The American magazine ’The Musical Tempo" for January 1901 carried  an advertisement for
"Sonoro"guitars, mandolins and banjos made by:

CHAS. F, ALBERTS
205, S.9th 3treet,
Philadelphia, Pa.

but apart from a later reference to Alberts being "Phila’s Old Reliable Violin House"
no further information about his banjos has been unearthed.

Frederick J. Bacon, one of the leading banjo soloists of America, was born in 1871
and became a pupil of A.A.Farland and started his professional career at the age of
16. In1890 he met the lady who was to become his wife and stage partner in tours
that for many years took them across the U.S.A. from New York to California.
In l908 he opened a studio at Forestdale, Vermont, and with the title of  The
Bacon Manufacturing and Publishing Co. first advertised the Bacon Professional Banjo",
which had been made for him by the Vega Ca. of  Boston, Mass. By 1921 he had formed
The Bacon Banjo Co. with a factory at Groton, Conn., to manufacture instruments that were
aid to "incorporate the ideas of tone and workmanship by the President, Fred. J. Bacon.
Bacon banjos were in demand and the factory was kept working overtime to fulfil orders.
At this time Anthony Impelletteri, was a co-worker with Bacon. Impelletteri died on February
17th 1947 and "Down Beat" which referred to him as a "noted player of the violoncello and
tenor banjo", said he was the "inventor" of the latter instrument
 not so see Stahl
On September 18th 1922 David L. Day, who had 39 years experience of the banjo business
behind him, left the Vega Co.and entered the Bacon Banjo Co. as Vice-President and General
Manager and soon the instruments were branded with the B. & D. Silver Bell trade mark.

The trade depression of 1929 seriously affected the company’s business and in
1939 the company was taken over by Fred Gretsch Mfg. Co. Inc., of 60 Broadway,
Brooklyn, New York, which continued to make the "B. & D." banjos. Fred Bacon died in 1948
and David L. Day in 1956

In January 1924, S. L. Bailey of 455 Fifth Avenue, Brooklyn, New York,advertised a new
tenor-banjo with "a tone chamber that gives the resonant tone of the 5-string banjo". From
photographs examined it looks as if the hoop of the instrument was built on the same
principles as the early Dobson ’bell echo’ hoop. Nothing further appears to have been
heard of this maker of tenor-banjos.

In October 1966 it was announced that the Baldwin Piano and Organ Company, of Cincinnati,
Ohio, had bought the Ode Banjo Company of Boulder, Colorado. (q.v.).The Ode factory at
Boulder, with Mel Placke as Plant Manager and Charles Ogsbury as consultant, continued to
make the banjos in three styles sold under the name of Baldwin through the Guitar Division of
the vast Baldwin Company.

As early as 1895 guitars and mandolins made by ’The Bay State Company" were being
sold by F. J. Martin & Co. of  Kansas City and by 1897 it was stated in an advertisement
in an American magazine that the products of this company had received 27 awards at
the principal Expositions" and that in June of that year their factory had taken on several
new hands to comply with the demands for their well-known instruments. It is possible the
name of Bay State" was used by John C. Haynes & Co. 453/464 Washington Street and
33 Count St., Boston, Mass. and the first indication that the firm was making banjos appears
in a 1903 advertisement; the instruments being sold by firms in Boston, New York and
Philadelphia.

When the famous American banjoist William D. ("Bill") Bowen was located in Newark,
New Jersey, and ran a teaching studio there at 673 Broad Street he sold the Bowen" banjo
which had a 12" hoop, 20 brackets and 20 frets and sold for $50.00. The instrument had a
solid wood hoop, inside of which were  fitted twenty-five nickel-plated brackets made of
spring steel which were held in place by bolts through the conventional shoes.These brackets
extended over the upper edge of the hoop to rest on a 1/8 -diameter ring fixed to the
hoop. On top of this was placed a 5/16 steel ring over which the vellum was stretched.
Bowen claimed: The steel brackets act as a spring by which you get the proper vibration
to each note. It is obvious he did not make the instruments himself but no informatIon is
forthcoming to say who made them for.
(Rettberg & Lange?)

Some time prior to 1920 the firm of Kohler & Chase, of San Francisco, California, U.S.A.,
had made for them an instrument, superficially similar to a banjo, which they called the
"Bradbury Patent". The instrument was designed on the zither-banjo principle with an 8 1/2
inch vellum, housed in an enclosed bowl-type hoop - but it had ten strings. The scale length
was the same as the banjo but no indication of the tuning is given in the advertisements of
the period. They appear to have discontinued selling them in 1922.

Thomas W. Bree of New York City was a banjo-making associate of Charles Morrell
round about the l840’s. Together they went to California during the gold rush of  1849.
No details of Bree’s instruments have been discovered but one writer in the U.S.A. claims
he (Bree) was the first to use mother-of-pearl positions inlays in the banjo fingerboard
He was a performer first and foremost and in this connection is credited with being the first
to "jugg1e" with a banjo whilst playing.

In the June 192S issue of "The Crescendo" a list of banjo makers at that time included the firm
of C.Bruno & Son Inc of New York City who were listed as making "The Royal Artist" and "Tempo
Grande" instruments.This firm appears to have entered the banjo market during the dance-band
Boom era of the early 1920’s and the instruments bearing their name (which included a 17 fret
tenor-banjo with a sunken resonator just inside the hoop) were made for them by the Fred Gretsch
Mfg. Co. of Brooklyn, N.Y.

J.H. Buckbee of New York City, was said to have the largest musical instrument making factory
in the world in 1860 and until about 1896/7 the concern made banjos for many others, including
Dobson, Converse, Bruno, Foote, Farland, Mather, etc. At the peak of the banjo boom the factory
was said to have made ten thousand banjos each year.

No one appears to have seen a banjo with the name Buckbee on it so it would appear the firm
never marketed its own instruments.

The plant - at least, the banjo-making part of it - was taken over by Rettberg & Lange in 1897.
.

Thomas W. Carey began studying the banjo in l6 at the age of nine and three years later
obtained a position with the Chicago firm of Lyon & Healy: he once said his principle duties
were "dusting instruments.

He played his first professional engagement at the World’s Fair, Chicago, in 1e93 and from
that time on was an entertainer at local clubs and in vaudeville. (At one time he ms partner
to Parke Hunter in a "Mays & Hunter"  team).

In 1910 he moved back to Chicago where he established a teaching studio "with a
department for the repair of banjo". It has been said that he also "made banjos" but the
instruments bearing his name as maker were probably made for him by Lyon & Healy.

On December 19th, 1882, 0. R. Chase of 698 Washington St., Boston, Mass., patented his
"Apollo" banjo which was said to have been constructed on "entirely now and scientific
principles". The shell was cast in one solid piece of "bell" metal and the cast bezel was
fashioned from the same material.

There was a complete range of instruments in 9", 10", 11" and 121/2 "hoop, all of which
were noted for the greater number of brackets used - as many as 56 on the "Professional"
 121/2 " hoop model. It is not known when he ceased to function as a maker of banjos.

Edmund Clark was a maker of banjos in the U.S.A. in the early 1880’s  In 1884 he
constructed a six-string banjo and tuned it like a guitar ("thus enabling the guitarist
to play the banjo at once") and it is recorded that banjo adherents of that time
"received a jolt from a quarter they least expected" It was predicted that the guitar-
banjo meant the doom of the banjo. No doom arrived  but a new instrument was
added to the banjo family!
Nothing further is known of Edmund Clark’s banjos
or how long he continued to make instruments.

J.W (James or Jimmy) Clarke, of New York City, was said to be one of the best jig
dancers In the American minstrel business in the 1860’s and was equally proficient
as a player of the banjo. He was a maker of banjos, although he did not produce
them in large quantities; his output was limited and he sold the instrument he made
only to professional players. In the December 1909 "B.M.G.", Clarence L. Partee
wrote: " I have seen several fine specimens of his (Clarke’s) workmanship". He is
said to have improved the design and remedied many of the defects of the Wilson
and Farnham "Silver Rim" banjos and is credited with evolving the "extension bar"
(perch pole), thus giving rigidity between the neck and the hoop, although Stewart
said that the "majority" of wood-rim banjos, even before that day, were so made.

Jimmy Clarke made E. M. Ha11’s  early banjos - "Old Ironsides" and "The Thunderer".

He died of consumption (pulmonary tuberculosis) in New York on February 27th l880.

A measure of the respect in which Clarke banjos were held at the time can be gauged
by a statement that "in l878 Stewart made banjos superior in quality and design to
those hitherto constructed by J. W. Clarke".

The first "Cole" banjos were made by William A. Cole, of 179 Tremont Street, Boston,
Mass., after he had dissolved partnership with A. C. Fairbanks (see FAIRBANKS) in
1892 - after twelve years of supervising the production of "Fairbanks" banjos. The
foreman of the Fairbanks & Cole factory had been Frank E. Cole (William’s younger
brother) and the two brothers started to produce instruments that carried the name
of William A. Cole.

On January 30th 1894. their factory had become established at 786 Washington Street,
Boston, for on that date they patented their "Eclipse" banjo which incorporated
improvements designed by Frank Cole.

