March 8, 2025

Category: Acoustic Guitars

Reviews, essays, and articles relating to acoustic guitars, and related accessories.

Acoustic Guitars / Dealer

Stan Jay of Mandolin Brothers Died Today

one manby one man0

Stan Jay, founder of Mandolin Brothers on Staten Island, died today after a long fight with a rare form of Lymphoma. He was 71.

A long time friend of mine, and of countless lovers of fine stringed instruments, Stan was a radiant being who accurately proclaimed the focus of his life’s work as a “dream fulfillment center.” He will be missed forever.

Mandolin Brothers Stan Jay dies at 71
Stan Jay, center, staff and family

It is very sad news. Stan had recently been moved from the hospital to a nursing home and reports from the family seemed encouraging. So I had hoped for the best.

He spent his life making people very, very happy. And many of them were musicians who went out and made countless others very, very happy.

I was unaware of Stan’s life had come to an end, as I attended the gala benefit dinner for the New York Youth Symphony this evening in Manhattan.

The Jazz orchestra arm of the organization performed before and after dinner. The guitarist for this night of big band jazz was playing a Gibson with a double cutaway, a 336, but maybe a 335. Stan would have known at first sight.

As ever it was inspiring to hear such amazing music from teenagers who are yet years away from the full potential that shall be revealed in their adult careers. And it is of some comfort to know that the future of great music is in such good, capable hands, now that one who so dedicated themselves to music is no longer here to play his part and the gift of music as he had with all those grateful recipients of his time, enthusiasm, wisdom and talents.

I bought my first new guitar from Stan Jay. And the most recent guitar that I bought from a shop, a custom Martin OM,  was also sold to me by Stan.

The guitar I grew up playing was given to me by my brother. It was an Asian knock off of a Martin 000-18, won shooting pool. But at Mandolin Brothers I could walk amongst a forest of “real” guitars, and dream away entire Saturdays playing Martin, Collings, Santa Cruz, Gibson, Taylor, Gretch, Goodall, Weissenborn, D’Angelico and many more.

I remember clearly how he allowed me to haunt the shop for months, with that “someday I’ll afford one of these” look in my eyes. And one day I came in and bought a brand new Martin Custom 15, the first of many purchases from Mandolin Brothers.

“Play anything you want!” is all he would say to shy newcomers used to being scolded if they dared pick up a guitar without a shopkeeper’s permission. And if the register was slow, Stan would put on his thumb pick and play along with his customers, that squinty-eyed grin and sly chuckle accompanying every joke, pun, or clever remark, often arising from his own quick, jovial sense of humor.

I can see his Cheshire cat grin right now, as the second or third implication of some clever turn of words sends him into deeply satisfying chuckles of mirth and his eyes glitter with tears.

I went on to hone my guitar reviewing at Mandolin Brothers, where I would indeed play anything I wanted, and then would write up details of various guitars for the readers of Acoustic Guitar Magazine’s on-line forum, and eventually the Unofficial Martin Guitar forum. In later years, when I was unable to get out to Mandolin Brothers as often as I once did, I would encourage anyone shopping for guitars to get out to Stan’s, where the selection and prices are the best in New York City.

For the past dozen Augusts, Mandolin Brothers became an annual stop for pilgrims returning from Martinfest in Pennsylvania, both local residents and those heading to various airports on their way home. If they thought they had their fill of playing great guitars, or their hands too sore after marathon Martinfest jam sessions, five minutes in that dream fulfillment center brought rejuvenation and delight, and often yet another guitar purchase. Stan would always take time out to hear the latest news, share his latest joke, and play a tune or two.

I had to miss the August trip this year, so it has been some months since I had last seen Stan, at the reception for the early American guitar exhibit at the Metropolitan Museum of Art, where he looked his old self. He had regained a lot of weight that had been noticeably lost during his earlier struggle with MSL.

It has been my sincere hope that it was all behind him now. It turns out it had come out of remission, and Stan lost the fight earlier today.

Stan Jay certainly did his part and more to make the world a better place and those of us who were allowed to know him will remain enriched by the privilege.

Acoustic Guitars / Artists

Merle Travis – Guitarist Spotlight

one manby one man0

The pioneer of guitar playing with the most influence upon fingerstyle is Merle Travis.

In fact, long before the term fingerstyle became popular, the technique where the thumb plays an alternating pattern on the bass strings while melody and harmony are played in upper register was known as “Travis picking.”

Guitarists from Phil Ochs to Leo Kotte, Paul Simon and James Taylor to John Mayer and Bonnie Raitt, Mary Flowers to David Lindley all owe a great deal to the boy from Kentucky who took a picking style rooted in Black blues music and expanded it to include elements from ragtime, Western swing, jazz, offering a rich tapestry of tones deceptively subtle in its complexity.

Here he is circa 1951 playing one of his most well known compositions, on his equally famous Martin D-28, which he had altered to include a neck based on the electric guitar that he designed and had built for him by Paul Bigsby in 1948.

