Note: In light of the significance of this guitar’s origins, I chose to expand on its general product description from our website listing to create the article below.  For notes on condition, which include some previous modifications and repairs, please see our website listing or contact us directly. 

Stanley Jay and the 1986 Custom Shop 00-45 Unicorn

In reflecting on my upbringing in the wild and wonderful world of mom-and-pop guitar retail, I must say that one of my fondest memories was visiting Mandolin Brothers, the shop of the late, great Stanley Jay, on Staten Island, NY.  I was barely a teenager; and my parents and I had flown to NY over my winter break, mostly to make sure that my older brother had not completely descended into full-blown hermit status whilst finishing his PhD in Medieval Studies at SUNY Stony Brook.  While posted up in Port Jefferson Station, we elected to make a somewhat impromptu jaunt over to Staten Island to visit Mandolin Brothers.

Like many famous guitar stores, Mandolin Brothers had a fairly humble appearance from the exterior, being situated in just a modest-sized house.  However, as we entered the cultural oasis that was Mandolin Brothers on that baltic New York winter day, it was clear that we had not just walked into any old guitar store.  Rather, we were now standing in an institution, a hallowed space that simply oozed history.  There were so many guitars crammed in that place that the main showroom was practically a minefield of tri-guitar stands, where one could hardly access a guitar on the wall without bonking it against another or tripping over some other batch of six string beauties. Yet, as is true of any independent business, the inventory is ultimately just inventory; whereas, the business is defined by its staff, especially the owner(s).

Stanley Jay was, among other things, a luminary in the world of guitars and one of the founding fathers of the vintage guitar market as we know it today.  In fact, one could say that Stan was one of but a few guitar dealers who’d achieved celebrity status.  Long before the age of the internet’s facile global reach, Stanley had garnered international recognition for his tremendous guitar acumen, as well as his artistic and often downright poetic approach to representing guitars. For example, the Mandolin Brothers catalogue was beyond comparison.  The front cover of each edition featured a historic photo of famous musicians with their instruments.  Stan and his staff would then very accurately recreate that photo on the back cover, right down to the clothing and comparable period instruments from his inventory.  Moreover, drawing from his background as a literary scholar, Stan’s beautifully composed product descriptions were unparalleled in the industry. (I, for one, certainly strive to emulate his example!) 

As a result of all this, the clientele of Mandolin Brothers included a laundry list of famous musicians and serious collectors.  The store even received a subtle shout-out in the opening line of Joni Mitchell’s “Song for Sharon," which begins with "I went to Staten Island, Sharon, to buy myself a mandolin."  And, of course, Stan was responsible for some of the most incredible guitar sales in the history of the industry.  For example, not long before our visit, he had sold the legendary 1957 D’Angelico Teardrop (a.k.a. “The Can Opener”) to the noted guitar collector, Scott Chinery, for the princely sum of $150,000 (a record breaking number in 1993). Incidentally, in discussing this guitar with us during our visit, Stan happened to mention to me that Scott Chinery also owned one of the original Batmobiles. (The car was prominently featured in the famous full-page want ads Chinery placed in all the guitar magazines at the time—that’s a serious case of Guitar Acquisition Syndrome, if ever I’ve heard of one!)  Being a nerdy comic-obsessed kid with little personal investment in the vintage guitar market at the time, I recall being more impressed by Mr. Chinery’s ownership of the Batmobile than his acquisition of the D’Angelico. (Full disclosure: I still desperately want to be Batman.)

Needless to say, Stanley Jay was definitely in the business for love, not blood; and he was clearly eager to share the fantastic guitars within his ever-churning collection.  For instance, upon learning that I was smitten with Les Pauls (it was the age of Slash, after all), Stan allowed me to play a pristine early ‘50s Gibson Les Paul, which was proudly situated front and center in the “high dollar room” upstairs.  For many years, the proof of this auspicious moment in my life was on display in our store in the form of a most unflattering picture, wherein the powerful thrall of my goofy teenage bowlcut quite effectively draws the eye away from the classic guitar. Alas, this photo has since mysteriously disappeared—perhaps a minor mystery to be delegated to Robin….  

Over the years, Stan proved to be a good friend to my family and our business. We would occasionally call on him for advice or perspective, and he was always very generous with his time, despite the lack of any real financial incentive on his end.  For instance, when we were considering taking on the Collings line (which would become one of our most important brands), my parents purportedly inquired with Stan to see what he knew about their guitars. His response was evidently something to the effect of, “I don’t know much other than they’re really good!”  So, we went for it, and we prospered as a result. I also owe Stan a great debt for aiding me in the course of developing my own guitar acumen, particularly with respect to the arcana of vintage instruments, as he graciously enlightened me on more than one head-scratcher.  Moreover, Stan’s example demonstrated to me early on that businesses like ours could be brothers in arms rather than ruthless competitors.  Sadly, Stanley passed away from mantle cell lymphoma in 2014—a most cruel fate for such a kind soul—and there will truly never be another one like him.

