Embergher at Gruhn's Not for Sale

[margora]

I was at Gruhn Guitars in Nashville on Saturday morning, trying out instruments. In walked a gentleman with a bowlback case. I was at a distance when he opened it but it was obvious he had a very high end instrument. After a suitable interlude (he was deep in discussion with George and various staff) I asked him who made his mandolin. He replied: "A man named Luigi Embergher in 1930. Would you like to try it?" Yes, indeed. It had MANY ribs (I didn't count), the ribs were fluted, it had the characteristic Embergher headstock, the narrow width fretboard and the V-neck. In excellent (and, apparently original) condition, it had a most exquisite sound and was very easy to play. I chatted with the owner, Laurie Phillips, who was visiting from England. He was (maybe is) a student of Sue Mossop's, and evidently knew all the relevant people in British mandolin circles. I asked if the Embergher was for sale and he said "No". He simply brought it along to compare the sound with the various early 20th century Gibsons that Gruhn had on hand.
On the way home I stopped at Tower and found/bought the only copy they had of Alison Stephen's new CD (Duo Mandala). An Embergher kind of day, if there ever was one!

[margora]

I forget to add: Mr. Phillips evidently has owned his Embergher for close to 40 years, having traded a banjo for it (if I understood correctly).

[Jim Garber]

Actually Duo Mandala's Tapestry (http://www.alisonstephens.com/tapestry.html), Alison with Lauren Scott on harp, came out last year or so. Her newest is Con Espressione (http://www.alisonstephens.com/espressione.html) is just Alison playing solo. On it you can hear her soulful playing on her 1933 Embergher.

I would love someday to have the honor of playing such an instrument. Nice that you had that experience, Bob.

Jim

[margora]

Yes, Jim, you are right, I forgot she had a newer solo CD.

[Eugene]

You are a lucky dude, Robert.

[Bob A]

A thrilling encounter, if I may say. I'd love an opportunity to A/B a top-end Embergher with my Pecoraro, and a Cerrone if such a thing could be found, te hear how they compared with one another. Who'd'a' thunk such a rara avis would turn up at Gruhn's?

As A violinist, Robert, how did you find the neck of the Embergher? More or less pleasant/useful than the more usual examples? (BTW, was the bowl rosewood or maple?)

[margora]

Actually, I don't play the violin per se (I have dabbled), I play classical guitar and mandolin (also mandola). However, I have played a domra recently with a very similar style V-neck. The Embergher V is quite pronounced. It took a slight amount of adjustment, but only slight; playability was outstanding (a bigger issue of adjustment than the neck shape may be the neck width, which is quite narrow). It is clear that, with a little playing time, one could play quite quickly on the Embergher (it had a "fast" neck). I'm not sure if the back was maple or rosewood; having only a limited amount of time I elected to play it rather than study it. But, as noted, the ribs were many in number and definitely fluted.
Re: Gruhn, you'd be surprised what shows up (although this is definitely the first high end Italian bowlback I've seen there). For example, he has, at the moment, a 1920 Antonio Emilio Pascual classical guitar, probably the greatest South American maker of the early 20th century.

[Jim Garber]

The narrowness of the Emberghers seems to ne the most mentioned of their deficiencies. I assume that it is compensated somewhat by the radiussed fingerboards.

Jim

[margora]

Yes, the fingerboard clearly seemed to have a radius. As I said, after a bit of an adjustment I did not find the narrow width to be a problem.

[Bob A]

Re Gruhn: I found an odd Conde flamenco there; the scale is about 660, but the body is nearly child-sized. The bridge attachment is far down the top, and there's no reason that it should sound as good as it does. One of the pleasures of having a world-reknowned shop is doubtless the varied stuff folks bring thru the front door.

I've found the Pecoraro to have a fast facile neck. Some of it is perhaps the attention paid to the fret work: the care taken in crowning them makes it pleasant indeed to play. The narrowness of the neck seems to make playing fast passages easier, somehow.