In 1895 the London firm of Essex & Cammeyer was appointed British agents for the
Cole banjos and Mr. (later, Sir) Home Cordon played the first of these to be imported
at a concert held in North Cray in December of that year).

William Cole died on July 2nd 1909 and Frank Cole took over the business and from
then on the banjos he made at 3 Appleton Street, Boston, carried his name.

"Eclipse" banjos were sold up to 1922 when ill health forced frank Coles to retire.
He sold his plant to E.J. Nokes and Edward F. Nicolai.

Frank E. Coles was an exceptionally fine banjoist and was responsible for many minor
improvements to banjos that were incorporated in the instruments he produced. At one
time (about 1890) he organised a banjo quintet that frequently appeared in public and
did much to publicise the "Cole" banjos. About 1895 he trained his three Sons (Percival,
12; Harry, 9; Raymond, 7) as banjoists and for a number of years they appeared in XXXXX  .

Frank B. Cole died, at the age of 67, in Avondale, Nova Scotia, July 19th 1922 from a
cerebral haemorrhage.

Dayton banjos were designed and patented in October 1920 by Charles B. Rauch who
established the Dayton String Instrument Co., in Dayton, Ohio, U.S.A. and was running a
successful teaching business there and conducted the Dayton Mandolin Club. In addition
to banjos, Rauch made and sold most of the fretted instruments.

In 1922 the Dayton range of banjos was improved by having the hoops made of curly and
blrds’-eye maple.

Early in 1923 the company moved to Sioux City, Iowa, where Rauch launched the "New
Construction Dayton Banjos"; which had 12" hoops and were fitted with a round metal
perchpole and an extension fingerboard. Instead of the normal banjo pegs they were fitted
with machine heads,a’la’ guitar.
An advertisement of the time mentions a "fine line of tenor-banjos, mandolin-banjos,
guitar-banjos, ’cello--banjos and ukulele-banjos" in this NEW construction".

In 1925 Thos. J. Armstrong wrote: "Dayton banjos are in high favour".

It is not known when the company ceased to function but its demise proobab1y took place
during the depression of 1929.

From about 1850 the Dobson brothers in America had as much to do with keeping up the
interest in the banjo as anyone - except, perhaps, S.S. Stewart. As performers, teachers
and instrument makers, their names became household words wherever the instrument
was played.

HENRY C. DOBSON was born in 1831 and opened a studio in New York City in l853
"to combat the prejudice that the banjo was an instrument meant only for Negroes".
He numbered the cream of American society among his pupils. The first banjo he
designed on modern lines was made for him by J. H. Buckbee, who subsequently made
all the Dobson banjos. He (Dobson) was the inventor of the so-called "silver bell" banjo
(the all-metal hoop) which became popular on both sides of the Atlantic and was the
inspiration for many other makes of banjos.

Henry Dobson’s banjos were sold with 9", 10", 11" and 12" hoops. He claimed to be the
first to fit raised frets (a’ la guitar) in l870  but this claim can be discounted as
we know raised frets were used on the banjo before this date.

Dobson’s "bell" banjo was a tremendous success and many thousands were sold in
America and Great Britain. (For the English market he even made 6- and 7-string
instruments). Clarence L. Partee mentioned that in a Chicago music store’s window
he once saw "at least a hundred" Dobson banjos on display.
In 1901 Henry C. Dobson went bankrupt, declaring the day of the banjo was over — but
"The Crescendo" said at the time his failure was due to a lack of progress and
enterprise" and not any decline of the banjo as an instrument.
He died on may 27th 1908

CHARLES EDGAR DOBSON (a brother) was born in York City in 1839. He was the inventor
of the "c1osed back" banjo (based on a design by his elder brother Henry) which was
awarded the first prize at the Centennial Exposition in Philadelphia in l876. This
instrument  can ( justifiably be claimed as the forerunner of the (closed back banjo)
zither-banjo invented by Temlett (although not called by him by that name) and perfected
by Cammeyer.

GEORGE CLIFTON DOBSON  (another brother) was born in Williamsburg, New York, in l842
and about l87O set up a studio in Washington Street, Boston, Mass., where he was kept
busy with influential pupils. He was the inventor of the "Victor" banjo which enjoyed a large
sale in its day.

George Dobson retired in the early 1920’s a rich man (he had invested his money in real estate)
and in an interview he gave a musical paper in 1933 he spoke of how he and his brothers
used to make their early banjos with "a saw, plane and a jack-knife " all the tools they had,
or needed." It was, he said, the demand for their roughly-made banjos that decided them to go
into the manufacturing business.

It is interesting to note that in 1879 George Dobson was using a banjo with 16 inlaid frets
but in l887 his banjo had 17 raised frets.

George Dobson supplied historical data to Herbert J.Ellis for the preface to one of the
latter’s many banjos tutors.




FOOTNOTE: At a sale of musical instruments at the well known London auctioneers
Messrs Puttick & Simpson in July 1911, Lot 167 was~

A nickel hoop banjo by Dobson, in case, with plectrum. Inscribed: Presented to Birdie
Brightling, Opera Comique, London, 28th Nov. 1881, from  H. R.H. Prince of Wales.
It realized 15/-

Birdie Brightling was the stage name used by the American female banjoist Mrs.Alice
Lyman who was a success at a Clifford Essex Kesington Town Hall Concert in1910

In the June 1923 issue of "The Cadenza" one reads that E. N. Guckert, of Toledo, Ohio, is the
owner and head of the Union Music Co. , a concern which manufacturers the ’Duplex’ banjos
and publishes chord books for stringed instruments"•  Guckert wrote and published a banjo
chord book in 1919 and two years later this was followed by a tenor-banjo chord method but
it is doubtful when he actually manufactured instruments. They were probably made for him
by one of the large wholesale makers, although no details have been discovered.

In "The Banjo World" of May 1894  a classified advert appeared offering for sale a 5-string
"C" banjo by Emerson of New York.
No details of’ this maker or his products have been discovered.

Established in 1873 by A. Stathopoulo, The House of  Stathopoulo" (later to become
The Epiphone Banjo Corporation and later Epiphone Inc.) were in the beginning makers of
most fretted instrument except banjos. The first made banjos in 1876.

In the early 1920’s, as the Epiphone Banjo Corporation, it launched its "Epiphone Recording
Banjo" in both tenor and plectrun models. Five string banjos were supplied only to special
order. The instruments ranged in price from $l5.00 to $500.00 and the sales of these
instruments, which incorporated new principles of hoop and neck -construction, were so
phenomenal that in 1925 the firm bought the factory of the Farovan Co. at 35 Wilbur Avenue,
Long Island City and, closing its factory in New York City, manufactured its various lines
of instruments from there. By 1935 the company, now named Epiphone Inc., had eleven
models of their "Recording Banjo" in their catalogue (ranging in price from $50.00 to $500.00)
in addition to two models of electric tenor banjo which could be supplied as plectrum banjos
to special order. Like all other American musical instrument makers,production stopped
abruptly when America entered World War II and did not start again until the 1950’s when
the banjo started to he used again in entertainment circles.
The address of the firm at this time was 142 W.14th St., New York City.
Then The Harmony Company of Chicago purchased the firm on April 5th 1957, since when
four models of "Epiphone"  banjos have been marketed.


Epaminondes A. Stathopoulo (who always signed himself "Epi" Stathopoulo), president
of the company for so many years, died on June 6th 1943.

Fred Van Eps was one of the pioneers of modern American banjo playing. His first banjo
was of a primitive type but as he progressed he acquired more up-to-date models. In
1903, when Fred Van Eps found it impossible to purchase a banjo to suit his ideas,
he built his own and he was still making them up to the time of his death in November 1960.

At one time in his career he advocated the "hole in the vellum" idea in conjunction with a
pecial "plate" resonator he devised but eventually the "Van Eps Recording Banjo"
was produced.This had a 281/2 "  scale; a 12" vellum; flush frets
(with concave space in between); " fool-proof" pegs; long pressure tailpiece; tone ring
devised by W. B. Farmer; and lamp "heaters" fixed to the perchpole under the vellum
to ensure a board-tight soundboard.

Although Fred Van Eps, a master craftsman and engineer as well as a maestro of the
banjo, continued to make banjos all his life, his commercial models from about 1920
were marketed by Lyon & Healy of Chicago, who stressed the fact that the instruments
they sold were "distributed" by them; being made by the "Van Eps & Burr Corporation".

In 1962 Art Gariepy (who traded as Gariepy Banjos) of 46 East Market St., Long Beach,
California, announced he had taken over "the manufacture of the Van Eps classical "flush"
fret banjo" but Gariepy sold out to The Fender Co. in 1965 and no further Van Eps banjos
were produced.

A..C. Fairbanks was an enthusiastic player of the banjo in Bostan, Mass. who was making
an occasional banjo for his friends from about the year 1875. In 1880 he and William E. Cole
formed a partnership and, trading under the name of Fairbanks & Cole, established a workshop
in Beach Street, Boston, "to manufacture banjos, mandolins and guitars". With Frank Cole
(younger brother of William) in charge of production, the firm flourished.

On December 30th l890 they patented a banjo with a tone ring which they called their
"Special Electric Model". In 1903 this model was re-designed to begin its world-wide fame as
the "Whyte Laydie" banjo.

