Willie Nelson’s ‘Bluegrass’ Underlines His Lifelong Relationship with the Genre

“He was exceedingly cool and easy,” long-time Bill Monroe bassist Mark Hembree remembers about Willie Nelson’s presence at a 1983 recording session where Nelson sang and played with Monroe. “I never had a say in Bill’s mixes, but they had Willie’s guitar way up and as we listened to playback he mentioned it, then turned and asked what I thought,” Hembree wrote in a recent exchange of messages. “I agreed, a little surprised he would ask me.”

People who hear about Willie Nelson’s latest album, Bluegrass, before hearing the music might ask, “Wait, what? What does Willie Nelson have to do with bluegrass music?”

Upon listening, at least two answers come to mind: 1) Much more than you might think. 2) Don’t worry so much.

With tunes by Nelson, one of the best American songwriters, played by notable pickers, the record contains strong music that should sound welcome to fans of Nelson, of bluegrass, and of the field with the loose label, “Americana.”

It’s a given that in more than 60 years of major-label recording, Nelson, 90, has been better known for presenting his own songs, enduring tunes such as “Crazy,” “Hello Walls,” and “On the Road Again,” the last of which is heard here in a new version. But he’s also made his name with notable covers – like “Blue Eyes Crying in the Rain,” “Seven Spanish Angels,” “Blue Skies,” and others – in a welter of styles, including blues, pop standards, and even reggae. Nelson’s core music enfolds ‘40s and ‘50s country, traditional fiddle tunes, four-square gospel, ragtime, some swing flavorings, and definitely a heap of blues. The mix also includes more contemporary pop. Subtract some of that last bit of material, throw in some lonesome mountain banjo and ballads, and you’ll find, in different proportions, foundational bluegrass as designed by chief architects like Bill Monroe and Earl Scruggs.

Legacy Records, the Sony division putting out Nelson’s Bluegrass disc, says the style “was given a name by Kentucky songwriter/performer/recording artist Bill Monroe and the Blue Grass Boys, whose post-war recordings profoundly influenced Willie’s songwriting sensibilities and the direction of American country music in general.” They go on to say, “Willie chose songs combining the kind of strong melodies, memorable storylines and tight ensemble-interplay found in traditional bluegrass interpretations of the roots (from European melodies to African rhythms) of American folk songs.”

And it’s pretty much on target. But what else speaks to Nelson’s involvement with bluegrass?

Let’s return to the early ‘70s, when he famously abandoned a Nashville scene where he had achieved songwriting fame and a recording career. But Music Row had flagged in creativity and opportunity, he and others thought. And yes, at the end of 1969, his house had burned down. By 1972, Nelson’s persona was changing as his new approach revisited his Texas roots. The year saw new-breed stars like Kris Kristofferson showing up at the first Dripping Springs Reunion, a Texas country music festival. The show, which was to morph int0 a string of outdoor throwdowns known as Willie’s Fourth of July Picnic, presented a bluegrass contingent led by Monroe, with foundational figures Earl Scruggs and Lester Flatt leading their post-breakup bands, as
well as additional notables including Jimmy Martin.

Jo Walker, executive director of the Country Music Association, told the Austin-American Statesman that the trade group was delighted to hear about the Dripping Springs Reunion. “So many of the rock festivals and similar events have reflected so unfavorably on the music industry that we are particularly happy that your reunion will be a Country Music show.” But with Nelson embracing a new, youth-driven fan base and a long-haired, bandana-ed look, what did country music even mean?

There was a growing correlation, it seemed, between the increased popularity of bluegrass and the emergent outlaw (read: long hair, free-thinking, whiskey-drinking, dope smoking, etc.) movement in country music, led by Nelson and Waylon Jennings. Its bluegrass surge was sparked in part by the Earl Scruggs Revue’s broad acceptance in non-traditional venues like college campuses and hot sales for the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken. Back in Nashville, in 1973, wider acceptance of bluegrass also meant that Monroe, his former Blue Grass Boy Flatt, the brilliant wildman Jimmy Martin, and the great brother team of Jim & Jesse McReynolds would join Nelson amid the crowd of stars at CMA’s second annual Fan Fair celebration.

In 1974, both Scruggs and Monroe, as well as Grand Ole Opry stars Ernest Tubb, Jeanne Pruitt, and Roy Acuff appeared on stage singing with another wildman, country-blues rocker Leon Russell. That’s documented in a photograph of this period, likely from a Willie’s Picnic. Quite a lineup.

A version of the picture found on the web says the shot is from A Poem is a Naked Person, a documentary on Russell by esteemed filmmaker Les Blank shot between 1972 and 1974, but not released until 2015. Nelson appears in the movie to sing “Good Hearted Woman” – also on this new album – playing guitar bass runs that would work fine in bluegrass. He also backs up fiddler Mary Egan, of the Austin “progressive-country” band Greezy Wheels, on an energetic version of the bluegrass-country perennial “Orange Blossom Special.”

In 1974, Nelson went to work in the soul-music capital of Muscle Shoal, Alabama, to record a milestone disc on his road to making records his own way. The album, Phases and Stages, which won over both fans and critics, contains prominent five-string played Scruggs-style on the hit “Bloody Mary Morning,” which also returns on Bluegrass.

The 1983 Bill Monroe session referenced above came after a last minute February 22 phone call from Nelson to let Monroe know he was available to appear on the in-progress Bill Monroe and Friends album for MCA Records. That’s according to a passage in the indispensable book, The Music of Bill Monroe, by bluegrass scholars Neil Rosenberg and Charles Wolfe.

“[Engineer, Vic) Gabany recalls that on February, 22, 1983, Monroe called the studio and asked if it was free that afternoon,” Rosenberg and Wolfe write. “Willie Nelson was in town, and he wanted to rush in and cut the duet with him. Fortunately, it was. Moreover, the Blue Grass Boys were all available, and Haynes was able to round up studio musicians Charlie Collins and Buddy Spicher.”

Monroe’s original tune with Nelson, “The Sunset Trail,” shows the impact of another style, cowboy music, that both men favored. Nelson reaches into his upper range to sing below Monroe, who’s going way up there, as was his wont. “It’s a thrill of my life to be here with you,” Monroe says as he and Nelson exchange praise in the track’s introduction.

In 1990, Monroe accepted Nelson’s invitation to perform at the April 7 Farm Aid IV concert in Indianapolis. “We’re glad to be here with Willie Nelson!” he said to kick off a set marked by powerful singing, crisp mandolin picking, and a little crowd-pleasing buck dancing. The show placed Monroe, 79, in a lineup that included stars such as Elton John and Lou Reid. The Indianapolis Star estimated the crowd at 45,000.

During Monroe’s last years — he died in 1996 — he often spoke to Nelson on the phone, according to a person who didn’t want to be identified, but often spent time at Monroe’s home on the farm outside Nashville during that period. “He valued their friendship immensely,” the person said.

Bluegrass‘s 12 songs contain several Nelson compositions that became standards of his repertoire, along with less familiar tunes that also fit in the recording approach overseen by Music Row’s Buddy Cannon. A songwriter and producer, Cannon is known for delivering big songs, like “Set ‘Em Up Joe” for Vern Gosdin, and chart hits for more recent mainstream acts such as Kenny Chesney, John Michael Montgomery, and Reba McEntire. A frequent Nelson collaborator, Cannon assembled a list of Nashville co-conspirators: Union Station members Barry Bales, on bass, and Ron Block, on banjo; former Union Station member and current rising star Dan Tyminski on mandolin; fiddler Aubrey Haynie; Dobro man Rob Ickes; Seth Taylor also on mandolin; as well as harmonica player Mickey Raphael, who’s worked for decades in Nelson’s band.

The music mostly doesn’t come off as hard-core bluegrass in the mode of, say, the Stanley Brothers. But it leans on the elements that Nelson has in common with the style — lonesome melodies, classic country, swing and blues.

The mournful “You Left Me a Long, Long Time Ago,” from 1964, reflects the straight-country songwriting to which Nelson and others brought a terse, modern beauty in the late ‘50s and early ‘60s. It was a time when bluegrass enjoyed a closer co-existence with mainstream country, as opposed to straining against the tight format borders that limit today’s music business. Among the many artists who crossed back and forth freely were guitarist-songwriter, Carl Butler, fiddler Tommy Jackson, and Cajun star Doug Kershaw. They all worked with Monroe.

A new version of “Sad Songs and Waltzes” mourns in tones not too different from Monroe favorites ranging from “Kentucky Waltz” to “Sitting Alone in the Moonlight.” The song also recalls the 3/4 time Lone Star tunes that Nelson might have heard at the Texas Fiddlers Contest and Reunion.

That show got going in 1934 in Athens, Texas, just one year before Nelson arrived on the scene in Abbott, less than 90 miles away.

The fiddle contests that influenced so much of Texas music beginning in the 19th century, had parallels in the 18th century Southeast, where contests featured both the fiddle and the banjo, with its African roots. This music went around, and it still comes around.

The sock-rhythm backing of “Ain’t No Love Around” recalls early Blue Grass Boys recordings such as “Heavy Traffic Ahead,” recorded September 16, 1946, and featuring Earl Scruggs’ first recorded banjo solo. Elsewhere, the laidback favorite, “On the Road Again,” gets a more intense reading from Nelson, with some vocal and instrumental improvisation to spice it up. The mystical “Still is Still Moving to Me” leaves plenty of room for pickers to range far and wide on banjo, mandolin, fiddle and Dobro.

“You give the appearance of one widely traveled,” Nelson sings in “Yesterday’s Wine.” He’s singing from a faraway spot in time, in myth, in history. It’s a stance that’s earned a place on bluegrass playlists for more recent songwriters such as Guy Clark, David Olney, and Gillian Welch.

