Jesse McReynolds will now take our questions

[Scott Tichenor]

I'm pleased to announce that Jesse McReynolds has agreed to be one of our feature interviews in early 2011 and it appears we'll publish this one in February with our Bobby Osborne interview running in January. As with other interviews, the reason I'm announcing it here is that our forum members will ask the questions.

Jesse McReynolds had a deep and lasting influence on a lot of musicians over the decades and I consider it an honor that he's weighing in and happy to answer our questions. He not only influenced mandolin playing, but he's a superb vocalist and remains so to this day. This is a rare opportunity to ask a question of a true bluegrass legend.

Fire away with your questions. If you need a refresher course, here's an interview Bill Graham did with Jesse back in July, 2009.

[JoeD]

I absolutely love his new album of grateful dead covers, and I glad for a chance to pass the thought along. It's currently on permanent play in my car. Is "talk about how great that album is" a question?

[Glassweb]

I'm with you... can't stop playing this CD... great music by master players, singers and writers... SUPERB!

[D C Blood]

Jesse...how did you come up with the idea of "imitating" the banjo roll on the mandolin? And how long did you have to fooll around with it until you were satisfied with it?

[mandolinlee]

Jesse: Have heard you and Jim at Hillbrook Recreation and other places around Northwest Ohio in the 1970's and early 1980's. My question is, how long have you been "on the road" and on average how many dates do you play in a year?
You are one of my favorite mandolin players.
Lee

[Ten_or_Fifths]

Are there any plans to reissue the Bluegrass Masters book? I have a copy, but I paid dearly for it. And worth every penny!

[bernabe]

A previous post revealed some info about Jesse McReynolds playing a mandolin at some point with no bracing or tone bars. I Would like to know what kind/builder if this is true.

[Mandolin Mick]

Hey Jesse!

I'm curious ... what are your 3 favorite Jim & Jesse songs for the mandolin?

By the way, I was honored to meet & talk with you at Bean Blossom in June!

Godspeed,
Mick

[jramsey]

Hey Jesse,

Thank you for participating in an interview, what an honor for this community to learn from a first-generation living legend.

I've seen you live a few times in the past couple years, listened to all your recordings, and I must say that you sound as good as ever. What's your secret to longevity in terms of speed, dexterity, and hand health, especially with physically demanding techniques like split-string and crosspicking?

Regarding split-string technique. I know that you use your pinky nail with a notch filed to grab the split, and this is how you're able to slide the shapes around. I've heard that you use press-on nails if your nail breaks. If so, how does this work for you, and would you recommend it to someone with brittle nails trying to copy the style?

Judging from the demand around here for the out-of-print book you did with Statman, it seems that more and more people really want to dig in and learn about your style. Any plans for new teaching material... another homespun tape, or maybe a book of transcriptions?

Thanks again for taking the time to do this. You're at the top of my hero list and I look forward to many more years of great music and innovative, creative mandolin playing. Take care.

[Sandy Beckler]

Hello Jesse,

Could you tell us a little about your early childhood...what brought you to the mandolin, who were some of your early influences, and was the mandolin your first instrument?

Thanks...
Sandy Beckler

[Russ Jordan]

Jesse,
I believe George Shuffler played bass with J&J for a while, before he was known for crosspicking on guitar. Was George working on crosspicking when he was with you?

[f5loar]

Jesse, Over the years you have used many different mandolins, many of them Gibsons. Can you tell me about the mid 50's F5 you used during your Epic recordings? What year was it made? It sounded really great. Did you do any work to it? Did you buy it new? In the late 60's you had a blonde top F5 style with just "Gibson" and a little long diamond shape in the headstock. What kind of Gibson was that? In the early 70's you had a converted 20's F4 to F5 style. Can you tell us who did the conversion? Do you still have these 3 Gibson mandolins?
And I don't see the question asked of what kind of strings are you using and what type/thickness pick?
And I wanted to say that if you lined up you and say the top 5 cross pick mandolin players it would be so easy to pick you out of a line up. Your style is that unique and different and I don't know of anyone that has come close to doing your style. It's a real joy to continue to hear the McReynolds style bluegrass live on the Opry 46 years later which is how long I've been hearing you on the Opry. Thanks for keeping it alive for new generations!

[Glassweb]

Great questions Tom!

[hank]

Jesse you've had an amazing career that goes back to a time when mandolin players were pretty scarce. How did you catch the mandolin bug way back when and who was your inspiration for a career in music?
From your experience with workshops and classes do you see any common problem areas and do you have any suggestions for helping us master this instrument as you have?
Your Songs of the Grateful Dead are real jewels for new and old audiences. What an interesting mix of so many talented artist. Can you tell us how this project came about?
Thanks again for joining us here and sharing your point of view.

[Scott Tichenor]

Are there any plans to reissue the Bluegrass Masters book? I have a copy, but I paid dearly for it. And worth every penny!

I don't believe Jesse has any say in the republication of the book because it was Andy Statman's project and he is the author. We was contracted by a publisher to produce that book.

