Read BB210.pdf text version


. . . and now for some Britney Spears!

can Maddy Costa master the ukulele in an hour? [from Guardian g2, August 6, 2008]



to people, as theatre director Sam Brown discovered when his father died in December last year. Shortly after the funeral, Brown started dreaming nightly of a small man with a very large head. Some weeks later, when sorting through his father's belong-ings, he discovered a book of songs by George Formby - and the identity of this mysterious nocturnal apparition. It was the beginning of an obsession with the 1930s entertainer that has transformed Brown's life, inspiring him to give up his day job as a Latin teacher in London, master the banjo ukulele (Formby's instrument of choice), and now to create a show about Formby for the Edinburgh Fringe. Learn to Play the Ukulele in Under an Hour (How George Formby Saved My Life) isn't simply a biographical play: it's also Brown's evangelical attempt to spread the joy of ukulele-playing. On entering the theatre, every audience member is given a ukulele; within five minutes we've learned our first chord and are strumming along to the nursery rhyme Row Your Boat. By the end, everyone can play four chords and we're giving Britney Spears' ... Baby One More Time everything we've got. I've played a bit of classical guitar before, and wanted to learn the ukulele for years - ever since I saw Marilyn Monroe in Some Like It Hot at a formative age, shimmying her hips while playing one, apparently without missing a note. So I'm in my element - despite the fact that, during the show, Brown reveals that Marilyn actually mimed the scene. He might have shattered one of my dreams, but he hasn't dimmed my enthusiasm. Four chords, I've decided, are not enough: I want to know more. So it is that, the following morning, I meet with Brown and Donal Coonan, with whom he wrote and performs the show, for some extra tuition. We begin with a test. What do I remember of the chords we learned during the show? There was C, basic and jolly; A minor, which they describe as "the saddest sound in the world"; and two slightly trickier ones, F and G7, the latter dubbed "the chord of perplexity". I've remembered them all,

so it's straight down to playing a breezy rendition of the Beatles' When I'm Sixty-Four. I'm astounded by how easy it seems - but that's the ukulele, renowned as the simplest instrument in the world to learn. Not that Coonan found it so: he first bought one six years ago on a whim in Amsterdam, but couldn't figure out any chords. Brown, who met Coonan in 2001 at auditions for the Oxford Revue (Brown had to play a king, Coonan his subject; neither was successful), has spent the past few months teaching his old university pal the Formby repertoire. Coonan now knows three songs by heart: it's enough for the show, but Brown says he's got to learn several more by August 24, when the duo are booked to appear at the birthday party of another Fringe performer and Formby admirer, Jim Bowen. Brown isn't sure where his fascination with Formby comes from: he doesn't, for instance, remember his father being a fan, and thinks the songbook actually belonged to his uncle. And although he's impressed by Formby's dedication to entertaining soldiers during the second world war, and determination to perform to black audiences during a tour of segregated South Africa in the 1940s, he also admits that Formby "wasn't a brilliant actor - he made 23 films, all of which are pretty bad". He points out that Formby's wife and manager, Beryl, was the brains of the partnership, while "he was probably quite dim". That hasn't stopped Brown from attempting to follow in Formby's footsteps, performing his cheeky songs about voyeuristic window-cleaners and naughty lingerie salesmen at charity events and old people's homes, with varying degrees of success. "The first time Donal and I played together," he confesses, "we practically got booed off the stage." There are no boos in Edinburgh: the audience are having too much fun tinkering with their ukuleles. Brown says that at pre-Edinburgh performances, several instruments went missing, as people either failed to realise that they were supposed to return them, or couldn't bear to part with their temporary toy. The duo have been so inspired by the positive reactions, they're looking at ways of changing the show to encourage more audience participation. The aim, says Brown, is to eradicate all scenes in which the audience are asked to pipe down, "to get to a point where we never tell them to stop", so that every show has a unique, spontaneous, simultaneous soundtrack.

