Bill levitt, Archtops, Lenny Frank

[Low Hertz]

I spent a few years at Berklee College of Music in the early 70s.

My previous guitar, Lenny Frank was a wonderful and inspiring teacher.
He was both a great jazz player, playing on his D'Angelico New Yorker,
as well as classically trained. He has a wonderful old Santos.

He used to improvise in a classical style, as did many of his better
students. He also loved to use his fingers, or pick and fingers on
his beautiful D'Angelico. He played great classical pieces on his
D'Angelico. I have some beautiful recordings. Some strictly played
classical, some pick and fingers, and some just using a pick.

Sadly, he died well before his time, leaving quite a legacy.

When I went to Berklee, Bill Levitt, a great teacher and player from
the old Schillger School ran the guitar department. It was a no fingers
allowed school. You had to only use your pick.

He had a book, I don't remember the exact name, something to the extent
of Classical Pieces for the Pick Style Guitar. Each semester you had to
memorize and play it before a committee. I remember I did Adelita (sp)
one earl year. I rebelled, and still loved to use my fingers.

The book is very interesting to play, the pieces are very well arranged
and will certainly improve one's ability to use a pick. Very
challenging. And they sound really interesting as well. Anyone tried
that book?

There was a prejudice against the jazz and arch top players, so I think
they overreacted. I remember when the Museum of Art had an exposition
on great guitars, and I knew Jimmy D'Aquisto. Perhaps the greatest
guitar maker ever. He was furious they ignored D'Angelico or his
instruments, or any arch tops.

Jimmy did make some wonderful classical guitars, but they just weren't
his thing.

Bob

[Mark & Steven Bornfeld]

Post by Low Hertz
I spent a few years at Berklee College of Music in the early 70s.
My previous guitar, Lenny Frank was a wonderful and inspiring teacher.
He was both a great jazz player, playing on his D'Angelico New Yorker,
as well as classically trained. He has a wonderful old Santos.
He used to improvise in a classical style, as did many of his better
students. He also loved to use his fingers, or pick and fingers on
his beautiful D'Angelico. He played great classical pieces on his
D'Angelico. I have some beautiful recordings. Some strictly played
classical, some pick and fingers, and some just using a pick.
Sadly, he died well before his time, leaving quite a legacy.
When I went to Berklee, Bill Levitt, a great teacher and player from
the old Schillger School ran the guitar department. It was a no fingers
allowed school. You had to only use your pick.
He had a book, I don't remember the exact name, something to the extent
of Classical Pieces for the Pick Style Guitar. Each semester you had to
memorize and play it before a committee. I remember I did Adelita (sp)
one earl year. I rebelled, and still loved to use my fingers.
The book is very interesting to play, the pieces are very well arranged
and will certainly improve one's ability to use a pick. Very
challenging. And they sound really interesting as well. Anyone tried
that book?
There was a prejudice against the jazz and arch top players, so I think
they overreacted. I remember when the Museum of Art had an exposition
on great guitars, and I knew Jimmy D'Aquisto. Perhaps the greatest
guitar maker ever. He was furious they ignored D'Angelico or his
instruments, or any arch tops.
Jimmy did make some wonderful classical guitars, but they just weren't
his thing.
Bob

I can't say Johnny Smith playing classical with plectrum is my thang,
but it's sure amazing he can do it at all.
D'Aquisto did make gorgeous guitars, didn't he? Another one who left
us too soon.
My old guitar teacher had a D'Angelico New Yorker that actually was
made by D'Aquisto before he went out on his own.
I had no idea he made classicals--would love to see one.

Steve

[t***@jhu.edu]

Howard Roberts also published a folio of Bach solo violin pieces
arranged for plectrum guitar. It couldn't have required much in the way
of "arranging" to accomplish, but he did put it ou there.

[Andrew Schulman]

Hi Bob,

I also studied Jazz with Lenny Frank, when I was a student at Stony
Brook University, in my freshman year. Not for credit though. I was
in a transition and soon switched to classical guitar fulltime, and
started with Jerry Willard. Although Jerry was not on the faculty yet,
I got school credit and was in fact the first classical guitar major
there, and by being a pain in the neck to the administration for
several years I helped get Jerry added to the faculty (as revenge they
hired him the day after I graduated, (seriously).

And yes, Lenny Frank's suicide was a tragedy, he suffered for years
from a debilitating and very painful back injury and finally couldn't
take it anymore . He was a wonderful and inspiring teacher; and I
remember that great D'Angelico like it was yesterday (it was 1971).

