Kentucky road trip to Rosine - home of Bill Monroe, the father of bluegrass
- free music and more info!
On 10 October 2015 we took a road trip to Rosine in Kentucky to see the birthplace and childhood home of Bill Monroe - the father of bluegrass. It was a beautiful day, and we were so lucky to meet Jonell Patterson, who was the guide at the house that day and who made our visit very special, showing us around, telling lots of stories, and even taking us to Bill's grave. Thank you Jonell! :)
NB! IN SWEDISH AND ENGLISH!
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Bill Monroe - I`m Going Back To Old Kentucky (1949)
William Smith Monroe (September 13, 1911 -- September 9, 1996) was an American musician who helped develop the style of music known as bluegrass, which takes its name from his band, the Blue Grass Boys, named for Monroe's home state of Kentucky. Monroe's performing career spanned 60 years as a singer, instrumentalist, composer and bandleader. He is often referred to as The Father of Bluegrass.
Monroe was born on his family's farm near Rosine, Kentucky, the youngest of eight children of James Buchanan Buck Monroe and Malissa Vandiver Monroe. Malissa and her brother, Pendleton Pen Vandiver, were both musically inclined, and Monroe and his siblings grew up playing and singing music in the home. Because his older brothers Birch and Charlie had already laid claim to the fiddle and guitar, respectively, young Bill was left with the smaller and less desirable mandolin during family picking sessions. Monroe later recalled that his brothers insisted that he remove four of the eight strings from the instrument so that he would not play too loudly.
Monroe's mother died when he was ten years old, followed by his father six years later. Because his siblings had moved away from Rosine, Monroe lived for about two years with his uncle Pen Vandiver, often accompanying him when Vandiver played the fiddle at local dances. This experience later inspired one of Monroe's most famous compositions, Uncle Pen, recorded in 1950; on a 1972 album, Bill Monroe's Uncle Pen, Monroe recorded a number of traditional fiddle tunes often performed by Vandiver. Uncle Pen Vandiver has been credited with giving Monroe a repertoire of tunes that sank into Bill's aurally trained memory and a sense of rhythm that seeped into his bones. Another influence in Monroe's musical life was a black musician named Arnold Shultz who introduced Monroe to the blues.
In 1929, Monroe moved to Indiana to work at an oil refinery with his brothers Birch and Charlie. Together with a friend Larry Moore, they formed a musical group, the Monroe Brothers, to play at local dances and house parties. Birch Monroe and Larry Moore soon left the group, and Bill and Charlie carried on as a duo, eventually winning spots performing live on radio stations— first in Indiana and then, sponsored by Texas Crystals, on several radio broadcasts in Iowa, Nebraska, South Carolina and North Carolina 1934 to 1936. RCA Victor signed the Monroe Brothers to a recording contract in 1936. They scored an immediate hit single with the gospel song What Would You Give In Exchange For Your Soul? and ultimately recorded 60 tracks for Victor's Bluebird label between 1936 and 1938.
After the Monroe Brothers disbanded in 1938, Bill Monroe formed The Kentuckians in Little Rock, Arkansas, but the group only lasted for three months. Monroe then left Little Rock for Atlanta, Georgia, to form the first edition of the Blue Grass Boys with singer/guitarist Cleo Davis, fiddler Art Wooten, and bassist Amos Garren. In October 1939, he successfully auditioned for a regular spot on the Grand Ole Opry, impressing Opry founder George D. Hay with his energetic performance of Jimmie Rodgers's Mule Skinner Blues. Monroe recorded that song, along with seven others, at his first solo recording session for RCA Victor in 1940; by this time, the Blue Grass Boys consisted of singer/guitarist Clyde Moody, fiddler Tommy Magness, and bassist Bill Wesbrooks.[4]
While the fast tempos and instrumental virtuosity characteristic of bluegrass music are apparent even on these early tracks, Monroe was still experimenting with the sound of his group. He seldom sang lead vocals on his Victor recordings, often preferring to contribute high tenor harmonies as he had in the Monroe Brothers. A 1945 session for Columbia Records featured an accordion, soon dropped from the band. Most importantly, while Monroe added banjo player David 'Stringbean Akeman to the Blue Grass Boys in 1942, Akeman played the instrument in a relatively primitive style and was rarely featured in instrumental solos. Monroe's pre-1946 recordings represent a transitional style between the string-band tradition from which he came and the musical innovation to follow.
