I’VE READ WITH INTEREST the recent article by Ian Reynolds in NWBN, March 1999 - Is it do or die for British Bluegrass? and certain comments from others about dinosaurs! I’d like to offer my own thoughts on the subject.

My view is that if bluegrass isto reach a wider UK audience,the words of songs have got to be carefully considered

Ian asks “What is bluegrass?” I’m inclined to see the answer in two ways. Firstly, some people go into great depth looking at the bits of different musical forms that are present in the style - traditional fiddle music, blues ragtime, jazz and so on. Many happy hours can be spent discussing this! Secondly, from a player or singer’s point of view, it seems to me that the situation is less complex - just go back to the classic group containing Monroe, Scruggs, Flatt and Wise. Listen to this group, and then the other acknowledged “greats” of what is sometimes described as the “Golden Era” of the late forties and fifties. An the answers are there and, for me, that sound is the source and essence of Bluegrass and it packs a mighty punch!

Like Ian, I have difficulty relating to the lyrics of a large percentage of traditional bluegrass songs. My view is that if bluegrass is to reach a wider audience over here, the words of songs have got to be carefully considered, and not just be something to hang the fancy picking on. Audiences are very keen on the instrumental side of things, and good lyrics are I think the icing on the cake - for example, a lot of Norman Blake’s songs sit easily in bluegrass. Look at Tony Rice’s wonderful treatments of Gordon Lightfoot’s songs. New Grass Revivalhave recorded numerous songs that fit the bill. Listen to some of the Dillards’ great self-penned songs. How about the Seldom Scene’s version of Norman Blake’s ever popular Last Train From Poor Valley, or the Country Gentlemen’s Matterhorn? The list goes on. I can’t see how the lyrics to Mountain Dew or Roll in my Sweet Baby’s Arms might appeal much to audiences over here - or do they? Your comments please...

I think that in this country we have some very impressive musicians. We’ve all heard terrific playing and singing from players loaded with talent (envy, envy!) and I’ve no doubt that bluegrass over here has a future. I fully agree with Ian’s suggestion that traditional tunes from these British islands can fit well into bluegrass. I also consider that an additional way forward is, of course, to compose new instrumentals and variations within the style; it’s certainly been done already over here. Good examples on record are the Echo Mountain Band’s Bungalow Baby and Andy Townend’s wonderful workout on Rawhide.

On a more general point: Shouldn’t Bluegrass musicians over here be playing music for the public a little more and not just for themselves? Shouldn’t we ,for example, be doing more busking in town centres? I recently saw a rockabilly group in Nottingham draw the biggest crowd I’ve ever seen around a busking act - I think bluegrass would have the same effect. No doubt someone already does this! Why not sell some CDs at the same time? Also, bluegrass festivals in the back of beyond are fine, but why not promote more in towns? Civic buildings often have space to spare, for example. Personally, I prefer to listen to music in warmth and comfort!Overall, then, for me the way forward for British bluegrass is to keep it straight, compose new tunes that are in style, bring in or write new songs that’ll mean something to an English audience and it’ll be here to stay - people will surely love it! I’ve never seen an audience that didn’t lap up a good bluegrass band.

Eric Kwiatkowski, Nottingham

Read Eric Brunvand's article...

6th Sept 1999