In 1960 the Ode Company, Mariposa Avenue, Boulder, Colorado was founded by Charles Ogsbury, a young engineering student of Colorado. It announced its entry into the banjo making field with a range of 5-string and long necked banjos ranging in price from $72-$86. These instruments quickly gained favour with folk and bluegrass enthusiasts and before long a far greater range of instruments, including plectrum-banjos, was being produced. When the firm moved to Boulder, Colorado in 1964 they also used the name “Muse” and identical instruments were sold under both brand names, Ode being given style letters and Muse style numbers. i.e. “Ode style B” and “muse style 5” were the same banjo at the same price of $295. The main difference being that Ode was purchased direct from the manufacturer and Muse supplied only through dealers. In October 1966 it was announced that the Baldwin Piano and Organ Company of Cincinnati, Ohio had bought the Ode Company and all instruments produced in the Boulder factory would be marketed under the Baldwin name through its guitar division and Charles Ogsbury was retained as a consultant. Images courtesy of Gruhn Guitars Ode & Ome next maker

... of 15 Terry Street, Nelson, Lancashire, was an enthusiastic teacher of the banjo whose banjo playing experiences went back to the days of the smooth and unfretted instrument. In addition to his own professional appearances in and around his home town, he directed the Nelson Banjo Band for many years and as a result he had ample opportunities for selling his banjos bearing his name as maker. The images of this Lund Cello banjo show that he clearly had access to play and copy the instruments eminating from makers such as Essex and Dallas in London on the back of the BMG Orchestras. His training in the gas industry almost certainly influenced him as clearly he was a fine engineer producing quality hardware. Typically at the start of the 20th C a lot of components for standard sized banjos could be bought off the shelf at hardware shops but it is demonstrated here that his small production gave rise to a certain naivety in woodworking, displayed in this example, in the dovetail joints used for the perch pole. Or perhaps the steel bracing was a later modification. Images courtesy of David Grego William Lund to 1945 next maker

During the dance-band boom of the early 1920s Hawkes & Co. of London marketed banjos bearing their name, these instruments were made for them by J.G. Abbott & Co. In 1930 the firm was incorporated with Boosey & Co. to become Boosey & Hawkes Ltd. Hawkes & Co. Do you have a pre 1940's banjo by this maker? can you supply us some images? next maker

In 1897 Messrs Rettburg and Lange took over the factory and banjo making plant of JH 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 1908 they announced the production of their “Orpheum” range of banjos. Three years later they were able to announce that increasing business had made then seek even larger premises at 225-227 East 24th Street. In January 1915 they advertised their “Brass Band Orpheum” – an new banjo with 29 frets (to high G) . The neck on this instrument was joined to the hoop at the 20th fret with a fret board extension over the velum carrying the extra 9 frets. July 1918 saw the debut of the “Orpheum Plectrum banjo” and a new 5 string with a long fifth string tuned to an octave below the third string (this banjo was similar to the Vega banjo Brent Hayes had played for some years). It was in August 1920 that the company was granted a US patent for its new “Paramount” banjo and this new instrument (designed by William L Lange) made its first appearance in 1921. In 1922 William 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 the “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 Street accommodated over 250 workers making banjos and included its own plating shop. It was during this period that Wm D Bowen tested all banjos leaving the factory. In November 1922 Lange made what was said to be the World’s largest banjo. It was for the Paul Whiteman orchestra and is said to have cost $500. The instrument weighed 35 pounds and was five feet long. The hoop was 24” in diameter and the neck 3 feet long and was playable! In the early part of 1925 the Lange factory bought 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 the “Artcraft” range) were also made for other manufacturers and retailers to sell. All manufacturing ceased in 1939. The Challenger Melody King and the Challenger Victory were both manufacctured by William Lange the builder of Paramounts, Orpheums, Langstiles, Langecraft, Broadcraft and many more for various stores. The Melody King model was a bottom end professional level model which sold for $135 in the late 20's, $5 more than a Paramount A. Langstile Tenor models, sometimes with a Supertone name were made for Sears by Lange. Images courtesy of Vincent Hadus W M Lange next maker

