Articles

C.J. Lewandowski of the Po’ Ramblin’ Boys says that at fifteen years old, when he met Bobby Osborne, one of his heroes, he would never have dreamed of the friendship that would develop between the two musicians. Over the years that followed, Lewandowski, also a mandolin player, learned from Osborne—music lessons and life lessons. In…

University of Illinois Press Although not as well-known as the Southeastern United States, the Ozarks region of Missouri and Arkansas has long been a hotbed of fine old-time fiddling, folk ballad singing, and bluegrass music. One of the primary reasons that so many ballads and tunes from the Ozarks have been faithfully preserved over the…

Poetman PMR 70088 Now thirteen, Phoebe White is a young lady from Appalachia who grew up influenced by the Western music performances of folks like Roy and Dale Rogers, Patsy Cline, Patsy Montana, and Jimmie Rogers. She has become a skilled singer and yodeler and plays guitar, mandolin, ukulele, piano and more. And, she has…

By Ivan M. Tribe and John W. Morris Reprinted from Bluegrass Unlimited Magazine January 1980, Volume 14, Number 7 Between 1958 and 1968, Bill Napier established himself as one of the top musicians in bluegrass. Beginning as a sideman with the Stanley Brothers and then as half of the Moore and Napier team, Bill displayed…

Reprinted from Bluegrass Unlimited Magazine August 1983, Volume 18, Number 2 In the short history of bluegrass music many individuals have passed through the few major bands. During the late ’40s and early’50s, bands sporting a contract with a major recording company or privileged with major radio and later TV exposure could be counted on…

Reprinted from Bluegrass Unlimited Magazine March 1972, Volume 6, Number 9 In the early years of bluegrass the mandolin was frequently overshadowed by both fiddle and banjo. Bill Monroe is by no means the only one who took up the mandolin because it was the only instrument not already spoken for by his musician friends….