Gallery

When this concert guitar was made in 1976, it was the top model offered by the master luthier Masaru Kohno– when he was at the very height of his career. There is some confusion out there as to which Kohno was the “top” concert model at any given date in height of Masaru Kohno’s career– from the early 70’s to the late-80s’. No confusion here– as there is correspondence (from August 2011) directly from Masaki Sakurai to us, regarding this guitar. Masaki Sakurai (nephew of Masaru Kohno, who in fact worked along side Masaru Kohno when this instrument was made in 1976, and now of course runs the “Sakurai/Kohno” shop, since the death of Masaru Kohno in 1998) confirms that this guitar was the top model available from Kohno in mid-1976. (Don’t be confused– a later, for example 1980 No. 30 Kohno is not a top Kohno model from that year. By 1980, the top model was a No. 50.) The confusion arises because Kohno had, in the early 70s until the late 80’s the custom of making his model numbers correspond to the guitars’ price in Japanese Yen. Hence, this guitar, a “No. 30”, in mid-1976, was priced at 300,000 Japanese Yen, and was the top model (a very expensive guitar in 1976). The confusion arises because as the inflation-prone 70’s continued, everyone adjusted prices upward. When inflation kept advancing, Kohno model numbers were something of a moving target, and the “top model” number changed upwards over time. Over time the top model moved up to No. 30 (this guitar), and then later No. 50 (starting in 1977). Kohno finally stopped using numbers in the 80’s and then called the top model the “Professional J”, and on, with more variations of “Professional”.) In any case this guitar, was the top model made, when it came from the Kohno shop (correspondence from Masaki Sakurai confirming this, will be supplied). But the real proof is in the playing. This instrument stands along with the best brazilian rosewood/spruce concert guitars from any maker, anywhere, any period. Crystal clear brazilian trebles. Wonderful resonance, combined with superior string separation.

• Hand-signed on label by Masaru Kohno, and dated 1976
• Solid European spruce top
• Solid Brazilian rosewood back and sides
• 660mm scale length
• Nut: 52mm
• Mahogany neck with 2 ebony supporting strips
• Ebony fretboard
• Gold engraved Gotoh tuners
• One repaired crack on back of guitar
• Crack-free top and sides. There are various nicks, dings, and scratches.
• Finish is naturally worn off, through playing, on the center section of the back of the neck– giving it a very fast feel in the left hand.

Note on Kohno playability: While short scale lengths are in vogue today, many “vintage” guitars from the great makers (Ramirez for instance with their typical 665mm or even longer scale length guitars in this era) especially from the late 60’s, 70’s, and 80’s, are longer scale. This guitar is a comfortable scale at 660mm, and it’s important to note: the original Kohno design, that is continued even in today's models, was intentionally different from the high-end Spanish concert guitars of the day which had high action and beefy necks. From the Kohno factory the action was set low on guitars. The necks were moderately thin in profile and shaped for very fluid playability. So at 660mm scale length, with its slim profile neck, this is an easy-playing Kohno.

Vustom made Lester Devoe Flamenco Negra, a one-of-a-kind, Brazilian Rosewood guitar, from one of the world’s top luthiers. Lester Devoe needs no introduction to the world’s great Flamenco players. The late, legendary Sabicas played a Devoe– and converted some of the great Flamenco players in Spain to the fold. Paco De Lucia, and Vicente Amigo, among others, play Devoe Flamenco guitars. (I personally delivered a Devoe Flamenco Blanca guitar to Paco De Lucia in Spain in late 2010– Paco likes his Devoe’s hand-delivered. Paco De Lucia began playing a Devoe Negra guitar years ago– and there are many Paco De Lucia recordings and feature films where Paco plays a Devoe Flamenco guitar.) And it’s rare that Lester makes a Negra with Brazilian rosewood of this age and quality.

