Doc

[DougC]

Like so many others, I played guitar because of Doc. I've gone on to other kinds of music but his music and character are part of my character and musical soul. I hope others can hear him when I play. I won't forget him... ever.

[mingusb1]

Let that old flat top ring up there buddy.

You were the best.

Z

[french guy]

I cannot open my guitar case that evening to tell her the sad news .

We spend so long time togheter ( my guitar & me ) these past 30 years to learn and enjoy the style of Doc

She will be mad with sorrow, when I say that our master is gone.

Repose en paix Doc

[Santiago]

Well written, French Guy.

[Caleb]

Ed, thanks for the link to that piece. I'll listen to it tomorrow.

I'm pretty sad about Doc. He just seemed like such a genuine fellow, and it's always sad to see those kind of people go.

[mrmando]

Today's edition of NPR's Fresh Air is featuring a remembrance of Doc Watson, including a replay of Terry Gross' interview with Doc in 1988. The audio for this program is now available for on-line streaming here.

Thanks for posting that. Just listened. The audio wasn't the only thing streaming. So long, Doc. Glad I got to see you in Seattle a few years back.

[Rick Schmidlin]

A true hero, a kind man,a good husband, a good father who lived life with grace and modesty like no other.

I am glad to had spent some time with him and play, and listen to his music more then any other.

[Wolfboy]

When I was twelve or thirteen I was learning guitar and piano but had no real musical focus to speak of. Then one evening my dad stopped at a yard sale on his way home from work and bought a couple of LPs called "Then and Now" and "Elementary Doctor Watson," and just like that, my life had direction. I'd never heard any music with remotely the depth, power and soul of what was on those two albums. I had to hear more of whatever that was... Not long after that I bought "Memories," "Ballads from Deep Gap," and inevitably Circle #1, and that was pretty much it; any possibility of my following a normal career path evaporated. Many, many musicians have inspired me since then, of course, but it was Doc and Merle who gave me the initial flash, the first glimpse into the endlessly rich world that is traditional music, and for that I will be forever grateful.

Counting it up I figure I got to see Doc live eight times over the years, three of those times with Merle, and had the unbelievable honor of sharing the bill with him three times. Every Doc Watson concert was a journey through American music at its finest, guided by a master...who was also a friendly, humble, genuine human being. I only met him in the briefest of circumstances, can't say I knew him at all, yet like so many, I feel I did know him; every account of him as a man is exactly the same as the image (or, really, lack of "image") he conveyed onstage.

I just finished watching the DVD "Doc and Merle Watson in Concert" by way of saying goodbye. What a unique treasure the man was, and what a wealth of great music he's left us. We won't see his like again.

[Marty Henrickson]

Like many, this 3-record set was my first Doc.

'Now, your fiddle break comes right after I whup her brother and her paw and sing a chorus'

and

'That's a horse's foot in gravel, that ain't trains'

RIP, Doc. Prayers to his family.

Alan, I love that little interlude. It's through recorded episodes like that, as well as all the little encouragements he would interject during other pickers' breaks (not to mention reading Dr. Kent Gustavson's excellent 2010 biography), that I felt I knew Doc, without having ever met him. Man, I am hurting today.

[drbluegrass]

A gargantuan talent and a good human being. RIP, Doc.


Tom

[mandolirius]

Like many, this 3-record set was my first Doc.

'Now, your fiddle break comes right after I whup her brother and her paw and sing a chorus'

and

'That's a horse's foot in gravel, that ain't trains'

RIP, Doc. Prayers to his family.

Doc's comments on the Circle album made me think that, in addition to being a great picker he sounded like a pretty cool, relaxed guy. I got interested in him. Soon after, like a lot of others, I picked up that double live album with Merle on Vanguard. That showed a bit more of Doc's personality, not to mention his guitar playing and really cemented my loyalty. I became a lifelong fan and have lots of treasured recordings.

[Jeff Budz]

I hate losing people who mean so much to so many. It was nice to read all the great comments in this thread.

R.I.P. Doc Watson

[epicentre]

A big fan of his for years; his musical talent filled many music halls and hearts.
RIP, Doc.

[CES]

Doc, I'm praying for your family and friends tonight...I pray they'll find comfort in their faith and yours...

French Guy,

Well said, man, well said...

[Paul Merlo]

It's great to see Doc's legacy appreciated so much. My musical world certainly wouldn't be the same without him. I was in an electric band a decade ago, and we did Deep River Blues a couple times during our semi-acoustic sets. Thanks Doc.

[coelhoe]

I think George Shuffler, with the Stanley Bros. may have been the first to record acoustic guitar leads, though I had an album of "Guitar Instrumentals" by an unknown group (Barnstormers?) that I bought at a grocery in '62. May have had Sonny O. on banjo and Grady Martin on guitar. But Watson's combination of repertoire, vocal presence, personality and marvelous guitar technique was there right from the start. I recall that someone sent me a tape in '64 of Doc's first Vanguard album when I was in the Army in Germany, and again the following year with "Doc Watson and Son." We all could have so easily missed Watson altogether, and he could spent his life playing in rockabilly cover bands, except for the timely intercession of Ralph Rinzler, who saw and heard Watson's potential from the very start, especially conceptualizing Watson as an authentic part of the folk movement of the 60's, and getting him bookings initially on college campuses. Rinzler advised Doc on repertoire, stage manners, and how to build a performance. It is not coincidence that Rinzler was doing much the same for Monroe as his manager at about the same time. I would guess that since The Greenbriar Boys recorded on Vanguard, Rinzler achieved that recording contract for Watson as well, for which we should all be thankful.