THE BANJOISTS' BROADSHEET NO. 210 FOR AUGUST 2008 PAGE 2 In the meantime, there's 10 minutes left of my lesson, and I want to learn a few more ukulele tricks. First, Brown shows me a fancy little trill with which to finish a song, which requires switching rapidly from C to G7 and back to C. It's quite hard, but eventually I get the hang of it. Next up is a very fiddly chord: F#. I can just about handle that, too. Buoyed by false hope, Brown demonstrates the George Formby strum, something he hasn't even taught Coonan yet. It requires the rapid movement of fingers on the left hand, an odd rhythm pattern played with the right hand, and has me bamboozled. Still, if I can just learn to shimmy saucily without dropping the ukulele, I'll be a happy lady. My banjo backing tracks are fun for either rehearsing or using on stage. It's karaoke for banjo players! The CD includes backings for Deed I Do, Mr. Sandman, Temptation Rag, Cecilia, You're Driving Me Crazy, Somebody Stole My Gal, Chinese Laundry Blues, I'm Looking Over a Four Leaf Clover, Pasadena, I've got a Feeling I'm Falling, After You've Gone, Leaning on a LampPost and High Society. The original complete tune (to acquaint you with the melody, arrangement and words) is followed by the "play-along" version with the banjo and vocal track removed. The musicians are Fraser Gartshore and Ralf Peyer (piano), Graham Collicott and Michael Neusser (drums), Clive Fenton (tuba), Hayley Moyses (violin), Matthias Seuffert (clarinet and saxophone) and myself (rhythm guitar). The triple CD package contains two backing music CDs and one data CD with words, music and arrangements in .pdf form, ready for printing out on your computer. Short sound samples are available online. U.K. customers please post a cheque for £18 (made out to Sean Moyses please) to Jacqui Huggins, 7 St. Edmunds, Mill lane, Walpole Highway, Wisbech PE14 7QG. You can also order online with credit card/Paypal at

How to be Sean!s Doppelganger!



backing track package started last year. I re-visited the Thomas Guthoff recording studio near Bonn, where my last two CDs were produced, and had the tunes remixed, edited myself out (hooray!) and put in a "drumstick count-in". The titles were all played by great top-flight jazz musicians with that live feeling that keyboard generated backings lack. I was helped a great deal in the USA banjo scene by my late friend Derek Channing, who lived near to Detroit and who transcribed the tunes and song text in an easy to read print-out .pdf format. Derek was not in good health but spent his last days working hard in getting these done. Although he was bed ridden, it gave him a lot of pleasure to be music-ally active. My banjo pal in California, Dave Frey, then proof read the complete works. We were all in daily contact until Derek passed away. What a shock and what a loss to the banjo comm-unity that was. Derek not only helped with US sales of my CDs, DVDs and the up-coming backings but he had also formed a youth banjo group, The Next Generation Banjo Band, and ran two banjo newsletters for local clubs. I'll certainly miss him. However, I'm pleased to announce that Dave Frey will be taking up the reins from Derek. There are tunes to suit most banjoists starting with the gentle ballad Cecilia and culminating in a fast and furious High Society. Sound quality is, of course, first class, and for the uke players amongst us, there are two Formby numbers.

--==Reser Resources==-For some 10 years, Jürgen Kulus has been advertising his reprint of the Harry Reser 20 lesson Mail Course for Tenor Banjo, alongside a CD of Harry Reser and The Clicquot Club Eskimos as broadcast in the US in 1951. The mail course was first published in 1927, 220 pages plus some advertising, promotional material and handwritten amendments by Reser. I had seen some of the mail course from Bill Triggs, but it was especially interesting to get a copy of the complete 20-lesson course to review. It went like this ­ the student would sign up for a package of 4 consecutive lessons at the rate of one a week. The student completed a number of tests which Reser marked and commented upon; Reser also answered any questions the student might have. Then the student would go for the next phase. Most of the printing is very much in the style of the Reser Tenor Banjo tutor, but there are also pages of typed and handwritten material, which

