Funny, he didn't have anything good to say about Dobro, did he?

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Originally posted by From Greylock to Bean Blossom

Great interview from 1966. I had read where Bill said some of these things and have sometimes been strongly rebuked by those that should be in the know, (but aren't like high ranking IBMA officers).
Some key points to me that Bill talked about were keeping the melody first and foremost, keeping the drive in the music, the importance of keeping certain things out of the music being as important as what is put in (like "hot licks" that don't represent melody or drive), keeping it in the right groove.
IMO, great advice for keeping the music healthy, energized, and growing.

Ken

https://www.youtube.com/watch?v=Wl_CC8p3ZiM

 

 

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I think that's Pete Wernick interviewing Bill. He was a DJ at the Columbia University radio station in the 1960's when he was a student there.

Pete Wernick

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Originally posted by Nopix

Funny, he didn't have anything good to say about Dobro, did he?

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Would speculate that that was a direct shot at Flatt and Scruggs, which added dobro as opposed to solo mandolin... and they were FAR more financially successful than was Monroe at that point. Among his other talents, Monroe was known for his ability to carry a grudge.

Chuck, I did not think of Dr Banjo in his youth being there. Thanks for making that point.
Skip, great point about the shot at F&S.
ken

Howdy all,
Without Flatt & Scruggs and their new way of playing bluegrass, dobro and all, Bill Monroe would have ceased to exist as any kind of Major Artist. Bill lived in his own personal narrow world--good as his singing was, Flatt and Scruggs made his Name as great as it became, regardless of his prejudices.

Izzy Young, Marc Silber and I sat with Bill at a local Diner in Greenwich Vilage and what came out of Bill's Racist mouth would have been censored on any kind of broadcast show. I remember Black Subway workers and Jews turned their heads to see who this Man was--
it was very embarrising.

I admired Bill's attention to keeping Country Music alive, but that was about it. Peter Wernick has his own opinions of course. I remember editing his well known Beginner Banjo Book....

Flatt and Scruggs gave Bluegrass its life...Jack

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Originally posted by Jack Baker

Howdy all,
Without Flatt & Scruggs and their new way of playing bluegrass, dobro and all, Bill Monroe would have ceased to exist as any kind of Major Artist. Bill lived in his own personal narrow world--good as his singing was, Flatt and Scruggs made his Name as great as it became, regardless of his prejudices.

(snip)

Flatt and Scruggs gave Bluegrass its life...Jack

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Amen.

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Originally posted by Jack Baker

Howdy all,
Without Flatt & Scruggs and their new way of playing bluegrass, dobro and all, Bill Monroe would have ceased to exist as any kind of Major Artist. Bill lived in his own personal narrow world--good as his singing was, Flatt and Scruggs made his Name as great as it became, regardless of his prejudices.

Izzy Young, Marc Silber and I sat with Bill at a local Diner in Greenwich Vilage and what came out of Bill's Racist mouth would have been censored on any kind of broadcast show. I remember Black Subway workers and Jews turned their heads to see who this Man was--
it was very embarrising.

I admired Bill's attention to keeping Country Music alive, but that was about it. Peter Wernick has his own opinions of course. I remember editing his well known Beginner Banjo Book....

Flatt and Scruggs gave Bluegrass its life...Jack

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Jack,

I want to be clear that I am not disputing what you said happened or that Monroe did not say what he said, but I think that story alone gives a false image of Monroe. His language & vernacular at that time I think probably represented his upbringing from a very rural area in an isolated part of KY. For the following reasons. 1. As a young boy he used to play music and travel with Arnold Schulz, a black man who was a great guitar player (maybe forerunner to Travis style). Bill always spoke highly of him. 2nd he toured with Deford Baily (a great black musician of his time) and played Deford's song Evening Prayer Blues on his mandolin at Deford's funeral. 3rd Charlie Pirde used to talk about him playing and jamming with Bill in his dressing room at the Grand Ole Opry. Charlie said his father's favorite musician was Bill. I heard Melvin Goins in the year he died, talk about how Charlie would stay with Bill lick for lick and that he knew all his music. 4. About the Jewish comments: Bill later had Gene Lowinger, a NY man of Jewish faith fiddle ( who you probably knew) with him in his band. Bill was proud of that and used to introduce him as such. It was a bit of embarrassment to Lowinger. 

People evolve with exposure to different people and ideas. I think it is incorrect to leave Bill with a final judgment that he did not grow in these areas. 

Yes: Flatt and Scruggs did a great deal to spread the music and may have given it more life, but Bill, no one ever played music with that timing before ( and Butch Robins says or since). If Flatt and Scruggs gave the music its life, then Monroe gave it its life blood. And Bill was Huge in the southeast. 

Ken

I agree with Ken from all I’ve read about Bill Monroe. I was always impressed with his rhythm - F&S had more bounce (not swing / paired 1/8ths) but I wasn’t fussy about the dobro either (I’ll duck now!). Steve Arkin had some good and bad things to say about Bill and his being Jewish, but I’ve heard that kind of talk re lots of races (I’m not excusing it, however). Jim Rooney, Bob Black, Mark Hembree and other’s books give more insights into Bill. I kind of chuckle though how he defends “his turf”. He makes sure to mention that bluegrass music started in 1939 , not 1945 when Earl joined his band. As far as F&S saving Bill Monroe and bluegrass music, imho, that’s a stretch. Bill's laconic character worked against him and he didn’t seem to be a good businessman,, F&S had Louise.

https://youtu.be/JFrMXMuql0Q?si=HpMgThiNQu4_tnxM

Hi Ken and all,
These words are so true. "If Flatt and Scruggs gave the music its life, then Monroe gave it its life blood. And Bill was Huge in the southeast."...Yes I agree. Please understand that I was only relating and probably unwisely, what my experience was with Bill when he visited NYC.

I realize that much of what Bill said was because of his early Southern roots and that he of course did interplay with Black people etc. Bill did bring a much needed energy to String Band Music at the time. Earl Scruggs' banjo I think further expanded what Bill really did bring to this great American Music and I spoke a little too quickly I think and for that, I apologize....my best to you, Jack Baker   p.s. Chuck, where do you think Bluegrass would be without those "hot licks"? .......HA