The model 00-28C was produced between 1966 and 1994 in a total production run of 1,412, but only during the years 1966, ’67, ’68 and ’69 were they made in Brazilian, and that total is smaller, being less than 938. In 1968 301 were made – 300 fairly prosaic, ordinary ones, plus this exceptional one (as it was told in the prophesy). Similar in some ways to Willie Nelson’s “Trigger” N-20, except that the shape is different, as is the trim, bridge configuration, rosette and fan bracing – well, both guitars are classical and both are made from Brazilian rosewood, only one has two holes in the top. According to Longworth, “In 1962 the ‘C’ series classic replaced the [older] ‘G’ [for ‘Gut’ strings] series. These new models had a rounded upper bout, a body shape typical of all Martin guitars made up until about 1929.” He continues to say that although the prototypes of the 00-28C were #181107-09, made in 1961, the model was not added to the line until 1966. In that year, 1966, the 00-28C was added and, sadly, the 000-28C was deleted.
There are those who would convert a guitar like this to a flattop steel-string fancy Brazilian rosewood Grand Concert like, perhaps a 00-45 with snowflake inlays. We, however, will have none of this revisionism – as long as this little feller lives under our roof no one shall harm a hair on its fuzzy, wuzzy headstock. Its voice is rich and robust, full and fitting. It is gloriously appointed with four plies of black and white purfling around its languorously curved top; with a soundhole rosette made up of three concentric rings of 5- and 7-ply purfling. It has crème ivoroid bound sides, a repeating geometric pattern of crème and black rectangles as its backstripe, a carved diamond dart behind the nut, six original three-on-a-plate ivoroid button tuners, a slotted headstock, ivoroid triangular heel cap and ivoroid butt wedge bordered in crème and black lines. Its fingerboard with is 2” at the nut and its string spacing at the bridge is generous at 2 5/8”. Its headplate is Brazilian rosewood and at the top, near the rounded cornered headstock is positioned the old style “C F Martin & Co., Est. 1833” black-bordered burnished gold decal in its smaller version. The black fingerboard is neo-classical meaning “sans inlays” but, happily, there are seven snow white position markers (yes, you can refer to them as “dwarfs” if you wish) on the bass edge of the ‘board which “serious” classical guitars are without.
There is an area on the face, below where the pickguard would be if a classical had a pickguard, in which either fingernails or a plectrum made contact with the guitar many thousands of times and the finish was worn. Near the waist there are the 600 fingernail marks, and below that is the wear spot, measuring around 1 ¾” x 1”, above and to the on the treble side of the bridge. The entire area, measuring approximately 5” in length by 3” in width, was in the past restored – first the indentation in the top from play wear was apparently gradually drop-filled with lacquer and when the surface was basically level the larger area sanded and resprayed. This work was perhaps not done by the Martin Company.. This area of “Phil” does not call attention to itself when looked at straight on – but when one peers down upon it from above the filled in area that was brought up to level becomes more visible. In the interests of full disclosure (as Richard Thompson says, we wouldn’t have it any other way), there are minor nicks, chips, dings, scrapes and scuffs on the edges of the headstock and the same marks found in smaller numbers on other surfaces. There is a 2 1/8” long touched-up diagonal scratch in the lower portion of the top near the center. There are areas on the back of the neck (back of headstock, area around and below the diamond dart and elsewhere) that appear to be oversprayed. In fact, upon considerable inspection, we believe that the entire guitar has been oversprayed, however the overall appearance is in keeping with what is expected for a forty three year old guitar.
This is an American-made classical guitar with the sound that the most elite players yearn to earn, the vision that makes them boast the most, that scent for which they’d repent if it meant that they’d lent discontent to Kashtent (the capital of Uzbekistan). It is the sweet sound of sonic sovereignty that comes only when one owns a guitar that, if it were made anew today by this revered manufacturer, would probably sell at street price of around twenty thousand kilobucks. As overly economical as this may seem, this proud classic beauty is however, quite affordable.
The price is $3087 at our discount price, or $2995 at our Cash Discount Price, however: THIS IS PRESENTLY "ON HOLD" FOR A CUSTOMER, but call us (718 981 8585) to request "next dibs."