Eighth Annual Classic American Guitar Show

by Nancy A. Ruhling

This will go down in history as the year that 20th Century Guitar magazine's annual Classic American Guitar Show almost wasn't.

For seven years, the show, which attracts about 5000 vintage guitar collectors from around the world, was held at Five Towns College in Dix Hills, New York. This year, in January, the music school informed promoters Jim and Larry Acunto that the show could not be held there anymore because of political pressure exerted by residents of the town of Huntington. For years, the private school has been trying to get permission from the town to build dorms on campus. Protesting neighbors were looking for any excuse—such as a guitar show that attracts 5000 people—to derail the project. Just to be safe, the school said no to the show at the last minute.

Although the Acuntos had been exploring other venues, they knew that there were few on Long Island that could accommodate the show. When the word came down from the school, they scrambled and were able to book the Vanderbilt, a lavish Art Deco-style nightclub in Plainview, New York, where rock concerts are held.

They got the site, but they were forced to move the show dates from May 20-21 to April 15-16, which just happened to be the dates of the annual Manhattan vintage guitar show.

It was nothing short of a miracle that the show not only came off without a hitch but also was every bit as excellent and exciting as all the previous ones. There were unavoidable, regrettable changes, of course. The Saturday night rock concert, which in the past starred master guitarists Steve Howe, Peter Frampton, Ian McDonald, G.E. Smith, John Sebastian, and Jimmy Vivino, had to be canceled because the stage of the Vanderbilt was filled with dealer booths. The outdoor jazz concerts, which ran continuously throughout the two-day show, were played out in the Vanderbilt's bar, which was too small for the overflow crowds and too smoke-filled for anyone who doesn't do three packs a day.

The outdoor barbecue and fresh salads were other victims of the move, and the food on the Vanderbilt's limited junk-food menu was so pricey ($3 for bottled water, more than you would pay in Manhattan, and $6 for a cheeseburger that could be polished off in a half a dozen bites) that it left me wishing I had packed my own sandwich.

The barbecue and the outdoor courtyard had always made this a family event, and without them the families didn't show up. Women as a rule don't attend this show, and there were fewer than in previous years. There were even fewer strollers in evidence. Overall, however, the show appeared to be much more crowded early in the day than it had ever been at the school. Although the gate was down—there were only 3000 instead of 5000 during the course of the show—the parking lots filled up early, and people were parking at the nearby hotel and even along the street.

Show promoter Larry Acunto, editor of 20th Century Guitar magazine, said the show will be held at the Vanderbilt again next year on the dates it always has been, the weekend after Mother's Day (May 19 and 20, 2001).

He said there will be some changes. "There were some minor but fixable problems that have to be addressed before the next show. The parking needs to be addressed. The smoking problem was addressed on Sunday, when we found out there were exhaust fans in the bar. As far as the food, I've already said something to the Vanderbilt about it. The prices will be lower next year, and there will be a new menu."

There was one big silver lining to all of this. It rained all Saturday and the sun didn't come out again until Sunday afternoon, which made it far nicer to be indoors. Had the show been at the school, Saturday's outdoor events would have to have been curtailed or canceled.

The best parts of the show were there this year. New Jersey collector Scott Chinery brought 64 of his greatest guitars and displayed them in a separate room. The Gibson Custom Shop Traveling Exhibit, housed in a 40' van outside the front door, showcased 44 gorgeous guitars. All the stars—Smith, McDonald, Vivino, Sebastian, and rocker/Pokemon star Eric Stuart—put in appearances or jammed. The Benedetto Players still had the annual Saturday night concert at the nearby Marriott. All the prospective buyers gave mini-concerts as they tried out the guitars of their dreams.

Although the Vanderbilt is indeed beautiful, the booths were on three floors, the top being a series of private boxes that collectors found difficult to find. While there were about a dozen new dealers, many of the best, including Mandolin Brothers of Staten Island, New York, were absent because of the date change.

"A number of the archtop builders couldn't get their stuff together in time," said Larry Acunto, "and others had schedule conflicts or were booked for the Manhattan show."

Still, on short notice the Acuntos were able to round up 90 dealers, only 20 fewer than in previous years. Getting the public in was another problem; the number at the gate was down almost half.

"People were confused about the venue and date change," said Jim Acunto. "We even got a call two days after the show from a guy wanting to know about the May show."

Whether it's a reflection of the changing vintage guitar market or the changing of the show dates, there were fewer vintage guitars available. The custom-made archtops, which have been taking up more space at each successive show, dominated.

"There are fewer vintage guitars out there, that's true," said Acunto. "It's very hard to find them to sell. The instruments are drying up as they go into collections. While my generation—the baby-boom generation—wants guitars from the 1950's and 1960's, the younger generation is focusing on guitars from the 1970's and 1980's."

Dealers and collectors interviewed appeared to be divided in their opinions on the new venue but didn't feel it was fair to complain since the move was so sudden and unexpected.

"The new venue is great," said Thomas Van Hoose, a collector/dealer/guitar book author from Texas who has attended every show. "This is a big step up. This show is like the early Dallas shows in that it's not too big, and it has a positive vibe. Now, they're gargantuan."

The changes didn't stop the fans, many of them first-timers, from coming from all over the world. "This is my favorite show," said Dil Shaw, who comes every year from his home in England.

Paul Ishkanian of Hopkinton, Massachusetts, seconded that sentiment. "I've been collecting thirty-five years, and this is my first time here. I've only walked fifteen feet, and I'm amazed," he said as he toured the Chinery collection, which was right near the entrance. "Things you don't get to see...the Holy Grails. There are a hundred Holy Grails here."

After looking around a while, Ishkanian found the guitar he couldn't play without—a new $8500 archtop by Bernard Lehmann—and he caught up with me and insisted that I go to see it. "It's a lot of money," he said as he longingly looked it over. "The most I've ever spent is six thousand. I'm going to sleep on it."

By midday on Saturday the aisles were packed not only with people but with people's guitars. One guy had so many that he was carting them around in a shopping cart.

Fred Welker from Nashville—"We drove all the way here"—walked into the Chinery collection toting two guitar cases. He just started making archtop guitars, and he wanted an opinion on these, his second and fifth. "I've made six," he said as an expert looked them over and declared that they were "a combination of the best guitars." Said Welker, "I just read the book and followed the instructions."

Funny thing is, he doesn't play the guitar. "I have trouble playing the jukebox," he joked.

For information on the next guitar show, call 20th Century Guitar magazine at (631) 273-1674.