A Wisconsin guitarist hit the jackpot when he met a talented lute builder who hand-cut this stunning neck inlay.
āName: Tony Rizzo
Hometown: Minocqua, Wisconsin
Guitar: The Wizard
I call this guitar "The Wizard." The inlays on the neck explain everything. This is a Warmoth bird's-eye maple neck that started its life in 1990. It was part of a kit I was building with a Warmoth quilted-maple body. I had Dave's Guitar Shop in La Crosse, Wisconsin, paint it a purple sunburst with clear center. After assembling the guitar, it just didn't vibe with me. The guitar sat for a few years and was more art than guitar.
One day, an old friend told me about a guy named Chris who was building lutes and doing crazy-cool inlay work. My friend lined up a time for us to visit his workshop, which was full of wood and little pieces of mother-of-pearl and abalone. The lutes he built were out-of-this-world gorgeous, with the most beautiful inlays in the neck, and the backs were beautiful alternating woods.
Chris said, "You should let me inlay a neck for you." My mind went to the Warmoth parts guitar. The next day, I dropped the guitar neck off at his shop. Time went by and I didn't hear anything from Chris, but I just thought, "Oh well, it takes time to inlay a neck." After about a year, I heard he moved away, so I sold the body through Dave's Guitar Shop and cut my losses.
Another year passed, and then I got a phone call. It was Chris! He said he'd moved but he finished my guitar neck and wanted to bring it over. He arrived within the hour. I was totally blown away. The craftsmanship is outstanding: He hand-cut every piece of abalone and mother-of-pearl. If you look close there is no filler. How he did this is way beyond my scope of knowledge. He also refretted the neck so it was ready to go. Now I had one of the most beautiful necks I'd ever seen ā¦ but I had sold the body.
I asked Ed Roman in Connecticut to build this neck into a guitar for me. When he received the neck, he was excited. He said it was absolutely stunningāhe did not expect this! Ed wanted to use a koa body. I said, "What's that?" Exotic woods were not as common then as they are today. He explained it was from Hawaii and he would send me a few body blanks and I could pick the one I like the best. I received them and picked the one you see here.
Ed asked if he could put the R&L Guitar Works name on it, and he had luthier Barry Lipman build it for me. Ed was big on gold hardwareāeverything is gold. The bridge and the electronics are all from Paul Reed Smith. They installed a piezo in the bridge, which I believe is from a Parker Fly guitar, and you can run a stereo plug from the guitar and split to two different amps to blend the acoustic with electric.
When I opened the case, I was blown away by the finished guitar. The Wizard traveled on the road with me playing gigs all over Wisconsin for more than a decade. Sidenote: Chris wanted to inlay a dragon in the headstock, made to look like the wizard was firing fireballs at it, but he ran out of time. I have no idea what ever happened to Chris, or if he's still building awesome lutes. My dear friend Ed Roman since passed away, but this beautiful guitar lives on!
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Tom Bedell in the Relic Music acoustic room, holding a custom Seed to Song Parlor with a stunning ocean sinker redwood top and milagro Brazilian rosewood back and sides.
A born storyteller, Bedell doesnāt keep his passion to himself. On Friday, May 12, at New Jersey boutique guitar outpost Relic Music, Bedell shared some of the stories heās collected during his life and travels as part of a three-city clinic trip. At Relicāand stops at Crossroads Guitar and Art in Gilbertsville, Pennsylvania, and Chuck Levinās Washington Music Center in Wheaton, Marylandāhe discussed his guitars and what makes them so special, why sustainability is such an important cause, and how heās putting it into practice.
Before his talk, we sat in Relicās cozy, plush acoustic room, surrounded by a host of high-end instruments. We took a look at a few of the storeās house-specād Bedell parlors while we chatted.
āThe story of this guitar is the story of the world,ā Bedell explained to me, holding a Seed to Song Parlor. He painted a picture of a milagro tree growing on a hillside in northeastern Brazil some 500 years ago, deprived of water and growing in stressful conditions during its early life. That tree was eventually harvested, and in the 1950s, it was shipped to Spain by a company that specialized in church ornaments. They recognized this unique specimen and set it aside until it was imported to the U.S. and reached Oregon. Now, it makes the back and sides of this unique guitar.
A Bedell Fireside Parlor with a buckskin redwood top and cocobolo back and sides.
As for the ocean sinker redwood top, āIām gonna make up the story,ā Bedell said, as he approximated the life cycle of the tree, which floated in the ocean, soaking up minerals for years and years, and washed ashore on northern Oregonās Manzanita Beach. The two woods were paired and built into a small run of exquisitely outfitted guitars using the Bedell/Breedlove Sound Optimization processāin which the building team fine-tunes each instrumentās voice by hand-shaping individual braces to target resonant frequencies using acoustic analysisāand Bedell and his team fell in love.
Playing it while we spoke, I was smitten by this guitarās warm, responsive tone and even articulation and attack across the fretboard; it strikes a perfect tonal balance between a tight low-end and bright top, with a wide dynamic range that made it sympathetic to anything I offered. And as I swapped guitars, whether picking up a Fireside Parlor with a buckskin redwood top and cocobolo back and sides or one with an Adirondack spruce top and Brazilian rosewood back and sides, the character and the elements of each instrument changed, but that perfect balance remained. Each of these acousticsāand of any Bedell Iāve had the pleasure to playādelivers their own experiential thumbprint.
