as in concert. Look forupcoming performance dates after the first of next year.(Len Jaffe) v

Judy CollinsJudy Collins continues to delight audiences with her

pristine vocals and emotive interpretations. Shown here withher Signature Edition HD12-35SJC model, she maintains abusy tour schedule and has just released The Essential JudyCollins Collection that includes her most popular hits plusher renditions of classic favorites. Also slated for release is aCD of songs written by Leonard Cohen and sung by Judythat includes three previously unreleased tracks. v

Stephen StillsAt a wintertime Martin clinic, Stephen Stills had the

opportunity to play Martin’s one-millionth guitar. Themilestone instrument was specially crafted to celebrate 171years and six generations of the family-owned business, andStills, a long standing Martin enthusiast, was thrilled to holdthe priceless instrument.

More recently in May of 2004, Stephen was honored forhis l i felong support for UNICEF at a special dinner,fundraiser, and concert in Boston, Massachusetts. Stills waspresented with the UNICEF Children’s Champion Award.Following dinner, Stephen sang a soulful rendition of one ofhis hits backed by a children’s choir. The remainder of theevening featured a lively jam session featuring Stephen’smany friends, among them the James Montgomery BluesBand members. A Martin DXM guitar signed by Crosby,Stills, and Nash was one of the many items silent-auctionedfor charity. The guitar brought a final bid of $2100. Theentire event raised more than $100,000 for UNICEF. v

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Steve MillerMartin clinician Richard Starkey (right) teams up

with ”Gangster of Love” Steve Miller at Steve’sranch in Idaho. Naturally, Steve has amassed quite acollection of Martin guitars (plus a few otherbrands) and Rich visited to do setups, fret work, andfine adjustments to the collection. Steve and Richare pictured above holding one of Steve’s personal00-37KSM Signature Edition models.

Steve has one of the most beautiful recordingstudios on the planet. Aside from beingarchitecturally stunning, the mostly all -woodbuilding resonates as sweetly as the music thatSteve records there. Of late, he is still very active indiverse musical styles that include jazz, rhythm andblues, and of course rock. v

Photo by Josette Starkey

YesteryearKathy Barth was eleven years old when she started guitar lessons

on this rare 1965 F-50 and Martin amp combo at Zellner’s MusicCenter (currently Nazareth Music Center). Now decades later, Kathy’shusband Bill and son Ryan are both Martin co-workers. v

Guitar 101Teacher Bob Goldman brought his class of guitar enthusiasts to

Martin for a factory tour, and we had to pry the guitars out of theirhands before their bus returned to South Jersey. v

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George SabolickGeorge Sabolick started playing guitar at the age of 9. He was

brought up on Beatles songs, the Byrds and a little bit of everythingin-between that the ‘60s had to offer. When he was 14, Georgesaved his money and purchased his first Martin guitar (a D-35)which carried him into his career. He started playing at high schooldances which led to full-time performing at night clubs.

George has a deep appreciation for fingerstyle guitarmusic, being influenced by Chet Akins, Doyle Dykes, LaurenceJuber and many others. He has a passion to involve himself in aworld of fingerstyle guitar enthusiasts. George teaches guitarclinics, does session work and has produced and played on 9CDs. His latest CD is Songmaker of the Night. George iscurrently producing another new fingerstyle CD, featuring “thatgreat Martin sound” which will be released this fall.

Being brought up in a Christian home, George answeredhis calling to be a Worship Leader/Songwriter. He currently isthe Administrative Pastor and Worship Leader at CalvaryLaguna under songwriter Senior Pastor Joe Sabolick. Beforecoming to Calvary Laguna, George had been leading worshipfor 2000 people weekly at Calvary Chapel Rialto for 15 years.

It has been said that George just loves God, people andguitars. He says that he has owned many fine guitars in his lifebut always has found his way back home to that great Martinsound. George currently plays the D-18DC David CrosbySignature Edition and the OMC-18VLJ Laurence JuberSignature Edition.

George resides in South Orange County with his wife,Dona. He has three boys, Richard, Adam and Jordan. Forinformation on purchasing George's CD's, please contact himat (949) 460-0202. v

The Concert For GeorgeIf you are a Beatles fan, or if you appreciate the

masterful guitar work of George Harrison, or if yousimply like great music, this special CD/DVD tribute byGeorge’s many legendary friends is for you! Producedwith tremendous emotion and sensit ivit y by EricClapton, the concert was recorded and filmed at theRoyal Albert Hall in London on November 29th, 2002.In addition to Eric’s musical direction and stellarperformance, the show features musical vignettes fromsurviving Beatles Paul McCartney and Ringo Starr,George’s son Dhani Harrison (who bears a strikingresemblance to his father), fellow Traveling Wilbury’smembers Tom Petty and Jeff Lynne, Ravi Shankar and anamazing orchestra of traditional Indian music virtuosos,and long-time collaborators such as Billy Preston, KlausVoorman, Jim Capaldi, Albert Lee, Joe Brown, and toomany more to mention here.

The intensit y and depth of feeling in theseperformances is hard to describe, but it is likely that if youhave had any appreciation of George Harrison, you toowill be moved to tears while viewing this tribute.

There is no shortage of acoustic guitars in the show.Eric Clapton, Andy Fairweather Low and Paul McCartneyall play their Martin guitars extensively, and Paul does amoving rendition of Something with a Martin ukulele.

It just goes to show that although “all things mustpass,” there is in fact an “art to dying.” George taught us agreat deal. If he were around to witness this tribute, he’dprobably be embarrassed at such attention. Don’t you bereticent. Treat yourself to this timeless tribute! v

George Sabolick

Photo Courtesy of M

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Maury Muehleisen was born on January 14, 1949 inTrenton, New Jersey, the second of eight children of Mauriceand Margaret Muehleisen. He took piano lessons from theage of nine, mastering the classicsand more. Picking up the guitar atage seventeen, he taught himselfand excelled. By the time he wastwenty, Maury had a recordingcontract and his f irst CapitolRecords album entitled“Gingerbread” containing elevenoriginal works by Maury,produced by Terry Cashman andTommy West.

Even though his album andthe promotion of it was not verysuccessful, he was lucky enoughto be given an opportunity toshare his musical talent with theworld through his friendship withJim Croce, as Jim's lead guitarist.And Jim would have been the firstto say that he was lucky to sharehis spot in the limelight withMaury. For it was this gif ted

combination that created Jim's three ABC albums - “You Don'tMess Around With Jim,” “Life and Times,” and “I Got AName” in 1972 and 1973. Maury's life came to a tragic end at

age 24 on September 20, 1973,killed in an airplane crash alongwith Jim Croce, Jim's roadmanager Dennis Rast, his bookingagent Ken Cortese, the openingact comedian George Stevens,and the pilot Robert NewtonElliott.

Maury's short-lived careerwith Jim Croce has beenrewarded with three gold albums,two gold singles, and globalattention in the years since hisdeath. Yet, in those years, hisfamily, friends, and fans havealways remembered the youngman who maintained unwaveringpride in his name and hisbirthplace, a young and talentedsoul who just wanted to sing forpeople and asked only for a smilein return. v

Maury brought his trusted D-35 to Martin inOctober of 1971 for some refretting.

