Mike Longworth

Mike Longworth (1939–2003)
Mike Longworth is a figure who made significant contributions to the reproduction of the D-45 and the preservation of Martin's history. Born in Chattanooga, Tennessee, in 1955, while still a high school student, Mike Longworth was already working as a professional inlay artist. Many of his early works featured an inlaid "L" made of pearl material, which served as his signature. The "L" was also accompanied by a number indicating the order of production, providing a clue to tracing the trajectory of his work. He had deep connections with musicians around the great bluegrass duo Flatt & Scruggs, and in fact, his third inlay work 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 Flatt, whose trademark was a D-28 with a large pickguard. This guitar also featured an "L-5" inlay on the fretboard (Longworth's work number #5), and his own business card was attached to the inside of the soundhole. (It's astonishing that he had completed his fifth job at the age of 17, and that his client was none other than Lester Flatt.)

*Excerpted from Images of America CFMARTIN & 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 to add abalone pearl decorations to the D-28 to give it a D-45-like appearance.

Despite the fervent demand from players for lavish decorations on Martin guitars, perhaps due to the aesthetic sensibilities of then-president Martin III (i.e., elegance born from simplicity), the Martin company was unable to resume production of high-end guitars with dazzling decorations for a long time after the war.

Mike Longworth was not affiliated with Martin Guitars, but he began making inlaid necks and fretboards for the company in the early 1960s. Early in his career, he sent a custom-made guitar to Martin for refinishing, and it is said that a Martin salesman, impressed by his exceptional work, began keeping his price list.

Through this process, while Martin Guitars maintained its official policy of "not making flashy guitars," it began to occasionally commission Longworth to manufacture guitars to meet customer needs.

One example of this, and often referred to as the "ultimate job," is the 1966 D-28 made for Hank Snow. Martin III himself called Mike Longworth and commissioned him to build a guitar for Hank Snow. Hank, who was also an authorized Martin dealer in Nashville, went to Longworth's house to discuss the details of the custom build. The guitar was sent to Longworth before completion, where it was beautifully inlaid with abalone before being returned to Nazareth and finished by the Martin company. Known as "The Snow Job," this D-28/D-45 conversion model for Hank shines with its pearl-inlaid pickguard and mother-of-pearl-finished CF Martin logo.

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

*Excerpt from Martin Guitars: A History (photo)

Martin's top-of-the-line model, the D-45, is being reissued.

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 providing us with custom D-45 models put pressure on us to resume production."

This is because voices like these were beginning to be heard from the public.

"Martin used to make the D-45, and they still make guitars today. So why send guitars all the way to Tennessee to have them decorated? Surely they can make D-45s themselves?"

These voices became a major driving force in motivating Martin to resume production of the D-45.

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

The revived D-45, as a Brazilian rosewood model, produced 67 units in 1968 and 162 units in 1969, more than doubling the production number of the original D-45 (pre-war model, a total of 91 units) in just two years.

And Martin's appeal extended beyond country and bluegrass musicians, who formed his core fanbase, to include rock stars like David Crosby and Jimi Hendrix.

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.

Record keeping at Martin & Co. (writing of reference books)

As the inlay department at Martin Guitars got up and running, Mike Longworth went beyond being just a craftsman and began to take on the role of "storyteller of Martin guitars."

Through responding to inquiries from Martin guitar owners and conducting public relations activities at various festivals and guitar shows, he built trust as the "face" of Martin Guitars.

His extraordinary passion for and knowledge of vintage Martin guitars was widely recognized, and he was eventually appointed Customer Relations Manager. Alongside this role, he compiled a systematic record of Martin & Co. and its instruments, based on old company ledgers and documents, as well as testimonies from long-serving employees.

This led to the creation of "Martin Guitars: A History," first published in 1975. This book was highly acclaimed as the first comprehensive reference book in the guitar industry and later underwent two revisions, evolving into a detailed two-volume set.

Even after his retirement in 1995, he continued to be deeply revered both inside and outside the Martin family. Then, in 2003, shortly after his untimely death, CF Martin released the "D-45 Mike Longworth Commemorative Edition" to honor his immense contributions. His name and achievements continue to shine brightly in the history of Martin guitars.

