Tag: History

Tommy Jackson – King of the 1950s Fiddlers

By Charles Wolf

The first great Nashville session fid­dler, Tommy Jackson has probably been heard on more country records than any other musician. Through out the 1950s and 1960s, he dominated .the field, appearing: on records by every major star of the era, from Hank Williams to Bill Monroe, from Ray Price to George Jones. He virtually invented the standard country fiddle back-up style, and in the early 1950s had a string of hit albums of his own that both reflected and stimulated the square dance craze.

Born in Birmingham, Alabama, on March 31, 1926, Jackson and his family moved

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In Praise of Banjo Picking Women by Mike Seeger

When one thinks of the banjo today what generally comes to mind is a picture of a man in an ensemble playing serious, often jazz-like music based on a style initiated by the most influential and widely imitated banjoist of all time, Earl Scruggs. This style is barely 50 years old and has involved a long evolution since the gourd instrument that came here from Africa in the 17th and 18th centuries. That instrument was handmade from whatever organic materials would be available. The sound was quiet often solo but soon after Africans were brought here as slaves they no

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Grandpa Jones

By Charles Wolf

It was a hot night at the Grand Ole Opry in the summer of 1995. Out frontthe crowd in the Opry house was stocking up on Cokes and trying to explain to northern visitors what Goo ­Goos were. Backstage the talk was about whether or not the Houston Oilers were serious about moving to Nashville. An­nouncer Kyle Cantrell was checking over his schedule and getting ready to intro­duce the host for the 8:30 P.M. segment of the world’s longest running radio show. He smiled when he saw who was up next.­

Bradley-Kincaid,-Joe-Troyan-and-Grandpa-JonesAccompanied by his back-up band of

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Frank Smith, Andrew Jenkins, and Early Commercial Gospel Music

In 1923 two forces were working in the South to transform the face of American music: the radio and the phonograph record. As the various forms of traditional and grass roots music encountered these new mass media, a curious and complex chemistry developed that gradually changed the nature of the music, the musi­cians, and the role music played in people’s lives. Music once designed for the parlor, the back porch, the barn dance, or the church was now the creature of the radio studio, the Victrola, the fiddling contest, or the vaudeville theater. Musicians used to playing for a local

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Fiddlin’ John Carson

Rural Roots of Bluegrass

By Wayne Erbsen

It wasn’t the popcorn in the New York’s Palace Theater that spring day of 1923 that got Atlanta businessman Polk Brockman thinking. Instead, it was the newsreel he watched of a Virginia fiddler’s convention that made him scribble this note on a piece of paper: “Record Fiddlin’ John Carson.” Seconds before he had reached in his pocket for his pen and something to write on, Brockman recalled why he came to New York on this most recent trip.

As the owner of a number of furniture stores in the Atlanta area, Brockman also sold what were then

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Blue Sky Boys

Rural Roots of Bluegrass

By Wayne Erbsen

It all began with a misunderstanding. It was early June, 1936, and the teenage brother duet of Bill and Earl Bolick had just abruptly ended a three-month stint at radio WGST in Atlanta over a dispute with the sponsor, W.J. Fincher’s Crazy Water Crystals. Within a matter of days the Bolicks traveled to the RCA Victor studio in Charlotte, North Carolina, to fulfill a contract to make their first recordings.

Perhaps out of spite, W.J. Fincher passed on to RCA Victor the erroneous information that the brothers had broken up their act. For this reason, Eli Oberstein

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Ernest ‘Pop’ Stoneman

Rural Roots of Bluegrass

By Wayne Erbsen

We couldn’t quite figure out who he was. As the lights were dimmed and the audience hushed, my sister Bonnie and I sat in suspense at the West Hollywood club known as The Ash Grove. All at once, the band started to play and even as our attention became riveted on the spectacle unfolding before us, we wondered about the little old man sitting on stage in a hard-backed chair with an autoharp flat on his lap and a little black hat stuck on his head.

We got a hint when members of the Stoneman Family eventually

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Karl and Harty

Rural Roots of Bluegrass

By Wayne Erbsen

The search for the core of the roots of bluegrass always leads to the many brother acts that were so popular with rural audiences in the 1930s and 1940s. The familiar names that always crop up include the Monroe brothers, Callahan brothers, Delmore brothers and the Bolick brothers. Practically forgotten, but no less important to the roots of bluegrass, were Karl and Harty. Though “officially” not brothers, both were born in 1905, growing up in Mount Vernon, Kentucky, as if they were brothers. This same area produced such artists as Bradley Kincaid, Red Foley, and John Lair.

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Henry Whitter & G.B. Grayson

Rural Roots of Bluegrass

By Wayne Erbsen

No one ever stands up for Henry Whitter anymore. And they never did! Recent scholars have scoffed at his meager guitar skills and at his singing. He is given credit for little more than inspiring others to become recording artists because they knew they could sing and play rings around old Henry. And they were right!

Harry was no guitar virtuoso, and he was not endowed with a great voice. But he was clever, or persistent, enough to get himself a recording contract in New York. Among those who heard his 1924 recording of The Wreck of

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Dock Walsh & The Carolina Tar Heels

Rural Roots of Bluegrass

By Wayne Erbsen

Standing tall among the early pioneers of the roots of bluegrass music was Dock Walsh. Born and raised on a farm in Wilkes County, North Carolina, on July 23, 1901, Dock was one of eight children who all played music from an early age. His first banjo was presented to him by an older brother, who made it out of an axle grease can. Dock eventually outgrew this first instrument in favor of a fancy “store bought” Bruno banjo.

In 1924, 23-year-old Dock heard Henry Whitter’s recording of Lonesome Road Blues and Wreck on the Southern Old

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