Mike Longworth

Mike Longworth (1939-2003)
A major contributor to the reproduction of the D-45 and to the preservation of Martin's history. Born in Chattanooga, Tennessee. in 1955, Mike Longworth, then a high school student, was already undertaking inlay work as a career. Many of his early pieces were inlaid with a pearlescent "L," a signature that identified them as his own work. The "L" was also accompanied by a number indicating the order in which the pieces were made, providing a clue to the trajectory of his work. He had close ties to the musicians around the great bluegrass unit Flatt & Scruggs, and in fact, his third inlay job was for dobro player Buck "Josh" Graves, and his fourth was for mandolinist and mandolinist Josh Graves. The third was for mandolinist and tenor singer Curly Seckler.

And in 1956, he worked on a custom 1950 D-28 for Lester Flatt, whose trademark was the large pickguard D-28. This guitar also had an "L-5" inlay on the fingerboard (Longworth's job number #5), and his own business card was affixed to the inside of the soundhole. (It's amazing to think that at 17 years old, he was working on his fifth guitar, and that it was for that Lester Flatt.)

Excerpted from IMAGES of America C.F.MARTIN & CO. by Dick Boak (photo)

With the discontinuation of the D-45 in the 1950s and late 1960s, there was a growing demand for D-28s with the addition of Avalon pearl decorations to give them a D-45-like appearance.

Despite the passion of players who demanded more luxurious decorations on Martin guitars, Martin III, the president of the company at the time, had his own sense of beauty (i.e., elegance born of simplicity), and for a long time after the war, the company did not take the plunge into the re-production of high-end guitars with glittering decorations. Martin III's own sense of beauty (i.e., the elegance that comes from simplicity).

Mike Longworth, who was not affiliated with Martin, began making inlaid necks and fingerboards for Martin in the early 1960s. In the very early days of his career, he sent one of his own custom pieces to Martin as a refinish request, and a Martin salesman who saw his outstanding work began to have a list of his quotes.

Thus, while Martin maintained its official policy of "not making fancy guitars," it occasionally commissioned Longworth to build guitars to meet the needs of its customers.

One example and "ultimate work" is the 1966 D-28 built for Hank Snow. Martin III himself called Mike Longworth and asked him to build a guitar for Hank Snow. Hank, who was also an authorized Martin dealer in Nashville, went to Longworth's home to discuss the custom details. Before the guitar was completed, it was sent to Longworth, where it was given a magnificent Avalon finish, and then returned to Nazareth where it was finished by Martin. Called "The Snow Job," Hank's D-28/D-45 conversion model has a special shine with its pearl-inlaid pickguard and mother-of-pearl C.F. Martin logo.

*Excerpt from MARTIN GUITAR MASTERPIECES by Dick Boak (pictured)

Excerpt from Martin Guitars : A History (photo)

Reissue of Martin's top-of-the-line D-45

After completing "The Snow Job," Martin III told Mike Longworth, "I'm going to make a new D-45, and I'm going to make a new D-45.
"I was offering D-45 customizations to put the pressure on them to make them."
Martin III added, "The fact that you were offering D-45 customizations put a lot of pressure on us to reproduce them."

This is because the public was beginning to say things like.

Martin used to make the D-45, and they're still making guitars. So why are they sending guitars all the way to Tennessee to have them decorated? Shouldn't they be able to make their own D-45s?"

These voices became a major driving force in Martin's efforts to reproduce the D-45.

Finally, in July 1968, Mike Longworth officially joined Martin to do the inlays for the new D-45. At that point, two samples had already been produced, and Longworth was joined by two other staff members.

The revived D-45 was produced as a Hakaranda model in 67 pieces in 1968 and 162 pieces in 1969, more than doubling the production of the original D-45 (prewar model, 91 pieces in total) in just two years.

And not only country and bluegrass musicians, who were Martin's following, but also rock stars such as David Crosby and Jimi Hendrix.

From there, the D-45 has been continuously produced and still reigns as the "top of the line" guitar, attracting many guitar enthusiasts.

Martin's record keeping (writing reference books)

As the inlay department at Martin took off, Mike Longworth became more than just a craftsman; he became "the storyteller of Martin guitars.

He became the "face" of Martin Guitars, responding to inquiries from Martin guitar owners and promoting the company at festivals and guitar shows around the country.

His extraordinary passion and knowledge of vintage Martin guitars was unmatched, and he was eventually promoted to the position of Customer Relations Manager. In the course of his duties, he compiled a systematic record of Martin and its instruments based on old company books, documents, and the testimony of longtime employees.

The result was Martin Guitars: A History, first published in 1975. The book was acclaimed as the first comprehensive reference book on the guitar industry, and was later revised twice and developed into a detailed two-volume volume.