Andrew

[Low Hertz]

Post by Andrew Schulman
Hi Bob,
I also studied Jazz with Lenny Frank, when I was a student at Stony
Brook University, in my freshman year. Not for credit though. I was
in a transition and soon switched to classical guitar fulltime, and
started with Jerry Willard. Although Jerry was not on the faculty yet,
I got school credit and was in fact the first classical guitar major
there, and by being a pain in the neck to the administration for
several years I helped get Jerry added to the faculty (as revenge they
hired him the day after I graduated, (seriously).
And yes, Lenny Frank's suicide was a tragedy, he suffered for years
from a debilitating and very painful back injury and finally couldn't
take it anymore . He was a wonderful and inspiring teacher; and I
remember that great D'Angelico like it was yesterday (it was 1971).
Andrew

Another of Lenny's students! He was quite incredible. A unique genius.
Feel free to write me, ***@cfl.rr.com. I am motivated to
keep a list of his students.

I did get to play that New Yorker, it played like magic.. I played a
bunch of Jimmy's as well.
One of my students apprenticed with Jimmy for 3 years, but
wanted to make a living. I would never have given up that opportunity.
Do you remember his Santos?

Lenny took from Classical studies and applied them to solo guitar. The
concepts of "cover" to make the pieces sound smooth. It was like he was
trying to learn the "secrets".

It's really sad he never saw an acupuncturist or someone more like that.
Central General was not the place to make life or death decisions.

Jimmy made a few classical. They were, as you might guess, incredible,
rich deep bass, sparkling treble, played like a dream. However, Jimmy
was very opinionated as you might suspect, about woods, concepts, and
what he was compared to. I'm not really sure I should repeat it, but he
called classical guitars, "glorified ukuleles". Similarly, he said
rosewood should only be used
for furniture.

I think it was because of the lack of respect the "legit" world treated
arch tops. Obviously, the "legitimate" world never treated the
archtop with the respect it deserved. The ultimate insult being
when the museum of modern art had an exhibit of the Great Guitars, and
had no arch tops, just classicals. Jimmy's and a D'Angelico should have
been included. I think that was similar to what drove Bill Levitt to
write the book for classical studies for pick style guitar, and banning
the use of fingers at Berklee. With no offense to Bill Levitt, Lenny
was far more creative and charismatic, and the more exciting player.

I have an Artist Award, a fine arch top, but my complaint is the strings
are too narrow, like they never conceived someone would want to use it
for traditional classical guitar. Someday I'll replace it with

There is a method to the madness. The world has been way to segmented,
while a symbiotic relationship is what is needed.

[e***@gmail.com]

Post by Andrew Schulman
Hi Bob,
I also studied Jazz with Lenny Frank, when I was a student at Stony
Brook University, in my freshman year. Not for credit though. I was
in a transition and soon switched to classical guitar fulltime, and
started with Jerry Willard. Although Jerry was not on the faculty yet,
I got school credit and was in fact the first classical guitar major
there, and by being a pain in the neck to the administration for
several years I helped get Jerry added to the faculty (as revenge they
hired him the day after I graduated, (seriously).
And yes, Lenny Frank's suicide was a tragedy, he suffered for years
from a debilitating and very painful back injury and finally couldn't
take it anymore . He was a wonderful and inspiring teacher; and I
remember that great D'Angelico like it was yesterday (it was 1971).
Andrew

Hi Bob and Andrew.
I worked with Lenny for many years as a teacher and a student. I have one of Jimmy D'Aquisto's nylon string guitars and two of his archtops. He did get posthumous revenge at the Metropolitan Museum of Art last year. I don't remember Bob, but I would love to hear any recordings of Lenny's playing. Lenny wasn't in pain for as long a time as Andrew remembers. It was really only a few months at the longest. He was also at that point on the faculty of NYU (thanks to Ira Newborn), and had been consulting with the orthopedic people at the hospital there. The suicide defies understanding. There's no rush, but I'm interested in communicating with any of Lenny's students who care to.
Thanks.
Ethan Fein

[Andrew Schulman]

Post by e***@gmail.com
Hi Bob and Andrew.
    I worked with Lenny for many years as a teacher and a student. I have one of Jimmy D'Aquisto's nylon string guitars and two of his archtops. He did get posthumous revenge at the Metropolitan Museum of Art last year. I don't remember Bob, but I would love to hear any recordings of Lenny's playing. Lenny wasn't in pain for as long a time as Andrew remembers. It was really only a few months at the longest. He was also at that point on the faculty of NYU (thanks to Ira Newborn), and had been consulting with the orthopedic people at the hospital there. The suicide defies understanding. There's no rush, but I'm interested in communicating with any of Lenny's students who care to.
Thanks.
Ethan Fein

Hi Ethan,

I stand corrected on Lenny's illness. Good to see you post here.