“Bloody Mary Morning,” from Phases and Stages gets the most recent of several revivals from Nelson, who led a jam-grassy version in the 1980 film Honeysuckle Rose and later sang it in a duet with Wynonna Judd. The song’s forthright tale of fighting the blues by having a highball on a plane seems somehow classier than the constant tales of beer and pickups that populate country radio.

In the end it seems clear that for decades, both Willie Nelson and bluegrass music have served, in different ways, as a conscience of country music. Just as the Solemn Old Judge, WSM radio announcer George D. Hay, commanded, they “Keep her close to the ground, boys,” although their paths have diverged, at times.

In any case, this new collection brings Nelson together with bluegrass pickers for music that might even work to serve that same worthy purpose.


Photo Credit: Pamela Springsteen

7 Times Bill Monroe Did Anything But Play a Mandolin

If there’s a common ground most bluegrass musicians share, it’s a virtuoso mentality and an extreme level of skill. Most pickers jam on more than one instrument, and the Father of Bluegrass himself was no exception.

Born in 1911 in Rosine, Kentucky, many folks credit Bill Monroe and his Blue Grass Boys as founders of the genre. Monroe was best known for playing mandolin, churning out driving tunes like “Uncle Pen” and “Jerusalem Ridge,” but he had quite a few other skills as well.

Let’s take a quick peek at a few of the times Bill Monroe broke his own mold and put down his classic mandolin.

Pickin’ a Pink Telecaster

In this old-school, infamous footage shot at a home jam circle, Monroe shows off “Ozark Rag.” A fellow jammer hands Monroe a pink Fender Telecaster with a black pick guard as he sets aside his mandolin. At just two-and-a-half minutes long, this clip is short, but it’s still extremely entertaining and showcases what an incredible musician Monroe was.

Buck Dancing with Ricky Skaggs

This charming clip shows Bill Monroe buck dancing while Ricky Skaggs plays a blazing guitar. The traditional dance style is popular in Appalachia and the South, and Monroe’s steps are pretty slick! Monroe also appeared in the now-iconic official music video for this hit, “Country Boy,” buck dancing in a NYC subway set alongside street dancers.

Playing an Ovation Guitar

Another YouTube throwback shows Monroe in footage from a Homespun tutorial video, playing an Ovation acoustic guitar. Like the first clip, Monroe plays “Ozark Rag,” a tune he wrote later in life.

Playing Muleskinner Blues

This clip shows Monroe and his Blue Grass Boys on the iconic Grand Ole Opry stage. Monroe kicks off “Muleskinner Blues,” which according to other concert footage, was originally debuted by Monroe on the Opry in the 1940s with Big Mon picking guitar, rather than mandolin.

Singing with the Osborne Brothers

In this clip, Monroe leaves the mandolin playing to recently-departed Bobby Osborne of the Osborne Brothers at the Berkshire Mountains Bluegrass Festival. Instead, he provides backup vocals on the gospel number, “I Hear a Sweet Voice Calling.”

Dancing with Emmylou Harris

Like the other buck-dancing clip, Monroe comes out on stage to show off his traditional dance skills — but this time, with a friend! Here, he takes to the stage with singer-songwriter and fellow dancer Emmylou Harris. The pair even do a little do-si-do as Harris dances in cowboy boots.

Playing an Acoustic Guitar

From the plethora of online footage, it’s pretty clear Monroe loved picking “Ozark Rag,” and preferred to do so on guitar. This video is a clip taken from the longer concert above. It was made in 1994 – Monroe died in 1996.


 

First & Latest: Special Consensus’ 40+ Year Career

(Editor’s Note: BGS is excited to debut a brand new column and feature series, First & Latest, which examines the discographies of artists, musicians, and bands by comparing and contrasting their first album against their latest album.)

Chicago-based, long-running bluegrass outfit Special Consensus have been making records since 1979, when they released their debut, self-titled album. Since then, they’ve put out about 20 records – and they’ve criss-crossed the country and the globe spreading their modern-yet-traditional, hard-driving sound. Banjo player Greg Cahill, who is also a bluegrass industry leader and community builder, is the band’s sole remaining original member and, across those decades, has been the linchpin, the keystone of what has become a true legacy act.

To mark the occasion of their latest release, Great Blue North (released May 12 on Compass Records), we compare and contrast the band’s debut record with this new project with Cahill – it’s First & Latest, from BGS.

What goes through your mind when you hear a song from that first record, like “Like a Train?”

Greg Cahill: I cannot believe it was so long ago! This was our first time in a recording studio and we knew nothing about the process of making a record. It was truly a complete learning experience and we had a wonderful engineer who was a master at finding the exact place to punch in, and he even manually lined up and spliced the ¾” tape on one of the songs so we could use the first part of the one pass and the second part of a later pass. The album is pretty basic and far from top notch, but we did our best and actually sold a good number of that vinyl record.

At that point, did you ever think this band would have such longevity?

We had no idea about where our journey would take us. Special C actually formed sometime in 1973 – two of us were grad students and two had full time jobs. By 1975, I had finished my masters degree and was playing in local pubs and venues while working a full time job in social work, and all I wanted to do was play the banjo. It was 1975 when bass player Marc Edelstein and I decided we wanted to try playing full time – to play and tour as much as possible to get this bluegrass bug out of our system and go back to “real” jobs/life in a couple years. The other two members decided not to join us for this ride, so we found a guitar player and a mandolin player and quit our day jobs to devote full time to playing music. Marc left the band a few years later but the plan didn’t work for me – the bluegrass “addiction” only became stronger. I just “kept on keepin’ on” with no set time limit on my musical journey and now here I am today, never dreaming I would still be going strong with no set end time.

What do you think has been the key to your spanning the decades in bluegrass – besides yourself, that is!

I have been most fortunate to have had some great musicians/people in the band over the years – and still do have wonderful bandmates. Of course I have experienced the ups and downs of playing full time – it was always worrisome when a band member left or when there were slow times but we always found side jobs and teaching opportunities to keep us moving forward. I guess I am just too stubborn to even think about not playing because I love making music so much.

There’s an energy, a drive, even in this earliest recording that you’ve continued to carry with you. Where do you think that comes from? It reminds me of classic Seldom Scene and Johnson Mountain Boys, like you’re always leaning a bit forward into the groove.

I found bluegrass music through folk music (Kingston Trio; Peter, Paul and Mary; Limelighters, etc.) and eventually Pete Seeger – whose music prompted me to buy a long-neck 5-string banjo and then a 6-string guitar and then a 12-string guitar. I played in a folk trio with friends in college, and one day I heard “The Ballad of Jed Clampett” and immediately knew I had to learn how to play the bluegrass banjo. I found the Earl Scruggs book and was obsessed with playing the banjo every free moment of my life and it was his drive and perfect tone and timing that overwhelmed me. Then I heard J.D. Crowe and he became my model and eventually my mentor of sorts, even before I ever met him. This was in the early 1970s. New Grass Revival also grabbed my ear, and I spent hours trying to learn J.D. solos but also Courtney Johnson licks, determined to not lose the drive when playing non-Scruggs/Crowe licks because at that time many folks felt that Scruggs style playing was the only “right” way to play the 5-string. It has always been about the drive for me – and I learned that from J.D. as well – he always had drive, even on slow songs that he played with superb finesse.

“The Singer” feels like that classic move of a bluegrass band playing a country song, can you talk a bit about what you remember about choosing that track and recording it?

We were city boys playing in big city pubs and venues where the general public had no idea what bluegrass music was. Although we always loved the traditional bluegrass songs and tunes, we felt we had to play some material that the general public might recognize and eventually really like our brand of bluegrass music. So we included old rock songs, country songs, and jazzy swing songs in the repertoire along with the traditional songs. I would say we actually became more traditional over the years, because we were building a local and then national and then international audience while maintaining a varied repertoire.

When I heard “The Singer” I immediately wanted to include that song in our repertoire – the song is so well written, the words are so poignant, especially knowing that Neal Allen wrote the song about his father Red Allen and also that Neal died of pneumonia while on the road. As Bill Monroe would say, “It’s a powerful number.”

Now, about the latest album, Great Blue North, what inspired you to cross the Great Lakes for this album and do Canadian bluegrass?

We are so fortunate to be on the Compass Records label and especially to have Alison Brown as our producer. When we begin preparations to record, the four of us and Alison begin our search for new material. We are basically on a bi-annual release schedule with the label and one of the songs Alison thought would be a good song for us to include on our 2020 release was “Blackbird,” written by the great Canadian songwriter/singer/guitar player J.P. Cormier. We loved the song but as we gathered material for that release the theme shifted to featuring a nod to Chicago, where the band has been based since beginning in 1975, because 2020 was the 45th band anniversary. Hence the 2020 “Chicago Barn Dance” release. We knew we would record “Blackbird” at some point, and after the pandemic shut-down we wanted to let folks know we were still alive and well and anxious to get back on the road, so we recorded “Blackbird” and Compass released it as a single. As we began the search for material for a new recording, Alison mentioned that it might be a good time to give a nod to our Canadian friends — since we have played there so much over the past three decades — and we all agreed. We then decided to include only songs written by Canadian writers and also to ask many of our Canadian musician friends to perform with us on some of the tracks.

Do you think being such a long-running Midwestern-based group informed the new album for you? And your connections to this material?

