#bill monroe

[coltonwbrown]

Bill Monroe’s hands photographed by Mark Seliger

Source

[cosmogyros]

I'm an invalid and I was already productive today (went to the gynecologist and was informed that all my lady parts are in flawless condition) so now I'm doing absolutely nothing except lying on the sofa listening to vintage bluegrass all evening

[rockincountryblues]

Bill Monroe

[krispyweiss]

The Travelin’ McCourys at Woodlands Tavern, Columbus, Ohio, Aug. 1, 2024

When the Travelin’ McCourys wrapped their first set with the one-two-three punch of Nick Lowe’s “I Live on a Battlefield,” the Del McCoury Band’s “Baltimore Johnny” and the Eagles’ arrangement of “Midnight Flyer,” it seemed as if Woodlands Tavern might lift off the ground.

The tiny venue was super-charged with energy after an hourlong opening salvo that found the band previewing a forthcoming LP (the Waterboys’ balladic “Whole of the Moon”), playing old standards (the raucous, Ohio-centric “Highway 52”) and generally pushing bluegrass into the first quarter of the 21st century with respect and pure joy.

The quintet solidified the latter concept by splicing the chorus of “Long Black Veil” into Bruce Hornsby’s “White Wheeled Limousine,” which opened the band’s second set on Aug. 1, a date that happened to coincide with the 82nd anniversary of Jerry Garcia’s birth.

This was not lost on mandolinist and nominal bandleader Ronnie McCoury, who introduced “Cumberland Blues” by telling the story of when he, his banjo-playing bandmate-slash brother, Rob, and father, Del, sold Garcia some banjos backstage during the Grateful Dead’s 1991 run in Landover, Md. Garcia then told Del McCoury he’d seem him perform in 1963 with Bill Monroe and considered Del a hero.

“And I thought, ‘Dad is cool,’” Ronnie said as the band - which also includes guitarist Cody Kilby, bassist Alan Bartram and fiddler Jason Carter - went on to play “Cumberland Blues,” “Brown-Eyed Women;” “Deal,” with Ronnie McCoury on electric, four-string mando; and “Scarlet Begonias” in celebration of the Dead and Garcia.

While Ronnie McCoury, who looks and sounds much like Pops, Bartram and Carter are the main vocalists, Kilby got a turn at the mic on “Blue Letters,” one of a handful of tunes slated for the in-progress McCourys LP that featured on this evening. And Rob McCoury, sipping from a can of Miller Lite suds, led the group through a playful rendition of Tom T. Hall’s “I Like Beer” before the aforementioned “Scarlet” finale.

Two-, three- and four-part harmonies peppered such tracks “Runaway Train,” Paul Simon’s “50 Ways to Leave Your Lover” and “Let Her Go.” The band members were all smiles as they shared inside jokes that Bartram said can’t be revealed to the audience and played with dime-stop precision and such frenzy that Carter was oftentimes pulling loose fibers from his bow after sawing so hard the rosin flew off his fiddle and into the spotlights.

But there was one public joke when Bartram recalled the 2016 Woodlands show where a solo and unknown Billy Strings shared - and burned up - the Woodlands stage with the McCourys.

“Who?,” Ronnie McCoury retorted. And everyone guffawed.

And so it went for two hours, 20 minutes inside the venue that is almost a second home to the band. Columbus denizens are no doubt already eagerly awaiting the next gig.

Grade card: The Travelin’ McCourys at Woodlands Tavern - 8/1/24 - A

See more photos on Sound Bites’ Facebook page.

8/2/24

[vespervinyl]

Bill Monroe & His Blue Grass Boys - The Great Bill Monroe And His Blue Grass Boys - 1961

[sinceileftyoublog]

Billy Strings Live Show Review: 5/24, Allstate Arena, Rosemont

From left to right: Jarrod Walker, Royal Masat, Billy Strings, Billy Failing, Alex Hargreaves