Andrew

[Murdick]

I think the Berkley scales were written by Bill Levitt. I know all twelve keys at one time. It was a great study.

[g***@gmail.com]

Post by e***@gmail.com

Post by Andrew Schulman
Hi Bob,
I also studied Jazz with Lenny Frank, when I was a student at Stony
Brook University, in my freshman year. Not for credit though. I was
in a transition and soon switched to classical guitar fulltime, and
started with Jerry Willard. Although Jerry was not on the faculty yet,
I got school credit and was in fact the first classical guitar major
there, and by being a pain in the neck to the administration for
several years I helped get Jerry added to the faculty (as revenge they
hired him the day after I graduated, (seriously).
And yes, Lenny Frank's suicide was a tragedy, he suffered for years
from a debilitating and very painful back injury and finally couldn't
take it anymore . He was a wonderful and inspiring teacher; and I
remember that great D'Angelico like it was yesterday (it was 1971).
Andrew

Hi Bob and Andrew.
I worked with Lenny for many years as a teacher and a student. I have one of Jimmy D'Aquisto's nylon string guitars and two of his archtops. He did get posthumous revenge at the Metropolitan Museum of Art last year. I don't remember Bob, but I would love to hear any recordings of Lenny's playing. Lenny wasn't in pain for as long a time as Andrew remembers. It was really only a few months at the longest. He was also at that point on the faculty of NYU (thanks to Ira Newborn), and had been consulting with the orthopedic people at the hospital there. The suicide defies understanding. There's no rush, but I'm interested in communicating with any of Lenny's students who care to.
Thanks.
Ethan Fein

hey ethan, gary murway here. i just stumbled on this lenny stuff and i'd love to hear the recordings that were mentioned as well. i hope the owner takes the time and effort to share...

[m***@gmail.com]

Hey Ethan,

I studied with Lenny and later with you. I was gone already
when he died, heard about it from Maury, another former student who I stayed in touch with in those years. Did you
ever get to hear those recordings that were mentioned ?
I’d love to, I remember just listening to him go through his
warm-ups was an exhilarating experience.

Mike Burwasser

[Che']

Post by Low Hertz
I spent a few years at Berklee College of Music in the early 70s.
My previous guitar, Lenny Frank was a wonderful and inspiring teacher.
He was both a great jazz player, playing on his D'Angelico New Yorker,
as well as classically trained. He has a wonderful old Santos.
He used to improvise in a classical style, as did many of his better
students. He also loved to use his fingers, or pick and fingers on
his beautiful D'Angelico. He played great classical pieces on his
D'Angelico. I have some beautiful recordings. Some strictly played
classical, some pick and fingers, and some just using a pick.
Sadly, he died well before his time, leaving quite a legacy.
When I went to Berklee, Bill Levitt, a great teacher and player from
the old Schillger School ran the guitar department. It was a no fingers
allowed school. You had to only use your pick.
He had a book, I don't remember the exact name, something to the extent
of Classical Pieces for the Pick Style Guitar. Each semester you had to
memorize and play it before a committee. I remember I did Adelita (sp)
one earl year. I rebelled, and still loved to use my fingers.
The book is very interesting to play, the pieces are very well arranged
and will certainly improve one's ability to use a pick. Very challenging.
And they sound really interesting as well. Anyone tried that book?
There was a prejudice against the jazz and arch top players, so I think
they overreacted. I remember when the Museum of Art had an exposition on
great guitars, and I knew Jimmy D'Aquisto. Perhaps the greatest guitar
maker ever. He was furious they ignored D'Angelico or his instruments, or
any arch tops.
Jimmy did make some wonderful classical guitars, but they just weren't his
thing.
Bob<

Many moons ago in the 70's I used D'Angelico sterling silver bass strings on
my classicals.... in a word, they were the best classical bass strings I've
ever used.
The black jazz classical guitarist Chancy Westbrook ( N.Y. New York ) turned
me on to them.

