The great guitarist and singer died on Christmas Day. People talk about the influence of Clarence White as a bluegrass flatpicker. But no one did more then Tony to popularize the importance of a lead guitar in bluegrass music. So many bluegrass bands that came after Tony’s time in J.D Crowe’s band The New South added such a player. I have no doubt that it would have eventually happened anyway, but Tony was the pioneer, after Clarence’s untimely death. But he was so much more than a guitar player. He had a soulful voice that fit perfectly into the bluegrass vibe. He wasn’t “hillybilly”, but he was relatable. He was smooth, but he was passionate, and he could make you cry. And let’s not forget his forays into a sort of jazz/country style of music. When I started listening to bluegrass in 1978, I started with the classics like Monroe, the Stanley Brothers and Flatt and Scruggs. They are wonderful, but Tony was more of my generation, and it made him easier to “get”. He had a great part in the Crowe band that turned me on to a new generation of startup bluegrass bands, and to a somewhat snobbish, young bluegrass fan (not recored before 1970? not interested! ) he and The New South were a revelation. For that, and everything else he gave us, I am so truly thankful.
Here’s a song he did with Crowe in '74, but much later. Sorry for the somewhat poor sound quality, but it’s in a bluegrass festival setting, where I would have been most likely to see him live, which I never did, to my deep regret.
Here’s where he “stretches out” into a kind of jazz thing, but he also brought a lot of this style to his bluegrass playing. He’s playing Clarence White’s Martin, btw, which he came into possession of many years after his death. Go to around 1:50 if you don’t want a free music lesson.
He was definitely an influential figure. Personally, I never really cottoned to his style. To quote from Amadeus - “too many notes”! (Not on display in the Summer Wages clip you attach.) Love his voice, tho!
I always preferred the picking style of a Doc Watson, or younger guns like Billy Strings/Molly Tuttle.
But there is no denying that he was a longtime influential figure. I wasn’t aware that he hadn’t been active for so long.
Well, there you go. But he didn’t play in just one style. But check this out. Similar amount of notes, I’d say! And btw, who’s the third guy? It’s quite an achievement to hold your on with those other two.
I should probly shut up and just say TR was phenomenal.
I guess my personal preferences tend towards trad BG and oldtime. I really dislike newgrass and all of its variants. So his godlike achievements in jazz and such are largely lost on me.
Also, guitar tends to be just about my least fave instrument to play w/ - likely because you encounter so damned many. Don’t get me wrong - I LOVE a strong rhythm player. But when guitar players take breaks, my perception is that too many of them play to show off, rather than what serves the music. Moreso than fiddlers, mandos, banjos…
But sure, to each his own, and please say what you feel about Tony. And for me also, in a bluegrass setting, lead guitar is my least favorite. But I don’t think in general they are showing off any more than the others. Is there an easier instrument than the banjo to go over the top on? And truth be told, if I could only have one of Tony’s singing or his guitar playing, I’d take the singing every time.
But on songs like the New South’s “Sally Goodin” or “Don’t Let Your Deal Go Down” on Tony Trischka’s Banjoland (hard to find online, btw), Tony was perfect. He was not at all showy, and most of his bluegrass playing is similar. As for what you call “godlike” achievements, that rankles a bit, TBH. If you don’t like it, fine, but to me that comes off as a bit snide. Anyway, it’s all good. Thanks for the reply.
Fully noted, my apologies. My Dad bought Manzanita, and loved it. I never played it all the way through, so in that respect I’m in your camp. Total bluegrass fan when it comes to Tony. I posted the “Shenandoah” link to show Tony’s range. Thought some might like it if they weren’t aware of him, or weren’t bluegrass fans.
Indeed. In a possibly different vein than what you are alluding to, it’s long been a problem that new bluegrass bands are too steeped in the past. They fall back on the same old standards at the cost of not bringing new energy and ideas to the genre. It’s one of the reasons that I stopped listening. The last new band I was aware of was Split Lip Rayfield. I assume there are others, but I haven’t looked lately.
) he and The New South were a revelation. For that, and everything else he gave us, I am so truly thankful.
(Not on display in the Summer Wages clip you attach.) Love his voice, tho!
And btw, who’s the third guy? It’s quite an achievement to hold your on with those other two.
