My brain is filled with mostly useless information: Old Martin serial numbers, the evolution of body styles and drivetrains for Toyota Land Cruisers through the decades; the performance characteristics of every ski that I’ve owned since I was around 12 years old; memorable Ethiopian meals I've consumed; and the rough current whereabouts of nearly every luthier I've ever spoken to. I think about the latter every time I travel with my family, daydreaming about which guitarmaker’s shops I could possibly visit while my wife and son relax at the hotel pool. (I’m not great at relaxing.)
I bring this up because I was on vacation last week and I completely forgot that a forthcoming Fretboard Journal subject was a road trip away. I'm kicking myself that I didn't make that 90-minute trek, take a few photos, and see his latest creations.
I also bring this up because three weeks ago, on another trip, I was able to sneak in an unexpected, last-minute excursion. I went to Islip, New York to see one of the finest guitarmakers ever, John Monteleone. John's work is so peerless that it’s at the Met, his guitars regularly command six figures, and he's the subject of not only a full-length documentary but also a Mark Knopfler song. Who else could list those four credentials on their LinkedIn? When it comes to guitarmaking, he's the greatest. (Lest I forget, there’s also an entire Ben Harper album where he solely uses his Monteleone lap steel and, yes, there’s even a song called “Islip.”
Keep reading with a 7-day free trial
Subscribe to The Fretboard Journal Files to keep reading this post and get 7 days of free access to the full post archives.