Che'

[Low Hertz]

Post by Che'
Many moons ago in the 70's I used D'Angelico sterling silver bass strings on
my classicals.... in a word, they were the best classical bass strings I've
ever used.
The black jazz classical guitarist Chancy Westbrook ( N.Y. New York ) turned
me on to them.
Che'

Jimmy took over the string making business, including the machines. Some
lawyer ripped it all off.

[g***@gmail.com]

Post by Low Hertz
I spent a few years at Berklee College of Music in the early 70s.
My previous guitar, Lenny Frank was a wonderful and inspiring teacher.
He was both a great jazz player, playing on his D'Angelico New Yorker,
as well as classically trained. He has a wonderful old Santos.
He used to improvise in a classical style, as did many of his better
students. He also loved to use his fingers, or pick and fingers on
his beautiful D'Angelico. He played great classical pieces on his
D'Angelico. I have some beautiful recordings. Some strictly played
classical, some pick and fingers, and some just using a pick.
Sadly, he died well before his time, leaving quite a legacy.
When I went to Berklee, Bill Levitt, a great teacher and player from
the old Schillger School ran the guitar department. It was a no fingers
allowed school. You had to only use your pick.
He had a book, I don't remember the exact name, something to the extent
of Classical Pieces for the Pick Style Guitar. Each semester you had to
memorize and play it before a committee. I remember I did Adelita (sp)
one earl year. I rebelled, and still loved to use my fingers.
The book is very interesting to play, the pieces are very well arranged
and will certainly improve one's ability to use a pick. Very
challenging. And they sound really interesting as well. Anyone tried
that book?
There was a prejudice against the jazz and arch top players, so I think
they overreacted. I remember when the Museum of Art had an exposition
on great guitars, and I knew Jimmy D'Aquisto. Perhaps the greatest
guitar maker ever. He was furious they ignored D'Angelico or his
instruments, or any arch tops.
Jimmy did make some wonderful classical guitars, but they just weren't
his thing.
Bob

yea lenny john D' was a memorable piece indeed as was lenny. i only got to play that guitar once but i never forgot that feel. i've owned 3 D'Aquisto's and they where very magical in persona, but lenny's D'Angelico was truly angelic.

i got to study with ethan fein back then who is a spectacular disciple of "the Method" who is still gigging in ny.

[m***@gmail.com]

Hey Gary,

I was Lenny’s student in the 60s and played his New Yorker
-never forgot it ! I also studied with Ethan for a while.
In my teens I remember being out in Levittown one night with my friends and hearing music playing, so we went over and it was you guys having practice and I remember you doing “Down by the River” a few years later I met Ray and ended up taking you spot in the band playing bass and singing. Funny the things that stay with you through the years. Did you ever get to hear the Lenny recordings? I’d like to if they’re available.

Mike Burwasser

[m***@gmail.com]

Thanks for remembering Lenny. I was a student in the 60s
and he was unforgettable. I’d love to hear those recordings
you mentioned.

Mike Burwasser

[m***@gmail.com]

You said you were interested in keeping a list of Lenny’s students. I studied with him in the 60s as a teenager and he was the best. I was in the biz for most of the 70s and used everything he taught me as a side man and leader. You seem to have a lot of information about him. Were you close ? I’d like to hear the roe irdings mentioned in the post, and hear more Lenny stories from you or any others that knew him. I still have the
Guild studio with his nameplate on it.

Mike Burwasser



Sent from my iPhone

[m***@gmail.com]

You said you were interested in keeping a list of Lenny’s students. I studied with him in the 60s as a teenager and he was the best. I was in the biz for most of the 70s and used everything he taught me as a side man and leader. You seem to have a lot of information about him. Were you close ? I’d like to hear the recordimgs mentioned in the post, and hear more Lenny stories from you or any others that knew him. I still have the
Guild studio with his nameplate on it.

Mike Burwasser



Sent from my iPhone

[e***@gmail.com]

Post by m***@gmail.com
You said you were interested in keeping a list of Lenny’s students. I studied with him in the 60s as a teenager and he was the best. I was in the biz for most of the 70s and used everything he taught me as a side man and leader. You seem to have a lot of information about him. Were you close ? I’d like to hear the recordimgs mentioned in the post, and hear more Lenny stories from you or any others that knew him. I still have the
Guild studio with his nameplate on it.
Mike Burwasser
Sent from my iPhone

Hi Mike,
Long time, huh? I haven't kept up with this thread of emails, and just happened to find it. I never heard any of the recordings of Lenny. Did you?
Ethan