JAYNE HENDERSON

During my research I stumbled upon Ms. Henderson's website as well as her blog. As I read through her bibliography and aspects of her life, I thought about how amazing it would be to have first hand insight on luthiery. Thus, I emailed Ms. Henderson asking if she would be willing to answer questions I had about her experience with Appalachia and luthiery. As one can see below, she most graciously complied her knowledge. Some of her quotes were recorded on my "Synopsis" page, yet adding this page was a necessity. Her answers go above and beyond what I could have asked for and I am extremely grateful for her help. 

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1. Do you feel tradition has played a role in shaping your luthiery experience?

"Yes I do. My case it is twofold since I am being taught family tradition as well as how to traditionally build an acoustic instrument, the way Martin did in the early part of the 20th century."

2.  Would you consider learning luthiery a part of Appalachian tradition and preservation?

"Yes, as music played using these instruments is so deeply rooted to this area coupled with the fact that the folks who have lived here haven't had the opportunity to simply go to a store to buy something they wanted or needed, they often had to figure out how to make do with the resources and materials around them. My grandmother kept a garden full of vegetables and sewed quilts and clothes for her family, my grandfather ran a farm to provide eggs, meat, and tobacco, my great grandfather built some of the furniture that is still in my dad's house. He also built coffins and fixed watches for people. I feel this is such a special area because with that lack of material goods, everyone had to figure out how to get what they needed through their own ingenuity and personal abilities. My dad wanted a Martin guitar but couldn't even dream of affording one. He looked at magazines and broken guitars to figure out how they were constructed. My Granny and aunt taught me to hand sew stitches and hem my own pants (I'm short so that particular skill has come in useful). My dad also learned tips for instrument building from a neighbor and through trial and error he figured it out. He just taught me what he has taken 50 years to figure out, but I am forever going to be learning and figuring new things out on my own to improve my craft, as he still does too. Now, many people in the area have learned how to build from my dad and his friends, so it is very much a tradition that is thriving since the music is still thriving as well."

3. Have you seen luthiery impact your local economy in any way?

"Have you ever seen the episode of The Office where Michael asks who here has been affected by rabies because a coworker was being treated for it and everyone raised their hand? I feel like I might be too close to have an overarching non-biased opinion on this but from my point of view, of course. Every year my dad hosts a music festival which brings thousands to the area to hear music, but also to win a handmade guitar or win one in a raffle. That festival supports the local musicians as well as the state park where it is held. The proceeds from the festival (including the raffle guitar that usually brings around $20k) is all donated back into the community. Also, several schools around the area have building classes which charge students in the thousands to get to learn from my dad or someone similar in the field. They usually have a wait list and lottery so the interest in learning the craft of luthiery is quite high, all while students are giving money back to the schools, buying food at local restaurants and paying for housing during their time at the school."

4. Has there been any competition between luthiers and modern technological advances in instrument making?

"Maybe some. A lot of luthiers are embracing the technology though and using it for their own builds. A good example is the CNC machine, which has become affordable enough for a regular person to purchase, albeit still a high price. I prefer to do my inlay by hand, drawing what I want on paper, cutting the pearl out with a jeweler's saw, then using a router with a tiny bit to cut the hole for the piece to fit into. A CNC machine does a beautiful job (obviously) and takes less time. I have been told I won't be able to compete with people who use it but I disagree. As the tradition aspect comes back into play, a lot of people appreciate and prefer my hand done inlay work to that of a more modern machine. Most people who are after a handmade guitar understand and prefer the work be done by a person. If you want a CNC neck, fingerboard, inlay, and bracing, go get a Taylor."

5. What is your favorite part to make on a guitar?

"My favorite part is the inlay. I will attach a few pictures of what I am working on right now so you can see, but check my website for more finished examples, too. The main reason I like this work is because it is quiet and tedious, and allows me to flex my creative muscles a little bit more than say, fitting a neck to the perfect angle on the body of a guitar. (I went to law school because there was no math on the LSAT...now I have to use math every damn day.)"

6. How has living in Appalachia affected your viewpoint of music?

"I suppose I just think it is something people share. I have grown up watching people come together for the sole purpose of playing music together as well as listening to it. These old-timey tunes have been passed down from generation to generation, so I feel we all have a stronger kinship among one another as well as to our past and traditions. We continue them because it is what we know and what is the most comfortable position to be in."

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All of this wonderful insight to Appalachia and luthiery is gratefully contributed to luthier Jayne Henderson. Without her help and viewpoints, my project would not have been as dynamic or personal as she created it to be. I cannot express my gratitude enough.

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Citation for Interview:

Henderson, Jayne. "Luthiers in Appalachia." 17 Apr. 2018. E-mail.