Instruments Archives - The Birthplace of Country Music

International Guitar Month Part 2: Jimmie Rodgers’ Oscar Schmidt Guitar

Collections Exhibits Instruments

April 9, 2024

Posted on April 9, 2024March 28, 2024 by Guest Blogger

By Ed Hagen, volunteer gallery assistant and guest blogger at the Birthplace of Country Music Museum.

The Birthplace of Country Music Museum in Bristol, Virginia celebrates Bristol’s rich musical heritage surrounding the 1927 Bristol Sessions, a series of recordings that launched the careers of the Carter Family and Jimmie Rodgers. With April being “International Guitar Month”, this two part blog post will take a deep dive into the guitars of these famous musicians and stories surrounding these instruments.

Jimmie Rodgers’ Oscar Schmidt Guitar

*The three “Jimmie Rodgers guitars” at the BCMM: Martin 2-17, Oscar Schmidt, and Blue Yodel.*

Jimmie Rodgers was the biggest solo star to emerge from the 1927 Bristol sessions. The Birthplace of Country Music Museum is proud to exhibit the three “Jimmie Rodgers” guitars pictured above. The most famous guitar by far is the one on the right, the “Blue Yodel” 1928 Martin 000-45 (read a previous blog post about this guitar here). The guitar on the left, a Martin 2-17 parlor guitar, was not owned by Rodgers but closely resembles the guitar Rodgers played at the Bristol sessions (the actual Bristol Sessions guitar is in the Country Music Hall of Fame and Museum in Nashville). The one in the middle, an Oscar Schmidt model with fancy “tree of life” inlay on the fingerboard, is one of Rodgers’ guitars (it has his signature). It is no doubt the guitar with the best stories.

The original Oscar Schmidt company, founded in 1871, sold guitars at prices most people could afford. By the 1920s it was manufacturing 150 different instruments at five different manufacturing plants under its own and a number of other brand names (notably the Stella brand; Maybelle Carter played a Stella at the Bristol sessions). Rodgers’ Oscar Schmidt was a fancy one, likely purchased in 1928 after his career started to take off.

In February 1929 Jimmie Rodgers, headlining a tent show touring the South, played his hometown, Meridian, Mississippi. A 17-year-old Western Union messenger boy named Bill Bruner was in the audience. Bruner was a Jimmie Rodgers fanatic who bought all of Rodgers’ records when they came out. He would spend hours learning the songs note by note and copying Rodgers’ guitar and vocal style, and sometimes played them at a local café.

Rodgers suffered from the tuberculosis that would take his life just four short years later. There were good days and bad days, and this was one of the bad days. He collapsed in his dressing room and the owner of the show would have to tell an unhappy crowd that Rodgers was ill and could not perform.

But here is where things get interesting. It turns out that a tent show clown had heard Bruner play at the café, knew that he was in the audience, and told the show owner that the kid was pretty good. Much to Bruner’s (and his date’s) astonishment, Bruner was escorted backstage and given cab fare to go home and retrieve his guitar.

So after the audience was told about Rodgers being too sick to play, the show owner told them that “we have another Meridian boy who is also a fine entertainer. He sings and plays in Jimmie’s style, and we think he deserves a chance to show what he can do.” The crowd was restive. Then he told the crowd that anybody who wanted to could have their money back if they were dissatisfied after hearing “Bill Bruner, the Yodeling Messenger Boy.” This settled things down a bit.

You can guess the rest. Bruner gave a sensational performance, was called back for six encores, and nobody asked for a refund. The following evening he was invited to Rodgers’ dressing room, where Rodgers gave him $10, decent money in those days. Bruner started to leave but was summoned back, and Rodgers gave Bruner the autographed Oscar Schmidt guitar.

*Bill Bruner with Jimmie Rodgers Oscar Schmidt guitar, ca 1953.*

Bruner went on to have a minor vaudeville career and made a couple of records with his prized Jimmie Rodgers guitar. In 1953 Meridian put on a Jimmie Rodgers Memorial Day Gala. The concert featured performances by Country and Western stars Roy Acuff, the Carter Family, Lew Childre, Cowboy Copas, Jimmy Dickens, Jimmie Davis, Tommy Duncan, Lefty Frizzell, Bill Monroe, George Morgan, Moon Mullican, Minnie Pearl, Webb Pierce, Marty Robbins, Jimmie Skinner, Carl Smith, Hank Snow, and Charlie Walker. It was the final performance for the original Carter Family (A.P., Sara, and Maybelle).

