The Diabolical Frying-pan by John Bastable

Previously published in Volume 1 of Footnote

The title of this article was actually used by a critic to describe my banjo! It was in a review of a concert the Colyer Band did some years ago. The banjo has a rather long history of defamation. Never regarded as a 'serious' musical instrument, it was usually to be found, being savagely man-handled, in some seaside minstrel show.

The credit for popularising the banjo in its early days must go to an American named Joe W Sweeney. In the early days of the 19th Century, he re-designed the original Negro instrument and added the shorter 5th string. He then travelled all over the Country, playing and selling his banjo. Of course the banjo then was very different from today's model, having an entirely smooth finger-board (frets were a later invention), twisted gut for strings, and the vellum was tacked on. Tonally the instrument must have sounded a bit dull but, once the craze caught-on, people started improving on the design.

The banjo was brought to England by American entertainers, most billed as "Ethiopian Minstrels" and featuring the banjo or African guitar. In 1889 Queen Victoria employed a Royal Banjoist! He presumable gave lessons to members of the Household and was always available to belt out a couple of choruses of Swanee River whenever the Queen was "not amused".

The Royal Patronage brought fame to the instrument in England and, by the end of the Century, most families had a banjo in the house. Clubs were formed so that players could get together, away from the scorn of unkind critics, and create what they considered to be a "Musical Heaven". Similar organizations still flourish, and will for many years to come. Banjoists, more than most other musicians, are always willing to talk shop. Within five minutes (or possibly seconds) of two players meeting, they are in deep discussion of technicalities. This is usually found to be very boring by any non-players present.

The banjo was introduced into jazz and dance bands at the beginning of the 1920s. This was the time when a newcomer was added to the family: it was called the tenor banjo. The existing 5-string banjo was considered to be too long in the arm for band-work so the tenor, with its shorter scale and higher tuning (in 5ths), was invented. The story goes that it was really designed for all the violin and cello players who were out of work owing to the new trend in dance music!

The very early New Orleans bands used guitar but, gradually, the banjo was more favoured, due no doubt to its louder sound. The 5-string banjo was then shorn of its 5th string and re-named the plectrum banjo. This was to ensure that the more simple-minded beginner was aware that it was played with a plectrum, and not the fingers as it had been before. New Orleans bands recorded in the '20s feature some fine players, both rhythm and solo. Emanuel Sayles, with the Jones and Collins Astoria Hot Eight, had plenty of swing and superb technique. Arthur 'Bud' Scott recorded with various groups on banjo. His tone was sharp and dry, a very personal sound. Johnny St Cyr must be included, although he mostly played a 6-string banjo tuned like a guitar. His solos were very melodious, with a lot of thought behind them. These men and many others were all experts, and they were an important asset to any band they played with.

To finish off, having saved the best until the last, I must make particular mention of the man whose playing was above all others: the Late Lawrence Marrero. Lawrence was born in New Orleans on October 24th 1900. His father was a bass player and his brothers, John and Simon, played banjo and bass respectively. His brother John gave Lawrence his first banjo lessons, and his father helped by teaching Lawrence all he knew about music.

Lawrence started playing with Chris Kelly and 'Wooden' Joe Nicholas in 1919-20 and, in 1920, formed his own Young Tuxedo Orchestra. He really came to prominence in the early 1940s when he recorded with Bunk Johnson on William Russell's American Music Label. The sound of his banjo was a revelation. It was the first time that such powerful, rhythmic drive had been recorded in good acoustic conditions. Most critics of the time, being used to the popular 'plonky' banjo sound, didn't like what they heard. All sorts of peculiar things were said about Marrero's playing, but the message did get through. His last years were spent playing with the George Lewis Band. His recordings with George were all very good and the swinging, biting chords of the banjo added a distinctive sound to the rhythm section. Lawrence died in 1959 after a long period of ill health (unfortunately he was too sick to be with the Lewis Band when they came to England in 1959).

British New Orleans-style banjo players (myself included) could have learned so much from hearing him play and from talking to him. One good thing was that he played on a lot of records and they are still around to be listened to.

John Bastable

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