Kentucky Road trip
Here is a journal of our trip back east. We came home through KY, TN, GA, FL, AL, MS, LS, TX, NM, CO, UT These are a few highlights, new friends, great horses and almost 7000 miles!
Bill Monroe - I'm On My Way Back to the Old Home (Live)
Bill Monroe The Father Of Bluegrass Music
William Smith Monroe (September 13, 1911 -- September 9, 1996) was an American musician who helped develop the style of music known as bluegrass, which takes its name from his band, the Blue Grass Boys, named for Monroe's home state of Kentucky. Monroe's performing career spanned 60 years as a singer, instrumentalist, composer and bandleader. He is often referred to as The Father of Bluegrass.
Monroe was born on his family's farm near Rosine, Kentucky, the youngest of eight children of James Buchanan Buck Monroe and Malissa Vandiver Monroe. Malissa and her brother, Pendleton Pen Vandiver, were both musically inclined, and Monroe and his siblings grew up playing and singing music in the home. Because his older brothers Birch and Charlie had already laid claim to the fiddle and guitar, respectively, young Bill was left with the smaller and less desirable mandolin during family picking sessions. Monroe later recalled that his brothers insisted that he remove four of the eight strings from the instrument so that he would not play too loudly.
Monroe's mother died when he was ten years old, followed by his father six years later. Because his siblings had moved away from Rosine, Monroe lived for about two years with his uncle Pen Vandiver, often accompanying him when Vandiver played the fiddle at local dances. This experience later inspired one of Monroe's most famous compositions, Uncle Pen, recorded in 1950; on a 1972 album, Bill Monroe's Uncle Pen, Monroe recorded a number of traditional fiddle tunes often performed by Vandiver. Uncle Pen Vandiver has been credited with giving Monroe a repertoire of tunes that sank into Bill's aurally trained memory and a sense of rhythm that seeped into his bones. Another influence in Monroe's musical life was a black musician named Arnold Shultz who introduced Monroe to the blues.
In 1929, Monroe moved to Indiana to work at an oil refinery with his brothers Birch and Charlie. Together with a friend Larry Moore, they formed a musical group, the Monroe Brothers, to play at local dances and house parties. Birch Monroe and Larry Moore soon left the group, and Bill and Charlie carried on as a duo, eventually winning spots performing live on radio stations— first in Indiana and then, sponsored by Texas Crystals, on several radio broadcasts in Iowa, Nebraska, South Carolina and North Carolina 1934 to 1936. RCA Victor signed the Monroe Brothers to a recording contract in 1936. They scored an immediate hit single with the gospel song What Would You Give In Exchange For Your Soul? and ultimately recorded 60 tracks for Victor's Bluebird label between 1936 and 1938.
After the Monroe Brothers disbanded in 1938, Bill Monroe formed The Kentuckians in Little Rock, Arkansas, but the group only lasted for three months. Monroe then left Little Rock for Atlanta, Georgia, to form the first edition of the Blue Grass Boys with singer/guitarist Cleo Davis, fiddler Art Wooten, and bassist Amos Garren. In October 1939, he successfully auditioned for a regular spot on the Grand Ole Opry, impressing Opry founder George D. Hay with his energetic performance of Jimmie Rodgers's Mule Skinner Blues. Monroe recorded that song, along with seven others, at his first solo recording session for RCA Victor in 1940; by this time, the Blue Grass Boys consisted of singer/guitarist Clyde Moody, fiddler Tommy Magness, and bassist Bill Wesbrooks.[4]
While the fast tempos and instrumental virtuosity characteristic of bluegrass music are apparent even on these early tracks, Monroe was still experimenting with the sound of his group. He seldom sang lead vocals on his Victor recordings, often preferring to contribute high tenor harmonies as he had in the Monroe Brothers. A 1945 session for Columbia Records featured an accordion, soon dropped from the band. Most importantly, while Monroe added banjo player David 'Stringbean Akeman to the Blue Grass Boys in 1942, Akeman played the instrument in a relatively primitive style and was rarely featured in instrumental solos. Monroe's pre-1946 recordings represent a transitional style between the string-band tradition from which he came and the musical innovation to follow.
