Uke-In-Focus: Abbott Super De Luxe

English ukulele-banjo enthusiast Richard Maingôt tells KAMUKE the story behind his beautiful, custom-made Abbott Super De Luxe.

Photos: Alastair Murray

TIME seems to have slipped by almost unobtrusively since my introduction to the ukulele some 65 years ago, when I heard George Formby on a Saturday night entertainment program 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 18 shillings and sixpence, payable at three shillings and sixpence a month. 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 uke-banjo collection progressed over the years in direct proportion to my income; a Melody and whole stable of Dallas instruments. Most of my ukuleles were obtained from a little shop in Croydon, Surrey, where I lived. The owner of this musical emporium was a small, red-nosed alcoholic who always welcomed me because my purchases enabled him to shut up shop and retire to the sanctuary of the pub next door.

In the early 1960s, my wife and I moved to a village just south of Manchester and it was there that I was introduced to Harold Fallows. Harold was an interesting man, who, through his work in the theatre, had got to know George Formby very well. Through Harold, I became a member of The George Formby Society. 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 learnt to do the Formby ‘split stroke’ and some of his other excellent techniques.

It was in Burslem, now part of Stoke-on-Trent, that I met Jack Abbott Jr and established a friendship with him which lasted until his death. In the mid-1970s, I commissioned Jack to make me the best ukulele-banjo he had ever made. This, I believe, he did.

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