Mike Longworth

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 undertaking inlay work as a job. Many of his early works feature an inlaid "L" made of pearl material, which was his signature indicating that it was his own work. The "L" is accompanied by a number indicating the order of production, which serves as a clue to tracing 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.

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

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

From the 1950s through the late 1960s, production of the D-45 had been discontinued, leading to high demand for D-28s with added abalone pearl inlays to give them a D-45-like appearance.

Despite the passionate voices of players demanding such luxurious decorations on Martin guitars, perhaps due to the aesthetic sensibility of the then president, Martin III (elegance born from simplicity), Martin Guitars 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. A Martin salesman saw his outstanding work and began carrying his price list.

Under these circumstances, Martin maintained its official policy of "not making flashy guitars," but occasionally commissioned Longworth to build them in order to meet customer demand.

One example of this, considered the "ultimate job," is the 1966 D-28 made for Hank Snow. Martin III himself called Mike Longworth and requested that he make a guitar for Hank Snow. Hank, who was also an authorized Martin dealer in Nashville, went to Longworth's home to discuss the details of the custom order. The guitar was sent to Longworth before completion, and after being adorned with exquisite abalone inlays, it returned to Nazareth to be finished by Martin. Known as "The Snow Job," Hank's D-28/D-45 conversion model features a pickguard with pearl inlays 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 D-45 model

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

The reason is that such voices were beginning to emerge from the public.

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 D-45s themselves?

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

Then, in July 1968, Mike Longworth officially joined Martin to oversee the new D-45 inlays. 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, surpassed the production numbers of the original D-45 (pre-war model, 91 total) by more than double in just two years: 67 units in 1968 and 162 units in 1969.

And he won over not only country and bluegrass musicians, who were Martin's core supporters, but also rock stars like David Crosby and Jimi Hendrix.

Since then, the D-45 has been continuously produced, reigning supreme as the "top of the guitar" to this day and captivating countless guitar enthusiasts.

Martin's record preservation (writing reference books)

As the inlay department at Martin got up and running, Mike Longworth began to take on the role of Martin Guitar storyteller, going beyond the realm of a mere craftsman.

Through responding to inquiries from Martin guitar owners and conducting promotional activities at festivals and guitar shows across the country, he built trust as the "face" of Martin.

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

Thus was born Martin Guitars: A History, first published in 1975. This book was highly regarded as the first comprehensive reference work in the guitar industry, later undergoing two revisions and evolving into a detailed two-volume set.

Even after his retirement in 1995, he remained deeply respected and admired both inside and outside the company as a member of the Martin family.Then, 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.

The 000-28/'45 conversion used by Clapton

Among the guitars crafted by Mike Longworth, here is one particularly representative example.

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

This guitar is said to have come into Clapton's possession in 1970, and it is believed modifications had already been made to it at that point. Indeed, it appears in the portrait for the 1974 album '461 Ocean Boulevard', confirming it had been customized to the "45" specification. However, according to information later released by auction house Christie's, the label indicating Mike Longworth's work reportedly stated the following:
This instrument inlaid / by / Custom Pearl Inlay Service / 200 Hemphill Avenue / Chattanooga, Tenn. 37411 / work performed OOO-28-45 No. 67 April 11, 1976 / Mike Longworth

This record reveals a discrepancy in the timing of the modifications. It remains unclear whether Mike Longworth's signature was added in 1976 alone, or if additional custom work was performed that same year.

What's interesting about this is that while the 1974 photo clearly shows the bridge lacks the snowflake inlay, the album cover for 'Cowboy Here & There' (released 2004), documenting the 1976 UK and US tours, distinctly shows the snowflake inlay. Considering this photograph was likely taken during the recording period of No Reason to Cry or during the tour, it is highly probable that additional modifications were made by 1976, which also aligns closely with the label's date.

By the 1980s, this guitar can be seen being used during the 1983 ARMS tour, specifically for the encore number "Good Night Irene" performed with Ronnie Lane. Additionally, during the recording of 1992's 'Unplugged', Andy Fairweather Low played this guitar.

According to Lee Dixon, Clapton's longtime guitar tech, Clapton would request this guitar in the studio with his signature phrase, "Get me the Longworth." This guitar was featured in the 2004 Crossroads Guitar Auction, where it sold for $186,700 (approximately 20 million yen), generating significant buzz.

Inside the body is a signed label indicating his workmanship. Just seeing this would surely make the hearts of many Martin enthusiasts race. The Tennessee address rewritten as Nazareth tells the story of Longworth's journey at that time. The "No. 82" likely indicates that this was his 82nd job.

This label also confirms that the custom work was done in November 1968. As mentioned earlier, 1968 was the year production of the D-45 resumed. While Martin was working on restarting production of the D-45, Martin was also fulfilling personal requests. It is well known that the Jacaranda D-45 is a rare and valuable instrument, and this particular guitar, converted to a "45 Style" by Martin in 1968, also holds immeasurable value. It is truly a one-of-a-kind guitar.

By chance, Advance Guitars had both a comparable original 1953 D-28 and an early reproduction 1969 D-45 in stock. We'll explore the appeal of this particular instrument by comparing it to those two.

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

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

By chance, Advance Guitars happened to have a 1953 D-28 and a 1969 D-45 in stock. I'll explore the appeal of this particular instrument by comparing it to those two models.

First, we can see that the basic framework is that of the 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: 2.10 kg

The reinforcement material embedded in the neckT-bar rodThe T-bar rod in the "45 Style" is the same special combination found in the pre-war D-45.