THE BANJOISTS' BROADSHEET NO. 210 FOR AUGUST 2008 PAGE 3 Reser was going to use in a later edition of the lessons, which would have been expanded to 40! Intriguingly, Reser used to write musical notation putting the vertical line to the right of the `dot', whether or not the tail went up or down. I say `intriguingly' because this is precisely the unusual style that Bill Triggs always used. Now I realize that this was Bill's homage to his hero! Jürgen's introductory notes are also interesting. He points out that Reser refers to a number of solos that are apparently unavailable. These are Bacchanale (from ballet music from Faust) Southern Melodies and Firecrackers, though there is some indication that the last might have been an alternative name for Fair and Warmer, one of Reser's "simpler" solos. The reprint includes some extra advertising material related to the course and to the banjos which Reser marketed ­ probably Paramounts with his name on them. The overall feel of the Mail Course is of a more relaxed and personal approach than the Tutor. Quite often at the end of an exercise you will be asked whether you noticed a particular point. Many of the musical examples are different from the Tutor, and are much more interesting. I got the impression that Reser had matured musically and personally since writing the Tutor, or perhaps he had a more sympathetic editor. The early lessons of the mail course have a large amount of text, whereas the later lessons tend to be almost entirely musical exercises. Lesson 19 shows how to arrange a banjo part from a piano score, an aspect not covered by the tutor. The piece of music chosen is Clicquot, primarily because Reser owned the copyright and so could do with it whatever he pleased. He has some interesting and pithy comments, such as not wanting to play the same strain twice in the same way for fear of boring the listener. All the time he emphasizes simplicity (otherwise known as taste!). Lesson 20 has some interesting comments on the correct placement of 3-note groups that have to cross an open string. This is the sort of study which is totally lacking from most banjo tutors, and gives an insight into the more arcane and difficult areas of playing an instrument. Tutors for other instruments (especially the violin) have extended discussions of particular technical problems, whereas such problems are hardly ever mentioned in a banjo tutor, much less discussed and solutions provided. There are lots of other bits and pieces included in this reprint, such as a long discourse on the nature and quality of teaching an instrument by post. But by far the most interesting, especially in view of recent interest in the origin of the banjo, is an essay on the Ancestors of the Modern Tenor Banjo which I reproduce here in full (remember it was written in 1927) . . . . Music is the art of the expression of the feelings by means of rhythmical and melodious sound. Although its origin is lost in unaccounted for ancient history, it is safe to assume from a study of the art among the savage peoples, that the first music was a system of rhythmical intonation. The "Period of Instrumentation," undoubtedly very ancient, began sometime after the rise of "Rhythmic Intonation" The Old Testament states, that that class of stringed instruments which are played by means of a plectrum or pick, or by the plucking of the fingers (as the standard five stringed banjo is played) had its beginning during the period from about 1300 B.C. The Lyre was the first of the stringed species to be played by means of a plectrum or pick. The oldest form of the Lyre appears on an ancient Egyptian relief showing the peaceful immigration into Egypt of a family of Semitic Bedouins during the twelfth dynasty. The Kinnor was the ancient Hebrew form of the Lyre. It was a light and easily portable instrument, the favorite instrument of David the famous warrior. A Lyre of the time of Pharaoh and Joseph (about 1700 B.C.) is represented on an ancient Egyptian painting, which probably repre-sents the arrival of Jacob's family in Egypt. The Assyrians played a five stringed Lyre by means of a plectrum. If the performer desired a high pitch he would push the strings upward in order to increase the tension of the strings. On the other hand, if he desired a low pitch he would decrease the tension of the strings by lowering them. The Grecian Lyre had five to seven strings made of a catgut or sinew. The strings were twanged with a plektron (pick) more often than with the fingers. The Grecian plektron was a short chip of ivory or a piece of metal pointed at both ends. The Romans derived most of their musical instruments from the Greeks. The Romans