Bruner appeared as well, playing the Jimmie Rodgers guitar. Caught up in the excitement of the event, Bruner presented the guitar to another 17-year-old singer, Jimmie Rodgers Snow, the son of country western star Hank Snow, “because I felt like that was what Jimmie would have wanted me to do.”

Jimmie Rodgers Snow went on to have a career as a country western star in the 1950s, palling around with folks like Elvis Presley and Buddy Holly, but gave it up in 1958 to study for the ministry. For many years he preached at the Evangel Temple in Nashville, often referred to as “The Church Of The Country Music Stars” (below is a short YouTube clip of Snow preaching about the connection between rock and roll and juvenile delinquency).

During all of this, the Oscar Schmidt guitar was displayed in the Snow home, nailed to a wall. Years later it was taken down, leaving an outline of the guitar on the painted wall.

The next time you stop by the Museum, take a close look through the sound hole at the back of the Oscar Schmidt. You will see a small shaft of light. The nail hole is still there!

This account was largely taken from Nolan Porterfield’s 1970s interview with Bill Bruner, recounted in Chapter 10 of Porterfield’s book, Jimmie Rodgers: The Life and Times of America’s Blue Yodeler.

International Guitar Month Part 1: Guitars of the Carter Family

1927 and 1928 Bristol Sessions History Instruments Personalities

April 2, 2024

Posted on April 2, 2024March 27, 2024 by Guest Blogger

By Ed Hagen, volunteer gallery assistant and guest blogger at the Birthplace of Country Music Museum.

The first Carter guitar

Maybelle Carter is remembered today as one of the most influential country guitar players of all time. Maybelle learned to play guitar on a Stella guitar. “Stella” is one of many brand names used by the Oscar Schmidt guitar company, a major manufacturer of budget guitars in the 1920s, often sold by catalog or door-to-door and were cheap and affordable instruments. Maybelle’s brother had purchased the guitar when Maybelle was thirteen. She was still playing the Stella five years later when the then unknown Carter Family made their first records at the Bristol sessions.

We don’t know much about that guitar. The pictures we have of it are quite grainy (we only know for sure that it was a Stella because Maybelle, in interviews years later, identified it as such).

Two photos of the original Carter family showing Maybelle’s Stella guitar.

Maybelle’s L-5

Shortly after the Bristol sessions, with record royalties coming in and show bookings picking up, Maybelle’s husband Eck bought her a customized 1928 Gibson L-5 guitar. Carter family reminisces and Internet sleuthing indicate that the guitar was ordered at Lamb Music, then a Gibson affiliate, in Kingsport, Tennessee.

*Maybelle and her 1928 Gibson L-5 are on the left side of this publicity still of The Carter Family from the collection of the Center for Popular Music, Middle Tennessee State University.*

This was an extraordinary purchase for a rural Virginia family in the late 1920s. Introduced in 1923, the L-5 was the very top of the Gibson guitar line and cost $275 ($5,000 in 2023 dollars).

Note the white strip between the crossbars of Maybelle’s tailpiece, something I have never seen on a Gibson archtop. I’ve exchanged emails with early Gibson guitar expert Paul Alcantara, who maintains the superb “Pre-War Gibson L-5 . He believes that it was a label or advertising insert from the music store.

Another unusual feature of Maybelle Carter’s L-5 tells us that it was a custom order. The truss rod cover on the headstock has fancy inlay with Maybelle’s name, misspelled as “Mae Bell Carter.” I had assumed that this was something done later by a local craftsperson, but Paul Alcantara has the inside story on his Web site. It was likely crafted by William C. Schrier, who did similar etchings and engravings for Gibson from 1928 to 1931, working independently from the basement of his home. Examples of his work, including Maybelle’s truss rod cover, can be found here.

A 1928 Gibson L-5 in original condition would be quite valuable today. Working musicians back in the day would be more interested in a guitar’s playing condition than its originality, though, and would replace parts on the guitar from time to time. Maybelle certainly did this. By the 1960s (and perhaps earlier) we can see that the tailpiece had been replaced with a “triple parallelogram” tailpiece (Gibson used these with midrange guitars like the L-7 and ES-175 models), and the tuners had been replaced with Kluson tulip tuners.

More Carter guitars

The original Carter family – A.P., Sara, and Maybelle – broke up in the early 1940s. Maybelle’s three daughters, Helen, June, and Anita, had sung with the original Carters over the years. Maybelle loved show business, and took her daughters out on the road as “Mother Maybelle and the Carter Sisters,” where they had great success, eventually landing a spot on the Grand Ole Opry in Nashville.