RememberingMaury Muehleisen

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Al Shelton is a true artist. Throughout his colorful 84 years hehas immersed himself in painting, sculpting, writing, singing, leathercarving, and carrying on the cowboy tradition. We found out aboutAl from Matt and Gunnar Nelson, twin sons of Rick Nelson.

In the ‘60s, Al crafted the now legendary guitar cover for Rick.Contemplating a Rick Nelson Commemorative Edition guitar, Martincommissioned Al to replicate the famous cover, the completedversion of which is now on display in the Martin museum. Morerecently, Martin has commissioned Al to carve a guitar cover of hisown western freeform design for the museum collection. Al has saidthat because of his increasing years, this might be his last majorproject, and he has planned it to be his “grandest piece yet.”

For decades, Hollywood’s most famous luminaries have stood inline for Al’s art which has included bronzes, leather carvings, beltbuckles and paintings. One of his most famous works is part of thepermanent collection of the Autry Museum of Western Heritage inLos Angeles, which includes the hand-carved silver mounted saddleoutfit, fancy stitched inlaid cowboy boots and gun belt featured onthe majestic bronze monument of Gene Autry and his horseChampion. Titled after the Autry Classic “Back in the Saddle Again,”the sculpture is considered to be the museum’s show piece. v

Allan Sanders of Vinita, Oklahoma is our newestand youngest Little Martin salesman. Allan wasrecently accepted into The Oklahoma Opry. He hasbeen playing the guitar since he was 5 years old andgot his first Martin last December for Christmas. Heloves performing and has played extensively inBranson, Missouri. Last July he was asked to play theNational Anthem at the OKC Bricktown Stadiumbefore the Red Hawks played the Colorado Rockiesin front of 7500 fans.

Allan began playing for The Oklahoma Opry inMarch of 2004 performing on Saturday nights inOklahoma City. The photo above is his most recentpromotional picture that he uses for autographsigning. He proudly stands behind his Martin andgets thousands of looks and compliments whenpeople say “Look what that kid is playing!” Bluegrassmusic never sounded so good. v

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Rex Allen (2nd from left with his Martin) and “YourPals” of Trenton’s Sunset Round-Up circa 1950.

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Keeping Lonnie AliveThe Paul Leegan Band is the Official

Lonnie Donegan Tribute Band. Paul’sbandmate Warren James wrote in to tellhow much Paul, who performs as Lonnie,loves his Lonnie Donegan Signaturemodel. Paul recently performed at themost prestigious charity event in the UK:“The Grand Order Of Water Rats.”Lonnie was a key member of that charityand had the “Water Rat” logo inlaid onthe headplate of the edition. Paul andWarren both agree that the tribute was awonderful moment to honor the legacyof Lonnie and represent Martin guitars.An upcoming musical tribute (below) willfurther honor the life and times of thelegendary King of Skif f le featuringLonnie’s sons Peter and AnthonyDonegan together with Lonnie’s Skifflegroup performing all of his major hits. v

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Felix ManiaDon Oriolo, head of Felix The Cat Productions, takes a musical break with the

prototype of the Felix guitar. He’s been working on a 27 minute documentary“Felix Through The Years” that traces the history of Joe Oriolo (Don’s father) andOtto Messmer who created the Felix legacy. The documentary will accompany theDVD of the feature length movie “Felix The Cat Saves Christmas” due out this fallin movie theaters. Don plays the Felix theme song during the introduction of thedocumentary. The response to the Felix guitar has been terrific, with a totalannounced edition size of 756 instruments. More to follow! v

Steve KaufmanSteven Kaufman is the only

three time winner of the prestigiousNational Flatpicking Championshipsheld annually in Winfield, Kansas,capturing first place in 1978, 1984and 1986. He is shown at left withtwo of his Martin guitars: a rare1932 C-3 round soundhole Martinarchtop and a lovely vintageorchestra model OM-42.

Steve’s Acoustic Kamp is oneof the best organized, educationallybenef icial , camaraderie-basedKamps available. People come fromall over the world to eat, sleep,dream and play music in thefoothil ls of the Great SmokyMountains.

Recipient of Acoustic GuitarMagazine’s Gold Award For TheBest Music Camp, Steve offers twosessions annually in June, and theysell out very quickly. The first week-long Kamp ends on Father’s Day,and the second one starts onFather’s Day. For further info, go to:www.flatpik.com v

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diamond volute measures 1 3/4” at the nut andfeatures a modified V-shape and satin finish, bothselected for playing comfort, plus nickel Waverly™open-geared tuners with butterbean knobs fortuning ease. The frets are hardened nickel silver,requested by Block for its brilliant tone and abilityto withstand the slides (either metal or glass) andstring bending integral to blues guitar.

Such preferences come from nearly a lifetime ofplaying blues guitar. Rory (actually Aurora) Blockgrew up in New York Cit y, where WashingtonSquare Park and later her father’s leather shop werethe center of a thriving folk music scene. She learnedto play the guitar at age 10, but didn’t discover anddedicate herself to country blues until age 14. Withfellow traveler Stefan Grossman, she began meetingand learning from blues icons like Mississippi JohnHurt, Reverend Gary Davis, Son House, Skip Jamesand Fred McDowell. She dropped out of highschool to travel cross country in pursuit of herpassion, eventually returning to New York to recordthe instructional album “How to Play Blues Guitar”with Grossman.

After quitting music for a decade to start afamily and take a brief excursion into contemporarypop, she reconnected with the blues in the late1970s. “High Heeled Blues,” released in 1981,garnered a rave review from Rolling Stone, which

called the album among the best countryblues in recent years. Nearly constant

touring and a steady stream of finealbums – including “Best Blues andOriginals,” “Ain’t I a Woman,”“When a Woman Gets the Blues”and “Confessions of a BluesSinger” - over the next two

decades cemented her place asone of America’s finest traditional

blues singers and guitarists. She alsobegan writing her own songs, in a

style that merged blues, soul andgospel.

Rory Block continues tof lourish in the newmillennium. Her 2003 album,“Last Fair Deal,” wasreleased to ecstatic reviewsand received a W.C.Handy nomination forAcoustic Blues Album ofthe Year. Her latestrecording, a collaboration

with Eric Bibb and MariaMuldaur titled “Sisters and

Brothers,” likewise has beenwell received. In the last year or

so, she has been joined at homeand on the road by Beauregarde, a dog

From the Delta to Chicago, from the crossroadsto the highway, the road is one of the blues mostpowerful images. So when the time came for C.F.Martin to create a signature guitar to honor bluesartist and long-time Martin devotee Rory Block, aroad theme proved irresistible. The new Martin OM-40 Rory Block Signature Edition is road worthy inevery sense of the word.

One of the most highly regarded blues musiciansof her generation, Rory Block knows the road well. As ateenager, her travels took her to meet many of blues’founding fathers. As a performer, she played as many as250 shows a year during the late 1970s and early 1980s.Even in 2004, after 22 albums, four W.C. Handy Awardsand nearly 40 years of paying dues, she will head out inher motor home to do 37 concerts in the United Statesand then hop a plane to the United Kingdom to do 9more. Martin OMs have been her guitars of choice foryears and the OM-40 Rory Block Signature Edition is anhonor well deserved.

