TREES/GRASS: DEAD GRASS

(It's extraordinary the things you discover in this job, one being the difference a space between 2 words can make. And the similarity. 'Dead Grass' is the name of an album by the late great fidler extraordinaire Vassar Clements, of whose music I have been a fan since I was 15. 'Deadgrass' is the name of a band who peddle the self same concept as did that album, albeit as a current working live band. And whose bio seems resolutely to avoid any reference to the earlier. Funny that.)

So, 'Dead Grass', then? More or less as it says on the tin, the music of the Grateful Dead through a bluegrass filter. Arguably not as great a leap as it sounds, Garcia's pre-Dead background in jugbands and his lifelong love of and sidetracking into banjo based acoustic hillbilly music being well known. I have racks of this stuff from Old and in the Way, through myriad duet sets with David Grisman, a celebrated mandolin player, also a member of OaitW. Vassar Clements, himself no stranger to Garcia and the band, having played on 'In the Wake of the Flood' and been also a 3rd member of OaitW, was, or certainly looked, much older school than his cohorts, and had an interesting life.

Born in 1928 and self-taught on the fiddle, he soon came to the attention of Bill Monroe, joining his Bluegrass Boys, barely as he turned 20. After a few years live experience he was ready for greater recognition, spending time with many of the bluegrass giants, including playing, alongside Lester Flatt and Earl Scruggs on this masterpiece. However, the middle of the 60s saw him fall prey to the bottle, and it seemed it had fully let him down, he scraping by in dead-end jobs.

Newly sober and developing a new name for himself, in sessions, he was fortunate enough to find himself swept up into the commotion of a groundbreaking moment in american music, The Nitty Gritty Dirt Band's 'Will the Circle Be Unbroken', in 1972.

This fabulous collaborative piece of work was the idea of the Dirt Band and their then manager, to team up their no mean talents with those of the generation behind them, putting a bunch of longhaired hippies into the room with a bunch of distrustful short-back-and-sides elder statesmen, like Roy Acuff, Jimmie Martin and the aforementioned Scruggs. Astonishingly it gelled, the recorded between song dialogue reflecting the initial suspicions. Clements featured heavily, arguably, alongside Doc Watson, the blind guitar-picking maestro, coming off the best of an impressive roster. From there, his second wind was off, Grateful Dead sessions, work with an immediately post Allman's Dickey Betts and a solo career.  As mentioned earlier, he joined up with Jerry Garcia, Dave Grisman, bass player John Kahn and another ex-Bluegrass Boy, Peter Rowan, on guitar, to form Old and in the Way. With Garcia on banjo, they had a modus operandi of playing both traditional songs and grassed up covers of contemporary songs. Whilst no Dead songs made it on to any of their records, I would think it strange if they didn't sneak the odd one into their live sets, no doubt fuelling the idea for 'Dead Grass', which appeared in 2000, arguably helped along by the 'Pickin' On' series. For me, 'Dead Grass' has the greater whiff of authenticity, Clements being a tangible link to the band, the songs remaining songs, proper songs with vocals, rather than the slight sterility of meticulously rehearsed instrumentals.

In the intervening years Clements had remained busy, taking forward his concept of Hillbilly Jazz, a freewheeling amalgam of blue grass, western swing, jazz and old-times standards. The similarly entitled 1975 album is a thing of some wonder. Seldom ever can Bob Wills and Benny Goodman have sat alongside each other in the song credits. Very much Clement's project, backing musicians included David Bromberg and longtime Elvis drummer, D.J. Fontana. I remember reading about this record a year or two after 'Will The Circle', never ever seeming to be able to find a copy. I finally remedied that about 15 years ago, about the time Amazon were becoming a player, and from whom you could get anything. A joy better late than never.

There were a few more similar recordings, but the ever itchy fingered Clements kept stretching his boundaries, including a fascinating duet live recording with Stephane Grappelli, their styles seemingly poles apart, the Hot Club de Paris translated to a log cabin in the Appalachians. It shouldn't, but it works, believe me. Towards the end of his life; he died in 2005, he was exploring the blues, his final recording being 'Livin' With the Blues', another belter, alongside the likes of Elvin Bishop, Maria Muldaur and likeminded genre-defining harmonica man, Norton Buffalo.

I love fiddle music and how it can touch any style. If my top three exponents include Sugar Cane Harris and Dave Swarbrick, Clements is surely the king.

Oo, before I forget, final word, Deadgrass.

Hillbilly!

Presidents, Rulers and Leaders: McKinley’s Blues

[purchase used on vinyl only]

I knew immediately what song I wanted to post for this week‘s theme. McKinley‘s Blues is a bluegrass classic, notably recorded by Flatt and Scruggs. It is also known as McKinley‘s Gone and White House Blues. But the version heard here is the only one I was willing to consider, and it is not strictly bluegrass, despite the impressive line up of musicians. Norman Blake is the headliner and singer, but Vassar Clements, Sam Bush, and Jethro Burns are all big names. Tut Taylor is not as well known as he once was, but he more than holds his own here on dobro. The ringer is bass player Dave Holland. In 1975, when this song was recorded, and to this day, Dave Holland is known as a jazz musician, and frequently associated with avant garde works at that. But what you have here is seven great musicians stretching out, going beyond the boundaries others have perceived for them. This album came out before the first David Grisman Quintet album, so it can be regarded as the first album in the genre we now call newgrass. In addition to Dave Holland’s presence and work here, listen to especially Vassar Clements’ fiddle lines on this song to hear the then unheard-of meeting of bluegrass and jazz.

In seeking out a purchase link, I was upset to discover that this great album is out of print. It is not currently available at all on CD, and Amazon has only used copies on vinyl to sell. The entire album is well worth having. I dare to hope that this post can help this album become available on disc, or at least mp3.

Fiddle and Violins: Orange Blossom Special

Vassar Clements & the Nitty Gritty Dirt Band: Orange Blossom Special

[purchase]

I've danced around not posting any obvious songs this week, but heck with it. If we can't post Vassar Clements on fiddle week, then what can be said for us? And Orange Blossom Special is known as the fiddle player's national anthem, so it's a natural fit.

Will the Circle Be Unbroken was the first bluegrass album I'd ever heard, and it came courtesy of two of my college freshman roommates at the University of Michigan. Robyn played violin, but we made her play fiddle; Meryl played banjo, and me, well, I played guitar. What we lacked in talent we made up for in enthusiasm. Robyn especially liked to play this spirited song from her album at full volume at 7 in the morning after our other hallmates kept us awake until 2 am. (She liked to alternate this with Gregorian chants).

It might be easier to list musicians that Vassar Clements didn't play with over his long career, but here's a quick list of some of those he accompanied: Bill Monroe, John Hartford, Norman Blake, Earl Scruggs, the Grateful Dead, Jimmy Buffett, David Grisman, Dicky Betts, Paul McCartney, Stephane Grapelli, Woody Herman, and Linda Ronstadt. He was an early innovator in what's now called newgrass.

This album, both innovative and well-received in 1972, brought together many traditional bluegrass and country-western artists with the country rock group, the Nitty Gritty Dirt Band. It also introduced Clements to a broader audience, including Robyn, Meryl, me, and those hapless hallmates at U of M.