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In the 1920s, the recording industry exploded in popularity, giving
the banjo a boost. With records came a parallel development of the
radio industry. The banjo was exposed to a wider audience than it
had seen in years. Soon the Grand Old Opry started broadcasting.
It featured the Dixie Dew Drop, Uncle Dave Macon, who performed as
a modern-day banjo minstrel. Uncle Dave's popularity gave the banjo
a much-needed shot in the arm. |
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Among those at the Maryland Banjo Academy is LeRoy Troy, who patterns
much of his exuberant playing after Uncle Dave. In fact LeRoy's playing
has a direct link to this early star of the Grand Old Opry.
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| Michael Miles is assistant director of the Old Town School of Folk Music in Chicago. Mark Schatz, one of the finest acoustic bass players today, also has a keen passion for the banjo. Both are grounded in the traditional clawhammer style but have ventured into new areas of playing.
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As the workshops started, plenty of comments could be heard about
clawhammer and bluegrass players striving for harmony over the
weekend. All joking aside, while plenty of players are rooted in
one type or the other, the variety of styles within each of those
methods shined through.
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Some players remain strongly tied to the
traditions of their style, while others use it as a basis to
expand their musical horizons. Ken Perlman is considered a master
of what is called melodic clawhammer.
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Tony Trischka's renown as a player is nearly equaled by his
fame as a teacher. His instructional books, videos and
performances have inspired countless banjo players.
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Bruce Molsky, considered one of the finest old-time musicians
in the world, calls himself a square-dance style player.
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The weekend wouldn't have been complete without the traditional
jam sessions, and there were plenty involving both teachers and
students. This phenomenal music weekend was topped off with a
great concert.
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