Posts from the ‘Uncategorized’ Category

Sunburst Octave Mandolin Blues


This year marks the 75th anniversary of the only recordings made of Robert Johnson.

My love of the blues started when I was 16, listening to the eclectic mix being broadcast from WYSO, the radio station of Antioch College.One late night as I was trying to sleep, I heard Taj Mahal playing “Corrina,” and I was hooked. I started buying the old classic recordings, often in anthology form, lacking a good record store that would have carried albums by individual blues artists. Some amazed me, like Big Bill Broonzy, and Rev. Gary Davis, with their fingering and picking ability.

Bukka White stunned me with his originality, , you can hear influences of traditional work songs and some songs lean a little toward traditional blues. But for the most part his playing style, the tunings he played in, the melodies and the heartbreakingly personal lyrics are as fresh today as ever. Despite his Delta origins, I feel like Bukka White was playing something other than what we think of as traditional blues. I believe he was an unschooled musical genius of the highest order.

“The Blues” appears to be a simple structure or format, but it is made elegant by the endless improvisational possibilities it inspires, and by the blues scale, originating in African music, a chromatic scale with a lowered third and seventh, which when alternated with the normal third and seventh, produce the patterns we recognize as the blues

But no one who plays the blues will dispute that Robert Johnson, in his short, mysterious career, established himself as the King. By the time I got around to listening to Johnson, I already knew a bunch of his songs, covered by other people, like ‘Crossroads,” “Love in Vain,” “Sweet Home Chicago.”

His guitar work can still drop my jaw, and the intricacies that may be lost on modern listeners unaccustomed to the crappy recording technology of the time, are better explained by another blues aficionado, Kieth Richards.

There are sad blues, and happy blues and pissed off blues, but no one has captured the essence of the lonely blues as well as Robert Johnson did in Crossroads:

I was standing at the crossroads
trying to flag a ride
Nobody seemed to know me
Everybody passed me by.

When I bought my Gibson L-00 in a little music store in Brunswick, Ga back in 1972, I was told that it was ca.1938. It was beat up a little, looked like it had never seen a case, but remains to this day one of the best sounding guitars I’ve ever heard. I paid $100 for it, and was offered $1000 for it 3 days later by a working musician from the N.Y. Area who was in town. I turned him down, because I knew I had found my instrument, and the looks of it, and the fact that it was an orphan from a southern state convinced me it would be the perfect conduit for channeling the blues.
Years later, the mystique was embellished by seeing one of the few known pictures of Robert Johnson, playing what appeared to be a guitar identical to mine. That he was playing up until his death in 1939 allowed me the fantasy that this could actually Be his guitar, and even though I knew how unlikely that was, no one could really dispute it. Recently, using the ever increasing resources of the web, I located a page that dates Gibsons fairly precisely on attributes other than serial numbers, which are fairly unreliable for early Gibson instruments. There is a banner decal at the top of the peghead that reads, “Only a Gibson Is Good Enough,” and it turns out that Gibson only used that decal on the L-00 in 1941 and 1942. So it’s not Robert Johnson’s guitar, but I knew that. It’s MY guitar.


I recently made an octave mandolin, and although I typically finish my instruments using the French polish technique, I decided to do a tobacco sunburst as a tribute to my guitar. Using Color tone spray lacquers from Stew-Mac, in Vintage Amber, Cherry Red and Tobacco Brown, and then a number of clear coats, I think I got it pretty close. To get an exact match, I’d have to throw it in the back of my pickup for a year or so.


I like the sound of the octave mandolin, and as a guitarist accustomed to a fat neck, wide fret board guitar, I find it a little easier to transition to this than to the mandolin, although what I like about the mandolin is how little distance your fingers have to travel to play fast scales, etc. I’m going to make another one of these soon, to sell, but I think I’m going to keep this one for myself. It just looks like it’s mine.

Advertisements

LouAnn, Queen of the Rodeo


I wrote an ironic waltz about a rodeo,
a long, long time ago.  Here’s a verse:

Here’s lovely LouAnn, she’s the queen
of the show

Her bodice it glistens with golden lame

All the bronc riders know her

but she saves what she can

For the oil man she’ll marry someday.