next maker Abbott trained as a cabinet maker and was a maker of banjos from about 1895 and sold under his own name and made for other firms and teachers (e.g. Barnes & Mullins , John Alvey Turner , Norton Greenop , Charles Skinner, Len Shevill , G. Scarth) . When Barnes &, Mullins came to London in 1901,and soon after, started their own workshops at Harrow, Middlesex, John G. Abbott supervised the making of the Barnes & Mullins banjos and zither-banjos. In 1905 he left Barnes & Mullins to form his own company with the title of J. G (George). Abbott & Co. and a factory at 97/99 Hampstead Road, London, N.W.l. The instruments they made were grouped under the general names of "Mirabile" (banjos), "Monarch" (plectrum-banjo and tenor-banjos) and Amboyna" (Zither-banjos). About 1928 his workshops were transferred to 44 Chalton Street,Euston Road (where his son-learned the art of instrument making) and four years later he became, part of the Besson Co., when his works were transferred to Besson’s premises at Stanhope Place, Marble Arch, London, when the making of banjos virtually ceased, his activities being devoted to making plectrum guitars (sold under the brand of "Aristone"). In 1936 he suffered from serious internal trouble from which he never fully recovered. He died on February 11, 1938 after a brief illness. John (“Jack") Abbott, son of the above learned the craft of instrument making in his father's workshops. When his father joined Besson & Co. in 1932, he established his own one room work-shops at various addresses in London for the making of, mostly, guitars. He did make a few banjos and even steel guitars with a pickup, which were branded "Abbott-Victor”. He gave up business in 1957. John G Abbott 1878 to 1938

...of 193 Great Brinswick Street, Dublin was a successful teacher of the banjo and a promoter of local concerts from about 1890 to the turn of the century. He sold banjos bearing his name as maker but it is thought they were made for him by Barnes & Mullins. C F Allen Do you have a banjo by this maker? can you supply us some images? next maker

From about 1850 the Dobson brothers in America had as much to do with the keeping up of interest in the banjo as anyone. .. except perhaps SS Stewart. As performers, teachers and instrument makers their names became household words wherever the instrument was played. Henry C Dobson opened a studio in New Your City in 1853 “to combat the prejudice that the banjo was an instrument meant only for Negros” and he numbered the cream of American society amongst his pupils. The first banjo he designed along modern lines was made for him by Buckbee who subsequently made all the Dobson banjos (see below) Dobson was the inventor of the so called “silver bell” banjo (c1858) with 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 and he claimed to be the first to fit raised fret as per the guitar in 1870 although it is know that these occurred well be for this time. Dobson’s “Bell” banjo was a great success and many thousands were sold in America and Great Britain and for the English market he even made 6 and 7 string versions. Clarence Partee mentioned that in one Chicago music store’s window he saw “at least a hundred” Dobson banjos on display. In 1901 Henry went bankrupt, declaring that the day of the banjo was over but “The Crescendo” said at the time that his failure was due to his lack of progress and enterprise and not any decline of the banjo as an instrument. He died on May 29th 1908. David McLaughlin wrote (2013) " Buckbee did not subsequently make all the Dobson banjos of his later modern line, the Great Patent Silver Bell. Actually, though it is true that a vast majority of the Silver Bells are assembled from some if not all Buckbee parts, the final assembly (and sometimes finishing) was done at Henry Clay's studio shops, first at 1237 Broadway and then at 1368 Broadway from 1883 through the 1890s. Some HCD banjos are nearly entirely Buckbee parts, some have a mixture of Buckbee parts with those of other suppliers, and some, if few, have no Buckbee parts at all. And of course, in 1897 Rettburg & Lange bought out Buckbee and upped the quality of those parts that HC was buying. Even though Buckbee made banjos, they were mostly a banjo and drum parts supplier, similar to Stew-Mac and other parts suppliers of today. So, sadly, the consequence is that it is almost universally believed and accepted that each and every banjo made with Buckbee parts was entirely assembled and finished at the Buckbee factory and delivered as a completed banjo. Another problem with people's understanding of Henry Clay's Silver Bell is that it is always assumed they are all "from the early 1880s" because of the patent dates stamped into them. Many of these Silver Bell banjos are from the late 1880s and all through the 1890s, and can be dated by their parts, assembly features, varnish used, etc., but not as easily by any numbers stamped into them." NOTE: At Sale of Musical Instruments in July 1911 through well-known London Auction House Puttick & Simpson of London lot 167 was: A nickel hoop banjo by Dobson, in case, with plectrum. In scribed” Presented to Birdie Brightling, Opera Comique, London 28th November 1881, from HRH Prince of Wales. Birdie Brightling was the stage name used by American female banjoist Mrs Alice Lyman who was a success at a Clifford Essex , Kensington Town Hall Concert in 1910. Brewster was her teacher. pictures courtesy of The Guitar Factory Henry C Dobson 1831 to 1908 next maker