BY JORDAN MAINZER

I would have been shocked to see the Allstate Arena full for some traditional bluegrass music. I wasn't surprised one lick to see it packed to the brim for Billy Strings. The prodigious guitar player competes in the bluegrass category at the Grammys--perhaps an American Roots nod here or a Country nod there, depending on the song and whether he's collaborating with anybody--but his brand of old-time string music is something more progressive and modern than what you associate with bluegrass. Not to say he doesn't have chops: If there was every anybody raised to appreciated music of the Appalachians, it's Strings, whose mother married amateur bluegrass musician Terry Barber when Strings was two years old. It was Barber who showed strings the likes of Bill Monroe and Doc Watson. Yet, it was Strings himself, a child of the early Internet age, who discovered rock and metal. Though his recorded music isn't loud, and his live performances aren't necessarily heavy, they exude the raw spirit of bluegrass, the virtuosity of rock and roll, and the jaw-dropping skill of both.

Walker, Masat, Strings, Failing, & Hargreaves

Having never seen Strings before, I didn't know what to expect last Friday at Allstate Arena. Walking in and scanning the tie dye-laden fans, it was clear he had a diehard following with a definite overlap with jam band culture. When he and his band took the stage (mandolinist Jarrod Walker, bassist Royal Masat, banjoist Billy Failing, fiddler Alex Hargreaves), I immediately understood why. Their performance of "Fire Line", a standout cut from 2017's Turmoil & Tinfoil, started out expected enough, Strings' breathtaking picking leading the way, but quickly gave way to something almost resembling improvisational jazz, with fiddle solos and guitar plucks sprinkled between the rhythms. Strings then put his complex pedal board to work to make his acoustic guitar distort like an electric guitar, a clear distinction from earlier in the song where he made it sound like, well, a banjo. That is, this was more Pink Floyd than Earl Scruggs.

Walker, Masat, Strings, Failing, & Hargreaves

And in the same way a few of the non-aggressive electronic music heads have embraced the loose ends of the Grateful Dead and Phish, I could see why they, too, might appreciate a Billy Strings concert. The way Strings intertwines traditional tunes and covers within his original material, often segueing between songs, is akin to a DJ set. During "Long Forgotten Dream", a highlight from Strings' 2019 breakout album Home, at one point, after a long period of ambiance with Strings' subtle guitars wincing above the mostly quiet band, the song's main refrain returned to flashing rainbow lights, the crowd going nuts like the beat had just dropped. Of course, Strings and his band are much more fun to watch than a DJ: Call me crazy, but at one point during a cover of Failing's "So Many Miles", he was picking so fast it looked like there was wind blowing his red mane.

Walker, Masat, Strings, Failing, Hargreaves, & Terry Barber

And for those bluegrass traditionalists, Friday treated them to an encore of Barber himself coming out to join the band, huddled around a microphone, to cover a couple Monroe classics and, fittingly, Charley Pride's "On the Southbound". "Well I woke up this morning when the cold Chicago wind / Blew my newspaper blanket off my back," sang Strings, of course hoping for that thing to happen where you name the city you're playing in or near and the crowd cheers. It didn't matter not only because the crowd was cheering anyway, but because many of them were already avid Strings followers, along for the journey from city to city, from song to song.

[singeratlarge]

IT'S INTERNATIONAL WORKERS DAY! STORY + SONG OF THE WEEK! “Workin’ on a Building” https://johnnyjblairsingeratlarge.bandcamp.com/track/workin-on-a-building-live-9-02  …For years this gospel song has been a staple of my live set, and I’ve played it with equal fervor in dive bars, churches, concert halls, and wherever else. It’s believed it came from a 19th  Century calypso work song sung by slaves in the Caribbean, and that crossed into the lexicon of Negro spirituals. In the 1920s it became popular and is now a blues-gospel standard, famously played by BB King, Bill Monroe, Elvis Presley, The 77s, Swan Silvertones, and other notables. I learned it from the Blue Ridge Rangers/John Fogerty version, which he drew from the touchstone 1934 Carter Family record—Oddly, A.P. Carter copyrighted it and added his writing credit even though it was already credited to Lillian Bowles and Winifred O. Hoyle (with slightly different lyrics). Meanwhile, you don’t have to be a carpenter to get the floor plan of this song… https://johnnyjblairsingeratlarge.bandcamp.com/track/workin-on-a-building-live-9-02

#building #working #work #construction #contractors #gospel #spirituals #blueridgerangers #johnfogerty #CCR #carterfamily #billmonroe #elvispresley #BBKing #The77s #MichaelRoe #MikeRoe #12stringguitar #slideguitar #johnnyjblair #singeratlarge #music #song #SeventySevens 

[cbjustmusic]

Peter Rowan and Molly Tuttle performing "Walls of Time". _______________ Walls of Time Songwriter: Bi!! Monroe

The wind is blowing cross the mountains And out on the valley way below. It sweeps the grave of my darling When I die that's where I want to go.