Maybelle’s daughter Anita playing her mother’s 1928 L-5 in 1966, and a picture of the guitar now at the Country Music Hall of Fame. Note the replaced tailpiece and tuners. Source: https://www.tennessean.com/picture-gallery/entertainment/music/2016/06/21/nashville-then-mother-maybelle-highlights-park-concert-in-june-1966/86186754/

Here’s a picture of the group in 1944. Maybelle is playing a blonde Gretsch Synchromatic 400, the very top of the Gretsch guitar line. These were big guitars, 18″ wide, with “cats-eye” sound holes, stairstep bridges, harp tailpieces, gold-plated parts, and a chili-pepper inlay on the headstock.

Maybelle’s 1928 L-5 had a 16” lower bout and dot inlay. In 1934 the Gibson company “advanced” the L-5, giving it a 17” body and block inlays. This picture, taken in the late 1940s, shows Maybelle playing a post-1934 17” L-5.

The Rock and Roll Hall of Fame and Museum in Cleveland also has a Maybelle Carter guitar that they date to 1964; If that’s accurate, there were at least three L-5s acquired by the family over the years.

A 1966 photo of Maybelle on the 1928 L-5, Anita on the autoharp, and Helen on a 17” L-5. Source: https://www.tennessean.com/picture-gallery/entertainment/music/2016/06/21/nashville-then-mother-maybelle-highlights-park-concert-in-june-1966/86186754/

Part two of this blog will be posted next Tuesday, April 9th and is all about Jimmie Rodgers’ Oscar Schmidt Guitar.

Would you like to read more about Maybelle Carter’s 1928 L5? See also:

Instrument Interview: Maybelle Carter’s Guitar – The Birthplace of Country Music

Lamb’s Music Store may have sold famous guitar | Local News | timesnews.net

What makes an instrument iconic? The Story of Duane Allman’s 1961

Instruments Personalities

February 11, 2024

Posted on February 11, 2024February 11, 2024 by Guest Blogger

Bob Beatty, Ph.D., is an author, historian, and principle of the Lyndhurst Group.

I’m a lifelong fan of the Allman Brothers Band and Duane Allman. In addition to my publications—Play All Night! Duane Allman and the Journey to Fillmore East (2022) and Long Live the ABB: Conversations from the Crossroads of Southern Music, History, and Culture — I’m also a museum professional.

One thing I’ve long found fascinating is why certain artifacts instill such reverence. Nowhere is this more true than in music history circles.

In recognition of National Guitar Day on this February 11th, this is the story of Duane Allman’s 1961 Gibson Les Paul.

Some Background

Guitarist Duane Allman founded the Allman Brothers Band (ABB) in March 1969. Based in Macon, Georgia, the ABB are the first group to emerge from the South in the rock era. From Macon, the band toured relentlessly, spending 300 days a year on the road and building a devoted audience.

The ABB had a unique lineup that included two drummers—Jaimoe and Butch Trucks—and two lead guitar players—Duane Allman and Dickey Betts. Bassist Berry Oakley and Duane’s brother Gregg Allman (organ/vocals) rounded out the group.

The band recorded their third album live on the biggest stage in rock. At Fillmore East a one-take album with no overdubs. The record hit gold (500,000 sales) within 3 months. Days after learning the news, Duane Allman was killed in a motorcycle accident in Macon. His bandmates responded by finishing Eat a Peach, which they were working on when Duane died.

Duane played four main guitars in his Allman Brothers Band tenure. This is the story of one of them.

The Guitar

This 1961 Gibson Les Paul (SG)¹is one of the more significant in Allman Brothers history because it is the only guitar that I know of that both Duane and his guitar partner Dickey Betts played on a regular basis. Dickey throughout 1970, Duane in 1971.²

*1961 Gibson Les Paul/SG on display at Songbirds Museum in Chattanooga, TN. Courtesy of of Bob Beatty/Long Live the ABB.*

Lipham’s Music January/February 1970

Betts bought the guitar in 1970 from the place every road musician in Florida shopped: Lipham’s Music in Gainesville. Just one year earlier, Buster Lipham had advanced the band more than $10,000 in equipment, which they were paying back in weekly installments of several hundred dollars each.³

Duane’s SG was part of a separate transaction altogether, Chuck Emery of the Royal Guardsmen explained. “On a trip to [Lipham’s] in early ’70 a beautiful SG caught my eye. I came to a deal; and the sales guy put the guitar [aside] until my return the next week. The following Monday the sales guy said, ‘Uh, Duane and them came in…played the SG, and uh, well, they bought it.’”⁴

Dickey Betts and the SG Spring 1970

The SG became Dickey’s main stage guitar throughout 1970. It originally had a sideways Vibrola tremolo which he later swapped out for a stop bar tailpiece (see photos below):

The Allman Brothers Band at Florida Presbyterian (now Eckerd College) St. Petersburg, Florida, April 18, 1970. Photo from Logos, Florida Presbyterian College, 1970, courtesy of the Eckerd College Archives, St. Petersburg, Florida.

