Bourgeois Masterpiece Concert Parlor

A stunning Brazilian rosewood parlor guitar conceived by Bourgeois master luthier James Witkus.

June 4, 2025

Outside of the traditional European apprenticeship system, the term “master luthier” is loosely defined. An instrument company or workshop might honor a particularly adept in-house builder with that title, or a well-experienced independent luthier might feel justified in adding the designation to their business card. The former is the case with Bourgeois Guitars’ master luthier James Witkus. After attending the Galloup School of Lutherie, James began working closely with Dana Bourgeois more than 15 years ago, and has gained a deep understanding of the company’s instruments. Dana says, “James can do anything I do,” and it is no surprise that James’s responsibilities have grown along with his experience.

A couple of years ago, Dana suggested that James try his hands at building a guitar completely to his own specs, a challenge similar to those faced by European apprentices before going off on their own. James ultimately proposed building two guitars, one traditional, the other modern. Both instruments were displayed at last January’s NAMM show, and I recently had a chance to check them out in the Peghead Nation studio. In this video, I present the traditional Masterpiece Concert Parlor. We’ll feature the modern Masterpiece SJ/C Custom very soon!

The Bourgeois Masterpiece Concert Parlor is built with a body shape that differs from the Ditson-inspired Piccolo Parlor that was previously Bourgeois’s smallest option (check out our demo of the Victorian Piccolo Parlor). The guitar boasts gorgeous Brazilian rosewood on its back and sides, and an Aged Tone Adirondack spruce top. The perfectly bookmatched rosewood is dark in color and dramatically figured, and is very reminiscent of what one finds on vintage parlor instruments. From the front, the most eye-catching detail is the elaborate pine-tree inlay on the fingerboard. A tribute to Bourgeois Guitars’ home state of Maine (the “Pine Tree State”), the design also alludes to the “tree-of-life” inlays seen on some fancy vintage parlor guitars. Reconstituted jade is the most prominent material in the design, which continues into a modified “torch” inlay in the slotted peghead and a “butterfly” pickguard like those found on some 19th-century guitars and mandolins. To simulate the appearance of an ivory pyramid bridge, James chose white English holly, and used the same wood for binding both the body and the fingerboard. The rosette and purfling both use pearl. The guitar impresses with its creative interpretations of classic design elements, and the craftsmanship is breathtaking.

Built as a showpiece, it’s unlikely that the Masterpiece Concert Parlor will see much heavy gigging. However, anyone who plays the guitar is likely to delight in its sonic personality. With lightning-quick response and a complex tone, the guitar sounds great when coaxed gently, and I enjoyed playing fingerstyle pieces ranging from classical to Renbourn on it. The instrument’s warmth, precise response, and intimate overall quality makes it an exemplary fresh interpretation of a great-sounding vintage parlor.

I’m certain that if this guitar’s purpose was for James Witkus to pass an apprenticeship’s final exam, he’d pass with flying colors. A testament not only to his skills as a craftsman, it also shows respect to vintage designs and to his mentor’s way of building guitars. For those of us who are not in a position to add a one-of-a-kind masterpiece to our collection, perhaps the best part of the project is that the body style is likely to be offered as a Bourgeois option in the future. Both James and Dana deserve a round of applause for making a very special guitar become reality.