The zither-banjos stamped on the heel "Made by J. Newel, 402 High Street, Manor Park" S London were in fact made by Windsors . They were the standard "shoulder" model made by Windsor, sold at the same price, but without the Windsor name on them minus the '“Castle" nameplate in the centre of the back of the hoop. Newell was a successful player and teacher. J Newel Do you have a pre 1940's banjo by this maker? can you supply us some images? next maker

Do you have a pre 1940's banjo by this maker? can you supply us some images? next maker ... had begun to teach the banjo in 1881 and had first met AO Windsor in 1885 whilst trying to find a good banjo of English make to sell to-his pupils. They did business together for some time before entering into a deed of partnership. It was at this time the firm of Windsor & Taylor started to make open-back banjos. In January they organised the Birmingham B.M. & G. Orchestra which gave its first public concert in March of that year. These concerts became regular affairs (at which the leading soloists of the day appeared) and the orchestra also visited such places as Coventry, Leamington, Liverpool, London etc. . In 1901, Taylor left the firm. Banjos with the logo of " Taylor Liverpool " have been seen but it appear that these are two different makers as the 1911 census shows the former still living in Birmingham. Arthur John Taylor 1861 to ..

J H Williamson 1856 to ... next maker .. little is known of this maker working out of 52 Park Street, Lincoln, Lincolnshire in 1891. This fretless instrument however is very interesting with regard to both the neck clamp; and the make up of the neck which is of four laminations including the main wood, English Yew, which is not known for it's consistent grain. A C Dawson was teaching banjo out of 2 Castle Street, Lincoln in 1897. See Hardy for another maker of Lincoln.

.. was an enthusiastic banjo player in Boston, Mass. who was making the occasional banjo for his friends from about 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 1890 they patented a banjo with a tone ring which they called their “Special Electric Model”. In 1903 this model was redesigned to begin its worldwide fame as the “ Whyte Laydie” banjo. In 1892 AC Fairbanks, having lost interest in banjo making, gave up control of the firm to exploit his invention of the wooden rim for bicycles, forming the AC Fairbanks Wood Rim Co. The Cole brothers also left to form their own banjo making company. The financial control of Fairbanks & Cole was acquired my Messrs Dodge & Cummings who changed the title to AC Fairbanks & Co Inc. and put David L Day (subsequently to be associated with the Bacon Banjo Co .) in charge of product ion at the firms new premises at 786 Washington Street. In 1895 the firm patented a tubular tone ting for the banjo which they called the “tu-ba-phone” and on1st September 1909 this was incorporated in an instrument they called the “tu-ba-phone banjo” although by this time they were under the control of the Vega Company. Early in the 1900 the Fairbanks Company had made a second grade banjo called the “Star” which had a five pointed star on the peg head. In 1904 the Washington Street premises were burned to the ground and the trading name and salvaged plant were taken over by the Vega Company and incorporated in their Sudbury Street Factory. For a time both the Fairbanks and Vega company names were used in advertising , at the same, 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. For eighteen years both “Fairbanks” and “Vega” banjos were made in the Sudbury Street works nad David L Day was then the salesman for the two-in-one firm. He travelled the whole of the USA selling their products. He left the company on 18th September 1922 to become the Vice President of the Bacon Banjo Company Inc. of Groton, Conn, At this time the Fairbanks name was finally dropped by Vega. Note: The double spun pot on this 1895 5 string gut strung. Pictures of Electric courtesy of Steve Prior. Hank Schwartz site on the history of Fairbanks A C Fairbanks & Co 1890- 1895 next maker