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Ramon Montoya's guitar
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Ricardo
Posts: 14797
Joined: Dec. 14 2004
From: Washington DC
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 RE: Ramon Montoya's guitar (in reply to Doitsujin)
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quote:
ORIGINAL: Doitsujin
quote:
Richard Brune is an American luthier and probably one of the best. He has a guitar collection and from what I've is heard is a very nice guy according to friends that have visited his shop. Nice to finally see Brune on video...he is a good player.
Nah... If hes so nice as he plays...than he must be a little grumpy...  I still think the guitar should be in a museum in spain and not in a collection of nobody in the middle of nowhere... well.. we know this place is autralia..but if hes in the states...its also am Arsch der Welt from here..  (sorry americans.. I like your country but the center of the world is europe.. lol...  )
(I know several people might be pissed off now.. so I tell you preventatively... Im joking ;.)
I know him doit, he IS nice. He is a respected guitar builder with a long waiting list like most good luthiers. ToddK plays one of his guitars. He is an historian on guitars, does repairs and restorations, appraisal etc, and in a way, his collection IS a museum of sorts, a classical and flamenco guitar museum! IMO, putting a guitar, no matter who's it was, in a glass case to never be touched again, is a damn shame. All guitars should be played, that can still be tuned....or they really die.
Ricardo
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CD's and transcriptions available here:
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REPORT THIS POST AS INAPPROPRIATE |
Date Jul. 9 2009 5:46:57
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Tom Blackshear
Posts: 2304
Joined: Apr. 15 2008
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RE: Ramon Montoya's guitar (in reply to Doitsujin)
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quote:
ORIGINAL: Doitsujin
<snip>
When you got there, please ask him for giving the guitar to the place where it belongs as I mentioned before. Still can´t believe that.. 
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Flamenco guitar is universal just like classical guitar, it does not belong to just one group but everyone to enjoy. The problem I see with your preference is that if an art is kept with its origins then it won't be part of the whole but just a small part of something that has yet to be discovered.
I remember one day a flamenco guitarist came to my house with a Manuel Reyes guitar. I asked him if it would be OK for me to look inside. He told me that Reyes would probably not like it if I took the specs off his design.
I mentioned that Reyes had sold him the guitar and it was his property to do as he wished. But he told me that he would have to check with Reyes before he could let me examine it.
I said fine, here is my telephone, call his and ask. So, he did, and you know what Reyes told him? Reyes said that the guitar was his to do as he wished since it was his property; almost exactly what I had told him, and then he said he didn't have the time for me to look at it.
But he had enough time to watch a Tomatito teaching tape that I had. Then, you know what he asked me? He asked me to copy the tape and give him a copy, which was actually illegal to do.
You know what I told him; "Sorry but I really don't have the time to do it."
I wouldn't have done it anyway since that would have been illegal. But to copy the Maestro's patron was no problem since Reyes gave his permission to do it. So, I copied a 2003 Reyes from Chris Kamen's collection later on and then I gave it to the Guild of American Luthiers plan collection and they have supplied that plan to builders all over the world to enjoy.
The moral to this story is "Don't think that any one group or person has the right to keep art under lock and key unless they own it." With Richard you can actually go to his shop and play the guitar. But in a Museum, all you can do is view something that will never open its voice and sing again.
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Tom Blackshear Guitar maker
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Date Jul. 11 2009 4:16:03
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Tom Blackshear
Posts: 2304
Joined: Apr. 15 2008
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RE: Ramon Montoya's guitar (in reply to Doitsujin)
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quote:
ORIGINAL: Doitsujin
quote:
I don’t like guitars in museums because you don’t get to touch them.
Well.. that is exactly the reason why it should be in a museum.. That its protected from you and your friends fatty uncareful fingers. ;.)
Well,.. the Montoya guitar is not a masterpiece like a strad nor expensive and unique like the death mask of Tut-san. Its just a piece of glued rotten wood that was found in the backyard of the Flodders. So,, there is no reason to play it further.. because the tone is not the important part of that piece of crap. Its just a document of evolution in flamenco.. a small part of the milestone Montoya and a recall on his work.
Like so many other broken statues from greek in museums or old hand made cups from rome in museums... Its just rubbish from a past time period. But its in a museum to remember and take a look. Not touching, because if everybody touches it... it becomes within a very short while a broken small fatty piece of crap.. To talk clear..it would look like pure ****. (I guess its censored.. haha )
So,.. saving the guitar in a museum is the best choice IMO. 
I think you should be aware of the way Brune feels although he does not have much time to be on chat lists, which I can understand since he is a slave to guitar orders that just won't quit.
1. The guitar is a 1923 Domingo Esteso ex collection of Luis Maravilla,
which I legitimately own. I don't know why someone said "no one" owns
it, unless this was intended as an insult. If it was supposed to be
humor, I'll gladly forward a $5 bill for humor lessons if they are
courageous enough to give me their actual name and address.
2. I have previously published articles about this guitar and its
history in Guitar Player Magazine, August 1988, page 22, and Vintage
Guitar Magazine, July 2004, pages 68-72. If any foro member wishes to
contact me directly with their actual name and email, I'll be happy to
email copies of either or both articles at no charge. They can contact
me through my web site. Over the past 40 + years I have tried to make
as much of my collection and archival material as possible available to
others through my published articles, and contributions to other
author's works, most done for little or no compensation. I do this out
of my aficion for the instrument.
3. The guitar is hardly hidden away "in the middle of nowhere" as one
writer put it, as Evanston is right next to Chicago, Illinois, a city of
some world wide notoriety. It has been played and admired by artists
such as Paco Peña, Pepe Romero, Eliot Fisk, Tomas de Utrera, Paco Fonta,
and many others. It is available to any aficionados who visit my shop
to see, play and study, as are the many other instruments also in my
collection.
4. Anyone who feels strongly enough that this guitar should be in a
museum in Spain is welcome to make me an offer I can't refuse and in
turn, donate the guitar to the museum of their choice in Spain.
Otherwise, they should study the concept of private property as set
forth in the U.S. Constitution. Right now the guitar currently IS in a
museum, the Bruné Museum, which I daresay is probably under better
storage, security and humidity control than just about any museum in the
world. I understand as well as anyone in Spain the significance of this
and all the instruments and archival material in my collection, and I
intend to preserve this for future generations to study, love and
appreciate as I have.
And I might add that Brune has the expert skills to keep the guitar in its restored value and material conditioning. Any museum would have to depend on an expert restoration artist, like Brune, to be able to keep the instrument in its best condition.
Tom Blackshear
_____________________________
Tom Blackshear Guitar maker
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REPORT THIS POST AS INAPPROPRIATE |
Date Jul. 17 2009 6:40:26
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