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Industrial Strength Bluegrass from Ohio

By Neil V. Rosenberg

From an essay published in a booklet distributed at the Dayton Bluegrass Reunion (“An All-Star Salute to Dayton’s 40 Year Bluegrass Legacy”) on April 22, 1989. Performers included Paul “Moon” Mullins and Traditional Grass, Noah Crase, The Hotmud Family, The Allen Brothers, Red Allen, Porter Church, Red Spurlock, The Dry Branch Fire Squad, Larry Sparks, Frank Wakefield, David Harvey and the Osborne Brothers. Used by permission.

Tonight’s concert honors two generations of Dayton musicians who played major roles in creating and popularizing urban bluegrass music.  Cityfolk hopes that this evening, Daytonians will rediscover an important facet

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Poor Wayfaring Stranger

Clawhammer banjo for the complete ignoramus cover

Poor Wayfaring Stranger

I’m just a poor wayfaring stranger
traveling through this world of woe
But there’s no sickness, toil, nor danger
In this bright world to which I go.

I’m going there is see my father,
I’m going there no more to roam
I’m just a going over Jordan,
I’m just a going over home.

I know dark clouds will gather round me
I know my way is rough and steep
Yet beauteous fields lie just before me
Where God’s redeemed their vigils keep.

I’m going there to see my mother
She said’ she’d meet me when I come

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Celebrating 50 years of the ‘Ignoramus’

The evolution of the ‘Ignoramus’

Many of you have learned to play the banjo from my book ‘Clawhammer Banjo for the Complete Ignoramus‘… and this year this method is 50 years old! The book has been rewritten a few times over the years, and each time I think it’s gotten even better, but it’s always had the same down home and easy approach.

I thought you might like to know the story of how the ‘Ignoramus’, as we like to call it, came to be.

The original book

It was 1973 when I landed a job in Charlotte,

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Welcome, Closet Banjo Players!

By Wayne Erbsen

Come into the closet. As you nestle yourself in amongst the overcoats and umbrellas, you may be wondering why I called you here. A lot of people think that the only real banjo playing goes on at the Opry or at some far away stage with lights glittering from above. Not so. Some of the best banjo picking comes from inside of a well-stuffed closet. Of course, the sound does tend to get a little muffled in there, but the feeling is right, and the motives are pure. What closet picker could ever be accused of being

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Playing Bluegrass Backup on Fiddle, Mandolin & Banjo

banjo player with gunBy Wayne Erbsen

As you might guess, there are numerous differences between old-time and bluegrass music, although they share a lot of similarities too. In old-time music, the banjo, fiddle, and mandolin generally play the melody all at the same time. During an old-time tune, the guitar generally refrains from playing the melody and concentrates on providing the rhythm and an occasional bass run. In bluegrass music, on the other hand, only one instrument plays the melody at a time. Everyone else plays backup. So let’s explore what playing backup means in bluegrass music.

First off, it’s good to remember

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Fitting Fiddle Pegs by Bob Smackula

Several doctors I know hate to go to parties. They know that sooner or later someone is going to come up to them, describe an ache or pain and demand an immediate diagnosis. Well, this phenomenon happens to instrument repair people too. I’m always asked to find a buzz or do a quickie repair at our local tunes sessions. The thing is, I don’t mind.

While we were jamming a few months ago, a local old-time fiddler complained to me that her fiddle was hard to tune. I gave it the hands-on test and decided she was right. A quick

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Bluegrass Standards

Rural Roots of Bluegrass by Wayne Erbsen

If you’re new to bluegrass music, you might like a little friendly advice on some of the artists and songs to listen to. Without hesitation, I would point you to the musicians who first played the style of stringband music known as Bluegrass. This would include Bill Monroe, Flatt & Scruggs, the Stanley Brothers, Reno and Smiley and Jimmy Martin. Of course, the list goes on and on, but in my opinion, if you’re well-grounded on these artists, you have a solid foundation on which to learn, enjoy, and understand what bluegrass music is all about. At the risk of

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Emmett Miller – The Vaudeville Star Who Helped Shape Country Music

By Charles Wolfe

Emmett-Miller-photo

There are dozens of unsung heroes in the annals of country music; some are instrumentalists, like the legendary Georgia fiddler Joe Lee, who introduced the “long bow” style to greats like Clayton McMichen; some are songwriters, like the gospel singer Grady Cole, who wrote Tramp on the Street; others were promoters and radio personalities like the late Eddie Hill, who helped introduce the music of the Louvin Broth­ers to a wide audience. But one of the most unsung, and one of the most mysterious, was a remarkable blackface come­dian and singer named Emmett Miller. He flourished

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Eck Robertson, Master Fiddler

Rural Roots of Bluegrass

By Wayne Erbsen

Eck Robertson was a true fiddle master. Fortunately, he was unafraid to step up to the plate and say so.

The story begins shortly after the turn of the twentieth century when Amarillo, Texas, fiddler Eck Robertson honed his fiddle chops enough to start winning fiddler’s conventions. Competition at Texas fiddle contests was notoriously fierce, and winning any of them was no mean trick. One story has Robertson in a showdown playoff with the father of legendary fiddler Bob Wills. In a last-ditch effort to give himself an edge, legend has it that he broke off a

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Quill Rose, Mountain Fiddler

“He could neither kill a bear, play the fiddle, nor shoot a gun.” 1860

Quill-Rose-on-the-porch

The unknown writer of this disparaging quote apparently was not talking about a mountain man from the Great Smoky Mountains of Tennessee named Quill Rose, who could do all three, and more.

Born Aquilla Rose in Cades Cove, Blount County, Tennessee on May 4, 1841, he died on November 3, 1921 at the ripe old age of eighty. Tall, wiry and broad-shouldered, he had long dark hair and sported a beard. At 6 foot 1½ inches, he was considerably taller than most men at that time.

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