From the Factory, Players | September 17, 2024
Strings of Change: Joan Baez’s 1880 Martin 0-40
Exploring the journey of a folk icon’s beloved acoustic guitar
In our ongoing exploration of the Martin Museum's treasures, we’ve already covered the fascinating histories of Kurt Cobain and Elliott Smith’s 1953 D-18, affectionately known as “Grandpa,” and Hank Williams’ 1947 D-18.
These guitars, steeped in musical legend and lore, have given us glimpses into the lives of these influential artists. Now, we turn our attention to another captivating story – this time, that of Joan Baez's 1880 0-40.
Joan Baez, a luminary in folk music and activism, found a musical companion in this small-bodied Martin that resonated with her soulful voice and steadfast spirit. This guitar not only accompanied her on stage and in the studio but also played a role in her enduring legacy.
A Musical Bond: From Berkeley to the World
Joan’s connection with this guitar began at the University of California, Berkeley. In 1966, she met a student who owned the vintage Martin, originally belonging to her grandmother. Enthralled by its rich tone, Baez traded two of her own guitars to claim it as her own. This instrument became inseparable from her performances, gracing countless stages and recordings during the height of her career.
Martin Archives and Museum Manager Jason Ahner reflects on this period: “Joan owned the guitar from the mid to late 1960s. She used it extensively, recording David's Album with it and touring with it. There's even a live edition of David's Album from Japan where she’s pictured on the cover with the guitar.”
“Joan's most known for her 1929 0-45,” says Jason. “So, she's a fan of small-bodied guitars. She said they just fit her and her voice.”
The Guitar’s Journey Back Home
Despite their musical synergy, Joan returned the guitar to its previous owner two years later in 1968. “The woman whose grandmother originally owned it felt bad about trading her grandmother's guitar,” says Jason. “So, Joan was nice enough to give it back to her.” Eventually auctioned through Freeman's in Philadelphia, Martin acquired it in 2015, preserving its storied history for future generations in its museum.
Jason elaborates on one of the guitar's most obvious features – its bridge: “The guitar’s bridge is made of solid ivory. Up until 1918, guitars that were style 34 and above would get an ivory bridge. It was the standard bridge material for those guitars. Then, in 1918, Martin stopped using ivory for bridges and binding, switching to ebony. But this guitar still has its genuine ivory bridge.”
Another historic detail on Joan’s 0-40 is her handwritten set list, which is taped to the bass side of the guitar. “It was a common thing for her to do because I've seen photos,” says Jason. “So, whatever her last show was with that guitar, the set list is still there, and you can see what she was playing.”
Honoring Joan Baez’s Impact
In recognition of Joan’s enduring influence on music and activism, the Martin Museum featured an exhibit titled “Joan Baez: Musician & Artist,” showcasing not only her guitars but also her original artwork, lyrics, and tour memorabilia.
Her iconic 1929 0-45, played at historic events like the March on Washington and Woodstock, joined her signature 0-45 prototype and 1880 0-40 as a testament to her role in music history. For more on the exhibit and these extraordinary guitars, watch the first episode of Museum Moments here.
The exhibit ran through April 2024 before being sent to the Folk Americana Roots Hall of Fame in Boston, where Joan was inducted as a member of its inaugural class. But her beloved 0-40 stayed behind in the Martin Museum for visitors to enjoy.
Joan’s profound impact on both music and social justice continues to inspire future generations. Her work as an artist and activist serves as a powerful testament to the transformative power of music, and the Martin Museum is honored to share her remarkable story, as well as those of other legendary musicians.
More from Martin
To learn more about the amazing collection of instruments and artifacts on display in our museum, check out the Martin Guitar video series Behind the Glass, which includes an episode on Joan’s 1880 0-40 that’s also available to watch below.
Also, make sure if you’re ever pulling into Nazareth to stop by and visit the Martin Museum, see these historic guitars for yourself, and take a factory tour.
Stay tuned for future blog posts, where we’ll continue our journey through the Martin Museum, exploring more iconic guitars and the stories they tell. Until then, keep strumming, and keep the music playing.