The direct lineage leading to Merle Travis includes fingerpickers like Blind Blake, as well as local musicians from his old Kentucky home. The direct lineage of Travis pickers that followed include luminaries such as Chet Atkins and Jerry Reed. But while such players and their own musical disciples use a similar syncopation, they tend to play a single bass note on the 1 and 3 beat, where Travis often played two bass strings at the same time. And where most fingerstyle players use two or three, and sometimes four fingers to play above the bass line, Travis used only his index finger to create such intricate arrangements.

This video is from 17 years later and gives a clearer view of his typical picking style.

Merle Travis was equally at home on electric guitars, favoring large Gibson hollow body models like the Super 400, before and after his solid body Bigsby period. And like George Barnes before him, he had a signature model built by Carlo Greco at Guild Guitars during the 1960s, known as the Merle Travis Soloist. And like the Barnes model, only a handful was ever made.

Here he is with his son Thom Bresh pretending he hadn’t seen or played Cannonball Rag before.

Bresh has carried on his father’s legacy, while establishing his own reputation as a world-class guitarists. He will get his own Guitarist of the Week in due time.

Finally, here is Merle Travis and Chet Atkins together. No video, but a couple of old hands doing what they do best, play guitar.

Related Reading

Merle Travis – Country Music Hall of Fame

Thom Bresh Official Website

More Guitarists in the Spotlight

Acoustic Guitars / Artists

Michael Hedges – Guitarist Spotlight

one manby one man2

Sometimes it seems barely a year since Michael Hedges died, back in 1997, untimely failing to navigate the curve of a mountain road near his California home.

His music is just so alive, timeless, and perhaps even from another time if not another dimension.

Michael Hedges was an enormous influence and inspiration who opened vistas of possibility for guitarists everywhere. Also, he forever ended the argument that 14-fret dreadnoughts like his 1971 Martin D-28 were only for Country Western and Bluegrass.

They are also for boogieing…

And for trips to inner-space, as Ariel Boundaries is my all-time favorite piece of music to listen to while melting away my cares in a steaming hot bath.

Here he is playing Bach on his vintage harp guitar.

Michael Hedges also sang and did interesting covers of popular songs by artists he admired. And here for those who want more, is a full public performance, the very last one captured on video before he passed away too young and far too soon.

Michael Hedges, an original, often copied but never replaced.

Michael Hedges official website spiral

Official Michael Hedges website

More Guitarists in the Spotlight

Acoustic Guitars

Leo Kottke – Guitarist Spotlight

one manby one man0


Leo Kottke popularized fingerstyle acoustic guitar like no one else.

Like his contemporaries John Fahey and Jorma Kaukaunan, he turned on the Woodstock generation to wonders of hardcore fingerpicking, and for many years Kottke was named Folk Guitarist of the Year repeatedly by Rolling Stone Magazine’s readers poll.

Born in Athens, Georgia on September 11, 1945, at 69 years of age the “great big boy” continues to delight audiences through his recordings, broadcast appearances, and live concerts.

His innovative style of fingerpicking on 6 and 12-string guitar shows the influence of Mississippi John Hurt and Merle Travis, but mostly in how it differs, and how it employs an expanded use of harmony, counterpoint and polyphony.

Hallmarks of his style include using his forefinger in tandem with his thumb to create kinetic bass parts, and a tendency to avoid using the highest treble string, except when necessary, where as most traditional fingerstylists rely on it as the primary source of the melody.

Leo Kottke is also known for his engaging stories, and his baritone singing voice, even if he only uses it now and again. Together with his instrumental compositions they have earned him many awards over the years, including being voted Folk Musician of the Year by Rolling Stone’s readers poll several years in row.


~

Leo Kottke – official website tour schedule

Leo Kottke biographical information

Review of Leo Kottke in Concert

More Guitarists in the Spotlight

Acoustic Guitars / Review

One Man Makes The ToneQuest Report

one manby one man0

One Man has a review published in The ToneQuest Report.

A respected esoteric journal read by hardcore gearheads like my hero David Lindley, the ToneQuest Report is normally it is all about electric guitars but they dedicated half their September issue to none other than C.F. Martin.

There’s an article about wood featuring Martin’s Dick Boak and Linda-Davis Wallen, an address by the late C.F. Martin III about tone, and a review by me of the Martin CEO-7.

The issue came out yesterday for subscribers, and may be purchased by non-subscribers at their website:

http://www.tonequest.com/vol-15-no-10-september-2014

Get yours today!

ToneQuest Report

Acoustic Guitars

Martin Wood Grading

one manby one man0

A reader asks for specifics about Martin wood grading.

I’ve seen it written “higher grade rosewood and spruce. But Martin does their grading solely on looks” on your website and other places. 

How do you know this is the what Martin does? How many grades of wood does Martin use?

Does it start with the Road Series being the lowest grade, then 16 series is next, then 18/28, then 35, and the 40+ gets the top grade of woods?

I read somewhere that the HD-28 had a better top than a D-28. is that correct?

Spoon writes:

It is true Martin only grades wood based on how it looks. However, the debate will remain forever as to whether visual appearance can accurately suggest what a piece of wood will sound like once it is on a guitar.