*Dickey Betts onstage at the Atlanta Pop Festival July 3, 1970. Notice the difference between this photo and the one above. Courtesy of Dennis Eavenson.*

The guitar is identifiable by its three “snakebites”—screw holes where the original tailpiece was.

*Detail of “snakebites” on Duane Allman’s SG, on display at Songbirds Museum. Courtesy of Bob Beatty/Long Live the ABB*

From Dickey to Duane Spring 1971

The guitar ended up in Duane’s hands in 1971. Because he preferred to play slide in open-E tuning, Duane regularly had to retune his guitar. It not only slowed down pacing, it also bored Dickey Betts.⁵

“When Duane wanted to play slide he would have to retune his one [damn] guitar every time. I got tired of it and said, ‘Here, take this guitar and tune it, and leave it tuned!’”

Though it’s unclear whether Duane played the guitar on At Fillmore East, he definitely played in on “One Way Out” from Eat a Peach—recorded the closing night of Fillmore East, June 27, 1971 (photo below)

*Duane Allman from the Fillmore East stage, June 27, 1971. Image credit, Don Paulson*

When Duane died in a motorcycle accident October 29, 1971, the original intention was to bury the guitar with him. This didn’t happen. Gregg played it through 1972 before giving it to Gerry Groom, a protégée of Duane’s. Groom later sold it to Graham Nash.

Duane’s other Allman Brothers Band Guitars

The SG is one of four Les Pauls Duane played in his Allman Brothers Band career. Three of them, a 1957 goldtop he used through September 1970, a 1959 cherry burst, and a 195(?)⁶ tobacco burst. A private collector owns the goldtop and it’s often on display at the Big House Museum in Macon. Duane’s daughter Galadrielle owns the other two, which she’s loaned out for exhibition from time to time, most recently the Bill Graham and the Rock & Roll Revolution.

In 2011, Gibson reissued the guitar, dubbed “From One Brother to Another.” Duane’s daughter gave Artist’s Proof #4 to Derek Trucks, who played in the Allman Brothers Band from 1999-2014. It’s been Derek’s main stage guitar for more than a decade now.

Duane’s SG Today

The SG stayed out of the public eye for many years. The first I remember it appearing was a 2013 exhibit called Guitars! Roundups to Rockers at the Eiteljorg Museum in Indianapolis. In 2019, Nash made the guitar available for the Metropolitan Museum of Art’s Play It Loud exhibition. He sold the guitar to a private collector who has it on loan to the Songbirds Museum in Chattanooga. Yours truly wrote the label copy.

*Derek Trucks and his SG. Note the snakebite holes. Image credit Amy Harris.*

Footnotes

1 Though it’s a misnomer to call Duane Allman’s cherry 1961 Gibson Les Paul an SG (that name, short for “Solid Guitar,” arrived in 1963), pretty much everyone calls it an SG. I follow that convention here. 2 Dickey Betts also played the SG in some of the too-rare video footage of the Duane-era Allman Brothers Band, including at Bill Graham’s famed Fillmore East in September 1970. 3 Bob Beatty, Play All Night! Duane Allman and the Journey to Fillmore East (Gainesville: University Press of Florida, 2022), 120. 4 I love Emery’s conclusion, “I was [exploitive] at Duane and them for quite a while, even after I learned about the Allmans.” Ground Guitar, “Duane Allman’s 1961 Gibson SG / Les Paul,” accessed October 31, 2023. 5 Open E is tuned to the E chord on a guitar–EBEG#Be. Standard tuning is EAGBDe. 6 See Ground Guitar, “Duane Allman’s 1961 Gibson SG / Les Paul.”

Bob Beatty is a historian who writes Long Live the ABB: Conversation from the Crossroads of Southern Music, History, and Culture . His latest book, Play All Night! Duane Allman and the Journey to Fillmore East (University Press of Florida 2022), is a musical biography of the Allman Brothers Band.

Author Bob Beatty. Image credit Tyler Beatty.