It’s a Rod-e-o

It’s a Rod-e-o,

It’s a wild and a westernish

O-de-o

Come a ti-yi-yay

Come a ti-yi-yo

It’s a rod-e-o,

rod-e-o show.

It was kind of corny, and I never sang
it outside my house, but it had a lovely melody and a hypnotic
cadence.  It comes pre-programmed into this mandolin, assuming you
know what strings to fret.

I came across an amazing bunch of what
I now know to be African mahogany one time, while picking through a
stack of Philippine mahogany at a lumber yard.  Philippine mahogany
often goes by the name ‘luan” and at the time was much cheaper than
clear pine (about a buck a board ft.) and was a good stable
alternative for trim that would be painted , particularly outdoors,
as it has excellent water resistance.  It’s so cheap that it’s used
as the veneer skin on underlayment plywood, the cheapest of the
cheap.  The boards are somewhat nicer that the rotary cut veneer, but
could best be described as beige in color, and not of much use to
woodworkers.

But I came across several boards in the
stack which were too heavy, too red in color, and which rang
melodically  as I moved them around in the stacks. Just under 12”
wide, they had remarkable ribboned figure, and no cup at all.  I
bought as much as I could based on what I had in my pocket, and on
the fact that, lumber storage was not a feature of the house I lived
in at the time.

I used it, over the years, in several
projects, a couple pieces of furniture, and when I first learned to
hand cut dovetails, I made a fully dovetailed chest in which to store
the more precious items in  my antique tool collection.

Flash forward a few years, and I don’t
have much left, but its density and figure make it perfect for the
back of a mandolin, being wide enough to do in one piece, it carves
beautifully (with sharp enough tools) and it rings like a bell.  The
flashy figure, the “calico” binding of purpleheart and holly, and
the fact that it was found in a stack of “luan,” made the name
that I gave it as I worked inevitable.

LouAnn.

Here are sound smples recorded by the terrific mandolinist, Mike Plunkett:

04 Ta Scendi Dalle Stelle

05 Cherokee Trail

06 Cherokee Trail 2

07 Ashokan Farewell

About Redhead Mandolins


I build musical instruments, mostly in the mandolin family, in my workshop in Woodbury, NJ.
Although I’ve played mostly the guitar my whole life, I’ve always been enchanted by the sound of a well made mandolin, and in recent years, have also come to love the sound of the mandola, octave mandolin and mandocello, and have studied the art and science of their construction through my own research. I have a limited repertoire on these , that I play for my own amusement, and not publicly.
In this blog, I write about the inspirations/consternations that are part of the creative process for me, in a way that is hopefully entertaining even to those with only a marginal interest in instruments. This has proven to be confusing to some mandolin purists who visit this site, who don’t always get what the non-mandolin jibber jabber is all about.
There is a large number of mandolin enthusiasts who believe that a scroll is an especially important feature of a mandolin. The scroll that was designed by Lloyd Loar in the early part of the last century, is, I believe, his signature. Mr. Loar left us a wealth of acoustic knowledge and research, and I don’t think it is necessary to steal his designs in order to make an instrument that is beautiful to look at and to hear and play.  I’m not saying I’ll never build an instrumennt with a scroll, but I have no interest in the exact replication of someone else’s design for what was, after all, a factory produced instrument. My Lex Luthier post elaborates on this.

I try to make each of my instruments unique in appearance, while staying strictly within the parameters of good acoustic design, using the bounty of forest products that are available that are beautiful to look at, have good acoustic properties, and that are harvested responsibly.
I chose the name “Redhead” because of my predilection for using Padauk or bloodwoood as the veneer of choice on my headstocks, and is not in any way related to the color of the hair I no longer have.

If you would like to contact me about purchasing an instrument or custom ordering ne, I can be reached at nevfahs@verizon.net

Rhapsody in B/W


20 years ago, or so, I was working
in a condo on Locust St. which was owned by a gentleman whose prize
possession was an Aeolian Duo-Art piano, and hundreds of piano rolls,
arranged on shelves that covered every wall, or nearly so.  As I
learned from him, this instrument was a “reproducing piano” which
differs from a player piano in that it had hundreds of air hoses
inside , arranged and connected in such a way that they controlled
the force with which the original pianist struck the keys, the pedals
he used, as well as the notes.  The effect was a virtual performance
by the original pianist on a full sized grand piano in your parlor.
Rolls were made by by some of the best contemporary soloists, and
occasionally by the composer himself.