The bracing pattern is non-scalloped X-bracing. Comparing the two, the D-28/'45 CONVERSION' shows a slightly sharper bracing shape, likely due to individual variations. (Top: D-28/'45 CONVERSION' Bottom: 1953 D-28)

Body top: Sitka spruce
(Top: D-28/'45 Conversion)' Below: 1953 D-28)

The pickguard features a tortoiseshell pattern inlay.
(Top: D-28/'45 Conversion)' Below: 1953 D-28)

Body side back: Brazilian rosewood (Hacalanda)
(Top: D-28/'45 Conversion)' Below: 1953 D-28)

Body side back: Brazilian rosewood (Hacalanda)
(Top: D-28/'45 Conversion)' Below: 1953 D-28)

The neck is mahogany.
(Top: D-28/'45 Conversion)' Below: 1953 D-28)

The fingerboard is ebony.
(Top: D-28/'45 Conversion)' Below: 1953 D-28)

The bridge plate is made of small-sized maple.
(Top: D-28/'45 Conversion)' Below: 1953 D-28)

One of the many books written by Mike Longworth

The D-28/'45 CONVERSION' features a beautiful shell inlay replacing the center soundhole ring decoration. The shell used is believed to be red abalone, similar to that found on D-45s of this period. The inlay is finely cut, and when held up to the light, it sparkles in multiple directions, showcasing the unique beauty of natural materials. The black purfling around the fingerboard edge, seen on the 1969 D-45, is absent on this D-28/'45 CONVERSION'. This is a feature it shares with the 1968 D-45 prototype. (Top: D-28/'45 CONVERSION' Bottom: 1969 D-45)

The headstock features torch inlays. Shell is also inlaid along the inner edge of the headstock's perimeter, lending an even more luxurious impression than the standard D-45. The pearl inlay, executed 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. Remarkably, this headstock design closely resembles Hank Snow's D-28/45 ("The Snow Job"), one of the inspirations for the D-45 reissue. (Top: D-28/'45 CONVERSION' Middle: 1969 D-45 Bottom: 1953 D-28)

As a custom build to D-45 specifications, the entire body's purfling also features lavish use of abalone. When compared, the D-28/'45 CONVERSION' has finer lines and a more stylish impression. (Top: D-28/'45 CONVERSION' Bottom: 1969 D-45)

Interestingly, the binding material was also changed as part of this customization. While Ivoroid was used on D-28s in the 1950s, this D-28/'45 CONVERSION' does not show the striped pattern characteristic of Ivoroid. Martin changed the binding material from Ivoroid to Voltalon around 1966. For this reason, it is thought that the original Ivoroid binding could not be used when applying the abalone inlay to this D-28/'45 CONVERSION', and it was replaced with Voltalon, which was a new material at the time. (Top: D-28/'45 CONVERSION' Bottom: 1953 D-28)

This is a cut I personally love. The neck heel is likely original ivoroid, the body binding is Voltarone, topped with abalone purfling, and finished with a herringbone backstrip. The herringbone back strip is a very rare specification, rarely seen except on certain models such as the D-76, a model commemorating the 200th anniversary of the United States, produced from 1975 to 1976. The green lines visible on both sides of the back strip also add a stylish accent. This is a sight unique to customization. The traces of handiwork glimpsed beneath the gorgeous exterior give it a sense of warmth.

Summary

Mike Longworth, the man behind the revival of the legendary D-45 model. Each guitar born from his hands transcends mere instrument; they are works of art imbued with his aesthetic sensibility, exceptional craftsmanship, and deep love for Martin guitars.

The 1953 D-28-based "D-45 conversion" introduced here is another piece that shines with a special brilliance among his works. Recorded as his 82nd work during the historical turning point of the D-45 reproduction period, this guitar can be said to be a testament to the direction of Martin at the time and his own philosophy of guitar making.

In both sound and appearance, it stands as a singular entity—neither a D-28 nor a D-45. This instrument, combining lavish ornamentation with the dignified presence only a vintage guitar cherished over many years can possess, seems to quietly yet undeniably convey Longworth's conviction: "to breathe life into an instrument."

I hope that by engaging with this "work" he left behind, you may gain some sense of how the guitar, as an instrument, can become a rich culture through human hands.

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 struck once again by the sheer magnitude of Mike Longworth as a figure.

I had heard his name many times before, but whenever I tried to delve deeper, I was repeatedly overwhelmed by the sheer volume of his work, the magnitude of his influence, and the depth of his love for the guitar. Truly "vast" and "great." As I reviewed the materials, my hand would often pause mid-page, and I would simply stand in awe.

In the process of writing this article, there were many moments when not only already known episodes, but also facts I was learning for the first time and fragmented pieces of information came together. These "discoveries" gave me the same thrill as when I first held a vintage guitar. And they reminded me once again of the depth of Martin Guitars and the value of the legacy Longworth left behind.

If reading this article has made you feel even a little closer to Mike Longworth and introduced you to yet another aspect of Martin guitars' appeal, I couldn't be happier.

I believe that the works, words, and records he left behind are not merely "historical documents," but continue to profoundly influence how we, living in the present, engage with music and the guitar.

Written by: Inoue (Manager, Advance Guitars)

TCGAKKIHe played electric and acoustic guitars. Later, in 2023, he participated in launching Advance Guitars, a specialty shop for acoustic guitars. As store manager, he gained experience dealing with collectors and musicians both domestically and internationally. He contributed significantly to publishing the world's first SJ reference book, "GIBSON KING OF THE FLAT-TOPS." He also writes numerous columns.

One word:

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