I think we may have had more opportunities to tour in Canada because of our Midwestern base. We did not play the big festivals when we first began touring there – we played shows for bluegrass associations and community centers in Toronto, Ontario (only an 8+ hour drive from Chicago), Winnipeg, Manitoba (13+ hour drive) and Calgary, Alberta (25-hour drive). We would head directly to Toronto or work our way through Minnesota to the Canadian gigs, which helped us get invited to the festivals. We also learned about the Canadian songwriters through so many of the great Canadian musicians whom we met and became friends with through this networking.

To me, a throughline between your first and latest albums is the arrangements, the way your band is always playing as a tight-knit ensemble, not just a handful of instruments sounding simultaneously. Where do you get the inspiration for the way your individual parts play off of and dialogue with each other?

I think we have always been focused on the power of tight and interesting arrangements. This again goes back to the fact that because we are from Chicago – not a bluegrass hub in the eyes of the general public – we had to make sure to keep the attention of the audience and not have songs begin to all sound alike. The arrangements give the band the opportunity to be more creative and to showcase the tight vocal and instrumental harmonies. I have always wanted an outside/non-band member producer to give us an objective opinion about the sound, the material and the performance. We have always had very good producers and I must say that Alison Brown is a phenomenal producer who has brought the band to another level. From our perspective, she basically considers each song on our recording to be unique and “special” – there are no “filler” tracks, and we spend however much time necessary to make each track stand out.

“Snowbird” will go down as one of Special C’s tastiest cover songs, do you have favorite covers from across the years? It’s kind of a hallmark of your band!

Although we try not to be seen as a cover band, we have chosen to cover some songs from artists that we feel we can make sound like a bluegrass song, and especially sound like a Special C song. We have been most fortunate to have been given some great songs by many great songwriters over the years and we have also chosen some songs from other genres that we thought we could have fun recording and that our fans would enjoy hearing. “Snowbird” was one of the first songs on our list once we decided on the Canadian theme after recording “Blackbird” – my wife had suggested that song many times and now it seemed like the perfect song to feature Greg Blake’s fabulous voice. Some of the covers we have done on past recordings include “Viva Las Vegas,” “Ramblin’ Fever,” “Dream of Me,” “I Cried Myself Awake,” “Big River,” “Sea of Heartbreak,” “Looking Out My Back Door,” “Sweet Home Chicago,” “City of New Orleans,” our entire Country Boy: A Tribute to John Denver recording, “Alberta Bound” and several other songs on the Great Blue North release.

I must say, that as the years pass so quickly and the time between the first record and the current recording becomes so long I realize how fortunate and blessed I have been to be able to keep making music with so many wonderful musicians/people/friends. At times I have felt that the first recording was below the professional level but because of this interview and going back to listen to it, I now truly understand that we can only do our best throughout this journey, be thankful that we are able to keep growing and learning and appreciate our accomplishments no matter how insignificant they may seem at any given time.


Photo Credit: Jamey Guy

Zoe & Cloyd Made a Traditional Album – But Not the Way You Think

If you were to try to typify bluegrass as being about any one singular thing, that one thing might be family. Not just biological family, but musical family, chosen family, and the way the music survives generation to generation, passed down as a folkway and aural tradition. Often, though not always, this music is a family tradition, passed along family trees like an heirloom or like more typical family businesses.

John Cloyd Miller and Natalya Zoe Weinstein, bluegrass duo and band leaders of Zoe & Cloyd, have made a brand new album that, on the surface, might just seem like a standard bluegrass album paying homage to the folks who came before them, their forefathers. But Songs of Our Grandfathers is so much more complicated and nuanced, wrinkling a format that’s as old as these genres themselves: the tribute album. 

On the new record, released in May on Organic Records, John and Natalya pull songs from the catalogs of their musician grandfathers. Miller’s grandpa, Jim Shumate, was a renowned Western North Carolina fiddler who played a stint in Bill Monroe’s Blue Grass Boys and can be accurately credited with helping get Earl Scruggs the banjo gig that made him famous. Natalya’s grandfather, David Weinstein, was a working klezmer musician who fled unrest in Russia, moving to the U.S. 

The artful way this pair of musicians and life partners combine the styles of their families, of their youths, and of their present lives together, as touring, professional musicians, feels expansive, rich, and bold, like newgrass that’s never been newgrassed before. But, there’s a timelessness here, a patina, that speaks to the greater tradition this record can lay claim to perpetuating. (Thank goodness.) 

Songs of Our Grandfathers isn’t just nostalgia, heritage, lineage, legacy- and canon-building. It’s not just carrying on tradition for tradition’s sake. It’s effortlessly and wholly bluegrass because it innovates, it complicates, and it challenges its listeners to think outside of preconceived notions of what bluegrass, string band, and old-time music are. Because that’s exactly what bluegrass’s grandfathers, grandmothers, and grandparents were doing as they invented this music. 

We began our phone chat about the new album discussing each of their grandparents and their musical idiosyncrasies.

Can we start by talking about Jim Shumate? His presence is throughout the record and he’s influenced you both, can you tell us a bit about him and his music making? 

John Cloyd Miller: He was born in 1921 in Wilkes County, North Carolina, on a mountain called Chestnut Mountain. He started playing fiddle as a young boy, as a teenager. His older brother Mac, who was 10 years older – the same age as Bill Monroe – got him his first fiddle, which is a fiddle he kept his entire life and we actually have, now. It’s an old Sears & Roebuck Strad copy, but he played some tone into it! His Uncle Erby played fiddle so he heard him a lot growing up and then he got into Arthur Smith and all that kind of stuff. He moved to Hickory when he got older, when he was a young man, and was playing on the radio down there when Bill Monroe heard him and asked him to be in the Blue Grass Boys. That was the time that Stringbean was in the band and Sally Ann Forrester, too.

When Stringbean decided to leave the band and go off with Lew Childre, Bill needed a banjo player and it’s now a pretty well known story that Jim knew a banjo player – he knew Earl Scruggs – and really pushed, begged him really, to audition for Bill. Earl was pretty reluctant to do it, but he did, and the rest is history. Later on, when Flatt & Scruggs broke off [from the Blue Grass Boys], Jim was their first fiddler, as you know. He recorded on their Mercury sessions. But he didn’t like touring, he wasn’t a touring kinda guy at all. He had four kids at home – three at the time, when he was younger, and one later. 

Natalya Zoe Weinstein: He liked Mama’s cookin’. 

[both laugh]

Jim Shumate, L (John Cloyd Miller’s grandfather); David Weinstein, R (Natalya Zoe Weinstein’s grandfather)

JCM: He did! He liked his own bed and grandma’s cooking, for sure. He liked to go up on the mountain. He worked in the furniture industry pretty much his whole life, but he also had his hand in the music. He ran a place called “Cat Square,” kind of a small town sort of Hickory Opry, a music show. He was always playing. I have photos of him through the late ‘40s and through the ‘50s with all sorts of people, Don Reno – all those guys. He made records and he had his own band called Sons of the Carolinas, which had George Shuffler in it and some other guys. He was always playing. He played with Dwight Barker and the Melody Boys; he did some sides with Don Walker, who he played with before he met Bill Monroe. He was always making music. 

After Flatt & Scruggs it was largely regionally, because he wasn’t out touring, but he said people would always come by. Any time guys like Lester and them were in town they would always drive the bus and park it right in the yard. He was always in the music, but his influence was not felt as widely later on, I think because he wasn’t out [touring]. He did come back to recording in the ‘90s and made five cassettes for Heritage Records and those got disseminated kind of regionally. Michael Cleveland cut one of the songs that was on one of those tapes a year or so ago. People know his music, but we enjoy getting his legacy out there a bit more. He’s got such a unique style and certainly was influential. 

He was a great songwriter, too! He was my main musical influence. I heard him play a ton growing up. He was so bluesy and slidey, he was a real master of syncopation, which is something that got ingrained in me. People always forget about his songwriting, but the way I grew up, I always thought that being a musician meant that you sing stuff, you write songs. You pick, too, but you do all of it. It was just part of being musical and I think that came from him as well. 

It makes me think of, well, I talk a lot about how the most “bluegrass” someone can be is being innovative and being themselves, whether that comes across as “traditional bluegrass,” genre-wise or not. 

JCM: That’s really insightful and it’s so true, when you look at those early players – everybody always looks at the first generation and, that’s good, that can be very grounding, but those guys were all unique! They were all unique artists, they had their own styles – sure, they were listening to one another, but Lester Flatt doesn’t sound like Bill Monroe who doesn’t sound like Carter Stanley. They don’t sound like each other!

Natalya, I wanted to ask you about your grandfather, too. If you could tell us a bit about the musical influences that represent him on this record, as well. 

NZW: He passed away when I was fairly young, my dad had me when he was fifty-one, so my grandfather was quite older than me – I think I was eleven when he passed away. [My father and he] had an interesting relationship; he wasn’t always a well-liked man. He escaped a lot of violence and poverty in Russia, so he wasn’t a very kind man and my dad didn’t have a very close relationship with him. I don’t have any audio recordings of his music, I have a couple of audio interviews that my dad and uncle did with him, but I don’t have any recordings of his music. 

My dad was moving a few years back and found all these old music notebooks from my grandfather. He asked me, “Do you want these old, handwritten, junky notebooks?” And I was like, “Yes!! Please give those to me!” [Laughs] That was the source, for me, for my grandfather’s music. I didn’t have one-on-one experiences with him, I didn’t have recordings of him, so these notebooks are really the only link to his music that I have. We have about five or six notebooks that have songs in them – they’re pretty hard to decipher, they’re forty or fifty years old. They have all different kinds of material in them, from klezmer to mambos and tangos even to “Tennessee Waltz,” which shows up in one of them as a jazz standard. He also played some classical music, he didn’t do just one singular thing. Klezmer players were like the wedding band musician of their time, where they had to play a bunch of different styles based on who their audience was. 