After his retirement in 1995, he remained a deeply respected member of the Martin family, both inside and outside the company. In 2003, shortly after his death at a young age, C.F. Martin honored him with the "D-45 Mike Longworth Commemorative Edition" in recognition of his great achievements. His name and achievements still shine brightly in the history of Martin guitars.

000-28/'45 conversion used by Clapton

Here is one of the most representative guitars that Mike Longworth worked on.

It is a 1966 000-28 converted to "Style-45" specifications, which Eric Clapton frequently used on stage and on recordings when he began his full-fledged solo career in the mid-1970s.

The guitar is said to have come into Clapton's hands in 1970, at which point it was already modified. In fact, it appears in a portrait on the "461 Ocean Boulevard" album released in 1974, which confirms that it was customized to "45" specifications. However, according to information later released by auction house Christie's, the label indicating that Mike Longworth had worked on it reads.
"This instrument inlayed / by / Custom Pearl Inlay Service / 200 Hemphill Avenue / Chattanooga Tenn. 37411 / work performed OOO-28-45 No 67 April 11, 1976 / Mike Longworth" (custom pearl inlay applied on April 11, 1976)

From this description, we notice that there is a discrepancy in the timing of the modification. It remains unclear whether it was only signed by Mike Longworth in 1976, or whether additional customizations were made that year.

It is interesting to note that while the 1974 photo shows no snowflake inlay on the bridge, the cover photo of the "Cowboy Here & There" album (released in 2004), which shows the 1976 UK and US tours, clearly shows the The snowflake inlay is clearly visible in the cover photo of the album "Cowboy Here & There" (released in 2004), which shows the tour in the UK and the US in 1976. Given that this photo was probably taken during the tour from the time "No Reason to Cry" was recorded, it is likely that additional modifications were made by 1976, which is also in close proximity to the date on the label.

In the 1980s, the guitar can be seen in use on the encore number "Good Night Irene," performed with Ronnie Lane on the 1983 ARMS tour. Also, Andy Fairweather Lowe played this guitar during the 1992 recording of Unplugged.

According to Lee Dixon, Clapton's longtime guitar tech, Clapton would request this guitar in the studio with the cliché "Get me the Longworth". The guitar made headlines when it was offered at the 2004 Crossroads Guitar Auction, where it sold for $186,700 at the time.

Inside the body, there is a signed label indicating that he worked on it. Many Martin enthusiasts may be excited just by looking at this. The fact that the address in Tennessee has been rewritten to Nazareth tells us about Longworth's track record at that time. The "No. 82" is thought to indicate his 82nd job.

The label also indicates that the custom was made in November 1968. 1968, as mentioned above, was the year that the D-45 went into re-manufacture. While working on the D-45 remanufacturing at Martin, he was probably fulfilling a personal request he had received. It is a well-known fact that D-45s in Hakaranda are valuable, but this piece, which was converted to "45 Style" by him in 1968, also has immeasurable value. It is truly a one-of-a-kind special guitar.

Advance Guitars happened to have in stock an original 1953 D-28 for comparison, and a 1969 D-45 from the early stages of remanufacture. We will be comparing these two guitars to this one to get a closer look at the charm of this piece.

First, we can see that the basic framework is a 1950s D-28.

D-28 (1953) and D-45 (1969)

Advance Guitars happened to have a 1953 D-28 and a 1969 D-45. We would like to compare them with these two guitars, and try to get closer to the charm of these pieces.

First of all, you can see that the basic framework is a 1950s D-28.

Martin 1953 D-28/'45 CONVERSION' by Mike Longworth
[SPECIFICATIONS]
NECK REINFORCEMENT: T-Bar
BRACING: Non Scalloped X-Bracing
TOP : Sitka Spruce
BACK/SIDES : Brazilian Rosewood
NECK : Mahogany
FINGERBOARD : Ebony
BRIDGE : Ibory (Replaced)
BRIDGE PLATE: Maple Small Size
NUT WIDTH : 43mm
SCALE : 647mm
WEIGHT : 2.10kg

The reinforcement in the neck is made ofT-bar rodThe "45 Style" has the same special combination as the Pre-War D-45. The "45 Style" with T-bar rods is the same special combination as the Pre-War D-45.

