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Hank- Jason didn’t put my article online (i can email you the raw text if you like and the photos we used), although he did put Bobby’s article online. I introduced Jason to Bob, and Jason interviewed him for Issue #23. Below is a link to Bob’s Article. I was fortunate to become good friends with Bob, Nick and John, all separately. I didn’t seek them out (way too shy), they “fell into my lap,” so to speak, all independently. Sheer luck. Here is Bobby’s article: https://www.fretboardjournal.com/features/bob-shane-behind-stripes/
yip, the 50th issue was quite a letdown to me after all the hype. just another issue. then, considering Jason’s incredible challenges in getting a fine publication out which has lasted this long, i shouldn’t complain. unlike so many enthusiast publications in all markets, FJ never has had a “hot-new-gear” issue.:) plus, i got to write an article in #21.
shoot, i threw 2 cans out finally, cause i never used ’em. i’ve used gruhn glaze since the 90s. fabulous, as are so many other products. scgc used plain ole Turtle Wax before marketing their own, in the dan roberts days.
i prefer no sapwood if it can be avoided on a nice piece. spanish guitar makers seem to like it, especially. not me:) i like the way this one is traced!:)
wonderful, Richard. So eloquent about the Tony that we knew and shared about many times – your last four paragraphs. so beautiful and true – to me. at least he is with the two people now that he talked about constantly, Vassar and Larry – 15 years without the both of him physically at his side. he is truly at rest. a long-deserved rest. thank you for all the support you gave him. his spirit took in all of your encouragement, love, admiration and support, even if we think he didn’t hear it all. as my buddy Stookey wrote, “for the Love of it all.” and thank you, Tony Rice.
he had more fun on stage than anyone i ever saw. loved to sing. loved to smile. even saw him with ham camp at the great american music hall in about ’80.
maybe just that the original custom buyer asked for it. i did on a braz d-45 he did for me through dexter back in the early 2000’s.
correction to my post (can’t find a way to edit on this forum) – the 10th anniversary Tony was 1991, not 93.
I was fortunate to see Tony Rice and David Grisman in concert play many of Dexter Johnson’s vintage collection of guitars and mandolins which I think led to the original Tone Poems concert and recordings. It was a very special memorable evening/concert at Carmel’s Sunset Center.
in 2001, i acquired the 1991 10th-anniversary SCGC Tony Rice that Dexter lent Tony for the Sunset Center Concert (the Tone Poems Tour could did not have access to all of the instruments on the album, logistically). It (#5/10) was Dexter’s personal guitar from the edition. exquisite woods and tone. the guitar is signed inside by Otis B. Rodeo, himself, Jeff Traugott and Adam Rose – and Tony and Richard on the label, of course. i have always wished that David would make available whatever recordings he has of that concert. alas.
more importantly,
i have been in contact with Tony over the last 15 or so years for various reasons. as of my last conversation with him, he volunteered that he has not been able to play guitar for quite a long time. i can’t remember now exactly when he said the last time was, but i believe i figured it had to be around the last times he played with Peter Rowan, Bryn Davies and Sharon Gilchrist. i hope 2019 is good to Tony. the best bluegrass voice ever, quoting from and article in either Flatpicking Guitar or Acoustic Guitar (too lazy to look it up), and we all know about his readily identifiable style and clean tone.
the Tony-signature capo had to be withdrawn from production looooong before they had 1951 orders (plus prototypes that were available). i have (and use each) one of each size, including the “original-size” based on tony’s original (which had been made for the Gretsch neck on the ’35). when i asked Connie a couple of years ago why it wasn’t offered on the site anymore, she would only say that they had to stop selling them. my guess is that Tony had a problem with the specifics of the deal. Zane Fairchild, friend of Tony’s who had worked tirelessly with Elliot to get this special project done to honor and benefit Tony, did it unbeknownst to Tony as a surprise. Tony loved his capo when he got it (SN 1951). my guess, having done some things with and for Tony over the last 10 years or so, is that he soured on the deal using his name. than’s just a guess. a similar thing happened with the “foundation” that was formed in florida to benefit him.