JCM: We definitely got a little bit of a sense of who he was from these audio interviews that her uncle and dad had made with him. We got to hear his voice, you know he didn’t speak English very well so it’s mostly in Russian and Yiddish. You get a sense of some of the stuff he saw, in these interviews. You can tell it hardened him. 

NZW: He had a tough life for sure, he struggled a lot and music was really the only thing [he did]. He wasn’t really educated. He talked about how when he came here [to the U.S.] he tried to be a plumber and he tried to be an electrician, but he kept making mistakes. He said, “I couldn’t do anything except play music.” He felt almost like he was stuck with it. He loved it and he was passionate about it, but I got the sense that it was his only option. 

There’s a similar energy from both grandfathers around being musicians, but not just in a traditional touring, “road dog,” sort of lifestyle. 

NZW: You’re right, and they were both kind of skeptical of the past. 

JCM: They both came from very humble beginnings. My grandfather didn’t have any education, either. Natalya’s grandfather, apparently, escaped the Bolshevik revolution on a hay wagon. He was a teenager and they were trying to conscript him into the army to fight – it’s crazy stuff! 

Bluegrass is always considering lineage and tradition and how those things are passed along. One of the things that I think is really interesting about it is there aren’t a lot of marginalized identities represented in the historical record of bluegrass, but there are Jewish identities represented. There’s not a whole lot of representation as you go back through the years, but it’s there. How do you connect the music you’re making, that’s infused with Jewish influences and has that cultural identity, to past Jewish music makers in bluegrass and string bands? You’re clearly thinking about lineage and family with this record, and that’s so bluegrass, but through a different lens with your Jewish identity and the other cultural music styles on the album, too. 

NZW: David Grisman was one of my biggest musical influences early on, he was a big bridge, for me, between my dad – who plays jazz – and the bluegrass connection as well as the Jewish connection. We talk about how this album was inspired by Songs of Our Fathers, the 1995 album by David Grisman and Andy Statman. Andy Statman, who played on the record, is another one – one of the first shows that John and I went to see when we met in Asheville in 2005 or 2006 was to see Andy Statman at the Black Mountain Center for the Arts, which is this tiny little listening room. It was an incredible show, I remember just being blown away. I remember thinking, “Wow! What a cool fusion.”

JCM: That was the first time we heard that fusion with klezmer music. He was also playing clarinet, he was playing mandolin. He is the bridge between these kinds of music. David doesn’t do as much klezmer, but those two guys together for sure. 

NZW: John and I both came into bluegrass through the Grisman/Garcia connection then I kind of worked my way back from there. Someone gave me a burned CD of Bill Monroe and I was like, “Oh my God, what is this!?” [Laughs]

JCM: So many people have stories like that. That Old & In The Way album was such an influential record, it was like the number one selling bluegrass record for a long time. 

NZW: Yeah, the way I got into bluegrass, I was out in Tacoma, Washington, for an anthropology conference in college and somebody at my hotel was like, “I’ve got an extra ticket for Wintergrass, which is happening right next door.” I said, “Okay, cool!” So we go and I saw Old & In The Gray there [Peter Rowan, Vassar Clements, Grisman], it was an incredible experience. I didn’t really know what I was seeing at the time, because I was so new to bluegrass, but that was my “Ah ha!” moment. Someone handed me a fiddle and I dunno, I played “Angeline the Baker” and that was it! [Laughs]

JCM: When I first heard Grisman play mandolin, his tone and everything, that was like sinking a hook into me. That’s why I even wanted to play mandolin. I wanted to work on getting tone like that! He was a huge influence on so many of us.

Going back home one time, when I had been living out West or whatever, I was listening to Old & In the Way or something and I asked, “Grandpa, do you know this stuff, like ‘Pig in a Pen,’ and all this?” And he was like, “Oh yeah! I know everything on this record!” And he would play them, and that was so cool to me. I hadn’t quite made the connection before. He asked me, “Who’s playing fiddle on that record?” And I said, “Vassar Clements!” He says, “Oh yeah, that’s a good friend of mine!” I was like, “WHAT!?” 

[both laugh]

JCM: I was just this stupid, deadhead college kid – I mean, I’m still a deadhead – but it really clicked. This is a bridge between grandpa’s world, which had always seemed like something in the past, to my world as a young, coming-of-age musician, realizing, “Oh, it’s all the same stuff!” 

To an uninitiated listener, they might hear your record and they might hear the influences that aren’t “traditional bluegrass” as modern cross-pollinations, as something that’s coming from you both and your generation and your own creativity. But, I really wanted to unpack the lineage of the music, because I can sense even in the playing on this album that colors “outside the lines,” it’s clearly part of this bigger tradition in bluegrass of being a bridge between these kinds of disparate parts. Even this “nontraditional” album you’ve made is based on so much tradition – familial tradition, cultural tradition, musical tradition. 

NZW: I think we wanted to honor those traditions and where these songs came from, but we also wanted to put our own spin on it. We hope our grandfathers would have liked that! 

JCM: [Jim Shumate] was very much a traditional musician, but he was always innovative at the same time. Some of the things he did in the ‘50s were very jazzy, with electric guitars playing with him. And he always loved Natalya’s playing. You know, Natalya came from a classical background and anytime she would play something classical for him– 

NZW: Or a waltz. 

JCM: He just loved to hear her play. They didn’t sound like each other, they had very different styles, but he was always very open and he loved everything. 

NZW: I think he would like [the album]. John’s mom texted us yesterday as she was listening to it and said, “I think grandpa would’ve enjoyed that!” So hopefully our grandparents aren’t rolling over in their graves. 

[Both laugh]


Photo Credit: Sarah Johnston

BGS 5+5: Jon Stickley

Artist: Jon Stickley
Hometown: Durham, North Carolina
Latest album: Jon Stickley Trio, Meantime’s Up
Personal Nicknames: Stick, Sticky, Stickers, Sticky-Poo, J. P. Poo, Stickles, Stickles McGee, JP Stickles, Stickman

Which artist has influenced you the most … and how?

David Grisman, who at the time was already a monster Bill Monroe-style bluegrass mandolin player, took a huge step forward and created Dawg music, an amalgamation of many different styles with a reverence for the bluegrass music that was at the root of his sound. I take the same approach with the Trio. Every composition is an exploration of some new idea that we are experimenting with, but we do it all through the lens of, and according to the standards of, the traditional bluegrass music of Bill Monroe.

What was the first moment that you knew you wanted to be a musician?

I guess I knew I was going to be a musician as long as I can remember! An early memory is being in children’s choir in church. I distinctly remember my friends not wanting to be there, and thinking it was odd because I was just having a blast following the notes along the page. Later in life, I was in an entomology class in college thinking about what to do with my upcoming summer. I had two opportunities: a summer missionary program, or joining the band Broke Mountain in Durango, Colorado. I joined the band, and now here I am!

What’s the toughest time you ever had writing a song?

I’ve always had to sit down and work on songs. They don’t often come to me out of thin air. Over the course of writing and recording our new album, my two sons were born, so time to sit and work on music suddenly became virtually nonexistent! We had a session around the corner and I needed one more tune. I decided to get my old Martin D-18 out and see if it brought me some inspiration. I started noodling around on a little metal lick just getting some frustration out when it started turning into something. I called the song “Triumph in Between” because I actually couldn’t believe I was able to put something together in time with so much LIFE going on.

What has been the best advice you’ve received in your career so far?

I got a lot of good advice and just overall inspiration from working with Dave King, the drummer for The Bad Plus who produced a couple of albums for us. He said, “Be the most YOU that you can be. No one else can do that. It will make you stand out, and ultimately get the gig! It is a superpower.” Every time I remember to follow that advice, I stop stressing about comparing myself to others.

Since food and music go so well together, what is your dream pairing of a meal and a musician?

Haha, the first thing that came to mind was cheeseburgers with Jerry Garcia. He was such a deep guitarist and I always love listening to interviews where he talks about his approach and practice routine and whatnot. He was just such a dedicated student of the guitar. Pretty sure we both share a fondness for cheeseburgers!


Photo Credit: Tom Farr

As the Newest Supergroup in Bluegrass, Mighty Poplar Goes Back to the Classics

At your average live music event on the folk and bluegrass circuit, the stage isn’t the only place where great performances are happening. There’s the campfire and parking lot picking scene at the big outdoor festivals, of course. But a lot of it goes on out of sight backstage, too, when musicians who don’t often see each other come together to play with and for each other. A close approximation to listening in on that is Mighty Poplar (Free Dirt Records), the self-titled first album by the group of the same name.

The bluegrass world’s newest supergroup, Mighty Poplar is a five-piece band centered around three virtuoso players from the Punch Brothers orbit — banjo player Noam Pikelny, guitarist Chris “Critter” Eldridge and original Punch Brothers bassist Greg Garrison, currently in the band Leftover Salmon. Out front as primary vocalist is Watchhouse mandolinist Andrew Marlin, with well-traveled fiddler Alex Hargreaves (currently knocking ’em dead in Billy Strings’ touring band) filling out the lineup. Over the years, various subsets of this quintet would cross paths out on the road and jam, generally falling back on the old numbers everyone knew as a common language. That’s how Mighty Poplar began to coalesce.

“There’s a pretty complex web of relationships between all five of us that began with a lot of hanging out,” says Pikelny. “There’s this beautiful thing about bluegrass, the amazing music and all the shared songs. There’s a great social component that can exist with the music if you let it, and it became a reason to get together and have fun.”