THE BANJOISTS' BROADSHEET NO. 210 FOR AUGUST 2008 PAGE 4 played a Lyre in the form of the Psalterium, which was of an oblong shape. They played it by means of a large plectrum which was made of bone, wood, or metal. The Egyptians were the first to proceed to develop instruments away from the strict Lyre form. That is, they began to bring out plectrum instruments that had a neck and a body. The first successful result of these efforts was the the Nofre. This Nofre had two or four strings, and was played with a plectrum. It is a great probability that the Egyptians passed their Nofre on to the Assyrians, because the Assyrians brought out the Tanboura which greatly resembled the Nofre. It had two strings, and was played with a tortoise shell plectrum. Another development, away from the strict Lyre form was made with the introduction of the Lute in Egypt and Assyria. The Arabs were very adept performers on the Lute. It is said they learned to play the Lute from the Persians even before they conquered the Persians. The principal musical instruments of the modern Egyptians were introduced into Africa by the Arabs. The Kissar is a plectrum instrument to be found in Nubia, Kordosan, Abyssinia and some other districts of Eastern Africa. The first sign of a skin over a round body being used to increase the tone of a plectrum instrument is seen in the Kissar. An important instrument of the Eastern African coast is the Zeze. (Tzetze) or banjore as pronounced by the African negroes. It has a large hollow gourd for a sounding board. It has two strings made of Raphia-palm fibre. It has three frets made by two notches in the neck. The strings pass over a bridge of bent quill, which for tuning pur-poses is raised or depressed. The strings are tied around a knob at the end beyond the frets. One string acts as a treble and one as a bass. The instrument which in all probability led directly to the birth and invention of the standard five-stringed banjo (the predecessor of the modern tenor banjo) was the "Negro Nanga." Of all the ancient plectrum instruments this Negro Nanga shows the greatest relationship to the banjo of the neck and skin head, which later came into being. The Negro Nanga has five gut strings. It has a body which is covered with skin. Its neck, which is somewhat curved holds five tuning pegs. The African Negro played this instrument while sitting down. He held it in his lap and faced the neck upwards. He twanged the strings either by means of a plectrum (pick), or by means of his fingers.

--==Harry Reser==-and the Cliquot Club Eskimos

In 1924, H. Earle Kimball, the visionary owner of Clicquot Club Ginger Ale, was looking for a unique way to advertise his product over the radio. Harry Reser was approached to create a format for a weekly musical variety program that would "sparkle" like Mr. Kimball's beverage, and this marked the birth of one of the most successful bands in popular music history - the Clicquot Club Eskimos. Starting in December of 1925, the thirty minute live broadcast ran for nearly ten years, spotlighting Reser's considerable talents as conductor, orchestrator and composer - he wrote the Eskimo's popular theme march - Clicquot - in addition to his renowned performing skills. In 1950, C1icquot Club again approached Harry with an offer to bring back the Clicquot Club Eskimos, but this time in a more contemporary setting. Reser agreed to a one-year contract calling for 52 weekly broadcasts with a 15 piece studio band consisting of 3 violins, 3 trumpets, 2 trombones, 4 saxophones, piano, bass, drums. Again, Harry conducted, wrote all the arrangements and was featured on both banjo and guitar. The music of the "new" Eskimos was more modern in approach. Reser re-scored his earlier compositions, surprising his audience at times with such innovations as an electric banjo! Always exploring new technological developments, he experimented with new sound capabilities by playing with a microphone mounted on his instrument. These sessions were recorded on disc, not magnetic tape. Jürgen Kulus, who wrote the above notes, has been selling a CD made from these recordings and I was lucky enough to be sent the last one currently available. So this review is a posteriore, I suppose. The list of numbers is: Cliquot Club March / 12th St Rag / Lolly Pops / Stephen Foster Medley / Hungarian Dance No 5 / Melody in F / Christopher Columbus / Banjo Boogie / Swanee / Kitten on the Keys / La Sorella / Lady Be Good / Digga Digga Do / Kerry Dance / La Cinquantaine / The

