Thomas Ripsam’s CEO-11 is an exquisite work of art
The Chief Executive of Martin Guitar has surpassed his sublime CEO-10, which is really saying something
Martin CEO-11 specs include: 14-fret Grand Auditorium body size; solid tonewoods include figured white oak sides and three-piece back; FSC-certified European spruce soundboard with unique New Horizons burst finish and custom inlays and half-herringbone “rope” purfling; European flamed maple binding; two-piece flamed maple neck with dark mahogany stain, and GE Modified Low Oval profile and neck heel; ebony fingerboard with custom abalone inlays and High Performance Taper, 1-3/4″ at the bone nut, 2-1/8″ at 12th fret; ebony bridge with bone saddle and bone pins with abalone dots; ebony headstock face plate with abalone Unalome inlay and open nickle tuners; Fishman Aura electronics with custom-voiced microphone image.
“Gorgeous to see, lovely to hear. The versatility of this acoustic-electric lap piano is immediately evident from its bass-to-treble balance and its clear yet colorful tonal pallet.”
Martin Guitars Like No Other for CFM IV’s 70th Birthday
The new D-18 1955 and 000-18 1955 feature reclaimed spruce tops from Alaska!
As per the company website, “1955 wasn’t just a milestone for the Martin family—it was also the year the folk boom began to sweep across the country. As artists embraced acoustic sounds and heartfelt storytelling, Martin guitars became essential companions, carrying the songs that shaped a generation. It’s fitting that these two guitars, each inspired by iconic 1955 models, mark Chris Martin IV’s own story in the year that changed everything for folk music—and for Martin Guitar.”
Reclaimed Spruce
For the first time, Martin Guitar is offering commercial instruments with soundboards from repurposed wood. Various smaller guitar makers have been doing this for some years now. But it fits in perfectly with Chris Martin’s lifelong concern for the global environment. Fittingly enough, they are offer 70 guitars in each edition.
“This is the first time we’ve used this sustainably sourced spruce, and it’s more than just repurposing materials. It’s about celebrating the strength of nature and the craftsmanship that brings it to life. When you pick up one of these guitars, you’re not just playing music—you’re giving a voice to wood that’s weathered the elements, stood through history, and found its way into your hands.”
Printed Tops Mimic Martins of Old
The 000-18 1955 featured a photo-realistic printing of top of an actual 1955 000-18 —serial number 145102. The new D-18 1955 “draws inspiration from a standout piece of history—a 1955 D-18 from the Skip Maggiora collection. That guitar, serial number 144636, was part of a legendary trove of 150 vintage instruments Skip assembled over a lifetime in the music business.”
Martin introduced printed “distressed” tops on some Standard series models, with less-expensive satin finishes. But here it is used on a limited edition with more than the tops looking like a vintage Martin.
Vintage Vibes
The short-scale Auditorium size 000 has period correct non-scalloped braces. The new D-18 limited edition has non-scalloped, rear-shifted braces, with should provide ample bass, but with greater definition across all registers.
Both instruments have an FSC-certified rosewood fingerboard (Style 18 having rosewood boards and bridges from the late 1940s until the return to ebony in the 20-teens,) and the GE Modified Low Oval neck shaping that was recently added to the Standard Series. But in each case there is a 1-11/16″ width at the nut, rather than the modern 1-3/4″, along with appropriate 2-1/8″ string spacing.
The mother of pearl dot fingerboard markers, brownish tortoise bindings and pickguards, rounded headstocks with vintage-esque Kluson® Waffleback® tuners help make these guitars look very much like 1955 Martins.
Happy Birthday, Mr. Martin
Chris Martin never intended to join the family business, but stepped in during a vulnerable time in the history of the acoustic guitar, and the family-owned business founded by his great, great, great, great grandfather. He charted and then navigated the company through dangerous waters when the popularity of the acoustic guitar was at its all-time low, and then through his own Golden Era when Martin and Eric Clapton joined together to revitalize its their popularity. C. F. Martin IV ultimately achieved glorious success by embracing innovation and modernization, while nurturing and perpetuating his ancestral legacy and the vintage Martin mystique.
These two limited editions stand alongside the new Standard Series designs, and CEO Thomas Ripsam’s recent CEO-11 model as wonderful examples of Martin combining modern technologies, sustainable and in this case reclaimed tonewoods, with construction features that make these guitars more like vintage Martins than anything created during Chris’s years at the head of the company, save only those meticulous Authentic Series reproductions.
