Interview with J. D. Crowe, January 7, 2020

Partial Transcript: Alright, we're rolling.

Segment Synopsis: J. D. Crowe is introduced. He talks about his early life in Lexington, Kentucky, moving to Jessamine County, and later Newport, Kentucky. He talks about his family and their interest in music. He talks about his first musical instruments.

Keywords: 1937; Big band music; Concerts; Family home; Farms; Fathers; Gigs; Grand Ole Opry; Grandparents; Guitars; Jessamine County (Ky.); Learning to play; Newport (Ky.); Shows; Sisters; Square dances; St. Joseph Hospital; Ukulele; Uncles

Subjects: Childhood; Country music.; Lexington (Ky.); Music--Instruction and study.; Musical ability in children.; Musical families; Musical instruments.

Partial Transcript: You were first interested, I think, in the guitar.

Segment Synopsis: Crowe talks about learning to play guitar by listening to Ernest Tubb. He talks about Ernest Tubb's unique sound and style.

Keywords: Acoustic guitars; Billy Byrd (Artist); Byrd, Billy (Artist); Different; Electric guitars; Emulating; Ernest Tubb (Artist); Grand Ole Opry; Guitar players; Guitarists; Guitars; Identifiable; Learning to play; Sound; Style; Tubb, Ernest (Artist); Unique; Voices

Subjects: Childhood; Country music.; Music--Instruction and study.; Musical ability in children.; Musical instruments.; Musicians; Practicing (Music)

Partial Transcript: ...until I saw Flatt and Scruggs.

Segment Synopsis: Crowe talks about hearing Flatt and Scruggs for the first time. He talks about how this influenced his interest in playing the banjo and how he learned to play by listening to them on the radio and on records. He talks about his first banjo. He talks about his father's relationship with musicians which led to Crowe being able to watch Flatt and Scruggs in the studio as they rehearsed for their radio show.

Keywords: Acoustic instruments; Banjo players; Banjos; Benny Sims (Artist); Burkett Howard "Uncle Josh" Graves (Artist); Burkett Howard Graves (Artist); Choreography; Concerts; Crazy Tennesseans (Artist); Curly Seckler (Artist); Different; Earl Scruggs (Artist); Emcees; English Pierce “Cousin Jake” Tullock (Artist); Esco Hankins and the Crazy Tennesseans (Artist); Fathers; First banjo; Flatt and Scruggs (Artist); Flatt, Lester (Artist); Foggy Mountain Boys (Artist); Friends; Gigs; Graves, Burkett Howard "Uncle Josh" (Artist); Graves, Burkett Howard (Artist); Graves, Josh "Buck" (Artist); Hillbilly music; Howard "Cedric Rainwater" Watts (Artist); Howard Watts (Artist); Josh "Buck" Graves (Artist); Kentucky Mountain Barn Dance; Learning to play; Lester Flatt (Artist); Microphones; Mistakes; Novelty Record Shop; Performances; Radio programs; Radio shows; Radio stations; Radio studios; Records; Rehearsals; Scruggs, Earl (Artist); Seckler, Curly (Artist); Shows; Sims, Benny (Artist); Sound; Style; Tullock, English Pierce “Cousin Jake” (Artist); Unique; Versailles (Ky.); Watching; Watts, Howard "Cedric Rainwater" (Artist); Watts, Howard (Artist)

Subjects: Childhood; Country music.; Music--Instruction and study.; Musical ability in children.; Musical instruments.; Musicians; Practicing (Music)

Partial Transcript: So you've talked about listening to the records and--

Segment Synopsis: Crowe describes how he came to play his first show. He won an amateur contest for which the prize was a guest spot on the radio. He was invited by Esco Hankins to perform with him and the Crazy Tennesseans.

