BLUEGRASS HISTORY A Synopsis by J Pendergrass

I'm indebted to Neil Rosenburg and his excellent work "BLUEGRASS - A HISTORY", from which much of this synopsis is based. Other sources are my own experience, old magazine articles, and the memories of friends and family. This is not suppose to be, nor did I attempt to make this, a complete history of Bluegrass music. There may be enough info here however, to satisfy the idly curious. I hope, therefore, that it will be of some value to someone.

It may be beneficial to start with some of the attributes that have traditionally been associated with Bluegrass music. Bluegrass has always been played on acoustic instruments, not by design originally, but by historical circumstance. Electric instruments hadn't arrived at that point in history and "acoustic" was the only game in town. However, the microphone and accompanying technology had arrived and played a timely but unaccredited role in the shaping of the sound of the genre. A tradition was created and became so entrenched, that to suggest the use of an electric instrument could be easily construed as a "mortal sin." Ricky Skaggs once told this revealing joke, "How many Bluegrass musicians does it take to change a light bulb? One, and three to complain because it's electric." The typical Bluegrass band could include these instruments: banjo (5-string), guitar (flat-top), fiddle, mandolin, dobro, and bass. Early Bluegrass saw the occasional use of other instruments such as: spoons, bones, washboards, harmonica, and Bill Monroe had even included the accordion at one time. But the rigid characteristics of the Bluegrass genre usually limit the number to the traditional six instruments.

One obvious trait of Bluegrass music can be described as "high energy". It's fast tempo moves, as I usually refer to it, at about the "speed of light." There seems to be, at least in my experience, something in Bluegrass music that causes one to continually "push the envelope." (At "our" Sunday evening jam sessions we even tend to punch the "slow ones" up faster than normal. Must be adrenalin!) The tempo during solos, though not dramatically noticed by the untrained ear, tends to surge or accelerate somewhat. Especially during the banjo solos. Also, the beat carried by each instrument tends to create some tension between them. The only legitimate rhythm instrument in Bluegrass is the guitar, though the bass accentuates the same beat. Both of these instruments carry the downbeat and set a solid platform upon which the music and other instruments build. And it's not unusual to use more than one guitar so that a solid rhythm continues during the other's solo. Generally, if the other instruments are not soloing or playing background, they carry the offbeat. The "chunk" or "chop," as it's called, is used on the offbeat and creates a kind of confused tension. I've observed the difficulty that uninitiated guitar players have with this. Not to mention the continual drone of the banjo's G-5 string. Actually, the "chopping" sound, created by these instruments, conveniently substitute for drums.

Further investigation reveals another Bluegrass attribute quite different from other musical styles. The tradition of "passing a break". If the song permits, everyone with an instrument capable of soloing, takes a turn. This is, "a clear stylistic departure from the Old-Time southeastern string band music from which Bluegrass developed." And at informal jams, everyone gets a turn whether the song precludes it or not. It's common to "split a break" in those cases. From youngster to old-timer, no matter the expertise, "if ya wanna try it, we'll pass ya the break." Another trait, and one that at first can be irritating to some, is the unusual way in which singing parts are voiced. Unlike country, singing tends to be high pitched. A legacy directly related to the singing style of Bill Monroe, and came to be known as that "high lonesome sound." Harmony is never sung in unison. Depending on the type of harmony, it's always above or below the lead singer.

"Bluegrass" is a term that arose from the name of (Grand Old Opry star) Bill Monroe's band the "Blue Grass Boys." However, if one were to ask, "what is Bluegrass music", the answer may be harder to define than at first thought. Many events, circumstances, and the particular era in which it was spawned, all influenced the creation of the "sound" of Bluegrass music. As well did the people who were the sires of its evolution. Bluegrass music had its start in the rural south after World War two. It was basically a fusion of "hillbilly", "folk" and various types of "country" that were popular with the farm families and blue-collar workers. Just, "plain folk". But one dare not ignore the impact, however weighty, that the musical heritage of immigrants played in its birth. After all, this is an immigrant nation. And musical nuances of many nationalities has influenced all of american music.

The term "Bluegrass" wasn't used (or even thought of) until much later in the development of this genre. In fact, it probably isn't correct to refer to the music of the 1920's and '30's era as an authentic genre. Regional and family preferences caused noticeable differences in the music. Enough, at least, that it was called by various names. Most professional musicians, however, didn't like the term "hillbilly" music. And later referred to it as "Old Time Country" or "Country." (As a small boy, I can remember my Mother referring to it as "Mountain Music.") Because no form of musical reproduction was commonly possessed by the rural folks, musical entertainment was "roll yer own." Most everyone knew of someone who played an instrument and not uncommon were whole families that played. (As was the case on my Mothers side of the family.) And they shared that entertainment by playing at get-togethers, church picnics, and barn dances. The influence of the musical heritage of immigrants was more noticeable during this early stage. Many fiddle tunes were played just as they had been played in the "old country". But mostly the music was an amalgam of homeland, gospel, popular, and folk.