Wishing you many happy returns, that is one man’s word on…
Martin D-18 1955 and 000-18 1955 CFM 70th Birthday Guitars
C.F. Martin & Co. aka Martin Guitar has seen fit to release even more Eric Clapton signature models. But these new Claptons set themselves apart in their specifications and in debuting on Sunday, March 30 2025, Clapton’s 80th birthday, while also commemorating the 30th anniversary of the first EC model.
The limited edition 000-42EC 30th Anniversary combines the aesthetic appointments of the Martin’s original Eric Clapton signature model with an “Authentic 1939” neck specifications, likely borrowed from the 000-42 Authentic 1939. With premium grade Adirondack spruce and Guatemalan rosewood, this 2025 signature model is truly a premium level guitar and an instant collector’s item, had at the premium price of $10,999 and limited to 300 guitars.
The more-affordable 000-EC 30th Anniversary is made with Indian rosewood and comes with a Sitka or Lutz spruce top. It does get the 1939 neck shape model like its pricier sibling. Both have a 1-11/16” nut and 2-/18 string spacing, but the 1939 heel and fuller barrel will make the hand feel less cramped than recent Martins with the 1-11/16” nut width, and a Low Profile shape, like the OMJM John Mayer model. The 000-EC retails for $4,999 and has no production limit for this special edition instrument. But Martin dealers may only order it through March 2026.
The 000-EC has no style indicator in the name, because it combines the herringbone top trim and sound hole rosette of the popular 000-28EC with colorful Golden Era Style 42 position markers at frets 5, 7, 9, 12 and 15, just like a 1939 000-42. This may cause some confusion since modern Style 42 models use a vintage Style 45 fingerboard pattern that has markers on frets 1 and 3, including the Standard Series 000-42 and the original 000-42EC model.
At various times over the decades, Eric Clapton has had enormous influence on popular music. But none more so than his 1992 appearance on the hugely popular program MTV Unplugged, where he performed with a rare 1939 000-42 (SS #72234,) and sideman Andy Fairweather Lowe played Clapton’s 1966 000-28 (serial #208511) converted to Style 45 Mike Longworth. That one evening’s performance, and its hugely popular soundtrack album, single-handedly set off a seismic shift in the popularity of the acoustic guitar.
Martin received so many requests for a guitar like the ones featured on MTV Unplugged that it led to the first of many Eric Clapton signature models, 1995’s 000-42EC, a limited edition that was followed the next year by the special edition 000-28EC. The latter remains one of the best-selling Martin models of all time.
Watch my pal Dick Boak tell his tale of designing the original Eric Clapton models
It may be hard for some people to remember just how highly-regarded Eric Clapton was during the first decades of his career, starting with the electric British Blues band the Yardbirds. He left that band to form the first “super group” with bassist Jack Bruce and drummer Ginger Baker, who boldly declared themselves to be “The Cream,” eventually shorted to just Cream. He left that band to return to the Blues in Delaney and Bonnie, before collaborating with Duane Allman on the album Layla by Derek and the Dominoes, and finding time to perform with George Harrison, and John Lennon a short time later. But in all of this, Clapton was playing electric guitars.
In 1995, at age 50, the venerable rock legend garnered countless new fans after he switched his electric guitar for acoustic guitars that resulted in the phenomenal success of his Unplugged performance. At a time when acoustic guitar sales were at an all time low, the most famous electric guitarist in the world reminded us just how awesome acoustic guitars can be, especially in the right hands.
Happy birthday, Eric. Or as they say in France, joyeux anniversaire!
D-3 Millionth, Double-Neck Acoustic-Electric Among New Martin Guitar Models Unveiled at 2025 NAMM Show
NAZARETH, PA – Martin Guitar is thrilled to unveil the latest additions to its 2025 NAMM Show lineup, featuring all-new instruments that embody its mission of unleashing the artist within.
These standout models join the refreshed Standard Series and Retro Plus guitars, showcasing Martin’s unwavering dedication to craftsmanship and creativity. Designed for musicians and collectors alike, they promise something truly extraordinary.
This special lineup of instruments will be on display at The 2025 NAMM Show in Anaheim, California, through Saturday, January 25, with more exciting releases to come.
D-3 MILLIONTH
The Martin D-3 Millionth is a breathtaking celebration of Martin Guitar’s rich legacy, craftsmanship, and the people behind it all. This limited-edition Dreadnought, marking the 3 millionth serialized Martin instrument, is a masterpiece in both sound and design that celebrates the “& Co.” in the company’s name.