Given our past with Stan, the recent arrival of one of his brainchildren, in the form of a stunning 1986 Custom Shop Martin 00-45 12-fret was very exciting, if not a bit bittersweet.  Featuring a long scale (25.4”), a 2” nut width, a Tree of Life fingerboard inlay, and a Fern headstock inlay, this guitar’s design is clearly uniquely informed by the extensive knowledge base of Stanley Jay.  After some internet sleuthing, it appears that Stanley ordered at least two other similar 12-fret guitars around the same time, forming a suite of sorts (the other two are a 000 and a dreadnought).  Meanwhile, though the well-known extant upgraded 1902 00-42 that served as a 00-45 prototype has similar fingerboard and headstock ornamentation, this 00-45’s 2” nut width and long scale are definitely inconsistent with typical 00 specs.  Thus, this now vintage ’86 Custom 00-45 represents an ironic head-scratcher unicorn sent to me by our friend Stan from the great beyond; for, as far as I can tell, there is no exact historical precedent for this guitar in terms of its unique combination of features.

Of course this guitar’s deviation from historical precedent is what makes it truly exceptional!  For one, it is a visually arresting aesthetic statement, given the additional degree of ornamentation on display in the Tree of Life fingerboard inlay and “Fern” headstock inlay.  This guitar’s 2” nut width is perhaps its most unusual feature—apart from nylon string models (e.g., the N-20), we have only sold one other Martin with such a wide nut.  For the typical steel string player, this nut width is admittedly intimidating—or, if nothing else, and adjustment.  Yet, this additional width could be quite rewarding for many fingerstyle players, those with very large hands, or even classical guitarists in search of that special steel string.  More importantly, this 00-45 has a very surprising vocal quality.  In addition to the voluptuous, yet balanced, openness that we generally expect from a 12-fret 00, this guitar has a tremendous degree of projection and responsiveness that is truly exceptional. This enhanced presence and power can mostly be attributed to the instrument’s long scale, and it is certainly unlike that which one would find in the typical 00.  Otherwise, this showpiece 00-45 exudes all of the classic Martin vocal characteristics that have made Martin guitars so desirable to players of all sorts for generations:  there is warmth, there is clarity, and there is a distinct earthiness to the notes that makes their song feel real and substantial in your bones.  Indeed, this product of Stanley Jay’s vision is a lively instrument like none other, and it is possessed of deep reserves of expression for the player to command.  I guess old Stan knew what he was doing after all….  - L. Petsch, January 2026

John - Many of you know that I am a fan of great female singers (think, Sierra Ferrell, Bella White, Sarah Jarosz). The forces of nature, Lindsey Lou and May Erlewine have a fabulous album that came out in 2020. They, along with Rachael Davis, call themselves the Sweet Water Warblers. The album is The Dream That Holds This Child. Really fun, and Lindsey and May are transcendent.

Chris - Pat Metheny - One Quiet Night - Now that 2026 is underway I’ve unexpectedly found myself pursuing one word: “Calm.” This collection of solo fingerstyle arrangements on Baritone Acoustic Guitar definitely fits that bill for me. Pat is a guitarist that needs little introduction as one of the all-time great jazz guitarists yet this record showcases a side of his that he doesn’t often indulge. The album rewards active listening, unveiling a wealth of gorgeous harmonic explorations to a curious ear, but it’s also a great choice for a relaxing drive or more sophisticated dinner soundtrack.  

Mike -  The Hitchhiker’s Guide to the Galaxy - Douglas Adams - Whether in its original format as a radio play, or its BBC series, the movie from 2005 or any of the 5  books in increasingly misnamed trilogy, satire has seldom been simultaneously anarchic and witty on the level Douglas Adams achieves with such alacrity.  Take for example the opening salvo from “Restaurant at the End of the Universe”.  “In the beginning the universe was created.  This has made a lot of people very angry, and widely regarded as a bad move.”  Enjoy, and of course, “Don’t Panic”.

Lindsay - David Russell - “David Russell Plays Bach” - A long-time friend of our family, I’ve had the pleasure of knowing David Russell for many years.  Not only is David one of the finest players in the world, but he is one of the most kind, gracious, and humble human beings one could ever hope to meet (he’s the sort of guy who takes the proceeds of his CD sales at a concert and buys everyone else dinner!). Apart from his technical prowess, David has a truly artistic touch in his interpretations and arrangements.  This artistic sensibility is, in some respects, best displayed in the performance of such highly challenging contrapuntal music as that of Bach, where, for many players, the temptation to concentrate on fireworks and blazing displays of flying fingers often overrides good taste.  Needless to say, this album is an absolute treasure of solo guitar, containing transcendent performances of some of the most beautiful music ever conceived.  As an ancillary benefit, I’ve found it to be instrumental in calming my nerves and otherwise quelling murderous impulses during my morning commutes in the persistent traffic quagmire that is our fair city of Atlanta.