In 1892 A. C. Fairbanks (no longer interested in banjo making) gave up control of the firm and,
to exploit his invention of the wooden rim for bicycles, formed the Fairbanks Wood Rim Co.
The Cole brothers also left to form their own banjo—making company. (See under Cole).

The financial control of Fairbanks & Cole was acquired by Messrs Dodge & Cummings who
changed the title to A. C. Fairbanks & Co. Inc., and put David L. Day (later to be associated
with the Bacon Banjo Co.) in charge of production at the firm’s new premises at 786
Washington St.

In 1895 the firm patented a tubular tone ring for the banjo which they called the
"tu-ba-phone" and on September 1st 1909 this was incorporated in an instrument they
called the "Tu-ba-phone" banjo - although by this time the firm was under the aegis
f The Vega Co. (q.v.).

In l904  the Washington street premises were burned to the ground and the trading name
and salvaged plant was taken over by The Vega Co. and incorporated in the latter’s
Sudbury Street premises. For a time, both the Fairbanks and Vega  cornnanv names
were used in advertising both using the Sudbury address.
Prior to 1904 The Vega Company had not made banjos. Acquiring the Fairbanks plant,
they continued the production of "Fairbanks" instruments and, in addition, launched
the "Vega" banjo both ranges of instruments being made in the same workshops and,
in fact, being identical except for the name.
Early in the 1900’s the Fairbanks Company had made a second-grade banjo which had
a five-pointed star Inserted in the peghead. This instrument was called the "Star" banjo.
For eighteen years bath "Fairbanks" and "Vega" banjos were made in the Sudbury Street
workshops and David L. Day was the sales representative for the two-in-one firm. He
travelled the whole of the U.S.A. selling their products. He left the company on September
l8th 1922 to become the Vice President of the Bacon Banjo Company Inc., of Groton, Conn.
It was at this time the making of "Fairbanks" banjos ceased and from then on all instruments
made by The Vega Co. bore the "Vega" name.

Alfred A Farland was one of the most sensational players of the banjo at the turn of the
century. Born in Canada in 1864 , he was touring America in a circus when George L.
Lansing brought him to the notice of  S. S. Stewart who presented him in a concert in
Philadelphia which proved to be the start of Faland’s phenomenal career.

In the beginning he had played a Dobson banjo and then changed to a Stewart  (both
with 22 frets - far in advance of his contempories, who were still playing banjos with
only a few frets, if any) but finally he designed his own banjos which, although he
always adverted them as "his own make", were made for him at first by  J. H. Buckbee
and then, after 1897, by Rettherg & Lange.

Farland patented his "metal head" about the year 1890 and his "beveled-top wood rim banjo"
in 1900. It isinteresting to note that his metal "vellum" was advertised as a "waterproof head".
His famous "harp attachment" was a type of lever mute operating under the vellum, like the
later Bacon "soft pedal" mute or the "S.X. Expression Stop". Because of the special
arrangements of operatic and classical works he performed, Farland later needed (and
marketed) a banjo with an extended fingcrboard possessing 29 frets (on which he played
Mendelesohms violin concento)
His  hearing failed in 1939. He died in 1954 at the age of ninety.

William H. Farnham of Albany, New York, fashioned banjos in many odd designs
from about the year 1870. It is said he was always experimenting to find the "perfect"
banjo, Most of his instruments had necks which were bolted to the hoop no metal or
wood perchpo1e. He succeeded to the business of Albert Wilson and continued to
produce the banjo with wooden hoop veneered with German Silver which had been
marketed by Wilson.

Farnham does not appear to have produced any banjos after about 1890

The Fender Co. of Santa Ana, California U.S.A. did not make banjos until the latter part
of 1965 when they acquired the plant and manufacturing rights of Gariepy banjos, a
firm which had been conducted by the banjo maker Art Gariepy of Long Beach, Calif.

"Fender" banjos are well-produced instruments showing the craftmanship of Mr. Gariepy.

Three banjos trade by J.H.Foote of New York City (c.1882) are in the Smithsonian Institute,
Washington, D.C., but nothing has been discovered about this maker or his instruments.

In the late 1950’s we learn of Art Gariepy, of  46 Eastmarket street, Long Beach, California,
U.S.A. making high-grade banjos with ornate carved heels and pegheads and highly
decorated resonators. Trading as Gariepy Banjos, in 1962 he announced he had taken over
"the manufacture of the Van Eps classical flush-fret banjo" but within three years he sold out
to The Fender Co. of Santa Ana, Calif. and started to produce banjos for them.

The L. B. Gatcomb Co., of Boston, Mass. was well known as makers of banjos well into the
turn of the century. Lincoln B. Gatcomb was born in Hancock, Maine, on June 25th 1854 and
bought his first banjo when a boy after hearing Billy Carter perform. Being dissatisfied with
the crude instrument he decided to make himself a better one. He had been apprenticed as a
youth to learn the stair-builder’s trade so he knew a lot about wood-working tools. He used
all his spare time to make banjos which he sold without any trouble.

In 1875 he gave up all thoughts of stair-building and started to manufacture banjos as a
business in East Boston. In 1880 George L. Lansing became associated with him and this
famous player no doubt gave him many suggestions for the improvement of his instruments.

In 1885 he established a banjo and guitar factory in Hanover Street, Boston, and the business
steadily and rapidly increased from that time on. He began publishing music in 1887, in which
year the company was incorporated. Two years later he opened a teaching establishment at
58 Winter Street, with H. W. Harris, B. E. Shattuck, A.A. Babb and George L. Lansing on his
teaching staff and in September 1887 he started his famous "Gatcomb’s Musical Gazette".
All this combined to hem him sell his range of banjos which included "The Student""
"The Amateur", "The Standard", "The Lansing", "The Special" and "The Peerless" ranging in
price from $10.00 to $100.00.

In 1895 the L. B. Gatcomb Co. Inc. was advertising from its premises at 171 Tremont Street,
Boston, as "sole owners and manufacturers" of the "new" Lansing banjo which had a range of
three octaves and saying that "All advanced players require a 3 octave instrument."

In l893 Orville Gibson started making mandolins with a carved front and back In a small room
over a shop on Main Street, Kalamazoo, Michigan, U.S.A. and such beautiful works of art were
his instruments that he had no difficulty in selling them. a true craftsman, he took pride in
the production of the revolutionary new mandolins he fashioned with loving care.

In Rochester, New York, some 450 miles away, an enthusiastic young teacher of the mandolin
named L. A. Williams had been buying Gibson mandolins by mail to sell to his pupils but could
not get enough instruments to meet his demands. In the summer of 1902, Mr. Williams travelled
to Kalamazoo and after lengthy talks with Gibson, took a leading part in the promotion of the
Gibson Mandolin-Guitar Co. with the sole aim of increasing output. Sylvo Reams was appointed
secretary and general manager. Bigger premises were acquired and wood-working craftsmen
aken on to assist Orville Gibson. Under Reams’ guidance  the company grew and flourished
and with Williams in charge of advertising and promotion the products of the firm became more
nd more popular and known the world over. (Reams died on January 5th 1917).

Gibson, a genius at devising and manufacturing the unusual, turned his attention to the banjo
early In 1900; his main objective at the time being to add strength to the boon of the banjo.
In Boston, Mass. (a hive of industry as far as the banjo was concerned)  "tone rings" were
being launched arid developed and various devices for improving both the necks and the
hoops of banjos were being tried. Gibson devised an all-wood hoop with a "shelf", under
which a metal "bracket band" was housed. Business boomed generally and in July 1917
the company opened its new $75,000 factory at 500 Parsons street.

in Kalamazoo out six years later had to move to number 900 to what was claimed to be the
finest and most modernly equipped factory of any in the industry at that time.

For its "designer and acoustical engineer" the company had the services of Lloyd A. Loar, a
musician of the high rank. He had studied harmony and theory and the physics of music at
several American colleges and was a graduate in Physics, Geometry and Mechanics. His was
the guiding hand behind the Gibson instruments for many years until his death in 1943.

The next major development in the company’s banjos took place in 1922 when the "Gibson
Tone Projector" was produced. This was a device, which it was claimed, "actually projects
the tone, which ’resonators’ do not accomplish". (See chapter on "The Resonator"".

A year later, L. A. Williams who had done so much to make the company it had
become, resigned. He left in October 1923 owing to ill health.

Unlike most banjos of the period, the early Gibson banjos were fitted with machine heads,
not pegs. By the 1920’s, pegs were used on all models.

The next Innovation was the famous "Mastertone" banjos and tenor-banjos, fitted with the
normal type of resonator. At first the tenor-banjos were made to a 19" scale — "just short
enough to allow the average hand to use mandolin fingering: that is, seven frets to the
first position but long enough to give all the pep and snap allowed by law". Later the
company came into line with other makers of tenor-banjos and lengthened the scale.

It was during this time they also devised an elaborate spring-and-ball-suspension system
under the tone ring which (It was claimed) kept the vellum always at even tension.
Unfortunately it made the Instrument so heavy it did not sell and the model was soon
discontinued. In January 1924 the name of the comany was changed to Gibson Incorporated

From 1926 all "Mastertone" banjos were fitted with the normal type tone ring but during the
period 1932 to 1935 the company also marketed a banjo without any tone ring and it is this
instrument, using the full diameter of the 11" vellum, that finds great favour with present-day
American "folk"  banjoists.

