Word: banjo
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Dates: during 1970-1979
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...promised you a rosegarden..." wouldn't send you begging for a copy of James Brown's "Hot Pants," it's doubtful that anything would. Good country music has largely been a triumph of performance over material, and there is no question that any first-rate country guitarist, fiddler, or banjo player could put most rock musicians to shame...
...music emphasizes collective improvisation, with Willie Humphrey harmonizing the upper voice on the clarinet and Big Jim Robinson filling in on trombone below, with the lowest harmony coming from Allan Jaffe--who runs Preservation Hall and manages the group--on bass horn. The earliest groups has other instruments, like banjo or string bass, and these can be heard on the groups' two most recent records, sold at the concert and by mail ($5 each) by Preservation Hall...
...folding chairs in the front row. I noticed a small sign on a pegboard wall that said, "Traditional requests $1. Others $2. The Saints $5." My father explained the sign to me, and while the band played a lot of bouncy songs I didn't know, I watched the banjo player and each soloist in turn and waited to hear "When the Saints Come Marching In." It would come soon, I hoped, but not too soon, because as soon as they played "The Saints" the evening would be over...
...Watson and Chris Smither. There may be a flatpicking bluegrass guitarist better than Doc Watson. Then again, there may not be. Doc and his son, Merle, a blazing banjo player in his own right, brought their repertoire of traditional ballads, mountain rags, re-interpreted standards and blues to Sanders Theater last Spring. Not even Paul Freund gets the ovations they got. The foot-stomping and clapping were too spontaneous to be corny, even with Doc's shaggy-dog stories thrown...
...action is the point of the film. Even the most human moment the purely aesthetic understanding reached between Drew and a malformed hillbilly boy by playing a wild duet between guitar and banjo pulls its meaning out of moving fingers, Drew's smiles and grimaces and the boy's seeming impassivity the growing comprehension of the onlookers faces. And when we start to go downriver. Boorman's eye guiding Vilmos Szigmond's camera picks up the release of a smooth-skimming canoe when it catches the current, the disruptive churn of a sudden patch of rapids, the collected stillness...