Keywords: Amateur contests; Concerts; Esco Hankins and the Crazy Tennesseans (Artist); Gigs; Guest spots; Learning to play; Prizes; Professional musicians; Professionals; Radio shows; Shows; Sponsors; WLAP (Radio station)

Subjects: Bands (Music); Banjo music (Bluegrass); Bluegrass music.; Bluegrass musicians; Childhood; Country music.; Music--Instruction and study.; Music--Performance.; Musical ability in children.; Musical groups.; Musical instruments.; Musical performance; Musicians; Practicing (Music); Radio programs.; Radio stations.

Partial Transcript: Did that--playing with Esco Hankins, did that also lead to some other things?

Segment Synopsis: Crowe talks about how playing with Esco Hankins led to Jimmy Martin hearing him on the radio and inviting him to play shows with him in Ohio when he was only sixteen years old.

Keywords: 1954; Bill Monroe (Artist); Bill Monroe and his Blue Grass Boys (Artist); Jimmy Martin (Artist); Lexington (Ky.); Martin, Jimmy (Artist); Middletown (Ohio); Monroe, Bill (Artist)

Subjects: Bands (Music); Banjo music (Bluegrass); Bluegrass music.; Bluegrass musicians; Country music.; Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians; Radio programs.; Radio stations.

Partial Transcript: After the summer tour in--with Jimmy in Middletown, Ohio and around there was over and school started up--

Segment Synopsis: Crowe talks about returning to Kentucky for school and playing on weekends with the Joslin Brothers.

Keywords: Bars; Bob Joslin (Artist); Brothers; Charlie Joslin (Artist); Clubs; Concerts; Gigs; Jobs; Joslin, Bob (Artist); Joslin, Charlie (Artist); Practicing (Music); Schools; Shows; Sisters; Venues

Subjects: Bands (Music); Banjo music (Bluegrass); Bluegrass music.; Bluegrass musicians; Country music.; Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians

Partial Transcript: Now, I've read that after that summer tour you did in '54 or so with Jimmy--

Segment Synopsis: Crowe talks about how he came to work with Mac Wiseman in Richmond, Virginia. He talks about some of the banjos he owned in his early days.

Keywords: 1955; Banjo players; Banjos; Benny Williams (Artist); Earl Scruggs (Artist); Gibson RB-100 banjo; Gibson RB-250 banjo; Jimmie Skinner (Artist); Mac Wiseman (Artist); Newport (Ky.); Richmond (Va.); Schools; Scruggs, Earl (Artist); Sharp, Tim (Artist); Skinner, Jimmie (Artist); Tim Sharp (Artist); Williams, Benny (Artist); Wiseman, Mac (Artist)

Subjects: Bands (Music); Banjo music (Bluegrass); Bluegrass music.; Bluegrass musicians; Country music.; Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians

Partial Transcript: Well, let me jump up another year. In '56, somehow or another you got back with Jimmy Martin.

Segment Synopsis: Crowe talks about returning to work with Jimmy Martin and working with him for five years. He talks about the other band members during his tenure with Martin. He talks about how Martin influenced his musical style, learning to sing baritone with Martin, and working with Paul Williams to arrange the breaks in the songs.

Keywords: Banjo players; Banjos; Baritone; Breaks, musical; Capability; Changes; Detroit (Mich.); Earl Taylor (Artist); Harmony singing; Hutchins, Sam "Porky" (Artist); Jimmy Martin (Artist); Learning; Martin, Jimmy (Artist); Material; Musical styles; Paul Williams (Artist); Rhythm; Sam "Porky" Hutchins (Artist); Schools; Singing; Sneedville (Tenn.); Songwriting; Sound; Style; Taylor, Earl (Artist); Teaching; Voices; Williams, Paul (Artist)

Subjects: Bands (Music); Banjo music (Bluegrass); Bluegrass music.; Bluegrass musicians; Country music.; Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians

Partial Transcript: For a while, when you were with Jimmy, your base of operations changed, didn't it?

Segment Synopsis: Crowe talks about moving with Jimmy Martin to Shreveport, Louisiana to work on the Louisiana Hayride radio program.