There are many who believe that perfectly quartersawn wood is not only a safer bet when it comes to long-term strength and stability, but that it is also more resonant or simply “sounds better” than flat sawn wood. Others dismiss such claims based on their own experience. And the same can be said for other visual clues from cross silking or bearclaw or haselfichte markings in spruce to quilting and other exotic figuring in tonewood like mahogany or maple.

When it comes to customer orders at Martin, for instance from the Custom Shop, wood like Madagascar rosewood used for back and sides or Adirondack spruce used for tops, receives a designation of either “Standard” or “Premium.”

According to one veteran employee deep in Martin wood lore, “Premium means we sort through all the available 7 – 8 tops to pick out the best.”

A number grade like 7 or 8 is part of the internal grading system. There are usually two grades of wood for back and sides, and eight grades for spruce tops…

Read More

 

Martin Wood Grading
Wood Grading Station at Martin Factory

 

 

Acoustic Guitars / Artists

Martin Guitar Concert at the Met Museum Oct. 6

one manby one man0

Dick Boak of Martin Guitars will be hosting a special event at the Metropolitan Museum of Art, in their main auditorium, Monday, October 6th at 7 PM.

This is a concert featuring:

Marty Stuart and His Fabulous Superlatives

Steve Miller

Laurence Juber

All seats for this Martin Guitar Concert in the 700-seat Grace Rainey Rogers Auditorium are $65

http://www.metmuseum.org/events/programs/concerts-and-performances/marty-stuart–his-fabulous?eid=4577#top

This is in conjunction with the exhibit Early American Guitars: the instruments of C.F. Martin and his contemporaries, which closes December 7!


Acoustic Guitars / NAMM / Review

Martin D-18 Sycamore Review

one manby one man0

The torrefied Sitka spruce top and American Sycamore back and sides of the Martin D-18 Sycamore marks 50 years Martin guitars made on Sycamore Street.

With all the features of the popular D-18 and very special additions.

A D-18 with a difference, the D-18 Sycamore comes in somewhere between maple and mahogany in looks and in tone.

“It sounds like a more complex maple, with thicker top notes, more overtones and complexity over all, like mahogany, but with a maple-like bass that shifts the focus into the mid-range, which has the same kind of defined top notes and high overtone ring as the trebles.

I realize this description might make it seem more like a Jazz archtop than a dreadnought. It is not. It still has plenty of the complexity, resonance and sustain one looks for in a dreadnought. In fact, it excels at traditional flatpicking, with the kind of punch and “cut” that would leap out of a Bluegrass jam when it is time to switch from playing rhythm to a solo break.”

Read the Full Review

Martin D-18 Sycamore side review at onemanz.com

Acoustic Guitars

Juber and Martin Guitars at the Metropolitan Museum

one manby one man0

At the Met: From Guitarmania to Beatlemania

With Dick Boak and Laurence Juber

The Metropolitan Museum of Art gave a lecture about Martin Guitars, featuring Dick Boak, who has worn many hats at Martin and now is the company’s chief archivist, historian and head of the Martin museum. He was joined by two-time Grammy award winner Laurence Juber, who is among the finest guitarists of this or any era. Juber’s first book, Guitar with Wings, is set for release in May 2014, and features his personal photography from the years he spent as a member of Paul McCartney and Wings.

This presentation was in conjunction with the almost year-long exhibit of early American guitars at the Met, with the great majority of those guitars made by C.F. Martin Sr., who arrived from Saxony in the 1833 to set up business in New York City, before moving shortly thereafter to Nazareth, PA. That is where his great, great, great, grandson runs the family business today.

Jayson Kerr Dobney, Associate Curator in the Met’s Musical Instrument department was the primary organizer of the exhibit, and he opened today’s events with a short slideshow detailing Martin’s background, and explaining how Martin experimented his way to the designs that gave rise to the modern guitar as we know it. This part of the presentation focused on the recent scholarship that resulted in the book Inventing The American Guitar: The Pre-Civil War Innovations of C.F. Martin and His Contemporaries. It is a most impressive work, which will soon be reviewed here.

Boak’s portion of the hour+ event was called “Guitarmania to Beatlemania.” As he ran a slideshow, he provided often humorous commentary and firsthand anecdotes, while Laurence Juber provided musical excerpts on various guitars from the Martin museum, as well as adding many of his own interesting comments and historical references.

Read More…

Acoustic Guitars

Martin CS-D18-12 – Review

one manby one man0

A throwback in the best of ways, Martin’s CS-D-18-12 is one classic mahogany 12-fretter.

Sonorous bass, strong, clear mid range, and sparkling trebles

Made from 400 year old sinker mahogany, reclaimed from a river in Belize

“It has a comfortable, modern feel to the neck, but otherwise it is based upon a wonderful example of the first instruments to sport the name dreadnought. And it gets a thinner nitrocellulose finish, which simulates finishes on vintage guitars, after they have thinned out over decades of time.

The CS-D18-12 has a marvelous voice that is effortlessly large yet clear, ringing, and simply a joy to hear. Once again Greene and his team have put together a unique instrument and gotten it right.”

Read the full review HERE

CS-D18-12 heel cap
Beautiful woods