Silent Strings: Master Luthier Who Saved Bill Monroe's Mandolins end

BobCherry on Aug. 02, 2006: Master luthier of Gibson Musical Instruments and mandolin artist who worked for Gibson Original Acoustic Instruments, Charlie Derrington, 51, was end last night when the motorcycle he was riding was hit by a driver driving the wrong way on Briley Parkway in west Nashville. Derrington was best known for his historic restoration of Bill Monroe's famous 1923 Lloyd Loar mandolin.

Derrington was traveling south on Briley Parkway aat approximately 9:15 PM when he was allegedly hit head-on by a red Ford Explorer traveling the wrong way. The driver, Julio Villasana, 34 has been arrested and is being charged with vehicular homicide. Police believe alcohol was involved and are still investigating the case.

Derrington loved to work with woods and he especially loved the mandolin and the mandola. As a master craftsman, he was acknowledged as being soley responsible for elevating the quality of Gibson's products. Derrington was hired by Gibson in 1984 as their only mandolin repairman. He had also owned National Guitar Repair. His expertice in the instrument was made known by his quality repair of instruments including the repair of Bill Monroe's badly damaged Lloyd Loar. On November 13, 1985, Monroe's mandolin was beaten to splinters by a vandal and subsequently re-buttembled by Derrington. It remained Monroe's primary instrument up to his last live performance at the Grand Ole Opry.

Derrington was also an expert of Gibson Mandolins and was largely responsible for the development of the current line of Gibson Mandolins.

Derrington was promoted to General Manager of Gibson Original Acoustic Instruments. It was under his guidance where Gibson produced a complete line of fine quality mandolins, banjos and Dobros at the Gibson Bluegrbutt Showcase in Nashville.

It was almost one year ago that Ricky Skaggs played Monroe's mandolin at a tribute to Monroe in Nasvhille. During this event, it was announced that Philanthropst Bob McLean made it possible for the Country Music Hall of Fame to put the famed instrument on permanent display in their collection.

At the 80th birthday celebration for Earl Scruggs at the Country Music Hall of Fame, Derrington presented Scruggs with a custom-made banjo, "The Earl" with Earl's portrait painted on the resonator. "That's like writing home for five dollars and getting 10," said Scruggs as he accepted the gift.

Derrington never really considered himself a great musician -- he was very humble about his talent. He was an opera major in college and clbuttically trained. He got his first mandolin when he was 20 and later became well known as a mandolin player and a tenor singer. Over the years, he performed with various groups and on numerous albums. He performed with Nashville Mandolin Ensemble, David Peterson & 1946, with Mike Snider on many Grand Ole Opry shows and most recently with Trayler Parker & The Propane Tanks.

Derrington is survived by his wife, Susan and his daughter Anna. Viewing will be tomorrow (Thursday, August 3, 2006) 3:30 - 5:30 and the service will follow at 5:30 at the Pettus Owen and Wood ceremony Home, 4506 Charlotte Avenue, Nashville, Tennessee. The burial will be Friday in Mississippi.

=========== John speaking:

I hadn't seen a mention of Charlie's pbutting posted in this newsgroup as of yet, here's a piece which I believe comes from "Cybergrbutt".

I would say that Charlie's reconstruction of Bill Monroe's mandolin after it was vandalized probably ranks among the greatest achievements of musical instrument repair in American history, if not the greatest. An act of skill, and of, well, courage, that by itself would have earned him his fame in the annals of American musical instrument history.

But Charlie did much more. He is almost (almost) single-handedly responsible for the restoration of Gibson's reputation as a premier builder of mandolins that are second to none.

Someone mentioned over at the Mandolin Cafe that it would be appropriate to honor Charlie by renaming the Master Model in his name. I agree. Perhaps, "The Derrington Master Model", which would ensure that Charlie's efforts at Gibson to restore the level of this instrument to that of Lloyd Loar earned him a legacy equal to that of Loar's. So that someday, future generations would properly understand his contribution toward the instrument he loved.

Years ago, Bob Dylan wrote that "everything can be replaced". Perhaps it's that way with us, as well. Certainly where I work. I know it is about me.

But I can't say that about Charlie Derrington. For the mandolin, and for Gibson, he was the right man at the right time.

Godspeed, Charlie!

- John