Keywords: 1958; Grand Ole Opry; Guest artists; Louisiana Hayride (Radio program); Memberships; Nashville (Tenn.); Popularity; Show casts; Shreveport (La.); Stepping stones

Subjects: Bands (Music); Banjo music (Bluegrass); Bluegrass music.; Bluegrass musicians; Country music.; Music--Performance.; Musical groups.; Musical performance; Musicians; Radio programs.; Radio stations.

Partial Transcript: Had you already--go ahead and have a cup of coffee there, but had you already recorded before '58?

Segment Synopsis: Crowe talks about his first recording session with Jimmy Martin in 1956. He talks about producer Owen Bradley, the technical aspects of recording, and who played on the recordings. He talks about another recording session in 1958, who played on the album, and the album's style and sound. He talks about helping to finish writing a song for Martin which he later learned was actually written by Sam "Porky" Hutchins.

Keywords: 1956; 1958; Bear Tracks (Song); Bradley, Owen (Producer); Cripple Creek (Song); Decca Records; Different; Earl Taylor (Artist); Edits; Hold Whatcha Got (Song); Hutchins, Sam "Porky" (Artist); Jimmy Martin (Artist); Martin, Jimmy (Artist); Nashville (Tenn.); Nashville sound; Nervous; Overdubbing; Owen Bradley (Producer); Paul Williams (Artist); Personality; Producers; Sam "Porky" Hutchins (Artist); Session musicians; Side men; Songs; Songwriting; Songwriting credit; Sound; Style; Taylor, Earl (Artist); Tuning; Williams, Paul (Artist)

Subjects: Bands (Music); Banjo music (Bluegrass); Bluegrass music.; Bluegrass musicians; Country music.; Music--Performance.; Musical groups.; Musical performance; Musicians; Radio programs.; Radio stations.; Records.; Sound recordings.; Sound studios; Sound--Recording and reproducing

Partial Transcript: Toward the end of your time with Jimmy, I don't know exactly when it was, you guys--the whole band moved away from Shreveport--

Segment Synopsis: Crowe talks about why Jimmy Martin and his band left the Louisiana Hayride and went to Wheeling, West Virginia to join the Wheeling Jamboree. He talks about quitting Jimmy Martin's band in 1961.

Keywords: 1961; Burnt out; Concerts; Gigs; Leaving; Louisiana Hayride (Radio program); Popularity; Quitting; Shows; WWVA (Radio station); Wheeling (W. Va.); Wheeling Jamboree (Radio program)

Subjects: Bands (Music); Banjo music (Bluegrass); Bluegrass music.; Bluegrass musicians; Country music.; Music--Performance.; Musical groups.; Musical performance; Musicians; Radio programs.; Radio stations.

Partial Transcript: So what came next?

Segment Synopsis: Crowe talks about returning to Lexington, Kentucky, rejoining the Joslin brothers and forming the Kentucky Mountain Boys. He talks about the venues they played in Lexington, including Mrs. Martin's Place and the Lime House, and describes the differences between them. He talks about the audiences at the shows.

Keywords: Atmosphere; Audiences; Band names; Bars; Bob Joslin (Artist); Brothers; Charlie Joslin (Artist); Clubs; College students; Concerts; Crowds; Ed Stacy (Artist); Gigs; Income; Jobs; Joslin brothers; Joslin, Bob (Artist); Joslin, Charlie (Artist); Kentucky Mountain Boys featuring J. D. Crowe (Artist); Learning; Lime House; Limestone Street; Money; Mrs. Martin's Place; Payment; Ruby Whitaker; Shows; Stacy, Ed (Artist); Venues

Subjects: Bands (Music); Banjo music (Bluegrass); Bluegrass music.; Bluegrass musicians; Country music.; Lexington (Ky.); Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians

Partial Transcript: Now how did the personnel change with the Kentucky Mountain Boys while you were playing these local shows?

