Alembic started in 1969 when Ron and Susan Wickersham met at Pacific Recording Studio in San Mateo, California, where Ron was creating the first multi-track mixing console and Susan had been hired to paint a lighting controller At the time, Ron’s main job was design engineering at Ampex, with audio recording being a side interest. He eventually left to fully dedicate his efforts to the emerging field of multi-track recording.

Together, Ron and Susan formed Alembic and started working with the Grateful Dead, a band known for their interest in enhancing the quality of their sound. Alembic then relocated to Novato, where they shared office and rehearsal space with the Dead.

During this time, Alembic helped the Dead keep their gear in shape for both road and studio performances, specializing in electronics. Ron Wickersham even invented the now widely used active guitar electronics and installed them in Phil Lesh’s EB bass. Mica explained:

He thought he was just solving a problem for one person, but he ended up making active electronics a thing. So, if you ever need to put a battery in a guitar, you can thank my dad. He did it first.

Additionally, Alembic began to work on live recording, believing it to be the best way to capture the true essence and electricity of the music. Notable live recordings include the Grateful Dead’s Live/Dead and Europe 72 albums. Alembic was also hired to provide the sound system and record the soundtrack for the infamous 1969 Altamont concert, which was filmed by the Maysles Brothers and featured artists like The Rolling Stones, the Grateful Dead, and The Jefferson Airplane.

Alembic moved to San Francisco in 1970, continuing to focus on customizing guitars and refining their electronics package. Additionally, the company’s live recording and PA work became a significant part of their business during this period. Ron Wickersham also served as chief engineer for the Grateful Dead’s legendary Wall of Sound sound-system.

We asked Mica to explain how a guitar gets designed and built at Alembic:

Everything starts with a pencil here. And not just because I’m talking to Blackwing—it’s how we’ve always done it. When we design a custom shape, we’re gonna put pencil to paper. If we’re doing custom inlays, my mom and I always start with pencil on paper. Even when my mom is selecting where we actually place the templates for where we’re gonna cut out the top wood, she’s gonna mark that with a pencil.

We use machine tools and hand tools. We have band saws for cutting the wood out. We do all of our clamping by hand. We had a CNC [Computer Numerical Control] machine before any of the large guitar companies did. And it wasn’t to make a lot of guitars, but to make them more precisely.

We use it to make the slots on the fingerboard for where the frets go, especially for making custom scale lengths. That machine, her name is Nancy. Everything is custom to her, she doesn’t know the difference between a standard and a custom fingerboard. But, each one is slotted precisely. So if somebody needs a 33-inch scale, we can make that and we don’t even charge extra for it because we set up our whole shop to believe that ‘custom is normal.’

By 1971, Alembic had a state-of-the-art 16-track recording studio in San Francisco, a customizing business for guitars and PA equipment, and a small music store. The studio saw many famous artists such as Stephen Stills, Jerry Garcia, Santana, Gordon Lightfoot, Hot Tuna and even the San Francisco Symphony.

Throughout the 70s, Alembic continued to innovate and expand. In 1973, they began manufacturing a standard high-end instrument, marking the advent of an entirely new genre in instrument building. In 1974, they left San Francisco for Sonoma County. By 1976 electronics engineering and instrument production were consolidated in one facility in Cotati, CA. In 1976 they began producing the first graphite-neck basses and guitars, first played by John McVie, John Entwistle, and Stanley Clarke, who acquired his first Alembic bass in 1973.

As a custom shop, Alembic has always been attentive to the specific needs of its customers. The business has adapted over the years, but remains true to its original purpose:

Our purpose is to make finely-crafted tools for people who need them. As long as there are musicians who need to express their ideas, we’ll be building them guitars.

Learn more at the Alembic website.

The post A Conversation with Alembic, Legendary Custom Guitar Shop appeared first on Blackwing.

Garcia’s journey into visual arts began at a young age and was nurtured at the San Francisco Art Institute, but his focus shifted to music after a life-changing car accident in 1961. Despite this shift, Garcia never abandoned his passion for visual art. Much like his approach to music, Garcia’s art was characterized by spontaneity, playfulness, and a spirit of exploration. His preferred mediums were watercolors and ink, both of which allowed him to express his creativity freely and directly.