In 1987, a cd was released of George
Gershwin’s piano rolls, one of them a Duo-Art full reproduction
version of  him playing “Rhapsody in Blue,” which gave me a new
perspective on a tune we’ve heard (or at least heard parts of) all
our lives.  The biggest surprise is the tempo at which he played it,
in parts probably twice as fast as you’ve heard, the great
instrumental ability he had, and the overall playful and upbeat
feeling he conveyed in it, which contrasts with most orchestral
versions I’ve heard.  It no doubt is one of the best pieces of
American music ever written, and maybe the daunting task of bringing
a fully orchestrated version to life imparts a seriousness that was
never intended. The effect of watching and hearing this is like seeing the ghost of Gershwin, 26 years old when he wrote it, having a lot of fun playing it, a rock and roller at heart.

George G. originally wrote it under the working title “American Rhapsody,” but his brother Ira convinced him to call it Rhapsody in Blue, after seeing an exhibition of Whistler paintings, with names like “Arrangement in Grey and Black,” etc.

THE MANDOLIN
The black and white binding, made of holly and ebony, that I made for this mandolin, reminded me of piano keys, which reminded me of Gershwin, so I think a good name for this one is
“Rhapsody in B/W.”

Here are some sound samples of the “Rhapsody” mandolin recorded by my new friend, Mike Plunkett.

01 Jesu, joy of Man’s desriring

02 John Brown’s March

03 Irish
European flamed maple backs and sides, Highly figured Englemann spruce top (from Alaskawoods.com) black and white rosette, ebony and holly highlights, I even located a black tailpiece for this.
I made the sides deeper for this, by 1/2”, it has great volume as a result, a surprise effect was that the sound is bright and not as round as I would have expected.

Emma Nevada


19 years ago, we were deciding on a name for the baby we were expecting soon, and in the event of a girl child, had decided on “Emma,” which was not a common name at that time, but has since become maybe the most popular name for baby girls.  With the rise of Emma Watson’s star, it  will likely hold that place for a while longer.  We thought it was pretty, there was some family history (in the geneological sense.)  “Emmie” was my favorite Laura Nyro song, (even though Emmie in the title is Emily), but we also felt that the intelligent, sophisticated, beautiful and deadly Emma Peel would be a great role model for the daughter we hadn’t yet met.

We brainstormed a bit over a middle name, even to the point of browsing baby name books, and one jumped right off the page; “Nevada,” Spanish origin, meaning “white as snow.”  It was perfect for this fair skinned, blonde baby girl, had the additional appeal of referencing my name, but what sealed it for me was the delightful way “Emma Nevada” rolls off the tongue with its own rythym, reminding me of Poe’s “Annabelle Lee.”   And so it was, Emma Nevada Jackson Fahs.

 

 

It was several years later when my sister showed up with a gift, found at a yard sale, of a framed etching of a locomotive named the Emma Nevada.

 

The “Emma Nevada”

Startled, I did a web search and discovered that the train was named after a famous opera singer of the late 19th century, who had risen from humble beginnings to be a world famous soprano.   Born Emma Wixom, she chose a stage name that included the state of her birth, in a mining camp, and I like to think that the musical nature of the name appealed to her as well.

Emma Nevada

I’ve been naming my instruments as I work on them, hopefully contributing to the process of making each one unique, and having its own personality.  This one gets the name because it’s pretty and complicated, like my daughter, and has a beautiful voice like the original Emma Nevada.

Sitka spruce top, flamed European maple back and sides, with a bloodwood center strip.  bloodwood and maple shopmade  rope binding, Padauk headstock, 5 piece laminated neck of padauk, ebony and lacewood.  Note, the truss rod cover has been taken off here, showing an adjustable rod.   Hopefully, I’ll be adding some sound files in the next week, as well as a few additional instruments.

The Dad Factor


My Dad made dulcimers.  He ended up making a lot of dulcimers.  The best estimate my siblings and I can come up with is somewhere between 800 and 1000.  They kept getting nicer and nicer, too, though he only raised his price for one maybe once in 30-odd years.