The OM-40 Rory Block Signature Edition’s roadmotif begins at the headstock, where the polishedAfrican black ebony headplate features both the familiar“C.F. Martin & Co.” script logo and an image of a 1930sHudson Terraplane, the car in the legendary RobertJohnson song “Terraplane Blues,” inlaid in mother ofpearl. The road runs down the African black ebonyfingerboard, where the center line (with and withoutpassing zones), inlaid in mother of pearl, ispunctuated by unique road sign positionmarkers: “traffic light ahead” at the 5thfret, “crossroad” at the 7th fret,“railroad crossing” at the 9th fretand “yield” at the 15th fret. Therailroad tracks themselves are inlaidin mother of pearl at the 12th fret,as is Rory Block’s signature betweenthe 19th and 20th frets.

Block’s personal preferences arereflected both in the guitar’s premiumtonewoods and in its appointments.The top of beautiful Engelmannspruce is matched to delicatelyscalloped 1/4” width Sitkaspruce top braces for effortlessresponse and impressivedynamic range. Boldherringbone top trim andblue paua pearl rosette inlayshine brilliantly against theamber of the vintage toneron the top. The back andsides are handsome EastIndian rosewood. A genuinebone nut and matchingcompensated bone saddle add tothe instrument’s crisp, clear voice.

The genuine mahogany neck with

Blueswoman Rory Block Honored With Signature OM

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whose adoption inspired her to select the Best FriendsAnimal Sanctuary to receive her entire portion of theproceeds generated by her Signature Edition Martin.

The Rory Block Signature Edition’s unique combinationof tonewoods and appointments blend beautifully withMartin’s standard Style 40 specifications, offered here in anOM model for the first time. The handsome Style 45 rosetteand multi-colored mosaic backstrip show superb Martincraftsmanship, as do the fine black/white mitered purflingthat accents the grained ivoroid-bound body, neck andheadstock, as well as the grained ivoroid end piece andheelcap. A perfect polished gloss finish brings out thenatural beauty of the body wood, and a polished andbeveled tortoise-colored OM teardrop pickguard protectsthe top. Left-handed guitars can be ordered at no additionalcost: factory installed electronics are extra.

Delivered in a Geib™ style hardshell case, each OM-40Rory Block Signature Edition guitar includes an interior labelpersonally signed by Rory Block and Martin Chairman C.F.Martin IV, is numbered in sequence and shows the totalnumber of guitars in the edition. Martin dealers anddistributors will accept orders for the OM-40 Rory BlockSignature Edition for 60 days from the model’sannouncement, after which the size of the edition and thenames of participating Martin dealers will be posted on theMartin web site, www.martinguitar.com. v

A longtime Martin OM performer, Rory Block’s SignatureEdition combines the highest level of performance and tonewith a completely unique blues-inspired inlay motif. A 1930s“blues mobile” adorns the headstock and a two-lane highway(complete with passing lane, street signs and a railroadcrossing) marks the standard fret positions of the fingerboard.

Photo by Shonna Valeska

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His songs are timeless classics, his generosity toboth audiences and fellow musicians is renowned,and his passion for justice and the ties that bindpeople together is unwavering. For all this and more,Tom Paxton ranks as one of the most reveredmusicians of his generation. Martin is proud tointroduce the HD-40LSH Tom Paxton SignatureEdition in his honor.

After forty years of making great music, Paxton justgets better; he received a Grammy nomination for “BestMusical Album for Children” of 2002 and another for “BestContemporary Folk Album” of 2003. He writes and recordsso often he has begun posting “short shelf-life songs”(those too brief or too topical to wait for the next album)on his website, www.tompaxton.com. In concert, his warmpersonalit y, r ich voice and accomplished guitaraccompaniment continue to captivate audiences young,old and in between. The toughest aspect of creating theTom Paxton Signature Edition Martin proved to be gettinghim to slow down long enough to describe the guitar hewanted to bear his name.

Based on the Martin Dreadnoughts Paxton has playedfor much of his career, the HD-40LSH Tom PaxtonSignature Edition features a unique combination oftonewoods, design and appointments that distinguish it asa guitar built to a professional’s exacting requirements.

The top is bearclaw-figured Sitka spruce,renowned for both beauty and rarity. Anoversized soundhole combines withscalloped top braces for impressivepower and balanced timbre. Themahogany “modif ied-V” neck istopped with a polished African blackebony headplate, on which the C.F.Martin script logo and a st ylizedportrait of Tom Paxton, complete withhis ubiquitous soft cap, is inlaid inmother of pearl.

The guitar is craf ted withpremium qualit y East Indianrosewood back and sides, whilethe fingerboard, belly bridge,bridge pins and endpins are ofAfrican black ebony. Polishedgloss lacquer f inish on thebody and headplate of theHD-40LSH Tom PaxtonSignature Edition bring out thebeaut y of the tonewoods,while the neck’s satin finishprovides playing comfort. Eachinstrument comes packed in aheavy duty Geib™ style hardshellcase.

Though not quite an overnight success, TomPaxton rocketed to the top of the music world withimpressive ease. A native of Chicago, Paxton grew upin Oklahoma. He discovered folk music as a child;his love for it developed while he was earning adegree in drama from the University of Oklahoma.A stint in the Army brought him to New York City’sGreenwich Village in the early 1960s, where his

singing and playing on the coffeehouse circuit soonbrought him to the attention of record labels.Recorded in 1964, his second album, “Ramblin’ Boy,”included some great original material, including thetitle song and “Last Thing on My Mind.” Tom Paxtonsongs quickly became folk music staples, and severalof them went on to become standards, covered byeveryone from Willie Nelson and Tony Rice toPlacido Domingo and Dion.

At last count, Paxton has released more than 40albums. His latest, “Best of Friends” (with BobGibson and Anne Hills) and “Looking for the Moon,”show his magic with word and melody at full power.Over the years he has shown a special affinity forthe young; “The Marvelous Toy” and “Goin’ to theZoo” are examples of his children’s songs, and healso has written several crit ical ly acclaimedchildren’s books.

He continues to tour regularly,bringing his music and his message to

devoted audiences around the world.In addition, he champions freshmusical talent by showcasing themin concert and on his website. Littlewonder he is beloved by fans andfellow artists of every generation.

Each HD-40LSH Tom PaxtonSignature Edition guitar bears aninterior label personally signed byTom Paxton and Martin ChairmanC.F. Martin IV, and is numbered insequence with the edition total.

Left-handed instruments canbe ordered at no additionalcharge: factory-instal ledelectronics are available foran additional cost.

