"Seasons" with 4 Monteleone guitars is released!

rpguitar · #1 12-08-2011, 09:29 PM

I don't know how many of you are aware of this, but for a good portion of the past year, the Metropolitan Museum of Art in NYC had an exhibit called "Guitar Heroes," which focused on the tradition of Italian-American lutherie in New York City. D'Angelico, D'Aquisto, and Monteleone were the featured luthiers of the exhibit. The Teardrop guitars were present, as were numerous famous and otherwise spectacular archtop instruments.

A culminating highlight was a live performance by guitarists Anthony Wilson, Julian Lage, Chico Pinheiro, and Steve Cardenas of Wilson's "Seasons" suite, on which each player performed using one of the Monteleone's stunning Four Seasons guitars (one each for Winter, Spring, Summer, and Autumn).

I saw the exhibit, loved it, but missed the show. Now the DVD and CD are available, finally! The combined package, which includes an immediate download of the concert audio in 320k MP3 quality. Oh my... wow, what a sound those acoustic archtops make! Just beautiful.

In case anyone is interested to buy a copy, here's the website:
http://anthonywilson.bandcamp.com/

Patrick2 · #2 12-08-2011, 10:29 PM

Roger; I visited with Buzzy yesterday up at Lark Street Music. He's got some great large (3' X 4') photos in his shop of "The Four Seasons". I'm sure you know he's a good friend of John's and he occasionally has one or 2 of John's guitar in his shop. . . . just as eye candy.

He's also got a 19" Stromberg hanging on his wall of arch tops. If you haven't stopped in there for a while, you should pull that 19" cannon down and chunk a few chords on it. BOOM!!!!!

rpguitar · #3 12-08-2011, 10:48 PM

Hey Patrick, that's cool! I didn't know you made it up this way occasionally. I'm afraid to play that Stromberg, but I play all the expensive Gibsons that Buzz gets (L5s, Super 4s). I was there maybe a month ago.

Did you get to see the Met exhibit? It was inspiring. And all I could think of whilst pining after those lonely instruments in their glass display cases was "I want to PLAY that!" Give a listen to the Monteleone Four Seasons guitars in the hands of these talented players. Really great stuff. It's like an archtop version of "Passion, Grace, and Fire" or something.

Flat · #4 12-09-2011, 02:57 AM

Cool stuff.

YouTube Video

oldane · #5 12-09-2011, 06:25 AM

Quote:

Originally Posted by rpguitar

I'm afraid to play that Stromberg, ....

Be brave - go play it! There's likely a nearby bank to rob so you can buy it.

cjm · #6 12-09-2011, 06:32 AM

I've always admired the Italian sense of aesthetics:

rpguitar · #7 12-09-2011, 07:03 AM

Agreed. They make nice looking things.

fws6 · #8 12-09-2011, 08:10 AM

I was not able to travel to the exhibit living on the other side of the big pond... but I did buy the catalog ;-) So will have to divide my my time between looking at the pics of all those beautiful (mostly Rudy's ?) instruments, and playing my own DAngelico and Daquisto guitars ;-)

Although (deliberately or not) Monteleone has a bit put himself on the throne as the only successor to the DA heritage; I am not to sure whether future generations will see it like that as well ?

At the end of his career, Jimmy DA of course built his modern instruments, but at the same time also focused on the working player (laminate electrics, Fender collaboration). And his instruments were ornamented less and less. Monteleone seems to be going in the opposite direction. He builds only very few, highly exclusive instruments, which are decorated to the extreme. On the above picture of the 4 season guitars I really like the two on the left as nicely decorated presentation grade instruments, whereas I find the two on the right overdone. Comparing to the "richness" and "evenness" of DAngelico's elborate Art Deco design I find those Monteleone's a bit kitschy. Too many different design ideas combined into one instrument.

Anyone agree ? or am I standing alone here ??

