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Ask Sonny Anything… tell us about Kenny Ingram

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Ask Sonny Anything is a recurring feature where our readers pose questions to the great Sonny Osborne, one half of the iconic Osborne Brothers who redefined bluegrass music in the 1960s, and noted banjo maven and collector of fine prewar instruments. Everyone is encouraged to pose queries of your own each week in the comments, about his history in the music, his wealth of banjo knowledge, or regarding any life advice you might be needing.

Sonny, If you don’t mind, please a few words and thoughts about Kenny Ingram. He was such a wonderful guy and I am sure you have some good thoughts to share. Thanks Chief.

– STLIL

Brother STLIL I would be more than happy to share with you all that I know about Kenny Ingram.

I met him in 1973, I don’t rightly remember the actual place but in one of the many hours we shared talking, and discussing “things” he told me exactly where it was but 50 years has slipped past and I have forgotten. I seem to remember Georgia though. I believe he had just started with Lester Flatt where he remained until Flatt’s passing.

We talked about banjo playing… right hands in particular. I had been around the block a few more times than Kenny, and in the beginning he was full of questions, like how did you do this, why did you do this, when do you do this. It went on like this for a couple years and Kenneth kept gaining, growing in confidence when already he had the fastest right hand I had ever seen. Boy could play some kinda fast for sure. But at the same time he was growing into a good man, and making himself into the great banjo player that we remember.

The last time I saw Kenny was one year ago last Sunday I believe. You have to know this part of the story too. The past few times Kenny came to lunch his actions and attitude were changing. But, I need to mention that he was probably the most private person I ever knew. He worked the last 10 years with Larry Stephenson. Larry and I discussed Kenny’s health more than once. He was changing right before us. We kept asking him if he was OK, and he kept assuring that he was, but dammit we could see.

After the last time we saw him, I tried to talk to Kenny, Larry, and Lincoln also tried. But like me, they got no response. Dammit, maybe I should have tried harder but he was so private that I didn’t want to invade his world, whatever it might be. We live with regrets, that will be one of mine.

s

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Hey Sonny, so glad to see you’re still active in the bluegrass world. I so enjoyed the times I spent watching your group and many others at the Snuffy Jenkins festival at Cliffside, NC, and wondered if you had a special memory from those appearances?

– Lane K.

Lane… come right on in. Your question about the Snuffy Jenkins festival brings back a couple of memories. If I’m thinking of the right place, it’s near Earl’s home. Between shows we had several hours and I went to Earl’s house, where he lived as a kid. Where he learned to play a little bit. I got to meet Junie for the first time. Got to meet Snuffy Jenkins for the first time, and got to see and hold his RB4. I got to sit on the porch where Earl told me several years later, that’s where he learned to play Reubin the right way, and Junie heard it for the first time. It actually got a reaction out of Junie and Earl said: “I knew I had something right there!”

I sat on that porch. I SAT ON THAT PORCH, FOLKS. WHERE “THE MAN” STARTED IT ALL. And I believe it because HE told me where it was. As I’ve said many times before. Me and Brother Bobby went on one hellacious ride together.
s

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Hi Sonny, Stan here…occasionally known as Jebbh Mixus from The Mixus Brothers (which we named as an homage to you two)…anyhoo, I have three questions for you as you were so kind to answer one for me about singing a few months ago, and now I’m being selfish… first one is: I was listening to the song you did called One Tear and noticed that the internet’s said it was written by someone named Judy Osborne… did that happen to be any relation to you?

Secondly, I have noticed that the YouTube has many live recordings of ya’ll, and in many of them there are moments during and between songs where I say you were absolutely funny as all get out with your comments and shenanigans… do you think having fun on stage is and was one of the most important parts of having as long of a career as you did??

Lastly, and I appreciate your patience with me, when you toured Sweden and recorded one of your shows there for the public consumption that is now on YouTube, you of course played Ruby but I must say that your solo during that song was one of the most god forsaken amazing displays of banjo playing in the history of mankind… in the video you, after the solo, you shook your head and it seemed like you were playing like a man possessed. Do you remember it and do you think you can pinpoint that period or any period as having the best command of the neck and your creative mind for soloing?? Even if you answer even one of these questions or none, I am much obliged to you for letting us delve into your psyche on playing and unabashed memories of your life so, thank you!

– Stan

Stan…good questions. Thank you. First one…Judy is my wife of 62 years. She wrote this poem while she was in the 8th grade. And I’ll let her tell you in her own words.

Sonny was looking for new songs to record. I showed him a poem I had written, he put it to music and Voila!

They began rehearsing the next day at Bobby’s and when they got around to working on One Tear, Sonny called me and asked if I could write another verse. Words came to me as fast as I could write them down. I called him back in just a few minutes.

We ran over it a time or two, and the song came to life. It’s been recorded a dozen times or more. Very good bluegrass tune.

You asked about Sweden and the recordings made of our Stockholm show. I’ve been asked many times when I play certain things am I playing what I have planned to play or does it just happen. It’s just a thing that goes as it goes. I know the fingerboard pretty well so I don’t get lost and from there it just happens.

I’ve heard some things back and wonder what I was thinking, to do stupid things like that. Our shenanigans, as you called it, was not part of our plan but it did come in handy at times. We watched many bluegrass bands through the years and they, for the most part, were dead serious on stage and seemed as though their faces would break if they were to smile. We decided to have a good time and try to see that our audience laughed along with us.
s

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Mr. Osborne, Joe Medford was one of the less-heralded first generation bluegrass banjoists, in spite of his ability. He recorded with Mac Wiseman in the early 1950s. Did you ever cross paths with him?

– Bzrdhd

Bzrdhd…Sorry to say I never had the opportunity to meet Joe. Funny thing about him. When he recorded the several tunes with Mac and the several with Charlie Monroe, you would swear at certain points it was Earl, but I heard some other things he did and they were not so… I should say AS good. Wrong phrasing, conflicting background notes. Almost like it was some other guy playing. Strange. I talked with Mac several times about Joe, as to the kind of guy he was, etc. This probably won’t sit to well with some, but Mac said Joe had a tendency to over indulge in adult beverages so from personal experience this would cloud one’s vision…so, maybe that’s the answer.