Its top depicts a cross section of an American sycamore tree, featuring rings made of real sycamore and solid gold representing each year of the company’s growth, with diamonds marking major milestones in Martin’s 192-year history. The theme of “past, present, and future” is woven into every ornate detail, including its ebony headplate showcasing a diamond-filled Moravian star and an engraved 14-karat palladium pickguard, with rubies marking each of Martin’s three Nazareth-area factory locations since 1839.
On the back of the guitar, which is made of rare and coveted Brazilian rosewood, a beautiful sycamore tree of gold and pearl pays tribute to the countless employees who have left their fingerprints on the company’s legacy, from its early days in New York City to its longtime home in Nazareth, Pennsylvania.
With only three of these guitars in existence—and only one for sale (serial number 3,000,002)—this awe-inspiring instrument is both a tribute to the workers who built the brand and a testament to the innovation that keeps Martin at the forefront of acoustic excellence.
D-300
Inspired by the D-3 Millionth, the top of this limited-edition Dreadnought also represents the cross section of an American sycamore tree, with rings made of real sycamore and silver representing each year of the company’s growth, and solid gold dots marking pivotal moments in Martin’s history.
Its Brazilian rosewood back features a sycamore tree made of abalone, symbolizing the countless employees who have left their mark, while rubies embedded in the inlaid ebony pickguard represent Martin’s three Nazareth-area factory locations since 1839.
With European flamed maple binding, Waverly gold tuners, and Liquidmetal® bridge pins with bezel-set emeralds, the D-300 is both a visual and sonic masterpiece, honoring Martin’s enduring commitment to quality, artistry, and the workers who built the brand.
Only 30 of these guitars are available for purchase.
GRAND J-28E DN
For the first time in over a century, Martin is thrilled to offer a one-of-a-kind double-neck instrument—the Grand J-28E DN. As a member of the popular Standard Series lineup, this all-new guitar combines Martin’s renowned quality and craftsmanship with modern innovation, featuring an acoustic-electric with a twelve and six-string neck, giving you the versatility to explore new sounds, tunings, and musical textures all on one guitar.
Its powerful Grand Jumbo body delivers a bold, resonant tone, with solid East Indian rosewood back and sides and a solid spruce top that ensures balance and clarity across all playing styles.
This double-neck guitar took years to perfect, and thanks to cutting-edge technology at Martin’s Nazareth factory, the Grand J-28E DN, featuring two compound dovetail neck joints and unique X bracing, is now available to the public. Both necks feature a smooth satin finish and ebony fingerboard, with the six-string neck offering a slightly slimmer profile at the nut. It also includes built-in custom Fishman® electronics, making it ready for the stage and studio.
With classic 28-style appointments and endless sonic possibilities, this guitar is a dream for players seeking an extraordinary instrument that’s anything but standard.
CENTENNIAL 1 CONCERT UKE
Celebrate a major milestone of Martin craftsmanship with the limited-edition Centennial 1 Concert Uke. This understated yet elegant ukulele honors 100 years of Martin producing concert-sized ukes, which have been cherished by players worldwide since 1925.
Crafted from solid sinker mahogany, reclaimed from the depths of Belizean rivers, this uke has a rich, warm tone and a striking grain that only nature could create. Its concert size offers a coveted balance, sitting between the smaller soprano and larger tenor, making it comfortable to play while delivering full, resonant sounds. The neck is also made from sinker mahogany paired with an East Indian rosewood fingerboard that stops at the body joint, a nod to vintage ukulele design that opens up more of the instrument’s top for increased resonance.
With only 91 instruments available, this vintage-inspired uke is a rare find for players and collectors alike. It even includes a commemorative paper label inside to mark this special milestone, featuring an image of the North Street factory where the first concert ukes were handcrafted 100 years ago.
CENTENNIAL CONCERT UKE
Only offered through 2025, this vintage-inspired ukulele also honors 100 years of Martin manufacturing concert-sized ukes.
Crafted in Navojoa, Sonora, Mexico, it’s made from solid genuine mahogany, offering a blend of warmth and brightness with a punchy midrange that makes every note sing, while its select hardwood neck features an East Indian rosewood fingerboard that stops at the body joint. Coupled with spruce bracing, the design allows the body to resonate freely, resulting in a powerful, dynamic tonal response that honors the heritage of Martin’s original concert ukuleles.
Modern upgrades include Graph Tech RATIO® tuning machines, giving you the convenience and stability of a geared tuner while keeping the look and feel of a vintage friction peg. It also includes a commemorative paper label inside, featuring an image of the historic North Street factory, and is snugly housed in a softshell case.
The Centennial Concert Uke offers the chance to own a piece of Martin’s rich musical history, celebrating the world’s oldest surviving ukulele manufacturer.
