The Early Years of the Seattle Classic Guitar Society;
1958-1967
Sometime in 1958, no one remembers the exact date, Bud Hern put an article
in the Seattle Times inviting interested persons to a meeting at Joe
Farmeršs music store in Burien. The purpose of the meeting was to meet other
folks who played classical guitar. Six men showed up: Joe Farmer, Bob
Flannery, Bill James, Ward Irwin, Bud Hern and Bob Morris They talked
about guitars, music and technique. Joe and Bob played a few tunes. They
decided to meet monthly and on their second meeting came up with the name
Seattle Classic Guitar Society.
The first meetings were held at Farmeršs Music Store. Later they were moved
to Seattle- first to a room in the basement of the bank at the corner of
47th and University Way and finally to a church in the University District.
Who were these guys? Joe farmer had taught guitar at Gerkiešs Music store
in Ballard in the late 30šs and early 40šs. He then moved to Burien where
he started the music store and studio in his house. He played jazz guitar in
dance bands around Seattle.
Bob Flannery was teaching guitar in Ballard. He had studied with Aaron
Shearer while Aaron still lived in Seattle. When Shearer moved to
Washington D.C., Bob followed him. After Flannery returned to Seattle he
occasionally played with the Ballet. The Seattle Symphony was looking for
an Ud player to accompany a Persian piece on their program. As there was
no such person in Seattle, they hired Bob to accompany the orchestra on the
guitar. He found it difficult to follow the conductoršs signals, as he had
not played with an orchestra before. Thus he was one beat behind at times.
Embarrassing!
Bill James had gone into Broberg's music store on University Avenue to
look
at guitars. Mrs. Broberg, who had connections with the New York Classic
Guitar Society, was knowledgeable about the guitar world. She took Bill in
hand, sold him a Martin classic guitar and sent him off to a teacher, a Mrs.
Hartley who taught in her home in the Ravenna district. She taught with the
little finger resting on the top of the guitar and three fingers free. The
action was more clawing than plucking. Scales were played with the thumb
and first finger. It was hard to do and didnšt sound very good to Bill.
The big topic of discussion at that time was whether one played with or
without nails. "No nails", said Mrs. Hartley. Bill soon found a new
teacher, Bob Flannery.
Ward Erwin came by the guitar naturally. In 1895, his father was playing in
a guitar mandolin band in Ontario, Canada. Ward started out with his
fatheršs Martin guitar, which still used treble gut strings. The strings
were hard to keep tuned and broke often. He was self-taught using the ŗM.
Carcassišs Method for the Guitar˛. He continued to buy and learn from every
instruction book that came on the market. Ward built up a large library of
bound sheet music and instruction books that he eventually donated to the
Cornish Collage of the Arts.
His friends say that Bud Hern had a great talent. They feel that with
lessons from a good teacher he would have made a name for himself.
Bob Morris was into sea kayaking and left the group shortly after that first
meeting. As he wanted to make 100 sea kayaking trips up the west coast of
Vancouver Island and beyond, he could no longer spend time with the guitar.
While on his 97th trip he passed away, doing what he loved best, kayaking.
We should all be so lucky!
Those early days were quite exciting. After each concert a reception was
held at the home of one of the members. Irwin, Hern or James were often the
hosts.
When Segovia played in Seattle he always enjoyed these receptions. At the
Jamesš home, Billšs wife made a big meal for a very hungry Segovia. He
would make any cook proud the way he put away a good meal. He spoke
English, was very friendly and certainly enjoyed evenings with the Society
members.
The 1962 World's Fair brought Spanish Flamenco dancers and guitarists to
Seattle. It was a wonderful opportunity for members of the Society to take
lessons with these guitarists.
A young John Williams, fresh from a tour of Japan, played his first U.S.
concert in Seattle. After the concert he came to Billšs house for the
reception and ended up spending the night. He was very protective of his
hands and would not shake hands with anyone.
Presti and Lagoya attended a reception at the Irwin's home. Lagoya wanted
to play for the group. Irwin offered his Martin guitar. Lagoya played a few
chords and gave it back. The interpreter told Ward that Lagoya had said the
Martin was only good for firewood. As the remark was an aside, Ward was
sure that Lagoya did not know that it had been translated. Ward understood
that his Martin, a mass produced guitar, was no match for the handmade
Spanish guitar that Lagoya played. Later Ward had the tapered, thick neck
reshaped by the local guitar builder, Ladd Witcher. Wanting a better guitar
Ward bought a Fleta directly from the builder. It did not live up to its
reputation. The sound was subdued and had no resonance. It was finally sold.
(Do you own it now?)
The Society wanted to bring Seigfried Barron to Seattle. Each member put up
$25 to pay his fee. They just about broke even.
Rey de la Torre spent an evening with Society members. He was Cuban and
Castro was coming into power. Rey spent the entire evening talking, not
guitar, but politics.
The society brought the Romero's to Seattle for a concert. After the
concert the they came to the James' for the reception. Dad and the boys
were down-to-earth folks. Pepe was just 17 years old at the time. It is
remembered now as a very wonderful guitar evening.
As time went by it became harder to get the monthly programs together.
There were not too many people in Seattle who played the classic guitar and
those who did play felt that they were not good enough to perform before an
audience. Finally, in 1967 the board met perhaps for the last time.
Everyone had done their part and was burned out. Bud Hern, Bill James, Ward
Irwin and Arnold Pearson, another early member who had given much to the
Society, had all served as president. No one was willing to take over that
job again. Duncan McKenna, who was attending his first meeting, finally
stepped forward and volunteered for the job. Thus began the second phase of
the Society. We will save that story for another issue!
Dick Sacksteder