Distinctly Montana Magazine

D I S T I N C T LY M O N TA N A • W I N T E R 2 0 1 8 44 BANJO MAKER MICHAEL BENNETT: BITTEN BY THE BANJO BUG While Michael Bennett extols the banjo for its distinctive assembly method, he above all praises the instrument's simplicity and flexibil- ity. Design modifications to his custom banjos are fairly basic. ere are variances between light and dark woods and there is a question of whether to employ a fancy inlay or a much simpler style. Banjo dimensions are determined by the size of their mass-manufactured metal rim exterior, rendering simple options for the wood frame interior: 11 inches for bluegrass-style and either 11 or 12 inches for an instrument echoing more of the old-time banjo sensation. "ere is some woodworking that can be done to change the thickness and the depth of the (hand-carved) wooden rim, which then fits into the pre-set diameter of the metal rim," said Michael Bennett, who has resided in Missoula for approximately 25 years and operates a music rental and instruction studio in the city. When people come to Bennett to have a discussion about banjos, he always tells them "to pack a lunch," and indeed one must apportion ample time with Bennett to fully comprehend this peppy musical instrument. One of the earliest recorded references to the banjo dates to about 1620, when explorer Richard Jobson mentioned the "gourd with neck and strings" he had seen in Africa. e banjo would forever be associated with a song called "Feud- ing Banjos," recorded in 1955 by Arthur Smith and Don Reno. Its popularity grew exponentially after Atlanta native James Dickey published Deliverance, the acclaimed novel that was made into the profitable 1972 southern Gothic film. In addition to Deliverance, Bennett said that there are other "benchmarks" that have boosted the popularity of the banjo in American music: the movie Bonnie and Clyde, the television show e Beverly Hillbillies, and, more recently, the traveling banjo per- formances of comedian Steve Martin. "I recall seeing Steve Martin when he was unknown in the 1970s, in southern California comedy clubs," said Bennett, age 70. "is was before he was famous, and he would tell jokes and then play the banjo. It was a part of who he was—and who he still is. He's really been an influence as far as getting the banjo out in front of people who might want to play." For an instrument with such a large history, perhaps it's a bit surprising that the arsenal of tools necessary to create a banjo is small: a band saw; router; joiner; hand planes; drill press; compres- sor, spray finishes; oscillating spindle sander. "With banjo making, you don't have to be good at anything, but you do have to put it all together," said Bennett. "To me, actually, the most important thing in the shop is the sound system to play music as I work." Typically, he constructs a banjo out of one of four primary hard woods—flattened maple, walnut, cherry, or mahogany. Occasion- ally, Bennett will use a more exotic wood, such as rosewood or fiddleback maple. Each of the four wood varieties has a particular sound profile. Maple produces the brightest jingle; whereas the ever-stable mahogany provides the mellowest sound. "It's hardly ever too late to start playing a musical instrument, no matter what it is, banjo included," said Bennett. "I say, find a teacher, interview the teacher, get comfortable, and start with a playable instrument. en, jump in and go to it. You may also get bitten by the banjo bug."

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