CEO-11
The Martin CEO-11 is a striking, limited-edition acoustic-electric that blends artistry and craftsmanship in a way only Martin can. Designed by President and CEO Thomas Ripsam, this Grand Auditorium (M) model features a figured white oak multi-piece back and sides paired with an FSC®-certified European spruce top, offering a rich, dynamic sound that’s both powerful and warm.
The eye-catching New Horizons blue burst top and dark mahogany-colored sides create a look that’s as bold as the sound it creates. Unique inlays, including a custom Unalome symbol on the headplate, add a personal touch that speaks to finding your creative path.
With a two-piece flamed maple neck, European flamed maple binding, and scalloped spruce X bracing, the CEO-11 invites you to connect with your sound and express yourself fully. It’s equipped with Fishman Aura VT Blend electronics, custom-voiced to Thomas’ preference, ensuring that its tone stands out wherever you play.
The number 11, a “master number” that symbolizes intuition and creativity, aligned perfectly with the guitar’s artistic vision, acting as a subtle reminder of the journey every artist takes to find their true voice. Limited to only 1,111 models, the CEO-11 is built for players looking to make a statement—sonically and visually—while staying true to Martin’s legacy of unleashing the artist within. Each guitar includes a blue paper label signed and numbered by Thomas.
00L OLIVER
The Martin 00L Oliver is a stunning new model born from a unique collaboration between Martin Guitar and renowned artist Julie Heffernan. This limited-edition acoustic features Heffernan’s captivating oil painting “Self-Portrait as Arms and the Men,” beautifully reproduced on its FSC-certified solid spruce top.
Heffernan’s painting transforms the guitar into a canvas that tells a story every time you play it. Her surrealist landscape lays bare the conflict between nature and humankind’s impact on the planet, and the result is something you can both showcase and play.
Beyond its eye-catching artwork, the 00L Oliver, named after Heffernan’s son, is crafted with premium materials and appointments. With a sloped-shoulder Grand Concert body, its solid medium-flame koa satin back and sides bridge the gap between the rich tones of rosewood and the warm, resonant qualities of mahogany. Its FSC-certified satin spruce top also delivers balanced projection while underscoring Martin’s commitment to sustainability.
With only 104 instruments available, the 00L Oliver is a harmonious blend of art and music, inspired by Heffernan’s visionary artwork and Martin’s legacy of excellence. Whether you’re a collector, musician, or lover of fine art, this guitar promises to inspire creativity and unleash your inner artist.
D-ROBERT GOETZL 10
The D-Robert Goetzl 10 is a one-of-a-kind creation that lets both music and art take flight. Hand-painted by acclaimed artist Robert Goetzl, this stunning Martin Dreadnought features a vibrant hummingbird surrounded by bright, blooming flowers, bursting with color and life.
Just like a hummingbird, this guitar is light and agile, yet full of energy and vibrancy. The solid spruce top, adorned with Goetzl’s artwork, ensures the guitar’s rich, resonant tone soars, while the solid East Indian rosewood back and sides provide deep bass and lush overtones.
Goetzl worked closely with Martin’s expert craftspeople to bring his vision to life. “Not only are they making a beautiful body for me to work on, but once I hand it over, they help really make it special,” says Goetzl. From the hand-painted top to the final touches added by Martin’s team of artisans, this guitar is a true collaborative effort.
Complete with an abalone rosette, Waverly gold tuners, and a genuine mahogany neck, the D-Robert Goetzl 10 is a striking piece of playable art. Whether it’s perched on your wall or in your hands, this bird is ready to sing.
For more information about these and other Martin releases, visit martinguitar.com.
For NAMM 2025, the models of Martin’s Standard Series received upgrades to the neck and bracing. The results are a collection of classic Martin model that sound more open and resonant, and perform with enhanced playability. The new models were announced today: The 000-17 and D-17 make their debut in the Standard Series, with considerably improved specs from previous modern guitars designated as Style 17.
The OM-45 stands out on its own as a top-shelf Martin featuring similar appointments to the flagship D-45, but with an Auditorium Size body. It is a long-awaited addition that has the added benefits of waiting for the new Standard Series upgrades.
GE Bracing
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Golden Era bracing is now a standard feature of the Martin guitars that set the worldwide standard for a professional level acoustic guitar. The shaping of the scalloped braces and tone bars removes more mass from previous bracing, making them more flexible, leading to a soundboard with increased responsiveness. Each frequency-damping node at the peak of each scallop are narrower, making the targeted damping area more precise, honing the tone even further.
