ON THE 9TH SEPTEMBER 1996, just four days away from his 85th birthday, Bill Monroe, the father of Bluegrass music, died. That giant of a man, who, like the music he created, possessed great natural dignity, has gone. Let us briefly remind ourselves of the life and achievements of this remarkable man.

William Smith (Bill) Monroe, the son of James Buchan Monroe and Malissa A. Monroe, was the youngest of a large family. He was born on Friday, September 13th, 1911, near Rosine, Kentucky. As a youngster Bill learned the guitar but it was on the mandolin that he really excelled. He played it with characteristic high energy, blending fiddle and guitar styles in a way that permitted fast breakdowns and heartfelt ballads with style, vitality and apparent ease. Bill’s early musical mentors were his uncle Pendleton (Pen) Vandiver, a fiddle player, and friend Arnold Schuitz, an African-American blues-guitar player.

In 1929, Bill moved north in search of work and got a job at an oil refinery in Indiana. With brothers Charlie and Birch, he was ‘discovered’ at a square dance by Tom Owen, of Chicago radio station WLS. The show played live to an audience every Saturday night and so the brothers got to dance and to play their music. In 1934 Bill and Charlie were offered a full time job and became known as The Monroe Brothers. They met Byron Parker (‘The Old Hired Hand’), who joined the Monroe Brothers and played an important role in their success. Bill was fortunate to meet and hear bands such as The Prairie Ramblers, Jenkins’ String Band and Homer Sherilis’ East Hickory String Band. All were influences that would help formulate his firm musical ideas for the future.

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Promoted by radio, The Monroe Brothers, with Charlie singing lead and Bill high harmony, worked to packed houses wherever they appeared. Victor records sent them a telegram saying: WE MUST HAVE THE MONROE BROTHERS ON RECORD STOP WE WON’T TAKE NO FOR AN ANSWER STOP ANSWER REQUESTED STOP.

Byron Parker left the Monroe brothers in 1937 and, soon after, Charlie and Bill decided to go their separate ways. Bill employed Cleo Davis (a young singer/guitarist) and began to organise a band. Because Bill came from Kentucky, the Blue Grass state, he called his new band The Blue Grass Boys. Bill took them to audition for the Grand Ole Opry. Opry representatives Judge Hay and David Stone liked what they heard and told Monroe “If you ever leave the Opry, it’ll be because you’ve fired yourself”.

It was in 1945 that Bill began to realise his musical ideals. He employed Lester Flatt, who was a lead singer with a smooth voice that perfectly complemented Bills hard edged vocals and who had a guitar technique like Charlie’s, but more syncopated. But the explosive ingredient came in the form of a 21 year old banjo player called Earl Scruggs. Earl developed a three finger picking technique until it became the biggest influence on all future Bluegrass banjo players. These band members, supported by Howdy Forrester (and later Chubby Wise) on fiddle and Howard Watts on bass, produced the blueprint for a brand new genre of music - Bluegrass Music.

Under Bill Monroe’s leadership over the following years, many Bluegrass Boys were taught his ideas on arrangements, tempos and the importance of selecting the right keys to achieve the special ‘Monroe Sound’. They in turn went on to play in many bands that adopted the traditions that Bill had established.

Bill’s ‘new’ music, which was given its own name ‘Bluegrass’ (one word, not two) in about 1957, was accepted by the 60’s folk music revival. It was taken from the country into the cities of America, and on around the world. Bluegrass is now promoted by the International Bluegrass Music Association and Associations throughout the world. It is played by ‘third generation’ musicians such as Alison Krauss and her excellent young band Union Station and continues to grow from strength to strength.

I can’t think of anyone else who could refer to a genre of music and say “I started that”. Bill Monroe... Member of the Country Music Hall of Fame, Charter Inductee of the International Bluegrass Music’s Hall of Honour, Lifetime Achievement Award winner of the National Academy of Recording Arts & Sciences, influence on superstars such as Elvis Presley and Buddy Holly and countless others... you were truly unique

Thanks for the Bluegrass Legacy; we will nurture it and ensure that it grows according to your traditions.

Tom Travis, Rowarth, Stockport

Updated 23rd Jan 1999