Lord, send the angels for my darling And take her to that home on high I'll wait my time out here on earth love And come to you when I die.

I hear a voice out in the darkness It moans and whispers through the pines I know it's my sweetheart a calling I hear her through the walls of time.

Lord, send the angels for my darling And take her to that home on high I'll wait my time out here on earth love And come to you when I die.

Our names are carved upon a tombstone I promised you before you died Our love will bloom forever darling When we rest side by side.

Lord, send the angels for my darling And take her to that home on high I'll wait my time out here on earth love And come to you when I die...

[banjofilia]

Bernunzio Music: From the first run of 100 banjos built by Chuck Ogsbury in 1960, this is an Ode Style 21 longneck, serial number "I" or "1�� (it is plausible that this could be the first built, though we can’t really know this for sure). At this time Chuck had yet to build his first "real" shop, and was still "learning the ropes" with Tony Jacobs, "a seventy-year-old wood worker" who had a shop in the North end of Denver (https://www.omebanjos.com/about/history-part-2/). Not only is this banjo truly a "historic" Ode, the back of its head has been signed by undoubtedly the most significant members in the Old Time, Folk, and Banjo universe; Mike Seeger, John Cohen, "Honest" Tom Paley, Pete Seeger, Eric Weissberg, Bill Monroe, Pete Wernick, Tony Trischka, and more. The rim assembly is the earliest all aluminum variety, with original tailpiece and metal hardware; some tarnish to plating overall. The three piece neck was made with beautiful highly flamed maple, with a walnut center strip; no Grade stamp is present on the peghead; guitarish shaped peghead, with rosewood fingerboard (32.5" scale), with abalone fretboard dots; equipped with original geared tuners. Extra holes present from a past Keith tuner situation, and a chip present on the side of the nut; ding on top of peghead, of course. A pre-truss rod instrument, there is significant forward bow, though it could certainly be capo'd and played in a longneck style.

[danbenzvi]

On The Jukebox: “Asteroid City (Original Motion Picture Soundtrack)”

Time to head back to the 50′s.  Track listing as follows:

Alexandre Desplat - “WXYZ-TV Channel 8″

Johnny Duncan & The Bluegrass Boys - “Last Train To San Fernando”

Slim Whitman - “Indian Love Call”

Les Baxter - “April In Portugal”

Bob Wills and his Texas Playboys - “Ida Red”

Henk Bouman, Musica Antiqua Koln & Reinhard Goebel - “Canon and Gigue in D Major: I. Canon”

Alexandre Desplat - “Opening Ceremony With Awards Presentation (Keynote Speaker: General Grif Gibson)”

Tex Ritter - “Jingle Jangle Jingle (2000 Remastered Version)”

Bill Monroe & The Bluegrass Boys - “Orange Blossom Special”

Tex Ritter - “High Noon (Do Not Forsake Me) (1991 Remastered Version)”

Burl Ives - “Cowboy’s Lament”

Alexandre Desplat - “Viewing of the Astronomical Ellipses (Opening Comments: Dr. Hickenlooper)”

Slim Whitman - “Rose Marie”

Slim Whitman - “Indian Love Call (1944 Version)”

Tennessee Ernie Ford - “Sixteen Tons (2000 Remastered Version)”

Eddy Arnold - “The Cattle Call”

Alexandre Desplat - “Special Seminar at the Playwright’s Request (Saltzburg Keitel’s Classroom)”

Asteroid City Cast - “Dear Alien (Who Art In Heaven)”

Johnny Duncan & The Bluegrass Boys - “Kaw-Liga”

Alexandre Desplat - “Emergency Assembly”

Alexandre Desplat - “A Bewildering and Bedazzling Celestial Mystery”

