[Dixielandjazz] Earl Scruggs Obit

[Stephen G Barbone]

Here is today's NY Times Obit of Earl Scruggs:

Earl Scruggs, Bluegrass Pioneer, Dies at 88

By CHRISTOPHER LEHMANN-HAUPT


Earl Scruggs, the bluegrass banjo player whose hard-driving picking  
style influenced a generation of players and helped shape the sound of  
20th-century country music, died on Wednesday in Nashville. He was 88.

His son Gary said his father died at a hospital of natural causes.

Mr. Scruggs was probably best known for performing alongside the  
guitar-playing Lester Flatt with the Foggy Mountain Boys. Among their  
signature songs were “Foggy Mountain Breakdown,” which was used as the  
getaway music in the 1967 film “Bonnie and Clyde,” and “The Ballad of  
Jed Clampett,” the theme song of the 1960s television sitcom “The  
Beverly Hillbillies.”

Mr. Scruggs began developing his picking style at an early age. Born  
on a North Carolina farm to a large family of musicians, he took up  
the banjo at age 4, about the time his father, who also played the  
banjo, died. He also learned to play guitar, modeling his style after  
Mother Maybelle Carter of the Carter Family.

With little else to do but chores on a Depression-era farm, he became  
obsessed with the banjo. He depended mainly on a two-fingered picking  
style until he was about 10. Then one day, alone in his bedroom and  
brooding about an argument he had just had with an older brother, he  
found himself picking a song called “Lonesome Reuben” (or “Reuben’s  
Train”) using three fingers instead of two — the thumb, index and  
middle finger. It was a style, indigenous to North Carolina, that he  
had been trying to learn.

By tuning his banjo in different keys, he found he could play any  
tune, but the notes sounded undifferentiated at first. “I can’t hear  
the melody,” his mother would tell him, he said. So he learned to  
emphasize melody by plucking it with his strong thumb in syncopation  
with harmonic notes picked with his first two fingers. The sound was  
like thumbtacks plinking rhythmically on a tin roof.

The technique lent a harder edge to the bluegrass sound — named after  
Bill Monroe’s band, the Blue Grass Boys — which Jon Pareles, writing  
in The New York Times, characterized as “a fusion of American music:  
gospel harmony and Celtic fiddling, blues and folk songs, Tin Pan  
Alley pop and jazz-tinged improvisations.”

Earl Eugene Scruggs was born on Jan. 6, 1924, in Flint Hill, near  
Shelby, N.C., to George Elam Scruggs, a farmer and bookkeeper, and the  
former Georgia Lula Ruppe, who played the pump organ in church. He  
attended high school in Boiling Springs, N.C.

As Earl’s mastery of the banjo grew, the demands for his performance  
increased, and he soon found himself playing at dances and on radio  
shows in the Carolinas with various bands, among them Lost John Miller  
and His Allied Kentuckians.

In December 1945, after Mr. Miller’s group disbanded, Mr. Scruggs quit  
school and took the first major step of his career by joining the Blue  
Grass Boys for $50 a week plus $10 extra if he worked on Sundays.  
Besides Mr. Scruggs, the band came to include Mr. Monroe on the  
mandolin and singing; Mr. Flatt playing guitar and singing duets with  
Monroe; Howard Watts (a k a Cedric Rainwater) on bass, and Chubby Wise  
on fiddle.

With them Mr. Scruggs helped the group achieve the hard-driving “high,  
lonesome sound” that Monroe, called by many “the father of bluegrass,”  
was striving to achieve. When Mr. Scruggs stepped up to the microphone  
to play an instrumental break, “listeners would physically come out of  
their seats in excitement,” Richard Smith wrote in “Can’t You Hear Me  
Calling: The Life of Bill Monroe.”

Mr. Scruggs stayed with the Blue Grass Boys for two years as they  
starred on the “Grand Ole Opry” radio show and recorded classics like  
“Blue Moon of Kentucky,” “Blue Grass Breakdown” and “Molly and  
Tenbrooks (The Race Horse Song)” for Columbia Records. He also sang  
baritone in the group’s gospel quartet.

Early in 1948, he and Mr. Flatt, weary of the low pay and exhausting  
travel, decided to strike out on their own, despite Monroe’s pleas to  
stay. In a famous feud, he did not speak to them for 20 years.

Although the two said they hadn’t planned to get together when they  
quit, they ended up forming a band called the Foggy Mountain Boys,  
after the Carter Family song “Foggy Mountain Top,” which they took as  
their theme song. With other musicians joining them, they moved  
bluegrass away from Monroe’s stronghold in Kentucky and central  
Tennessee to North Carolina, eastern Tennessee and Virginia.

Aided by the former Louise Certain, whom Earl had married in 1948 and  
who acted as the group’s manager and booking agent, and by the  
corporate sponsorship of Martha White Mills, they not only survived  
the onset of Elvis Presley and rock ’n’ roll but also surpassed Monroe  
in popularity. In 1954 they traveled to New York to appear in a  
Broadway show, “Hayride,” and Mr. Scruggs’s banjo-picking style began  
to spread among young folk musicians.

In 1955 they finally joined the “Grand Ole Opry,” thanks to pressure  
from Martha White Mills. In 1959 the group appeared at the first  
Newport Folk Festival, an offshoot of the Newport Jazz Festival. The  
Foggy Mountain Boys entered the folk-music revival, and the band began  
to play the college folk-festival circuit. As Mr. Scruggs broadened  
his musical interests he began to work with his growing sons, Gary  
Eugene, Randy Lynn and, during school vacations, Steve Earl, and to  
record material by Bob Dylan and other folk-rockers.

Mr. Flatt, by contrast, disliked the new music and felt it was  
alienating the band’s grass-roots fans. In 1969 the two broke up. Mr.  
Scruggs formed the Earl Scruggs Revue, a mostly acoustic group with  
drums and electric bass, which further broadened its repertory to  
include rock and touches of modern jazz, sometimes combining genres in  
a single number. The group stayed together for the remainder of Mr.  
Scruggs’s career, during which he performed at Carnegie Hall and at  
the Wembley Festival in London as well as in films and on television  
specials.

Mr. Flatt died in 1979. Mr. Scruggs’ wife, Louise, died in 2006; his  
son, Steve, died in 1992. Besides his sons Gary and Randy, his  
survivors include five grandchildren and five great-grandchildren.