1972 José Ramírez "1a" No. 5739 CD/CSAR

This 1972 José Ramírez "1a" No. 5739 is a classical guitar with a cedar top and CSA rosewood back and sides from Madrid, in completely original condition, with no cracks or repairs.

Made in the Concepción Jerónima Workshop

It comes from the famous workshop of José Ramírez III, whose instruments have been played by countless professionals for well over half a century – Segovia and Sting, Sabicas and Chet Atkins, Christopher Parkening and Lee Ritenour among them. The 1970s carried on what many call the golden era of the workshop – an exciting time, with the Ramírez name at the height of its fame and the elite players of the world beating a path to its door.

A Thick yet Clear Voice

It plays very easily, with a lovely neck and easy action – not always the case with guitars of this period, given the way many of them were set up. The tone is thick yet clear, and has that essential warm, mysterious and moody quality that made Ramírez famous in the great Segovia and Parkening recordings of the period. It features lush CSA rosewood for the back and sides – quite a treat for the eyes.

Condition

No. 5739 is written on the label, which is dated 1972 and signed by José Ramírez III. The condition is great for its age – other than a recent set-up by Yuris Zeltins (including jumbo frets) there are no cracks or repairs, and it is in completely original condition, with only signs of playing wear in the finish. A hardshell case was included. An excellent example of a fine Ramírez for either collector or concert player.

There is much more about the workshop on our blog – The Ramírez Family: Masters of the Guitar, the family members from Amalia Ramírez back to José I, and some fact-checking on myths and facts about this legendary workshop.

The José Ramírez Workshop of Madrid

Founded in Madrid in 1882 by José Ramírez I, the Ramírez workshop has produced guitars for more than a century and through five generations of the family. José Ramírez III (1922–1995) took over as maestro in 1957 and developed the Ramírez concert guitar we know today – large in body, with a long string length and a cedar or spruce top, with great power, sustain, sweetness and balance across the entire register. He popularized western red cedar as a soundboard wood, and from the 1960s Andrés Segovia played José Ramírez guitars to the end of his days.

Ramírez Craftsmen and the Next Generations

From the 1960s to the 1990s the workshop trained many of the most talented guitarreros of the day, among them Paulino Bernabé and Manuel Contreras. In 1995 the shop moved from Calle Concepción Jerónima 2 to Calle de la Paz 8, and since the death of José Ramírez IV in June 2000 the business has been directed by his sister, Amalia Ramírez, who inspects every guitar during and after construction.

Ramírez Models, Labels and Builders' Stamps

For decades the workshop sold its guitars by class rather than by model name. The "1a" (first class) was the standard concert guitar; the "2a" (second class) was built the same way, and the shop explained its lower price tag by materials that might have minor aesthetic blemishes, or by its having been built by an apprentice rather than a foreman. Flamenco guitars add an "F" – "1aF" and "2aF". Until 1967 the labels carried only the year; from 1967 they were signed by José Ramírez III and gave the guitar's number and class, and from 1973 the 2a had a grey label of its own, with a red border and "R" numbers. Until 1971, many Ramírez guitars were stamped inside with the initials of the craftsman who built them – AM for Antonio Martínez, MT for Mariano Tezanos, PB for Paulino Bernabé and many more (see our list of Ramírez workshop luthiers). Later decades brought new models: the "Centenario", which roughly marked the workshop's hundredth anniversary; the "Da Cámara"; the shorter-scale C86 of 1986; and, under José Ramírez IV, the "Tradicional" and the "Especial".