Segment Synopsis: Crowe talks about the various members of the Kentucky Mountain Boys over the years.

Keywords: Band members; Bickle, Harry (Artist); Bobby Slone (Artist); Breaks, musical; Doyle Lawson (Artist); Ed Stacy (Artist); Fiddle players; Fiddlers; Gordon Scott (Artist); Harry Bickle (Artist); Kentucky Mountain Boys featuring J. D. Crowe (Artist); Lawson, Doyle (Artist); Lineup; Mandolin players; Scott, Gordon (Artist); Slone, Bobby (Artist); Stacy, Ed (Artist)

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Country music.; Lexington (Ky.); Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians

Partial Transcript: Then there were a couple changes or things that happened after that, again that I've read about or maybe you've told me some of it.

Segment Synopsis: Crowe talks about briefly returning to work with Jimmy Martin in 1963 and 1966 to record several albums with him.

Keywords: 1963; 1966; Albums; Grand Ole Opry; Instrumentals; Jimmy Martin (Artist); Leaving; Martin, Jimmy (Artist); Nashville (Tenn.); Quitting; Returning

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Country music.; Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians; Records.; Sound recordings.; Sound studios; Sound--Recording and reproducing

Partial Transcript: So if I understand the sequence right, then you came back and continued on with, uh, the Kentucky Mountain Boys--

Segment Synopsis: Crowe talks about how the Kentucky Mountain Boys came to be offered a year-long, 5 night a week gig at the Holiday Inn in Lexington, Kentucky. He talks about the suits they wore on stage, and talks about the various members during this time.

Keywords: Advertising; Allen, Harley “Red” (Artist); Allen, Red (Artist); Audiences; Band members; Bob Morris (Artist); Bobby Slone (Artist); Changes; Clothes; Clothing; Concerts; Contracts; Crowds; Day jobs; Doyle Lawson (Artist); Gigs; Harley “Red” Allen (Artist); Holiday Inn; Job offers; Jobs; Kentucky Mountain Boys featuring J. D. Crowe (Artist); Larry Rice (Artist); Lawson, Doyle (Artist); Lineup; Lounges; Morris, Bob (Artist); Mrs. Martin's Place; Red Allen (Artist); Rice, Larry (Artist); Shows; Slone, Bobby (Artist); Stage dress; Suits

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Country music.; Lexington (Ky.); Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians

Partial Transcript: And then there was a, a place here in town, the Lexington music company Lemco with Cecil Jones--

Segment Synopsis: Crowe talks about recording albums with the Kentucky Mountain Boys at the Lemco studio in Lexington, Kentucky. He talks about who played on the albums. He discusses the distribution of the records and their later sale to Rebel Records.

Keywords: Albums; Allen, Harley “Red” (Artist); Allen, Red (Artist); Banjo players; Bluegrass Holiday (Album); Brock, Dan (Producer); Cecil Jones (Producer); Dan Brock (Producer); Distribution; Gospel music; Harley “Red” Allen (Artist); Holiday Inn; Jones, Cecil (Producer); Kentucky Mountain Boys featuring J. D. Crowe (Artist); Lemco Records; Model Church (Album); Producers; Ramblin' Boy (Album); Rebel Records; Record labels; Red Allen (Artist); Southview Drive

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Country music.; Lexington (Ky.); Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians; Records.; Sound recordings.; Sound studios; Sound--Recording and reproducing

Partial Transcript: Along about that time, maybe '71 or thereabouts, there was another big change where you changed the band name.

Segment Synopsis: Crowe talks about his reasons for changing the band name from Kentucky Mountain Boys to the New South.