In his watercolors, Garcia’s use of vibrant shapes and saturated colors created pieces that radiated warmth and vitality. His landscapes, often representing sky, earth, and water, conveyed a rich and generous spirit. Garcia also favored the immediacy of ink, a medium that leaves no room for corrections. His ink works, characterized by brief, lively strokes, demonstrated his talent for creating powerful art with minimal elements.

Garcia’s visual art was influenced by Picasso, Ernst, Klee, Van Gogh, and the Expressionists, yet his work was undoubtedly his own. He filled sketchbooks with notes and drawings, creating pieces that were light-hearted and uninhibited. “A line on paper is like a note in the air,” he once said. Once it’s out there, there’s no taking it back. Garcia’s secret, apparently, was to just keep creating.

“A line on paper is like a note in the air.” —Jerry Garcia

Despite his modesty about his visual art—Garcia once quipped, “I hope no one takes them too seriously”—his work began to gain recognition in the late 1980s and early 1990s. Today, Garcia’s visual art is part of several major public and private collections, testament to his enduring artistic legacy.

Blackwing Volume 710 is our tribute to Jerry Garcia and his fusion of visual and musical expression. A slice of his painting “Curves & Lines” is printed on each pencil, which features our soft graphite that is ideal for both drawing and songwriting.

Learn more about the Blackwing Vol. 710 Collection

The post Like a Note in the Air: The Visual Art of Jerry Garcia appeared first on Blackwing.

WHEN:
Thursday, September 21st, 2023
Doors at 3:30 PM CDT
Show at 4:00 PM CDT

WHERE:
Compass Studio Sound
916 19th Ave. S
Nashville, TN 37212

HOW TO ATTEND THE SHOW:
The show will be FREE and open to all attendees of AMERICANAFEST. Must have a valid AMERICANAFEST Festival Pass to attend. Purchase AMERCANAFEST Festival Passes here.

BLACKWING SHOWCASE LINEUP:
WILLY TEA TAYLOR
Willy Tea Taylor is a father, brother, and son. His remarkable ability to write subjects in a simple yet profound way makes his songs a great place to lose yourself. Much of that comes from his upbringing surrounded by rolling hills and horses in a small town in California known as the “Cowboy Capital of the World”. Willy Tea Taylor’s new album “The Great Western Hangover” is releasing on Oct. 27th via Blackwing Music.

JOHNNY IRION
Troubadour Rocker, Johnny Irion has earned a reputation as one of the most exciting artists across the folk-rock spectrum. There’s something kind of timeless in the way he wrings out the sweetest melodies and deeper passions of both ‘60s Californian rock and Guthrie-era folk, and something so timely about the way he does it. Listen to Johnny Irion’s latest album “Working My Way Down” released via Blackwing Music.

LAURA CANTRELL
Nashville born, New York-based singer-songwriter, archivist, and disc jockey, Laura Cantrell is an expressive, modern performer deeply rooted in traditional country music.Well-known as a recording artist with a devoted following in the US and UK, and as the host of “Dark Horse Radio,” a program devoted to George Harrison on SiriusXM’s The Beatles Channel.

CHATHAM RABBITS
Chatham Rabbits exemplify North Carolina’s tradition of producing artists who embrace the state’s many cultural resources and diverse musical traditions. In their marriage and in their music, Chatham Rabbits’ Austin and Sarah McCombie also blend their own histories into a shared musical experience.

About Blackwing Music
Blackwing Music was created to shine a spotlight on independent musicians with something to say. We do this through live performances and record production. To date, Blackwing has helped release several acclaimed original albums and produced live performances from artists who we think deserve your attention. In addition, the Blackwing Foundation supports life-changing music and arts programs in public schools.

About the Americana Music Association
The Americana Music Association® works closely with those in the industry, whether artists, labels, radio stations, retailers, print media, festivals, agents, publishers, etc. to help organize and build the infrastructure necessary for the genre to achieve success both creatively and financially. AMERICANAFEST and the AMA celebrates the melting pot of Americana’s influences including roots, folk, country, blues, and soul-based music. Each year, AMERICANAFEST brings together legendary artists, the next generation of rising stars, fans, and industry professionals for multiple days of music and education.