When America entered World War II in 1942 the making of banjos ceased because of the
government’s limitations on the amount of metal permitted in any one musical instrument.
The company was able to make some mandolins and guitars for a time but eventually the
factory was turned over to making aircraft components.

In 1944. the Gibson name and plant was acquired by the Chicago Musical Instrument
Company of Chicago and in l948 this company started to make "Gibson" banjos and by the
early 1960’s were selling four models of tenor, plectrum and 5-string banjo, incorporating
the best features of the pre-war Gibson instruments.

Frank Goscha (or Gosha?) of Philadelphia is mentioned as having been one of the early
makers of banjos in America but no details of him or his products have been unearthed.

Philadelphia was the centre of activity for banjo making in the early 1880’s and Goscha
could have been one of the wood-workers who cashed In on the craze.

The Fred Gretsch Mfg. Co. was formed by Friedrich Gretsch (who had anglicised his name
after settling in America) at the age of 27 when he left his job of working for the drum and
banjo makers Albert Houdlett & Son, of Brooklyn, N.Y.

With a few workmen he opened a small shop at 128, Middleton Street, Brooklyn, and
manufactured drums, banjos and tambourines. Fred Gretsch died in 1895 when his firm,
had but a dozen employees and was housed in a wooden building in South 4th Street, Brooklyn.

Within five years his son Fred (the eldest of Fred Sr.’s seven children) had impressively
altered the firm’s operations to include the making of mandolins (then (1900) popular in the
States) and, in addition, the importation of most musical instruments and their various
accessories. They, also had acquired impressive factory premises at 104, Middle Street
which were vacated in 1916 for the mammoth 10-story office and factory building the firm
had specially built for them at 60 Broadway, Brooklyn, which is still the home of The Fred
Gretsch Mfg. Co.

They had been making and advertising banjos from about 1870 and in 1902 introduced
"Daynor" banjos, each of which had a hole In the vellum.

After World War I they made a range of banjos with the trade name "Rex" and these were
being advertised well into the 1920’s. By 1928 their range of banjos had been extended for
the company was by then advertsing their "Gretsch", "Clarophone" and "Orchestrekka" models
in addition to the still-popular "Rex" range.

In addition to this they were making banjos for sale under many other brand names, notably
Wurlitzer and Bruno.In March 1940 the company acquired the Bacon Banjo of Groton, Conn.,
and the post-war "B.& D." range of banjos has been made in their factory and sold by them.

Emory M. Hall, the famous minstrel banjoist, designed the instruments he advertised as the
"Hall Banjo" and although he always stressed the fact that these banjos were "his own make",
they were always made for him - first by James W. Clarke (who was responsible for building
Hall’s famous banjos known as "Old Ironsides" and "The Thunderer") and then, on the death of
Clarke in 1880, probably by Buckbee.

In 1893 E. M. Hall "the tall banjoist" as he was known — started a teaching studio in Chicago,
from which he advertised the "New E. M. Hall Banjo" — probably made for him by J. B. Schall
who had a flourishing banjo factory in Chicago at that time. Within a year Hall had given up
teaching and was touring with a minstrel show again.

Hall lost his life, with some six hundred other people, when the Iroquois Theatre in Chicago
was burned down on December 30th 1903.

Said to have maintained a workshop in Forsyth Street, New York City, between the years
l860 and 1890, Hanning was quoted by C. L. Part., as having "furnished a well finished,
compactly made and full fine-toned banjo". No other references to this early maker of
banjos have been discovered.

Writing in the "Banjo World" for January 1898, Willoughby Maycock said: "When James
Bohee came over here with Haverly he was playing a smooth nickel-necked banjo made
by Hammig of New York. He had played it before President Grant and all over the United States,"

One cannot help but wonder it "Hammig" was a mis-print for "Hanning"?.

The Harmony Company of Chicago was established in 1892 by a small group of craftsmen
who had learned their skills by apprenticeships in Europe. At first they only made guitars
and mandolins. By 1903 the growth of the business warranted the building of a small plant
at 1750 North Lawndale Avenues Chicago. Later, two additions to the main building were
added to cope with the increasing demand for instruments.

With the spread of ragtime, the Company equipped itself to make banjolins, tenor-banjos
and plectrum-banjos to meet the demand and by the mid-20’s were one of the largest makers
of banjos in the U.S.A. Their output of 5-string banjos at this time was not large.

In addition to the instruments bearing the name "Harmony", the company also made all types
of banjos for other firms which were sold under the vendor’s private brand names.

In 1914 the company moved to larger quarters at 3633 S. Racine Avenue and in 1962 it
acquired a modern one—story factory building at its present location, 4600 South Kolin Avenue.
Continuous growth compelled the establishment in 1965 of Harmony’s "Plant No. 2" nearby so
that now, with 125,000 square feet of manufacturing space, it constitutes one of the more
significant operations in the American musical instrument manufacturing scene.

They ceased the manufacture of banjos abruptly when America entered World War II (like all
other makers in the U.S.A.) and did not re-commence until the 1950’s when the banjo started
to be played again. Not content to resume manufacture on pre-war lines, the company
developed an entirely new process of making hoops which involved a moulded resin plastic,
self reinforced at key points and called them "Reso-Tone".
A heavy protruding rim (as earlier used by Gibson and Merriman). through which the tension
brackets pass, takes the place oif conventional shoes. The company also markets a resonator
of the same plastic material.
In the early ’sixties the rising popularity of folk and "bluegrass" music broughr about a change
in demand and the company’s principal banjo production was devoted to 5-string and extended
neck instruments, although tenor-banjos and plectrum-banjos continue to be made.

J.E. Henning, of Emporia, Kansas, and (later) Chicago, was a prominent banjoist in
American fretted instrument circles from about 1880. In l885 he conceived the novel
idea of attaching the banjo’s fifth string peg to the tailpiece "thereby removing the
projection from the banjo neck and allowing more freedom in left-hand manipulation".
Another of his innovations was the "steel-neck stiffener" which was fixed to the
base of the banjo heel and ran across the hoop to just below the tailpiece bolt.
(like VanEps’s – orpathe, VE used such a brace)

In July l892 he patented his "Grand Solo Banjo" which had a 10" hoop, twenty-four
frets, and included a steel brace in the neck "to prevent warping" Henning was not the
actual maker of the instruments bearing his name; they were probably made for him by
J. B. Schall.

In l897 he issued a banjo magazine he called "The Chicago Trio" and organised a
mammoth B. M. & G. orchestra, both of which he used to publicise the banjos bearing
his name. Eventually he moved to Los Angeles and died there in the 1930’s. It is perhaps
interesting to recall that early in his career he acquired the Sweeney banjo now in the Los
Angeles County Museum. He left the instrument to the Museum in his will.

Henning composed the banjo solo "META"  (name of his wife to whom it was dedicated) and in it employed
the "backward arpeggio" grace note effect later used with enormous effect by Morley in the 1st  mov’t of Pompadour

It would appear that Albert Houdlett & Son, makers of drums and banjos, were in existence
in the early 1860’s for Friedrich Gretsch (the founder of the Fred Gretsch Mfg. Co.) was
working in their factory until he was 27 when he left to form his own business.

In a list of banjo manufacturers included in the June 1928 issue of "The Crescendo" the firm of
Houdlett, of Brooklyn, New York, is shown as makers of "Lynbrook", "Nu-Art" and "Nu-Way" banjos.

The only other reference to the company we have found is in the "Music Trades" magazine of
February 1958 when it is referred to as "long defunct".

In the 1920’s The Rudolph Wurlitzer Company, of Cincinnati, Ohio, advertised the "Howard"
tenor-banjo outfit for $49.00. The well-made professional instrument, which was supplied
complete with a fully-shaped case, was made for the company by The Fred Gretsch Mfg. Co.

In advertisements for this tenor-banjo it was also stated the outfit could also be furnished
in "five-string or plectrum models" to order.

David ("Dave") Jacobs, of the Bowery, near Grand Street, New York City, is said to have
been the first "professional" banjo maker (in 1850)  and George Bauer, writing in Stewart’s
"Journal" mentions another Dave Jacobs of Chatham Street, New York City who (about the
same time) made "especially fine banjos". It is possible, of course, it was one and the same man.

It is recorded that Dave Jacobs set up as a banjo manufacturer and teacher "a little later
than Charles Morrell (pre 1840-1849) but the banjos he sold as his own were made for him
by the firm Luban  L. Lewis & Co. (Ruby Brooks’ grandfather and uncle). The Jacobs banjos
were of maple; the necks being "scooped out" where they joined the hoops.

It was in Jacobs’ store that in the middle l850’s Jerry, Dan and Neil Bryant, Eph Horn, James
Unsworth and other prominent professionals of the day used to meet to hear the latest news
and tunes of the banjo world.

Jacobs (often described as "an industrious German") eventually returned to his native land with,
it is recorded, a small fortune made by "ard work and frugal living.".