Clapton's 000-28/'45 conversion

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

That's the 1966 000-28, modified to "Style-45" specifications, that Eric Clapton frequently used on stage and in recordings around the mid-1970s when he began his full-fledged solo career.

This guitar is said to have come into Clapton's possession in 1970, and it is believed that it had already been modified by then. In fact, it appears in the portrait on the 1974 album "461 Ocean Boulevard," and it can be seen that it has been customized to "45" specifications. However, according to information later released by the auction house Christie's, the label indicating that it was made by Mike Longworth read as follows:
"This instrument was inlayed by Custom Pearl Inlay Service at 200 Hemphill Avenue, Chattanooga Tenn. 37411, on April 11, 1976, by Mike Longworth (work performed on April 11, 1976, No. 67)"

This inscription reveals a discrepancy in the timing of the modifications. It remains unclear whether Mike Longworth's signature simply dates back to 1976, or if further customizations were made that year.

What's interesting about this is that while a 1974 photograph confirms the absence of a snowflake inlay on the bridge, the snowflake inlay is clearly visible in the album cover photo for "Cowboy Here & There" (released in 2004), which captures the guitar's 1976 UK and US tour. Considering that this photo was likely taken during the recording of "No Reason to Cry" or the tour, it's highly probable that the additional modification was made by 1976, which is close to the date on the label.

In the 1980s, he can be seen using this guitar in the encore number "Good Night Irene," which he performed with Ronnie Lane during the 1983 ARMS tour. Also, Andy Fairweather Low played this guitar on the 1992 album "Unplugged."

According to Lee Dixon, who has served as Clapton's guitar technician for many years, Clapton would often request this guitar in the studio with the catchphrase, "Get me the Longworth." This guitar was put up for auction at the Crossroads Guitar Auction in 2004 and sold for $186,700 (approximately 20 million yen), generating considerable buzz.

Inside the body is a signed label indicating that he worked on it. Many Martin enthusiasts would surely be thrilled just to see this. The fact that the Tennessee address has been changed to Nazareth speaks volumes about Longworth's activities at the time. "No. 82" likely indicates that this was his 82nd project.

The label also shows that the customization took place in November 1968. As mentioned earlier, 1968 was the year that the D-45 was re-released. It seems that while working on the D-45 re-release at Martin Guitars, he was also fulfilling personal commissions. It is well known that a Brazilian rosewood D-45 is rare, but this particular guitar, converted to a "45 Style" by him in 1968, also holds immeasurable value. It is truly a one-of-a-kind special guitar.

Coincidentally, Advance Guitars had in stock an original 1953 D-28 and an early reissue 1969 D-45 for comparison. We will explore the appeal of this particular instrument by comparing it with these two.

First, we can see that the basic structure is based on the D-28 from the 1950s.

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

Coincidentally, Advance Guitars owns a 1953 D-28 and a 1969 D-45. I'd like to explore the appeal of this particular guitar by comparing it to those two.

First, we can see that the basic structure is based on the D-28 from the 1950s.

Martin D-28/'45 CONVERSION', 1953, 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 reinforcing material embedded in the neck isT-bar rodThe T-bar rod in the "45 Style" is a special combination, just like the pre-war D-45.

The bracing pattern is non-scalloped X-bracing. Comparing them side-by-side, the D-28/'45 CONVERSION' appears to have slightly sharper bracing, likely due to individual variation. (Top: D-28/'45 CONVERSION', Bottom: 1953 D-28)

The body top is made of Sitka spruce.
(Top: D-28/'45 CONVERSION' Bottom: 1953 D-28)

The pickguard has a painted tortoiseshell pattern.
(Top: D-28/'45 CONVERSION' Bottom: 1953 D-28)

The body sides and back are made of Brazilian rosewood (Jacaranda).
(Top: D-28/'45 CONVERSION' Bottom: 1953 D-28)

The body sides and back are made of Brazilian rosewood (Jacaranda).
(Top: D-28/'45 CONVERSION' Bottom: 1953 D-28)

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

The fretboard is made of ebony.
(Top: D-28/'45 CONVERSION' Bottom: 1953 D-28)

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

One of the many books written by Mike Longworth.