[mossmanl]

Like so many others, Doc Watson and his amazing music led my entry into traditional music in the mid-70s.
I am so grateful.

I am surprised no one has mentioned the great 3-CD recording Legacy that David Holt made with Doc.
I recall staying up late for a couple of nights completely enthralled listening to Doc talk about his life. Great project that will introduce this gentle, humble man to aspiring musicians for years to come, along with all his recordings. God bless you Doc Watson.

http://www.amazon.com/Legacy-Doc-Watson/dp/B000065DTI

[Fretbear]

Glad to see this is available on CD. It is a classic live recording of two performances by Doc & Merle at the height of their powers in 1970 and was expertly recorded. A must have for serious fans, especially if you never had the good luck to catch them together live. (Merle doesn't say a word!)

http://www.amazon.com/On-Stage-Doc-W...ref=pd_sim_m_3

[swampstomper]

What can I add? Doc has probably influenced more acoustic musicians than any other single figure. Some are into Monroe, some into Charlie Poole, some into Alison Kraus etc. etc. but they (we) all appreciate Doc. What I like best about him is his approach to music -- it is not a static museum piece, it is to be played for enjoyment and entertainment according to the artist's conception. Of course when he recorded "Sitting on Top of the World" in 1964 as a slow finger-picking lament, he knew the Monroe triple-fiddle barnburner from "Knee Deep in BG" from 1957. But he did it as he heard it. He adapted Beaumont Rag to C position on a 12-string guitar! (how many times has that been imitated?). His treatment of Jimmie Rodgers songs was instantly recongizable as Doc. Even his flatpicking attack was unique -- no one can duplicate that combination of virtuosity and power. He was not afraid to take material from anywhere that sounded good to him. Sweet Georgia Brown side-by-side with Blackberry Blossom.

As a bluegrasser, my favourite project of his (apart from the 1964 original -- still blows me away) is "Riding the Midnight Train" from 1985. And who did he pick to be his backup band? Some crusty veterans? (recall -- he was already 63 years old at the time). No... a young tenor singer from a progressive band (Alan O'Byant), his regular bassman (T Michael Coleman) and three of the hottest pickers on the planet: Sam Bush, Bela Fleck and Mark O'Connor. He obviously liked being challenged by the young phenoms, and challenging them back. But the project is pure bluegrass Doc-style. All three instrumentalists play it straight but exceptionally inspired -- I don't think Sam has ever sounded better.

R.I.P., as long as steel-string guitars are being played, "Black Mountain Rag" will be a required part of the repertoire. And as another poster said, I can listen to Doc over and over, it never gets old.

[Mandolin Mick]

So sorry about Doc's passing. I thought this appropriate for today.

www.youtube.com/watch?v=IEZPA1p7tOk

[journeybear]

Just thought I would embed these previously linked videos for posterity and easy viewing:







Kind of sad to note that mainstream media (network TV) seems to have pretty much passed over Doc's passing. Part of that could very well be due to my not watching very closely, but it seems I would have seen something more like what I did when Earl and Levon passed. Perhaps Doc's effect on the general public is more subtle than we, who are attuned to it, are aware, No matter; those who were in the know, knew, and know, how important, influential, and beloved a musician he was.

[Mandolin Mick]

Steve,

I did see a mention of it on Fox News last night, but my brother had e-mailed me and that's how I found out.

[journeybear]

I found out about it here, as with so many other sad news events of this nature, though for once a facebook friend mentioned it first. Of course we are more tuned into these things than mainstream media.

[zookster]

Like many folks here in WNC, I got to see Doc many times over the years, stretching back to the old Snuffy Jenkins Festival in Harris when Merle was still alive. As did a lot of you, I discovered Doc through the Circle album, and it was my introduction into flat picking. I think a lot of us would consider "Tenn. Stud" to be the stellar cut on a terrific recording not just for Doc's playing but for his wonderful voice.

I do have one personal anecdote I'd like to share with Cafe members.

We were backstage at MerleFest in 2001 or 2002. My band had just finished our set and we were waiting for tranportation. Doc arrived on a Gator with his guitar case, and the driver asked us to "keep an eye" on Doc until the designated person arrived to usher him onstage. While we were talking to Doc about the festival a woman approached, rather tentatively, holding a little girl by the hand.
"Doc" she said softly, "My little girl would like to meet you." Doc turned around and smiled. "What's your name, Honey?" he asked. "Betsy" she replied. "She loves your music, Doc," the mother quickly interjected. "How old are you"? Doc asked the little girl. "I'm nine, " she said. "Is that right? You really like my music?" Doc asked her. "I sure do!" said Betsy. Then Doc broke into a big grin and said, "Well then, give me a big ol' hug!" and proceeded to just swallow her up in an embrace.

That was Doc. Never a cross word, always accepting of everyone. To be universally loved -- and I think we'd all agree he is -- you've got to be more than just the best flat picker on the planet. You've got to be the kind of person that Doc was. We've lost a real treasure.

[tree]

I remember the first time I saw Doc (with T. Michael Coleman and Merle), ca. 1980 at Memorial Hall in Chapel Hill. He pinned our ears back with his breathtaking command of the acoustic guitar and his comforting, rich baritone, but it was his honest, self-depricating stage patter that sealed the deal for our hearts.

I suspect it was Black Mountain Rag (I honestly don't remember, all I know is it was some mighty hot pickin') that really fired up the audience. Anyway, people were so pumped up that there were a few rowdy individual whoops still going on as he tried to introduce the next number. He responded to the whoopers directly: "That's all right, son, I remember my first beer too." Everyone got a laugh, they got the message, and it didn't happen again. What a gift he had, not only for music, but for humanity.