John Reischman's Mandolin
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- Опубліковано 2 жов 2024
- In the world of mandolins, Lloyd Loar-signed Gibson F-5s from the early 1920s are considered the cream-of-the-crop. They've been the instrument of choice for legendary virtuosos like Bill Monroe and David Grisman and they often sell for around a quarter of a million dollars. Among the 200 or so Loars known to exist, Vancouver, British Columbia's John Reischman has arguably one of the very best.
In our latest Fretboard Film, we asked Reischman about his February 18, 1924-dated F-5 and the unlikely story about how he procured it (with some help from David Grisman). We also get to hear the mandolin played by its owner.
Filmed and directed by Matt Miles for the Fretboard Journal. Interview conducted by Mike Mezzatesta.
For more information on John Reischman, visit his site here: www.johnreischm...
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It is a great F5 but much of the tone is due to John's touch with it. My favorite memory was getting a private lesson with John and that great F5. I was also able to record John playing and comparing his Loar F5 to my Hutto F-45. I also went to Bakersfield Loarfest and listen to many Gibson Loar F5s being recorded and compared. I was in mandolin heaven for hours. Thanks John!
When Tony tells you to get that mandolin, you get that mandolin!
I noticed a couple things about the bridge at 2:17. Looks like minimal slot depth, very sharp at the top, little compensation. What about those string gauges on the G and D strings ? They appear to be octaves ?
Just curious !
I believe that some of the video shots are actually of his Red Diamond mandolin, or an octave mandolin/mandola he has at his house. That may be where the octave strings are coming in to play. Hope this helps :)
I'm always amazed by the instruments that seem to be touched in a special way. Loars are renowned for their tone, but in someway this one was special. I have a Collings mandolin that seems to behave this way. It just sounds different than the same models other people have. There are diamonds in the rough, and then in this case, bigger diamonds within other diamonds.
Its great to see a vintage instrument like this getting played instead of sitting in someone's collection. Also, I love the demonstration of the different tones one can produce just by changing the angle of the pick.
$250 in 1923 for a brand spanking new F-5 Master Model, would equal $3,571 in 2017. Just a little trivia.
In the shoulda/coulda/woulda department...I coulda purchased a 1923 Loar-signed F5 for 2000 bucks in 1974. Back then my dirt-hippie ass could scarcely afford the 300 bucks for an Ibanez F5. I think I lived on cat food for a month to save up for that.
I've been blessed to hear John and this mandolin up-close in a workshop. Both blew me away!
Me too AND I got to play it! It was surprisingly light in weight, the fingerboard felt very different from my Northfield but I soon adjusted to it. It sounded wonderful. I never expected John to allow us to play it. Such a nice guy.
John deserves the instrument and I believe it deserves him to be it's owner. 2 class acts together for all to enjoy !!
I haven't the ear, expertise, or training to closely evaluate mandolins. Am glad to accept that Lloyd Loar's instruments were outsanding marriages of art and craft of the highest level. Still, with hundreds of thousands of luthiers building mandolins since these arrived, how is it that only LL's seem to get all of the kudos? Should we accept that no other mandolins match or exceed the sound and playability of these two hundred or so mandolins?
The real question is how did he pay for it?
I’ll bet $150k minimum
I wish the mandolin in the background was not so loud when John is talking. I always find that annoying. Pity as a great interview.
There’s tone for days in this box. Such a great instrument. It’s where it needs to be!
Anyone know if the scallop at the end of the fretboard is original? I saw Chris Thile playing his Loar and the fretboard ended abruptly with no extension at all. Thanks
Sam Bush's is the same, no extension. He cut it off. There are some interesting Loar stories out there. Like Mike Marshall and Todd Phillips doing surgery on Mike's Loar with a screwdriver and a hammer to remove the Virzi!
Wonder if it has an Engelmann Spruce top since it is such a warm sounding instrument?
I was lucky enough to see John and his band when he came to Edinburgh. An amazing show but the interesting thing for me was during the break when he went to the bar his mandolin in it's case was with him. He never let it out of his sight at any time!