Orders for the HD-40LSHTom Paxton Signature Editionwill be accepted for a limitedtime, after which the total

number of guitars andthe names of participating

Martin dealers will be postedon the Martin web site at:

www.martinguitar.com. v

Tom Paxton Signature EditionSalutes Legendary Singer-Songwriter

15

Above, the headstock of the HD-40LSH Tom PaxtonSignature Edition guitar features Tom’s stylized likeness. Theinlay evolved from a classic photo of Tom wearing hiscustomary Enfield hat (below) and is executed in mother ofpearl against an ebony background. At right is a detail of thebearclaw spruce soundboard with the Clarence Whiteinspired large soundhole. In 1964, Tom Paxton christenedthe brand new Sycamore Street Martin factory with aspecial performance (below right) to a crowd of employeesand Nazareth town folk on the back loading platform. v

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Tom Petty and Dhani Harrison performed a moving tribute to inductee George Harrison at the 19th Annual Rock & Roll Hallof Fame Induction Ceremonies held on March 15, 2004 at the Waldorf Astoria Hotel in New York City. Tom is playing hisSignature Edition 12-string prototype, and Dhani is playing rhythm on Tom’s 6-string Edition prototype. v

John Mayer belts it out on tour in Bozeman,Montana, with his OM-28JM Signature Edition. v

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Tim Hardin performing at Lincoln Center, New York City, 1968 with hisD-28. One of America’s best folksingers, he died in 1980 at age 39. v

Phot o Cour t esy of Larry B

arnwell

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Eric Johnson performed with his MC-40EJ Martin Signature guitarat Acoustic Guitar Magazine’s Acoustic Cafe held during the

winter NAMM Show in Anaheim, CA. v

Photo © 2003 by M

ax Crace. A

ll rights reserved.

Don McLean on tour with his pride and joy “AmericanPie” D-40DM Martin Signature edition guitar. v

Leon Redbone (above) stopped in at the Martin factoryfor one of his famous visits. A very special 7-string

custom for Roger McGuinn had just been strung up,and Leon was the first to play it. McGuinn (right) hasbeen touring with the guitar ever since and loves the

powerful tonal dynamic of the extra G-string. v

Photo by Dick B

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18

Imagine a guitar cooperatively conceived by aBritish musical icon and a Japanese trendsetter, builtby America’s most respected guitar company andaffectionately given an Italian name. Now stopimagining and start anticipating the new Martin EricClapton/Hiroshi Fujiwara Bellezza Nera, among themost stunning looking and sounding limited editionsin Martin history.

A legendary musician and performer for morethan 40 years, Eric Clapton needs no introduction.Hiroshi Fujiwara stands as one of modern Japan’s mostimportant cultural figures, a visionary DJ responsible forcreating and introducing cutting-edge “club” music andfashions to Tokyo in the 1990s. The two became fastfriends while working together on music projects.

During one of Clapton’s visits to Japan, he andFujiwara began envisioning a custom acoustic guitar thatblended the best in design and sound. Over time, theideas were fleshed out and – with Martin’s Dick Boakfacilitating the project – C.F. Martin built eight of theseunique custom guitars. One can be seen on the coverof Clapton’s recent album dedicated to the music ofblues great Robert Johnson, “Me and Mr. Johnson,”while another appears on the cover of Dick Boak’srecent book, “Martin Guitar Masterpieces.” Thecompleted guitars were so breathtaking that Eric,Hiroshi and Martin agreed to collaborate on a limitededition version for the public.

At Eric Clapton’s suggestion, the modelis named in Italian, the language of music– “Bellezza” meaning beautiful and“Nera” meaning black. The polishedblack gloss finished body, neck andheadplate, and matching Africanblack ebony fingerboard and bridgeon this 14-fret 000 – Clapton’s favoriteMartin model - provides an eye-catching “canvas” for some beautiful yettasteful inlays and appointments.

The unique custom rosette thatadorns the soundhole features acenter ring of Martin’s traditionalsmall mother of pearl slottedsquare inlays set against a blackbackground. Fine patternherringbone wood inlayencircles the top, andherringbone purfling bisectsthe back. Grained ivoroidbody binding is accented byblack/white/black f ine linepurfling on the sides and back.The neck and headstock aresimilarly bound with grainedivoroid, within which mitered fineline inlays – black/white on the neck,

black/white/black on the headstock – add an extrameasure of visual drama. The grained ivoroid heelcap

and end piece sport matching black/white/blackline inlays.

The polished headplate provides an elegantbackdrop for Martin’s elaborate “alternative torch”inlay, a design originally created on one of the firstMartin 00-45s in 1902, inlaid here in colorfulabalone pearl. This pattern was revived for the Eric

Clapton 000-42EC Signature Edition issued in 2000. Equally striking are the specially-made sterling silver-

plated Schaller tuners with sterling silver-plated buttons.The fingerboard features Martin’s Style 45 snowflakeinlays, with “Bellezza Nera” inlaid in script above thelast fret in mother of pearl. Black ebony bridge pins andend pin are topped with abalone pearl dots. To allow itselegance to shine unrestrained, this guitar comeswithout a pickguard.

Within the Bellezza Nera’s handsome appointmentslies a tone monster crafted in the Martin tradition.Premium solid tonewoods are featured throughout. Thetop is Italian alpine spruce, (the same tone wood usedby Antonio Stradivari) revered for its rich, powerfultone. Scalloped 5/16” top braces contribute crispnessand balance. The back and sides are crafted from EastIndian rosewood, which provides both strongprojection and roundness to the tonal palette. The

modified V-shaped neck measures a comfortable1 3/4” at the nut. Carved from solid genuine

mahogany, the neck features Martin’sdiamond volute at the base of theheadstock. The nut and compensatedsaddle are made from genuine boneto assure impressive string-to-stringdefinition.

Each Bellezza Nera includes aspecial black interior label personally

signed by Eric Clapton, Hiroshi Fujiwara,Martin Artist Relations head Dick Boak

and Martin Chairman C.F. Martin IV. Inkeeping with the black theme, this

guitar comes with a special Geib™style hardshell case with blackplush interior and blackanodized hardware. C.F. Martindealers and distributors will beaccepting orders for the EricClapton/Hiroshi FujiwaraBellezza Nera Limited Editionfor a limited period concluding

on September 27th, 2004.After the order period closes,

the size of the edition and thenames of participating Martin

dealers will be posted on the Martinwebsite, www.martinguitar.com. v

Bellezza Nera: Eric Clapton & Hiroshi FujiwaraA Collaborative Connection Crosses The Continents

19

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ReincarnationEric Clapton was recently interviewed in Vanity Fair

magazine to promote his new Me And Mr. Johnson CDrelease. During the interview, he was asked: “If you couldchoose what to come back as, what would it be?” Hisanswer: “A Martin OM-45.” v

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Photo Courtesy of H

iroshi Fujiwara

Me and Mr. JohnsonReturning once again to his blues roots, Eric Clapton’s

latest CD is a full band tribute to Eric’s lifelong idol andinfluence, Robert Johnson. Appropriate to the introduction ofthe Bellezza Nera Edition, renowned British artist Peter Blake(of Sgt. Pepper album cover fame) created a painting for theCD jacket that depicts Clapton holding his prized blackcustom Martin, one of eight special instruments made incollaboration with Eric’s innovative friend from Japan, HiroshiFujiwara (at right). These legendary blues essentials arespontaneously executed with a truly refined Clapton touch.Joined by an all-star cast that includes Billy Preston, SteveGadd, Nathan East, Doyle Bramhall, Jim Keltner, and AndyFairweather Low, this recording is peppered with mainstreamgems such as “Come On In My Kitchen” and “Love In Vain”as well as some more obscure Johnson treasures. v

Photo by Toro Moriyam

a

Hiroshi Fujiwara

“I’ve received the guitar and love it. I want to congratulate you and yourcrew for absolutely excelling yourselves yet again!

I suggest we consider sharing a version of this with the public.

Once again, congratulations and thanks.”

eric c.