Founded in l89O, the Kay Musical Instrument Co., of Chicago, Illinois and now of Elk Grove Village,
Illinois, has been one of the largest makers of banjos in America for many years. The company first
made banjos in 1920 during the dance-band boom  the instruments being designed by Henry Kay
Kuhrmeyer, the owner and president of the company at that time.

In addition to their own branded instruments, they made many banjos for smaller firms to sell as
their own make but no details are available of the names under which these instruments were sold
as the company’s records have been lost.

Like all other American instrument makers, they ceased to produce banjos when the U.S.A. entered
World War II but manufacture was resumed in the 1950’s - models including five-string banjos,
tenor-banjos and plectrum-banjos; ranging in price from about £60.00 to over $100.00.

During the period from 1860 to 1890 reference is found in American publications to a
Mr Landers,of Spring Street, New York City, as being "well and favourably known as a
banjo maker" but nothing further has been discovered about him or the instruments he made.

In 1897 Messrs Rettberg & Lange took over the factory and banjo-making plant of J. H.
Buckbee and established a factory at 383 Second Avenue, New York City. By 1903 they
had moved to 115/121 East 13th Street and from this address, in July 1908 they
announced the production of their "Orpheum" range of banjos. Three years later they
were able to announce that increasing business had made them seek even more
commodious premises - at 225-227 East 24th Street.

In January 1915 they advertised their "Brass Band Orpheum" - a new banjo with 29
frets (to high G ). The neck of this instrument was joined to the hoop at the 20th fret,
with a fingerboard extension over the vellum carrying the extra nine frets.
July 1918 saw the debut of their "Orpheum Plectrum Banjo" and a new five-string
banjo with a long fifth string tuned to an octave below the third string. (This banjo
was similar to the Vega banjos Brent Hayes had played for some years).

It was in August 1920 that the company was granted a U.S. patent for its new
"Paramount" banjo and this new instrument (designed by William L. Lange) made
its first appearance in 1921. In April 1922 William L. Lang. took over sole control
of the company and changed the title to Wm. L. Lange. In September of that year
he announced (as "Successor to Rettberg & Lange") six styles of "Paramount" banjos.

"Paramount" banjos became world famous and were much sought after by all the
leading dance-band players. The five spacious floors at East 24th St. accommodated
over 250 workmen making banjos and included its own plating shop. It was during
this period that Win. D. Bowen  tested all "Paramount" banjos before leaving the
factory.  (In November 1922 Lange made what was said to be the worlds largest banjo.
It was for the Paul Whiteman orchestra and is said to have cost  $500.00.
The instrument weighed 35 pounds, was five feet long. The hoop was 24" in diameter
and the neck was 3 feet in length. It could be played! ).

In the early part of 1925 the Lange factory brought out a cheaper model instrument
with the name of "Langstile" and this incorporated a resonator made of metal and
mahogany. Such was the demand for this cheaper instrument that it was produced at
a second factory located in Brooklyn where instruments (notably "The Challenger"
and "Artcraft" range) were also made for other manufacturers and retailers to sell.
All manufacturing ceased in 1939.

In an advertisement in the Sept./Oct. 1895 issue of “The Cadenza" The Lion Banjo
Manufacturing Co., of Rock Rapids, Iowa, U.S.A. announced: "A great revolution in
banjo and guitar making. Many new features. Sloping frets; hollow hoop; new tailpiece,
but no side peg. An entirely new method of attaching neck to hoop."

A photograph in the advertisement shows a banjo with the octave peg located in the
peghead; the fifth string apparently being carried from the fifth fret through a zither-banjo
type tunnel to the peghead. Nothing further has been heard of the firm or its products.

Charles G. Long, an Englishman born in Carlisle, Cumberland, in 1827 and taken to
America at an early age, was a "boy wonder" who became a member of the Virginia
Serenaders about 1844/5 When he retired from minstrelsy about the year 1868 he
was associated with George T. Roes in the management of the Academy of Music in
Selma, Alabama and made banjo.
He died in 1908.

In 1909 The Ludwig Drum Company was rounded in Chicago by the two brothers
William F. and Theo. Ludwig.In 1920 Charles McNeil, the player of the tenor-banjo in
the then popular dance orchestra of lshman Jones, used to repeatedly call at the near-by
Ludwig factory in North Lincoln Street, for special parts to be made for his instrument and,
especially good quality calf skin vellums. He complained that few tenor-banjos of the time
were fretted correctly, intonation was bad and suggested there was room for improvement
n many other things connected with the instruments of the period.

In 1921 William F. Ludwig finally became interested and, because of the growing interest
in the tenor-banjo, took the matter up with his chief engineer R. C. Danly. Feeling there was
a market for a good tenor-banjo, after lengthy discussions they decided to make an all-metal
banjo hoop from cast bronze (on similar lines to a side-drum shell) which had a scal1oped
bezel for top tension, with the brackets engaging a solid flange instead of passing through
shoes to take the more conventional nuts. In addition they devised ways of overcoming the
other ’faults" Mr.McNeil had pointed out to them.

As production of "Ludwig" banjos came nearer, they provided Mr. McNeil with a studio in the
factory for him to teach his many pupils. Ludwig visualised a great market for their banjos
and built many special machines for the manufacture of their revolutionary new instruments.

In 1926 Chas. McNeil. joined the Ludwig Co. as official tester and inspector and every banjo
(5-string, tenor and plectrum) made by the company passed through his hands. Before long
there was a complete range of models ranging in price from £75.00 to  $1,000.00, sold only
through dealers in every part of the world through intensive advertising

In 1931 the Ludwig Co. stopped making banjos because the demand had suddenly dropped
while its drum business was expanding. In a letter to your author in 1965, Wm. F. Ludwig
Sr., wrote that his company had no intention of entering the banjo field again. "We would,
" he said, just as soon forget the whole thing because of the sad experience we had in
those ten years. We put in and lost about $200,000.00 on tools and equipment that were
sold for scrap a few years later - and that is not counting the multiplicity of hours our
engineering department spent on the development of the Ludwig banjo."

John F. Luscomb, of Boston, Mass., was a well-known banjo soloist and composer before
the turn of the century. Many of his banjo solos were published by Carl Fischer. He
designed the banjo bearing his name which, with its patented hoop, "was constructed
on entirely new and scientific principles". The hoop of this banjo, with its prolifically
inlaid fingerboard, was made of bell metal with a fairly narrow outside hoop of wood
which was rabbeted over the top edge to allow the vellum to rest on it “to produce a
most wonderful tone.The instruments were made and sold by Thompson & Odell Co.
of 523 Washington Street, Boston, Mass., from about l897 to some time In the late ’20’s

A most ingenious maker Hercules Mac.Cord, of St. LOUIS, was a cultured gentleman of
considerable means who went into the business of manufacturing banjos about the year
1850 out of pure love of the instrument. He made a success of the venture but was
indifferent whether he made money or lost it. Banjo playing was his recreation; banjo
making his hobby. He always used the best materials, finest workmanship and gave a
superb finish to all the banjos bearing his name.

Mac,Cord became interested in the banjo in the early 1e40’s and learned to play the
instrument. With a mechanical knowledge and skill of a high order, he fashioned several
banjos entirely different from others o± the period. Ho is said to have been the first to
use 22 frets on banjos on his wood—rim instruments first made in 1859. One of these
models also dispensed with the side fifth peg; the string being carried to a scroll peghead
housing five pegs. The fifth string passed through a slot drilled in the neck of the banjo at
a point where the fifth peg is usually placed and was carried in a groove at the side of the
neck to another slot near the nut and thence to the peg.

In 1884 he was granted a U.S. patent for tunnelling the fifth string (under the fingerboard) to
the peghead.

One of his 1880 "patent" banjos had an all-metal hoop with a domed back similar to that used
(but in wood) for the zither-banjo. This Instrument was described by Clarence L. Partee, who
said the hoop and back was not in a solid piece but was in the form of metal strips, about an
inch wide, with open spaces of equal width between them. Wires were connected to the bezel
and these extended down inside each metal strip to meet at the apex of the dome back where
they were fitted to a tightening nut. The idea was that the vellum could be tensioned by a single
turn of this nut, Something similar to what is known to mechanics as a "monkey-wrench ."

According to Partee, this style banjo had a tremendous volume and brilliance of tone (although
naturally somewhat metallic) and was used extensively by such artists as Chas.E.Latshan,
"Joe" Hart and others.

Hercules Mac.Cord retired from banjo making in 1890. He bequeathed some of his experimental
banjos to Clarence L. Partee who, in turn, presented the two oldest Instruments to the Metropolitan
Museum of Art in New York City where they were displayed in a. glass case labelled "Banjos of the
Nineteenth Century".

The August 1910 issue of "The Crescendo" reported that "Dalton MacGee and Leslie Uncless,
both of whom are teachers of the banjo at Syracuse, New York, are making banjos. The types
of banjo which they are making are of original style and are to be used in concert work."

NothIng further has been discovered about these two banjo makers; neither has it been
established whether they worked together or independently.

In 1924, C. F. Martin & Co., Inc., of Nazareth, Pa., started to make a tenor-banjo which sold for
sixty-five dollars and which had been designed by their craftsmen in co-operation with A D. Grover,
the well-known American banjoist, inventor and designer.