The bracing pattern is non-scalloped X-bracing. Comparing the two, we can see that the D-28/'45 CONVERSION' has a slightly sharper bracing shape, probably due to individual differences. (Top: D-28/'45 CONVERSION' Bottom: 1953 D-28)

Body top is Sitka spruce
(Top: D-28/'45 CONVERSION' (Bottom: 1953 D-28)

Pickguard is painted tortoiseshell pattern
(Top: D-28/'45 CONVERSION' (Bottom: 1953 D-28)

Body side back is Brazilian rosewood (Hakaranda)
(Above: D-28/'45 CONVERSION' (Bottom: 1953 D-28)

Body side back is Brazilian rosewood (Hakaranda)
(Above: D-28/'45 CONVERSION' (Bottom: 1953 D-28)

Neck is mahogany
(Top: D-28/'45 CONVERSION' (Bottom: 1953 D-28)

Ebony fingerboard
(Top: D-28/'45 CONVERSION' (Bottom: 1953 D-28)

Bridge plate is small size maple
(Above: D-28/'45 CONVERSION' (Below: 1953 D-28)

One of Mike Longworth's many books

On the D-28/'45 CONVERSION', the decoration in the center of the soundhole ring has been replaced with a beautiful shell inlay. The shell used seems to be Red Avalon as in the D-45 of this period. The cut is fine, and when held up to the light, it shines in multiple directions, full of the beauty that only a natural material can have. The black purfling around the fingerboard, which is seen on the 1969 D-45, is not applied to this D-28/'45 CONVERSION. This is a feature shared with the 1968 D-45 prototype. (Top: D-28/'45 CONVERSION' Bottom: 1969 D-45)

Head with torch inlay. The shell is also embedded inside the outer circumference of the head, giving it an even more luxurious look than a regular D-45. The pearl inlay applied in the same typeface as the original "Martin & Co." logo is truly exceptional. It seems to further symbolize that this guitar is a D-45 Custom based on the D-28. And surprisingly, the headstock design bears a striking resemblance to Hank Snow's D-28/45 ("The Snow Job"), which was one of the reasons for the D-45 reproduction. (Top: D-28/'45 CONVERSION' Middle: 1969 D-45 Bottom: 1953 D-28)

As this is a custom to D-45 specifications, Avalon is lavishly used in the purfling throughout the body. Comparing the two, the 'D-28/'45 CONVERSION' has thinner lines and a more stylish impression. (Top: D-28/'45 CONVERSION' Bottom: 1969 D-45)

Interestingly, the binding material was also changed along with this customization. Ivoroid was used on 1950s D-28s, but this D-28/'45 CONVERSION' does not have the stripes characteristic of ivoroid. Martin changed the binding material from Ivoroid to Voltaron around 1966. Therefore, it is thought that the original ivoroid binding could no longer be used for this D-28/'45 CONVERSION' when applying the Avalon inlay, and the binding was changed to Voltaron, which was a new material at that time. (Top: D-28/'45 CONVERSION' Bottom: 1953 D-28)

This is my personal favorite cut. The neck heel cell is probably the original Ivoroid, the body binding is Voltalon, then Avalon purfling is added, and the final touch is the herringbone backstrip. The herringbone backstrip is a very rare specification, rarely seen except on some models such as the D-76, a bicentennial model produced from 1975 to 1976. The green lines visible on both sides of the backstrip are also stylish accents. This view is unique to the customization. These traces of handiwork that can be glimpsed behind the luxurious and gorgeous exterior give a sense of warmth.

Conclusion

Mike Longworth, the man behind the revival of the legendary D-45 model. Each guitar produced by his hands is more than just an instrument; it is a "work of art" that reflects his sense of beauty, superb craftsmanship, and deep love for Martin guitars.

The "D-45 Conversion" based on the 1953 D-28 introduced here is another of his creations that shines with a special brilliance. Recorded as his 82nd work, this guitar is a testament to the direction of the Martin Company at the time, and to his own philosophy of guitar making.

In sound and appearance, it is neither a D-28 nor a D-45, but a one-of-a-kind entity. This guitar, with its gorgeous ornamentation and the vintage style of a guitar that has been used for many years, quietly but surely conveys Longworth's belief in "breathing life into a musical instrument.

We hope that by looking at the "work" he left behind, you will be able to feel even a small part of how the guitar as an instrument can become a rich culture through the hands of man.

ACKNOWLEDGEMENT

I would like to express my heartfelt admiration for Mike Longworth, who left behind such exceptional guitars.

-Yosuke Inoue

Afterword

In compiling this article, I was reminded once again of the "magnitude" of Mike Longworth's character.

I had heard the name many times before, but when I started to dig deeper, I was overwhelmed again and again by the volume of his work, the magnitude of his influence, and the depth of his love for the guitar as an instrument. It is truly "enormous" and "great. As I looked through the materials, there were many times when my hands stopped turning the pages and I simply marveled at the work.

In the process of writing this article, there were not only episodes that were already known, but also facts that I learned for the first time, and many moments when fragmentary information became connected. Such "discoveries" were as thrilling to me as if I were holding a vintage guitar in my hands. It also taught me anew the depth of the existence of Martin guitars and the value of Longworth's footprints.

If this article has helped you feel a little closer to Mike Longworth, and has given you another glimpse into the appeal of Martin guitars, I could not be more pleased.

I believe that the works, words, and records he left behind are not mere "documents of the past," but will certainly continue to influence the way we, who live today, approach music and the guitar.