THE BANJOISTS' BROADSHEET NO. 210 FOR AUGUST 2008 PAGE 5 Toy Trumpet / Morris Dance / Tarantella / Poet And Peasant Overture. The playing is as clean as ever. Lolly Pops (sic) is played on an electric banjo, with a swing chorus rather like the slow chorus of Crackerjack and a coda with unison octaves giving a Django feel. Stephen Foster Medley and Hungarian Dance have two banjos (one electric, one acoustic) in parts, but no mention of the fact is made anywhere. Melody in F is "brought up to date" in what seemed to me a rather tasteless way (but I suppose you have to take the expectations of the audience into account. This is followed by a very pleasing arrangement of Christopher Columbus which borders on bop. This is another track with two banjos, sometimes playing in unison. Banjo Boogie uses the extra sustain of the electric instrument to support quite a few bent notes. Swanee is more in the way of a Reser nostalgia trip, but KotK, played on a rather overmodulated electric instrument with a swing backing (love those blue `bones!), sounds more like an early pop piece. La Sorella is a nice fairly straight arrangement on an acoustic instrument. LBG has some Django influence, especially in the early part. What a wonderful meeting that would have been ­ Reser Plays Romany! Digga Digga Do starts with the obligatory tom-toms, with a vaguely Mozartian bit in the major key, before it wakes up with a high speed last chorus. Kerry Dance starts off with an imitation of the wrong sort of bagpipe and doesn't really improve (I can imagine Sully going spare over this track!). Then we have La Cinquantaine unashamedly modernised for the masses, proving that if you have a good strong simple tune there's not always much you can do with it! Toy Trumpet is far more suitable for bending, becoming really quite interesting for the last dozen bars or so. Morris Dance is the only piece I didn't like. It was played pretty much straight, far too fast with no feeling and with rather too many mistakes. However, there was a whole section which isn't in the published arrangement. I'll have to get that transcribed. Tarantella was a lovely piece, played fairly straight and with lots of interest. Poet and Peasant was murdered in a very public way, and I could see the full-stage Hollywood musical as Kirk Douglas swings across the stage to rescue the heroine wearing a costume with voluminous sleeves. Reser was audibly uncomfortable playing this sort of thing. It didn't have his familiar phrases in it and he couldn't leave out the classic runs for fear of losing the plot. I don't think I would have included that one on the CD. The arrangements are pleasingly modern (for the day) ­ with the sort of orchestrations and modulations one hears on old Hollywood films of the era. The quality of reproduction isn't great, and judging by the scratches and clicks these records were well played by the Reser family before being digitised. Perhaps if there's another release the transcriptions could be cleaned up. But we should all be very grateful to Jürgen for making this CD available to us. There is some truly beautiful banjo playing on it, much of it quite breathtaking. It's a star in my collection of banjo music and I hope to have some transcriptions on these BB p-pages before much longer. Thanks, Jürgen . . . and thanks, Harry.

--==I Play as I Please==-[from Humphrey Lyttleton's autobiography]


was a banjolele, a hybrid affair looking like a banjo and sounding like a ukulele. I think it was a popular minstrel show on the radio which put the idea into my head. My mother finally bought me the instrument in exchange for my tonsils, which were taken from me when I was seven. I had the operation in a nursing home in London, occupying a private ward in solitary state. When I come found from the anaesthetic, the first thing I did was to cast a bleary glance under the bedside table. And there sure enough was the promised banjole1e, wrapped up in brown paper and string. I got into such a wild state of excitement that it was thought best to postpone the opening of the parcel until I had regained my strength after the operation. But after a few tantalising days I could wait no longer and hauled the package up on to the bed. Inside, the banjolele was fastened away in a black mock leather case. I remember that case with affection. It had a peculiar smell which I can recall to this day in bouts of nostalgia. I have quite a collection of memorable smells stored away in my head, and the most evocative of them are those which belonged to musical instrument cases, and which I associate with the agonising excitement of new possession. There is the delicate scent of the rosewood box holding my first mouth-organ; the pungent aroma of the


Walking in the Air


Howard Blake, arr JFV Vincent


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THE BANJOISTS' BROADSHEET NO. 210 FOR AUGUST 2008 PAGE 6 imitation plush in which my streamlined 'Manhattan' trumpet nestled; the deliciously dry, horsey smell of the canvas hold-all in which my first drum arrived; and the whiff of black mockleather which cut through all the clinical smells of the sick room and sent my temperature soaring with blissful anticipation. Unfortunately I can remember rather less about the banjolele itself. The instrument turned out to be not up my street. True, I enjoyed gazing at it as I lay in my nursing home bed, imagining the wonderful sounds which I should soon be coaxing from it, But when I returned home and began lessons, the magic went. A faded woman with a faded mandolin festooned with faded ribbons came down from Windsor to teach me, and we sat for hours a day picking away on the drawing-room sofa. It all seemed so remote from the rollicking noises which I had heard over the radio that I soon lost heart, and the instrument disappeared into a cupboard in its black mockleather case, to be later sold. Wed. & Thurs. Oct. 8-9. In residence at The Sage, Gateshead (Newcastle on Tyne). Info: [email protected] Thurs Oct 9 1:00-2:00 pm, Newcastle on Tyne, School of Arts & Cultures Lunchtime Concert, Newcastle University. [email protected] Sat-Sun Oct. 11-12: 2 day Banjo Workshop: Prince of Wales Pub, Stafford Sun Oct 12. Concert at Prince of Wales Pub, Stafford. Info: [email protected] Monday Oct 13. Croydon Folk Club Tues. Oct 14. St. Neots Folk Club (Cambridgeshire) Wed. Oct 15, Rainham, Kent. Oast Old-time Sessions Club