20

DC-AuraCutaway

Aura CutawaysThe DC-Aura is a Dreadnought

cutaway with the highly acclaimedFishman/Martin Aura™ Onboard System(see opposite page for description). TheDC-AURA features solid East Indianrosewood back and sides with a glosslacquer f inish, St yle 41 top inlay,hexagon outline fingerboard and bridgeinlays, an ebony headplate with theMartin script logo inlaid in mother ofpearl, and Gotoh gold enclosed tunerswith large ebony buttons.

The OMC-Aura (not shown) offersidentical appointments in an OrchestraModel cutaway configuration. v

Elegant Additions & Enhancements To Martin Full Gloss

Acoustics

Vintage Acoustic ElectricsMartin is proud to introduce two

new Vintage Series acoustic electricmodels highlighting Fishman’s newEllipse Blend™ onboard electronicssystem (see opposite page for ful ldescription).

The HD28VE and D18VE (notshown) match their Vintage Seriescounterparts and enable completeonboard equalization without intrusivemodification to the instrument. v

Marquis SeriesFollowing in the spirit and success

of the Golden Era® series, C. F. Martinproudly introduces the Marquis Series.

The first models in the series, theD-28 Marquis and D-28 MarquisSunburst boast appointments thatmirror Martin’s herringbone D-28GEGolden Era® model, with the exceptionthat the Brazilian rosewood sides, backand headplate used on the Golden Era®

models are being replaced with selectEast Indian rosewood.

In keeping with vintage pre-warStyle 28 specifications, both modelscontinue to util ize Adirondack redspruce for the soundboards and internalbracing.

The D-28 Marquis Sunburstfeatures a 1935 style sunburst finish. v

HD-28VEWith

FishmanEllipse™

System

D-28 Marquis Sunburst

D-28 Marquis

NEW !

NEW !

NEW !

21

A task team at Martin was formed to create a guitarinspired by traditional American “tattoo” art, hence theLimited Edition Tattoo model that features “tawnysatinwood” HPL back and sides, an HPL top withimprinted graphics created by Robert Armstrong, and anatural Stratabond™ neck. Each guitar is furnished witha special dark brown leatherette case with traditionallyembossed faux leather tooling and mauve plushinterior. In addition, a tattoo themed strap speciallymade by Jodi Head Custom Guitar Straps accompanieseach instrument. v

New Fishman/Martin Onboard Aura™ SystemThe new Fishman/Martin Onboard Aura System harnesses the

power of Fishman’s proprietary acoustic imaging technology andbuilds it right into your instrument. The Onboard Aura features sixcustomized Aura Acoustic Sound Images™ specially created forand by Martin, which can be blended with Martin’s Gold+Plus®

Natural pickup signal for unequalled studio-quality acoustic soundreproduction. These pre-sets are derived from real studiorecordings played into a variety of high-end microphones. OtherOnboard Aura features include digital and fully programmableequalization, feedback control, and chromatic tuning. v

New Fishman Ellipse™ Blend SystemWith its flexible gooseneck condenser microphone and

volume, blend, and phase controls, the Fishman Ellipse Blendmakes it possible to have the best of both worlds when you play:the sparkling, transparent sound and control that the MartinGold+Plus® pickup affords, complemented by the unique tonalattributes that a condenser microphone provides. And the EllipseBlend gives your sound that extra depth without the need forvisible modification to your instrument. In fact, the Ellipse Blend isdesigned so that it’s nearly invisible once installed, so it’s you andyour guitar that take center stage. v

TattooLimited EditionWith

Custom Strap

22

Vintage Appointments & Elegant AbaloneFeatured On Martin’s New Model Offerings

OM-42QM2 Show SpecialThis Quilted Maple OM-42 is

limited to orders received from Martindealers in attendance at the Nashville2004 NAMM show only, and no morethan 30 guitars will be offered. Featuresinclude a premium Italian alpine sprucetop, a Stauffer-style pointed pyramidbridge, a Style 45 flowerpot inlaid intoan ebony headplate, Martin “M” inlaidebony tuning machine knobs, Style 45snowflake fingerboard inlays, grainedivoroid bindings with Style 42 abalonetop inlay, and exquisite highly figuredquilted maple back and sides toned witha hand-applied “Brit ish tan” stainreminiscent of violin finishes. v

J-41 SpecialFollowing the successful introduction

of the D-41 Special, Martin is proud tointroduce a matching J-41 Specialfeaturing many vintage st yledenhancements. Traditional St yle 41abalone hexagons have been upgradedto vintage Style 45 snowflakes. Otherenhancements include forward shiftedbracing, grained ivoroid trim, goldbutterbean tuning machines, 1 3/4” neckwidth, a “through” saddle ebony bridge,and a polished gloss lacquered bodywith aging toner on the soundboard.Combined with the D-41’s t ypicallyelegant abalone rosette and top inlay,this new version is truly Special! v

000-42Auditorium

J-41 Special

000-42Identical in specif ication to the

popular D-42, this new addition toMartin’s Standard Series stock modelsprovides an elegant high-end short-scaled instrument that is equally ideal forexpressive blues or fingerstyle playing ineither a per formance or recordingsetting. The 000-42 includes an ebonyfingerboard inlaid with the Style 45snowflake pattern, a Style 45 headstockinlaid with C. F. Martin block letters,vintage-styled gold butterbean tuners,and St yle 42 abalone inlaid topbordering. The tone is enhanced withscalloped bracing, and the neck featuresMartin’s modified V-shape. v

OM-42QM2QuiltedMaple

NAMM Show

Special

23

New Little MartinsThe newest addition to Martin’s very

popular line of Little Martin travel guitarsis the LX1 (above) which features a solidspruce top with mahogany-grained highpressure laminate (HPL) back, sides andheadplate. The fingerboard and bridgeare crafted from black Micarta®, and theneck is carved from rust-coloredStratabond®.

The LX1E offers the same features asthe LX1 with the inclusion of FishmanMini Q Electronics to provide excellentsound reinforcement capability.

The tone of the standard LXM LittleMartin has been praised for its even bal-ance. These new models provide thetonal woodiness and projection thatcomes naturally with solid spruce. v

Spruce Tops For New X Series & Little Martins

DCX1KEThe response to the mahogany

grained DCX1E has been so positive thatMartin is introducing a Hawaiian koawood-grained HPL model to the X Seriesline of stock model Martin guitars. TheDCX1KE (above) is a full-sizedDreadnought Cutaway with a book-matched solid spruce top and koa-grained high-pressure laminate (HPL)back, sides and headplate. The finger-board and bridge are crafted from solidstriped ebony, and the neck is shapedfrom naturally colored Stratabond®.Equipped with a Fishman® Classic IVSonicore onboard electronics system,this model provides the working musi-cian with an affordably priced stage orstudio instrument. v

LX1 Little

MartinWith Solid

Spruce Top

DCX1RECutaway

RosewoodHPL With

SolidSpruce Top

And Onboard

Electronics

DCX1KECutaway

KoaGrained HPLWith SolidSpruce Top

And Onboard

Electronics

DCX1REThe DCX1RE (above) is a full-sized

Dreadnought Cutaway with a book-matched solid spruce top and rosewood-grained high-pressure laminate (HPL)back, sides and headplate. The finger-board and bridge are crafted from solidstriped ebony, and the neck is shapedfrom rust-colored Stratabond®, anextremely strong wooden multi-laminatethat resembles piano pinblock.

