Burls are nothing more than a wort on the side, or in the root system of a particular variety of tree. Once harvested, it is the most expensive variation of that variety, and I have no idea why, other than its beauty. Burls are extremely difficult to work, as there is no rhyme or reason to the grain or predictability as to the behavior of the material. Often there are voids that need backfilling, particularly in the case of a flute, otherwise it is unplayable. This instrument had four, backfilled with powdered turquoise from the Sleeping Beauty mine in Globe AZ. Amboyna burl is considered by many to be the most expensive burl in the world, and I use it extensively in my instruments as well.

The instrument is 19-3/8” long, with a 1” bore diameter. Woods used, beginning at the mouthpiece, include macassar ebony between layers of amboyna burl, and capped with the myrtle burl. 19mm disks set to each side of the compression chamber are again, amboyna burl. The fetish block is cut from the myrtle burl, and bonded to a base of Oklahoma red cedar for moisture control, while the wing overlays of the bird include multiple layers of abalone and myrtle burl.

Inlay, starting at the mouthpiece includes a 7x16mm Mexican jelly opal flanked by 4mm turquoise dots. The sound chamber is set with an 18x25mm Mexican crazy lace agate, while the finger holes are accented with four 5mm abalone dots, and a 6mm dome cut labradorite cab. Lastly, the fetish block includes a 6mm dome cut amber cab set to the crown, and 2.8mm hematite beads set as eyes.

The flute was tuned with a wood temperature of 78.1° F, at an ambient temperature of 73.4° F, and a humidity factor of 61%. Tuning was done at sea level.