Midlands Fretted Orchestra

Meetings Thursday fortnightly, The Good Shepherd Hall, Slack Lane, Handsworth Wood, Birmingham (off College Rd behind St Andrew's church). The Orchestra caters for all ages, all levels of ability and all fretted instruments. For more info. contact Danielle Saxon Reeves, tel 01384 89 39 87 or email [email protected]

--==Letters==-John Field has been playing his tenor banjo in the pit orchestra for an adaptation of Me and My Girl.....includes Lambeth Walk, Leaning on a Lampost, The Sun has got his Hat On etc. Dear Dr Vincent I enjoyed Douglas Back's articles on the classic 5-string banjo covering the 30's and 40's, when I first took up the instrument, and old `open-back' costing £2. Best regards Cecil Davey


World class originals. Order with confidence from this internationally famous banjo shop, established in 1979 by All Ireland Banjo Champion Tony (Sully) Sullivan.


Halshaw Music, 37 Catherine St, Macclesfield, Cheshire, SK11 6ET, UK Tel 01625 610849 Tel: 0870 664 5575 Fax: 01625 267136 [email protected]

--==Ken Perlman!s UK tour==-Fri. Sept 26: banjo workshop & concert, Red Admiral Pub, Broughton Aston, Leicester Sunday Sept. 28: Walthamstow Folk Club Monday Sept 29: Bath, The Little Theatre Cinema, St. Michael's Place, Bath, with Dan Walsh. Info: [email protected] Wed. Oct 1: Chanticleer Folk Club: Dorking, Surrey Thurs. Oct 2, Derbyshire: Concert at Devonshire Arms (Netherend, Baslow). 012246-582551 Fri. Oct 3: Dog & Partridge Folk Club: Bollington, near Manchester Sat. Oct. 4: Macclesfield. Hollins Pub (Black Road, 8:45 PM) with Tony Sullivan


ANJO TIMES is issued bimonthly by David Price and Natalie. A forum for views, letters correspondence and articles on banjo music and musicians, historical notes, events, free advertisements, instructional hints. Annual subscription £10.00 UK, £12.00 EU, £13.00 USA / Australia. Wayside Publications, Wayside, Epping Green, Essex, CM16 6PU. Email: [email protected]



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---== TEACHERS ==--Current BB subscribers who teach banjo - let me know if you wish to be included in this list. Inclusion does not imply endorsement by the BB. Mike JONES tenor & plectrum banjo, plectrum guitar, jass, blues, harmony, improvisation, how to play tunes, etc. 27 Normandy Way, West Acres, Fordingbridge, Hants, tel 01425 655163 Nicholas KIRK plectrum banjo 36 Kilpin Hill, Staincliffe, W. Yorks tel 0192 440 2931 David PRICE mainly plectrum banjo; occasionally finger style and tenor; most techniques, especially chord-melody & all areas of jazz. Tel 01992 577081 Danielle Saxon REEVES BMus (Hons) offers tuition on banjo and guitar. All ages and level of experience. tel 01384 893987 or 07947 168192. [email protected] Pete STANLEY Blackface to bluegrass - all 5string banjo styles Kentish Town, London. Tel 0207 916 4178 Julian VINCENT tenor banjo, arranging & music theory. Laburnum Cottage, 48 Frome Road, BATH, BA2 2QB, tel 01225 835076 [email protected] Bill WAISTELL finger style banjo in the Geordie manner. 22 Ellesmere, Bourn Moor, Houghton-le-Spring, Tyne & Wear, DH4 6EA. email [email protected]

---===FOR SALE===--Shellard uke-banjo made in 1974. Convex resonator veneered with figured walnut and inlaid with contrasting woods and m.o.p. decorations. Walnust spliced arm, ebony fingerboard with sheel and dolphin position marks. High quality tuning pegs. 16 tension brackets; all metal parts gold plated. H.s.c. with velvet lining. High quality fittings throughout. £850. Judd Procter, tel 0207 624 3429 Hofner Congress customised acoustic-electric guitar with 4-string neck and electrics made by John Diggins (JD Guitars, B'ham). Excellent tone and easy action. Hard shaped case. £575.

