May 12
Uncle Pete’s Old Guitar with Master Craftsman Marty Lanham- A Martin Restoration in Progress: Part2
The neck is being steamed out of the guitar using an old espresso coffee maker from Ricky Skaggs bus. The steam melts the old hyde glue in the joint.
Steam is blown into the small cavity in the dovetail joint. The fingerboard extension has been loosened and 2 holes drilled through the 13th fret slot. The steam enters through one hole and escapes through the other softens the hyde glue along the way.
After about 20 minutes of steam and gentle coaxing the neck comes out revealing the part of the top that hasn’t seen the sun in over 70 years.Photos and Commentary by Marty Lanham - Nashville Guitar Company
“It’s been up and down the country roads, its’ brought a tear and a smile. It’s seen its share of dreams and hopes, and never went out of style.”
At the present moment, my great uncle Pete Hatton’s 1929 0-18 Martin is in the hands of one of Nashville’s finest vintage instrument restoration craftsman. In the last installment of this story, I promised to discuss how Marty Lanham was chosen to refurbish this cherished, vintage instrument.
Last June, at the Bill Monroe Memorial Bluegrass Festival in Bean Blossom, Ind., my cousin Ray Hatton and I got together. He brought along Uncle Pete’s vintage Martin, which he had inherited. We discussed what a shame it was to have that instrument in such disrepair.
Ray didn’t know who he could trust to do a good job. He certainly didn’t want to ship it through any of the normal freight companies. Ray was at a stand still with the renovation of this wonderful instrument. As you recall, there is a strong emotional attachment to the guitar also.
I have passed around, at various bluegrass festivals, the story of the instrument. This past winter, I got a phone call from Tom Ewing. He wanted to set up a phone interview with me about my grandpa working with Bill Monroe at the Sinclair oil refinery in Hammond, Ind.
For those of you who are unfamiliar with Tom Ewing, he was the guitarist with Bill Monroe’s Bluegrass Boys from 1986 until Monroe’s death in 1996. Tom actually played guitar with Monroe the last time he appeared on the Grand Ole Opry stage, just prior to his death.
Tom has written the wonderful book, “The Bill Monroe Reader,” and is following it with what many are saying will be the definitive book on the life of Bill Monroe.
Tom Ewing is hard at work trying to complete his newest project. As details emerge about when it will hit the shelves, we will keep you posted.
Tom has incredible insight into Bill Monroe’s character and his life. This comes from a man who worked longer with Monroe than just about anybody.
During our enjoyable visit on the phone, I asked Tom where he would recommend getting Uncle Pete’s guitar fixed.
Tom, without hesitation, said Marty Lanham in Nashville, Tenn., does all his guitar repairs.
As soon as I got off the phone with Tom, I did some research on the Internet about Marty Lanham and found nothing but praise heaped on his craftsmanship. I also found out he was the owner of the Nashville Guitar Company, maker of high quality instruments.
I immediately called my cousin Ray and told him about Tom Ewing’s recommendation. Ray did some research and came to the same conclusion, it was time to take the guitar to Marty.
Ray lives about 3½ hours north of Nashville. He had to wait for a day off and he and his lovely wife decided to take an excursion to see Marty.
Marty informed Ray it would take a couple of months to repair the guitar. I asked Ray if we at BluegrassJournal.com could follow the repair of this vintage Martin for our readers. He said he didn’t mind at all. Then I called Marty and asked him if he could keep us posted on his restoration work. He seemed happy to oblige and has been fantastic at sending us pictures and commentary.
We will continue to keep you posted, as details continue to emerge concerning work being completed on the old Martin.
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