The house virtuoso does not own a Gibson guitar; he dislikes them with a passion. Being one hell of a neoclassical, instrumental guitarist, Sean Mercer has his reasons. (Listen to the YouTube posted below.) He does, however, own the following fine instruments, which are crafted with assorted hardwoods, some rare, and possibly illegal:
Carvin DC747 (Maple)
Carvin AC275 (Hawaiian Koa body & neck, Ebony bridge)
Carvin AC175 (maple, ebony)
Carvin LB76 (Curly maple)
Carvin IC6 (Walnut, maple)
Carvin NS1 classical (mahogany, ebony bridge & fretboard)
Warwick Streamer (Wenge, maple) – Germany
Warwick Double Buck (Wenge neck, Alder)
Yamaha Classical (Rosewood back & sides, Ebony, Spruce)
Jackson SL1 (maple)
Kramer Stagemaster (Maple, ebony fretboard)
Kramer Pacer (Rosewood fretboard, maple)
Dean 7 string (mahogany body, maple neck, ebony fretboard)
Brian Moore iGuitar (Rosewood fretboard, alder border)
For the possession/importation/smuggling of “rare ebony wood from India used to make some of the world’s most coveted guitars,” US federales have raided the Tennessee plants of Gibson Guitars.
The meek chief executive of Gibson Guitars, Henry Juszkiewicz, pleaded plaintively with the public: “We were not engaged in smuggling. ‘We have been importing fingerboard stock on a regular basis from India for 17 years.'”
He might have pointed to the fact that this is part of the feds’ ongoing criminalization of naturally licit behavior, and that, last he looked, ex post facto prosecutions were unconstitutional. In other words, when Gibson began importing these woods, the practice was legal. It is unconstitutional to criminalize actions that were legal when committed.
Business in the US is anything but Randian; it adopts an obsequious manner with the both the pitchfork-hoisting public and our DC Overlords.
Downsize the “Oink Sector”!
As promised, here is a piece from the CD “Electric Storm,” by instrumental guitarist Sean Mercer. Sean’s compositions were featured in Guitar Player Magazine. Wrote the great Mike Varney:
Sean’s demo showcases his skills as a producer, engineer, writer, performer, and keyboardist. His set of neo-classical instrumentals are [sic] reminiscent at times of works by Tony MacAlpine. Complex arrangements, tightly played ensemble lines, and a grand display of thematic solo work should make this tape of particular interest to neo-classical fusion fans. [Mike Varney, Guitar Player, October 1991]