East Tennessee Fiddlers and Their Fiddles

1927 and 1928 Bristol Sessions Collections History Instruments

September 14, 2023

Posted on September 14, 2023December 6, 2023 by Julia Underkoffler

By Julia Underkoffler, Collection Specialist at the Birthplace of Country Music Museum

Fiddle me this: What’s the difference between a violin and a fiddle? One has strings, and the other has strangs!

East Tennessee is known for its music, and in particular, it was home to several well-known and influential old-time and bluegrass fiddlers. The museum is fortunate to have three fiddles on loan that were owned and played by Charlie Bowman, Edd Vance, and Benny Sims, all of which are currently on special display in our permanent exhibits. Instruments – and other objects – like these help us to tell the stories of the music, people, and cultural heritage that make our region so special.

Fiddlin’ Charlie Bowman was born on July 30, 1889 in Gray Station, Tennessee. Bowman started playing music from a young age – he started recording as early as 1908 on a neighbor’s Edison Cylinder phonograph, and by the early 1920s, he was regularly being hired to play at square dances and political rallies. When Bowman started to enter fiddling contests around the area, other local fiddlers got quite mad because Bowman just kept on winning!

A black and white image of Charlie Bowman. He is seated on a small bench and holding a fiddle in his lap. He is wearing a collared shirt. The image is old and not completely clear, his face is slightly fuzzy. — *Charlie Bowman, from the Lewis Deneumoustier Collection, Archives of Appalachia, East Tennessee State University*

In 1928, when the Columbia record label came to Johnson City, Tennessee, to do a location recording session, Bowman and several other musicians, including his daughters, recorded six songs. He also traveled the East Coast vaudeville circuit with his daughters and his band – in 1931 alone, they played 249 days of the year. Bowman was later hired to perform by B. Carroll Reece, who served as representative for the first district of Tennessee. They stayed lifelong friends, and Bowman even wrote “Reece Rag” for Congressman Reece. Alongside his solo career, Bowman was also a member of the Hill Billies and the Blue Ridge Ramblers.

The museum has two Bowman family instruments on loan: Charlie’s fiddle and his daughter Jenny’s accordion, which is currently on display in the museum’s special exhibit, I’ve Endured Women in Old-Time Music.

Edd Vance – more commonly known as Red – was born on November 19, 1923 in Sullivan County, Tennessee. Red became recognized in East Tennessee for his old-time fiddling skill, and he performed at The Down Home, a well-known musical hub in Johnson City, Tennessee.

Red followed in the footsteps of his father, Dudley Vance, who was born on March 12, 1880 in Bluff City, Tennessee. During the second week of May 1925, Dudley played at the first Mountain City Fiddlers’ Convention, held at a local high school. This event featured famous fiddlers Charlie Bowman, Fiddlin’ John Carson, Fiddlin’ Cowan Powers, Charlie Powers, and G. B. Grayson. Dudley famously beat everyone with his rendition of “Twinkle Twinkle Little Star.” Two years later, Dudley and his brother traveled to Winston-Salem, North Carolina, to record three records for Okeh Records, under the band name Vance’s Tennessee Breakdowners. These were the last professional recordings done by Dudley. The museum has Edd Vance’s fiddle and several other items related to Dudley and Edd Vance on loan from their descendants.

*Edd “Red” Vance’s fiddle shows the wear of a lifetime of skilled fiddling. On loan from the descendants of Edd and Dudley Vance. © Birthplace of Country Music; photographer: Ashli Linkous*

Benny Sims was born on August 4, 1924 in Sevier County, Tennessee. Sims was drafted into the U.S. Army Air Corps and was stationed in Foggia, Italy during World War II. While in Italy, Sims played with the U.S. Air Force Orchestra. He played fiddle with the Morris Brothers, but he is best known for his time performing with Lester Flatt and Earl Scruggs. Sims recorded with Flatt & Scruggs over 25 times as part of the Bluegrass Boys, including on their famous “Foggy Mountain Breakdown.”

*The cover of a music book, “Fiddle Favorite” by Benny Sims, pictured.*

After Sims left Flatt & Scruggs, he went to work for WNOX in Knoxville and WJHL-TV in Johnson City until he retired in the early 1960s. When he retired from the music industry he worked at Life & Casualty Insurance Company and gave private fiddle lessons. Just months before Sims’ death in 1995, the Birthplace of Country Music Alliance held a tribute to him at the Paramount Center for the Arts. Today, East Tennessee State University awards the Benny Sims Scholarship to one Bluegrass, Old-Time, and Roots Music Student each year.