Like its koa grained counterpartat lef t, the DCX1RE is equippedwith a Fishman® Classic IV Sonicoreonboard electronics system. Thisacoust ic e lectr ic sol id top cut -away provides an attractive, road-worthy and af fordable guitar withgreat tone. v

24

Neil Young & Crazy Horse • GreendaleGreendale is a brilliant extension to alegendary career. A theatrical approachto a concept album, Young tells thestory of a small California town and itsstruggle with modern day morality andsurvival of tragedy. His solo acousticballads and rockin’ band songs are sureto become Neil Young classics. Thisinnovative CD/DVD introduces ideasthrough a character-based protest fromthe depth of Neil’s conscience. v

Mason Jennings • Use Your VoiceMason Jennings has been a long timeMartin player and a songwriter whowe’ve been following closely. His lateststudio release proves it has been allworthwhile. These are classic songsfrom a contemporary poet. This discargues the point, “They just don’t write‘em like they used to.” An intimatereflection of unintentional hooks andacoustic energy that only Mason andhis Martin could produce. v

George Sabolick • Groovin’ StringsA member on the Martin Clinicianroster, George puts his vast collectionof Martin guitars to work on this stellarfingerstyle CD. Combining classy coverarrangements with energetic originals,Groovin’ Strings lives up to its name.Silhouetted on the cover, Georgestands with his prized OMC-18VLaurence Juber Signature model. Formore information, visit George on theweb: www.georgesabolick.com. v

Roger McGuinn • Limited EditionReminiscent of yesteryear with a brandnew kick, Roger McGuinn gives us“Pho-Kop,” a mixture of Folk and HipHop. His previous CD, Folk Den ,focused more on traditional music.With Limited Edition, Roger has infusedhis legendary 12-string sound to yieldthis cohesive effort that captures thetonal essence of the more memorableByrds recordings. v

Brett DennenSongwriter and co-director for thesuccessful children’s camp The MosaicProject (right) , Brett of fers thismemorable adult/teen oriented albumfil led with positive messages andguidance for a broken world. Brett’svoice and 000-16GT (which bears hispainted message, PEACE) instantly drawthe listener in. With a heartfelt passionfor his craft, Brett is an artist we shouldnot only hear, but listen to. v

Cheap Trick’s Rick Nielson (left) hooked up on tourwith Smashing Pumpkins‘ Billy Corgan shortly afterRick purchased a pair of customized MartinDreadnoughts. The two special guitars sported Rick’sstylized name superimposed upon the Cheap Trickmotif black and white checkerboard pattern inlaid atthe 12th fret. In addition to the HDN “Negative”guitar, Rick picked up a D-42. v

Norman & Nancy BlakeThe Morning Glory Ramblers

Together and individually, Norman and NancyBlake have etched a legacy of American music thathas consistently been honored with Grammynominations and a permanent place in the history ofbluegrass.

Look for their latest album, “The Morning GloryRamblers,” which is laden with Martin acousticguitars, and catch The Great High Mountain Tour ifyou can, featuring Alison Krauss, Jerry Douglas, Dr.Ralph Stanley, The Nashville Bluegrass Band, Normanand Nancy Blake, and many many more. For moreinfo, go to: www.outbackconcerts.com. v

25

Cathy Fink & Marci Marxer • Bon Appétit! This Grammy Awardwinning children’s album not onlyteaches young people about healthyhabits and good hygiene, but is jampacked with hot rif fs and bouncyrhythms that parents alike will love.Brought to you by these two longtimeMartin enthusiasts, Bon Appetit! helpsto promote a healthier earth andcombat malnutrition on a global scale.Visit www. micronutrient.org. v

Brett Dennen • The Mosaic ProjectThis collection of meaningful songs is apowerful tool in teaching children totolerate diversity and live in peace.“Fighting is Not the Solution,” “Danceand Be Free,” and “Don't Laugh atMe” are just a few of the tracks thateasily become pop hits with theirempowering lyrics. Brett's involvementwith the Mosaic Project camp createsindelible memories for children andadults alike. www.mosaicproject.org v

Dan Bern • New American LanguageFrom the high energy of "AlaskaHighway" to the sweet acoustic sizzle of"God Said No", Dan Bern continues toexcite the music world and bewilder thecritics as one of today’s best songwriters.It is hard to fathom how such a deeplyphilosophical approach has attractedsuch pop appeal. Dan’s music ishopeful, reflective and surely sarcastic,yet funny and dead serious at the sametime – a must for Dylan fans. v

Cassandra Wilson • GlamouredSmooth and mellow tones flow fromthis head bobbing album of jazzygems. Opening with a memorableversion of Sting’s Fragile, Glamouredholds the mood throughout its wellchosen cover arrangements andoriginals. Joined by producer/co-writerFabrizzio Sotti on his Martin guitars,Cassandra captures an essence thatcan be appreciated by all genres thatshe so tastefully crosses into. v

Ruth Downes and Kelly Lancaster became friendsin 2002 and soon discovered that they both ownand cherish matching 00-21 Martins. Upon closerinspection, they realized that their guitars were bothbuilt in the same batch in 1929 with very close serialnumbers (#38732 and #38751). They like to imaginetheir guitars sitting on a Martin workbench togetherin 1929, only to be reunited 75 years later! Kelly hasbeen reducing the odds of such coincidences byexpanding his repertoire of Martin instruments. Onhis High Lonesome Gypsy CD (reviewed at left), heplays five Martin guitars: a 1935 D-18, a 1940 00-40H, an HD-28LSV, and two more 12-fret 00-21sowned by bandmate Brian Wunder. v

Dan Bern is one of the most provocative lyricists ofthe modern day protest against injustice andboredom. He and his Martin D-35 have beenturning heads and sparking hope since his neo–folkcareer sur faced in 1997. Check him out atwww.danbern.com. v

Kelly Lancaster • High Lonesome Gypsy From the fastand furious feel of old time Bluegrass tothe timeless tones of the traditionalarrangements, this recording came to lifeusing an impressive collection of old andnew Martin guitars. Most tracks arespontaneously recorded in one or twotakes. Kelly is joined by the awardwinning Vladimir Kotsiouruba, RandyPowell, and Brian Wunder. More info at:www.highlonesomegypsy.com. v

26

All in the Familyby C. F. Martin IV

• Excerpted from the new book •

Between The Stringsby John August Schroeter

I thank God that I wasn’t born intothe world’s most famous accordionfamily! And though I run the companytoday, I didn’t actually grow up in thebusiness. When I was young, though,I’d go out to the factory in the summertime and spend time with GrandfatherMartin. I’d get to do odd jobs likepacking strings or pushing the neckblank fal lof fs into the bin as theypassed through the bandsaw—thingsthat OSHA would never allow today!

One Christmas, when I was aboutten or so, I got my first guitar, a nylonstring 5-18 Terz guitar. My teacher,learning who I was, tried to steer meinto a more formal method. He had mesitting with my foot on a pedestal andmy thumb properly placed behind theneck in the classical position, andplaying scales. I just wanted to learnsome chords and go right into Beatlestunes—it was really very frustrating forme. But later I got the electricguitar–one of the old archtop GTmodels with the F-holes – and a FenderTwin Reverb, and I could finally makesome noise. And of course, the TwinReverb has become much morevaluable than that electric Martin willever be!

