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Ron, you said it all in your last sentence. The banjo needs to go in a new direction. The five string banjo survives because musicians continue to create new music for the banjo. I don’t see many CDs with original tunes or using unique styles. Its not the instruments fault it is the lack of creativity applied to the four string banjo.
John; Well, there’s a fine line between historical accuracy and future development. In my opinion, you can’t take the banjo in new directions until you truly understand–and can demonstrate–where it’s been. That’s why I have no interest in guitar players–however amazing they are–tuning the banjo like a guitar or any other hybrid and ripping it up; unless they can also play a convincing Peabody and/or Reser, what’s the point?
If you believe the only way to move forward is by understanding the past first then you are only thinking inside the box.
Well, of course that’s not the only way forward, but it’s the way that honors the banjo’s history. I know there are jazz guitarists who don’t know who Eddie Lang or Django Reinhardt are, but I have found that the best do know, and can play their music or at least appreciate it. I’m not saying we should build alters to Peabody, Reser, and Bechtel, but we should at least know who they are and be able to pay homage to them in our playing. Without them, we’re just playing another musical instrument (and a strange one at that!).
Ron, thanks for sharing your ideas.
I think that banjo will follow a course that is not going to make all of us happy if it is to be played in genres that we ourselves cannot warm up to.
But I agree with you, it is not my business to pick and choose who can play and how.
What I see is too big an attempt being made to showcase it in the shows I have attended. Banjo bands, I have said before much to the chagrin of many friends that play in them, are nothing more than mediocre talent amusing themselves with a genre that they wish to remain a part of,. or are just gravitating to. The banjo needs to be only one instrument in a full session, taking its break only when it is time to do so and then backing off and letting it all course thru the measures properly.
If we cannot get this into the heads of those we know in our ranks who are causing banjo to implode into itself to see that no one “Paying audience” wants to come and hear this din of noise played by “less than professional ” players. Like you OI come from a highly musical family and to honor my Father and Grandfather I have made a change and I refuse to put up with this, and no longer participate in shows that do not have Bands that have other instruments in them
The banjo bands need to go into their own rooms and play all day if they want but when it comes time for the paying customer, they need to take a seat with the rest of us “Also rans”
So do not think you corner the market on Banjo snobbery, I can be quite hurtful but then again I am not up there trying to be something I am now, and do many are in my realm. Vinnie
If I’m playing a Jobim tune, I will NOT pay homage to Reeser, Peabody, or any other banjo musician. In fact, I won’t allow anyone to tell me to do so. I play, for my personal purposes. And, contrary to a previous statement written, I do take the instrument incredibly seriously. I don’t play any particular style and, more times than not, I’m usually playing outside of the box. I play what my heart wants to play. Last night I began working on the ’80’s hit song “Always Something There to Remind Me” as a bossa nova. This is what I hear in my head. The way I look at the past is by saying “thank you” for what has happened and I move on. I am more influenced today by Pat Metheny, Charlie Haden, John Scofield, and Eliane Elias more than I ever was by the folks who paved the way almost 100 years ago – this is only because they challenge me musically and I need that. I am hugely influenced by Pat Metheny’s song writing and harmonic value but I don’t copy him technically. Charlie Haden’s musical poise asks me to give space and breath to a song. John Scofield’s groove is funky and dirty and tells me to have a sense of humor. Eliane Elias’s influence brings grace and elegance to my playing (hopefully).
Keep writing the blog, Ron. It’s great to have the dialogue and thankfully a place for us all to contribute abstractly. We all know that this kind of conversation typically does not come about at a banjorama.
Pat; Well, that’s good! You’re taking the banjo in new directions. But whether you realize it or not, just playing the banjo is paying homage to the past. I remember when you were really into Brad (and Eddie Peabody by extension); you would have to do a brain transplant to get that totally out of your playing. It’s okay to be “influenced”; some of us are limited to copying in order to play anything. I can play what I hear, but what I hear is what I grew up with (Peabody chord melody) and what I have discovered in my desperation to improve (Grimshaw, Reser, Bechtel, Wachter).
If I had a million dollars to burn, I would put together a banjo tour; I would want you on the show to show what can be played, but I wouldn’t put you in the “history lesson” part of the show! We obviously need both! I’m glad there is someone trying new things; I’ll get there someday, but I’m convinced that for me it will only happen with a mastery of the past. You should post some videos; I know some young players who would really get into it.