A special feature of this instrument, of which only about one hundred were sold before
manufacture ceased in 1925, was that the brackets for tightening the vellum passed through
vertical holes in the all-wood hoop and a metal flange was incorporated in the mounting of the
vellum. In addition, it had a metal resonator - made of heavy brass nickel plated and shaped
like a saucer - which was mounted inside the hoop.

In keeping with every Martin instrument ever made, it was devoid of all unnecessary decoration
but beautifully fashioned and finished.

In 1925 the demand for Martin ukuleles was such that the company ceased making all other
instruments, enlarged its factory, and devoted all its labour force to making them. By the time
Martin were in a position to resume the making of tenor-banjos the market for the instrument
in the U.S.A. had collapsed so they never made any more.

In the Smithsonian Institute, Wa3hington, D.C., is a banjo made by Fred Mather, of New York
City, in 1860. It has incised lines on the fingerboard to indicate frets with incised letters at the
frets giving the names of the notes to be found there. The instrument is fitted with a machine
head and a single machine-head is fitted at the side of the neck for the fifth string. The hoop
is fitted with twenty brackets.

Nothing has been discovered about Fred Mather and it is not known whether he was a
commercial maker of banjos or not.

In 1916 the Slingerland Drum Co. was formed in Illinois and two years later they formed a
banjo division for the manufacture of tenor-banjos and plectrum-banjos which they sold under
the name of "Maybell". These well-made instruments enjoyed a large sale all over the world
until the depression of 1929 when manufacture ceased.

In 1930 the company reverted to its main object of making drummer’s equipment.

The Merlin Manufacturing Corporation, of  3545-7, North Clark St , Chicago, Illinois, was
formed in l962/3 by Leonard McCabe (an accountant) and Jay smith (a mechanical engineer).
William ("Bill") Malloy (an amateur banjoist) was engaged as adviser and sales manager.

The  efforts of the company were devoted towards the 5-string banjo, prompted by Mr. Smith’s
desire to play one after finding it difficult to buy such an instrument • Since he was a mechanical
engineer, he decided on an unusual approach and, to quote from the company’s
literature, the Merlin banjo was to be a "blend of modern and traditional design". In fact, the
instruments were made of aluminium and fibreglass - except the ebony fingerboard and the
spun-brass resonator.

The neck of these unusual banjos was of cast aluminum which was highly polished) and the
hoop made of fibreglass; neck and hoop being locked together by means of six screws which
were said to allow an adjustment of the neck. It could be moved up or down, right or left, or
even rotated to bring one or two strings closer to the fingerboard, " it was claimed.

C . C. Richelieu, who had been playing and building banjos for forty years, was consulted by
the company in a minor capacity - on a "what’s wrong" - basis, as he put it. Richelieu wrote:
"The Merlin banjo as it evolved from a series of rather foolish trial and error experiments,
finally turned out to be a rather good banjo. It did, however, lack the feel of g0od wood, and
conventional banjoists frowned upon it — but its tone and the action was quite good. I personally
used one on several conventions jobs and found it to be entirely passable.

In 1965 the company stopped production after selling less than 100 Merln banjos.
In 1967 it was in tho course of liquidation.

Charles Morrell was making banjos in New York City prior to 1840 and he went to California
with his banjo-making friend Thomas W. Bree during the gold rush of 1849.

Iit is not known when he returned to New York but some sources say he presented a banjo of
his making as first prize at the Banjo Tournament held at the Chinese Assembly Rooms on
Broadway in 1857. (it should be mentioned that other writers say the banjo was made by
Jimmy Clarke).

Nothing further has been discovered about Morrell or his banjos.

Round about l870 James Morrison, of 670 Sixth Avenue, New York City, formed a company
for the making of banjos and in October 1875 the "Morrison Patented Steel Hoop Banjo" was
being offered for sale by Jas. Morrison & Co., of that address. It was claimed this instrument
was "ifferent from other banjos principally in the hoop which is supported by pins driven into
the wood rim over which the head is stretched" and was used and recommended by Brooks
& Denton, the Dora Bros., Vess L. Ossman, Gregory & Farmer, Grant Brower, F. Wilbur Hill,
Thomas E. Glynn, Sam Devere, Billy Carter, etc. etc. in the same advertisement it was said
that all these players also sold the Morrison banjo.

By 1903 Morrison was located at 157, E, 67th Street, New York City, from where he advertised
that his instruments were "guaranteed to  be the finest-toned in the world for stage and club use".

For a great many years it Is true, the Morrison banjo was considered in America to be the acme
of perfection in tone and durability. When Brooks and Denton formed their partnership in 1885
they claimed to be the sole selling agents in New York for the Morrison banjo.
They were still selling them in 1912.

Muse Banjoes, of Jamestown Star Route, Boulder,Colorado, U.S.A. was the same company as Ode (q.v.)

In an 1899 issue of “The Cadenza", H. C. Nelson (of North Evanston, Illinois) is listed as a
maker of banjos. In the December 1911 “B.M.G." a banjo by Nelson (of Chicago, Illinois)
is offered for sale. It was described as having a 19" fingerboard, 12" vellum and fitted
with non—slip pegs.

No further information about this a maker has been discovered.

In 1960 the Ode Company of 1575 Mariposa Avenue, Boulder, Colorado, U.S.A., was
founded by Charles Ogsbury, a young engineering student of Colorado, and announced
its entry into the banjo-making field with a range of 5-string and long-neck banjos ranging
in price from *72.00 to *86.00. These instruments quickly gained favour with folk and
"bluegrass" enthusiasts and before long a far greater range of instruments (which included
plectrum-banjos was produced.

When the firm moved to Boulder, Colorado, in 1964 they also used the name "Muse" and
identical instruments were sold with both the Ode and Muse names: the former being given
style letters and the latter style numbers, e.g.
Ode 5-string banjo Style B ($295.00) was the same instrument (except In name) as
Muse Style No. 5 at the same price. Whereas Ode banjos could be purchased direct from
the makers, Muse banjos were only sold through dealers.
In October 1966 it was announced that the Baldwin Piano and Organ Company of Cincinnati,
Ohio, had bought the Ode Company and that in future the instruments (which were still being
made in the factory at Boulder, Colorado) would be marketed under the Baldwin name through
its guitar division. (Charles Ogsbury was retained as a consultant).

Included in a list of banjo manufacturers in the Jun. 192S issue of "The Crescendo" is the
Progressive Musical Instrument Corporation, of New York City. They were shown as makers
of the "Perfecktone" and "Gordon" banjo, but no other details of these instruments or the
company have been found.

In the early 1920’s the Regal Musical Instrument Co., of 3211, W.Grand Avenue, Chicago,
Illinois, included banjos among the instruments they made and these were mainly sold
through the big American wholesalers, e.g. Tonks Bros. of Chicago and Bugelesin &
Jacobsen of New York.

It is not known when they left the Chicago address but in 1965, Fender Sales Inc., of Santa
Ana, California, were marketing five models of “Regal" banjos which, it was stated, were
"distributed exclusively" by Fender.

In 1964, Rock Wood Carvers Inc., of Oregon, Illinois, U.S, A. formed a subsidary company.
The Stamm Instrument Co. for the purpose of making banjos. Later, the name of this division
of the parent company was changed to the Salstrom Banjo Company.

The instruments produced included banjos, tenor-banjos, plectrum-banjos and the extra-long
necked “folk" banjos.

They ranged in price from $122.00 to $245.00

Arling Shaeffer, of 606 Kimball Hall, Chicago, Illinois, was born on February 4th 1959 and
when he became a professional banjoist, travelled for a number of years as featured banjo
soloist with the Kimball Opera Company. By 1911 he had established a teaching studio in
Chicago and was advertising his "Mellow Tone" banjos as "being designed and made" by himself.

He was a go-ahead teacher and must have sold many of his town make" banjos to his
countless pupils, although it is doubtful whether he did make the instruments himself.
It is more likely they were made for him, probably by J. B. Schall.

In 1919 he published a banjo tutor in C Notation (in which he advertised his own banjo) and
six years later published a tutor for the tenor-banjo.

He retired about 1924 to his farm near Marinetti, Wisconsin, but continued to do a little teaching.
He was last. heard of in 1944 when he was 85.

J.B. Schall was born in St. Joseph, Mo., U.S.A. in 1852 and in his younger days worked as a
stone mason. He became interested in wood working and mechanics of various kinds and
became skilled in the use of tools pertaining to several trades.

As a hobby he played the banjo (extremely well, say critics of the period) and while still a
young man joined a minstrel troupe with which he toured extensively for several years.
His acquaintanceship with minstrel performers and theatrical people generally, coupled with
the growing demand for banjos1 induced him to open a banjo factory in Chicago in 1870.

He became one of the greatest banjo makers in America (as far as quality was concerned)
and it is said the reason for the superior excellence of Schall’s banjos was due to the fact
that he was an exceptionally skilled mechanic who worked at the bench beside his five
employees. His banjos became justly celebrated and were in demand among all the leading
banjoists of his day.

In 1881 Clarence L. Partee became manager of his offices and showrooms and, in addition,
taught the banjo "by note".

