Baldwin Ode Banjo Serial Numbers
Baldwin originally badged their instruments (primarily banjos) with their company name but discovered that it lacked the name recognition that Ode had acquired among banjo players. So, around 1971, they began double-naming instruments using both “Baldwin” and “Ode” designations. By 1977, they had switched to the Ode moniker exclusively.
It’s been a half-century since an enterprising young Colorado university student took his engineering school education, turned it toward his real passion, and an American musical institution was born. When Chuck Ogsbury decided to sand-cast aluminum banjo rims and sell his personal collection of Civil War-era and other rare firearms to finance the production of the first one hundred ODE banjos in 1960, he had no idea he was starting a company that would influence American banjo manufacturing for fifty years and put some of the most innovative and beautiful instruments into the hands of thousands of musicians here and abroad.
OME Banjos “Actually, I never really thought when I did this that I’d make a lifetime career of it,” Ogsbury explains. “ I left it for a while and never thought I’d go back into it. I like to innovate, so if I’m not going to be able to do it better, then why bother? But, when I got into [building banjos], it was a more holistic lifestyle that was fun, and we’ve been constantly improving our products. I’m in a surge now; the fiftieth anniversary got me going again. We’re coming out with some new things.” Born and raised in the Bluegrass State of Kentucky, Ogsbury spent his youth gaining experience that eventually would prove invaluable as he started building banjos: he collected, restored, and sold antique and vintage firearms. “Firearms are similar to banjos; so, I learned how to work in the art form of wood and metal and was a pretty significant gun dealer, rebuilding old Kentucky rifles and Civil War stuff.
That carried over to the banjo thing,” he explains. In 1956, he decided he wanted to experience bigger mountains and moved to Boulder, Colo., to begin studying structural engineering, an educational path that would later prove especially valuable in pursuing his newfound passion for building banjos.
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“I remember as a kid hearing some of the early bluegrass music being played [in Louisville]. I didn’t get involved, but I did start playing guitar in Kentucky. But, I didn’t get too far with it. It wasn’t until I moved to Colorado that I got involved in the folk music thing.
That all started in the late ’50s, and that’s when I got into it. I fell in love with making my own music, so I played guitar first, then banjo. There were some pretty good banjo players at school, but they were mostly old-time frailing, clawhammer players. That was the type of music that was ‘in’—the folk genre and groups like the Kingston Trio and the Weavers.” The popular folk banjo of the day was the long-neck, open-back Vega model popularized by Pete Seeger. But, a Vega banjo cost over $350 back then, a princely sum to struggling college students in the late 1950s. Taking his engineering background, Ogsbury created a mold for a cast aluminum banjo rim that was inexpensive and sounded surprisingly good.
He sold off his remaining gun collection for operating capital, sought out the help of an eighty-year-old Swedish woodworker living nearby to help him craft the necks, and set about creating the first ODE banjos, which sold for just over $70 each. Today, those early instruments, along with the two-thousand-plus banjos made under the ODE name that followed, have become serious collector items, fetching high prices on the Internet, Ogsbury says with some amazement. The company was officially started in 1960, and production slowly increased over the next few years until ODE was employing six people and turning out a steady stream of instruments. The company expanded its product line to include banjos suited for Dixieland jazz, Irish music, and bluegrass and quickly built a strong following among musicians living west of the Mississippi where access to high-quality banjos and other acoustic instruments was much more limited than it was in the eastern half of the country where bluegrass was born. Sales rose and it seemed that the business was a runaway success. It should have been an ideal situation for the young entrepreneur who had started out with simply an idea of making the instruments he loved to play.