Great tone out of an RB100..he had that “THING” didn’t he? YES HE DID.
s

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Sonny, in my work archiving the decades of recordings and videos my mother left behind, I ran across an Osborne’s set at the Festival of the Bluegrass. On a break between songs, Bobby can be heard off mic giving you a string of jabs about “I don’t know how you ever think you are going to keep a banjo that cheap in tune.” I’m wondering if there is more to that story. This would have been around 1985.

Charles C.

Charles… welcome my brother… Butch Robins and I had just paid $5000 for our banjos… the highest price ever for that time. Butch bought one of the two best RB4 style banjos ever, and I think I got the finest, best sounding banjo Gibson ever made. It is a 1934 flat head Granada original 5 string. The other RB4 that is that good is owned by Dana Cupp. I rarely tune on stage with the exception when KRAKO show his a–! Then there is no tuning.

So Bobby, knowing how much I paid and realizing I did nothing during that show but tune, made his infamous statement. “I don’t know how you ever think you are going to keep a banjo that cheap in tune!”
s

If you have something you would like to ask Sonny, be sure to post it in the comments below, or send it to us directly.

Jack Tottle channels Bob Dylan with Everybody Must Get Masked

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I came across comments about COVID protective mask-wearing from two of my greatest musical heroes, Dolly Parton and Sonny Osborne.

BE SAFE,
BE RESPECTFUL,
WEAR YOUR MASK,
LEAD WITH LOVE

Dolly Parton –  From her recent video, When Life Is Good Again

YOU ALL STAY SAFE, PLAY BY THE RULES, WEAR THOSE DUMB LOOKING BUT LIFE SAVING MASKS. PLEASE REMEMBER, IT’S YOUR LIFE YOU’RE PUTTING At RISK WHEN YOU MIX AND MINGLE TOO CLOSE.

Sonny Osborne – at the conclusion of his always delightful “Ask Sonny Anything” feature in Bluegrass Today for May 29, 2020

Spoken Intro To the Following Song (Internet meme forwarded from a good friend somewhere in cyberspace):

  • Maaan, all these doctors and nurses and microbiologists and immunologists and epidemiologists and other researchers keep saying that COVID is still dangerous.
  • But all these dudes I went to high school with who barely passed science say it’s not dangerous.
  • It’s SO hard to know who to believe any more!

 

Everybody Must Get Masked — by Jack Tottle

(To the tune of Everybody Must Get Stoned, with apologies to Bob Dylan)

Everybody must get masked
It’s really not the very hardest task
We’re not supposed to wait until we’re asked
But everybody must get masked.

They’ll mask you when you’re going to the store
They’ll mask you when you’re walking in the door.
They’ll mask you when you leave your car.
They’ll mask you when you walk into the bar.

CHORUS:
You may want to go SLOW or FAST,
But EVERYBODY must get masked!

They’ll mask you when you go to work
It doesn’t matter if you go berserk
It doesn’t matter if you make a fuss
It doesn’t matter if you scream and cuss.

They say your mask helps others more than you
Your friend’s safety could depend on what you do.
The Bible doesn’t preach against hard labor
It only asks us all to love our neighbor.

Even when we’re feelin’ mighty fine,
Even when we don’t — show a single sign,
That sneaky virus could be there right inside
Waitin’ for a chance to hitch a ride.

America is the dear land of the free
I’m free — to think of you OR only me.
I’m free to give OR free to only take
I’m free to sacrifice for others’ sake.

It only takes a single sneeze or breath
To make a difference for somebody’s life or death
For some mother, dad, or child or wife.
We’re free to choose the way that favors life.

Everybody needs to get masked
It’s really not the very hardest task
We’re not supposed to wait until we’re asked
But everybody should get masked.

Ask Sonny Anything… did you know Jerry Lee Lewis or Stringbean?

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Ask Sonny Anything is a recurring feature where our readers pose questions to the great Sonny Osborne, one half of the iconic Osborne Brothers who redefined bluegrass music in the 1960s, and noted banjo maven and collector of fine prewar instruments. Everyone is encouraged to pose queries of your own each week in the comments, about his history in the music, his wealth of banjo knowledge, or regarding any life advice you might be needing.

Sonny, I’ve been reading Hellfire, a biography of Jerry Lee Lewis. A true madman and a great, great singer, although not bluegrass of course. There’s a hair-raising account of his appearance at the Grand Ole Opry in January 1973. I’m wondering if you happened to witness this or if you ever encountered “the killer.”

A fan for more than 60 (!) years,
Fred G.

Fred G….I knew Jerry pretty well…first name basis. Although I have been present at some of his crazy antics, he always treated me with the greatest respect. I was never a big fan of Jerry’s music although I respected it, and him to the utmost…and I don’t suppose he was much of a fan of our music, but we seemed to co-exist and become pretty good friends.

For sure, I witnessed a lot. Macon, Georgia coliseum… The show promoters went to him before the show started and called him MR Lewis. Explaining that they had just received their Steinway piano back from a complete overhaul and it had been tuned just before it was returned that afternoon, and would he please be gentle with it. He said “why of course!” With that reply, I figured school was out for that Steinway. Sure enough, when he was introduced and with both hands just started beating on the keyboard of the aforementioned Steinway who had been tuned, etc that day. Piano, Jerry, bench, all were mounted on a platform with rollers. Stage hands appeared and proceeded to roll piano and all passengers aboard the platform, right off the stage. I’ll stop right there because it got ugly during the following 20 minutes.

BOWIE MARYLAND RACE TRACK IN THE RAIN. They moved the show to the bleachers. We played to 40 people, Jerry was introduced to the same disgruntled 40. He hit a chord on this antique upright piano which was as out of tune, if not more so than any piano I’ve ever seen or heard…and that includes the Kimball sitting in my living room as we speak. Jerry called a band member to come down and help and they proceeded to literally climb inside that old relic and did a number on the hammers and pieces of felt among what ever else was in there. All 40 people were in the aisle laughing, as was I. When he was finished he said..”Well, nobody else will ever have a problem with that thang!” Only Jerry made that statement a bit more colorful, actually, a whole bunch more!
s

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Hello Sonny, can you tell us any stories of Stringbean? And why is he not in the country music hall of fame? One of my heroes.

