Guitars and the company’s that support their product…

I do not own a Martin guitar, but there are enough well-established guitarists who swear by them to make me believe that to certain players they possess their share of fairy dust and music magic. I think the same is true for Gibson guitars too, both acoustic and electric.

Me… I prefer Taylor guitars… On and off through the years, I’ve owned eight of them. My first serious solid wood acoustic guitar was a Taylor that I used to replace a starter Yamaha back around 1994. That was a spruce and mahogany large bodied “dread” best used for flat-picking. It was traded a long time ago but is probably still serving someone well because Taylor builds an excellent instrument. Since that time, I’ve accumulated two Taylor acoustics and three electrics, and then there’s another Taylor acoustic that I handed down to my son Parker.

Taylor 510, like my first purchase…

Acoustic guitars (and for that matter electrics) produce their own idiosyncratic sounds based upon design philosophy, so Taylor’s, Martin’s and Gibson’s all have their own characteristic tones. For me the Taylor’s offer a nicely balanced tonal range and great presence so they just appeal to my ear. If you ever become more interested in Taylor Guitars there is a wonderful memoir by Bob Taylor about the founding of the company.

Bob Taylor memoir… an excellent read…

Beyond the instrument itself, another thing I love about Taylor guitars is the support offered by the company itself. I’ve had two instruments that required repair, both of which did not fall strictly within their warranty; however they stood by their product and repaired them (actually as I write one is currently in for repair, but that’s another story), just charging me for shipping to and from California where their main factory is located. For me, that kind of product support is a huge difference maker.

This morning I discovered the below attached video demonstrating the periodic maintenance that an acoustic guitar requires. In this case it is a Martin having some neck, nut and bridge repair work done at their home factory in Pennsylvania. My small bodied Taylor 812 required bridge replacement similar to what’s seen in this video. A large chip broke off the bridge when I was changing its strings. Taylor did a lovely job replacing it. You can surmise in this posting as well as elsewhere in this weblog, I am quite fond of Taylor Guitars.

Avalon Music no more…

Avalon Music as it existed when I was involved…

Yesterday, when I was doing some background research for this weblog, I discovered, to my sadness, that Avalon Music in Rochester, MN no longer exists. Apparently they went out of business a year or so ago. As far as I can tell, this is the only store that offered “higher end” guitars in Rochester.

With disruptor online stores like Reverb, it is probably very challenging to own and operate a successful music store in a moderate sized town. I imagine that the nearby Twin Cities were also a source of serious competition. Of course, this is all speculation as I have no idea what really happened to the store, other than the proprietor selling the building for a little over a million dollars.

Avalon Music was a very nice store with a broad inventory of instruments, and a nice selection of Taylor Guitars. It was a very important music store to me as it is where I reinvested myself in guitar playing while at the Mayo Clinic for a seven week medical treatment cycle. I bought a very nice Taylor 914ce there and took lessons from an excellent fellow and they still influence me today .

The store itself was located on the main floor and lessons occurred upstairs in a series of rooms. There was a nice “living room” up there to await your lesson and to warm up. I learned some fascinating facts about that building while surfing around trying to understand why the store closed down.

The building was originally the Northwestern Hotel established by Sam Sternberg in 1919 where Jews could stay as the other hotels surrounding the Mayo Clinic would not house them… ugh… In 1944, a new owner changed the name to the Avalon Hotel and it became the first to host African American guests, including Duke Ellington. Mississippi John Hurt popularized a country blues tune called “Avalon Blues” and though I am not sure a connection exists, there sure might be.

The Avalon Hotel…

The building has been converted to offices and another of many Bistro’s that come and go in Rochester. The only constant in this world is change…

Railroad Bill… a Piedmont Country Blues tune…

Piedmont Country Blues is a finger style guitar blues with the thumb alternating on the bass strings and the fingers (varying in number depending on the player) plucking out the melody. Etta Baker from North Carolina was one of the most beloved players of Country Blues.

Etta Baker

Among her many well known tunes, Railroad Bill is one of the best known and most recognized. This tune was played by the late Ms. Baker as an instrumental; however there are lyrics that speak to the actions of an African American train-robbing desperado. Apparently Railroad Bill was done wrong by a train company and he sought revenge by waylaying trains and robbing them until he met his unfortunate end.

Railroad Bill seems deceptively simple on the chart, but it’s not… getting the phrasing correct is an ongoing challenge; however, I am getting pretty close. Here below is my current rendering of the tune.

You’ll note that unlike most Piedmont Blues players, I am playing electric guitar (Taylor T3 Custom) through a variety of tone pedals giving it a bit of a haunting sensibility.

Jerry Garcia… and his guitars…

Photo used for the cover art of the inestimable Workingman’s Dead album…

One of the great all time albums of the early 1970’s, and arguably the best Grateful Dead collection of tunes ever was Workingman’s Dead… Embedded in the illustration above is a link to a very nice Guitar Player magazine article about the Grateful Dead, particularly about Jerry Garcia’s quest for the perfect guitar during his playing days, when he was alive. There are, within the article, some excellent links to Youtube videos of the Dead during that era and later. Unlike Facebook, where an article can be easily linked with an attractive image, I had to find an image myself and then embed the link… WordPress, the platform for this blog gets weird about copyright protection.

The rule rather than the exception for a professional guitarist on stage is to have multiple guitars with varying set-ups, woods, pick-ups etc that may be used for different tunes. Garcia, according to the article, sought for much of his playing career a single perfect guitar that would suffice throughout the epic concerts that the Dead performed on the road… It is an interesting read… and suggests why so many of us who love guitars seem to think buying one more will get us the sound palette we seek.

Garcia’s Tiger… one of several of his “all purpose” axes…

I saw the Grateful Dead once, outdoors, during that time in the early 70’s when they were playing extended sets based on Workingman’s Dead and the excellent sequel American Beauty. It was a beautiful Saturday afternoon in North Carolina during the Spring late in the school semester. I was an undergrad at UNC, and with the collusion of my frat brothers we managed to evade security and get into the concert at Duke University. It was one of those late afternoon mild Spring days that only occur in North Carolina. The band was one of the most “dead-on” professional bands I ever saw and I was right up next to the stage. Almost 50 years later I remember clearly. It was astonishing how good they were.

On performing with guitar…

Recording artist Mike Dowling and me at a workshop in MN…

Throughout the summer, here in Cedar Falls, IA, the city offers several Friday night “Movies Under the Moon,” located in the downtown located Overman Park, proceeded by a series of short performances hosted by the Cedar Valley Acoustic Guitar Association. Local performing treasure and co-founder of the Association, Rick Vanderwall urged me to play and I somewhat reluctantly agreed to perform for my assigned 15 minutes on August 9, 2019.

I practice quite a bit daily and my guitar playing is slowly improving; however, playing before a crowd can only be prepared for by previous experience of which I have little. I’ve played (the less formal) open mic nights at a local coffee shop and experienced complete dissociation of my fingers from my brain, but that circumstance has reduced in likelihood as I’ve gain confidence by performing several times. On the other hand, open mic night is different from playing before a large expectant crowd so I have now some serious trepidation…

The advantage of performing publicly is that it raises the stakes in terms of my relationship with the guitar. We are in it together and practice is taken more seriously. In the same vein, the performance forces me to take myself more seriously as a musician, which has long term implications. This is not a painless process, but as they say, “if it doesn’t kill you, it makes you stronger.” See you next Friday night…