A Baritone Story

by David D. Berkowitz

In the fall of 1994, I'd never heard of a baritone guitar. Several of us at The Guitar Shop (Stephen and Lynda Spellman's store) in Washington, D.C., were sitting around, talking about what guitars we liked and why. John Jennings was there too, having repairman Mike Dove work on several of his and Mary Chapin Carpenter's instruments. I mentioned to Jennings in passing that I had a few instruments on my bench. He said what he really was interested in was a baritone, something tuned A to A, and mentioned the Jerry Jones electric baritone. Somewhere in the course of the discussion I said why not an acoustic. So we exchanged phone numbers, and the journey began.

As I didn’t have any idea of what a baritone was, I contacted several luthiers to find out who was making them, including Linda Manzer (builder for Pat Metheny), Rick Turner, Steve Henderson (Breedlove Guitars), and many others, all who generously discussed their take on the project. A consensus arose in these discussions that the nicest anyone had seen was a baritone built by Ralph Bown, of York, England, for Martin Simpson. I talked with Martin Simpson and Ralph Bown for additional information, as well as Jim Rickard, a string engineer to ascertain string tension and selection for the instrument.

I sent Jennings a letter in December summarizing my preliminary research and asking for feedback in terms of aesthetics, neck shapes, etc. I saw him in early January of 1995 and showed him several drawings of potential bodies. He picked one that he liked. I offered to build it, on spec. If he liked it he could buy it; if not he could go on his way. I’d never built a baritone before so I was concerned about scuttling a relationship by insisting on a commitment to the project. (John offered a deposit which I refused to take – just building it for him was pressure enough without taking any of his money!!).

More research, several construction mishaps, and 10 obsessive months later the baritone guitar emerged from my very tiny basement shop. I was incredibly nervous. I delivered the guitar to The Guitar Shop, where everyone considered it a great success. But I was unconvinced, being more concerned with how John felt about it. I also had some finish glitches I would later repair that I was freaking out about – I was concerned he wouldn’t hear the instrument for the finish hiccups.

The Saturday before Thanksgiving, John arrived at The Guitar Shop. I was absolutely knotted in anticipation of his arrival. We were standing outside the shop and someone said, "There’s John", who was strolling up 18th Street with a mandolin case at his side. All the blood ran out of my face. We went upstairs, John pulled the baritone out of the case, cooed over the very nice flamed koa, and took it out into the hall to play it. It was all over in about 30 seconds. He played about a dozen or so chords and licks, before declaring it "a hummer!". I was ecstatic, relieved, and exhausted. And it took me about two weeks for the whole thing to register. My mother, being ever pragmatic and of course, motherly, replied upon hearing that he bought it, said, "Good. Now go out and get a date!!"

The instrument is tuned A to A, the low A being that A on a bass guitar, and the high A being the A on a regular guitar 3rd string, stopped at the second fret.

Berkowitz Guitars, are handmade here in our nation's receptacle, and are available to those living in the Metro/tri-state area through The Guitar Shop, 1216 Connecticut Avenue, Washington, DC 20036 (202) 331-7333. Those living outside the Metro/tri-state area may contact me directly at (202) 546-0236. Current line includes a 6, 12, and baritone jumbo bodied instruments, as well as the newly introduced JAB, (Jennings Acoustic Bass, of course, dummies).

The Berkowitz Guitars website at www.berkowitzguitars.com is now under construction. I can be emailed at ddb@berkowitzguitars.com.

Articles