Jacob P.

Jacob P. welcome, come on in hyer….David Akeman…Stringbean. One of the nicer people I met during my career. I knew him well enough that when he was brutally murdered it hurt. Really hurt. We were sitting at a truck stop a few miles west of Warrenton, VA and heard Grant Turner announced their deaths. We had seen them the night before at the Opry and just like that they were gone.

Bean had approached me the night before and asked if I would be interested in buying some property with him. He would find out on Monday the actual information. We had been members of the Opry 11 years when he was killed…murdered. Guess what, the SOB who did it is walking the streets of Nashville now. Paroled.

They tell me that after a person does a third of their time they become eligible for parole. Big deal. They murdered two innocent, honest, wonderful people and we, through our tax dollars, house and feed them, give free medical, TV, iPads… and after a while turn them loose on society. Oh, they have been rehabbed. TWO WORDS.

More than occasionally he would look me up and stand there holding that pipe. Finally he would ask if I had any extra banjo strings and I would give him a few sets. Over the 11 years I probably gave him 30-50 sets. Why he is not in the Country Music Hall of Fame, or the International Bluegrass Hall of Fame, I’m afraid I can’t answer that. Personally I think he should be but….David was a good man.
s

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Sonny, did you ever use any picks, hand made by James R, “Jimmy” Hypes. We were in the Navy together, and he also played banjo back in the early to mid fifties. He was also an Aviation Metalsmith. He later sold his picks all over the world, he was originally from around Princeton, WV.

Dallas H.

Dallas. Thank you for your time. I appreciate it. I did not get to use Hypes picks. I trust from your description of Mr. Hypes, he was pretty smart when it comes to metal work. Sorry to say I didn’t have the opportunity of using, or trying his finger picks.

My choice throughout my career were National picks made in the ’30s-’40s. They were supposed to be made with German Silver. What is German Silver…I don’t know what that would have to do with it, but they were good. The best I used or saw until Dean Hoffmeyer started making finger picks. I liked them so well I asked him to put my name on them. They are as close to the old Nationals as anything I’ve seen. Am I bragging about them because my name is on them? You got that right. I put my name on anything I could use, like GHS Strings, Elliott Capos, The Chief Banjo, and Osborne Hoffmeyer finger picks. They are the real deal.
s

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Hi Mr. Sonny,
The post from Karen Artis caught my eye (you mentioned you knew a fellow named Bob). Any-who I print these out weekly to give to my Dad as he is not computer savvy and doesn’t even own one. I grew up with my parents in Calcutta/East Liverpool, Ohio (we now live close to Bakersfield, California) and my Dad was friends with Mac Martin and the Dixie Travelers group along with the Wildwood Express, mainly guilty by association with a fellar named Jim Osborne in the ’70s.

For the most part the Dixie Travelers played at Walsh’s Lounge and various local festivals, along with good ole fashioned back porch pickin’. His favorite banjo player has and will always be Billy Bryant. Also my Dad has a Bill Monroe biography that Bob Artis wrote and signed and is one of his treasures. I’m sure my Dad would get a kick out of any stories you have to tell (I haven’t told him I’m writing this, wanted it to be a surprise when he reads it).

Thank you very much
C. Pezer

C. Pezer….I thank you for your time however I’m not sure I can answer this. The name Mac Martin is vaguely familiar to me but the rest is not. You mentioned stories and that’s 80% of what this thing is about, plus questions folks have concerning my career. Most of the people I write about are those I know or have known. I’m truly sorry because I feel I have let you down, but I just don’t have stories about these folks…not even here-say. Surely, I should know a banjo player by ANY name, but Billy Bryant escapes me. I knew Donnie Bryant but not Billy. I’m sorry but if you have a question I’ll be glad to go for it. I know Herb Pederson, Buck, Merle, Roy Nichols, Norm Hamlet, The Palomino Club in North Hollywood. Sorry.
s

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The Chief Banjos first came into existence on June 16, 1998. I received the first one from my builder Frank Neat…it was prototype number 00. I still have it. Great banjo very close to the old Granada sound. This week one friend, Roger Sterry sold 0001 to another friend – Lincoln Hensley. Going back to when this banjo was new, Dale Vanderpool..now deceased…was the original owner. When Dale passed this life his widow sent the banjo to me to sell for her. I took it back to Frank and had him go over and repair anything which he saw that was out of order. When he returned it, Roger bought it from me in 2014. This week he asked me to find a new home for it and I asked Lincoln if he was interested. Long story short, Roger got a great price, Lincoln? he got his “Dream banjo.” And I have two happy friends.

I heard 0001 on Facebook last night and again today I tell you the fact, this is the closest sound to the old banjos, and surpassing some. It’s 22 years old now and maybe like some humans, start to mature at about that age. I better check 00 again….if it’s anywhere near it’s brother, I think the price just went up on 00…maybe add a couple more 00 zeros…like $$$$. That 0001 sound got right on in my head.

s

Incidentally: Roger is wanting a Sonny Osborne model Vega. If anyone knows where there is one for sale, contact me at through Bluegrass Today and I’ll get the word to him. Thanks..

If you have something you would like to ask Sonny, be sure to post it in the comments below, or send it to us directly.

Ask Sonny Anything… why the decision to go electric?

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Ask Sonny Anything is a recurring feature where our readers pose questions to the great Sonny Osborne, one half of the iconic Osborne Brothers who redefined bluegrass music in the 1960s, and noted banjo maven and collector of fine prewar instruments. Everyone is encouraged to pose queries of your own each week in the comments, about his history in the music, his wealth of banjo knowledge, or regarding any life advice you might be needing.

Hey Sonny,

You’ve mentioned a few times that you carried. The moment backstage with Richard Nixon is one for the history (and law) books. I’m curious, in all your travels, did you ever have an accidental misfiring?

