Bill Keith Passes

[Luna Pick]

Just learned that Bill Keith passed yesterday. Rest in Peace Bill, your music, style, innovation and wisdom have inspired and entertained many. Thanks for all you did.

[Denny Gies]

My thoughts and prayers are with his family. He certainly brought a lot to our music.

[AlanN]

Bill was a very important banjo picker, who was at home in a variety of styles and grooves. His 1975 recording ...Something Bluegrass played a huge role in the bridge between The Monroes and the Grismans. And perhaps he didn't get the credit/spotlight he deserved. He was a quiet, gentle man who didn't toot his own horn. I was fortunate to be in his presence somewhat regularly, as a woman he was dating back in the late 80's/early 90's hosted a monthly jam at her place on Staten Island. He would hang in the kitchen, very much in the background and did not draw attention to himself. I maybe picked with him in a jam or 2, but it was not his way to 'be in the center'.

He was honored at the IBMA in Raleigh just a few weeks ago, many felt it was indeed his farewell time.

R.I.P., Bill Keith.

[Andy B]

That LP, Something Bluegrass, was one of my early favorites and so it has remained. I learned Crazy Creek on mando by slowing down Bill's banjo break. In addition to his many contributions to the music, he was a thoroughly decent man. He was generous with his time and talent, and was always willing to share his vast knowledge with others. He loved playing music and was often seen picking in venues around his home. He will be missed.

[Jim Roberts]

I was at a music camp and Bill gave an hour lecture on the circle of 5ths. I left the class dizzy from so much detailed information. Cool dude and great picker.

[Marcus CA]

Bill Evans had Keith as one of the featured banjo players at his 1st annual California Banjo Extravaganza in Berkeley a few years ago. It's always a great event, as long as you don't mind a couple of numbers that feature three (magnificent) banjo players sharing the stage. The back-up band features John Reischman, Jim Nunnaly, and Chad Manning! Anyway, I had never seen Bill Keith before that, and his set was tremendous. Clearly, he was one of the greats!

[journeybear]

Bill Keith is one of those guys who was in the right place at the right time doing the right thing with the right people again and again for many years. He was a crucial piece of the puzzle, yet somehow fit in so well he escaped wide recognition for his achievements. He showed up in a wide range of contexts, live and on recordings. I've seen him a few times, though it was always the others on the stage that I was going to see. But his skill as a team player was something that impressed me and stayed with me.

His name comes up a lot here, even in a thread currently running. It's so strange to get this news while thinking about him. He's going to live forever in these discussions.

Heartfelt wishes to his family and friends. RIP, Bill Keith. Thanks for all the music.

[Ivan Kelsall]

Well,banjo players don't come more 'legendary' than Bill Keith.Although he wasn't the only banjo player of his time experimenting with 'melodic' style banjo playing,he became the foremost exponent of it in his day. His playing in the new style when he was with Bill Monroe, exposed it to 1000's of banjo players who went on to develop that way of playing. I'm sure that today's foremost exponents of the style owe Bill Keith an enormous debt.
I've had the great pleasure of seeing & talking to Bill over here several times in the past when he came over with Jim Rooney & as AlanN says,he was never one to hog the limelight & he was a gentle,quietly spoken person. I'm sure that he understood what a great contribution to banjo playing development he'd made,i'm also sure that he'd be the very last person to boast about it.
I imported several Bluegrass LP's from the US back in 1966,both for myself & the other members of my band,one of them being ''Bluegrass Instrumentals''. I listened to part of it & then phoned my mandolin player (also a terrific banjo player), enthusing about it. He asked me if i'd listened to Sailor's Hornpipe yet,i hadn't. I went back to my bedroom & listened to it & i couldn't believe what i was hearing. It was like no banjo playing i'd ever heard before. A couple of weeks later,we had the chance to play back up with Bill Clifton who was still living over here, & we asked him if this was a 'finger style' method of playing or was it 'plectrum style' (it didn't sound like one or the other to us). Bill told us that it was a 'new' style of finger picking which really blew us away,:disbelief:
R.I.P. Bill Keith - Ivan

[AlanN]

One important LP he was part of was 1974 Muleskinner - A Potpourri Of Bluegrass Jam. This, along with The David Grisman Rounder Record, turned many of us onto bluegrass, these 2 albums merging the hippies into the fold and introducing people like Tony Rice, Ricky Skaggs, Buck White, etc. to the world. As JB wrote, right place/right time. His skill was quietly forceful, as Ivan said. There is that TV show the band subbed for Monroe (bus broke down), where he picks Blackberry Blossom like a waterfall. I have the VHS tape somewhere, it's likely on youtube.

Bill, Tony Trischka and Bela Fleck were the 3 guys who brought banjo into the modern era and paved the way.