Songs contained subject material that was centered around things important to the people, and they were, in most respect, religious; "church goin' folk. Gospel music, confirmed by the practice of performing at least one gospel song per session, was very important in the development of the genre. And that tradition is, for the most part, still alive today. Secular songs tended to be sentimental and center around love, home, and family, albeit quite morbid and violent at times. The structure of the music during the '20's and '30's wasn't as rigid or as strict as it became later during the 1940's and '50's. Audiences were, of circumstance, mostly spectators. The fast tempo didn't (and still doesn't) lend itself to dancing. Professional performers would, therefore, put on shows. They did skits, jokes, and some "horsin' around" along with the music. Good examples are the early TV hillbilly comedians such as "Stringbean", "Grandpa Jones", "Homer and Jethro", etc. Sometimes they were able to get on the radio for a few minutes which helped make them known. Though an affront, some played the streets for whatever could be collected from passers-by. This was common for blind musicians, but frowned upon if done by the able-bodied. By the mid-thirties, young recording companies such as Decca or Bluebird were hiring some of the better known performers.

Bill (William Smith) Monroe was born near Rosine, Kentucky on September 13, 1911, the youngest to be born into a typical farm family. Most of the family members played an instrument, and, like many rural families, made their own music. At about 8 years old he was designated to be the family mandolinist. Like many musicians that proceeded him, he learned to sing and harmonize through church affiliation. Several years after his Mother's death (Bill was about 10 when she died) he began playing guitar in public for his Uncle Pen. He credited his Uncle as the person from whom he had learned to play. Bill's tune "Uncle Pen" was a result of that experience.

Bill began his career playing hillbilly (Old Time) music with his brother Charlie in the early '30's. During this period the "Monroe Brothers", Charlie, Birch, and Bill played various places in the Chicago Midwest. "Big Bill" began developing his style of mandolin at this time, and became well known in the Piedmont and Appalachian area of the Carolina's in the latter 1930's. In 1934 the Monroe Brothers, Bill and Charlie, became full-time musicians with KFNF in Shenandoah, Iowa. Later joined by Byron Parker, they made their first recording in 1936 with Victor Records. In 1937 Byron left the band, then Bill and Charlie went their separate ways in 1938. Never-the-less, their impact upon Old Time music was very influential.

Bill went on to perform on his own and after hiring Cleo Davis as guitarist, played as a duet for awhile. Upon the addition of Art Wooten on fiddle and comedian Tommy Millard (who played spoons and jug), the moniker "Bill Monroe and his Blue Grass Boys" was born. The name of the band was in honor of the Blue Grass state of Kentucky, Bill's home. Later, Bass player Amos Garen took Tommy Millard's place and they did work as the "Bluegrass Quartet" until 1939 when Bill decided to try The Grand Old Opry.

Bill and the Boys took the "Opry" by storm. In fact, Bill was told by Opry representatives Judge Hay and David Stone, "if you ever leave the Opry, it'll be because you've fired yourself." The first song they played at the audition, and subsequently became a popular central piece, was Mule Skinner Blues. "The style and drive that Bill added to Mule Skinner Blues became his hallmark and the standard for subsequent songs and Bluegrass Music in general." If you'll listen to some of Bill's recordings you'll note that he also played in non-standard keys, B, B flat, etc. That added to his special sound but is (trust me) more difficult to play. Sometime later they began tuning their instruments a half note above standard and used that tuning for many successive years. Whenever they performed, Bill and his Blue Grass Boys added an air of dignity in both dress and action. They didn't want to look like or be called "hillbillies", a word Bill Detested. "Dignity" is what Bill emulated all his life.

He formed a new (Blue Grass Boys) band with Clyde Moody playing guitar, Tommy Magness on fiddle, Willie Westbrooks on bass, and in 1940 made his first recording for victor on the Bluebird label. As you might expect, Mule Skinner Blues lead the song list. Lester Flatt joined Bill in early 1945. Lester's style (using a thumb and finger pick) was somewhat like that of Charlie Monroe or Clyde Moody, except Lester used more bass runs. Most every picker knows the "Lester Flatt G run" that he used at the end of every vocal. The fast tempo that Bill maintained caused Lester to "catch-up", and he used the run to come out in time with the others. Later in '45 Bill hired Earl Scruggs to replace interim performer, "Stringbean". Lester wasn't very enthused about the deal, but after hearing Scruggs, wanted him at any cost. Earl played like no other banjoist. Although others had used the 3 finger style, Earl took it to unheard-of heights. He became a star practically overnight. By this time the band was made up of Bill, Lester, Earl; comic, Cedric Rainwater, and fiddler, Chubby Wise.

The band fell apart in 1948 with Chubby leaving first. Lester and Earl then left to make it on their own. Whatever their reason for leaving, (there's been many stories) it caused Bill many years of animosity toward them. Bill put together a new band with Don Reno replacing Earl, Jack Phelps taking Lester's place, Benny Martin had replaced Chubby, and Joel Price took Rainwater's position. Joining Lester Flatt and Earl Scruggs, were, Jim Shumate on fiddle and Mac Wiseman guitarist and singer. They called the group Lester Flatt, Earl Scruggs and the Foggy Mountain Boys.

By 1948 "Bluegrass" was a genuine genre and was solidified during the "Golden Years" of the fifties. The term "Bluegrass" was first used in print during this period. "Bluegrass" as a descriptive stuck with a vengeance and fans used it often. There were a multitude of other musicians and performers thru the years, who did as much for the evolution of Bluegrass as those cited here. I won't name even one. To do so without naming them all would somehow be an injustice. These unnamed artists continued to work and perform in a not-so lucrative genre out of love for the music. To those folks I say, "hats off to you", I hope we can do you justice by keeping the tradition alive.