My Rose of Old Kentucky by Mitsuoka Furniture 2013
2013-05-04 Chiba Bluegrass Festival, Banjo: 1962 Gibson RB-250,4-hole Raised Head with reproducted neck, Mandolin: Randy Wood F-model 2000, Guitar: Martin OOO-28 1972, HD-28V 2008
千葉ブルーグラスフェスティバル
Love, Please Come Home ~ Highland Grass
Highland Grass performs at the Frostburg State University Appalachian Festival. 9/17/16. The festival is held each fall in Frostburg, Maryland.
Highland Grass
Wayne Staggs - double bass, vocals
Joe Winebrenner - guitar, vocals
Donna Winebrenner - lead vocals
Hanna Livingston - fiddle
Levi Houston Sanders - banjo
Love, Please Come Home was written by Leon Jackson and released in 1957 by Leon Jackson & Johnny Bryant & The White Oak Mountain Boys. Bill Monroe released his famous version in March 1973. It has been covered by many artists including The Del Mccoury Band, Nitty Gritty Dirt Band, Old and in the Way, the Reno Brothers and, well, just search it and you'll find it's a well loved bluegrass staple.
Jam Session at the International Bluegrass Music Museum
Enjoy this jam session from the International Bluegrass Music Museum
David Morris on Fiddle, Mark Hargis on Mandolin, Richard Clark on Bass and Don Stanley on Guitar. Howard Randall on dobro. Enjoy this great rendition of the Benny Martin Classic Ice Cold Love. Video shot on Sept 1st 2011
Kentucky.
Bill Monroe, the father of bluegrass music, called Kentucky his home. Today, in the town of Rosine, musicians gather every Friday night to honor Monroe's legacy.
From Aerial America: Kentucky (smithsonianchannel.com)
The Roan Mountaineers (ETSU) - Love Please Come Home
Performing at the Darin and Brooke Aldridge Bluegrass Festival Cherryville, NC April1, 2011. Members include Clint Ross Mandolin, Monique Vachon Fiddle, Kris Truelson Lead Vocal and Guitar, Jeff Elkins Bass and Vocals and special guess Zach Carter on the Banjo
Rosine Barn Kentucky Bluegrass Jam November 8, 2013
Please check out my website: daveseminara.com and follow me on Twitter: @DaveSem
Bill Monroe - Mule Skinner Blues (1940)
William Smith Monroe (September 13, 1911 -- September 9, 1996) was an American musician who helped develop the style of music known as bluegrass, which takes its name from his band, the Blue Grass Boys, named for Monroe's home state of Kentucky. Monroe's performing career spanned 60 years as a singer, instrumentalist, composer and bandleader. He is often referred to as The Father of Bluegrass.
Monroe was born on his family's farm near Rosine, Kentucky, the youngest of eight children of James Buchanan Buck Monroe and Malissa Vandiver Monroe. Malissa and her brother, Pendleton Pen Vandiver, were both musically inclined, and Monroe and his siblings grew up playing and singing music in the home. Because his older brothers Birch and Charlie had already laid claim to the fiddle and guitar, respectively, young Bill was left with the smaller and less desirable mandolin during family picking sessions. Monroe later recalled that his brothers insisted that he remove four of the eight strings from the instrument so that he would not play too loudly.
Monroe's mother died when he was ten years old, followed by his father six years later. Because his siblings had moved away from Rosine, Monroe lived for about two years with his uncle Pen Vandiver, often accompanying him when Vandiver played the fiddle at local dances. This experience later inspired one of Monroe's most famous compositions, Uncle Pen, recorded in 1950; on a 1972 album, Bill Monroe's Uncle Pen, Monroe recorded a number of traditional fiddle tunes often performed by Vandiver. Uncle Pen Vandiver has been credited with giving Monroe a repertoire of tunes that sank into Bill's aurally trained memory and a sense of rhythm that seeped into his bones. Another influence in Monroe's musical life was a black musician named Arnold Shultz who introduced Monroe to the blues.