– Just curious

Just Curious. Thank you for your interest. I carried a weapon from 1975 to present. We played in St. Paul, Minnesota. While on stage we were robbed. Our limo was broken into and $4340.00 was missing. I decided to go armed after that. I don’t want to hurt anyone, and I’ll run from trouble, but I am not going to allow some low life SOB to take what I worked to earn. It’s too costly on health to get.

Accidental firing, no. I didn’t but Gene Wooten did, in our bus. David Crow is one Lucky man. I’m thankful to God that it turned out as it did. Whoever loaded that round did not crimp the shell and when Gene loaded the pistol the actual bullet fell out. When that round was fired, nothing came out the barrel. It was loud though, gunpowder loud, but no bullet.

Like a true dumbass, he was messing with a loaded gun and it fired. I heard it and ran to the front. Gene was standing there trembling, and most of all, David was standing there too. No one was hurt. We only had three rules. No drinking. No smoking. Don’t be late. After that we added one. Gene Wooten did not bring firearms on our bus ever again. As far as I knew, from that point no one carried a weapon, but me. I always had one in my pocket.
s

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Hi Sonny,

Thanks SO VERY MUCH for you, just always being you, and sharing with us every week!

My question is about a performance you did at the IBMA awards show back in Louisville  literally just days after the horrendous 911 attack. When you walked out alone on that stage in the spotlight and began to play America the Beautiful we could see you trembling, even from way back where our seats were. Made me cry like a baby, and stands to this day as one of the most emotional musical moments of my long bluegrass life. Could you please tell us what was going through your mind as you played that tune for us all?

Karen Artis from Pennsylvania

Karen Artis. I know a Bob Artis. Related? I’m so glad you have given us a bit of your time. I want you to know that I shared this note with Bill Evans, whom I consider to be one of my very best friends. Bill Evans is the person who made that moment in time happen, and a moment in time it was, for a whole bunch of us Hillbillies!

We, as a people were mad, hurt, sad, proud, and ready to defend our country and way of life any way we could. My son was there, only a few blocks from building 2. He had to run, to find his car, and get out as quickly as possible. So, what was I feeling a few days after it happened… every emotion one could imagine.

Back to your question. What I felt… I was pretty good, confident, when I walked out to the mic – but then it all changed. When they turned the spotlights on…from that point on, I was totally lost. As though blind.

See, on top of the banjo neck are small black dots, known as position markers to tell you exactly where you are. I didn’t think I needed them so they were hardly ever used but when those spotlights came on, I really needed them right then, but they weren’t there. The glare from those spots completely blocked the neck. I thought at the time it was going to be a train wreck. Those lights, three or four spotlights, were so bright, I couldn’t see the first row, much less the neck of my banjo.

I thought, before I started playing, that if there is a guiding hand out there, right now would be a great time to make yourself known. I started playing and it was going good…Then the ending came into my mind. Single string notes there to the end. Miss one and you’re done. Well, here it is, somewhere near this spot. I hit the first string and it was the right note. I looked at my hands and they were actually shaking.

I don’t buy into stage fright, you can do it or you can’t… but right then my mind took me back to Bill Monroe, Grand Ole Opry, Rawhide, 14 years old, shaking like a leaf in strong wind. I needed help then and it appeared. I need it NOW. So, from the words above, “What I felt,” to now probably took 20 seconds. I needed the guiding hand and it came for the second time, 49 years and a few days later. Thank you Lord, I don’t think I missed a note of America The Beautiful.

I’ve never heard it played back. That is if IBMA cared enough to record it…which I strongly doubt. Why…. A NOTHING MOMENT LIKE THAT, WHO WOULD CARE? I would, for one. But, That’s the politics baby, I reckon! s

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Hey Sonny,

Hope all is well on your end.

When did you guys decide to electrify you instruments? Did you accept the idea right away, or did you have to grow into it? Love that clip of you all playing Ruby at the Camp Springs festival in 1971. It was awesome!

David R.

David R…thank you for your time. We had been playing country package shows and were not doing well by the lack of crowd response, but so far did not have an answer. We were booked in Minneapolis, MN at the Flame club for a week. The Flame was a prestigious venue that most Grand Ole Opry people played and visited regularly. It was our first time. We did the first night and the crowd sat out there and talked to one another while we were on. I told Bobby and Dale that we had to do something so they went to a music store and bought pickups for their mandolin and guitar.

Ronnie Reno was playing electric bass and I had an instrument with me that Sho-Bud had put some high dollar pickups in, so we borrowed the house band’s amps and we were in business.

I was determined that they were not going to talk while we were on. They might not like us but they were going to hear us. Man, we blew paint off the walls. After that we knew the answer to the package show problem too. We finished in Minneapolis that Saturday and played Greenville, SC the next Friday. It worked like magic. Like Moses Malone going after a rebound. When we did our final Rocky Top it sounded like a jet going over. Problem solved. We just played normal, did our usual stuff.

Those package shows drew 12,000-18,000 people so we were in business. Camp Springs in ’71 with Earl was something we’ll never forget. Our OB performance that day was good too. Brother Bobby was bringing it every time he stepped on stage. Ronnie Reno, Dennis Digby, Robby Osborne, and Dale Sledd. Man! Get away’m hyer!!!! s

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Hi Sonny, we’ve had many conversations about sports. Tell us about your love of sports and did you play any sports? Yes, I still have the Titans tickets!

Miss you and look forward to lunch soon!

Larry S

Lawrence my Bluegrass Brother who hauls me around on his bus… Larry Stephenson who would be doing some festival right now had it not been for China. He mentioned the Titans football tickets. When the Oilers moved to Nashville I bought season tickets. Judy went with me a few times and then I went alone some. Long story shortened… I went until I watched these millionaire football players taking dives.

What is a “dive”? It’s when a player is running with the ball and he sees a tackler 10 yards away who is going to wipe him out, so the aforementioned hits the ground. We fans are paying quite a bit to see these phonies take these dives. I sold my tickets to Larry and never went back.

