My Apollonio Bouzouki

I've had my new bouzouki for a couple of months now, have played it and passed it around at a few sessions, and the general consensus is, "Wow, great instrument; a beauty." And indeed, I'm quite happy with it. It's very well made (and I was in on choosing the woods as well as being on hand for the beginning stages of its construction, as seen in this post from last March), is a gorgeous instrument, and has a rich, full sound (though, to my ear anyway, it doesn't sound exactly like a bouzouki; its voice being more like an eight-string guitar, but it's a very subtle difference), and has very comfortable action (though I've had to adjust to the neck width, which is a bit wider than my old bouzouki). All in all, I love it, and look forward to spending more time with this instrument, sussing out melodies, counter-melodies, and chords; using it for backing as well as accompanying myself (all of which the bouzouki lends itself to very well, and are the qualities that attracted me to it in the first place), preferring it more than my guitar these days. Lovely. Oh yeah, and as anticipated, it's very comfortable to hold and nestles into my lap perfectly.

The only problem is what to call the thing - all of its possible nicknames (guizouki? boutar?) - to me, anyway - sounding a bit gimmicky and less than dignified. I'll probably just keep calling it a bouzouki, though bouzouki doesn't seem quite adequate or accurate.









This is the model of the Galway hooker that was given to me by my friends Lee and Barbara Smith when I was in Maine last March, the traditional Irish fishing boat model that inspired the pearl inlay in the headstock of my (and many subsequent, so I am to hear) bouzouki.











Back in July, we had a total of seven of Nick's instruments on the premises. Seen here are five of them (from L-R): my bouzouki, Susie Bowman's six-string (with catboat inlay), Nick's bell cittern, Nick's 12-string, Bob Denton's bouzouki.

Here's Nick, playing a tune he composed on my bouzouki, with Yours Truly accompanying him on my then-brand-spanking-new zouk:

House Session, Edgartown

Tuesday night's seis was small, but fun - a celebration of having completed the renovations on my dining/music room, a celebration of a new session season at the Alison Boylston Piazza House/Midnight Mermaid Gallery, as well as a coming home party (after living and studying in Boston for the past ten years, I have decided to return to my childhood home to enjoy my family, my garden, and having all my stuff in one place).

The evening was a good test-run of the room. I knew it would be a lively room, with its 9' ceilings, and I have loved playing my fiddle or singing in that room by myself - heavenly - but the real test would be a group of musicians. The room was okay for music, as it turned out (and just okay), but terrible for conversation. So I am now fine-tuning the room, having added a rug, and will add some heavy curtains (for which my neighbors will probably also thank me).

All in all, it was a fun couple of days. Next up: Fourth of July porch session. Mark your calendars, and stay tuned for this, and more (and the door is always open in the meantime).

It's going to be a great summer.


Bob




Bob, in his groove with his awesome and amazing Apollo zouk.






Mando Mike





Ryan, loving (and sounding quite savage) on his new fiddle.





Fiddle Mike





Sara by Ryan




ditto





Chiara by Ryan




Guitar Mike (some fine guitar work here)











Edgartown, where the radiators are made of gold.

Apollo Guitars

It all began with my slippery tear-drop-shaped bouzouki and a sore upper back and neck that the strap on my bouzouki makes even worse and the thought that a guitar-shaped bouzouki (a la Andy Irvine) would be so much easier to hold. That's when I remembered Nikos Apollonio, the luthier who made Susie Bowman's "catboat" guitar (a gorgeous instrument that is clamored for and coveted at a session), also, my friend Bob Denton had just taken delivery of a Nikos-made bouzouki, praises for which could be heard all the way from Tucson.

After the initial and rather humorous realization that Nik's shop is in Maine, not Massachusetts ("I'm in Brookline, I'll just drive up to Rockport tomorrow afternoon;" wait, what's this about the ME Tnpk - must be a typo...), and combined with having learned - coincidentally, the day before - of my dear friends Barb and Lee's imminent relocation from Maine to Washington state; also knowing that the impending Vineyard busy season would preclude any traveling until at least next January, I cleared my calendar for the 3 1/2-hour drive/two-day visit to Maine's mid-coast.

It was a wonderful couple of days. This violin maker's daughter found Nikos' shop fascinating - watching the process (and participating in the selection) of preparing the wood and bending the sides for my "gui-zouki" was worth the trip, alone. Playing tunes with Nik (along with being a skilled craftsman, Nik is also a fabulous musician, composer, and all-around great guy), attending a local trad session, and spending time with Barbara and Lee were also among the highlights of my visit. Just being in Maine was a treat - you see, even though I travel every week between Boston and the Vineyard, I never actually go anywhere - my commutes are simply from one bedroom to another, so it was fun breaking away from my well-worn path for a change, albeit briefly.

Nick's web site, here.

Nik on Facebook.














A bell-shaped cittern, in progress.






Preparing to thin-slice a piece of mahogany which will ultimately become the sides of my instrument.










Milling a slab of spruce, a possible contender for the top of my gui-zouki.



Examining the spruce. Nik has a deep understanding of wood and which qualities - grain, density - will make an instrument sound in a particular way. This piece was ultimately rejected due to its being water stained.








A stash of spruce seasons in a sunny window.




Preparing the sound-box mold.



Moxie, the curious kitten, investigates.









 Preparing the water bath. After being boiled for about an hour, the mahogany will be pliable enough to bend around the mold.



Bending, fitting, and clamping along the way.



Both sides are now clamped onto the mold.


After a couple of days, the sides will be dry enough to remove from the mold. According to my most recent e-mail from Nik, the end blocks are now in.




Not only does Nik build beautiful instruments, he also plays them beautifully. Here, Nik plays his bell cittern, a full-bodied and rich-sounding instrument that also features outstanding action and play-ability. Nik is an entirely self-taught luthier and has made instruments for prominent musicians (and fellow Mainers) such as Paul Noel Stookey and Gordon Bok.

Lee and Barbara, over in Orland. I've known Barbara and Lee since I was ten years old. Lee, a boatman and woodworker, sent me home with a sweet little wooden model of a Galway hooker, a traditional Irish fishing boat, along with a much-admired (during previous visits) hand-made wooden bench.