That said, I wanted to share this information in the recent Statman interview but didn't: I'm aware there is a publisher that has been in contact with the company that ultimately owns the publishing rights with questions about republishing this in electronic form. So far that has not panned out but I don't think the issue is dead. I was just asked not to name the party that's interested. Reason I'm sharing this is that possibly you might have another question about the book rather than the republication because I really don't think Jesse has any say in the matter.

[j-hill]

Thank you for your willingness to take questions. I think you have played a Stiver mandolin for a long period of your career. Can you tell us how you initially came to own the Stiver? Have you always played the same Stiver and assuming the answer is yes, what about it has kept you with the same mandolin over all these years?

[John Duncan]

Jesse,
I once heard a story that George Shuffler and yourself were stuck in a hotel in Asheville, NC (my hometown) during a snowstorm and shared some cross picking techniques with each other. Is there any truth to that story?
On a separate note, what business practices have you had to undertake to stay in the music business during a long career which has seen format changes (vinyl, tapes, CD's, MP3's) trends (rock and roll), and the loss of your beloved brother and musical partner?
I grew up hearing " Hard Hearted" amongst my dad's records and cherish those memories; I also really love hearing Jimmy Campbell's fiddling with your band on videos from the Jerusalem Ridge, Peaceful Valley Bluegrass festivals on YouTube.
Thank you for all your hardwork in diversifying bluegrass music!
John

[JoeD]

Jesse,
I believe George Shuffler played bass with J&J for a while, before he was known for crosspicking on guitar. Was George working on crosspicking when he was with you?

Now that's an interesting question. I'd be interested to know there was any cross fertilization between the pioneers of cross picking on guitar and mandolin.

[swampstomper]

George Shuffler points out that his cross-picking is D-D-U, Jesse is mostly D-U-U. A very different sound. George "pushes" through the two strings on the downstrokes, then comes back. Jesse hits the first downstroke, then works his way back with the two upstrokes.

A question for Jesse: I went to a workshop with you at Andy Alexander's "Picking in the Pasture" (Lodi NY) two years ago, and I remember you commenting that you "hated" some of the material you had to cut for Epic. I think you specifically mentioned "Diesel on my Tail" and the Chuck Berry material. Is my memory correct? If so, was it the material or the way you had to present it that bothered you? Obviously you are broad-minded as a musician (El Cumbanchero, Robert Hunter songs). Related to this, my all-time favourite project of J&J was the "Saluting the Louvin Brothers" also on Epic -- I wore out two 8-track tapes of that! How did that project come about? I know you and Charlie Louvin served together in Korea and sang together, but how did you convince Epic to let you do that project?

[Kevin Briggs]

Hey, Jesse! Thanks for everything you've done throughout your working life. You are royalty around these parts.

I am wondering what your thoughts are regarding mandolins. Specifically, how have the different mandolins you've owned impacted your playing? I'm not concerned with brands that you prefer or don't prefer, just with your general experience regarding how one mandolin can contribute to or take away from your playing. If you think it's more bout the player and not the instrument, tell me about that too.

Thanks again, and thanks for everything.

Kevin Briggs

[Calusa]

Jesse,

First, thank you for all the great music over the decades - there will never be another duo like Jim & Jesse McReynolds. Truly one-of-a-kind.

My question has to do with your guitar. For example on your song, My Time is Running Out. Those lyrics connect with many people including myself, and the lead you play on your D-28 is superb!

What year is that D-28, and do you still have it? Thank you, sir. And God Bless!

[Scott Tichenor]

I'd like to send this off to Jesse by mid-week so keep the questions coming please. Thanks.

[swampstomper]

OK, I'll jump in with another. In the interview you did at the beginning of the Oak Publications book (by Andy Statman) you mention your early mandolin influences: Mack Maghar (early Opry mandolinist), Paul Buskirk (Jethro-style pop, lived around Knoxville when you were growing up), Ernest Ferguson, Red Rector and of course Jethro. So, two questions:

1. What specific ideas did you get from Jethro's playing that we can hear in some of your songs?

2. You don't mention Monroe in the list, and later in the interview you state specifically that people weren't warming to your style because they were expecting to hear a mandolinist sound like Monroe. Apart from wanting to develop your own distinctive style and create a musical identity, was there something about Monroe's style that didn't appeal to you?

[grassrootphilosopher]

I hope I´m not too late in asking questions. But it took a while to think about them.

Let me ask about the sweet harmony singing that you did with your brother. Are the sweet harmonies something that came from your local, personal, historical background (like where you grew up, your family, the way things were allways sung) or did you try to sound different from Bill Monroe, Flatt & Scruggs, Jimmy Martin and the Stanley Brohters?

I seem to remember that at one time you played in Kansas City and also in Florida. As I think that those were no places that were considered a hotbed for bluegrass, how did you go about to build up an audience?

How do/did you aproach working with a band. Since you and your brother Jim were the core of the band, what did you do to fit the musicians in?

What made you put the harmonica into your bluegrass (I think that Mike Stevens is a monster player)?

How much did you compromise your idea of bluegrass in the "lean" rock and roll boom years. What changes did you make to your music to keep earning money as a working musician?

You have a distinct style of putting vocal trios together (as distinct as the Osborne Brothers for example yet definately different from them). Would you allways stick with this certain way (like chose the singers to fit) or would you change the trio singing if the right new musician came along?

What kind of music do you like to listen to?