Keywords: 1971; Band names; Changes; Doyle Lawson (Artist); Hiring; J. D. Crowe and the New South (Artist); Kentucky Mountain Boys featuring J. D. Crowe (Artist); Labelled; Lawson, Doyle (Artist); Lead singers; Musical genres; Publicity; Rice, Tony (Artist); Tony Rice (Artist)

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Country music.; Lexington (Ky.); Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians

Partial Transcript: Within a couple years, you recorded with J. D. Crowe and the New South, an album that--for Starday--

Segment Synopsis: Crowe discusses the recording of the albums "Bluegrass Evolution" and "J.D. Crowe & The New South" and the confusion over the titles. He talks about who played on each album, their different styles, and their release.

Keywords: Albums; Bluegrass Evolution (Album); Bobby Slone (Artist); Different; Dobro players; Dobros; Douglas, Jerry (Artist); Electric instruments; Impact; Instrumentals; J. D. Crowe and the New South (Artist); J.D. Crowe & The New South (Album); Jerry Douglas (Artist); Kilgore, Merle (Producer); Merle Kilgore (Producer); Off pitch; Producers; Releases; Rice, Tony (Artist); Ricky Skaggs (Artist); Rounder Records; Six-string banjos; Skaggs, Ricky (Artist); Slone, Bobby (Artist); Sound; Starday Records; Style; Titles; Tony Rice (Artist)

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Country music.; Lexington (Ky.); Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians; Records.; Sound recordings.; Sound studios; Sound--Recording and reproducing

Partial Transcript: And then the--I, I remember--the next thing that I remember in a big way after, after that was, uh, right here in Lexington, Kentucky Educational Television did a show at Diner's Playhouse.

Segment Synopsis: Crowe talks about playing on the KET show, "Diner's Playhouse." He talks about who played with him, and the instruments he included which made their sound unique.

Keywords: Band members; Bobby Slone (Artist); Changes; Choreography; Diner's Playhouse; Electric bass; Glen Lawson (Artist); Goodrow, Jimmy (Artist); Harmonicas; J. D. Crowe and the New South (Artist); Jim Murphy (Artist); Jimmy Goodrow (Artist); Kentucky Educational Television (KET); Lawson, Glen (Artist); Lineups; Mandolin players; Mandolins; Murphy, Jim (Artist); Pedal steel guitars; Ricky Skaggs (Artist); Skaggs, Ricky (Artist); Slone, Bobby (Artist); You Can Share My Blanket (Album)

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Country music.; Lexington (Ky.); Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians; Sound recordings.; Sound--Recording and reproducing

Partial Transcript: A, a little later that decade you went off to Japan and did a concert there, "Live in Japan."

Segment Synopsis: Crowe describes the band's tour in Japan and the recording of the album "Live in Japan." He talks about recording the album, "My Home Ain't in the Hall of Fame" and the people who played on that album.

Keywords: 1979; 1980; Albums; Changes; Concerts; Different; Everett Lilly (Artist); Gigs; J. D. Crowe and the New South (Artist); Japan; Lemco Records; Lilly, Everett (Artist); Lineup; Live in Japan (Album); My Home Ain't in the Hall of Fame (Album); Personnel; Rebel Records; Rounder Records; Shows; Sold out; Sound engineering; Sound mixing; Touring; Tours

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Country music.; Lexington (Ky.); Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians; Records.; Sound recordings.; Sound studios; Sound--Recording and reproducing

Partial Transcript: But for all those changes, just a year or so later, didn't--wasn't that when Tony got the idea for a straight-ahead bluegrass band--or playing straight bluegrass and then became The Bluegrass Album?

Segment Synopsis: Crowe talks about Tony Rice putting together the Bluegrass Album Band and how recording one album turned into recording six albums.

