The Earl Brothers: An Appreciation
“You’ve got to keep the bluegrass music pure.” Thus spake Bill Monroe, or words to that effect. It was late in his career when he said this, no doubt; late enough that bluegrass was already considered a more or less distinct genre of music, and Monroe had become known as its “father”; late enough that he’d finished fiddling with electric guitars and pianos on some of his recordings, so that the style had become codified as string band music played by guitar, bass, banjo, fiddle, and Monroe’s instrument, mandolin (although some bands would include dobro, an instrument Monroe hated, but which became more or less the semi-official sixth bluegrass instrument thanks mostly to Flatt and Scruggs, whom Monroe for a long time also hated). The message was clear: bluegrass was, and is, a fundamentally conservative style of music. Unlike Jazz, where innovation is often privileged, bluegrass is a genre that must be maintained as it is, and innovation is often tantamount to corruption. Never mind the aforementioned guitars and pianos (and, once, even seagulls); even though most of the first generation of bluegrass musicians even recorded with drums once in a while, today they are banned from the stage of most bluegrass festivals. Not just frowned on—literally banned.