While none of Mighty Poplar’s members come from acts you’d really call “bluegrass,” you could say they’re all at least bluegrass-adjacent. And none of them have ever come down as top-dead-center old-school bluegrass as on Mighty Poplar. The album’s 10-song tracklist draws material from A.P. Carter, Bob Dylan, John Hartford and Leonard Cohen, with songs made famous by the likes of Hazel & Alice, Uncle Dave Macon and Bill Monroe fiddler Kenny Baker.

Monroe, the Father of Bluegrass, also figures into the proceedings in terms of inspiration for the ensemble’s name. Proposing Mighty Poplar as a moniker was Marlin, someone who definitely knows his way around names involving wordplay (witness the original name of Watchhouse: Mandolin Orange).

“I was listening to a Bill Monroe and Doc Watson live recording where they were about to kick off ‘What Would You Give in Exchange for Your Soul?’” Marlin recalls. “Bill said he and Charlie recorded it in ’19-and-36’ in Charlotte and it had been ‘mighty poplar down through the Carolinas.’ We had a huge text thread already going about band names, where my phone was always going BING at 2:30 a.m. So many names we considered, but everybody thought Mighty Poplar was a good awning to stand under.”

While Mighty Poplar is only now coming out in the spring of 2023, the album has actually been in the can for a couple of years. It might never have happened without the Coronavirus pandemic shutdown of 2020-21, which took everyone’s regular bands off the road for an extended period of time.

In isolation, everyone felt drawn toward bluegrass as the musical equivalent of comfort food. So they took this on as a pandemic project, convening with engineer Sean Sullivan at Nashville’s Tractor Shed for a brisk three-day session in October of 2020.

“There was a sense that we were getting away with murder, traveling across the country and podding up while everything was closed up,” says Pikelny. “There were logistical hurdles and we had three days, so we had one shot to get it all at once. So we worked out as much as we could ahead of time, even the sequence. The concept, if there was one, was that this was the closest thing to a real-deal, traditional, classic bluegrass project any of us have done in a long time, maybe ever.”

As lead vocalist on six of the album’s 10 songs, Marlin is the primary out-front voice of Mighty Poplar. But he felt like he had to step up his game on the instrumental side, to keep up with his bandmates.

“It was intimidating, but not because those guys are intimidating,” Marlin says. “As a musician, I’ve had to figure out how to feel like I can express myself in front of people I look up to. But that’s on me for projecting my own shit onto them, because they don’t wear that. So ‘Grey Eagle,’ an instrumental fiddle tune Alex brought forth, I was kind of sweating that one in the studio. That kicked off at 150 beats per minute and everybody else is just looking around, casually exploring the nooks and crannies of the tempo while I’m popping a vein and kind of being drug behind the horse. But I managed to keep it together. Ultimately all those guys still love a great song as much as anyone. There’s something about simple songs that leave it up to the player to bring whatever they want. I love it when the song’s not telling you how to play it, and I feel lucky that they were down to explore that approach.”

Song choice was pretty casual, mostly in favor of material from a bit off the beaten path. Even with a Hall of Fame list of songwriters, they focused on less-well-known songs from the repertoire of each — Dylan’s take on the A.P. Carter tune “Blackjack Davy” rather than “Will the Circle Be Unbroken,” or Hartford’s Mark Twang riverboat song “Let Him Go On Mama” rather than “Gentle On My Mind.”

“It all happened pretty organically,” says Eldridge. “In the initial text volley about what to do, there were a lot of songs we would’ve been happy to cut. It’s hard to say why we landed on these particular songs other than that they felt right. I would not say there was an overarching concept beyond good songs that felt right.”

While they considered including some originals, ultimately they decided to stick with covers, mostly of older vintage (the most recent song on it is Montana singer/songwriter Martha Scanlan’s “Up on the Divide,” from 2012). In that way, Pikelny looks at Mighty Poplar as a classic folk record.

“In other genres, people might call this a ‘covers album,’” says Pikelny. “But if you record solo Bach compositions, that’s not ‘Bach covers.’ It’s repertoire, reinterpretations of classics to pass down. It was born of a desire, almost a need for all of us, to gather around a bluegrass project. And it was such a joyous process. It felt like coming home for Thanksgiving or Christmas and being around family you’ve not seen in a while, in the home you grew up in with a turkey in the oven. It was that kind of comfort, the warm fuzzy feelings of gatherings like that.”

It went so well, in fact, that they were in no hurry to get around to the detail work of mixing and mastering the record after they finished tracking. Pikelny says they felt almost paranoid about not wanting to touch it, for fear of messing up a good thing.

“We’ve been sitting on this for so long because it felt like such a special session,” Eldridge says. “So effortless and deeply joyful. Magical, even. We didn’t want to let it go because it felt like all we could do was ruin it. But I kept coming back to it, listening now and then and thinking, ‘I really like this. We have to share it, plus it’s a good excuse for us to get together again.’ It’s ironic that we’ve not actually played it live yet, and we’re already kind of getting the next batch together.”

Indeed, Mighty Poplar’s first real touring commences in May. With Hargreaves busy playing arena-sized venues with Strings for the foreseeable future, John Mailander will stand in for him on the first leg of touring. And all the principles are cautiously optimistic that Mighty Poplar’s first album won’t be its last. Pikelny likens their hoped-for trajectory to Tony Rice and J.D. Crowe’s Bluegrass Album Band, which periodically convened to make albums and tours through the 1980s and into the ’90s.

“Bluegrass Album Band was never a full-time group for any of those guys, it was a very sustainable side project whose records served as homecomings,” says Pikelny. “They’d go off to do whatever else and then come back for another edition. It’s a celebration of our love for bluegrass. As long as it stays as effortless as this felt, I think we’ll keep doing it when we can.”


Photo Credit: Brian Carroll

At the Opry, Photographer Mark Seliger Takes Rusty Truck for Another Ride

Mark Seliger has been to the Grand Ole Opry before, as a staff photographer for Rolling Stone, but this time he’s in Nashville to support the release of his country band’s self-titled album, Rusty Truck. To an empty house during soundcheck, he’s leading Rusty Truck through “Find My Way Back Home,” one of the three songs he’ll sing later that night with good friend Sheryl Crow. Meanwhile, an Opry camera crew is following him around — an ironic role reversal, considering that Seliger stands as one of the most recognizable and accomplished photographers of the last few decades, with numerous books to his name.

Within a few weeks time, he’ll shoot the Vanity Fair Oscars Party for the 10th year in a row, but for now, he’s comfortably backstage at the Opry, talking to BGS about his love for country music, the preparation that goes into photo shoots, and the turning point that led him to songwriting and eventually releasing three albums. Seliger recorded his latest project in guitarist-producer Larry Campbell’s home studio in Rhinebeck, New York.

“You’ve got to go out there and keep on reinventing yourself. You’ve got to keep on being curious, and keep your eyes open, soak up the information and be a part of the life,” he says. “I never really thought that I would make three records, right? I thought I was good with making books. But there’s something about how much better I feel when I’m making music in terms of my photography. And they work really nicely together. They complement each other. And when you go out and sing on top of that, at the Opry, I mean, come on! That’s the coolest.”

 

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BGS: What was that experience like for you to walk out there on the Opry stage?

Seliger: Frightening! Absolutely frightening. But what’s really remarkable is the musicianship. We usually are in rehearsals for days to try to get anything near that. And to just be able to hear the song all of a sudden come together within three notes has been incredible. And the room sounds incredible.

I’m curious, what do you consider to be the golden era of country music?

Oh, that’s easy. I mean, I was pretty unfamiliar with country music when I was growing up. I grew up in Houston. And when I went to college in a small state school in Texas — East Texas State University in Commerce — probably around two months into being there, my RA loaned me his Hornet to drive to Dallas to go visit an old girlfriend. And he had the Stardust 8-track in his car. I knew the songs that were really big at that time, but I didn’t know the album. I played that and it was just like the lonesome, the phrasing, the voice… I just connected with that.

Then I started digging deep into Hank Williams. I started digging into Loretta Lynn, and into Tammy Wynette and George Jones, Merle Haggard and Buck Owens, and that whole world. It all started to make sense to me. I fell in love with the double entendres and the stories behind the songs and how there are these twists and turns. That’s what really became evident to me — that songwriting to me was the hero. It gave me a chance to take all the visual information that I had gathered in the years as a photographer, kind of pull from it, and use that in order to be able to tell stories.

When you said you were digging into these artists, how did you do that?

I would make mixtapes so I could hear different artists together, which was really interesting to hear collections of singers coming together. And then, one of the turning points for me was I had heard a Gillian Welch recording kind of in the early days. I started to follow Gillian and Dave, and around 2000, I had met somebody that was involved in their team. And I said, “You know, I’m not asking to be hired for money. I want to just work with him if I have an opportunity.” They put it out there and I met them. I ended up doing a long film for them. I also did the photography for Revelator. So, Gillian, Dave and I really connected the dots.

At that time, I was working on our first record, not knowing it was actually going to be a full album. I had asked people that I had worked with in the photography world, not to sing on it, but just to produce it. And so, after I became pretty close to Dave and Gil, I said, “Hey, I’m working on this record. I know it’s kind of crazy. It’s certainly not my field, but it’s my art form.” And I said, “Would you be interested in producing a song or two?” And they were like, “Sure. We’ll just spend a day doing it.” They booked studio musicians and they did an incredible job producing the two songs. One was called “Civil Wars” and the other one was called “Tangle In the Fence.”

How old were you when you started writing songs?