The D-28/'45 CONVERSION' features a beautiful shell inlay in the center of the soundhole ring. The shell used appears 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 shines in multiple directions, showcasing the beauty unique to natural materials. The black purfling around the fingerboard, seen on 1969 D-45s, is absent on this D-28/'45 CONVERSION'. This is a feature also shared with the 1968 D-45 prototype. (Top: D-28/'45 CONVERSION' Bottom: 1969 D-45)

The headstock features torch inlays. Shell inlays are also embedded inside the outer edge of the headstock, giving it an even more luxurious appearance than a standard D-45. The pearl inlays, applied in the same font as the original "Martin & Co." logo, are truly exceptional. This guitar is a D-28.BassThis seems to further symbolize that it is a D-45 Custom. And surprisingly, the design of this headstock is strikingly similar to Hank Snow's D-28/45 ("The Snow Job"), which was one of the catalysts for the D-45's re-production. (Top: D-28/'45 CONVERSION' Middle: 1969 D-45 Bottom: 1953 D-28)

As this is a custom build to D-45 specifications, abalone is lavishly used for the purfling throughout the entire body. Comparing them side-by-side, the D-28/'45 CONVERSION' has thinner lines and a more stylish appearance. (Top: D-28/'45 CONVERSION' Bottom: 1969 D-45)

Interestingly, this customization also involved a change in the binding material. While 1950s D-28s used ivoroid binding, this D-28/'45 CONVERSION' lacks the characteristic striped pattern of ivoroid. Martin & Co. changed its binding material from ivoroid to Voltalon around 1966. Therefore, it is likely that this D-28/'45 CONVERSION' also had its binding changed to Voltalon, the newer material at the time, because the original ivoroid binding could no longer be used when the abalone inlays were applied. (Top: D-28/'45 CONVERSION' Bottom: 1953 D-28)

This is a personal favorite of mine. The celluloid on the neck heel is probably the original ivoroid, the body binding is Voltalon, and then there's the abalone purfling, topped off with a herringbone backstrip. Herringbone backstrips are extremely rare, rarely seen except on some models such as the D-76, a commemorative model for the 200th anniversary of the founding of the United States, produced between 1975 and 1976. The green lines visible on both sides of the backstrip also add a stylish accent. This is a sight that can only be seen in a customized guitar. These traces of handcrafted work glimpsed behind the opulent exterior give it a warm feeling.

summary

Mike Longworth was the driving force behind the revival of the legendary D-45 model. Each guitar he creates is more than just a musical instrument; it's a "work of art" imbued with his aesthetic sense, exceptional craftsmanship, and deep love for Martin guitars.

The 1953 D-28 that we introduced todayBassHis "D-45 Conversion" also shines particularly brightly among his works. Recorded as his 82nd creation during the historic turning point of the D-45's re-production 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, this guitar is a one-of-a-kind existence, unlike either a D-28 or a D-45. Combining luxurious ornamentation with the dignified character of a vintage guitar that has been cherished for many years, this instrument quietly but surely conveys Longworth's belief in "breathing life into instruments."

I hope that by engaging with this "work" he left behind, you will be able to get even a glimpse of how the guitar, as an instrument, can become a rich cultural tool through human hands.

ACKNOWLEDGEMENT

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

-Yosuke Inoue

Afterword

As I put this article together, I was once again struck by the sheer "greatness" of Mike Longworth.

I had heard his name many times, but when I tried to delve deeper into his work, 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. It was truly "vast" and "great." As I looked through the materials, there were many times when I stopped turning the pages, simply in awe.

In the process of creating this article, I encountered many previously unknown facts and moments where fragmented information connected, in addition to episodes that were already known. These "discoveries" gave me the same thrill as picking up a vintage guitar. And they reminded me once again of the profoundness of Martin guitars and the value of the legacy left behind by Longworth.

If reading this article helps you feel even a little closer to Mike Longworth and allows you to experience another aspect of the charm of Martin guitars, nothing would make me happier.

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