Schall sold all the banjos he and.his five workmen could make and received large prices for
them but he would not enlarge his factory to increase output to keep pace with the demand
for his instruments. Prosperity proved too much for him. As soon as he had accumulated a
few thousand dollars he would neglect his business until the money had been spent. In his
absence, with no competent foreman in charge, his workmen could not be relied upon to keep
up the standard. And when new and unskilled workmen replaced the older ones, many poor
instruments resulted at times.
About 1895 Schall suffered a stroke and had to close down his business. He eventually
recovered but for severalyears suffered from chronic rheumatism and partial paralysis.
In 1905 his health improved and he opened a small banjo shop (over which he lived alone )
and started to make banjos by himself for professional players, although orders were scarce.
He did make a banjo for Burt Earle early in 1907.

He died in dramatic circumstances. (1907? Aged 55?)

He had just completed two banjos for an act appearing at the Olympic Theatre in Chicago
and the players invited him to hear their performance.

Occupying a front seat in the balcony, Schall was listening to the tone of the instruments
he had made when suddenly he rose in his seat with a choking cry, swayed for a moment
as if he would topple over the balcony rail into the crowded stalls, and fell to the floor.
Ushers and attendants rushed to his aid and carried him to the foyer where they attempted
to revive him. The act on the stage continued, unaware that Mr. Schall was dying behind
the tier of balcony seats. Once he partially gained consciousness. He opened his eyes
and murmured: ’I think I can go home now". Just then the players on the stage burst into a
popular song of the day and as the last bare ceased and the audience burst into applause,
J. B. Schall breathed his last.

William Schmick, of 514 No.9th St., Camden, New Jersey, U.S.A., took out a patent on
September 23rd l914 for his "Lyric" banjo, tenor-banjo, mandolin-banjo and guitar-banjo.
Speaking of the instrument at the time "The Crescendo"  said: "While this new arrival
resembles the English zither pattern, and indeed was modelled after that type, every
essential feature represents a change from all previous forms of banjo construction,
the inventor’s object being to produce an instrument which would be effective with gut
strings instead of wire.
The head forms the lid of a wooden box and is self-contained; that is, it is not fastened
to the box at all but just rests there and acts like a second bridge for the strings.
When the strings are removed this head, with its novel hoop for tightening, can be lifted
out of the enclosure. It is not necessary to do this every time you wish to tighten the head,
however, for special brackets are provided for that purpose, hidden from view, but easily
accessible around the top of the vellum.
When a new head is needed, one can be put on without disturbing the arm or dowel piece,
and the instrument re-strung and played at once for the vellum always remains at the same
height, no matter how tight or loose it is."

This instrument had a hoop constructed on similar lines to that used in the zither-banjo
but in the upper perimeter were 22 sound holes. It apparently sold, for as late as 1925
Carl Fischer Inc., were selling them in their New York, Chicago and Boston shops
according to their advertisements.

Born in 1869, William C. Stahl was given a cheap banjo on his twelfth birthday and started
to learn to play the instrument by ear. When he was fourteen (1883)  he commenced the
study of the violin “so he could learn to read music" ,but after four years he gave it up to
concentrate on the banjo and its related instruments. At the age of 19 he composed his first
banjo solo, which was published by S.S. Stewart.

In1899  he was offered and accepted the leadership of a large amateur orchestra and
teaching studio in Milwaukee, Wisconsin.

In Milwaukee he flourished and gradually built up a large teaching connection and
entered the Publishing and manufacturing business. By 1908 “The Crescendo" was
able to report: “Wm. C. Stahl has been so behind with orders for his mandolins, guitars
and banjos that he has been running his plant night and day all through the summer
and is still behind with orders." Over ten years later Thos. J. Amstrong said that "Stah"
banjos had made Milwaukee famous

In a 1919 advertisement Stahl claimed to have been thc first manufacturer of the
tenor-banjo - “a dozen years ago". He died on April 29th 1940 but appears to have
ceased banjo making some years before this date.
His banjo methods were sound and well written, being unusually detailed for their period

Samuel Swaim Stewart was born in Philadelphia, Pa., U.S.A., on January 8th 1855.
He originally studied the violin but in 1872 took lessons on the banjo from George
C.Dobson. Six years later he opened a studio for teaching the banjo in his native city
which laid the foundations for his vast publishing and manufacturing business.

8eing dissatisfied with the banjos then extant he spent a lot of time studying construction
and in 1879 opened a factory at 221/223 Church Street. Improving on the designs of Clark,
Dobson, Schall, etc., as George L. Lansing said many years later: "He took the reins of
banjoism in his hands and it is to him....we owe a debt of gratitude for the popularity of
the instrument."

By 189b his factory was turning out really first-class instruments by the hundreds (priced
from $10.00 to as high as $200.00) and he had an agency in very town in America, as well
as selling to agents in countries all over the world.

At different times he kept a full-page advertisement running in "he New York Clipper"
and he did a lot to make Americans "banjo conscious". The demand for Stewart banjos
far exceeded output for some years.

At the Columbian Exposition in Chicago (1893) he had a display of banjos and the
catalogue for the Exposition stated: "S. S. Stewart’s banjo manufactory on Church Street,
Philadelphia, is the only establishment of its kind in the world — the largest and most
complete banjo manufactory in existence." It conceded the fact there were other larger
factories making banjos but added they also made other instruments. “Stewart’s factory
only made banjos" it proclaimed.

Stewart was the first maker to strengthen the banjo neck with inlays of hard wood set
on the cross (grain) to prevent warping. He once said "On my banjos - I claim no
new invention, nor have I any patents connected therewith" I do claim an improved
and more perfected banjo, secured by new processes of manufacture; some of which
remain secrets of my own and which to attempt to protect by letters patent would
merely place part of my knowledge in the hands of others.
It is interesting to note that in the late 189O’s, Francis Beddard, an Englishman, settled
in Philadelphia and secured employment in the Stewart factory. He returned to England
in 1901 and made the first "John Grey" banjos for Barnett Samuel & Sons Ltd. (q.v.).

On January 1st 1898 S. S. Stewart merged with George Bauer, mandolin and guitar
maker, and the firm of Stewart & Bauer opened a new factory at 14.10/1412 North 6th
St., Philadelphia, with Stewart’s eldest son Frederick S. taking up a position in the office.
On April 6th of that year

S.S. Stewart died of apoplexy anti three years later the firm failed.

George Bauer then formed his own company and The Bauer Company, of 726/730
Girard Avenue, Philadelphia, produced "Stewart banjos" made on the original, models
and designs in the original Stewart factory" but  despite the announcement that
"every effort to maintain the high standard of these celebrated instruments" would be
made, inferior materials were used and the instruments did not sell.

Fred S. Stewart had joined Joe. W.Stern & Co. of 34 East 21st St., New York City,
when the firm of Stewart & Bauer had failed and Stern’s started to produce the S. S.
Stewart’s Son Improved "  4 S " banjos at prices ranging from $9.00 to $65.00, the
Instruments were said to be made under the personal supervision of Fred S. Stewart.
They were advertising this instruments for at least three years but no later mention
has been found. In August 1914 Buegeleisen & Jacob-son, of New York City
announced they had bought the "patent rights" of the Stewart banjo and would resume
the manufacturer of banjos bearing the S. S. Stewart name but these instruments
were mass-produced factory-made banjos and did not compare in quality or tone to
the original Stewart instruments made in Philadelphia. Like all other American
manufacturers, Buegeleisen & Jacobson ceased making banjos when America
entered World War II.

Charles A. Stromberg, a Swedish cabinet maker, went to Boston, Mass. in 1887.
He secured work in the Thompson & Odell works and for eighteen years was their
foreman in the banjo, mandolin and guitar factory.

In 1905 he started his own business at 40 Hanover St., Boston, and five years later
took his son Elmer into the business with him. Between them these two craftsmen
produced hundreds of banjos, in addition to the other musical instruments in which
they specialised.

The banjos they produced and sold under the name of Stromberg had what they
called a "Cupperphone Tone Chamber" which consisted of a metal ring placed on a
series of upright metal tubes or cups fitted on a built-in wooden shelf inside the banjo
hoop and directly under the vellum.


The firm appears to have gone out of business soon after the 1929 trade depression.

Round about 1860 William B. Tilton, “on Broadway, near Spring Street" In New York City,
was makng banjos In addition to guitars. Six years later we hear of him in Boston, Mass.,
where he produced a "clock-key tightened tack head banjo" with a 2 ½  " deep hoop.
No details of this “tightening" device are available nor has any information been
discovered about his further banjo-making activities.

Leslie Uncless, a teacher of the banjo in Syracuse, New York, was mentioned as a maker
of banjos (with Dalton Mac.Gee) in the August 1910 issue of "The Crescendo" but nothing
further has been discovered about him or his activities. (see under Mac.Gee)

In 1889, in Boston, Mass., U.S.A., Julian Nelson and his brother Carl, with two skilled
musical instrument makers named John Pahn and John Swenson, formed a small
company for the making of guitars. Calling themselves The Vega Company, Julian
Nelson and the two Johns started to produce some high-quality guitars in their one-
roomed ~factory". (Carl Nelson took no active part in production; he was merely the
"financial adviser" (book-keeper) in the beginning).