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The main X brace is tapered all the way up to wear the center of the X. The small tone bars on either side of the sound hole are carved to a peak, much more like prewar bracing. The main tone bars that run across the bottom bout also have a lengthier taper and different angle they they rise up to the peaks of the scalloping. The bridge plate appears to be narrower, again more like a pre-war Martin.
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The venerable D-28 is receiving scalloped bracing for the first time since the 1940s. This will mean it has the same bracing as the HD-28 and the difference will be the 1950s look on the D-28 vs. the 1930s look on the HD-28. In the last decades of the twentieth century, the HD tended to get higher grade tops, even though both models were designated as Grade 5/6. It is unclear if that will happen in this case.
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The D-35 remains 1/4″ non-scalloped bracing, but it is not exactly the same shaping as previous years.
GE Modified Low Oval Profile
The neck retains the Modified Low Oval profile and High Performance fingerboard shaping that advanced the Standard Series in the previous “reimagined” upgrade in 2018. This means the nut width remains 1-3/4″ while the width at the 12th fret remains 2-1/8″. But there is an elongated diamond valuate at the back of the neck where it meets the headstock, resembling vintage Martin volutes, and the heel where the neck meets the body has adopted the narrow shaping used on the Martin’s Modern Deluxe series, which resembles heels from the 1930s but with a narrower width. The combination adds subtle changes to the feel along the neck, enhanced further by the tweak to the string spacing at the nut and the alterations where the neck meets the fingerboard, which has been reduced in depth to the same specs used on Martins elite Authentic Series models.
This new Golden Era modified low oval neck profile and reduced fingerboard combination had a sneak preview when Martin released the O’ahu HG-28 near the end of 2024.
Style 17 Reborn
The new 17s receive full Standard Series construction, including (according to my insider sources) “Genuine Mahogany” back, sides, and top, even if that is not reflected on the spec sheet (so no guarantee on how long they will remain thus.) They also feature the full-size dovetail neck joint with solid mahogany neck block, and the (new to the Standard Series in 2025) Sitka spruce Golden Era bracing, which has reduced mass and more-precise damping nodes thanks to the narrower peaks on each brace and tone bar, as found on the Modern Deluxe models.
They retain the satin finish of a pre-war Style 17 instrument, and the modest appointments that are now seen on the 15 Series (short pattern diamond fret markers on an ebony fingerboard,) which originated on the original 00-17 from the 1930s.
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OM-45 Returns
The OM-45 looks like the OM-45 introduced in 1990, with the large hexagon fret position markers. But otherwise, it has the vintage Martin appointments seen on recent Standard Series Martins and the GE bracing and the GE Modified Low Oval Profile neck shape that is as of today, a NEW feature of all Standard Series Martins. This includes a more 1930s shaping to the volute to the back of the neck where it meets the headstock, along with the more vintage-esque heel shape that looks vintage but has less mass (e.g. as used on the Modern Deluxe Series) which result in a subtly different feel the entire neck compared to previous Standard Series models.
Intelligent Improvements
The Authentic Series fingerboard depth is also NEW to all Standard Series models, and was likewise adapted from the Modern Deluxe Series. This should allow more energy to make its way from the fretted strings down to the body where it will contribute to tone production. The change in fingerboard depth brought about other tweaks.
There is a “comfort bevel edge” where the fingerboard meets the mahogany neck that should be welcome by most players. The string spacing has received an (unannounced) tweak at the nut, and to the string angle as it crosses the nut between fingerboard and headstock has also changed. Known as “on-angle,” this is yet another spec from pre-war Martins that founds its way on the modern Authentic Series models, and now is being resurrected on the “standard” models that descended from those legendary Martins from the 1930s.
Oh, and the Standard Series models now all sport either bone or ebony pins on the slightly reshaped bridge, which is likewise titled GE and has wings with less mass, with the same goal of increased responsiveness.
Retro Plus Arrives
In other Martin news, there are also two very exciting new models added at the top of the Road Series, the DE Retro Plus and the 000E Retro Plus. These new Road Series instruments receive appointments that look a lot like the D-18 and 000-18. But while they retain the Road series Performing Artist neck profile (which I love) and Tusq saddle (which I am not crazy about) they have a full gloss body and a TORRIFIED top.
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A discussion of the newly “refreshed” Standard Series and Road Series models will appear later today on the Martins and Morepodcast, found on major pod platforms and YouTube, and of course full reviews of these new models will appear at One Man’s Guitar as soon as my busy life allows me to edit the video from the factory and write up the exclusive reviews.
This poem by Bob Dylan was written when he was 22 years old
83 years ago, Bob Dylan was born.
