Archive for the ‘Playing’ Category
No brand name looms larger in the bluegrass banjo world than Gibson. The company’s story goes back to the late 1800s when a young man named Orville Gibson, son of an English immigrant, moved from his native New York to the rapidly-growing industrial town of Kalamazoo, Michigan (“Yes”, said the Kalamazoo Chamber of Commerce in a 1980s publicity campaign, “There Really Is a Kalamazoo”). Although Orville worked a variety of odd jobs to support himself, he was a musician and luthier with radical ideas about instrument construction. The mandolin was the most popular fretted instrument of the day, and Orville’s vision was to apply the same principles of carving and top graduation to the mandolin that Stradivarius and his contemporaries had employed in building their legendary violins.
Orville’s creations were a dramatic departure from the round-back “tater bug” mandolin, with its flat top and its back formed out of narrow strips of bent wood. A group of Kalamazoo investors saw money to be made in marketing Orville’s designs to the mandolin-buying public and the Gibson Mandolin-Guitar Manufacturing Company was formed in 1902. Always an enigmatic figure, Orville appears to have had limited involvement with the Gibson company after its first few years. The Gibson company refined and built on Orville’s ideas and responded to the increasing popularity of the tenor banjo by producing its first banjo in 1918—the same year that Orville died back home in New York.
After some initial stumbling in search of the right design, by the late 1920s Gibson was a dominant force in the 4-string tenor banjo market. The company also made a precious few “old-timey” 5-string banjos, primarily for the rural Southern market; it was one of these banjos that Earl Scruggs would use in the years immediately following World War II to develop a new style of picking for bluegrass music. Despite changes in ownership and a relocation from Kalamazoo to Nashville, Tennessee, Gibson banjo production has continued to the current day. Since the late 1980s, the company’s banjo output has consisted largely of reissues of its classic models of the 1920s and 1930s.
There are lots of banjo-player jokes. One goes “You can drop a shoe on the banjo and make music,” due to the “open G” tuning that is standard among bluegrass banjoists. Unlike a guitar or mandolin, which must be fretted to make a proper chord, merely strumming the open strings of a banjo (or dropping a shoe on it) will produce a G major chord. This tuning of D-B-G-D-g (from first to fifth string) provides two G notes an octave apart, two D notes an octave apart, and one B note, thus filling in the three notes of a G major triad. While the vast majority of bluegrass banjo work is performed with this tuning, alternate tunings are sometimes employed. The “drop C” tuning of D-B-G-C-g was considered the standard tuning in the classical banjo era around 1900 and is sometimes used by bluegrass players to provide a low root note when playing in the C position. Bluegrass banjo standards traditionally performed in C tuning include Home Sweet Home and Farewell Blues as recorded by Earl Scruggs.
The next most-common tuning for bluegrass banjo is open D, either D-A-F#-D-F# or D-A-F#-D-a (the fifth string can either be tuned down one fret from G to provide the third note of the D major triad, or tuned up two frets to provide the fifth note). Reuben and John Henry are traditionally played in this tuning, and Ron Block has used it to great advantage in his work with Alison Krauss and Union Station. Rare alternate tunings include G minor (D-Bb-G-D-g) as used by Ben Eldridge in his original instrumental Appalachian Rain recorded with The Seldom Scene, and D minor (aDFAD) as featured by Earl Scruggs in Nashville Blues.
The world of old-time clawhammer banjo makes use of a much greater variety of tunings including “double C” (D-C-D-Cg) and open C (E-C-D-C-g), to name just two. . . but that’s a subject for another post!
Virginia native Eddie Adcock first came to prominence as the banjo player with the groundbreaking Washington-D.C.-based Country Gentlemen during the 1960s. His overwhelming technical ability and blending of Scruggs, single-string, and Travis style were essential ingredients in the Gentlemen’s sound, and seminal recordings such as Sunrise and Pallet on the Floor earned the Country Gentlemen the reputation of being the first progressive bluegrass band, the progenitor of “newgrass” and “jamgrass” bands such as New Grass Revival, Yonder Mountain String Band, and Chris Thile and the Punch Brothers.
Since the 1970s Adcock has been performing and recording with his wife Martha and has recently performed a series of Country Gentlemen reunion concerts with fellow alums Jimmy Gaudreau and Tom Gray. An endorser of Deering banjos, Adcock became known as the “bionic banjo player” in 2008 when he underwent deep brain stimulation surgery to correct a tremor that had developed in his right hand. Adcock not only remained conscious during the procedure at Vanderbilt University Medical Center, but actually played the banjo as surgeons worked so that the placement of the brain implant could be adjusted for maximum effectiveness. A week later, he was back on stage at the International Bluegrass Music Association’s yearly convention in Nashville.