In 1929, Monroe moved to Indiana to work at an oil refinery with his brothers Birch and Charlie. Together with a friend Larry Moore, they formed a musical group, the Monroe Brothers, to play at local dances and house parties. Birch Monroe and Larry Moore soon left the group, and Bill and Charlie carried on as a duo, eventually winning spots performing live on radio stations— first in Indiana and then, sponsored by Texas Crystals, on several radio broadcasts in Iowa, Nebraska, South Carolina and North Carolina 1934 to 1936. RCA Victor signed the Monroe Brothers to a recording contract in 1936. They scored an immediate hit single with the gospel song What Would You Give In Exchange For Your Soul? and ultimately recorded 60 tracks for Victor's Bluebird label between 1936 and 1938.
After the Monroe Brothers disbanded in 1938, Bill Monroe formed The Kentuckians in Little Rock, Arkansas, but the group only lasted for three months. Monroe then left Little Rock for Atlanta, Georgia, to form the first edition of the Blue Grass Boys with singer/guitarist Cleo Davis, fiddler Art Wooten, and bassist Amos Garren. In October 1939, he successfully auditioned for a regular spot on the Grand Ole Opry, impressing Opry founder George D. Hay with his energetic performance of Jimmie Rodgers's Mule Skinner Blues. Monroe recorded that song, along with seven others, at his first solo recording session for RCA Victor in 1940; by this time, the Blue Grass Boys consisted of singer/guitarist Clyde Moody, fiddler Tommy Magness, and bassist Bill Wesbrooks.[4]
While the fast tempos and instrumental virtuosity characteristic of bluegrass music are apparent even on these early tracks, Monroe was still experimenting with the sound of his group. He seldom sang lead vocals on his Victor recordings, often preferring to contribute high tenor harmonies as he had in the Monroe Brothers. A 1945 session for Columbia Records featured an accordion, soon dropped from the band. Most importantly, while Monroe added banjo player David 'Stringbean Akeman to the Blue Grass Boys in 1942, Akeman played the instrument in a relatively primitive style and was rarely featured in instrumental solos. Monroe's pre-1946 recordings represent a transitional style between the string-band tradition from which he came and the musical innovation to follow.
josh reimen PIG IN A PEN
in columbia missippi at an annual bluegrass festival 2010 while tarveling with Karl Shiflett. just back from rosine ky at jeruselum ridge, home of the father and inventor of bluegrass music bill monroe thousands attended....see live performances at cumberland highlanders show
Kentuckiana Grass SOME OLD DAY Rosine Kentucky Bluegrass Jamboree
Kentuckiana Grass with Linda Stewart singing Some Ol Day The Kentuckiana Grass band performing at the Bluegrass Jamboree in Rosine, Kentucky. December 4, 2009
Melvin Gill-Guitar & Vocals, Pat Meehan-Mandolin & Vocals, Rick Smith-Guitar/Mandolin & Vocals, Brian Crossen-Bass & Vocals, Floyd Stewart-Banjo & Vocals, Guynn Cagle-Guitar
Bill Monroe - Uncle Pen (Live)
Bill Monroe The Father Of Bluegrass Music
William Smith Monroe (September 13, 1911 -- September 9, 1996) was an American musician who helped develop the style of music known as bluegrass, which takes its name from his band, the Blue Grass Boys, named for Monroe's home state of Kentucky. Monroe's performing career spanned 60 years as a singer, instrumentalist, composer and bandleader. He is often referred to as The Father of Bluegrass.
Monroe was born on his family's farm near Rosine, Kentucky, the youngest of eight children of James Buchanan Buck Monroe and Malissa Vandiver Monroe. Malissa and her brother, Pendleton Pen Vandiver, were both musically inclined, and Monroe and his siblings grew up playing and singing music in the home. Because his older brothers Birch and Charlie had already laid claim to the fiddle and guitar, respectively, young Bill was left with the smaller and less desirable mandolin during family picking sessions. Monroe later recalled that his brothers insisted that he remove four of the eight strings from the instrument so that he would not play too loudly.