Keywords: 1983; Berkeley (Calif.); Bluegrass Album Band (Artist); Bobby Hicks (Artist); Douglas, Jerry (Artist); Doyle Lawson (Artist); Hicks, Bobby (Artist); Instrumentals; Jerry Douglas (Artist); Lawson, Doyle (Artist); Music festivals.; Phillips, Todd (Artist); Rice, Tony (Artist); Series; The Bluegrass Album (Album); Todd Phillips (Artist); Tony Rice (Artist); Touring; Tours

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Country music.; Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians; Records.; Sound recordings.; Sound studios; Sound--Recording and reproducing

Partial Transcript: In all this time while the Album Band did a tour and you were creating these six albums that, that went out on Rounder--

Segment Synopsis: Crowe talks about Keith Whitley as a person and his skill as a musician.

Keywords: Contracts; J. D. Crowe and the New South (Artist); Jordanaires (Artist); Keith Whitley (Artist); Lead singers; Musical ability; Musical styles; Skills; Somewhere Between (Album); Sound; Style; Talent; Whitley, Keith (Artist)

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Country music.; Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians

Partial Transcript: Now there--I, I don't want to, you know, go through every album but--

Segment Synopsis: Crowe talks about recording an "experimental" album, "Straight Ahead."

Keywords: Acoustic instruments; Bush, Sam (Artist); Douglas, Jerry (Artist); Drums; Experimental music; J. D. Crowe and the New South (Artist); Jerry Douglas (Artist); Sam Bush (Artist); Straight Ahead (Album)

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Country music.; Lexington (Ky.); Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians; Records.; Sound recordings.; Sound studios; Sound--Recording and reproducing

Partial Transcript: Now it wasn't terribly long after that, just a few years after "Straight Ahead" that you decided you'd retire.

Segment Synopsis: Crowe talks about why he retired from the music business in 1988. He talks about working a mail route and playing music in his free time until his return to the music business in 1994.

Keywords: 1988; 1994; Burnt out; J. D. Crowe and the New South (Artist); Lonesome Pine Special (Song); Mail routes; Music business; Playing music; Retirement; Tired

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Country music.; Lexington (Ky.); Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians

Partial Transcript: In '94, again with a different configuration--

Segment Synopsis: Crowe talks about the lineup of J. D. Crowe and the New South when he returned in 1994. He talks about how that has changed over time.

Keywords: 1994; Ability; Band members; Banjo players; Banjos; Bennett, Richard (Artist); Changes; Dobro players; Dobros; Dwight McCall (Artist); Fields, Wayne (Artist); Flashback (Album); Harold Nixon (Artist); J. D. Crowe and the New South (Artist); Leadbetter, Phil (Artist); Lineup; Mandolin players; Mandolins; McCall, Dwight (Artist); Nixon, Harold (Artist); Personnel; Phil Leadbetter (Artist); Richard Bennett (Artist); Ricky Watson (Artist); Ron Stewart (Artist); Ronnie Stewart (Artist); Stewart, Ron (Artist); Stewart, Ronnie (Artist); Talent; Watson, Ricky (Artist); Wayne Fields (Artist)

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Country music.; Lexington (Ky.); Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians

Partial Transcript: And, uh, again there, there was another couple of albums, um, "Come on Down to My World"--

Segment Synopsis: Crowe talks briefly about the origins of the J. D. Crowe Bluegrass Festival in Wilmore, Kentucky.

Keywords: Acts; Albums; Booking; Concerts; Dean Osborne (Artist); Gigs; Guests; J. D. Crowe Bluegrass Festival; Osborne, Dean (Artist); Shows; Wilmore (Ky.)

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Country music.; Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians

Partial Transcript: Well, we ought to wrap this up before you get tired out, but--

Segment Synopsis: Crowe talks about people in the music business who were kind to him when he was just beginning as an amateur and how he tries to be kind to new musicians today. He talks about his friendships with his fellow musicians. The interview is concluded.

Keywords: Amateur musicians; Amateurs; Band leaders; Bosses; Crowe on the Banjo: The Music Life of J.D. Crowe (Book); Earl Scruggs tribute concert; Fans; Friendships; Helpful; Kindness; Personality

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Country music.; Music--Performance.; Musical groups.; Musical instruments.; Musical performance; Musicians