I turned 40. I was a very late bloomer. I was breaking up with Rolling Stone as their chief photographer. And I had a lull. I was also in kind of a good state to be able to write. I was probably a little bit down in the dumps about moving on. I wasn’t sure about the next move in my career and I found a lot of support in writing. The first record, I had the luxury of being able to take my time, but once I started going, I started to write pretty quickly. But, you know, writing takes me a lot of time. I have to actually sit quietly, take a phrase, start to work it through, figure out what I’m doing on the guitar. I have no idea if it’s gonna stay that way or if it’s gonna move in a different direction. Sometimes I write acapella. It’ll just be me on a tape recorder, humming it through. Probably three or four songs I played for Larry were just straight vocals, before we figured out what the what the instrumentation was going to be.

When you started as a songwriter, how did you get feedback? Did you play your songs for people?

I went to open mics. I started to go out in ’97 or ’98. I remember the first time I went out and sang in public, a buddy of mine who was teaching me guitar introduced me to a band that was playing at the Rodeo Bar in New York. And I sang “Big City” by Merle Haggard. And I got OK accolades. (laughs) I was OK with that! Then I would go out and already have half a song that I could kind of fudge to be a whole song, even though it wasn’t. I would just repeat the same verse. But what I found was a camaraderie and a friendship in musicians that was very dissimilar from the relationships I had in photography. It’s a family and I loved that. The more I played, the more I found that that’s where I wanted to spend my time off. In music. I never really wanted to make it a career, right? I like what I do. So I labeled it like, photography is my wife and music is my mistress.

When did you get interested in guitar?

I took piano lessons when I was a kid. And I continued to play piano all through junior high school and a little bit in high school. And I traded in my Vox mini organ for an Alvarez guitar, which is now signed by pretty much anybody I’ve ever worked with. It was really about learning guitar, fingerpicking, everything from Eagles songs to Cat Stevens. You know, the usual suspects of early guitar playing. I wasn’t a huge Americana fan when I started in that world, but my older brothers turned me on to different phases of Dylan. They turned me on to the Band. They turned me on to things that were heading that direction. But it wasn’t until I started to write songs that I found my voice. I’m not really a guitar player. I accompany myself on guitar in order to sing my songs. My instrument is really my voice, and that’s the thing that I’ve been working on over the years — to be able to learn how to sing properly and to develop a style to where it really feels like what I consider to be Rusty Truck.

 

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When I was listening to this record, I heard the fiddle and banjo on “Ain’t Over Me.” Do you like bluegrass? Do you have any bluegrass influences?

Oh yeah! I think the Blue Sky Boys and a lot of the Louvin Brothers and a lot of the earlier stuff. You know, I actually got to meet Charlie Louvin and photograph him. That was pretty rad. I got to meet Bill Monroe and work with him. You can’t deny the foundation of how bluegrass has influenced everything.

How did you encounter Bill Monroe? What was your assignment?

My assignment in the early to mid ‘90s was to do a country portfolio for Rolling Stone. My buddy who was the creative director, Fred Woodward, pushed Jann Wenner to doing a country portfolio. We pulled together some pretty fantastic people. It was Kitty Wells and Johnny Wright. It was Bill Monroe. Earl Scruggs. Waylon. Willie. George. Tammy. Johnny. Merle. Buck Owens. I almost got to photograph Hank Snow, but he was reluctant. When I tried to kind of push my way into that, he refused us.

But we did come to the Opry. That was my first entrée into the Opry. We went backstage and we set up a little background. Mr. Monroe came out and he had a traditional, kind of tilted hat, a short Stetson, and he was wearing a big Jesus button on his suit. And then he said, “How’re you doing? I’m Bill Monroe.” I shook his hand and he CRUSHED my hand. I literally saw bruises for days.

That was actually a good indicator because then I saw him with his mandolin with a little cord wrapped around his neck. That was his strap, like a piece of rope, which was pretty awesome. And I sat here and I listened to him play and that was the picture where his hands were on his mandolin.

As in journalism, I would imagine you’d spend a lot of time on researching your subject. Tell me a little bit about what your preparation is for a photo shoot.

You want to fall in love with them, right? Regardless of whether you really love whatever they do, you have to take in everything you can to understand why they do what they do. A lot of it is research on the front end where we write down everything about them. I start to plan ideas. It could be something very reductive. It could be something very conceptual. But it is a process of collecting as much information as possible.

And trying to make them comfortable?

Oh, yeah. You have to invite them into an environment where they’re comfortable and then you have to observe them. And the observation is really from more of a conversation like we’re doing, right? I’m sure you can probably write 10 things about me that I just did that you thought were quirky and weird. I think when you’re working with people, just through conversation, you start to understand a lot about who they are. And the more you’re familiar with them, the better conversation you can have. We’re all journalists in that sense. It’s just a visual journal rather than a written word. We’re telling their story through our idea.


Photo Credit (Top of Story): Robby Klein. Photo of Bill Monroe’s hands courtesy of Mark Seliger.

LISTEN: Arkansauce, “My Home in Arkansas”

Artist: Arkansauce
Hometown: Fayetteville, Arkansas
Song: “My Home in Arkansas”
Album: OK to Wonder
Release Date: April 21, 2023

In Their Words: “‘My Home in Arkansas’ is an up-tempo bluegrass number about the lives we live when we hit the road and the tolls we pay to live the traveling musician lifestyle. Maybe it’s because it’s the two things we’ve done the most for the last several years, but I see a lot of parallels between the traveling life and a good jam. Both of them are more fun when there is a sense of adventure and a feeling that you are entering into new terrain, and they both will inevitably contain a breakdown at some point.

“As we were developing this batch of new tunes, several of them became studies on new rhythms and complex instrumental melodies with harmonized lines; things that really stretch our technique. It also became evident that we didn’t have many songs that were delivered in a classic Monroe-inspired bluegrass form, so that was intentionally front and center as I wrote the tune. I knew I wanted an open section that would give us somewhere to take it in our live shows, so we put together our exit strategy from the jam and hit the studio before things coagulated.” — Tom Andersen, Arkansauce

arkansauce · My Home in Arkansas

Photo Credit: Phil Clarkin

Bluegrass Memoirs: Jackson, Kentucky Bluegrass

[Editor’s note: Photos by Carl Fleischhauer]

On Monday August 7, 1972, with fresh memories of Maritimes old-time and bluegrass, I drove from New Brunswick to New England to join my wife and kids, who were house-sitting for my in-laws in Norwich, Vermont. 

On Thursday the 10th I headed south. A fourteen-hour drive brought me to Morgantown, West Virginia, the home of my friend and partner in research, photographer and film-maker Carl Fleischhauer, then employed at West Virginia University. We’d known each other for twelve years. (Our stories are in Bluegrass Odyssey: A Documentary in Pictures and Words, 1966-86 [U of IL Press 2001]). We were about to embark on fieldwork.

During the preceding year, when I began planning for the book Bluegrass: A History, I asked Carl to help me think about photos. In addition to documenting bluegrass festivals and other venues he, with Sandy Rothman, had recently looked for traces of earlier days in a field trip to the old Monroe home in Rosine, Kentucky. Now, we made plans for our own field trip. Carl would take photos. I would make notes and do interviews. 

We spent that Friday in Morgantown looking at Carl’s photos and films and listening to LPs as we prepared for the research. At the end of the evening, my notes say,

Did some picking.

Early Saturday morning we piled in my new Toyota with our gear (cameras, tape recorder, axes, tent, sleeping bags) and headed southwest, crossing into Kentucky from Huntington, WV and snaking down through the mountains to Jackson, the seat of Breathitt County. Three hundred miles; we arrived around 2 o’clock.

There we headed just outside of town for Bill Monroe’s Second Annual Kentucky Blue Grass Festival. When I went to Canada in 1968, Bill Monroe had one festival a year at Bean Blossom in Indiana. Now he was running a bunch in other states, as were other artists. Festivals were the big news in bluegrass music in 1972. We sought to document the bluegrass festival experience.

Later others would write about this, like Bob Artis (“An Endless Festival” in Bluegrass [1975]) and Robert Owen Gardner (The Portable Community [2021]). Here’s how my notes from Jackson begin:

West of town on main hwy, down short steep road. Paid camping & Sat. fees, never did pay for Sunday. Parked & walked down to the stage area — tent set up, natural amphitheatre, uncovered stage, bad sound. Lots of cops around on Saturday.

Made contact with Pete & Marion Kuykendall, and agreed to move in next to them to camp. Set up tent, attempted to speak to Monroe but he was busy coping with the Goins Bros. problem of being hassled by the cops for drinking. Later Kuykendall said that cops had asked Monroe for $ (3 or 6 hundred) and he had refused to pay off so they were taking it out in fines. Lots of racing around on Sat. with flashing lights et al, but they stayed away on Sunday.

Listened then to IT’S A CRYING TIME, hot & exciting Japanese bluegrass band. Then back to Kuykendall’s bus/home whatall. Thunderstorm; discovery that cassette recorder didn’t work on batteries because plug distorts switch; got it running eventually. Oldest Kuykendall girl Sam/Ginger comes in with bass player of above-mentioned Japanese band, then leaves. Kuykendalls are a bit worried about this but Carl & I both notice later that a number of young girls (McLain girls, for example) are hanging around, with this group.

Dinner with Kuykendalls. Frank & Marty Godbey come in and are around for the rest of the evening. Mostly we sit & talk, though I went down to the amphitheatre to catch Jim & Jesse and the Japanese bands. Came back, then returned to catch Monroe. Afterwards listened to picking group in tent near us. Did mainly Emerson & Waldron, Newgrass Revival, Bluegrass Alliance, Gentlemen, etc. Chromatic banjo. Noisy night in Carl’s tent, as sessions went on late and busses started early. I got a spider bite.

Bill Monroe (center) and the Blue Grass Boys at the Second Annual Kentucky Bluegrass Festival, Jackson KY, Saturday, August 12, 1972. Bandmembers include Monroe Fields, bass; Jack Hicks, banjo; Joe Stuart, guitar (hidden); Monroe, mandolin; and Kenny Baker, fiddle.