Man, I’ve always loved baseball, basketball, and football though. If I hadn’t learned to play the banjo I probably would have tried to play football or baseball, then maybe I could have become a diver. (;-)

This sports thing goes back to the times my Dad and I would sit in front of the radio and listen to the Kentucky Wildcats play basketball. 1946 to 1951, then all the way up until 58.. WHAS Louisville’s 50,000 watt powerhouse at the time. Cawood Ledford, Claude Sullivan, and later Ralph Hacker were all good. Cawood was the best.

My Grandmother, who was about 95 at the time… I visited her when she lived on Bear Branch, about 7 miles out of Hyden. I walked in and she had the radio on listening to who else but Kentucky Basketball and Cawood Ledford. I think I would have enjoyed pro and college sports had I been good enough to play. We’ll never know will we, Cripple Creek got in the way.
s

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Sonny,

Can you share some history about your move from MGM to Decca in the early ’60s? I’m curious to know what precipitated the decision and how it all went down.

Wesley V.

Hey Wesley V… thank you for taking time to join this chaotic free for all. I appreciate you.

We noticed that everything we recorded and released sold 11,000 copies. That means only one thing. They are using you as a tax write off. But to us, MGM served it’s purpose because in being there on a mid-major label, and having regular releases on singles and LPs, we got our name established in the country/bluegrass world.

Being on MGM was not to be sneezed upon, they had Hank Williams Junior, Connie Francis, and Conway Twiitty (you know where he got his name? Conway Arkansas and Twitty, Texas…real name? Harold Jenkins) and so that fact alone helped us getting our records played which added to being established.

We had several chart releases on MGM and they also sold 11,000. Once More went to number 11 nationally. Guess how many it sold…huh? You’re right, 11,000. Tax write off. Plain and simple. So when Decca, a major major became a possibility, although they had Bill Monroe and Jimmy Frog Martin, we thought it to be a good move so we made it to Decca. Probably the best most intelligent move of our career because it set us up for the MOVE of our career The Grand Ole Opry.

Decca happened in 1963 and the Opry in 1964. You asked how it all happened. We knew Tommy Sutton, a DJ in Dayton. We bought Tommy a train ticket to Nashville with an audition tape. He knew Wesley Rose, and Wesley knew Jim Vienneau, who was the A and R guy for MGM. That move got us closer to Nashville…and the opry.

Six years later Doyle Wilburn, who orchestrated the Decca deal in ’63 and to whom we told that we needed the Grand Ole Opry to survive. He asked for 18 months to accomplish this major step up the ladder. 13 months later we were made members of the big tater. Was that a large move? Huh, was it? Git Away’m hyer!!! It was THE MOVE. At, some time later in this column, if asked I will tell about the con job of all time, which was common in the recording industry but brand new to two ole boys from Thousand Sticks, Kentucky. I’m not prompting you to ask me….just sayin’…
s

If you have something you would like to ask Sonny, be sure to post it in the comments below, or send it to us directly.

Ask Sonny Anything… how did you set up your banjo?

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Ask Sonny Anything is a recurring feature where our readers pose questions to the great Sonny Osborne, one half of the iconic Osborne Brothers who redefined bluegrass music in the 1960s, and noted banjo maven and collector of fine prewar instruments. Everyone is encouraged to pose queries of your own each week in the comments, about his history in the music, his wealth of banjo knowledge, or regarding any life advice you might be needing.

Hey Chief, one thing that always amazed me about your playing, along with the freedom and how easy it looked for you to be playing. was the tone of your banjos. In particular the Granada. I realize just how great that banjo is after being fortunate enough to get to play it thanks, to you. But I’ve always been interested in your setup for banjos, and although we’ve talked about it before, particularly the advice about once you get a banjo right… LEAVE IT ALONE. I’ve noticed some of your heads in some pictures are worn horribly, which I think look great. It shows the instrument is a tool, and not a show pony. How often did you change heads?
Thanks,
Lincoln H.

Lincoln….good to hear from you, although we talk regularly This is a bit different. It was easy for me to play because I had finally gotten a banjo that would produce what I heard, or wanted to hear. I also knew the fingerboard well enough that my hands were in position usually to play the notes I wanted. I never bothered with set up very much and I don’t recall anyone ever saying I got a bad tone out of a banjo. Every time I let someone set my banjos up, usually I had to fix it so it sounded right. I tried to get the head tight enough that it felt like one more turn would break it, then make sure it was level. Let the tailpiece find it’s own spot, go get a 5/8 Grover bridge, and next find the spot where that banjo sounded the best, and after that leave it alone. If it sounded how I wanted it to sound, I didn’t want anyone to touch it, or breathe on it. You know, usually if you let someone play your banjo the first thing they do is tune it. I didn’t like that. Some of these set up guys will tell you that a plastic head will wear out, lose its sound, well to tell you the truth I hardly ever changed heads.. Only when they would come loose from the bead and I had to change. One head in particular on that Granada in the ’80s when we were still working a lot, I must have kept that head on there 10 years or more. If plastic wore out we would be in real trouble huh! Look at all the things we use a bunch every day, the dashboard on our cars, Man, everything is made of plastic. I had a conversation with E and he told me that when the plastic head came out “A feller’d never have to buy another head.” Case closed! . s

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Hi Sonny,
I’ve heard you speak before about banjo players the do or don’t have “attitude” related to their playing and style (not their personality); could you expound on what that idea of “attitude” is?

Derek V.

Hey MR. Derek V….Thank you for wearing a mask and following the rules. We might make it through this Chinese Virisdown. Banjo playing/player attitude. It really should be labeled Aggressive, which would suit the attitude I always try to instill in the playing of an advanced player if they ask me. To be more clear, it’s the image the audience sees when he sees you play. MR. Scruggs, Don Reno, had it. I tried but I’m not sure I ever accomplished exactly what I see and hear in my own appearance and/or playing.

The facial Expression has something to do with it. It’s a Take charge, I own it, I want you to listen to me. I CAN play or I wouldn’t be up here. So, now listen!