Monroe's mother died when he was ten years old, followed by his father six years later. Because his siblings had moved away from Rosine, Monroe lived for about two years with his uncle Pen Vandiver, often accompanying him when Vandiver played the fiddle at local dances. This experience later inspired one of Monroe's most famous compositions, Uncle Pen, recorded in 1950; on a 1972 album, Bill Monroe's Uncle Pen, Monroe recorded a number of traditional fiddle tunes often performed by Vandiver. Uncle Pen Vandiver has been credited with giving Monroe a repertoire of tunes that sank into Bill's aurally trained memory and a sense of rhythm that seeped into his bones. Another influence in Monroe's musical life was a black musician named Arnold Shultz who introduced Monroe to the blues.
In 1929, Monroe moved to Indiana to work at an oil refinery with his brothers Birch and Charlie. Together with a friend Larry Moore, they formed a musical group, the Monroe Brothers, to play at local dances and house parties. Birch Monroe and Larry Moore soon left the group, and Bill and Charlie carried on as a duo, eventually winning spots performing live on radio stations— first in Indiana and then, sponsored by Texas Crystals, on several radio broadcasts in Iowa, Nebraska, South Carolina and North Carolina 1934 to 1936. RCA Victor signed the Monroe Brothers to a recording contract in 1936. They scored an immediate hit single with the gospel song What Would You Give In Exchange For Your Soul? and ultimately recorded 60 tracks for Victor's Bluebird label between 1936 and 1938.
After the Monroe Brothers disbanded in 1938, Bill Monroe formed The Kentuckians in Little Rock, Arkansas, but the group only lasted for three months. Monroe then left Little Rock for Atlanta, Georgia, to form the first edition of the Blue Grass Boys with singer/guitarist Cleo Davis, fiddler Art Wooten, and bassist Amos Garren. In October 1939, he successfully auditioned for a regular spot on the Grand Ole Opry, impressing Opry founder George D. Hay with his energetic performance of Jimmie Rodgers's Mule Skinner Blues. Monroe recorded that song, along with seven others, at his first solo recording session for RCA Victor in 1940; by this time, the Blue Grass Boys consisted of singer/guitarist Clyde Moody, fiddler Tommy Magness, and bassist Bill Wesbrooks.[4]
While the fast tempos and instrumental virtuosity characteristic of bluegrass music are apparent even on these early tracks, Monroe was still experimenting with the sound of his group. He seldom sang lead vocals on his Victor recordings, often preferring to contribute high tenor harmonies as he had in the Monroe Brothers. A 1945 session for Columbia Records featured an accordion, soon dropped from the band. Most importantly, while Monroe added banjo player David 'Stringbean Akeman to the Blue Grass Boys in 1942, Akeman played the instrument in a relatively primitive style and was rarely featured in instrumental solos. Monroe's pre-1946 recordings represent a transitional style between the string-band tradition from which he came and the musical innovation to follow.
Kentucky Bluegrass
I wrote this in honor of my parents, and all of the other folks that left their homes to come to Michigan to better their lives by going to work in the auto factories.
Audience On Tour - Day 9 - Tunnil Hill
Audience On Tour - Day 9 - Rosine, KY - Tunnil Hill
30 Bands, 30 Cities, 30 Days, 22 States, 8025 & 6/10 Miles, 2 Oil Changes, 17 Walmarts, 1 RV
England Mandolin Jerusalem Ridge Model
This special model is made from wood taken directly from the home place of Bill Monroe. The maple in the back and sides are from trees infront of his house. The cedar in the top is from the woods on the old farm. The neck and tail blocks are from the poplar that was left over from restoring the house. It was built for the Jerusalem Ridge Foundation. Please check us out at custominlay.com for more details. This mandolin can also be viewed at jerusalem ridge 9-27-11. Thanks.
Daniel Rothwell singing Whoop 'Em Up Cindy at Jerusalem Ridge Bluegrass Celebration 2011 on 9-28-11
Daniel Rothwell played during part of the Phillip Steinmetz and the Sunny Tennesseans' show on the main stage. His dad, Danny Rothwell, on Guitar, along with Jack Case on Bass played with Daniel. The two dancers are Thomas Maupin (in the green shirt) and Jay Bland. I had the previledge of sitting next to Daniel's mom, Deana Rothwell, during their set. They are a very sweet family to know, for sure.
Cryin My Heart Out
Cryin My Heart Out Of You live at the bluegrass festival in Summersville, WV.