Business prospered and kept the three craftsmen busy but for some years Vega
guitars were known only in and around Boston.

Julius Nelson was an expert on woods and was always responsible for the selection
and purchase of the quality timbers that went into the making of Vega instruments.
(He died on July l4th 1920 at the age of 51 but his insistence on only the best woods
for Vega instruments was a legacy he left behind him).

After a few years Julius and Carl Nelson purchased the controlling interest of the other
two partners and Carl entered the firm as full-time financial adviser and a move was
made to larger premises on one of the water—front streets in Boston. To cope with the
fast-Increasing demand for Vega instruments, a number of workmen were added to the
pay-roll and several wood-working machines installed.

In addition to guitars, the Vega company now started to make mandolins, which were
fast becoming popular in the U.S.A. With Mandolin Clubs (orchestras) being formed
everywhere in America, the name of Vega started to become known from the east
coast to California.

The demand for Vega guitars and mandolins continued to grow apace and soon the
company had outgrown its small factory. Having in mind future development of the
company. In 1898 the two brothers Nelson bought the Standard Band
Instrument Company from Thompson & Odell (the music publishers and instrument
importers) who, incidentally, had originally acquired the firm and its factory about 1880
from Quimby Brothers and D. C. Hall (its founders) who were the first instrument makers
of any note in Boston.

This was the first expansion to make it possible for the Vega company to sell goods other
than those they actually made. (It is interesting to note that today the Vega Co. sells a wide
range of band and orchestral instruments in addition to those they themselves make).

The Vega plant was moved into the spacious Standard Co. factory at 62 Sudbury Street
where, with additional machinery and up-to-date facilities, they remained until June 1917
when they moved to even larger premises at 155 Columbus Avenue.

In 1904 the premises of A. C. Fairbanks & Co., Inc., in Washington Street were destroyed
by fire. These well-makers of high-class banjos were held in high esteem by banjoists.
The firm was by this time owned by Messrs Dodge & Cummings but the affairs of the
company had been in the capable hands of David L. Day, a name regarded with respect
throughout the whole banjo world.

The Vega Co. was offered the trading name and salvaged plant of Fairbanks and with their
purchase Vega added the making of banjos to the growing activities. David L. Day was
taken into the Vega Co., assuming managerial duties in the firm’s added banjo department.
From the Fairbanks company Vega also acquired some of the skilled banjo makers and,
perhaps more important, the services of Herbert J.Fandel who had started with the Fairbanks
company in 1898 and who was to play an important part in the design and promotion of Vega
banjos.

When the Vega company became a fully-fledged corporation under the incorporating
laws of the State of Massachusetts, Dav1d L. Day was elected Secretary of the company.
With the acquisition of the Fairbanks company, Vega not only continued to make banjos
with their own name but also continued to market the Fairbanks’ products. For a time, they
used both names as trading companies: the Fairbanks Company being at 63 Sudbury Street
and the Vega Company at number 62. All models in the Fairbanks range were also available,
as Vega instruments. In addition to supervising the banjo-making part of the factory, David L.
Day was "on the road" selling these high-class instruments.

In 1908 the Fairbanks "Whyte Laydie" banjo was re-designed by David Day and a year later
Vega produced the famous "Tu-ba-phone" banjos, both of which were revolutionary in design.
Under the able management of Carl Nelson (Treasurer), Julian Nelson (President and Factory
Superintendent) and David L. Day (Secretary and Sales Manager) the new Vega company
grew in size and instrumental prestige. When the dance-band boom started, Vega instruments
were eagerly sought by players everywhere and the company was hard put to it to keep up
with the unprecedented demand.

Here it might be mentioned that in 1918 the company made the special extra-large hoop
banjos with low G fifth string used by Brent Hayes in all his world tours.

In 1920 the five-storey factory at 155 Columbus Avenue was turning out eight models with
ranged from the cheapest to the dearest: "Senator", "Regent", "Imperial Electric",
"Whyte Laydie No. 2", "Whyte Laydie No. 7", "Tu-ba-phone No. 3", "Tu-ba-phone No. 9"
 and the "Tu-ba-—phone de Luxe". The three last-named had 11" hoops; the others, 10 ¾ "

Th 1922, after an active business association with the firm for eighteen years, David L. Day
resigned his position with the Vega company to become Vice- President and General Manager
of the Bacon Banjo Co., of Groton, Conn., a firm originally founded by the famous banjoist
Fred. J. Bacon. "Bert" Fandel was given the position of Sales Manager in his place and
his high standards of instrument perfection did much to further the booming sales of
Vega tenor-banjos and plectrum—banjos at that time. It was under his aegis that in 1923
Vega re-designed most of their banjos and, in addition, produced its "Vegaphone" model
and, in 1927, its revolutionary "Vegavox", a modern version of an old idea in banjo
construction which found favour with many solo and orchestral players.

Like all other American banjo manufacturers, they discontinued making banjos when the
U.S.A. entered World War II but when the new banjo "boom" started in 1963 they
re—commenced production and today make not only banjos, tenor-banjos and plectrum-banjos,
but in addition the extra-long—neck "folk" banjos and models in the style of the pre—war
Vegavox" instruments.

The Vega Co., Inc. is now located at 40  Leon St., Boston 15, Mass., U.S.A.

George B. Durkee, superintendent of the huge Lyon & Healy’ factory in Chicago,
Illinois, was the designer of the "Washburn" banjos, mandolins and guitars made and
sold by this company. Manufacture of banjos appears to have been started round
about 1880 and one writer has said "they let S. S. Stewart do all the donkey work
before they started making banjos which, at first, were copies of Stewart’s range.".

In January 1915 they advertised "The New Improved Washburn Banjo (Patented)"
which they described as “the latest thing in banjo construction". This instrument
incorporated patents taken out by William D. Bowen who sold the manufacturing
rights to Lyon & Healy.

It is interesting to note that this Amercan  firm made zither-banjos (probably
especially for export to the U. K.) as some were advertised in the “for sale" columns
of the fretted instrument press of the day and time S. A. Halfpenny (the noted English
Zither-banjo virtuoso) played a Lyon & Healy instrument.

At one time, Lyon & Healy stressed the fact that every part of the “Washburn" banjos-
brackets, pegs, rims, fingerboards, etc. -  was their own make.

In March 1922 they were offering the patented "Van Eps Recording Banjo" - "with the
internal resonator and outward-curved dowel or cross-piece" but made it clear they
were only the distributors and not the makers.

They appear to have ceased making banjos during the depression of 1929 and there
is no evidence that they have resumed manufacture. (1967)

The firm of H. A. Weyrnann & Son, of 923 Market Street, Philadelphia, Pa., was
established in the year 1864. as makers of stringed instruments. As early as 1903
they were advertising themselves as music dealers and manufacturers of the
celebrated ’Keystone’ mandolins, banjos and guitars".

In February 1917 they were Incorporated and moved to larger premises at 1108
Chestnut Street and it was soon after this they commenced to make the range of
banjos by which they became known all over the world. These instruments were
a type in which wood played a major part. The hoops were made entirely of wood,
built up in two separate sections (upper and lower) of ten laminations and tapered
internally to give what was claimed to be " megaphonic effect". The brackets for
tightening the vellum passed through the lower section of the hoop, which protruded
enough to take them.

The range was called "Orchestral" instruments and were fitted with a patent
"combination neck brace and adjuster" and special Weymann "Four-to-One"
(registered) center-gear tuning pegs. In addition, they had a "Patented Tone
Resonator" (fitted to the banjo hoop by felt-covered spring clamps) which bad
a fretwork-design metal flange fitted to its upper edge.

By l928 the firm had moved to Tenth & Filbert Streets, Philadelphia and its
"Orchestra" (not "Orchestral" any more) banjos ranged in price from $140.00
to $420.00, whilst its "Keystone State" range (fitted with non-detachable resonators)
were priced from $35.00 to $85.00.

The firm seems to have stopped manufacturing banjos in the early 1930’s,
probably as a result of the 1929 depression.

Albert Wilson, a banjo maker of Troy, New York, U.S.A., was called by S. S. Stewart
"an eccentric genius" who was "much liked by players of his day". About the year 1850
he constructed a banjo which had a solid iron hoop and thirty iron brackets fitted with
elaborate thumb screws for tightening the vellum. It proved too heavy for practical use,
apart from it being crudely made. The neck was merely bolted to the hoop and the
instrument could not be relied upon to keep in tune.

About twenty years later he made a much lighter banjo which became known as the
"Silver Rim"  banjo and established a pattern for the majority of banjo makers.
This instrument had a wooden hoop veneered with thin German silver (white brass)
which was "rolled over"  the top and lower edges of the hoop.

Wilson became an adept at the use of German silver, making many ingenious
articles therefrom, which he sold. Although his eccentricity caused him to fashion
banjos in many odd designs by way of experiment, he finally adhered to the
legitimate instrument and was deemed to be the best maker of banjos of his time.
Many of his instruments for professionals were profusely inlaid with mother-of-pearl,
silver and fancy woods.

His successor, William H. Farnham, continued to make the Wilson banjo up to about
1890 without any appreciable modifications.