Such a beautiful song on the mandolin. "Somewhere over the rainbow". I was singing the lyrulics in my head as you played. Thank you so much!
What a terrific player and person!
The tone he gets is unique. It’s a combo of his style and this particular Loar? Amazing.
It's wonderful and fitting that John got this instrument, a fine gentleman and great musician ! What a gift he decided on living here on Canada's west coast.
has anyone else out there tried that full contact bridge solution to a sunken area near the foot of the bridge.I have this problem and am considering this fix.will it change the tone?
That mandolin looks as if the fingerboard has a radius?
Lovely! A work of art.
It was interesting to hear him play a Jacob do Bandolim Choro on this magnificent instrument. It just doesn’t sound right without coming out of a great bandolim.
I would love to hear it! Have searched around but can’t find the recording. Do you know where I can listen to it?
I’ve sat with John and looked over and talked about this instrument, and based upon a couple other friends who are strong and clean players, I remain quite convinced that John’s Loar sounds the way it does because it’s spent many thousands of hours in John’s hands. He’s a notorious tone monster, and any instruments of quality that get played by guys like this will usually rise to the occasion and become tone monsters too. He’s a lucky man and knows it! 🎵🙏🎶
John is a favorite player, a long time acquaintance, and an absolute gentleman!
Hello! I'm relatively new to the world of mandolins, but love the sound of John Reischman's playing. What is the name of the first tune he plays in this video? Thank you.
Indiana Firefly. If you will send me an email, I can forward you tabs :)
That would be awesome! My email is jpsimonds@gmail.com. Thank you for being willing to do that.
Andrew Buckner hey man could I get those tabs still? Hajonious@gmail.com
Music in the background is too damn loud!
Anybody know the *second* piece he's playing (the one after Indiana Firefly)? Sounds like a nice little choro...
+Rich Breen It's called Vou Vivendo by Pixinguinha
+Rich Breen that's Vou Vivendo by Pixinguinha. The version he plays is the Jacob do Bandolin's version.
Anyone know
is the last tune he played?
Frank Hogan Somewhere over the rainbow
What about John e. Hutto...?????
Autentic Virzi tone
I'd be too scared to go out gigging with such an important instrument.
The instrument's purpose is to be employed in live music performance. It would be a shame to have it be "safe" in a vault or museum. It is undoubtably insured. Eliminate fear from your life. Fear is how someone like trump can succeed.
I agree with musicofanatic. It really makes me sad when people baby these things and just keep them stored. Like sure, of course you want to be careful with the thing, but they really are made to be played at jams, in concert, in the studio and so on. They are expensive for a reason, being that they look and sound like nothing else. Let them be played, that would be what Lloyd Loar and any other skilled luthier would want for their instruments.
@@petterforsberg1773 I also find it fantastic and wonderful that instruments like this were made in such limited quantities and most still in use at nearly 100 years old! I play a 1919 Gibson A-3 (100 years old in a coupla weeks!) but, in comparison, they made nearly a bazillion of those.
Yes to the points made about the instruments like this should be heard and not just seen. But that still doesn’t eliminate the fear of traveling with an instrument that has a price tag of $200,000.
@@JamesJessenfedden If you can't afford to lose $200,000, then don't pay $200,000 for a mandolin. Buy one that you can afford to lose, and enjoy it often and in many settings.
Right now ,the mandolin to have and play is one made by john e hutto.....
I find it to be a bit lacking, I mean John’s touch is everything but the mandolin itself sounds a bit anemic to my ear.
I find it sounds a lot like a ukelele , they can run up to 700 bucks, I see this one has eight strings most likely a 1000 bucks to rich for me I'd buy the uk they sound the same.
You don't know shit
+JohnnyC Major Wow...
If this "8-string ukelele" only was 1000$ I would drive the distance of China from the US to get it. Sounds nowhere near to a ukelele. Do some listening, Bud.
JohnnyC Major: Your comments regarding John Reischman's Loar mandolin are almost criminally naive. I suggest you do some basic research on mandolins-- and a lot more listening!
A troll if there ever was one.