The family lore is that I was responsible for his pursuit of what started as a hobby, but became a lifestyle for him. I had bought a dulcimer kit on a trip out west, and when I put the kit together, I wouldn’t let him help or participate, in spite of his experience in woodworking.  There were a couple reasons for this; first, it was an incredibly easy build.  Second was my uneasy relationship with his Shop, which was not always the same shop, but he always had one, and it was his sanctuary, one he deserved,  for respite from 4 kids and a demanding job.  My older brother Bo was more welcome there than I was, and when I would try to join the two of them, they would do an elaborate dance, subconsciously, I’m sure, that made me feel like wherever I stood was in the way.  So I’d leave.

I’ve often said that my dad taught me everything I know about how to be a man.  I’ve had to figure the rest of this shit out for myself.

There may have been paybacks in my mind when I saw him chomping at the bit to get involved in my project.  My Mom says he would sneak out to the shop after I was done working on it to assess my progress.  He was surprised and pleased when I finally finished it, but what rocked his world to the core was when I strung it up and started playing it, the dulcimer being second in difficulty of playing to the kazoo, but he didn’t realize it at the time.   It became his mission, I think, to get these instruments into the hands of all who thought they couldn’t play an instrument.

Growing up, our house had always had 10 or 12 instruments laying around, auction finds that he couldn’t resist.  Aside from the pump organs, which were playable, but for young kids were like trying to play a keyboard while working on the StairMaster, they were all variations on the zither.  Like the Guitar-Harp Zither, that resembled neither, and upon which I am willing to bet no one ever played a tune and had someone observe “Wow, that was rockin’!”  All these old zithers, and autoharps with missing pads on the chord bars, needed to be tuned with a piano wrench, which even if we kids had one, we had no reference for an actual note anywhere.

These monsters are a relic of the time just before the invention of the radio and the phonograph, when people were desperate to bring some music into the house, but not smart enough to buy something they might actually be able to play.

Try to find tabulature for this!

When my brothers and I started playing guitar, and getting better, I think my Dad started to overcompensate for the years of bringing crappy, unplayable instruments into the house to torment us with their potential, only to plunk and twang unmelodiously in return for our efforts.

So about the time he started making dulcimers in earnest,  he started buying and trading in all kinds of playable instruments, to the point where when you entered his house, it was difficult to find a place to sit or to lean an umbrella, because they were everywhere.

He kept making dulcimers up to his last days, but the collecting and trading tapered off out of necessity and waning interest, I guess.  He had one instrument of note when he died, and Bo  sent it to George Gruehn in Nashville to sell on my Mom”s behalf.  He loved the craftsmanship of this one, and I’ve only realized as I’m writing this,  I had forgotten about it until now, I swear to you.  But I think the Old Man continues to inspire me.

It was a circa 1920 A model Gibson mandolin.

Mandocello


Padauk headstock veneer, I'm considering the name "Redhead Instruments "

Before I had even finished making my first mandola, I realized I would have to make a mandocello.   Especially after hearing one playing a Bach cello suite, here.  I recently finished this one,  which is in the old K style that I prefer, and have bought the wood to make another, which I’m looking forward to.

I’m happy with the looks of it, but I’m thrilled with the sound, rich and deep and full.  I only wish I could play it like Mike Marshall, but all things in due time.  But my plan is to sell this one, and probably the next one, too, so who knows.

I didn’t have a plan or blueprint for this, so I worked from as many pictures of vintage Gibsons as I could find, and used construction details from the mandolin plans.  It has a well arched top, and like the A mandolin, this eliminates the need for exessive bracing, using only a single cross grain brace right below the soundhole.  I  modified a trapeze tailpiece intended for a guitar, adding a piece of ebony at the front as a tensioner and guide for the strings.  I reslotted the tailpiece to accept both ball end and loopend strings, and in fact, I’ve used a combination of the two on this, as I preferred the sound of bass guitar  strings for the lower C set to the loop end ones that came with the D’Addario Mandocello set.

The back and sides are rosewood,  I’d like to do a carved maple back next.  I dressed the back up with a little bit of marquetry where it meets the neck, using some checkerboard trim I had made up for a banjo resonator, and that was too pretty to sit in my parts drawers.