I never did become much of aguitar player—or builder, for that matter.One year at camp, the shop classinstructor told me it was time for me tomove beyond Popsicle sticks and builda more signif icant project. So Icontacted my dad and my grandfatherand told them that I wanted to build aguitar, and I asked them to send me aguitar kit. And they said, “What do youmean, a guitar kit?” I said, “You know,just put all the pieces in a box and sendthem to me.” At that time, guitar kits assuch didn’t really exist. Fortunately,though, my request came at a timewhen the company had been doingsome research and development onsome unusual body shapes. So whatthey ended up sending me were theparts and a blueprint for a trapezoidal-shaped guitar. The body wasn’t quitesquare, but trapezoidal, where theupper bout is narrower than the lowerbout, but the sides are straight. Theyfigured I wouldn’t be able to bend thesides, so they’d send me this thing thatthey kind of threw together.

So with the guidance of the campcounselor, this project became my firstattempt at building a guitar. And wewere really on our own. There was nobook, no instructions, just a bunch ofparts and a big blueprint thrown into abox.

Now, not having grown up in thebusiness and not having spent a lot oftime in the shop, I didn’t realize thatyou had to assemble the rim first. So Icut the top and back to what I thoughtwas the appropriate dimension andthen tried to build the sides around it.What a nightmare—that’s not how youbuild an acoustic guitar! You build therim f irst, and then you glue on anoversize back and top, and trim it.When it was all said and done, therewas an awful lot of wood filler that hadto go where there should have been anice joint with the wood. And then thatwhole thing of fitting a dovetail neck tothe body was something that not evenmy counselor knew how to do.

It’s an amazing thing that the guitargot built, but it did, and I still have it. Itook it to a luthier’s convention severalyears ago, where I told the story andplayed it. People find it quite charming.Thank goodness it ’s a nylon stringguitar; the action isn’t as critical. Andbecause it is trapezoidal, it’s very muchlike an Ovation in that it keeps slidingoff your leg.

Back in the ‘60s, the company didmake a few production units of thatdesign. Of course, those were well-made! The guitar I built was really anembarrassment. The closer you got toit—oh my God! It was apparent that thiskid didn’t know what he was doing. Butit gave me a taste. And it really taughtme that if I was going to get involved inthis business, I ’d better do myhomework.

One year I went to Nazareth forthe entire summer. And it was at thatpoint I sat down with my grandfatherand told him that I wanted to build areal guitar. He suggested a 12-fretDreadnought, “Because,” he said, “ifyou want the best sounding guitar,that’s what you should build.”

So there I was, out in the plant withall the parts and specs, and ready tobuild my first real Martin guitar. Butwhat happened was I would get to aparticular workstation, and the

“...I sat down with mygrandfather and told him

that I wanted to build a real guitar.”

27

going to work in the guitar factory.” So I went out in the plant and

worked on the bench. And I could putribbon on with the best of them. Butwhen it came to fitting necks, I’ll be thefirst to admit that I never really quite gotit. And hand-bending sides, I neverquite got that either. But some of thosesimpler tasks I could do. And throughthat experience, I learned to speak theguitarmaker’s language. And it gave mean understanding of what it’s like towork in a shop with people who havesaid to themselves, “I’m willing to dothis for a living, knowing that I’m nevergoing to build a whole guitar. But I alsoknow that I’m working for a companythat really prides itself on its quality.”And the more I did that, the more I saidto myself , “I’m going to run thisbusiness, not work on a bench.” So Iended up going back to college, toBoston University, and I got a degree inmanagement. When I came back, notonly could I talk about guitarconstruction; I could talk aboutbusiness.

individual doing that job would take mypart and demonstrate on that part howthe job was done. And it was doneperfectly. And then he would give mesome reject D-18 parts and say, “Okay,now you try it.” And I’d screw them up.And then I would take my perfect partto the next workstation, where thatperson would demonstrate theoperation on my part, and give it backto me and let me practice on rejectmaterial. When it was done, the stinkingguitar was perfect. But I did very little ofthe work. I watched them assemble it,too, because none of the craftspeoplewanted to be the one who passed badwork onto the next person, knowingthat I would be the one who had donethe bad work. It was pretty hilarious. Itwas not the guitar I built, but rather, theguitar I watched being built. But I reallydid learn quite a lot from thatexperience. My brother has that guitarnow. In fact, he learned to play on thatguitar.

In the fall of that year, I went out toUCLA, where I didn’t do particularlywell; I really didn’t like it out there. Icalled my mom to tell her I was cominghome. When she asked about my plans,I told her I was going to work in theguitar factory. She said, “You’re gonnawhat?! You’re not going to go back tocollege?” I said, “Not right now. I’m

My grandfather was more of aguitar builder than my father. Mygrandfather played, and he knew andcould talk guitar construction. Myfather was more of a businessman. Ifyou were to sit down with my dad andtalk X bracing, he would very quicklyjust glaze over and space out. Butrunning a business and growing it andmaintaining the qualit y—that heunderstood. So it was a good thing thatthey were both here at the same time.They represented the best of bothworlds to me. I learned everythingabout guitars from my grandfather, andwhat I learned from my father was,“This is a business. We have to treat itlike a business. It’s not a hobby; it hasto make money. And if it doesn’t makemoney in a sustainable manner,someday it will go away.”

Unfortunately, I also got to see myfather make some pretty significantmistakes; there were some badacquisitions along the way. When he

bought the Darco String Company, heshould have quit right there. That was abrilliant move. But then he bought FibesDrums, Vega Banjos, and Levin, aSwedish guitar company. We had todivest ourselves of all three after horrificlosses. But, Darco remains our second-most important product line. The nicething about strings is that they need tobe replaced. And while people mayeventually buy more than one guitar,they’re going to be buying strings forthe rest of their lives.

And so now, the company ismoving into a new generation, and anew millennium, and with that, we facenew concerns—especially as guitarmakers. But, I just can’t imagine beinganywhere else. What better product fora liberal Democrat to be intimatelyinvolved with than the guitar! I soidentify with Woody Guthrie. I don’tknow what I would have done had myfamily’s name been Winchester orBeretta! And the characters that I’vemet and worked with over the years arejust precious. It’s an industry full ofcharacters. And it’s not always aboutthe money. The money helps, but this isan industry where the money is almostalways secondary to the more personaland emotional attachments for thepeople who play, make, and sell theguitar. That’s really what’s behind it all.

“Between The Strings” is packed withinteresting guitars stories. It is available atbooksellers nationwide, or on the web atwww.johnaugustmusic.com

“What better product for aliberal Democrat to beintimately involved with

than the guitar!”

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This great photograph was taken at the Martin display during last year’s Philadelphia Folk Festival, one of the oldest continuallyrunning music festivals in America. Don’t miss this year’s festival scheduled for Friday, August 27 through Sunday, August 29,

2004, in Schwenksville, PA, about a half hour north of Philadelphia... and enter the raffle to win a Martin HD-28V! v

www.folkfest.org

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My Daddy’s Old GuitarIt was snowing on that winter’s eve in 1963 the first time he took that case and opened it for me, in the backseat of some Chevrolet or maybe GMC. I ran my hands across the strings and he promised it to me.

