Antique Banjos

From 1893 to 1901, the Sears and Roebuck Company contracted with S.S. Stewart Co. of Philadelphia to build banjos for sale as the `Acme`  brand via catalogue marketing. Most but not all of these instruments bore the `Acme` label, and a few had incidental `S.S. Stewart’ markings. Some banjos were unmarked but clearly an S.S. Stewart product, although the Bay State and Luscomb manufacturers  made strikingly similar designs in that era probably in response to buyer preference.

One such unmarked but well-crafted 5 stringer appeared for repairs in the BRC workshop this autumn.  The tip of the peg head of this high-end instrument had a subtle absent white mother of pearl diamond amidst a cluster of 4 intact inlays.

Two yellow abalone inlays (arrows) were missing from the upper fretboard`s elaborately engraved wreath and wire floral pattern, and small wood chips were fractured off the neck- pot junction area.

The spun over rim,  brackets, and talon tailpiece had a soft golden hue suggesting an unplated brass alloy, and the heel of the neck was festooned with handsome wood carvings.

The color tone of the inlays had aged significantly over the last century, and newly installed white mother of pearl was at least a half-tone different from the native peg head inlay.

A similar yellow abalone to somewhat match the discolored fretboard decorations was hard to locate but eventually obtained from a shop in Taiwan.

The neck had no truss rod and about a 5 degree forward bend to it. The inlay pattern and wood defects were patched-up gently because the wood was so dried-up and fragile that it was  prone to crumble.

The owner was advised to get nylon strings to prevent further deformity of the neck of this vintage banjo that still had a charming and warm tone.

During the mid 19th century, troupes of minstrel show musicians toured England igniting a craze in Britain for America`s homespun music and its signature banjo.  In 1859, Stephen Van Hagen of Albany, NY,  patented  a 7 string banjo- the very first patent of its kind.   Alfred D. Cammeyer, a Brooklyn born composer and entrepreneur,  relocated from the US to London in 1888 to cultivate the profitable banjo market there. At the end of the century, banjo sales remained a fertile business in the UK. The colossal  musical instrument company owned John H. Buckbee of NY manufactured banjo parts that were shipped to London to be assembled and sold by the English distributor Joseph Wallis.

A forlorn Buckbee/Wallis 7 string banjo was recently discovered in a small antique store in rural Missouri by a  guitarist who brought it to our  workshop for restoration as guided by a recent article about the BRC in a local newspaper.

The instrument`s “J.H.B.” initials imprinted on the heel of the neck confirm that the parts were manufactured in NY by J. H. Buckbee.

The “Guaranteed American By… Wallis ” inscription on the dowel stick assured the buyer in London that the banjo was a genuine product of the USA- birthplace of the minstrel tradition.

Buckbee died in 1897, and his business effects were publicly sold. Wallis & Sons were still listed as musical instrument makers in 1915.

Clad in a rim of German silver,  the spun-over pot interior was fashioned from a single bent piece of wood- a lost art form. After a clean-up, the original craftsman`s single marks for bracket positions and triple marks for dowel stick alignment remain visible as well as the overlapping seam of the wood rim.

A close-up study of the crusty nut reveals multiple string slots. The BRC founder`s theory is that the instrument was initially built for 7 strings (white arrows) in NY and then shipped overseas to London and sold. After the banjo made its return transatlantic journey back to the the United States, it was then converted to a five string (red arrows) instrument more familiar to the American musician.

Following our restoration of the instrument, an antique Bell Brand tailpiece was applied to anchor nylon strings. Thomas Nelson Jr. owned the Bell Brand string franchise which he merged with two other manufacturers in 1897 to form the  National Musical String Company (NMSCo.). In its day, this conglomerate was the largest manufacturer of steel strings in the world, and the  original factory of the now defunct enterprise still stands in North Brunswick, NJ, as a National Historic  Place.

The banjo neck has a unique `flush fret` series of markers supplementing  its traditional fretless fingerboard, and these stripes aid the musician in proper fingertip position. A new goatskin head was applied as well as non traditional pancake outrigger geared tuning pegs. The most common tuning for this rare bird 7 stringer is: gGcdgbd.  The guitarist  who brought this precious 120 year old  banjo to us has graciously donated it to the BRC Collection where it will be treasured.

From the BRC: Our workshop staff wonders if the number 7 is a lucky digit for the BRC, as our website search engine stats just surpassed 700K hits, and we are grateful for this milestone .

In 1966, Chuck Ogsbury in Boulder, Colorado, sold his Ode banjo enterprise to the Baldwin Company.  Production of the new Baldwin line remained in Colorado for two years, and then the factory was moved to De Queen, Arkansas,  in 1968. Sales were not brisk, despite corporate marketers soon adding the cherished `Ode` subscript to the peghead beneath the `Baldwin’ banner. As the Gretsch instrument brand was then owned by Baldwin, production of  Baldwin/Ode banjos was moved to the Gretsch factory in Booneville, Arkansas, in 1970. Sales continued to be meager, and Baldwin went bankrupt by 1980. 

As the production of Baldwin/Ode banjos was located in three different sites within about two years, each factory inherited  hundreds of parts from the previous plant. How does a Baldwin/Ode owner determine the pedigree of his/her banjo? The partial answer is to examine the instrument for identifying signatures of the manufacturer. Of note, the ODE lettering and inlay on the peghead on the upper left are not original but were installed by the BRC founder after he recovered the Boulder-built parts which had languished in a garage for 40 years.

On very close inspection, the tailpiece may be seen to bear the subtle `Ode`  imprint. Note the adjacent 4th string for size reference. The BRC owner overlooked this marking for many years in his four Baldwin/Ode 5 stringers.

Under the tail piece , a partially concealed  but telling manufacturer`s label can sometimes be discovered on the head.

On the inner rim of the aluminum pot, the Boulder, Colorado, die cast marking can be found, although the mold was probably relocated to each successive plant and used continually until the very end of the brand`s line in 1980. 

Although the Ode, Baldwin, and Baldwin/Ode banjos used three different series of serial numbers, these inscripted data are useful in determining the date of manufacture.

P.S. Watch for the `Refurbished BRC 5 string open back “Peace Dove” banjo` on eBay March 13-20.

The mission of the Banjo Rehabilitation Center is to restore vintage banjos for resale to entry level pickers on eBay at bargain basement prices. To this end, the BRC workshop has devised the Peace Dove I and II series of 5-stringers. These hybrids are comprised of a new stock neck with signature MOP inlays and a vintage pot preferably 50 to 90 years old to provide a seasoned wooden tone.

The Slingerlands Banjo Co. made tenor, mandolin, and ukulele  banjos in Chicago from 1923 to 1928 shortly before the family owners  decided to convert their enterprise to manufacturing only drums. This was the pre-techno era of hand-crafted instrument building.

A lost art form in woodworking, the Slingerlands banjo rims were made of a single piece of wood that was steamed and rolled into circular pot with an overlapping junction (note the pointers tracing the bird`s-eye maple seam).

The Gretsch Co.manufactured the unique Clarophone banjo in Brooklyn, NY, from 1922 to 1928.  Although the gilded Broadcaster banjo was made by Gretsch in the 1930`s, electric guitars became a company priority in 1939. The Clarophone pot had a non removable resonator, and sound portholes were stationed around the rim.

Despite this somewhat enclosed sound chamber, its conversion Peace Dove banjo had surprising volume.

Something old, something new, something borrowed, something Blue-grass…

P.S. Have a grand Leap Year.