Kay or Harmony Tenor Banjo (1961-1963) Kay Tenor Banjo from the approximate date (early 1960s) This, my first banjo, was a really inexpensive, difficult to play and terrible sounding instrument. Tuned to standard tenor banjo tuning (C-G-D-A) combined with the high “action” made the first and second strings so taught that they were like pressing down on razor blades.

Scene by making the ODE banjo, one of the favorite instruments of the folk revival era. Instrument, and Baldwin ended buying ODE while Salstrom was later purchased. I should have checked the serial number of that one I just saw.

Having been a Christmas gift and my being a complete novice, it was wonderful despite its shortcomings of which I had no inkling at the time anyway! Thankfully, I have no pictures of that banjo or me playing it. However it was similar to the one shown here on the right. Vega Professional Plectrum Banjo (1963-1965) Scott (very serious) with the Vega Professional, probably 1963.

This was my first really good-quality banjo. After about a year struggling with the Kay tenor, my father realized that I was pretty serious about playing and could use a better instrument.

After I learned difference between my poor quality tenor and the nice plectrum banjo (B&D Silver Bell #1) that was owned by the camper who had initially inspired me, he agreed to split the $273 cost (I remember the amount!) of a new banjo ordered directly from Vega through our local music store, “The Bandstand.” The difference in playability was amazing to say the least. This is the one I played “Linger Awhile” on Ted Mack’s Original Amateur Hour, I think in 1963. Vega Vox IV Plectrum Banjo (1965-1980) This must have been soon after the new Vega Vox IV arrived. I’m looking pretty happy. Most banjo players I know like glitzy instruments. After getting pretty good at playing and earning some money teaching at the music store we ordered the Vega Professional from, I decided to step up a couple of notches on the Vega ladder and splurge on a Vox IV—each one custom built with gold plated hardware and uniquely colored designs engraved and painted on the creamy-white resonator.

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It seemed to me to be the prettiest instrument ever made. I am pretty sure the catalog price was $660 and it took four months for the banjo to be built, shipped and arrive. I really beat the hell out of this banjo for close to five years but I seem to have no recordings of me playing it that I can track down.

In addition to accompanying me on my first real professional jobs, his banjo taught me that, like drinking and driving, drinking and playing is extremely stupid and dangerous. One winter evening, after playing a fraternity gig at Dartmouth and drinking too many bourbon and gingers, I “forgot” to latch the banjo case shut and while walking back to my dorm room the case flew open and the banjo crashed onto the icy sidewalk, causing a long crack in side of the resonator. I still, to this day almost 50 years later, rarely drink more than a single beer while on a gig. Besides the “danger” involved, too many beers make me lethargic and sleepy—very problematic especially when I’m also playing bass pedals, banjo and singing at the same time! Baldwin Style D Plectrum Banjo (1971-1980) Baldwin D model, similar to the one I had.

Great banjo with wonderful tone, but extremely heavy. In 1968 I took my Vega Vox IV on a New Jersey-to-Alaska and back trip in a VW Fastback with a Dartmouth classmate to collect butterflies (I was particularly interested in northern and arctic species). When we finally got to Fairbanks, we were pretty dirty and reeked of wood-smoke after three weeks of camping along the Trans-Canada and Alaska Highways, the latter of which was still gravel in the Canadian section. One night we were in one of the local Fairbanks eateries and I heard the sound of a banjo from down the street, so my friend Mark and I investigated and discovered Gary Ryan, a really great plectrum player, performing in a trio. I introduced myself—me in my filthy plaid camping shirt and jeans and him in his tuxedo! He graciously allowed me to sit in for a couple of tunes (I had my Vox IV in hand) and I immediately noticed his banjo, a Baldwin Style F, one of only two of that model ever made (Ed Turner had a tenor).

I was impressed by how crisp and clean it sounded as well as how heavy it was! For three years after meeting Gary in Fairbanks I was on the lookout for a Baldwin plectrum, especially a gold-plated one.

I discovered Baldwin Style Cs were nickel-silver and Baldwin Style Ds were gold plated but were otherwise almost identical models. Now, having graduated and back in New Jersey, I combed music stores but could not find a Baldwin anything. Finally, in 1971 I heard of a store north of Philadelphia, “Zapf’s,” that supposedly had a rogue buyer who had stocked up on high-end banjos for some reason, and had a Baldwin D plectrum on display. I jumped at the chance to get it. I played my Baldwin Style D for the first six years after moving to San Francisco including a couple of years at the Hungry Tiger and the first four of my eight year stint performing intermissions for the Turk Murphy Jazz Band at a number of Earthquake McGoon’s locations in San Francisco. Here is a sample of what it sounded like. My setup at McGoon’s included bass pedals that I played (and still play) with my right foot and an electronic “rhythm box” controlled with a foot switch (left foot).