BACON & DAY COMPANY HISTORY
Frederick J. (Fred) Bacon, a master of the classic five-string banjo, was a national celebrity before he began marketing banjos under the "Bacon Professional" name in 1905. These first "Bacon" banjos were actually manufactured by the Vega-Fairbanks company of Boston. Fred Bacon did open his own banjo manufacturing "plant" around 1910 in Forest Dale, Vermont. However, it would take Bacon another ten years before he could actually take full credit for manufacturing the banjos, guitars and mandolins coming out of his new manufacturing facility in Groton, Connecticut.
In the early 1920's, the four-string banjo was quickly becoming the predominant fretted stringed instrument in America (taking over a spot previously held by the mandolin). While many instrument manufacturers were frantically attempting to design and manufacture banjos to fill the demand, Bacon already had the groundwork in place. In 1922, former Vega associate, David Day, joined the Bacon as his Vice-President of Operations (bringing with him design and construction ideas that his former employer did not care for). With the ideas and refinements of David Day in place, the Bacon and Day Silver Bell banjo was born.
Bacon and Day Silver Bell banjos were offered in a wide variety model lines and decorative levels (one through nine) which were all based on the standard Silver Bell design. The regular Silver Bell models along with the Montana Silver Bell (which featured white holly wood construction), Sultana Silver Bell (which featured a colored plastic material known as pyralin on its resonator, peghead and fingerboard), the Roy Smeck Silver Bell (with Rosewood neck and resonator back and distinctive gold-sparkle celluloid on the fingerboard and peghead), and the Symphonie Silver Bell (with a raised tone-ring and other unique features) make up the five main model lines.
With five model lines and nine levels of decoration to choose from, added to the fact that Bacon and Day would make a banjo in almost any combination of decorations and features upon request, it is easy to see that the company had a banjo to fit the budget and taste of any buyer. A frugal musician might choose a Bacon and Day Silver Bell #1 banjo...at $125 it was an excellent musical instrument with few decorative frills. However, the 1920's was an era of extravagance, and Bacon and Day had a banjo to fit that order as well; the Bacon and Day Ne Plus Ultra #9. With a price tag of $900 (in 1920's dollars) this instrument, with its elaborate decoration (which included gold-plating, engraving, carving, painting, ebony, ivory, rhinestones, and an elephant's head carved at the heel of the neck!), was very limited in production.
Bacon and Day was one of the most prolific of the major banjo manufacturers, however, musical trends changed in the 1930's and the banjo faded from public favor. As a result, in 1939, after producing tens of thousands of quality instruments, the Bacon and Day name was sold to the Fred Gretsch company, and the Bacon and Day company disolved. The later Gretsch versions of the earlier Bacon and Day triumphs were pale imitations of the originals.
INSTRUMENTS
B&D Ne Plus Ultra Silver Bell #6 Tenor Banjo - 1928
The Museum is fortunate to have one of Bacon and Day's premier creations in the collection. In 1924, Bacon and Day came upon a combination of both materials and decoration that banjoists immediately gravitated towards; the Bacon and Day Ne Plus Ultra #6. With its proven Silver Bell components added to a tasteful decorations and elegant appearance, the Ne Plus Ultra #6 was, and is, one of Bacon and Day's most sought after instruments.
The neck of this beautiful instrument consists of three strips of Gabon ebony wood that have been laminated, shaped and carved on the back at the peghead as well as the heel (replicating a lion's head). The front and back of the peghead, as well as the fingerboard, are inlaid with genuine elephant ivory that has been scrimshawed and inked in an old world manner. The shell of the banjo and resonator back are of maple construction (dyed black to compliment the ebony neck), and feature floral motif inlays of mother of pearl. All metal parts are engraved and gold plated.
The dignified appearance of the #6 Ne Plus Ultra added to the additional volume,brightness and sustain provided by the ebony neck made this instrument an immediate sensation with the banjoists of the 1920's. These qualities make this model just as desirable to today's banjoists and collectors. All Bacon and Day instruments are recognized today as being some the finest banjos produced in the 1920's and early 30's, but the Ne Plus Ultra #6 model remains one of their pinnacle achievements. From the Jack Canine Collection
B&D Silver Bell #4 Tenor Banjo - 1926
The Bacon and Day Company of Groton, Connecticut offered many decorative variations of their Silver Bell design banjos ranging in ascending numerical order from the Silver Bell #1 (the basic model) to the Silver Bell #9 (the most ornate). As the model numbers progressed, so did the amount of additional inlay, engraving, carving, etc. Midway through the Bacon and Day product line was the popular Silver Bell #4 model.
This example of the Bacon and Day Silver Bell #4 - manufactured in 1926 - incorporates all the features that made this model so popular with the banjoists of the 1920's. From the nicely figured curly maple of the wood components (which feature hand-carving at the heel of the neck) to the hand-engraved, gold-plated metal parts, this model sported many decorative features normally reserved for the more expensive Bacon and Day instruments. The tasteful mother-of-pearl inlay work of the fingerboard continues on the peghead - which is also bound around the edges by ivory grained celluloid. This particular banjo has had no restoration or refinishing done to enhance its appearance; all metal and wood components appear as they did when this instrument was produced in the 1920's.
With its price within reach of many banjoists who desired a more decorative instrument, the Bacon and Day Silver Bell #4 was a very popular instrument in the company's product line. From the Jack Canine Collection
B&D Symphonie Silver Bell Custom - 1936
The last great innovation of the B&D Silver Bell line of banjos was the Symphonie series, first introduced in 1931. With its arched top tone ring - similar in appearance to Gibson, Paramount and Epiphone banjos - the B&D Symphonie banjos have a distinctive tone which is much different than tradition Silver Bell models. Although offered as either an 11” or 12” head model, examples of the 11” Symphonie banjos are fairly plentiful, while the 12” model remains a “holy grail” among B&D collectors.