Rosette and inlay detail on an Adirondack spruce top.
Ultimately, thatās what brought Bedell out to the East Coast on this short tour. āWe have a totally different philosophy about how we approach guitar-building,ā Bedell effused. āThere are a lot of individuals who build maybe 12 guitars a year, who do some of the things that we do, but thereās nobody on a production level.ā And he wants to spread that gospel.
āWe want to reach people who really want something special,ā he continued, pointing out that for the Bedell line, the company specifically wants to work with shops like Relic and the other stores heās visited, āwho have a clientele that says I want the best guitar I can possibly have, and they carry enough variety that we can give them that.ā
A Fireside Parlor with a Western red cedar top and Brazilian rosewood back and sides.
The Gibson EH-185, introduced in 1939, was one of the companyās first electric guitars.
Itās hard to overstate the importance of electric guitar in shaping American popular music over the last half-century. Its introduction was a revolution, changing the course of modern musical styles. Today, when we think of the guitars that started the revolution, we think of the Stratocaster and the Les Paul, guitars held against the body and fretted with the fingertips. But the real spark of this musical mutiny was the lap-steel guitar.
In the early 20th century, guitar music was moving out of the parlors of homes and into public spaces where folks could gather together and dance. Guitarists needed to project their sound far beyond where their wimpy little acoustic instruments could reach. Instrument manufacturers began experimenting with larger body sizes, metal construction, and resonators to increase volume.
Around this time, George Beauchamp began experimenting with electric guitar amplification. He settled on a design using two U-shaped magnets and a single coil of wire. Beauchamp was in business with Adolph Rickenbacker, and they decided to stick this new invention into a lap steel.
If we put on our 1930s glasses, this decision makes perfect sense. The most popular music at the time was a blend of Hawaiian and jazz styles made famous by virtuosos like Solomon āSolā HoŹ»opiŹ»i. Photos of HoŹ»opiŹ»i with a metal-body resonator aboundāone can imagine his relief at being handed an instrument that projected sound toward the audience via an amplifier, rather than back at his own head via resonator cones. Beauchamp and Rickenbacker were simply following the market.
As it turned out, the popularity of Hawaiian music gave way to swing, and electric lap steels didnāt exactly take the world by storm. But Beauchamp and Rickenbacker had proven the viability of this new technology, and other manufacturers followed suit. In 1937, Gibson created a pickup with magnets under the strings, rather than above like Beauchampās.
āWhen I plugged in the EH-185 I expected to hear something reminiscent of Charlie Christianās smooth, clean tone. But what I got was meatierācloser to what I associate with P-90s: warm and midrange-y.ā
The first page of Gibsonās āElectrical Instrumentsā section in the 1939 catalog features a glowing, full-page write-up of their top-of-the-line lap steel: the EH-185. āEverything about this new electric Hawaiian Guitar smacks of good showmanship,ā effuses the copy. āIt has smoothness, great sustaining power, and an easy flow of tone that builds up strongly and does not die out.ā
Picking up the 1940 EH-185 at Fannyās House of Music is about as close as one can get to traveling back in time to try a new one. It is just so clean, with barely any dings or even finish checking. Overall, this is a 9/10 piece, and itās a joy to behold. Speaking of picking it up, the first thing you notice when you lift the EH-185 out of the case is its weight. This is a much heavier instrument than other similar-sized lap steels, owing to a length of thick metal between the body and the fretboard. The catalog calls it āHyblum metal,ā which may be a flowery trade name for an early aluminum alloy.
This 1940 EH-185 is heavier than other lap steels in its class, thanks to a length of metal between its fretboard and body.
Photo by Madison Thorn
There are numerous other fancy appointments on the EH-185 that Gibson didnāt offer on their lesser models. Itās made of highly figured maple, with diamond-shaped decorations on the back of the body and neck. The double binding is nearly a centimeter thick and gives the instrument a luxurious, expensive look.
Behind all these high-end attributes is a great-sounding guitar, thanks to that old pickup. Itās got three blades protruding through the bobbin for the unwound strings and one longer blade for the wound strings. When I plugged in the EH-185 I expected to hear something reminiscent of Charlie Christianās smooth, clean tone. But what I got was meatierācloser to what I associate with P-90s: warm and midrange-y. It was just crying out for a little crunch and a bluesy touch. Itās kind of cool how such a pristine, high-end vintage instrument can be so well-suited for a sound thatās rough around the edges.
As far as electric guitars go, it doesnāt get much more vintage than this 1940 Gibson EH-185 Lap Steel. It reminds us of where the story of the electric guitar truly began. This EH-185 isnāt just a relicāitās a testament to when the future of music was unfolding in real time. Plug it in, and you become part of the revolution.
Sources: Smithsonian, Vintage Guitar, Mozart Project, Gibson Pre-War, WIRED, Steel Guitar Forum, Vintaxe
