1948 Martin D-28 107581
Talk about wall of sound!
Martin D28 107581, 1948. Brazilian Rosewood. We are talking quarter-sawn, straight-grain, old growth Brazilian Rosewood. The purple-ly kind that smells like watermelon when sanded, not the swirly, slab-cut Cocobolo that passes for Brazilian these days. This is the ultimate tone wood on a majestic sounding early post-war Dreadnaught Martin with nearly 80 years of playing time. Consider that much of that has been on a professional level, including appearances at major festivals. When snugging up to this guitar, you can feel your belly vibrate with every strum. For wall-of-sound rhythm, or delicate and nuanced flat picking, this one is the ultimate beast. Features and appointments on Martin D-28 # 107664 are mostly original and consistent with factory specifications for this model and year and include the rear X tapered bracing; straight-grain Sitka spruce top; the highly desired Brazilian Rosewood back and sides; peg head overlay with “C.F. Martin & Co. Est. 1833” peg head decal; round pearl dot inlay in ebony fingerboard; ivoroid heel cap, plastic white/black/white bindings (6-ply on top and 3-ply on back) and chainlink backstripe. This instrument is one of the last to feature tapered braces, the innovation that replaced scalloped bracing in the summer of 1944.
As evident in the photos, there is some pick wear on top, a ghost of an outline where an additional pickguard once resided, and one repaired 4-inch grain-line back crack. Finish is original, with only minor touch-up around that repair. Playability however, is excellent. A recent neck set, bridge, nut and refret by legendary luthier Wayne Henderson puts this guitar at the top of its game in terms of playability. It was Mr. Henderson who removed the 1950s era Martin- installed extra pick guard from above the soundhole, exposing original finish underneath. Perhaps this operation did not improve the appearance cosmetically, but it clearly added to the already substantial power and volume. In addition, the original tuners have been replaced with state-of-the art modern Waverly tuners (20:1 gear ratio).
This was the guitar featured on all the live shows and recordings by the New Deal String Band, an important and active participant in the Bluegrass renaissance of the 1960s and ’70s. They took Bluegrass to rock venues like Fillmore East in NYC, recorded on a major label and were regular features on Carlton Haney’s Bluegrass festivals. This band is credited for pushing the boundaries of Bluegrass repertoire and are often cited for their influence on Sam Bush as he was developing the sound of Newgrass. Whether you play traditional Bluegrass, or push the boundaries like so many players today, this guitar is for you. Whereas this is the architypal Bluegrass guitar, this one is also exceptional for any style of music where a big, rich sound might be appreciated.
Are you ready to have your whole being vibrated to the rhythmic pulsations of old-growth Rosewood? This is a truly extraordinary guitar, an exquisite vintage guitar for the discerning player, whether on the festival circuit or in the weekly jam. Please inquire for additional information, photos, pricing and terms.
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New Deal String Band at Union Grove in 1970. Buck Peacock holds D-28 107581 as it appeared with double pickguards Photo courtesy Tom Isenhour.