Vassar Clements Ruined Every Fiddle Player In Nashville

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William Smith "Bill" Monroe ; September 13, 1911 - September 9, 1996) was an American mandolinist, singer, and songwriter, who created the bluegrass music genre. Because of this, he is often called the "Father of Bluegrass".
The genre takes its name from his band, the Blue Grass Boys, who named their group for the bluegrass of Monroe's home state of Kentucky. He described the genre as "Scottish bagpipes and ole-time fiddlin'. It's Methodist and Holiness and Baptist. It's blues and jazz, and it has a high lonesome sound."
Professional career
In 1929, Monroe moved to Indiana to work at an oil refinery with his brothers Birch and Charlie, and childhood friend and guitarist William "Old Hickory" Hardin. Together with a friend, Larry Moore, they formed the "Monroe Brothers", to play at local dances and house parties.
Birch and Moore soon left the group, and Bill and Charlie carried on as a duo, eventually winning spots performing live on radio stations, first in Indiana and then, sponsored by Texas Crystals, on several radio broadcasts in Shenandoah, Iowa, Nebraska, South Carolina and North Carolina from 1934 to 1936. RCA Victor signed the Monroe Brothers to a recording contract in 1936. They scored an immediate hit single with the gospel song "What Would You Give in Exchange For Your Soul?" and ultimately recorded 60 tracks for Victor's Bluebird label between 1936 and 1938.
After the Monroe Brothers disbanded in 1938, Bill Monroe formed The Kentuckians in Little Rock, Arkansas, but the group only lasted for three months. Monroe then left Little Rock for Atlanta, Georgia, to form the first edition of the Blue Grass Boys, with singer/guitarist Cleo Davis, fiddler Art Wooten, and bassist Amos Garren. Bill had wanted William Hardin to become one of the original members of his Blue Grass Boys; however, he had to decline.
In October 1939, Monroe successfully auditioned for a regular spot on the Grand Ole Opry, impressing Opry founder George D. Hay with his energetic performance of Jimmie Rodgers's "Mule Skinner Blues". Monroe recorded that song, along with seven others, at his first solo recording session for RCA Victor in 1940; by this time, the Blue Grass Boys consisted of singer/guitarist Clyde Moody, fiddler Tommy Magness, and bassist Bill Wesbrooks.
While the fast tempos and instrumental virtuosity characteristic of bluegrass music are apparent even on these early tracks, Monroe was still experimenting with the sound of his group. He seldom sang lead vocals on his Victor recordings, often preferring to contribute high tenor harmonies as he had in the Monroe Brothers. A 1945 session for Columbia Records featured an accordion, soon dropped from the band. Most importantly, Monroe added banjo player David "Stringbean" Akeman to the Blue Grass Boys in 1942. Akeman played the instrument in a relatively primitive style and was rarely featured in instrumental solos. Monroe's pre-1946 recordings represent a transitional style between the string-band tradition from which he came and the musical innovation to follow.
"Original Bluegrass Band" and Monroe's heyday as a star
Key developments occurred in Monroe's music with the addition of Lester Flatt and Earl Scruggs to the Blue Grass Boys in December 1945.[1] Flatt played a solid rhythm guitar style that would help to set the course for bluegrass timing. Scruggs played the banjo with a distinctive three-finger picking style that immediately caused a sensation among Opry audiences. Flatt and Scruggs joined a highly accomplished group that included fiddler Howdy Forrester and bassist Joe Forrester and would soon include fiddler Chubby Wise and bassist Howard Watts, who often performed under the name "Cedric Rainwater".
In retrospect, this line-up of the Blue Grass Boys has been dubbed the "Original Bluegrass Band", as the music finally included all the elements that characterize bluegrass music, including breakneck tempos, sophisticated vocal harmony arrangements, and impressive instrumental proficiency demonstrated in solos or "breaks" on the mandolin, banjo, and fiddle. By this time, Monroe had acquired the 1923 Gibson F5 model "Lloyd Loar" mandolin, which became his trademark instrument for the remainder of his career.

[@JanJohanssonmusic]

Great story! I heard that Monroe had said something similar - '' uh, that Vassar can really hurt a number''... Cannot recall where I heard it...

[@dgrossiter8610]

Of course Vassar played with Bill in the early 50's. He's on Bluegrass Ramble -- the first Decca studio cut (along with Rudy Lyle)

[@NancyGray-vy9ns]

Love this
Brad hi to all the family.

[@bradapplemusic]

Thanks, Nancy! Miss you.

[@NSBarnett]

Lovely. Can you add the links to the other videos you mention, please, Brad?

[@TheGuitarman160]

Thanks, Brad.

[@bradapplemusic]

Thanks so much for watching!

[@TheGuitarman160]

Hope to catch you and Pam sometime.

[@redlinemando]

There's another part to that story of where they're listening from the dressing room, as Vassar is on stage. Bill turns to someone & says. (Why.......there ain't a turkey within 100 miles of that straw!!!!!!!)

[@bradapplemusic]

Hahaha!

[@bendummitt888]

He's lucky Scotty Stoneman wasn't there.

[@JanJohanssonmusic]

I agree...

[@Larry-go8bg]

Vasser Clements was an innovator where as many musicians want to be immitators and play the way someone else does. I love to listen to traditional players though ld rather listen to the innovators those are the people who are great at improvisation that's how they create and find new things everything evolves including music and its done by the innovators not the imitators.🤠👀

[@bradapplemusic]

Me too! Thanks for watching!