A conversation with Peter Rowan
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- เผยแพร่เมื่อ 20 ส.ค. 2024
- Peter Rowan interview recorded August, 2017 at the Gettysburg Bluegrass Festival, prior to his Bill Monroe tribute set with the Traveling McCourys. This interview was done for a story in the British Bluegrass News, the official publication of the British Bluegrass Music Association. (britishbluegras...)
I could listen to Peter’s stories ALL day long. Thank you !!
A true gentleman, humble, articulate and just fun to hear him speak!
THIS is what makes TH-cam so important...Impressive.
One of the best. Peter has carved his style in many types of music and Ive enjoyed it all...tremendously
there is something really special about pete. i think it is the fact that he is genuine no pretence . what you get is peter rowan period. he has this aura of being everybodys friend.
Always worth listening to. Peter is one of the most thoughtful and articulate spokesman for Bluegrass, indeed many types of music. His respect for the roots is always front and centre.
Just one of the greatest, has produced some marvellous music over the years, brilliant performer and person.
i listened to peter rowan as a youngster and Old and in the Way was a huge hit album
they were on a roll back then like Billy Strings and his band are now ❤
Should have a million views.
Peter Rowan has laid many roots for us all, rock on brother! great video!
Wonderful interview.
Thank you very much for this.
Chris, thank you SO MUCH for this
Intriguing comments. I've known Rowan since seeing him with Monroe in 1965. He has indeed absorbed some of the best of Monroe's teachings; the Real Deal. I'm sorry the audio is so bad . . . it's barely audible!
Man he can Ramble....this guy asked 3 questions in 30 minutes.
I think that was planned or staged to happen that way.
L - Arginine & L - Citrilline
Audio level Please. I can barely hear a thing.
I'm not quite sure what he meant by the idea of the vocals being the thing that makes bluegrass. To me it's the DRIVE of bluegrass that makes it what it is compared to other music. Without the "Drive" you just have a sad country song or a folk song. Example, play Woody Guhrie's "This Land Is Your Land" in the tempo that Woody did and you have a great folk song. But kick it up in tempo and keep the rhythm section solid and you've got a great bluegrass song.
As Peter says, Bill Monroe was always evolving. Bill was always a vocalist first and his music from 1939, when he first joined the Grand Ole Opry, was a lot different than it was in 1946, when he cut the first songs recognized as “bluegrass” music. This Land Is Your Land is interesting because Woody was a big fan of the Original Carter Family. Woody set that song to the melody of the Carter Family song Little Darling Pal Of Mine. Flatt & Scruggs did an instrumental version on their Foggy Mountain Banjo album. It’s the “timing” in bluegrass that provides what you’re calling the drive, not necessarily the tempo. Peter’s background here is so insightful. Every aspiring bluegrass player should listen to this over and over.
@@DubMartin "Timing" exactly! Thank you.
Maybe by "Vocals" he either meant or was including "Harmony". While there are many different genres of music that have great harmony, bluegrass has some very distinct arrangements of where people put the 2nd, 3rd and 4th parts. Especially when you get into the family groups or the brother groups that have sibling harmony. And sometimes you get a magical combination of voices that blend well even without a blood relationship...such as Seldom Scene.
But I think the "Drive" you're talking about is the one thing that distinquishes bluegrass from every other type of music. A lot of people think Rock and Roll had drive...but really it had BEAT. Hence the name BEATles came from Lennon's fascination with the BEAT of Rock and Roll. Some Country music has drive and some has beat but that's due to the "melting pot" nature of country music. I remember when Alan Jackson tried to do a bluegrass album, using all A-list bluegrass pickers. But instead of them recording what they knew to be good bluegrass, they allowed Jackson's country influence to drag them down to his level of picking. The entire album is them trying to step up and Jackson holding back. The project makes me think of a train with two locomotives, one pulling forward and the other pulling in reverse. What's missing is the drive which makes it a pretty good country album but a really poor bluegrass album. The same was true with Dolly Parton's bluegrass attempt. Tom T. Hall was very proud of his bluegrass album and while it had the drive it needed, he also included drums which didnt' sit well with the bluegrass community. However it produced some good tunes that were adopted by bluegrass artists who performed them just fine without percussion.
The ultimate question of "What Makes A Bluegrass Song" has been debated over and over by countless authorities and pickers and fans over the decades and no one has ever been able to establish a solid definition. I've heard the question asked: "If Lawrence Welk played 'Uncle Pen' would it be a bluegrass song or would it be a big band number?" And I think I've heard every answer possible on both sides of the issue. But I think the one thing to consider is not who the performer is or what song is performed, but rather HOW it is done. Example: When the Seldom Scene did "Sweet Baby James" was it a bluegrass song or a folk song. Another example: When the Hillbenders did "TOMMY" was it bluegrass or acoustic Rock? Again, I contend that the answer lies in HOW it was done rather than what or who.
@@DubMartin I think TEMPO has a lot to do with the drive. Take Monroe's "With Body and Soul" as an example. It's tempo is slow and although it has been played by countless bluegrass bands over the years, I don't really consider it to be a bluegrass song. It's a great song but just not a bluegrass song. It lacks the bluegrass drive. As did Blue Moon of Kentucky in the original Monroe recording. It wasn't until Elvis recorded it and kicked up the tempo that Monroe Re-recorded and blended the slow start with the uptempo after the opening chorus. That's when the song got drive. Basically, I think you have to have tempo in order to have drive. Timing is the time signature of the song ...as in 3/4 waltz time or 2/4 cut time etc. etc. and while it's important, it has nothing to do with TEMPO. Drive also has a lot to do with the contrast of the down beat and the after beat. Without a strong after beat, you can miss the effect of the tempo and lose the "Drive".
It wasn't written to be a dirge but I can fly pickin bluegrass but I don't like bluegrass versions of This land... first and foremost,IT IS A PROTEST SONG!
Honestly, how much protest do you hear in bluegrass songs? I heard a man trying to sing it the other day at a farmers market and you could literally have smoked a cigarette between some of the words of each line(perhaps a little exaggeration😂). It was hard to listen to.
Perhaps it is time for some newly written and timely music.