This early masterpiece will be studied by scholars 810 years from now. It will hopefully still be sung in halls, and sadly will likely be just as relevant as it was in 1963 and 2024.
Far between sundown’s finish and midnight’s broken toll We ducked inside the doorways, thunder went crashing As majestic bells of bolts struck shadows in the sounds Seeming to be the chimes of freedom flashin’ Flashin’ for the warriors whose strength is not to fight Flashin’ for the refugees on the unarmed road of flight And for each an’ every underdog soldier in the night And we gazed upon the chimes of freedom flashin’ Through the city’s melting furnace, unexpectedly we watched With faces hidden as the walls were tightening As the echo of the wedding bells before the blowin’ rain Dissolved into the bells of the lightning Tolling for the rebel, tolling for the rake Tolling for the luckless, the abandoned and forsaked Tolling for the outcast burnin’ constantly at stake And we gazed upon the chimes of freedom flashin’ Through the mad mystic hammering of the wild ripping hail The sky cracked its poems in naked wonder That the clinging of the church bells blew far into the breeze Leaving only bells of lightning and its thunder Striking for the gentle, striking for the kind Striking for the guardians and protectors of the mind And the poet and the painter pull out of his rightful time And we gazed upon the chimes of freedom flashin’ Through the wild cathedral evening, the rain unraveled tales For the disrobed faceless forms of no position Tolling for the tongues with no place to bring their thoughts All down in taken-for-granted situations Tolling for the deaf and blind, tolling for the mute For the mistreated, mateless mother, the mistitled prostitute For the misdemeanor outlaw, chased and cheated by pursuit And we gazed upon the chimes of freedom flashin’ Even though a cloud’s white curtain in a far-off corner flared And the hypnotic splattered mist was slowly liftin’ Electric light still struck like arrows, fired but for the ones Condemned to drift or else be kept from drifting Tolling for the searching on their speechless, seeking trail For the lonesome-hearted lovers with too personal a tale And for each unharmful, gentle soul misplaced inside a jail And we gazed upon the chimes of freedom flashin’ Starry-eyed and laughing as I recall when we were caught Trapped by no track of hours for they hanged suspended As we listened one last time an’ we watched with one last look Spellbound an’ swallowed ’til the tolling ended Tolling for the aching ones whose wounds cannot be nursed For countless confused, accused, misused, strung-out ones & worse And for every hung-up person in the whole wide universe And we gazed upon the chimes of freedom flashin’
A man of many talents, Frank Krupit has left this mortal coil
“We bonded over post-rehearsal Guinness and cheeseburgers at Woodrow’s in lower Manhattan, where I’d hear tales of Frank’s years as the captain of a fishing vessel, and the tours of Ireland backing up the Anglo-Irish band Celtic Spirit.”
Frank Krupit was a guitarist of joyful skill and dedication and one of the finest men I have ever been privileged to know. He was much more than a guitarist, of course, but I met him through the many Martinfest gatherings, where he featured his chops in countless jam session and we became brothers-in-music over the years. Frank’s passing today after a long illness was not a surprise so much as deeply regrettable expectation that would have come too soon in any case.
In 2013, I was honored to be asked by retired Broadway actor Paul Ukena Jr. to join him in a guitar trio, featuring early and mid-century swing, jazz, and show tunes, with Paul’s clear baritone voice at the microphone and “Left Frank Krupit” and I on guitar accompaniment, taking turns playing time or lead, melody or harmony, and weaving three-guitar tapestries, greatly informed by Frank’s decades of playing Jazz, Rock, and Pop music. Here are excerpts from the Paul Ukena Trio’s very first “real gig.”
Frank earned his degree in music and played in various groups early on. After raising a family and enjoying years as an amateur hockey player, he returned to renewed interest in playing music on his left-handed guitars, which had led to his early nickname of “Lefty” and the later “Left Frank.”
Collaborator with so many during so many lovely, musical hours, on acoustic guitars at Martinfest, but also cranking it up on electric guitars when playing with full bands, like D.O.R.K.F (the initials of the band members.) Frank reveled in learning the note for note solos of classics like Sultans of Swing and Honky Tonk Woman.
D.O.R.K.Fest was a very special night indeed. The band members would practice for a year at home on their own, then gather for one lone rehearsal the night before they played four or five hours of classic rock in a hotel bar for their many friends, and the delighted hotel guests lucky enough to be there. Frank and Maury Rutch sharing in lead guitar duties and garnering standing ovations on duets like Reelin’ in the Years and Hotel California. But here Maury is covering the bass duties while I make a rare guest appearance on electric guitar and the late (great) Greg Kendig joins as guest vocalist. (I only discovered this video a few minutes ago!)
