Introduction
The days right after Christmas provide for a particular time of reflection. The somber realization that another year is winding to a permanent close is replaced by the anticipation for the celebration of the new year about to begin. It was during this special time in 2012 that I was able to spend a Saturday with master luthier John Greven.
I was in my hometown of Portland, Oregon over the holidays and contacted a delightful fellow Guild 12-string aficionado, Duffy Calloway. He is the proud owner of a fabulous guitar built in the 60s with an even more fabulous story to accompany it. Duffy invited me over to a friend’s house to see the instrument and jam a little. That friend was John Greven.
I am the proud owner of a 2005 Greven Nick Lucas with Brazilian Rosewood back and sides, which I am rather fond of. I was thrilled to have the opportunity to spend this time with its creator.
John and Duffy met me on the front porch of John’s immaculate and lovely home, situated on a classic tree-lined street in SE Portland. I had brought along a Taylor K-24ce (all Koa 6-string) that I was traveling with and opened up the case straightaway upon entering. I played a few instrumentals and shared some life adventures. John graciously commented on the surprisingly well-balanced sound of the Taylor, which I handed to him for closer scrutiny.
Next up was Duffy’s glorious Guild 12 string. This circa 1960’s F-512 was one of 2 special guitars made, both having Brazilian Rosewood back and sides, the other having been purchased by John Denver. This guitar was such a delight to play. Guild jumbo’s are loud by design, and can be ‘boomy’. This 12-string was loud, but the brilliance of the tone made for anything but a boomy experience. It was a shimmery orchestra on my lap, and it’s sound brought smiles to faces of everyone present that morning. Duffy is a good player, and it was a lot of fun to listen to him make that Guild talk!
Prior to my arrival, John had brought several of his own guitars into his dining room, each still housed in it’s respective case. It was at this point that he began to select one instrument at a time and hand to me to play. What an honor, to be sitting in this humble man’s home playing his incredible creations.
One astonishing guitar after another, I was nearly an emotional wreck when John handed me one of the two smallest of the instruments I would play that day. These were his short-scale 12-fret models based on a Martin 00-28. Both were outfitted with John's favorite soundboard tonewood: Lutz Spruce.
The first of the 00s that I played had gorgeous Flamed Maple back and sides. The guitar was small and light enough that I had to reposition it in my lap, classical guitar style, which amused John. My jaw dropped in admiration as the first notes rang out and John laughed, saying that was the exact expression he has witnessed on the face of everyone who has played these instruments. No doubt!
The second guitar was essentially identical, though the back and sides were Brazilian Rosewood. As I began to play, the guitar began to quiver in my arms, the sound reverberated in my chest, and tears began to fill my eyes. Wow, what a guitar! Pure quality. Both of these 00 guitars were exceedingly LOUD! Not just for their size. They were really LOUD instruments, such that I actually needed to play more softly.