Aggression. Confidence. Look at Flatt. Have you ever seen a more confident person?

Jimmy Martin had it. Scruggs, My Brother Bobby, Béla, Jens Kruger. Derek, I know how this might sound to a guy who doesn’t have it…CONCEIT….But man, I assure you it was not conceit. With the banjo I wanted to seem in control of my moment, confident, aggressive, sure of myself to the point that my banjo was screaming ‘I belong here now listen’…hey if you’re getting a house built or concrete patio poured you don’t want some guy that doesn’t know what he is doing, Do you? ‘course not. When you pay hard earned cash to see a bunch of guys come out on the stage and dilly dally around and when they start playing it’s almost like they’re saying to the audience ‘please excuse me for taking up your time, I won’t be very long’… at least I don’t want to see that. I had rather have my banjo scream and say; “Sit down, shut up and listen, cause we own this stage for the next hour. We are in control up in here!!!”
….something like that 😁😝😳….may be a bit harsh, you reckon?

s

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Hi Sonny:
I greatly appreciate your comments and stories, they remind me of your music – honest, straight forward and offered on a take it or leave it basis. I hope you enjoy writing it as much as we do reading it.

Many of your colleagues were/are superb guitar players, people like Earl, Don Reno, J.D., and Alison Brown. Ralph may be the exception here, as I believe he stuck to the banjo. I assume most pros play several instruments and the guitar being simple to learn, is played by many of them. Do you in fact play guitar, and did you ever play on stage or in the studio? If not guitar, maybe you can tell us about any instrument you play for your own pleasure. I read recently that Bobby played fiddle for his own enjoyment all his life, and that is what brings me to ask you about other instruments.

Thanks
Dick
Ont. Canada

Dick in Ontario, beautiful Canada. We did a TV show at a Chevrolet show room in Winsor for about a year in 1955. Broadcast on CKLW-TV with Casey Clark and the Lazy Ranch Boys and Girls.

Other instruments? I know chords on the mandolin, GUITAR Banjo, and can figure out the bass. I have played Mother Maybelle Carter Guitar breaks on several tunes and even recorded a couple. On stage I played guitar a bit but I stuck with the banjo and guitjo.

Bobby was a better musician than I, in that he could play anything. Fiddle, mandolin, guitar, banjo, and at one time he could play some piano. I believe his favorite would be the fiddle. But his vocal was so good….so good. My opinion, Bobby started a style of mandolin that the majority of players do now. It’s the single string where you don’t necessarily play the melody, rather you kinda play around it. He started playing that stuff in 1952. Because his vocal was so good he was never recognized so much as a mandolin player, but believe me folks, boy could play.

s

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Sonny, thanks so much for sharing your memories and observations with us. I really enjoy reading your column! A question for you: A while back, you mentioned listening to jazz. I’m curious as to who you listen to in that field. I know you worked with Hank Garland way back when, and there’ve been lots of bluegrass artists working jazz into their recordings, and some jazz folks [Bill Frisell, Cal Collins, Charlie Haden] who wandered into bluegrass and country. Did you explore integrating the styles in your playing, perhaps even for your own curiosity, or did you prefer not to mix the two [OK, two questions]? Thanks for all, and best of health to you!!

Henry K.

Henry K…welcome, good of you to share some of your time with us. Thank you!

Yes, I would have mixed it all together just to see what surfaced IF I thought I had the knowledge to do it and not get booed out of the stadium. Not very many guys I mentioned would wander very far into jazz because really good jazz musicians look right on down on people who proclaim jazz talent, and knowledge, without being able to back it up.

I was told that the Emmons try at a jazz album was not accepted well by the other musicians….and see, man I would run wide open away from that situation. Jazz and I go back to the early ’50s when I was around some folks who delved into some form of jazz. They were not considered top drawer players but I grew to like and admire their talent. Buddy Emmons, who recorded a jazz album (mentioned above) that I never heard. Hank Garland, Jethro Burns and Homer Haynes, and a little Miles Davis, and John Coltrane. I also recorded a fusion album with Gary Burton, Roy Haynes, and a couple more guys I can’t remember their names. Tennessee Firebird was the album.

We played a park in Chicago in 1955 and I had heard that Charlie Byrd was playing just a short few steps from where we were so when I got done I headed that way, (I wanted to head him off cause as soon as he heard I was near he’d be right there, and Charlie was getting right on up in years). Yeah Right, I’m sure of that! I got to see the great Charlie Byrd play. UNREAL.

I liked Charlie Parker and Billy Preston too. It’s a far cry from what made my living, but I really love (and better defined, Admire) Jens Kruger, Tony Trischka, Ned Luberecki, and Béla Fleck, and about a jillion others for what they can do, and what I couldn’t do. I neither have the time nor room to mention all of them. If I mentioned them all, man I’d be here ’til suppertime.
s

If you have something you would like to ask Sonny, be sure to post it in the comments below, or send it to us directly.

Ask Sonny Anything… what was your first banjo?

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Ask Sonny Anything is a recurring feature where our readers pose questions to the great Sonny Osborne, one half of the iconic Osborne Brothers who redefined bluegrass music in the 1960s, and noted banjo maven and collector of fine prewar instruments. Everyone is encouraged to pose queries of your own each week in the comments, about his history in the music, his wealth of banjo knowledge, or regarding any life advice you might be needing.

During the past couple weeks I’ve been talking (by text) to Silvio Ferretti, good friend, banjo player, bridge maker. Right now thanks to our Chinese friends who gave us The Chinese Virus Breakdown, he is spending most of his time in his house in Italy. As I’m doing here in Tennessee. He asked me to expound on a subject that I don’t think I’ve ever looked into. My relationship with JD Crowe. Both about the same age (JD is 2 months and 2 days older) Both from Kentucky, both banjo players. (One of us the Real Deal) Sorry Crowe man, it’s my column!!!!!!!!!! Kidding. I love Crowe, he knows it. Nothing I wouldn’t do for him, if possible! If I can’t do it, I’ll get it done…..I’ll call Steve Chandler.

So, yes, I can do this.