The post Blackwing Music Showcase at AMERICANAFEST 2023 appeared first on Blackwing.

During the 1950s, coffeehouses in the Greenwich Village established themselves as the premier venues for this growing Folk revival. Places like The Bitter End, Cafe Wha?, or the Gaslight Cafe played host to a mix of young, up-and-coming artists alongside seasoned veterans of the scene. Musician Dave Van Rock was nicknamed, “the Mayor of Macdougal Street,” for his role in developing the folk music landscape in the Greenwich Village and for his ability to discover burgeoning talents entering the fold. When Dave wasn’t busy playing, he was the arbiter for booking gigs on a nightly basis.

On January 24th, 1961, Bob Dylan took the stage at Cafe Wha? for his first performance in his new city. Shortly after this, he befriended Dave Van Ronk and began navigating the scene under his guidance. Bob spent a considerable amount of time with Dave and his wife during the early part of his career with the two of them acting like unofficial promoters for the young musician. They sent audition tapes to venues around New York and Boston in an attempt to get Bob more exposure outside of the city. Nobody wanted to book Bob Dylan for a gig, except for a new and emerging coffeehouse in Saratoga Springs called Caffe Lena.

Lena Spencer, the proprietor of Caffe Lena, had also developed a close friendship with Dave Van Ronk and would reach out anytime she needed assistance with booking talent. Lena took a chance on the relatively unknown Bob Dylan. In the summer of 1961, just months after moving to New York, Bob Dylan was set to play his first out-of-town gig at Caffe Lena. With only a small repertoire of songs and little experience, by many accounts, Bob’s first performance at Caffe Lena was unremarkable. Despite a lackluster debut, Lena invited Bob Dylan back to the Caffe Lena stage in January of 1962 just a few months before the release of his debut album.

As Bob Dylan would go on to become an American music legend and Caffe Lena’s most recognized headliner, the story of Bob’s first performance there remains a testament to Caffe Lena’s commitment to discovering new talent. 60 years later, Caffe Lena’s doors remain open and it continues to be at the center of cultivating creativity in Saratoga Springs, NY.

Learn more about the history of Caffe Lena, America’s longest-running coffeehouse

Learn more about the Blackwing Vol. 200, a tribute to coffeehouses like Caffe Lena

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“What Lena did over a long period of time was just one of the many little modern miracles which may save the world.” – Pete Seeger

In 1958, Lena Spencer moved with her husband Bill to Saratoga Springs, NY. The Spencers, originally from Boston, had just signed a lease to occupy the second-story loft at 47 Phila Street situated above an antique store and laundromat. At the time, the unit was a former woodworking studio that had gone unused since 1953. Lena had the dream of transforming the dilapidated loft into an American folk coffeehouse and a center for artistic expression akin to those seen in places like London and Paris. Over 60 years later, Caffè Lena’s doors are still open, earning it the distinct title as the longest continuously running coffeehouse in America and a recognized historical and cultural institution.

Caffè Lena officially opened its doors in 1960. Beyond food and drink, the cafe housed an open stage and a small black box theater. Meanwhile, approximately 200 miles away in the Greenwich Village in New York City, similar venues began to foster the chords of the American Folk revival and the ruminations of the Beat generation. Musicians and writers from all across America migrated to New York with the hopes of taking the stage at a coffeehouse in the Village. Places like Cafe Wha?, The Bitter End, and Gerde’s played host to the voices of Bob Dylan, Pete Seeger, Joan Baez, Joni Mitchell, Phil Ochs, Jack Kerouac, and Allen Ginsberg.

At the heart of the Folk Revival was musician Dave Van Ronk. Known as the “Mayor of MacDougal Street,” Dave Van Ronk shepherded the growing careers of Bob Dylan and Joni Mitchell through the Greenwich Village scene. As the stages inside the city began to fill up on a nightly basis – establishing New York City, Boston, and San Francisco as metropolitan hubs for this new movement – performers began to look outside the city limits to hone their craft.