Frank could play in many styles, from Fats Waller and Duke Ellington to Dire Straits and of course the Beatles. Some of my favorite memories include Frank co-hosting a Beatles sing-a-long with Mike Bono on the last night of Martinfest. For years they would sit down and play every Beatles song they could think of, taking requests, but they would only play a song once during the evening, and still manage to play Beatles songs non-stop from the hours of the packed hotel lounge to the wee hours near dawn for the lingering diehards who just didn’t want Martinfest to end. Frank knew all the lead guitar parts, all the solos, even the keyboard solos that he would play with his left-handed Martin OM-28V. I must assume his seeing the Fab Four at Shea Stadium in 1965 had a lasting impression the young lad he was back then. (Video cued up to 8:27)
In later years, Frank played a Custom Shop OM with a cutaway, Carpathian spruce top, and Madagascar rosewood back and sides, which he adored like an adopted child. Here heard on Fats Waller’s Bran’ New Suit.
And Chuck Berry’s C’est La Vie.
Frank and I bonded over Guinness and cheeseburgers at Woodrow’s in lower Manhattan, after Wednesday morning rehearsals at BMI’s 7 World Trade Center offices, where the president gave the trio a conference room because he and Frank came up together in the 38 years Frank worked there before he retired. I’d hear lunchtime tales of Frank’s years as the captain of a fishing vessel, as well as his photographic memory of the NY Rangers ups and downs, and his tours of Ireland backing up the Anglo-Irish band Celtic Spirit.
He was a connoisseur of a fine, rich stout, and a fine, rich family life. Frank and his adorable wife Maria raised to two fine sons together, and spent many endriched and wonderful years going to see their favorite indie artists and major touring acts in concert.
Frank Krupit earned and enjoyed a life well-lived. His solos from the years we spent as sidemen for Paul Ukena have been popping in my head all week, perhaps through some cosmic connection. If anyone deserves to be issued a celestial harp, it is Frank Krupit, the left-handed model, of course.
Frankie Baby, who loves ya’? We ALL do.
And that is one man’s word on my brother-in-music Frank Krupit.
Here’s of Frank’s musical gift he dolled out over the years. I will miss that chemistry and collaboration forever. And never can I lift a Guinness without thinking of my brother-in-music. Sláinte!
Lady Be Good by Irving George and Ira Gershwin
Cheek to Cheek by Irving Berlin
Y Tu, Que Has Hecho from Buena Vista Social Club
Long May You Run by Neil Young. Long may Frank’s music run on Youtube!
For sale only in walking distance from Cherry Hill
Modest in appearance but right at home among their flashier siblings, the Cherry Hill Customs at the Martin factory might be overlooked by some visitors. But they will be much admired by those who appreciate the natural beauty of wood on guitars with simple cosmetic appointments and pure, pretty tone.
The Martin Cherry Hill Customs Uncloaked
The Martin Cherry Hill Customs – two Factory Special models – are intriguing for many reasons. The guitars do not appear on the Martin price list. They received no official launch or lead-up announcement in the Media, so not many people have heard of them, yet. Perhaps the most interesting fact is how these under-the-radar guitars can only be purchased in person at the Martin factory.
The Cherry Hill Customs are offered as a Dreadnought and 000 and may be summarily described as a custom D-18 and custom 000-18 built with backs and sides of cherry wood and with some extra-woody upgrades. They get flamed maple for the bindings and endpiece instead of plastic, and the Old Style 18 sound hole rosette and other body trim are made from wood fiber.
The soundboards follow Martin’s current specification which says standard-grade spruce tops can be made of Sitka spruce or its natural hybrid cousin Lutz spruce, depending upon current availability. The vintage toner used on the spruce top works very well with the unstained cherry.
Not just any cherry is used, but nicely figured cherry that’s grown right there in Pennsylvania. It is fitting that local tonewood is featured on these subtly beautiful musical instruments because they can only be purchased in Pennsylvania, and only at the Martin Guitar factory.
If a visiting dealer & distributor sees a Cherry Hill Custom instrument that appeals to their design sensibilities, they may purchase it for sale to their customers. But they can only request one of each model while they’re at the factory. No phone in follow-up’s or replenishments are permitted.