-== MAKERS/REPAIRERS ==Phil DAVIDSON builds banjos, mandolins and guitars to your specification. Top class workmanship, superb tone. Visit the website to see some of my instruments in full splendour:, tel 0117 937 4920

THE BANJOISTS' BROADSHEET NO. 210 FOR AUGUST 2008 PAGE 8 Slingerland Maybell tenor banjo. American walnut, ebony fingerboard, minimal wear, very easy action, all metal recently relacquered. Original hard shaped case. £400 ono. Kiso Suzuki flatback mandolin, model FM100. Mint condition, perfect frets, very little used. Good tone and sustain. No case. £75. 01527 876216. Email [email protected] Collection easy as I am close to M42 (J1) and M5 (J4). Griff Thomas, Bromsgrove. OZARK ukulele banjo model 2037 8" head; high spec. with resonator. Nickel plated metal ware. Copy of Gibson UB3. As new with hard shell and soft gig cases. £260 o.n.o. JEDSON DeLuxe tenor banjo gold plated, rosewood. Copy of Paramount style F, made in London under licence from Wm Lange with original tuners, etc. Original re-covered leather case, complete with fasteners. £1000 o.n.o. Selection of Tenor Banjos: B&D Sultana Special B&D Silver Bell No 1 Wm Lange Challenger VEGA Professional For further details of these instruments please phone (01425 655163) or email ([email protected]) Deluxe Juniper open-back banjo OME plectrum banjo with slip-on resonator and fitted case. £950 or part exchange. Jack Smith, 10 Fenwick Drive, Middleton, Manchester, M24 4SN or tel 07708450367 (between 18.30 and 21.00) Parker plectrum banjo with original wooden travel case and tool. Carved neck. Needs nothing except the player. Achim Hippenstiel Iversheimer Str. 35A, 53902 Bad Münstereifel Germany, tel +49 2253930177 Malcolm Povah's latest CD PERFORMANCE FAVOURITES 15 tracks featuring many previously unrecorded banjo items including El Relicario, Stranger than Fiction, Drigo's Serenade and many more! From Malcolm Povah at 11 Briarfield, Egerton, Bolton, B17 9TX for £10 / $17 / !15. Also MPCD1 "Sailing", cost as above.

Banjos For Sale

Kevin Scott has the following tenor banjos for sale: Slingerland Troubadour, Epiphone Bandmaster, Paramount Style C, Gibson TB 250, Vega Whyte Laydie, John Grey Chieftain, Bacon & Day No 2 Special, Stromberg Supertone, Reg Baynham . . . and the following plectrum banjos: Paramount Leader, Paramount Style A. Kevin:-01932 886538 or 0771 3768673 Email [email protected] Check the web site at for mouthwatering pictures! Sean Moyses presents It's Banjo Time! 72 minutes of hot jazz banjo tunes, rags, crooners and evergreens. Featured tunes: Somebody stole my gal, Mr. Sandman, Temptation rag, Cecilia, High society, Blue skies, Nuages, I'm looking over a four leafed clover, Leaning on a lamppost, Deed I do, Moonlight serenade, Changes, I'm coming Virginia, Dinah, You're driving me crazy, Chinese laundry blues, I'm sitting on top of the world, A nightingale sang in Berkeley square, Lover come back to me, Somewhere over the rainbow, After you've gone. Sean's other CDs are still available: Banjo Power! and Hot Rhythm. All CDs are professionally produced and are for sale at £13 each or credit card via Please send a cheque made out to Sean Moyses to J. Huggins, 7 St.Edmunds, Mill Lane, Walpole Highway, Wisbech, PE14 7QG, Cambs. Ideal for the Jazz Banjo player, a chord book with charts for over 1,805 jazz favourites. Please send a stamped addressed envelope for the complete index, some sample pages and a copy of the review from the American magazine `Just Jazz Guitar'. The price is £45 plus £6 postage. Alan Noble, 52 Branksome Drive, Nab Wood, Shipley, BD18 4BE or tel. 01274 583085 Email: [email protected] William BALL's CDs are available: 'Pompadour' (Morley compositions), 'Humoresque' (various composers) and recently issued 'Just William' (1991 American recordings) and 'More William' (1994 American recordings). These are £10 each or £18 for two. Prices include postage in the UK. Fred Determann, 5 Nursery Road, Ringwood, Hants, BH24 1NF.