Patrick2 · #9 12-09-2011, 09:36 AM

fws6 . . . to answer you question, I don't think that yours is an opinion to be agreed with.. or disagreed with. But, rather, your own opinion to be shared with others. I respect that opinion and as stated I will neither agree nor disagree with it. I will only add that I think you're assessing John's works as compared to what the original Master . . John D'Angelico, intended for his guitars to be, which was the best sounding and best playing guitars he could possibly make . . . and to some of them, add a little "flare"? Jimmy, who in my own humble opinion was considerably more talented and skilled than his mentor, kinda took that to the next level, as it related to both functionality and art. I doubt there will ever be another Jimmy D'Aquisto. But then, everyone doubted there would ever be another John D'Angelico too.

With Jimmy's premature passing, it is John Monteleone's skills, talents and vision that has caused his assention to "The Throne" . . . if you will. But, where I think you might be misinterpreting John Monteleone's intentions with SOME of his guitars ... is that some are not designed for the intent purpose of becoming a working man's tool . . . . just as that beautiful Ferrari was not designed to be strictly a mode of transportation to and from a 9 to 5 hourly wage job. If you think these are over the top . . . you should see Bozo's work. Talk about bling!!!!

And to YOU cjm . . . thanks a lot for posting that picture of Sophia. What were you thinking??? Now I'm going to be horny all damn day. What a gorgeous lower lip!!!

fws6 · #10 12-09-2011, 10:10 AM

Patrick - Sure you are right a 100% just saying these things as a matter of "opinion" - afterall this is a discussion board. But that is not a Ferrari - it is a Lambo !

My point would be; no matter if you like sports cars or not, that Lambo is beautiful design by any means. Because everything is coherent with each other. The colors are red black and silver. All the lines and curves are fluent and follow the same intention. I find the same in a highly decorated DAngelico NYer. Although very elaborate, everything just seems to match perfectly.

On the Monteleone's I just feel he's excellent and daring on some; like the two on the left. But is going overboard on the others. The two guitars on the left are like the Lambo. The two on the right to me seem like a Lambo, with a futuristic titanium spoiler, and caterpillar tracks. And a matchin caravan.

Again, you are right that it is all just a matter of personal taste and esthitics and, like most things musical, are impossible to debate.

kamlapati · #11 12-09-2011, 10:49 AM

I luckily was in NYC at the right time and I attended the concert at the Met! I talked to Anthony Wilson after the show, shook Monteleone's hand, etc. It was a memorable day for sure.

Monteleone's guitars are beautiful and sound great. Heck, I even think he is a good man and a humble man. But IMO his presence in a show largely about D'Angelico and D'Aquisto can be thought of as Rudy's PR to increase the value of his inventory / collection.

BTW, can't wait to hear the CD / video.

Patrick2 · #12 12-09-2011, 11:30 AM

Quote:

Originally Posted by fws6

Patrick - Sure you are right a 100% just saying these things as a matter of "opinion" - afterall this is a discussion board. But that is not a Ferrari - it is a Lambo !

My point would be; no matter if you like sports cars or not, that Lambo is beautiful design by any means. Because everything is coherent with each other. The colors are red black and silver. All the lines and curves are fluent and follow the same intention. I find the same in a highly decorated DAngelico NYer. Although very elaborate, everything just seems to match perfectly.

On the Monteleone's I just feel he's excellent and daring on some; like the two on the left. But is going overboard on the others. The two guitars on the left are like the Lambo. The two on the right to me seem like a Lambo, with a futuristic titanium spoiler, and caterpillar tracks. And a matchin caravan.

Again, you are right that it is all just a matter of personal taste and esthitics and, like most things musical, are impossible to debate.

I'm not at all familiar with that model Lambo. I saw the hood emblem and though it was the Ferrari horse. Either way, Ferrari or Lamborghini, it's Italian and it makes me proud of my heritage. On another note, you twice stated in your email response to me "you are right". I can't tell you how much I appreciated hearing/reading that. During the days when I'm working from my home . . . as I am today . . . most of my conversation is with my wife. As such . . . I NEVER hear the words . . "you are right".

rpguitar · #13 12-09-2011, 11:48 AM

It's a Miura, introduced in 1965 and made til '73 or thereabouts. My personal nomination for most glorious car ever.

fws6 · #14 12-09-2011, 12:17 PM

it is a 500,000 car though so before getting one of those I'd rather buy a sh*tload of guitars (including a classy looking Monteleone)

rpguitar · #15 12-09-2011, 12:21 PM

OK, sorry about the tangent about the Lamborghini. Not that looking at attractive women or cars is ever really a waste of time.

