Mike Longworth

(1939–2003) A man who contributed greatly to the reproduction of the D-45 and the preservation of Martin's history. Born in Chattanooga, Tennessee. In 1955, Mike Longworth, then a high school student, was already taking on inlay work as a job. Many of his early pieces featured an inlaid "L" shaped from pearl material, serving as his signature to indicate his own work. Additionally, this "L" was accompanied by a serial number indicating the order of production, providing clues to trace the history of his work. He also had deep connections with musicians around the great bluegrass unit Flat & Scruggs. In fact, his third inlay job was for dobro player Buck "Josh" Graves, and his fourth was for mandolin player and tenor singer Curly Seckler.

Then in 1956, he worked on a custom 1950 D-28 for Lester Flat, who was known for his large pickguard D-28s. This guitar also received an "L-5" inlay on its fingerboard (Longworth job #5), and his own business card was affixed inside the soundhole. (I can't help but be amazed that at 17, he completed his fifth job, and that his client was none other than Lester Flat.)

※Excerpt from IMAGES of America C.F.MARTIN & CO. by Dick Boak (Photo)

Since production of the D-45 was discontinued from the 1950s to the late 1960s, there was a growing demand for D-28s with added abalone pearl decoration to give them a D-45-like appearance.

Despite the passionate voices of players who wanted these luxurious decorations on Martin guitars, perhaps due to the aesthetic sensibility of the then-president, Martin III (elegance born of simplicity), Martin did not venture into reproducing high-end guitars with glittering decorations for a long time after the war.

Mike Longworth was not affiliated with Martin, but he had been making inlaid necks and fingerboards for Martin since the early 1960s. Very early in his career, he sent a custom-made guitar to Martin for refinishing, and when Martin's salesmen saw his outstanding work, they began to keep his estimate sheets on file.

Through these circumstances, Martin maintained its official policy of "not making flashy guitars," but occasionally commissioned Longworth to meet customer needs.

One example of this, considered his "ultimate work," is the 1966 D-28 made for Hank Snow. Martin III himself called Mike Longworth and requested that he build a guitar for Hank Snow. Hank, who was also an authorized Martin dealer in Nashville, visited Longworth's home to discuss the details of the custom order. The guitar was sent to Longworth before completion, and after being beautifully decorated with abalone, it returned to Nazareth and was finished by Martin. "The Snow This D-28/D-45 conversion model, called "Job," features a pickguard with pearl inlay and a mother-of-pearl C.F. Martin logo that gives it a special luster.

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

※Excerpt from Martin Guitars: A History (Photo)

Reissue of Martin's Top-of-the-Line Model D-45

After completing "The Snow Job," Martin III told Mike Longworth:
" I was offering D-45 customizations put the pressure on them to make them."
"The fact that you were offering custom D-45 models put pressure on us to reproduce them."

That's because people were starting to say things like this.

"Martin used to make D-45s, and they still make guitars today. So why are they sending guitars all the way to Tennessee to be decorated? Shouldn't they be able to make the D-45 themselves?"

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

Finally, in July 1968, Mike Longworth officially joined Martin to oversee the inlay work on the new D-45. At that point, two samples had already been made, and there were two other staff members besides Longworth.

The revived D-45, as the Jacaranda model, exceeded the production numbers of the original D-45 (pre-war model, 91 total) in just two years, with 67 produced in 1968 and 162 in 1969.

And it was not only Martin's supporters, country and bluegrass musicians, who got their hands on them, but also rock stars such as David Crosby and Jimi Hendrick.

From then on, the D-45 continued to be produced without interruption, and it still reigns as the "top of the guitar," captivating many guitar enthusiasts.

Preserving Martin's Records (Writing Reference Books)

As Martin's inlay department got up and running, Mike Longworth went beyond being just a craftsman and took on the role of Martin Guitar's storyteller.

He built trust as the "face" of Martin Guitar through responding to inquiries from Martin guitar owners and public relations activities at festivals and guitar shows around the country.

His extraordinary passion and knowledge of vintage Martin guitars were recognized by everyone, and he was eventually appointed Customer Relations Manager in recognition of his abilities. Alongside his duties, he compiled a systematic record of Martin and its instruments based on old company ledgers and materials, as well as the testimonies of long-serving employees.

This led to the creation of Martin Guitars: A History, first published in 1975. This book was highly regarded as the first comprehensive reference book in the guitar industry, and was later revised twice and expanded into a detailed two-volume set.

Even after his retirement in 1995, he continued to be deeply loved and respected both inside and outside the company as a member of the Martin family.In 2003, shortly after his untimely passing, C.F. Martin & Co. honored his tremendous achievements by releasing the D-45 Mike Longworth Commemorative Edition. His name and accomplishments continue to shine brightly in the history of Martin guitars.

000-28/'45 Conversion Used by Clapton

Here is one of the most representative guitars crafted by Mike Longworth.