I’d known the Kuykendalls since 1966. Pete, a 1996 inductee to the Bluegrass Hall of Fame, was a musician, record collector, producer, publisher, and, since 1970 owner-editor of the first and leading bluegrass monthly Bluegrass Unlimited.

Pete Kuykendall, editor of Bluegrass Unlimited, in his RV parked in the camping area at the Second Annual Kentucky Bluegrass Festival, Jackson KY, Saturday August 12, 1972.

Pete and I had already been corresponding about bluegrass history when we met on Labor Day weekend 1966 at the second Roanoke Bluegrass Festival. Subsequently, I visited the Kuykendalls in Virginia where Pete encouraged me to write for the then all-volunteer magazine he would later own. I began with a review of the festival, published the following January — the first of eight articles I did for BU in 1967.

Photo made by Pete Kuykendall’s son Billy with one of Carl Fleischhauer’s cameras. Carl is seated at left with two other cameras on the table. This photo was made at the time of Neil Rosenberg’s (top of head above stove) interview of Pete Kuykendall, editor of Bluegrass Unlimited, in his RV at the Second Annual Kentucky Bluegrass Festival, Jackson KY, Saturday, August 12, 1972. In the background, at left, is Pete’s wife and Bluegrass Unlimited co-manager Marion Kuykendall.

By 1970 Pete and Marion were running BU full-time; I’d done an article for them earlier in 1972 (eventually I would write a monthly column) so we had been in touch recently by mail and phone. Conversations with Pete were never brief! He loved to share the business scuttlebutt and he had plenty since they were selling the magazine at festivals every weekend and had just launched BU’s own annual festival. 

I think this may have been the first time I met the Godbeys. From Lexington, and before that, Columbus, Ohio, they had been following the bluegrass scene for a decade. Frank is a musician who is still performing these days. By 1972 he and Marty had begun writing and publishing photos in BU. For them, as for me, hanging out with the Kuykendalls was a good way to keep up on the bluegrass news. People were already talking about starting an industry association, though that — the IBMA — wouldn’t happen until 1986. Pete was one of its founders.

Neil Rosenberg (facing camera) interviewing Pete Kuykendall, editor of Bluegrass Unlimited, in his RV parked in the camping area at the Second Annual Kentucky Bluegrass Festival, Jackson KY, Saturday, August 12, 1972. In the background, with an air rifle, is Pete’s son Billy Kuykendall.

With the growth of the festivals came clubs, newsletters, and magazines. Bluegrass enthusiasts (many of them musicians) followed their favorites to festivals and other venues. Paths crossed; networks grew. The politics of bands was a favorite discussion topic.

Over the course of the festival, I made note of gossip about the always changing bands. Ricky Skaggs had just left Ralph Stanley — there were rumors about where he was headed next. Was Bill working to get Ralph Stanley on the Opry? Some thought so. The II Generation was said to be splitting up. Stories were told of bluegrass festival camp followers. 

At this Jackson, Kentucky festival were a bunch of bands that had been appearing at Bill Monroe’s other 1972 festivals — Monroe, Jim & Jesse, Flatt, Reno & Harrell, the Goins, Ralph Stanley — mature musicians who’d been working with this music for a substantial period of time and who stuck close to the early models of which they were, often, the authors. Classic bluegrass, one could say. 

What the audience didn’t hear was the kind of stuff we’d heard from the jammers late Saturday night, like “One Tin Soldier,” The Bluegrass Alliance’s cover of a song popularized in the film Billy Jack. Their bluegrass version, with Sam Bush’s lead voice and Tony Rice’s harmonies and guitar work, was a hit, a big step on the road to newgrass.

The Japanese bands were new to the scene. Japanese bluegrass began in the early sixties. In 1971, Bluegrass 45 came from Kobe, Japan, with the sponsorship of their label, Rebel, to tour U.S. bluegrass festivals. They made a big hit at Monroe’s Bean Blossom festival with their showmanship and musical savvy. This year they were back, along with another Japanese outfit, It’s A Crying Time.

Visiting from Japan, the band It’s a Crying Time performs at the Second Annual Kentucky Bluegrass Festival, Jackson KY, Saturday, August 12, 1972. Band members include Eiichi “Ei’ Shimizu, banjo; Kazuyoshi “Kazu” Onishi, mandolin; Satoshi “Sato” Yamaguchi, guitar; Akira “May” Katsumi, bass.

Monroe had booked the Japanese bands as a novelty, something you couldn’t see just anywhere in the bluegrass world. As I mentioned in my field notes, I found It’s A Crying Time’s music “hot & exciting,” and I was not the only one in the audience reacting this way. They came to the attention of Lester Flatt, who, after watching them rehearse, invited mandolinist Kazu Onishi to join him on stage at his final set. 

Backstage moment at the Second Annual Kentucky Bluegrass Festival, Jackson KY, Saturday, August 12, 1972. Akira Katsumi, Kazu Onishi,
Lester Flatt, and Akira Otsuka. Otsuka was Kazu’s friend from the Japanese scene, a member of the Bluegrass 45.

This video comes from the Bluegrass 45’s appearance at Carlton Haney’s Camp Springs festival:

They are announced at the beginning of the video by emcee, writer, and DJ Bill Vernon. Vernon was here at Jackson, as I learned Sunday morning when I went down to the early morning gospel show. Pete Kuykendall introduced me to Bill there, and we had a long chat about the politics of the bluegrass industry. I wrote in my notes:

A very loquacious and complex person.

At that morning’s gospel show, the music came to a stop as a fundamentalist preacher began his sermon. At that point, I noted:

Bill Vernon cut out from the morning sermon, he’d had enough…

During the preacher’s sermon at the gospel program at the Second Annual Kentucky Bluegrass Festival, Jackson KY, Sunday, August 13, 1972. Bill Monroe (wearing a black suit) is seated in the audience area at left.

I stayed and heard some good music, noting:

The gospel section’s high point was when the Goins Bros. did “Somebody Touched Me” and Eleanor Parker came on stage & started clapping hands and singing; Monroe caught on and came up to join in too.

During the gospel program at the Second Annual Kentucky Bluegrass Festival, Jackson KY, Sunday, August 13, 1972. When the Goins Brothers band performed “Somebody Touched Me,” they were joined on stage by Eleanor and Rex Parker and Bill Monroe. Eleanor and Bill joined the Goins trio at the main microphone while Rex sang and played mandolin at the “stage right” microphone.

This kind of spontaneity, which gave festivals their appeal, was not there all the time. Jim & Jesse, I wrote, had:

A good show, with Jim Brock sounding especially good, but … a cut and dried quality to it all.

Describing Lester Flatt and his Nashville Grass, I concluded:

To me the whole band sounded tired, lackluster.

But Flatt’s final set was enlivened when It’s A Crying Time mandolinist and tenor Kazu Onishi came on stage to sing “Salty Dog Blues” with him. 

During my times around the stage area, I had a chance to talk with Monroe and with some of the musicians I’d gotten to know during my years as a backstage regular at Bean Blossom, like Birch Monroe, Joe Stuart, and Roland White.

I arranged with Birch, who was busy helping Bill run the festival, for an interview, to take place later in the week at his home in Martinsville, Indiana.

Joe Stuart offstage at the Second Annual Kentucky Bluegrass Festival, Jackson KY, Saturday, August 12, 1972.

Joe told me about his experiences playing bluegrass in Canada with Charlie Bailey. He’d even appeared in Newfoundland.

Roland, whom I’d known since his days as a Blue Grass Boy, was now playing with Lester Flatt. He told me they were working solid, playing festivals every weekend.

Here’s what I wrote about the audience:

Audience — bluegrass die-hards from Ohio, Ky., D.C., Carolinas. Few freaks. Appear to be about 50% campers, 50% local people. Certainly no more than 1500-2000, on Saturday, though figure of 3000 was bandied about. Bill moved his Ky festival to Jackson from Ashland this year because the turnout at Ashland was dropping. Fact, bluegrass ain’t as popular in Kentucky as it is elsewhere — Ohio, D.C.

Audience on the hillside natural amphitheater at the Second Annual Kentucky Bluegrass Festival, Jackson KY, Saturday, August 12, 1972.

The festival closed with a finale, orchestrated by Monroe. At the first festivals in the mid-60s, which were created to honor Monroe, such events were somewhat spontaneous, but by now, seven years after the first one, these events were highly ritualistic. By the time it happened, I noticed that the Kuykendalls had left. They were not the only ones.

The finale performance at the Second Annual Kentucky Bluegrass Festival, Jackson KY, Sunday, August 13, 1972. At the center, in white suits, are Bill Monroe and Lester Flatt. Here are a few of the other performers, left to right: Curly Ray Cline (on the ramp), Melvin Goins (guitar, facing camera), Kenny Baker (fiddle, white hat, wearing a suit), Joe Stuart (just behind Baker, partly hidden), Buck Ryan (fiddle, white belt), Jack Hicks (banjo, white hat, wearing suit), Paul Warren (fiddle, white hat, at microphone), Vic Jordan (banjo, facing forward), Ralph Stanley (banjo, dark suit, hidden behind McCormick), Haskell McCormick (banjo, in profile), Monroe and Flatt with Don Reno (wearing white) partly hidden behind them, Raymond W. McLain and sister Alice McLain (hidden behind Flatt), Jesse McReynolds (mandolin, wearing striped jacket), Ruth McLain (bass, behind McReynolds), Raymond K. McLain (guitar, no hat), Roland White (mandolin, white hat), Rex Parker (mandolin, striped shirt), and Monroe Fields (leaning on van).