I was maybe 3 or 4 years old but I remember to this day the air was filled with magic sounds as he began to play.I still recall daydreaming how wonderful it would be if I could learn to play like him, he promised it to me.

It was around about the springtime of 1972 he was off to the marketplace to run an errand there or two.He put the guitar in the corner, his method tried and true, he said don’t mess around with that old guitar,

no matter what you do.

It’s true I am a Waller – my daddy’s first born son. I can do a thing or two but listening wasn’t one. As soon as he was down the driveway,

he knew where that guitar would be, passing down those magic sounds he promised to me.

It has come to mean so much this old herringbone deluxe.The old Dreadnought that sparked the flame.

My Daddy’s Old Guitar.It was cold that night in Gordonsville, the Christmas of ‘02.Many friends had gathered around when my daddy called to me,as he reached inside that guitar case he gently set it free.He said son, “You guard it with you life”.

Then he passed it on to me.

40 years have come and gone since that night in ‘63, if anything could mean so much I can’t imagine what it would be.As I was traveling down the highway, headed east on 33, I bowed my head and a teardrop fell..... he’d passed it on to me.

It has come to mean so much, that old herringbone deluxe.The old Dreadnought that sparked the flame.

My Daddy’s Old Guitar.I am the keeper of the sacred flame. My Daddy’s Old Guitar.....

Written and recorded by David Randall Waller ©2003Published by Fauquier Music • Lendel Records #5401 v

Buddy GuyWhile hanging out with John Mayer, blues legend Buddy

Guy tried John’s Signature model and soon picked up a J-40Martin which he has been playing during his more intimateopening portion of his current tour. During his “unplugged”set, he shares colorful stories about his early years with bluesgreats like Muddy Waters and Willie Dixon. v

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MARTIN STORIESWe’d love to hear your Martin stories!

Send your photos and stories to: The Sounding Board, P. O. Box 329, Nazareth PA 18064

The evening prior to the Honolulu Marathon inDecember of 2003, Randall Rattray was jamming on thestreet and one of the fellow street musicians made thesuggestion that he take his Backpacker® along for themarathon. It occurred to Randall that this might be a first, soit was a definite “go.” The spectators along the route cheeredhim on and appeared to be quite amused though we’re notsure whether the instrument had any impact on his ranking atthe finish line! v

Josh Archie Roberts is a sergeant with the 12th AviationBrigade of Company F, 106th Aviation Battalion. In the abovephoto, he’s playing his LXM while sitting atop a Chinookhelicopter in northern Iraq near Balad, north of Baghdad. v

Whirlygiggin’

Marathon Man

Correction !

CORRECTIONIn our previous issue (Volume #17) we inadvertently

mixed up our photographs. The photo at right was sent in bySecond Lieutenant Dave Swaintek, not Sgt. Kevin Lawson aswe had indicated. He wrote to tell us that although he misseshis SPD-16M back home, his Martin Backpacker® has kept hissoldiers entertained and allowed a great escape from thestress of a deployment and war in Kuwait and Iraq. On a fewoccasions, the Backpacker has been mistaken for a sniperrifle while in the case and slung on his back. In spite of thatsmall problem, the troops love it and it keeps Dave’s fingersagile. At right is a picture of Dave’s Backpacker being playedin his tent in Kuwait. v

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Terry Gann, a long-standing Martin fan, played in the bandThe Bountymen in his home town of Greenbriar, Tennessee.The Bountymen played covers of traditional folk music like TheKingston Trio and Gordon Lightfoot as well as traditionalbluegrass tunes. Terry also had some success writing songs forThe Oak Ridge Boys, Lester Flatt, and The Nashville Grass.

Terry is shown here with his Backpacker® at the FranklinCanyon reservoir in the hills outside of Hollywood. This was thelocation of “Myers Lake” on The Andy Griffith Show – thespot where Opie skipped a stone into the lake. Myers Lake wasalso the site of many picnics and escapades on the show. Yes,he’s playing Andy’s theme song; and though it would havesounded better on the Andy Griffith Signature Edition D-18,isn’t that what Backpackers are all about! v

Skipping Stones Photo/Story Courtesy of Roger C

arroll

Bringing It All Back Home

Ben Roth lives close enough to the Martin factory tosmell the rosewood. There must be something inspirationalabout the proximity because he’s been enthralled withguitars through all of his “early” years. Now he’s graduatingfrom high school. His uncle Kevin Diehl (a final inspector atMartin) bought him a Backpacker®. He took it with him tothe Top Of The Town in Arlington, VA, that overlooksvirtually all of the landmarks in Washington D.C. To top thatoff, his family decided to commemorate his graduation and18th birthday with a Martin Vintage Series OM-28V, a giftthat will have meaning for many decades to come. v

Adam Phelps is the proud owner of a Martin D-15 that hebought in 2002. He sent us this photo of his four year old sonrunning through the chord progressions. It’s a pretty good Dadthat entrusts his Martin to the next generation, but you can besure that Dad is close at hand. Adam says his son is doingpretty well for his age with the guitar. It won’t be long before“somebody” will need their own. v

Pickin Daddy’s Guitar

Carrie McClung and Geoffrey Clarkson of Portland,Oregon were so thrilled to have their picture taken withMartin’s millionth guitar during a clinic at Pioneer Musicthat they used the photograph for their weddingannouncement. They tied the knot in May of 2004. v

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Index To New ProductsLimited EditionsHD-40LSH Tom Paxton . . . . . . . . . . . .Page 14-15OM-28 Rory Block . . . . . . . . . . . . . . . .Page 12-13000ECHF “Bellezza Nera” (Clapton) . .Page 18-19OM-42 Quilted Maple II (30) . . . . . . . . . .Page 22Tattoo . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 21

New Little MartinsLX1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 23LX1E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 23

New X Series ModelsDCX1KE . . . . . . . . . . . . . . . . . . . . . . . . . . Page 23DCX1RE . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 23

New Standard Series Models000-42 . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 22J-41 Special . . . . . . . . . . . . . . . . . . . . . . . .Page 22

New Vintage Series ModelsD-18VE . . . . . . . . . . . . . . . . . . . . . . . . .Page 21-22HD-28VE . . . . . . . . . . . . . . . . . . . . . . . .Page 21-22

Special EditionsDC-Aura & OMC-Aura . . . . . . . . . . . . .Page 21-22D-28 Marquis & D-28 Marquis Sunburst . .Page 20

New Martin StringsNew SP Marquis & SP Fingerstyle . . . . . .Page 28

If you’re aMartin Guitarenthusiast,you belongin the MartinOwners Club!

Your first-year membership welcome packageincludes the following benefits that are not availableanywhere else:• Club Member Certificate• Club Membership Card• Club Member T-Shirt• Club Member Pin• Club Member Decals• Club Member Guitar Picks• Collectors Set of PostersPlus you will also receive:• The Sounding Board Newsletter• Martin Catalog and Price List• 10% Discount on 1833 Shop Merchandise.Annual Membership Fee: $45.00 U.S.** Martin Owners Club Welcome Package subject to freight charges outside of U.S.

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J O I N N O W !