This example is a custom-made, 12” body B&D Symphonie manufactured in 1936. While fitted with relatively conservative nickel-plated metal parts, this banjo is a significant example of the B&D craftsmanship available on custom-made instruments. Features unique to this banjo include a neck made of solid ebony with an elegant extension of the fingerboard over the head. Unusual for B&D, the fingerboard inlays are mother-of-pearl blocks engraved in a pattern similar to that seen on the venerated B&D #6 Ne Plus Ultra. The sunburst celluloid resonator back features a unique engraved and painted decorative pattern with a personalized monogram in the center circle. While who “HRD” is may remain a mystery forever, Museum visitors are able to enjoy this great banjo treasure from the jazz age. Purchased with acquisition funds including a major donation from Marjorie Gornall.
B&D Montana Silver Bell #1 Banjo Mandolin - 1933
When the banjo craze hit its stride in the late 1920s, everyone wanted to play the banjo. To fulfill a demand for instruments which would allow musicians who already played another stringed instrument to quickly become "banjo" players without learning a new tuning or technique, manufacturers began offering banjo variations of the guitar, ukulele and mandolin.
While most banjo-mandolins which survive today are of the less expensive student-grade models, this Bacon & Day Montana Silver Bell banjo-mandolin has every feature seen on the full size professional line of B&D Silver Bell banjos. The Montana line of B&D Silver Bell banjos was named for cowboy banjo star Ray Coleman, a.k.a. "Montana." Coleman always dressed in white and desired an instrument to suit his stage costume. B&D responded with a banjo constructed with a white holly wood neck, clean nickel-plated metal parts, and body and resonator which were trimmed in white celluloid.
Unfortunately, the physics eight-string mandolin did not translate well to the banjo with its constantly variable sound board (or head). As a result, most banjo-mandolins did not get played very much - leaving us with some remarkably well-preserved examples of this highbred instrument. Although manufactured in 1933, this B&D Montana Silver Bell banjo mandolin is in virtually brand new condition. From the Jack Canine Collection
Gretsch/Bacon Symphonie Tenor Banjo - 1960s
By the late 1930s, the banjo boom of the Jazz Age was over evidenced by several major banjo manufactures closing their doors. While Bacon & Day were still in business, sales had dropped to their lowest level 15 years. The final blow came in October, 1938, when a devastating hurricane off the New England coastline generated a storm surge which flooded the town of Groton, Connecticut - and the B&D banjo factory. After the cleanup, as many parts 
and partially completed banjos as possible were salvaged and sent the to the Fred Gretsch company on Long Island for completion. Gretsch constructed banjos and filled orders on behalf of B&D until 1940 when they acquired the company.
Although pale in comparison to their predecessors, Gretsch made "Bacon" banjos kept the fabled name in the banjo marketplace into the early 1970s. This banjo, manufactured by Gretsch in the early 1960s, is modeled after the famous B&D Symphonie line of banjos which was first introduced in 1931. Distinguished by its arched top tonering, extensive use of engraved and tinted celluloid, and a colorful band of rhinestones bordering the peghead, this Bacon Symphonie is a treat to the eyes. And, while often maligned as being inferior instruments by the banjo buying public, this banjo has a tone and playability which far surpasses many more recent efforts at replicating the masterwork banjos of the Jazz Age. Donated by Steve and Carole Miller.
 Bacon Banjo Ukulele - 1926
When the banjo craze of the 1920 took hold, virtually any fretted instrument was offered in a banjo variation thereby allowing guitarists, mandolinists and ukulele players the ability to play a banjo family instrument without the necessity of learning new tunings or techniques. While many very inexpensive banjo ukuleles were offered by dozens of manufacturers, this Bacon instrument has much of the quality in construction, sound and playability seen in their full-size professional instruments.
From the Jack Canine Collection
|
  B&D Ne Plus Ultra Silver Bell #6 Tenor Banjo
Many banjo collectors consider the B&D Ne Plus Ultra #6 to be the finest banjo ever made. This beautifully restored example was one of three such instruments from the collection of Joe Gallagher of Chicago.
On loan from Johnny Baier
|
.
  B&D Symphonie Silver Bell #1 (Epp Roller)
The Symphonie series of Bacon and Day banjos, introduced in 1931, is distinctive in sound and appearance from any previously offered version of the venerated B&D Silver Bell banjos. With its raised tone ring and new flange configuration, the Symphonie series of banjos found great favor among professional banjo players. This instrument was the banjo on which Epp Roller - a well known and loved banjo player from Kansas City, Missouri - learned to play. It was his primary instrument for most of his life. On loan from Johnny Baier
|
.
 Gretsch/Bacon Symphonie Tenor Banjo (Smokey Montgomery)
Marvin "Smokey" Montgomery (1913-2001) was a beloved figure in the banjo world. While his honors and achievements are many, Smokey's greatest contribution was his introduction of the tenor banjo into Western Swing music. As a member of the legendary Lightcrust Doughboys, Montgomery became a celebrity appearing on records, radio, television and in the Gene Autry films Oh Susannah and The Big Show. In later years he earned recognition as a composer, arranger and record producer, but it is his work within the  banjo community - particularly as the director of the Dallas Banjo Band, which endeared him to many. The banjo pictured was Smokey's last instrument and is displayed just as he left it when he put it in the case for the final time. Donated by the estate of Marvin "Smokey" Montgomery
|
.