These guitars are chiefly meant for those who make the pilgrimage to Nazareth for the factory tour or to see the rich history on display at the Martin Museum in the visitors’ center, and to offer them unique instruments a little different from typical Martins sold elsewhere and provide, as Martin’s Scott Sasser puts it,”… an engaging surprise for those enthusiasts that come to the factory. Hopefully they see something nice and think to themselves. . . ‘hey that’s neat – I’ve never heard of that before. What’s that all about?’”
What the Cherry Hill Customs guitars are all about is Martin’s legacy and future. Named for the gently sloping rise that starts just a stone’s throw from the parking lot of C. F. Martin & Co., Cherry Hill is a place of special, romantic significance to the Martin family, their employees, and fans of Martin history.
Along the road that traverses Cherry Hill, there once stood the first humble home and workshop of luthier C. F. Martin Sr. when he moved to Pennsylvania in 1838. It is now a five-minute walk from the current home of the world-famous guitar manufacturing company and museum that bears his name.
The choice of Pennsylvania cherry evokes all of that history but also acknowledges Martin’s continuing commitment to responsible sourcing and utilization of sustainable natural materials, and their longstanding commitment to environmental conservation. In that respect, it shares similar goals with the American maple back and sides on the adventurous new GPC Inception model. But the Cherry Hill Custom design elements and aesthetics are more in line with the venerable Standard Series Martins.
While Martin has made some lovely models out of cherry, the Cherry Hill Customs are the first cherry models offered for sale with a full-size dovetail neck joint and high gloss finish. Other Standard Series specs include scalloped bracing (forward-shifted on the Dreadnought) and a select hardwood High Performance neck with a dovetail neck joint, Modified Low Oval profile, black ebony fingerboard, and the select abalone fret position markers of the classic D-18 and 000-18. These new Cherry Hill models also have some very attractive figuring in the undyed ebony bridges.
The inspiration for the models comes from Martin’s desire to enhance the Nazareth visitor experience with an exclusive opportunity to own an upscale yet approachable Martin model with some rarity baked in due to its limited availability. A few points of inspiration for these specific Cherry Hill Custom models comes from a collaboration with a close friend of Scott Sasser during his time as manager for the Custom Shop, and Scott’s longstanding realization that cherry remained an under-appreciated domestically sourced material. . . both aesthetically and tonally.
Pleased with these results along with other occasional customs delivered through Martins Custom Shop program, he kept a few design cues in his mind for future use. Fast forward to these woody Style 18-inspired cherry guitars, made from sustainable materials that will remain available to musical instrument makers, hopefully ever after.
These new Martins are not meant to be part of their ongoing catalog. They are designed to offer a local complement to the Martins available globally without being in direct competition with them. They are also not meant to be available for long. The models will be periodically evaluated and replaced as appropriate to keep the “Factory Special” offerings fresh.
Whether they keep the name Cherry Hill Customs for future models, or decide to keep it exclusive to these two models, there will be others. New Factory Special models that take advantage of the beauty and tonality of domestic American woods and sustainable woods from other parts of the world will be forthcoming from Martin Guitars, in the new Inception Series that has been heralded with much fanfare, and in the Cherry Hill Customs after their modest, almost shy debut at the picking parlor, in Martin’s welcome center lobby.
The Factory Special concept – where these Cherry Hill Customs reside – will be present in one form or another going forward at the Martin factory. Enhancing a guitarist’s trip to the visitor’s center without distracting from its other treasures, they will for some provide the ultimate souvenir from a trip within the walls at C. F. Martin & Co., est. 1833.
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Standard Series rosewood and mahogany axes of the future with classic styling
SC-28E and SC-18E specs include: 13-fret asymmetrical S body size with deep scoop cutaway; high gloss nitrocellulose finish; solid spruce top with patented internal soundboard recurve; spruce Tone Tension X-bracing with proprietary shaping; heel-less solid hardwood neck with satin finish, Sure Align neck joint system and ergonomic Low Profile Velocity shaping, solid ebony fingerboard with High Performance Taper; solid ebony belly bridge with 1930 profile but smooth contour surface; 2-5/32” string spacing; faux tortoise asymmetrical teardrop pickguard; nickel open-back tuning machines; revised Fishman Aura VT Blend electronics with Aura HD imaging or L.R. Baggs Anthem electronics. Comes with a molded hard-shell case with plush lining.
“I was surprised by these acoustic-electric hybrids, in how a chord strummed on the SC-28E sounds more like a 000-28 or OM-28 than it didn’t, only with that slightly more-pronounced bottom E string. But I was most pleasantly surprised by the classic Martin undertone presence in the low-mids of the SC-18E and the acoustic tone during fingerstyle picking patterns and playing lead accompaniment to another person’s strumming and singing, both when acoustic and amplified.”
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