Back in Saratoga Springs, Caffè Lena was gaining notoriety for booking emerging musicians, poets, and actors, attracting talent and clientele from nearby Skidmore College. Lena had developed a close friendship with Dave Van Ronk and with his help, Caffè Lena began to add more notable names to its roster. Most famously, Bob Dylan played his first show outside of the city at Caffe Lena in 1961. Dylan was soon followed by the likes of Pete Seeger, Don McLean, and many more, who graced the intimate Caffè Lena stage.

After her husband left in 1962, Lena maintained the venue, paid the bills, managed the booking, and prepared the food at Caffè Lena by herself. While continuing to grow, the cafe embodied a grassroots persona and recruited young student volunteers to assist with daily operations. The 1970s and 80s saw Caffe Lena’s nightly programming grow to include a more diverse range of styles from bluegrass to the country ballads of Utah Phillips and Emmylou Harris. During this time, many of the pioneering coffeehouses in the city began to shutter. While other folk venues closed their doors, changed hands, or relocated, Caffe Lena remained.

Despite the endless playbill of significant names that have taken the stage at Caffè Lena, nobody was more loved and revered than Lena herself. Pete Seeger came out to Saratoga Springs to perform in 1985 for Caffè Lena’s 25th anniversary. In that same year, the Kennedy Center for the Performing Arts recognized Caffè Lena as a national treasure for its contribution to American music history.

Lena Spencer passed away in 1989, yet the legacy of Caffè Lena continues to this day. After her death, Caffe Lena was transformed into a non-profit organization, reinforcing the same grassroots folk spirit from when it first opened in 1960. Under the guidance of its current executive director, Sarah Craig, Caffè Lena celebrated its 50th anniversary in 2010 with a performance by Arlo Guthrie. 

From weekly open-mic nights to touring musicians, to serving coffee for local college students, Caffè Lena remains the oldest continuously running coffeehouse in America. It also aims to persevere the dream that Lena had over 60 years ago- to create a space for culture to thrive and for emerging artists to find their voice.

Learn more about the Blackwing 200 – tribute to coffeehouses like Caffè Lena

The post Good Folk: The Story of Caffè Lena appeared first on Blackwing.

Los Angeles in 1991 saw the landscape of music shift in a new direction with the founding of Death Row Records. While the origins of rap and hip-hop are often attributed to the East Coast, the late 80s and early 90s ushered in a renaissance in the West and the establishment of a new center for hip-hop culture in Los Angeles, California.

In 1992, Dr. Dre, a co-founder of Death Row Records, released one of the most seminal albums of all time. His solo debut titled, “The Chronic,” served as the first album published under the Death Row Records label. “The Chronic” went on to become a certified triple platinum record and climbed the Billboard music charts. The album’s first single, “Nuthin’ but a G-Thang,” rose to number one on the Billboard Rap and R&B charts and number two on the “Hot 100” during its run.

Most of Death Row’s famous recordings were produced at their home studio, Can-Am Recorders in Los Angeles. The Can-Am studios were equipped with Solid State Logic consoles and the original recordings were made on Studer 24 track analog machines which many of the artists and producers preferred. In addition, “track sheets” were used as a method of recordkeeping for every vocal, instrument, and personnel involved in the production. 

Each track sheet gives a timeline of elements including the keyboards, drum beats, vocal sessions, and miscellaneous items that comprised the individual parts of the song. Often if the recording studio at Can-Am was already booked, artists recorded at other studios such as Larrabee Sound in nearby Hollywood, CA. Beyond the commercial and critical success, “The Chronic” also signaled the rise to stardom for fellow Death Row artist, Snoop Doggy Dogg who was featured prominently on the album.

Less than a year after the release of “The Chronic,” Dr. Dre produced the second record under the Death Row label, Snoop Doggy Dog’s “Doggystyle.” Upon its release, critics and admirers celebrated the album for Snoop’s distinct lyrical style and rap flow. The album debuted at number one on the Billboard Top 200 music chart and went on to become certified quadruple platinum. With similar production styles to “The Chronic,” both albums helped foster the beginnings of the “G-funk” era of rap music. “Gin and Juice,” the second single off of “Doggystyle” earned Snoop Doggy Dogg a Grammy nomination for “Best Solo Rap Performance” in 1995.