Ron, you said it all in your last sentence. The banjo needs to go in a new direction. The five string banjo survives because musicians continue to create new music for the banjo. I don’t see many CDs with original tunes or using unique styles. Its not the instruments fault it is the lack of creativity applied to the four string banjo.
John; Well, there’s a fine line between historical accuracy and future development. In my opinion, you can’t take the banjo in new directions until you truly understand–and can demonstrate–where it’s been. That’s why I have no interest in guitar players–however amazing they are–tuning the banjo like a guitar or any other hybrid and ripping it up; unless they can also play a convincing Peabody and/or Reser, what’s the point?
If you believe the only way to move forward is by understanding the past first then you are only thinking inside the box.
Well, of course that’s not the only way forward, but it’s the way that honors the banjo’s history. I know there are jazz guitarists who don’t know who Eddie Lang or Django Reinhardt are, but I have found that the best do know, and can play their music or at least appreciate it. I’m not saying we should build alters to Peabody, Reser, and Bechtel, but we should at least know who they are and be able to pay homage to them in our playing. Without them, we’re just playing another musical instrument (and a strange one at that!).
Ron, thanks for sharing your ideas.
I think that banjo will follow a course that is not going to make all of us happy if it is to be played in genres that we ourselves cannot warm up to.
But I agree with you, it is not my business to pick and choose who can play and how.
What I see is too big an attempt being made to showcase it in the shows I have attended. Banjo bands, I have said before much to the chagrin of many friends that play in them, are nothing more than mediocre talent amusing themselves with a genre that they wish to remain a part of,. or are just gravitating to. The banjo needs to be only one instrument in a full session, taking its break only when it is time to do so and then backing off and letting it all course thru the measures properly.
If we cannot get this into the heads of those we know in our ranks who are causing banjo to implode into itself to see that no one “Paying audience” wants to come and hear this din of noise played by “less than professional ” players. Like you OI come from a highly musical family and to honor my Father and Grandfather I have made a change and I refuse to put up with this, and no longer participate in shows that do not have Bands that have other instruments in them
The banjo bands need to go into their own rooms and play all day if they want but when it comes time for the paying customer, they need to take a seat with the rest of us “Also rans”
So do not think you corner the market on Banjo snobbery, I can be quite hurtful but then again I am not up there trying to be something I am now, and do many are in my realm. Vinnie
If I’m playing a Jobim tune, I will NOT pay homage to Reeser, Peabody, or any other banjo musician. In fact, I won’t allow anyone to tell me to do so. I play, for my personal purposes. And, contrary to a previous statement written, I do take the instrument incredibly seriously. I don’t play any particular style and, more times than not, I’m usually playing outside of the box. I play what my heart wants to play. Last night I began working on the ’80’s hit song “Always Something There to Remind Me” as a bossa nova. This is what I hear in my head. The way I look at the past is by saying “thank you” for what has happened and I move on. I am more influenced today by Pat Metheny, Charlie Haden, John Scofield, and Eliane Elias more than I ever was by the folks who paved the way almost 100 years ago – this is only because they challenge me musically and I need that. I am hugely influenced by Pat Metheny’s song writing and harmonic value but I don’t copy him technically. Charlie Haden’s musical poise asks me to give space and breath to a song. John Scofield’s groove is funky and dirty and tells me to have a sense of humor. Eliane Elias’s influence brings grace and elegance to my playing (hopefully).
Keep writing the blog, Ron. It’s great to have the dialogue and thankfully a place for us all to contribute abstractly. We all know that this kind of conversation typically does not come about at a banjorama.
Pat; Well, that’s good! You’re taking the banjo in new directions. But whether you realize it or not, just playing the banjo is paying homage to the past. I remember when you were really into Brad (and Eddie Peabody by extension); you would have to do a brain transplant to get that totally out of your playing. It’s okay to be “influenced”; some of us are limited to copying in order to play anything. I can play what I hear, but what I hear is what I grew up with (Peabody chord melody) and what I have discovered in my desperation to improve (Grimshaw, Reser, Bechtel, Wachter).
If I had a million dollars to burn, I would put together a banjo tour; I would want you on the show to show what can be played, but I wouldn’t put you in the “history lesson” part of the show! We obviously need both! I’m glad there is someone trying new things; I’ll get there someday, but I’m convinced that for me it will only happen with a mastery of the past. You should post some videos; I know some young players who would really get into it.