At this point in life JD is one of my very best friends. Before all this virus stuff and worn out wheels (knees) I would have a lunch get together and invite my banjo friends and others. Starting with Larry Stephenson, Ronnie Reno, and Robin Smith. It grew into a real deal and Del and his boys Rob and Ronnie, Mike Bub, Skaggs, Bobby, Boj, Rhonda Vincent… we’ve had a bunch of folks. So, get this, Probably 10 – 15 times guess who drives from Lexington, KY and orders his eggs…yep JD Crowe. Steve Chandler, great engineer and friend, always sees to it that JD can get there. I can’t begin to tell you how much I appreciate that little thing right there.

Throughout our careers our paths did not cross often but since his slowdown and my retirement we have become very close friends. One would ask if we talked banjos when we see one another. Strangely enough, no we do not. To me we have never been in competition nor have we been in a place where we would be.

When JD was with Jimmy Martin I thought on a couple of occasions Jimmy wanted JD to show me up, but that never happened. My way of playing the banjo was so different from his that there was actually nothing to compare. I played what I heard in my head and each time may be different from the last time. And, I never listened to banjo players other than Earl up to 1957. After that, I listened to everything but the banjo.

Don’t get me wrong, I love the guys, Sammy, Kruger, Aaron, Kristin, Lincoln, Brandon, Derek, Béla, Tony, Alison, I love them all … we’re brothers. Crowe and I are brothers. But, I don’t listen to their banjo playing. Like to take it apart. Understand, to me, the right hand is the most important part for a person to conquer. A great right hand, with all the correct moves, and the rest will fall into place. All of the above have great right hands that fits perfectly with what they want to accomplish with the banjo. But for me to play what I play, the way I go about it, ‘twould be a detriment to my way of thinking!

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Hello again from Seattle. I grew up in Wisconsin in the 1970s and could often get the Opry on the radio. I dug out some old tapes I made off the Opry at that time. On a Trailblazer Dog Food segment it sounds like Lester Flatt & The Nashville Grass and the Osborne Brothers together on a few songs. Do you recall performing together with Lester on the Opry?

Thanks.

Jeff S.
Seattle, WA

Jeff from Seattle. Thank you for joining us. I don’t remember what year that would be but yes, I do remember doing the Opry and on stage with Lester. We did We’ll Meet Again Sweetheart and Roll in My Sweet Baby’s Arms. Paul Warren played the fiddle and Kenny Ingram played the banjo.

I think, if you were to go to my web page you’ll find a picture taken that night with the three of us at the mic singing. I loved that picture and the actual performance. Lester was a 100% pro and the most relaxed person I have know when he was at the mic. The most “laid back” person you would ever want to meet.

Flatt and Scruggs breakup must have been because of something really bad. Lester told me more than once, and he always said the same words. “I JUST WANTED TO KEEP PEACE IN THE FAMILY!” I won’t discuss their breakup, I loved them both and their contribution to Bluegrass Music is Immeasurable. Trust me, I was there from one end to the other.

If not for Flatt and Scruggs, what we know as Bluegrass Music would not have existed. Oh, for sure there would have been singers and banjo players but the bar would not have been set nearly as high. If you didn’t see them perform on stage, I’m sorry. Class act. From beginning to end. I met them in 1952. And after the breakup, Bill Mack, all-night DJ at WBAP Dallas/Fort Worth said it best. “I just couldn’t imagine waking up every day and there not being a Flatt and Scruggs!”
s

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Hey there Mr Sonny….brother, just wanted to let you know how great of an influence you have been to all things banjo….and you proved time and time again that any music can be capably played if you just think through what you want to do. Especially for all us “unknown” pickers, the banjo is such an important part of our lives, it makes us hopeful that maybe we might be able to express ourselves through music, and the folks who are listening might understand what we’re trying to do.

Secondly, love the ending on Cut the Cornbread; free form jazz. To me,good stuff.

Ned L. asked about you playing any “melodic style,” listen to your ending on Old Joe Clark on the Wade Ray fiddle album on Camden. Again, good stuff.

Now to a question, how was it picking with Homer and Jethro? Thanks, stay safe, and take care.

Danny B.

Dan’l, I’m glad you could make it. Mighty kind words there my brother….Thank you. Good, well thought out banjo playing comes from practice, practice, practice until your fingers bleed. And then do it some more. If you love that sound enough, that much, anything is possible. Being able to play everything you hear in your head…. Man, they hain’t nothing no better. Just like corn bread crumbled up in cold butter milk. Lawd How Moicy!

If one would listen closely, both those endings are Classic Melodic. Cut The Cornbread was the first one I did and it was on a dare from Grady Martin. I’m not proud of it but I did it, it’s mine. The Old Joe Clark ending was done as a suggestion from Ray Edenton who was on both sessions. Man, I was so honored to do that album with the best musicians in Nashville. Maybe in the world.

Jethro Burns is unbelievable on the mandolin, country fiddle tunes, or Miles Davis jazz. He would be comfortable in either setting…and Homer Haynes…probably the best swing, actually any kind of music, guitarist. He can play the most beautiful rhythm you will ever hear. He plays chords that match. Each one leading to the next one. I LOVED doing that Wade Ray album. Homer and Jethro, Ray Edenton, Floyd Cramer, Henry Strezlecki??? and I can’t remember the drummer guy’s name. Maybe Buddy Harmon or Johnny Virgin.

And then there was Wade. Wonderful human being. Just a joy to be around. Great singer who worked on the Ernest Tubb TV show, Tubb called him “Pugg Nose!” How good was he? We took a lunch break and he stayed in the RCA studio and put harmony on the fiddle tunes… did it in one hour folks. Recorded on an Ampex machine direct to 2 inch tape. UNREAL! This comes from practice, practice, practice. When music is like that, that good, it just tears me up inside. It’s that good, and they knew my first name! Every banjo player would pray for this kind of opportunity. Thank you Lord for placing this in my path! s

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Hey Sonny, my name is Nik M. and I’ve basically been a fan my whole life (grant it I’m 14)… My grandpa Earl Ray got me into listening to it, and then I kind of moved into classic country and now it’s kind of a mix of both. I really want to make my grandpa proud so I took up banjo playing. Do you have any beginners tips or suggestions?