• 650mm scale length
• Nut: 52mm
• Neck width at nut: 52mm
• String Spacing at nut: 44mm
• 80 year old Brazilian Rosewood (pre-CITES) back and sides (Quartersawn).
• European spruce top, with some beautiful and understated “"hazelfichte" (what Americans call bear claw).
• Custom, flamed Spanish Cedar neck
• Brazilian Rosewood headstock overlay, and bridge
• Brazilian Rosewood body binding, top and back
• Ebony fingerboard
• Sloane tuners
• Austere yet elegant Santos style black and white rosette, that Devoe uses only rarely, on top custom models
• Nitrocellulose lacquer finish

There was only one of these guitars made, with this combination of wood. It’s a rare custom instrument from this maker, and the tone is glorious– with the trebles only old Brazilian Rosewood delivers. But this is a Flamenco guitar– made by one of the best– so there is not too much “sustain”– that would disqualify it from being a great Flamenco, where a fast “decay” of the trebles emphasizes the percussive quality of the guitar. Only a master luthier can make a Negra that captures the best qualities of Brazilian, making those bass notes both crisp and growly, while assuring that the trebles ring with Brazilian bell-like clarity.

Very few modern luthiers have captured that Larson Brothers sustain and what I call “shimmer” with a new build. This guitar, built by the master luthier Hans Brentrup in late 2009, has it in spades. We’ve never played anything but a 30’s Larson Bros’ that has the sustain this guitar has. Hans’ unique tone bars do what only the Larson tone bar system did– get the body of the guitar to sustain and impart that wonderful shimmer to the trebles especially.

• Brazilian Rosewood back and sides
• Engelmann spruce top
• 000 size
• 25.34 scale length
• Easily accommodates Medium or Heavy strings
• Hybrid ladder laminated bracing with Carbon fiber “Tone tubes”
• Mahogany neck
• Slotted headstock
• Golden Age tuners
• Ebony fingerboard with MOP dots
• Pyramid bridge
• Tortoise body binding
• Lacquer finish

With the top grade Brazilian upcharge, this is a $8K guitar, from the maker. This instrument is in almost mint condition. No dings, no cracks or hint of cracks– just the very slightest signs of use (what you might find in a brand new guitar that’s been in a showroom a few weeks).

Stuart Mossman was one the country’s top luthiers in the 1970s and 80s– working in the tradition of the great American Dreadnought. According to an article in Vintage Guitar magazine: Stuart Mossman “…. began making guitars in 1965 and through his early efforts concentrated on experimenting with bracing of the tops. He spent four years building 40 or 50 prototypes in his garage at home. By the end of the decade, sensing a niche in the market for high quality handmade acoustics, he had incorporated S. L. Mossman Guitars in Winfield, Kansas and moved into facilities at Strother's Field outside of town. Mossman had noticed what was happening with major acoustic guitar manufacturers at the time. The folk music boom had pushed demand for acoustic instruments to an all-time high and while Gibson, Martin and Guild were increasing production, imports from the Pacific rim countries were beginning to exploit the lower end of the market. Mossman was concerned with what he saw as an erosion in materials, design, and craftsmanship in the construction of the traditional flattop acoustic guitar, particularly among the larger manufacturers as they rushed to meet the strong demand. Using only top-quality woods, a proprietary bracing structure, and old-world building techniques, Mossman guitars entered series production in 1970. ‘We were the first of the small manufacturers to make it as a larger company', Stuart Mossman recalls…” The original 70’s Mossman dreadnoughts are very well built, with attention to detail, and craftsmanship unsurpassed in this period. One of the hallmarks of the Mossman guitar is that each instruments has a paper label inside, with the serial number (that included the year date) and model. And the label was always signed or initialed by the craftsmen building that guitar (this one includes Stu Mossman’s initials: SLM). The Flint Hills model featured East Indian Rosewood back and sides, spruce top, ebony fretboard and bridge, and a unique inlay around the soundhole. This example is all original, and is in fine condition, with no cracks. Original West German Schaler tuners. It has an under-saddle pickup installed, and an input jack in the end pin. Tone is fine, and loud, reminiscent of a 60’s Martin– but with a little more punch in the mids and trebles– a perfect bluegrass instrument.