Gareth Jenkins: The Man Behind the Voice Interviewed by Linda Leavitt Vol. 40 No. 3 INSIDE THIS ISSUE! July, Aug., Sept. Gareth Jenkins, virtual jamming, Arnold Shultz fund 2020 and more... $500 Oregon Bluegrass Association Oregon Bluegrass Association www.oregonbluegrass.org Interviewed By Linda Leavitt hen I first caught up with like much of the world was at a standstill, guitar building, and how he joined Preston world-class luthier Gareth demand for Preston Thompson guitars Thompson to produce guitars played by WJenkins, who works for Pres- remained strong, and Gareth Jenkins some of the finest bluegrass musicians in ton Thompson Guitars in Sisters, Oregon, found himself busier than ever doing what the world. we were barely a few months into 2020, he’s done so well during the last ten years: and the world had suddenly transformed Making new guitars sing. Gareth has been a woodworker or has into a far more uncertain and bewildering worked in the woods his entire adult place than any of us might have previ- During a hike up Wychus Creek in the life. He moved to Oregon during the late ously imagined, all because 1970s, drawn by the forests of a microscopic critter that and the rugged wilderness, made people fall ill, on a a landscape that is quite a massive scale, all over the departure from his native world. Ohio. He and his siblings developed a deep apprecia- Back in late March, many tion for nature from their of us hunkered down in our father, who was a forester jammies (if they still fit), and park superintendent traumatized and glued to (and amateur wood- the news, learning about the worker), and from their social, cultural and economic experience at their uncle’s sea changes happening cabin on a lake in northern before our eyes. We wor- Ontario where they spent ried about the safety of our much of their summers. family and friends who had to go to work despite the After Gareth moved to risks; we wondered how we Oregon, he worked fight- would pay the rent, when we ing fires in the Fremont would get to play music with National Forest outside of our friends, and whether we Paisley, Oregon. The next would ever get to hug anyone year, he worked for the U.S. again. Forest Service in the Sisters Deschutes National Forest (six feet apart, ranger district, where he was in charge of In March, businesses in Sisters were clos- of course), and later, during a wide- the wilderness trails, putting a two-man ing, except for those deemed “essential”: ranging phone conversation, Gareth spoke buck saw on his shoulder and hiking every Grocery and liquor stores, coffee shops, eloquently about the state of the world, his day to make sure the trails were clear. The bookstores, and the few restaurants that family, his love of nature, music, his work following summer, he worked in Alaska offered take-out food. While it seemed in the bluegrass community, his KBOO Music from the True Vine radio show, Continued on page 5 Gareth Jenkins: The Man Behind the Voice cont. from page 1 with kids in a YCC camp and also built close friends, and he’s somebody I go to trails. see nearly every time I’m in Portland. I’ve cred’ with Preston. He was also impressed learned more from him than from anyone by the guitars I was building. We started During that time, Gareth had the winters else and I am eternally grateful.” talking for hours on the phone about off, and that’s when he started building guitars and building. He had an encyclo- Appalachian dulcimers. “I was living in Gareth built guitars in his Forest Grove pedic knowledge of Martin guitar history. this tiny cabin in Seaside, trying to build shop for a few years, while John contin- Eventually he came over to Forest Grove a dulcimer in my kitchen. Then a friend ued to guide him. In 2011/12, Gareth with his wife, Julie. Brenda and I had din- started a wood-working business in Forest met Preston Thompson at the River City ner with them. Toward the end of dinner, Grove and I fell in with him around 1981. Music Festival. Preston, who trained at Preston asked whether I would be interest- We worked together until the economy Charles Fox’s school when it was located in ed in moving to Sisters to make guitars. I tanked in the 2000s. I did about thirty Vermont, and who built guitars during the had no idea what he meant, or how serious years of working with him and on my own, 1980s, had just returned to guitar building he was, but as dinner went on, he made mostly building high-end furniture, boxes in a shop over his garage in Bend. During it seem like a possibility. That was dur- and desk accessories that sold in galleries the festival, Preston had a suite at the Red ing the recession. We had some flexibility around the country, like The Real Mother Lion Hotel, where he displayed a couple of and figured it could be an adventure. We Goose. I had this wood-working aptitude, his guitars, along with six or seven vintage tried not to get too excited, because at that interest, and knowledge, but I’d always guitars he possessed. point, Preston didn’t have a shop yet.” been into music. Ever since I was about 9 or 10, I’ve been a “music-oholic.” When Gareth continued: “I wandered in and Over the next year, Preston looked for the economy tanked, I was living in Forest we started talking about guitars, and shop space in Sisters, and finally settled on Grove. My kids, some friends, and former found that we were both passionate about a spot in the building next to The Belfry, partner Brenda tried to decide what to vintage-style guitars. I mentioned that I the premier music venue in Sisters. Gareth get me for my birthday, and it came down had apprenticed with John (Greven) and moved to Sisters that spring. “We worked to two options: To send me to Oaxaca in that immediately gave me some ‘street- on getting the building ready while build- southern Mexico for cooking ing our first instruments, and in October school, or to send me to luthier 2013, we had our grand opening. school. Luckily, they chose There were just three of us in the the latter, because as it turns shop in the beginning. I built every- out, I’m allergic to nightshade thing except the necks: the bodies, vegetables!” assembly, frets, setup, some finish. Everything we did was handmade. Gareth went to Charles Fox’s Then, as we hired more people, American School of Lutherie, tooled up more, and got more which bills itself as “the original orders, the roles got more specific. and longest-established school Over time I moved out of setup for luthiers in North America.” and more exclusively into what we With that education, and with call “white wood,” which is the raw his friendship with Portland wood section. I remain respon- luthier John Greven, an icon sible for the wood, gluing up tops in the guitar-making world, he and backs, bracing them, carving was on his way. the braces and voicing the guitars. Since 2013, I’ve voiced around According to Gareth, John 700 guitars, many for well-known Greven and Wayne Henderson artists including Molly Tuttle, Billy and a few others are the masters Strings, Laurie Lewis, Claire Lynch, of vintage-style guitar building Tim Stafford, Chris Jones, Chris and John is truly a master of Luquette, and others.” voicing an instrument. “He can make a guitar really sing. John’s Linda: What does it mean to voice been my main mentor, espe- a guitar? cially when it comes to voicing, and he’s always somebody I can turn to when I have ques- tions. John and I have become Continued on page 6 OBA Bluegrass Express - Summer 2020 5 Gareth Jenkins: The Man Behind the Voice Cont. from page 5 Gareth: There are a lot of factors to getting Linda: What is the process for how you ap- the best sound out of a guitar. Some of that proach each client who wants a guitar? Gareth: Well, to many the gold standard has to do with how a guitar is set up. The Gareth: I like to talk to the person about for vintage-style steel-string Martins was frets, nut, saddle and bridge as well as the what they want the guitar to do, how they the guitars they were making in the 1930s dovetail joint which secures the neck to want it to sound, and I ask what kind of and into the 1940s (“prewar”). There the body, all have to fit really tightly so the player they are and what kind of music weren’t a lot of them made and there sound vibrations transfer through the ma- they play. Everyone is different. If you’re a weren’t a lot of them that survived intact. terial. If there’s anything that’s loose, it can bluegrass player and you’re playing lots of Those guitars were lightly built and there absorb sound. Even down to things like the fiddle tunes and play in a group situation, were a lot of design features that all went bridge pins that hold the strings, which are you want a banjo killer that’s really going into making these amazing-sounding in- tapered, so the hole in the bridge has to be to cut through everything.