Richard Maingot

The years seem to have slipped by almost unobtrusively since my first introduction to the ukulele some sixty five years ago when I heard George Formby in a Saturday night entertainment programme on the radio. I was captivated and motivated the next day to respond to an advertisement in the 'Daily Express' by a firm called W Davis offering a ' genuine ukulele banjo' for the sum of eighteen shillings and sixpence (just under a £1.00) payable at three shillings and sixpence a month (17 pence).
By no stretch of imagination could this instrument be called a 'genuine ukulele banjo'. It was very basic but to me it represented the real thing.
My inexpert 'plonking' soon taught me that holding a slice of toast was very painful after 'thrashing' the strings for hours.
Nevertheless, it was a beginning and the start on the long road to what I've always been; a very mediocre player. The ownership of more mature ukulele banjos progressed over the years in direct proportion to my income, a melody and whole stable of Dallas instruments. Most of my ukes were obtained from a small music shop in Croydon, Surrey where I lived. The owner of this 'musical emporium' was a small red nosed alcoholic by the name of Gus Butcher who always welcomed me because my purchases enabled him to shut up shop and retire to the sanctuary of the pub next door.
It was in the early 1960's that my wife and I moved to a village just south of Manchester and it was here that I was introduced to Harold Fallows who lived in the Bolton area at the time. Harold was a very interesting man , who, through his working in the theatre had got to know the great British entertainer, George Formby, very well. Through Harold, I became a member of 'The George Formby Society' and at various venues I soon became aware that what I knew about ukulele playing was about as useless as high heeled shoes to a boa constrictor. Some of the virtuosos I met there were nothing less than brilliant. Ray Bernard was such a player. he had a wonderful personality and was one of the most generous and helpful men I ever met. From Ray I learned to do the Formby 'split stroke' and other of Ray's brilliant techniques.
It was at Burslem that I met Jack Abbott and established a friendship with him which lasted until his death. I commissioned Jack to make for me the best Abbot Banjo Ukulele he had ever made. This, I believe, he did as the specifications will testify.

Abbott De Luxe

The Abbott Super De Luxe Banjo Ukulele

Specification of the Abbott Super De Luxe Banjo Ukulele
Neck - Laminated mahogany with contrasting veneers through the centre. Ebony fingerboard and head facing. Mother of Pearl inlays in peghead and at 1st, 3rd, 5th, 7th,10th, 12th, and 15th frets. White purfling down sides of fingerboard. Side position markers. Nickel Silver frets. Back of peghead veneered with contrasting veneers tapering off to neck. Gold plated 'Planet' type gear pegs. Ivory top nut. Scale length 13 & 3/4 inches.
Body - 18 gauge brass spinning with integral flange. Top edge spun to 1/4 inch diameter to provide the perfect Vellum edge. Diameter of the Vellum edge 7 & 5/8 inches. Diameter of the outside flange 9 &7/8 inches. Spinning lined with a laminated mahogany hoop. The flange has artistic piercings between each bracket. There are 14 heavy brass brackets (shoes). The bezel is a heavy bell metal casting with 2 inch x 4BA forged steel cap screws which pass through the bezel and screw into the brackets. The tailpiece is gunmetal and is adjustable and designed for speedy restringing.
Resonator -Overall diameter 10 & 1/2 inches. Has a laminated rim veneered with Bombay rosewood with central wood banding and white purfling on top and bottom edges and inside back edge. The back is veneered with Bombay rosewood in matching halves with a colourful fan design circular inlay in the centre.
Finish - All metal part are well polished and heavily GOLD PLATED (18 ct). The woodwork has a cellulose finish which is hand rubbed to a high gloss. Equipped with a first quality English calf skin head mounted on a square section brass ring. Fitted with best quality nylon strings and an ebony tipped bridge.

We relocated to London and it was here that I obtained a standard 'Monarch' Abbott from John Alvey Turner. The instrument was reconditioned for me by Jack Abbott.

Abbott Monarch (Refurbished)

The Abbott Monarch Banjo Ukulele
(Refurbished by Jack Abbott)

It was through John Alvey Turner that I was put in contact with George Kempton who lived in Sheerness, Kent.
George without a doubt a master instrument maker. Just look at the photographs of George in his workshop and you can see the pride and quality of his workmanship. I commissioned George to make the best ever 'Kempton'. He did himself proud. He put his soul onto those instruments. The gold plated ukulele banjo used by Lee Mannering in the film 'Bugsy Malone' was made by George.

George Kempton

George Kempton in his Workshop

The Kempton De Luxe Special Banjo Ukulele

It was while we were living in Richmond, Surrey that I acquired my lovely 'Taro Patch' ukulele. It was during a visit to a music shop that I espied this instrument. I purchased it on the spot. It was eighty years old, an eight stringed beauty without a scratch ot a blemish on her lovely body. And what a tone ! You are immediately transported to Hawaii when you hear this lovely instrument.
I wrote to Martins in the USA. They were most interested in my historical find.

Martin 'Taro Patch'

Martin 'Taro Patch'

History of the Martin 'Taro Patch'
Imported from the Hawaiian Island, the taro patch was larger than the ukulele and it had eight strings in four unison pairs. Legend has it that the Taro patch preceded the Ukulele and was derived from the small guitars brought to the islands by the Portuguese sailors about 1875. The word is related to the edible taro vegetable, a staple native food. When a group of native Hawaiian musicians introduced the ukulele to audiences in California about 1910, it attracted attention as a novelty, and vaudeville entertainers began to use it.
The first Martin ukuleles were made about 1912 and were not well received because the construction was too heavy and the tone unsatisfactory. A second attempt in 1915 was more successful and regular production began in 1916. The Taro Patch (called the Taro Patch Fiddle by the Hawaiians) was added in 1917. Although the body was larger and the scale longer, the eight gut strings were tuned to ADF#B, the same as the ukulele. It was harder to tune and to play than the ukulele, so it was not as popular during the boom years of the middle 1920's. The last Martin Taro Patches were made in 1931.

During my visit to the Victoria Palace on London I met Alan Randall (a Formby impersonator) who autographed my super Abbott and let me play a few chords one of George Formby's Gibsons. Through Alan I was introduced to Ron Beddoes. Ron and I hit it off from the word 'go'! We shared an interest in ukuleles and model steam locomotives. Ron was a highly talented engineer and his skills were reflected in all his instruments. Naturally I couldn't resist the temptation to ask him to produce the best 'Beddoes' ever for me.

My sincere thanks to Richard for all the above information and photographs.