We packed up soon after and headed west for Lexington. I was hoping to interview J.D. Crowe.

[To be continued]


Thanks to Akira Otsuka and Carl Fleischhauer

Rosenberg is an author, scholar, historian, banjo player, Bluegrass Music Hall of Fame inductee, and co-chair of the IBMA Foundation’s Arnold Shultz Fund.

Photo of Neil V. Rosenberg by Terri Thomson Rosenberg.

Edited by Justin Hiltner

Peter Rowan Shares a Timeless Lesson He Learned From Bill Monroe (Part 2 of 2)

Born on July 4, 1942, it seems rather poignant that this musical ambassador of freedom and exploration came into this world on Independence Day. First emerging onto the national scene in the early 1960s as a member of Bill Monroe’s Bluegrass Boys, Rowan was a young buck — a “green horn,” as he’d say — who found himself alongside the “Father of Bluegrass,” singing lead and playing rhythm guitar.

And though Rowan and Monroe were very different people from equally different backgrounds, there was a deep, mutual love and respect for the sacred art form that is music — either learned, recorded or performed live — where lessons and anecdotes spun by Monroe decades ago have remained written on the walls of Rowan’s memory and throughout his extensive melodic travels.

The second half of our conversation hovers about the road to the here and now, about nothing and everything, and anything in-between, which is just how Rowan has always carried himself, that signature glint of mischief in his eyes radiating hardscrabble sentiments of a life well-lived.

Editor’s Note: Read the first half of our interview with BGS Artist of the Month, Peter Rowan.

When you think about getting older, what are your reflections on your relationship with Bill Monroe — as a musician and as a mentor to you?

Rowan: I’m just taking what he was doing a little further — that’s all. He said, “Pete, don’t go too far out on the limb, there’s enough flowers out there already.” He saw me coming. And his mentorship is just something that’s part of me.

Which you’ve parlayed into mentoring other people.

Yeah, I’m at that point. I remember what Josh White and John Lee said to me as I nervously presented my playing to them — “take your time, take your time.” The bluegrass guys, [fiddlers] like Tex Logan and Kenny Baker, were the touchstone of bluegrass at the time. Any jam session was led by the fiddlers, and then you’d throw a few songs in. But it was the fiddlers — Buddy Spicher, Richard Greene, Kenny Baker, Tex Logan, Vassar Clements. It could be five fiddlers and they’d all play that tune. That’s what the jam was, it was playing fiddle tunes. It wasn’t like, “Okay, you take a chorus and just play.” You stayed within the structure.

By the way, this whole idea of jamming, there’s always that element in the jam where you go to sort of an unknown place. There’s a real artless art to that. And I’m not sure the bluegrass folks are going there, because most of their instruments are short duration notes. It’s not like a saxophone where you take a breath and just blow for eight bars. But, I have to say the fiddle player for the Steep Canyon Rangers, [Nicky Sanders], he’s taken it up [a notch] — he’s paid attention to Vassar.

When you look at all of the musicians you came up with in the 1960s, there’s not a lot of them left right now.

It’s me and Del [McCoury].

That’s about it. And maybe Bobby Osborne.

Bobby is still alive, and I’m so glad I got to record with him a few years ago for Compass [Records]. And there’s David Grisman.

In terms of touring, you and Del are the ones that are always out there, onstage and on the road.

Yeah. Well, I think it’s part of the gift of being able to indulge in the thing that gives you the power to sing. You can have a lot of afflictions. But if you can sing, you can overcome. The weight of age. For instance, I saw Del last summer. We played out in Colorado, and there’s this picture of us — we look like we’re 10 years old. Just laughing and smiling, well, because it is a joy.

Both of you have never lost that childlike wonder of creation and discovery. You’ve always retained it.

Yeah. But people who want to say Del is upholding the tradition? Yes — stylistically, musically — he is. But he’s doing Richard Thompson songs. Del’s not close-minded.

You’ve always had this core of tradition, but you’re never shied away from jumping the fence into other genres.

And I’ve been criticized for it. Going to Jamaica and recording reggae with bluegrass songs. Going to Texas and recording with the great Flaco Jimenez. Come on, these are masters of our world — how could anybody in their right mind not do what I did? Bluegrass Unlimited once referred to me as a “schizophrenic musician,” like it’s a mental thing, where “he’s gone off the deep end.” [Laughs]

The criticism you faced is like what Billy Strings is facing today, and what Sam Bush faced in the 1970s. It seems every 20 years or so, the critics always say the sky is falling in the world of bluegrass. But it never does. It remains.

I think that goes back to Bill Monroe. He said this [to me], “If you can play my music, you can play any music.” That goes for Billy [Strings], too. And [Bill] saw it, where maybe I didn’t see myself as that. [Growing up], I had my little rockabilly band The Cupids, and I learned some Lead Belly tunes, trying to learn Lightnin’ [Hopkins] tunes. And here’s Bill Monroe, and it’s perfect. There’s harmony. It’s hard-driving. There’s acoustic guitars. It’s got everything I wanted.

You’ve had this incredible life — traveling the world, meeting people, collaborating onstage and off with all these musicians — what has the culmination of all of those experiences thus far taught you about what it means to be a human being?

Well, you know, all of these players were always the ones that didn’t have any prejudices. You sit down with Lightnin’ Hopkins and he doesn’t care. He’s not like, “Oh, white boy wants to steal my music.” These guys were musicians, and they weren’t just your average person.

I lived in the South long enough to have tremendous respect for the amount of heart that the Black people down in the South had. People who lived through the hard times and were glad to be driving a cab to get you to the airport, [where] you shake hands with that man — his hand is warm, just warm love and compassion in that hand. During those years — the 1960s — when it was still segregated in the South, it was weird, this thing of love and theft.

I was with the Bluegrass Boys and I remember one night we played the Guthrie Theater in Minneapolis. Mance Lipscomb was on the bill. He came back and we’re all sitting around the dressing room. I asked Bill and Mance if they would play together. You might see [something like] that at Newport [Folk Festival], maybe. But mostly it was segregated into different musical styles [at that time] — Cajun, blues, bluegrass. I said, “Would you guys play?” And they didn’t know what to play. Bill goes, “What do you want us to play?” Bill didn’t know what to play. He didn’t know the starter blues. And Bill just started playing, and Mance played along, too. But it wasn’t this moment that I had imagined, like this intergalactic grandeur, you know what I mean?

[Bill and Mance] were really specialized in their own world. Mance Lipscomb, his music was complete, his version of the blues. Bill Monroe’s music was complete, his version. But [Bill] would talk about his “other music.” He’d say, “It wouldn’t have a dobro, but it might have a slide guitar.” I’d say, “And a mandolin?” He’d say, “Maybe not a mandolin, but maybe one of them little guitars.” [I’d say], “Like a what? A ukulele?” I think his “other music” was the mellifluous laidback music of a Hawaiian feel. Slow. Because bluegrass was all about keeping it up, playing for farmers who were exhausted, folks that had been up since 4:30 in the morning, go to a little schoolhouse and see Bill Monroe. He said he wanted to give them something that would raise their spirits.

And the world changed while Bill was alive. Typically, he would steer away from anything that compromised him. He began to understand that his position was not that of a star so much as [he was] a progenitor of musical tradition. He took from many different things — blues, gospel, Celtic. And he alone had figured out a way to put it all out there, soon to be copied by many, many others. And the talent of those others were helping him develop his style — Earl Scruggs, Lester Flatt, Don Reno, all those folks.

(Rowan pauses for several seconds, seemingly lost in thought at the initial question posed.) What are you thinking right now?

Well, I’m not really thinking very much. [Laughs]. But I want to make sure that we’ve covered some of the things that you’re asking.

Well, you’ve lived the life of an artist. What is that life of an artist, and why is it that was the path you ultimately chose?

Okay, this is the connection now. When I was four years old [in 1946], my Uncle Jimmy came back from the Navy. He’d been in the South Pacific [during World War II] and he brought back grass skirts and coconut bras, all this tourist stuff because he’d been stationed in Honolulu, Hawai’i. I remember the first musical experience I had was Uncle Jimmy dancing around our living room [in Massachusetts] in his skivvies with his sailor hat on playing the ukulele and singing “My Little Grass Shack in Kealakekua, Hawai’i.”

I guess that just seemed like such a happy thing, you know? That was so different from what was the norm. After World War II, they were all celebrating. But Uncle Jimmy was saying, “Hubba, hubba, ding, ding,” all these strange things. Well, [later in life], I went to Hawai’i and traced Uncle Jimmy’s footsteps. I found out he [used to hangout] at this hula bar called Hubba Hubba. He had absorbed what he could — during the middle of World War II — some of that inspiration from the Hawaiian aloha spirit.

And that’s in you. I know that’s in you, too.

Yeah. So, when Bill Monroe was talking about his “other music,” I think he was talking about Hawaiian music. Because his song, “Kentucky Waltz”? The melody of that song was recorded in 1915 in Honolulu by John Kameaaloha Almeida, this Portuguese-Hawaiian orphan, who was adopted and raised by a Hawaiian family. He had a really strong band. A lot of the younger singers of the 20th century went through his band as featured singers, and he had three girls singing harmony. So, when Bill Monroe had a hit with “Kentucky Waltz,” he was singing a melody that came from Hawai’i, probably a classically derived melody. There’s this strange sort of admixture of technique and heart, you know? And that’s always been my path.

I feel like, maybe subconsciously, that memory you have of your uncle is what you’ve been chasing after your whole life.

I think I’ve been wanting that coconut bra and grass skirt again, man. [Laughs].


Photo Credit: Amanda Rowan