Here’s another book that I highly recommend, especially if you want to see what the bluegrass music scene was like in the 1960s and 70s. The authors traveled the bluegrass circuit as it was transitioning from the dive-bar circuit to fresh multi-day festivals, and documented the adventure with hundreds of photographs and brief text interludes.
Originally published in 2001, the book has had a number of reprints, mainly due to the historical significance of the photographs held within. There is humor, sorrow, drama, and celebration throughout the pages.
Carl Fleischhauer worked for a number of years as a photo-archivist at the Library of Congress, while Neil V. Rosenberg has served as a professor of folklore at the University of Newfoundland as well as authoring a number of other bluegrass history books. These two knew the importance of the American music format and how it shaped its corner of the music industry. Thus, they embarked on a two-decade journey to ensure that future bluegrass fans would know where the music came from in a visual format.
Chapters include “Intensity,” which looks at the artists dedication to the craft, whether it be Flatt & Scruggs performing at a festival in Ohio or Earl Taylor sweating it out at a bar in Cincinnati.
“Destination” captures the results of the authors’ travels throughout the eastern part of the US, particularly festivals in the Appalachian Mountain region as well as bars in Ohio, Maryland, and Washington DC. This chapter also begins to show where bluegrass hid in other spots, such as barber shops, television repair shops, and musical instrument stores. “Transaction” expands on the locations, including recording studios, radio stations, sale tables at festivals, and backstage at the Grand Ole Opry. “Community” looks at the interactions of musicians, as well as the personal communication that bluegrass artists have with their fan base, which is extremely unique in the music industry. “Family,” of course, looks at the multi-generational family bands that have graced bluegrass stages, including Earl Scruggs and his sons, the Lewis Family, and the Stoneman family. Finally, there is “The Monroe Myth” chapter, which takes a look at the Father of Bluegrass’ work with his band, guesting with other bands, as a festival organizer, and his love for his family.
There are so many important photos within the pages that mark important parts in bluegrass history for the time. A wonderful example is the photo collection of guitar legend Clarence White, performing with a new edition of the Kentucky Colonels at a festival shortly before his tragic death. White had just recently quit the rock band the Byrds to perform again with his brothers because he so missed playing bluegrass. Included is also a photo of Clarence talking to future bluegrass guitarist David Grier, then a young boy, and a picture of the White brothers talking to legendary fiddler Kenny Baker during a Bill Monroe performance.
Yes, there are plenty of big-name bluegrass performers appearing in this book, but there are also a number of local musicians that probably never saw any success, but played for enjoyment and passion. That is what makes bluegrass music so unique – that it survives as a true community.
I highly recommend getting a copy of Bluegrass Odyssey. My current copy is so dog-eared from multiple readings that it has a life of its own. If you are a fan of bluegrass music, this book will give you plenty of reasons to enjoy it when you don’t have your instrument in your hands.
Chew on it and comment.
Luegra 