Les Paul & Mary Ford - “How High The Moon”

Bing Crosby - “The Streets Of Laredo”

The Chas McDevitt Skiffle Group & Nancy Whiskey - “Freight Train”

Jarvis Cocker - “You Can’t Wake Up If You Don’t Fall Asleep”

[justahillbillyfromouterspace]

Blue Yodel No. 4 ... yee yee yee hawww

[thorn-enterprises]

The Roots of Smoky Mountain Bluegrass Music

Tucked away in the heart of Appalachia, the Smoky Mountains have been home to a rich tradition of bluegrass music for generations. This distinctive genre, characterized by its fast-paced banjo picking, soaring fiddle solos, and tight harmonies, has its roots deep in the region's Scottish, Irish, and African American heritage.

Smoky Mountain bluegrass music is often associated with the hills and hollows of eastern Tennessee and western North Carolina, where the Great Smoky Mountains National Park stretches across the border. The region's isolation and cultural homogeneity have allowed this unique style to develop and flourish, with local musicians passing down their techniques and songs through generations.

One of the most influential figures in Smoky Mountain bluegrass music is Bill Monroe, known as "The Father of Bluegrass." Monroe, who was born in Kentucky but spent much of his life in Tennessee, is credited with creating the genre by combining traditional Appalachian folk music with blues and country influences. His legendary band, The Blue Grass Boys, helped popularize bluegrass music across the country and beyond.

Today, Smoky Mountain bluegrass music remains a beloved part of regional culture, with numerous festivals and events celebrating the genre throughout the year. The annual Bean Blossom Bluegrass Festival in Tennessee and the Merlefest festival in North Carolina are just two examples of the many gatherings that bring together musicians and fans from far and wide.

So what makes Smoky Mountain bluegrass music so special? For starters, it's the unique blend of instruments and vocal styles that gives the genre its distinct flavor. Listen closely and you'll hear the scratchy banjo picking of Earl Scruggs or the soaring fiddle solos of Chubby Wise. Then there are the harmonies – tight, sweet, and full of emotional depth – that bring the songs to life.

But Smoky Mountain bluegrass music is more than just a collection of sounds; it's a reflection of the region's history, culture, and people. From the mining towns to the rural communities, bluegrass music has been a part of daily life for generations, providing comfort, joy, and a sense of connection to one's heritage.

If you're new to Smoky Mountain bluegrass music, we encourage you to explore this rich and rewarding genre. From classic recordings by Monroe and his contemporaries to modern-day artists carrying on the tradition, there's something here for everyone. So grab your banjo or fiddle (or just sit back and listen) – and let the beauty and spirit of Smoky Mountain bluegrass music wash over you!

[music-crush]

Bill Monroe

Happy birthday William Smith Monroe, the father of bluegrass!

[folk-enjoyer]

National Museum of American History, Ralph Rinzler Collections, Smithsonian Institute

fliers

[krispyweiss]

High Lonesome Bluegrass Stamp on Tap

- First day of issue ceremony slated for March 15 at Kentucky’s Bluegrass Music Hall of Fame

Bill Monroe invented it.

Old & in the Way popularized it.

New Grass Revival modernized it.

“O Brother, Where Art Thou?” mainstreamed it.

Billy Strings is refreshing it.

And now, the U.S. Postal Service commemorates it with an official bluegrass stamp.

The postage - emblazoned with the words High Lonesome Sound and images of a guitar, banjo, fiddle and mandolin - will be unveiled during the first day of issue ceremony March 15 at the Bluegrass Music Hall of Fame and Museum in Kentucky.

Like bluegrass itself, the stamp is forever.

2/19/24

[donospl]

Christian McBride & Edgar Meyer „But Who’s Gonna Play the Melody?”

Mack Avenue Records, 2024 Dwóch wirtuozów kontrabasu spotkało się na wspólnym, duetowym albumie. I już samo zestawienie ich nazwisk w tytule powoduje dreszczyk emocji i podekscytowania. Zarówno Christian McBride jak i Edgar Meyer są wybitnymi postaciami dzisiejszej sceny muzycznej. McBride to czołowy basista współczesnego jazzu, bandleader, kompozytor i pedagog. Meyer jest szanowanym artystą…