Bill Monroe's Rhythm Was Not Natural- His Developed Sense of Timing
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- čas přidán 16. 05. 2023
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Butch Robins explains how Bill Monroe's rhythm was not natural, and how Bill had such a highly developed sense of timing.
William Smith "Bill" Monroe ; September 13, 1911 - September 9, 1996) was an American mandolinist, singer, and songwriter, who created the bluegrass music genre. Because of this, he is often called the "Father of Bluegrass".
The genre takes its name from his band, the Blue Grass Boys, who named their group for the bluegrass of Monroe's home state of Kentucky. He described the genre as "Scottish bagpipes and ole-time fiddlin'. It's Methodist and Holiness and Baptist. It's blues and jazz, and it has a high lonesome sound."
Professional career
In 1929, Monroe moved to Indiana to work at an oil refinery with his brothers Birch and Charlie, and childhood friend and guitarist William "Old Hickory" Hardin. Together with a friend, Larry Moore, they formed the "Monroe Brothers", to play at local dances and house parties.
Birch and Moore soon left the group, and Bill and Charlie carried on as a duo, eventually winning spots performing live on radio stations, first in Indiana and then, sponsored by Texas Crystals, on several radio broadcasts in Shenandoah, Iowa, Nebraska, South Carolina and North Carolina from 1934 to 1936. RCA Victor signed the Monroe Brothers to a recording contract in 1936. They scored an immediate hit single with the gospel song "What Would You Give in Exchange For Your Soul?" and ultimately recorded 60 tracks for Victor's Bluebird label between 1936 and 1938.
After the Monroe Brothers disbanded in 1938, Bill Monroe formed The Kentuckians in Little Rock, Arkansas, but the group only lasted for three months. Monroe then left Little Rock for Atlanta, Georgia, to form the first edition of the Blue Grass Boys, with singer/guitarist Cleo Davis, fiddler Art Wooten, and bassist Amos Garren. Bill had wanted William Hardin to become one of the original members of his Blue Grass Boys; however, he had to decline.
In October 1939, Monroe successfully auditioned for a regular spot on the Grand Ole Opry, impressing Opry founder George D. Hay with his energetic performance of Jimmie Rodgers's "Mule Skinner Blues". Monroe recorded that song, along with seven others, at his first solo recording session for RCA Victor in 1940; by this time, the Blue Grass Boys consisted of singer/guitarist Clyde Moody, fiddler Tommy Magness, and bassist Bill Wesbrooks.
While the fast tempos and instrumental virtuosity characteristic of bluegrass music are apparent even on these early tracks, Monroe was still experimenting with the sound of his group. He seldom sang lead vocals on his Victor recordings, often preferring to contribute high tenor harmonies as he had in the Monroe Brothers. A 1945 session for Columbia Records featured an accordion, soon dropped from the band. Most importantly, Monroe added banjo player David "Stringbean" Akeman to the Blue Grass Boys in 1942. Akeman played the instrument in a relatively primitive style and was rarely featured in instrumental solos. Monroe's pre-1946 recordings represent a transitional style between the string-band tradition from which he came and the musical innovation to follow.
"Original Bluegrass Band" and Monroe's heyday as a star
Key developments occurred in Monroe's music with the addition of Lester Flatt and Earl Scruggs to the Blue Grass Boys in December 1945.[1] Flatt played a solid rhythm guitar style that would help to set the course for bluegrass timing. Scruggs played the banjo with a distinctive three-finger picking style that immediately caused a sensation among Opry audiences. Flatt and Scruggs joined a highly accomplished group that included fiddler Howdy Forrester and bassist Joe Forrester and would soon include fiddler Chubby Wise and bassist Howard Watts, who often performed under the name "Cedric Rainwater".
In retrospect, this line-up of the Blue Grass Boys has been dubbed the "Original Bluegrass Band", as the music finally included all the elements that characterize bluegrass music, including breakneck tempos, sophisticated vocal harmony arrangements, and impressive instrumental proficiency demonstrated in solos or "breaks" on the mandolin, banjo, and fiddle. By this time, Monroe had acquired the 1923 Gibson F5 model "Lloyd Loar" mandolin, which became his trademark instrument for the remainder of his career. - Hudba
Hey Friends, I hope you enjoy this portion of Butch Robins' interview talking about Bill's developed sense of timing and rhythm. What are your thoughts on Mr. Monroe's sense of rhythm?
I learned a lot of bluegrass listening to Monroe recordings so when I jammed with him I was right on his rhythm, may be the reason he handed me his mandolin to play while he accompanied me on my guitar , every time I saw him he showed interest in me
Thank you for watching and sharing your personal experience!
So true. Butchs observations on improvisation are very interesting too. I notice that almost nobody is playing a break over a melody anymore, everybody is soloing over chords. In Bluegrass, where there is an abundance in melodies, but precious few chords, bands tend to sound the same if everybody is running scales over chords, neglecting the melodies. There are exceptions of course, but this is one reason why so many bands sound the same to me.
I absolutely agree. It does seem like everybody sounds the same anymore. Another problem is, it seems like every mandolin player wants to be either Adam Steffey or Chris Thile and every guitar player wants to be Tony Rice. I love those players, but it gets old to hear people trying to clone them all the time.
He's a musical genius. I agree that melody and rhythm aren't what they used to be, at least judging by what is mass produced. I like to believe that somewhere out there, great music is still being made. 😊
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Julian Lage is wonderful I think if not familiar hes young true genius zero restrictions expressing himself...days of keith jarret, pat metheny, chic, joe pass, guys like lenny breau in between and then Sa bush, david grisman, tony, bela fleck , gerry douglas all being popular space for all of them. Now its tough Billy strings great and so well intentioned and talented but what makes him great in his amazing bend of genre cuts both ways in that I've never heard a pure Bill Monroe, Hot Club France as refrenced django his brother and grapelli. I grew up on high lonesome sound, or david grisman quintet still remember hearing e.m.d first time and that talent tony rice rob wasserman, mark o;connor David is something that Billlys ensemble coudn't and shouldn't sound like all originals just agree:) Hope you like julian Larnell lewis is wonderful drummer too but regular functioning sound/band Julian would be recommendation if you like metheny or frisell maybe more so.
The normies don't know what they are listening to so much as that they just hearing it. They really are not feeling it though. That really is the thing that separates music these days. The listener is no longer attentively involved , just passively.
I agree with you Stella_Blue1972. What Butch said is correct IMHO. I can't think of anything current that I can remember the melody to or hum. The things Monroe composed are another story. His songs and instrumental pieces are easily remembered. It's just not the same today.
@@ryanphelan6861 i love billy's EMD and key signator
without him , folk rock and folk metal would'nt exist
I love that Bill is petty with Vassar Clements, a great melody writer. He also used lots of riffs though. Maybe because he didn’t have a Bill like rhythm. I don’t know what I’m talking about
He had a syncopation. Seriously how many know, Under the Double Eagle?
Absolutely right! Thanks for watching.