It seems that Mr. Monteleone has been elevated by recent events into a different category; he's not just a luthier or a craftsman, he's an artist. His instruments are surely exquisite music making things, but they transcend that humble, practical plane and enter the world of fine art. It's a shame to all but the wealthiest player/collectors among us. I inspected those guitars up close and they are utterly gorgeous creations. Clearly, the guys on the "Seasons" recording proved that they are phenomenal instruments, too.

I kind of feel a similar way about Ken Parker's recent archtops and their $30K price tag. His guitars are not marketed as fine art - they lack the bling and have a totally different design objective - but they are such an exclusive object that they can only be appreciated by a tiny few. Kind of like that '69 Lamborghini Miura, I guess. Perhaps that is the fate of extremely rare and beautiful things, eh?

kamlapati · #16 12-09-2011, 01:29 PM

The point isn't only whether Monteleone's creations are great art or have been elevated beyond the ordinary man, it is also whether he should be thought of as a descendant of the D'Angelico and D'Aquisto lineage. The Met show presented his lineage as an accepted fact, but that should be disputed.

Once again, I like John and respect him, but he was not one of Jimmy's several apprentices. The word on the street is that Jimmy didn't like him. Linda Manzer was an apprentice. She should of been in the Met exhibit but wasn't. I am afraid that although Pensa's contribution to the exhibit were great and worthwhile, he was allowed a little to much leeway in creating the historical narrative.

rpguitar · #17 12-09-2011, 03:29 PM

Well, to be fair, the D'Angelico Legacy thing is an inference that I think some are making. It wasn't a focus of the exhibit. The exhibit was really about the tradition of Italian-American stringed instrument making in New York City (where the Met is!). That geographical limitation explains the exclusion of Bob Benedetto, whom nobody would deny had a tremendous influence on the archtop guitar renaissance these past 20 years.

I realize that with only three guys highlighted, only one of whom is alive, and the second one apprenticing under the first one... it's natural to make the connection or assumption. But I don't think it's necessarily an overt claim being made by anyone. Of course, maybe I'm naive and its very much implied. Dunno... I don't know Monteleone's work well enough. He's Italian, based in New York, makes sick archtops, and has gray hair. Maybe that's close enough? Who else is a candidate? (Or are there truly any candidates?)

Patrick2 · #18 12-09-2011, 04:07 PM

Quote:

Originally Posted by kamlapati

The point isn't only whether Monteleone's creations are great art or have been elevated beyond the ordinary man, it is also whether he should be thought of as a descendant of the D'Angelico and D'Aquisto lineage. The Met show presented his lineage as an accepted fact, but that should be disputed.

Once again, I like John and respect him, but he was not one of Jimmy's several apprentices. The word on the street is that Jimmy didn't like him. Linda Manzer was an apprentice. She should of been in the Met exhibit but wasn't. I am afraid that although Pensa's contribution to the exhibit were great and worthwhile, he was allowed a little to much leeway in creating the historical narrative.

Not sure why the objection to the reference of John Monteleone or his inclusion in this display. As you speak of correct lineage, remember that the intent of the display was to focus on the art of crafting and building stringed instruments as it dates back to Cremona Italy . . . and its more modern descendents eventually settling into the New York area. Regarding Linda Manzer . . . a fine luthier. Not necessarily in the same league as the afore mention 3 luthiers. But, perhaps if her name was Linda "Manzoni", and she lived in the metro NYC area (which typically includes Long Island) she and her works might have indeed been included in the display. Bob Benedetto is a fine Italian luthier. His guitars and his name were not prominent because he's not from the NY market.

I do not think the display was intended to be only about those who might have trained under John D'Angelico or Jimmy. If that were the case, there are far more active luthiers left out of the display than just Linda. It's about Italian American lutheries from the NY area . . . which is also why the disply was first featured at a NY museum. Also, do you really think that Rudy's guitar collection or John Monteleone's guitars need this type of event to further increase their already obscene values? (Buy the way, Rudy also has Benedettos and a Manzer in his collection.)