Okay, I'm almost done here....I'm bushed. I've been putting in as much time on the guitar as I can, but I have two other jobs that I have to show up for. I'm not independently wealthy, and the only way I get to participate in the world of fine guitars is to know a bit about them and to play them well enough to get paid for it.
And save my pennies, naturally.
Well, my guitar fund took a major hit when I bought the Klepper KJ - no, my guitar fund has essentially ceased to exist for a while. But it's worth it. I can't just write a check like a lot of more fortunate people can, but that's okay.
I have to work for it, and maybe it means a bit more to me as a result. I literally have to save my pennies - I've got a tall liter size German stoneware beer mug I found at a thrift store that I toss my pocket change into, and while that's not the only source of savings that I use, every little bit helps.
I've been extremely fortunate that I've been able to serve as a consultant and artist endorser now and then: I helped design a couple of Tacoma guitar models, and got a few guitars in return. I helped design the National Reso-Phonic RM-1 mandolin, and got one in exchange, which is wonderful because I use it all the time.
This sort of agreement has happened for me a few times at least in part because I have a good set of ears, and probably more important, I can analyze what I hear and communicate that in simple language.
Anyway, what my ears are telling me is that this KJ is an incredible guitar, one of the best I've ever played, whether we're talking about my old friend Jimmy Baggett's pre-war Martins at Mass Street Music or John Pearse's guitar room full of wonder or any of the guitars I played at Mandolin Brothers or Gryphon Stringed Instruments.
I also know a fact that I wouldn't have the frame of reference to understand what I've got here unless I
HAD played all those incredible guitars, whether vintage or modern, at stores or at Healdsburg. It's a never-ending education.
And, as George Gruhn says, the more you know the luckier you get.
Just as I can't afford to buy many guitars, and mostly do swaps, trades and partial trades, Howard Klepper can't afford to build me a free guitar or even discount one for me beyond giving me my choice of back and side woods without charging me for the upgrade. And I never thought I'd get an instrument from him, frankly.
But we've always enjoyed each other's posts on this and other forums, and have maintained a lively offline communication ever since we first encountered each other. After a LONG time we started talking on the phone once and awhile, and we both enjoyed the blue sky "what if" conversations, even though we're from different faith traditions.
I'm an Episcopalian, he's a Luthier....
So, as you can imagine, it took several YEARS before we went from "wouldn't it be cool if..." to "what I might like someday is..." to "you know, I could build that for you..."
Though it took NO time at all for me to say: "You know I can't afford that."
I'm a bus driver with a second job as a church musician, and sometimes I gig out. But I don't have huge amounts of money.
And that's where it would stay. But we kept having these conversations, though usually months apart. But we'd pick up right back where we'd left off the last time we spoke.
For example, I might make rude flatulent noises at the thought of Adirondack spruce working any differently than any other spruce when we spoke in February, but then the next September when we spoke again Howard would instantly make the reply he would have made had we stayed on the phone ten seconds longer the last time.
Eventually that added up, and eventually we both wanted an Advanced Jumbo in walnut so much that we worked it out. It's not that much for lots of folks, but I drive a school bus.
A month ago I paid Howard the last dime I owed him. "Quick pay makes fast friends!" I told him. "How many years did this take me?"
"It was months, Wade. Not years."
"Felt like years....I had to sell a few instruments to put the money together to buy this."
I expected Howard to take the guitar to Healdsburg, WANTED him to take it there to show, and of course I wanted him to put it in Eric Schoenberg's hands, because to me that would be like getting Tommy Emmanuel to play one of your guitars for some of you.
But Howard wanted me playing the guitar before then, bless his heart. So here it is.
Anyway, now I have it, now I own it completely, and it's just a great guitar. I worked for it, and maybe even I deserve it (even though I can't play it as well as it deserves to be played.)
In a few more days when I have some fresh musical insights, (and I get this upcoming priest ordination on the schedule behind me,) perhaps I'll post some more about how the guitar is developing.
This guitar wouldn't exist if Howard and I both hadn't wanted to try something new, yet grounded in well-proven theory and practice at the same time. And - man oh man - if you need proof that he nailed it, come visit Alaska, give me a call and then play this guitar.
But you'll have to wash your hands first, and if you have a big honkin' rodeo champion-style belt buckle, you'll have to swivel it around to the side before I'll let you within six feet of the guitar. Any scratches or gouges that go into the surface of the KJ, I'd rather be the one who put them there, thank you very much.
Short version: I like the guitar. It sounds good. Some of you might want to consider ordering a Howard Klepper guitar for yourselves.
It's world class, that's all there is to it. Hope that makes sense.
Wade Hampton Miller