The main reason I started writing magazine editorials (BMG) and then blogs in the first place is to learn! In the absence of a clear understanding of this strange phenomenon called the four-string banjo (and the lack of clear information), shouting my opinions into the abyss and then listening for the echo has been a very effective tool for this purpose.
Mind you, I am years from the “complete” understanding I seek (if such a thing exists), but I have made progress. For instance, I now regret some of the things I have said—or should I say, the way I said some of the things I have said (and the way some of those things have been taken).
To start with, I do not have any business telling other banjo players how they should think or act; all I can do is give opinions based on my own experience and make suggestions. Those suggestions may not be the most appropriate for any particular person (and who wants to be bossed around by some know-it-all?). I appreciate the calm and thoughtful suggestions and discussions (and even the occasional not-so-calm reactions) I have received in return, and apologize for any hurt feelings I may have caused; know that I have the banjo’s best interests at heart. This brings to mind one of my favorite quotes (which I obviously ignored in my enthusiasm): “There are three ‘rights’; mine, yours, and the truth.” Nobody can know the absolute truth; I apologize for thinking I did.
Next, let me re-open the Eddie Peabody can of worms that I struggled with a few years ago. I tend to speak in ideas; in no way did I ever intend to attack the person. I apologize to those who misunderstood my intent and took it personally. The idea I was speaking of is that I believe too much emphasis has been put on Eddie’s showy, inimitable style. In my opinion, this has been to the detriment of the other wonderful historical styles out there, and the overall playing ability of today’s players (frankly, Harry Reser is demonstrably more-difficult to play then Eddie Peabody, and requires a higher level of musical skill and knowledge). I would be lying if I said I enjoyed listening to his recordings, so I won’t (because I don’t, for reasons that I have learned to keep to myself—unless you ask). I fully recognize and am cool with the fact that many folks do—in fact I realize that for many, Peabody is the banjo, and there is no other! I never met the man, but everything I have heard from those who knew him leads me to believe he was a wonderful person. He certainly did more for our instrument than anyone else ever did or probably ever will, an indisputable fact that I shall be eternally grateful for and respectful of.
Part of my “problem” is that I started out as a tenor banjoist, raised and taught by my Mid-Western, “Reser-ite” Father. Harry Reser I believe has always gotten the raw end of the deal when it comes to the “greatest” argument; as a musician, he literally “played circles” around everyone else—including Peabody—on tenor and plectrum. The main reason I have heard others give for not liking him? “Too many notes!” This of course begs the question; “is the banjo a musical instrument or an entertainment device?” Been there, done that—you can read my old BMG articles for my opinions on that subject; suffice to say that I am firmly on the musical instrument side of the fence.
The main gist of my argument in all my writing is that the four-string banjo is not taken seriously as a musical instrument, by banjo listeners or banjo players! Today, the “greatness” of a player is judged more by how much he/she smiles than by how well he/she plays. In my opinion, this started about the time Eddie Peabody unseated the reigning “banjo king” (Harry Reser) by sheer force of charismatic showmanship, thus changing audience expectations of what kind of music should come out of a banjo. This is absolutely not to say that either player is more “important” than the other; we need both! Or should I say, we need all historical styles. I would get just as tired of an “all-Reser” show (if I ever heard one) as I do an “all-Peabody” show (which I have heard entirely too often). How about some Grimshaw and/or Bechtel? How about some “non-banjo” music—played on a banjo?
The “sub-gist” of my argument is that if we want the banjo to be taken seriously—and have any kind of renaissance—we should take it as our individual responsibility to learn and master as many styles as possible (or at least be more supportive of that idea for future generations), and to not be afraid to play difficult music for a banjo audience. Again in my opinion, Buddy Wachter is the greatest of them all; why? Because he learned and mastered every banjo style available, and then applied some jazz guitar and classical mandolin/violin technique to boot! He then went on to develop his own unique style, taking the banjo where nobody else ever has. For a banjo audience, he has to play well below his ability level; if he played what he is capable of, none of us would understand a thing he’s doing (many already don’t!). I know many folks don’t like his music, but to me this just adds fire to my musical instrument argument; as far as I can see, the reason folks don’t like his music is because they lack the ability or knowledge to understand it. He pointed the way to the banjo’s future 30 years ago, and nobody seemed to notice (or care)!
As a player, I have always tried to be as well-rounded as I can be in my interests and practice, and now—in a sincere effort to learn more about the Peabody side of the coin—I am taking on his style in earnest. In fact, as I am writing, I am playing on a genuine Eddie Peabody Vegavox IV, owned by Eddie (the case still has his name and address on the luggage tag) and now owned by his son Eddie Jr., who lives not too far from me in Green Valley, AZ. Quite honestly—because of my stated feelings and opinions—I probably don’t deserve this opportunity. This kindness has of course brought out the genuine feelings of regret for having talked against him that I am now writing about!
I certainly understand that—just as Eddie Peabody is the banjo—there are many who consider the Vegavox to be the only banjo worth playing. If that’s the only banjo sound you are interested in, and accordingly, the only style of music you want to play, then more power to you! I’m a Gibson man myself (represented by my Ome with its heavy Gibson-style tone ring). After getting hyped up by the Vega’s over-the-top brightness (and certainly catching the audience’s eye), the Ome’s warm tone and power brings me home to my preferred musicality. If I want to go even further into that realm, I pick up my open-back Clifford Essex Weaver and play some beautiful, delicate classical music. Here’s the thing: The Vega takes me so far away from my preferred comfort zone, that I now appreciate the Ome and Clifford Essex even more (and vice-versa). It makes me realize just how far I have come as a musician to know that the sound of an instrument can so dramatically effect what I feel and what kind of music I play on it!
Anyway, I just wanted to say that I am genuinely sorry for my bossiness, and my Eddie Peabody “bashing” from before. All I’m saying is that—as the mere echoes of greatness that we “2nd Generation” players are—we shouldn’t put all of our eggs in one basket. Make room in your heart and your ear for other historical examples. If nothing else, do it for the kids, while they’re young enough to take the banjo in new directions.
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.