Death Row Records remains one of the most notable and influential music entities of all time. From Dr. Dre to Snoop Doggy Dog to Tupac Shakur, Death Row Records firmly established West Coast hip-hop as a formidable force that defined art and culture during the 1990s. 30 years later, Death Row Records continues the legacy of these legendary artists and the significant and unique impact that they made in music history.

Shop the Blackwing x Death Row Records Collection – Sold exclusively through the Death Row Records website

The post Behind Death Row’s Famous Recordings appeared first on Blackwing.

A letter from Johnny Irion about his work with the Blackwing Foundation and the Mastheads program:

 “It began when I met Tessa Kelly & Sarah Trudgeon of The Mastheads Program. They are a public humanities project based in Pittsfield, MA that connects residents to the literary history of the region at the Herman Melville home. I became curious about the surroundings of the house where he had written Moby Dick which in turn, sparked a yearning for me to be more involved in this community.

Arrowhead, Melville’s historic house, is no more than five miles from my home in the Berkshire Hills. I had learned that Melville had lost that very home where he had written Moby Dick and died in obscurity in New York City before the book was able to be published. With The hardships of the last couple of years, I couldn’t help but draw a parallel between Melville’s story and the future of touring musicians.

It’s been an honor and a blessing to teach songwriting to these students of Morning Side & Conte Elementary. Saying that the students and teachers have been resilient would be an understatement. Building community through music education has renewed my faith in the power of a song. Pete Seeger once said, “participation that’s what’s going to save the Human Race”. With the support of The Blackwing Foundation & The Mastheads Program, I’m honored to have the opportunity to teach & encourage students to explore self-expression and creativity through the craft of song making.” – Johnny Irion

A portion of every Blackwing purchase goes to the Blackwing Foundation and its mission to support music and arts programs in public schools.

Learn more about the Blackwing Foundation

Learn more about The Mastheads

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Guy Clark was born in West Texas in 1941. He was a singer-songwriter, painter, luthier, and known as one of the most prominent figures in American music. Often referred to as “the king of the Texas troubadours,” Clark was a trailblazer, who wrote deep narrative-driven lyrics that formed the foundation of what is now considered Americana music.

His songs would go on to be recorded by iconic musicians such as Johnny Cash, Rodney Crowell, Emmylou Harris, Brad Paisley, Alan Jackson, George Strait, Jimmy Buffett, Kenny Chesney, Willie Nelson, and Kris Kristofferson, among countless others. Clark worked diligently on his songwriting, painting, and guitar-making in a quiet basement workshop. Throughout the years, Clark and his wife Susanna welcomed scores of burgeoning and seasoned musicians into their home in Nashville to help them hone their craft. Many gleaned inspiration from Guy’s dedication and distinct rituals.

Perhaps the most notable ritual was Guy’s approach to songwriting, which always began with a pencil and a pad of graph paper. Guy would methodically lay out his lyrics, word by word, letter by letter, neatly onto the grid. With this meticulous ritual, Clark felt that he could not only hear if a song sounded good, but see if looked good on paper as well. “I used to be a draftsman for structural steel, and that was an influence,” he recounted. “But I’ve always enjoyed this kind of paper. I can always tell something I have written because no one else uses this stuff. Maybe it keeps my lines straight.”

Guy Clark’s unique and uncompromising style is what drew so many to him and his music. Clark was a pioneer in the scene that brought together artists like Townes Van Zandt, Emmylou Harris, and Steve Earle. Though Clark’s commercial success was often understated, his style and commitment to creating art that spoke to the truths that he valued never changed. From the stories in his songs to the ritual he used to write them, Guy Clark was always uniquely himself.

Guy Clark’s music and persona helped influence an entire genre.

The post Guy Clark’s Songwriting Ritual appeared first on Blackwing.