Thanks, Nik

Hey young Nik….several tips that would help you. Get the best instrument that is possible. Get the best picks. I recommend Hoffmeyer finger picks, and a plastic thumb pick, or a Blue chip thumb pick which comes in s-m-l sizes.

Select a banjo player that their style of playing best fits what you have in mind. Then find a good teacher. I recommend Kristin Scott Benson, Bill (New Mexico Flash) Evans, or Tony Trischka. Tell them how you want to play and follow instructions. Above all, PRACTICE, PRACTICE, PRACTICE. In a room with NO distractions. IE: phone, TV, Radio…complete silence, focus, and concentration is necessary if you want to learn to play.

If you can’t do any of these during practice time, you shouldn’t waste your time and money. You sound as though you may be somewhat talented. If so, you may be ahead of these recommendations, in that case…PRACTICE, PRACTICE, PRACTICE, P[RACTICE, PRACTICE, PRACTICE.

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Hi Sonny, Long time listener, first time writer-inner. I interacted with you many years ago on The Banjo Forum and was able to ask you once about singing. You told me you never really liked singing but were graced with the natural ability to harmonize so you got stuck doing it. I always thought you were amazing on the banjo but your singing gets very little credit. I was able to purchase the CD and DVD of the show you did with Rhonda Vincent and thought you once again did a great job. Did you enjoy that experience being back on the stage and what memories can you share from the time you were touring where you did enjoy singing?

Stan

Stan, welcome my friend. Did you ever stop and think, He gets ‘very little credit’ because he doesn’t deserve much, and you can tell that he’s not very good AND the other two guys are thinking something like ‘JJJeesh, I wish Bobby would have gotten someone else to do this’ and man, we would have something. Seriously, all kidding aside, I just didn’t like singing because it took me away from my first love…the banjo.

I was blessed with the ability to recognize harmony parts and could blend well enough to make the other guys sound good. We were fortunate enough to have some pretty good harmony singers too. Benny Birchfield, Dale Sledd, Ronnie Reno, Paul Brewster, Terry Eldredge, Terry Smith, Daryl Mosely. These guys were good, really good. I would classify myself as adequate.

Did I enjoy being back at the Ryman. Partially. It was good until Mac Wiseman backed his scooter into my left leg and it almost knocked me down. But once again, that’s the price you pay for being a hillbilly.

I loved memories of the Ryman, I was standing within 5 feet of where my career started, and I chose to end it there. Full Circle! I also loved working with Rhonda’s band. They are the best. Aaron McDaris, Josh Williams, Mickey Harris, Hunter Berry, and Brent Burke….Good ain’t the right word, but for me, a 10th grade drop out, it’ll work. The singing part, not so much. Good to sing with my brother again. We spent 55 years together. Rhonda sings a high baritone and it was difficult for me and Bobby to focus in on the correct part. So, there were mistakes in the harmony, BUT THE CROWD LOVED IT AND THAT’S WHAT REALLY MATTERS.
s

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Hi Sonny, I’ve always loved the tone you pull out of your banjos, be it The Granada or the RB-75 FON 182-3 (formerly known as an RB-3 or an RB-4, “the one with an X at the first fret”). These two great banjos were recorded with the best technology that was available to the Osborne Brothers through the years, but I’m wondering: what did you play before them? I’m pretty sure you had the RB-75 on the recordings with Red Allen, but I’m curious about the banjo(s) that you played before, with Jimmy Martin, on the Stanley Alpine recordings, and of course with Monroe. Could you shed some light on the Early Sonny Sound, so to say? Thank you!

Silvio F

Silvio….TONE. Everything has a ‘sweet spot’ including every banjo I played. Tone comes from learning to play at the banjo’s sweet spot. Each one is a tiny wee bit different. I takes a small amount of adjusting your right hand position.

I was just talking about you and the conversations we’ve had in the past few weeks.

STORY. My first banjo was a Kay. My Dad paid $100 for it. I had seen the picture of Earl where he was playing the RB 75 that he later traded to Don Reno. It looked like an X on the first fret. I got some white paint and painted an X on the first fret of that Kay!

The banjo used on the Bill Monroe recordings was a Gibson, no tone ring RB 100. That banjo was run over in a drive in theater while I was working with Bill. I sold it to Johnny Whisnent, and he never paid me for it, ha ha.

I had a Gibson RB150, and it was short lived. StringBean gave me the address of Shorty Fincher in Hallum, PA and that’s where my first Gibson Mastertone came into the picture. My Dad paid $125.00 for a 1929 RB3 Raised Head. I used it on the Gateway recordings in 1952. Sunny Mountain Chimes etc. also the RCA records with Jimmy (Frog) Martin, (Stanley Alpine was a fictitious name). Those recordings were made for Gateway and the Kentucky label. I played it on some of the very early MGM records until I bought the RB 3 (182-3) at The Dayton Institute of Music, becoming the second owner. Hershel Measle bought it new at Pop’s Music on East 3rd Street in Dayton..in 1937. I bought it in April 1956. Aaron McDaris has it now. I played it until the Vega era 1965 until the 1970s. This time includes the 6 string period which began in 1970.

C. E. Ward made the first one ever I reckon and after that I think Rual Yarborough made several for different people. I think maybe JD got one made by Rual. It didn’t catch on as I thought it would. I recorded a lot with the 6 string. It was fun to play, but needed adjustment in the right hand because of the string width being wider. The real problem occurred when I went back to the five string.

The speed was gone for the most part. I couldn’t play fast for long stretches. The Granada came in January of 1978. A Godsend for sure. I had played some good ones but that one, 9584-2 took the prize. ‘Twas the best banjo I ever had in my hands. No way to actually compare but if that were possible I bet that banjo would be the best ever. The Chief came to life in 1998, and I basically used 00 chief until the end in 2003.

s

If you have something you would like to ask Sonny, be sure to post it in the comments below, or send it to us directly.