THE BANJOISTS' BROADSHEET NO. 210 FOR AUGUST 2008 PAGE 9 Banjollity CD by John Whitlock's BANJORAMA. 20 tracks of jazz, ragtime and some original pieces by John Whitlock. £11.00 (includes p&p) from John at 8 Higher Brimley, Teignmouth, Devon, TQ14 8JS, tel 01626 774710. Harry Reser and The Clicquot Club Eskimos as broadcast in the US in 1951 and never published before. Only a limited number of tape cassettes left selling at !5 plus postage. Also reprint of Harry Reser's 20 Lesson mail course: first published in 1927, 220 pages with all 20 lessons plus some advertising, promotional material and handwritten amendments Reser had used. The price is !20 plus postage. Jürgen Kulus, Carl-Schmincke-Str. 12, D-71229 Leonberg, Germany, e-mail: [email protected] JULES & KEITH play tenor banjo and piano - a CD featuring tenor banjo pieces by Reser, Mandell, Weidt and others, covering jazz, ragtime, novelty and classical music. 17 tracks all accompanied by Keith Nichols at the piano. "A very interesting CD. . . If virtuoso piano and banjo playing is your forte, then this is for your listening" (Peter Lay, Just Jazz). Cost £7.50 (includes postage) from J Vincent, Laburnum Cottage, 48 Frome Road, BATH, BA2 2QB HOWARD SHEPHERD'S LATEST available on cassette and CD (plec banjo with guitar and double bass), with Cherokee, When Day is Done, Czardas, Tiger Rag, William Tell Overture, etc. £8 (includes postage and packing). Cheques to M Dexter, 1 Meadow St, New Mills, High Peak, Derbyshire, SK22 4AY A CHEAP WAY to make your day ­ send for a free Deering catalogue. Stunning photos of stunning instruments. And they sound as good as the adverts say they do! Catalogue reviewed in BB141, Deering GDL tenor banjo reviewed in BB146. Deering also have a cheap instrument for the beginner - the "Goodtime" which can come with a "starter kit". Bela Fleck plays a Deering, so do lots of other top players. Deering Banjo Co., 3733 Kenora Drive, Spring Valley, CA 91977, USA (619) 464 8252. Fax 464 0833 email: [email protected] URL: Say you saw their name here. SOFTWARE ­ if you want to transcribe music with amazing ease and accuracy, go to: html There you will find free software (for 30 days) which is some of the best available for transcribing music for the banjo ­ or other instruments. See also the article on transcribing in BB199. PETE STANLEY with BRIAN GOLBEY Banjo tunes and songs Vol 1. A 20-track cassette for £7.00 plus 50p postage and packing. Available only from Pete Stanley, 15 Torriano Ave, London NW5 2SN. BANJOVI REVIVAL HAVE NOW CUT THEIR THIRD CD BANJOVI REVIVAL 10 YEARS ON. As in previous years every penny we make will go to charity. Anyone interested please contact Pauline Gibson, 90 Straight Bit, Flackwell Heath, High Wycombe, Bucks. HP10 9NA. All proceeds go to charity. The BANJOISTS' BROADSHEET costs £5.00 for 5 issues within the UK, !12 for the rest of Europe and £12 or $25 in the rest of the World. Pay by any currency in cash, but please, STERLING ONLY as cheque (payable to JFV Vincent or Banjoists Broadsheet) email delivery for half this price, or email copy in addition to your postal copy at no extra charge. The email copy is a .pdf file, so you can archive your copies without taking up space. You need Adobe Reader to view a .pdf file, but it is available free on the Internet. Editorial address is Laburnum Cottage, 48 Frome Road, BATH, BA2 2QB tel 01225 835 076 mobile 07941 933 901; email [email protected]

The Banjoists' Broadsheet No 210

If undelivered, cross out the address above and write in "Return to Sender". No need for extra postage.

Julian Vincent, Laburnum Cottage, 48 Frome Road, Bath, BA2 2QB, UK



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