Woody Guthrie met dancer Marjorie Mazia Greenblatt in 1942. Both of them were living in New York at the time; Marjorie was a principal dancer in the renowned Martha Graham dance company while Woody was performing as a part of the Almanac Singers alongside Pete Seeger and others. They wed a year later and had four children, Cathy Ann, Arlo, Joady, and Nora.

Woody’s health began to decline in the late 1940s but had received multiple misdiagnoses. In 1956, Woody Guthrie was admitted to Greystone Park Psychiatric Hospital in Morris Plains, New Jersey where he was finally officially and properly diagnosed with Huntington’s disease. Huntington’s disease is a genetic disorder that causes the deterioration of nerve cells in the brain. As it progresses, it limits the ability to perform cognitive and motor functions.

During his time at Greystone Hospital, Woody kept busy trying to make the most out of a worsening situation. Majorie and the children visited him routinely and supervised much of his hospital care. Along with his family, many friends and burgeoning musicians like Bob Dylan, Joan Baez, and Phil Ochs also came to Greystone to swap stories and glean inspiration from their folk hero.

Over the 15 years that Woody was affected by the disease, Marjorie stood by his side. As his motor functions declined, Majorie taught him to communicate through blinking his eyes. On October 3, 1967, Woody Guthrie passed away due to complications from Huntington’s disease. From that moment on, Marjorie dedicated her life to defeating the disease and advocating on behalf of those that suffer from it. She began getting in contact with other families that were affected by the disease and galvanized support to form the Committee to Combat Huntington’s Disease, a non-profit health agency.

Throughout this time, she traveled across the nation and presented in front of countless congressional bodies, medical conferences, and school seminars, advocating on behalf of families affected by Huntington’s. Along with being on the National Advisory Council of the National Institute of General Medical Science and being one of the founders of the National Committee for Research in Neurological and Communicative Disorders, Marjorie was crucial in persuading President Jimmy Carter to create a Presidential Commission to study neurological diseases.

Marjorie Guthrie died in 1983 having committed over 16 years of her life and work to supporting families dealing with Huntington’s and finding a cure. On November 3, 1983, the Committee to Combat Huntington’s Disease became the Huntington’s Disease Society of America (HSDA), carrying on Woody’s memory, Marjorie’s legacy, and her determination to defeat Huntington’s disease.

Today, the Huntington’s Disease Society of America has expanded to 53 chapters across America that help bring support, services, and grassroots fundraising to families affected by the disease. The HDSA also has 54 “Centers of Excellence,” providing resources and teams allowing access to the best Huntington’s disease care available. Through funding research, providing education, and raising awareness, the HDSA is dedicated to making sure that no family goes through the experience alone.

WAYS YOU CAN HELP:

Learn More About the Huntington’s Disease Society of America

Help pass the HD Parity Act which would waive the two-year Medicare waiting period for people with HD.

Donate to the HDSA

The post Woody and Marjorie Guthrie’s Legacy appeared first on Blackwing.

We partnered with luthier and Blackwing Maker Butch Boswell of Boswell Guitars on a custom guitar build. The guitar features a Tunnel 13 redwood top, brass accents, and a special rosette that includes actual Blackwing pencils. Learn more about the guitar build and the craftsmanship behind it in the video below.

The Blackwing Guitar features a custom machined rosette inlaid with 16 actual Blackwing Volumes pencils. The rosette utilizes a cradle for each of the sixteen Blackwing Volumes pencils cut and fitted into a precise spiral. The finished product is made from brass, epoxy, ebony, and of course, Blackwing pencils. The rosette showcases the best of hand-machined craftsmanship and technology that makes Boswell Guitars so special. Here are some behind-the-scenes process photos of how the rosette was created.

The soundboard for the Blackwing Guitar features Tunnel 13 Redwood which in itself carries a very unique history. This particular wood comes from salvaged beams that were used to build tunnels for the Southern Pacific Railroad which stretched from Oregon to California. This Tunnel 13 Redwood comes directly from the tunnel where the “Last Great American Train Robbery” occurred in the United States in 1923.

Read our Makers Series profile on Butch Boswell of “Boswell Guitars”

Learn more about Boswell Guitars

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