[AlanN]

Here's the TV show

x2-O_A3PvvM

[allenhopkins]

One of the most influential instrumentalists in American folk/traditional/acoustic styles, both from his early exposure (as "Brad" Keith -- only one "Bill" ever in the Blue Grass Boys!) with Bill Monroe, his work with Jim Rooney -- the 1963 Prestige LP, Living On the Mountain, with Joe Val, Herb Applin, Herb Hooven et. al. still sits on my shelf –– and with the Kweskin Jug Band, Ian & Sylvia's Great Speckled Bird, where he played pedal steel, and later collaborations such as Muleskinner, Mud Acres with Artie Traum...list goes on and on.

Plus development and sale of the "Keith/Scruggs/Bump" de-tuning pegs for banjo, now ubiquitous among bluegrass banjoists, but quite an innovation when they were introduced.

Some of us older fogies can remember the heated debates about "Scruggs style" vs. "Keith style" banjo playing that cropped up among bluegrass aficionados in the '60's and '70's. "Keith style doesn't have the drive," etc., etc. While there's still a bit of opinionated discussion over what role finger-style banjo should have, in terms of technique and repertoire, the immediate opposition of the more trad-oriented BG fans seems to have receded.

I attended an all-afternoon banjo seminar Keith gave here probably 25 years ago -- as a facilitator, not a participant -- 'way above my pay grade -- and I was impressed with his knowledge of music theory and chord construction, how to work "up the neck" with different formations, and how to free the picking fingers from repetitive set "rolls" in order to get all the melody notes. He was soft-spoken, low-key and supportive of the less accomplished students.

A college kid from Wesleyan who just fell in love with bluegrass and acoustic country music, and who spent a half-century playing, developing, and teaching the stuff he loved. He will definitely be missed. When we're serendipitously discussing the folk scenes of 50 years ago in this current nostalgic thread, (http://www.mandolincafe.com/forum/showthread.php?119291-Greenwich-Village) sad to have to say "farewell" to an important contributor to our music.

[sblock]

Thanks, Allen. And let us not forget that it was Bill Keith who was the ghost-writer for the famous instruction book, "Earl Scruggs and the 5-String Banjo." If you learned to play banjo in Scruggs style from that book (as so many of us did), you were really playing very accurate transcriptions that were painstakingly made by the great Bill Keith from recordings by Earl. So, regardless of whether you prefer melodic ("Keith style") or three-finger roll ("Scruggs style") banjo in your bluegrass, the chances are good that Bill Keith was a major influence behind it all. He was a giant of the modern 5-string banjo. R.I.P.

[Timbofood]

Sad lead for such a great thread. I, sadly, never met Bill Keith. I wish I had, I've heard great stories about him for years.
Thanks Alan for the you tube link!
The economy of motion from Bill and Clarence just makes me smile, no flashy movement at all just the understanding of where things go! The heavenly band is growing with more and more talent all the time, sad but, true.
Time marches on.

[Timbofood]

How much fun is the "Oops moment" in "Dark Hollow"?! Been in the same situation at the same phrase before myself!
I just had the chance to watch the whole link, what a great reach back in time.
I am wondering about the mandolin Mr. Grisman is playing, any information, TP cover says fifties(?) to me, thinking early-mid?
And, Clarence's guitar, same D-28, prior to the finger board sound hole enlargement change?
Bill's top tension, well before the "Great Lakes" banjo time frame? Just curious, the folks here have more insight on all that than I.

[Scott Tichenor]

I don't remember the exact date when I got into this album--it was a long time ago--but I remember pretty much wearing it out. Great musician and innovator. I didn't realize the innovation at the time when I was first listening to it, I just loved it because it was great music. A real special talent. Rest in peace, Bill.

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[Timbofood]

Aw, c'mon Scott, I remember selling that album in the mid seventies!

[JimRichter]

Being a banjoist for almost 35 years (and way before picking up a mandolin), Bill Keith was a huge influence. I was actually listening to the Something Auld album today coming home from work, thinking about Bill Keith and the hole he'd leave when he's gone. That was before I pulled up the Cafe and saw he passed yesterday. One of my fondest memories was being in a suite with David Grier at IBMA shortly after he'd written the Road to Hope (and before recording it with Psychograss). He played the tune and was asked what the chords were. David didn't know (other than the weird altered shapes he was using) so he had Bill Keith come over and help him identify the chords. Brilliant man and soft spoken.

[red7flag]

Bill was a friend. Two stories. A guy was asking Bill how Earl Played Sally Ann. Bill answered the question. The questioner started saying "The book (Earl Scruggs Banjo book) says..." Bill interrupted, "I wrote the book." Ended of argument. One night in a back hall way at the Executive Inn, in Owensboro, KY during IBMA, I saw three banjo players picking old thirties jazz. It was Bill Kieth, picking the music chordally and Alison Brown and another San Fransisco player named Steve playing note for note. They played like that sitting on the floor cross legged for about three hours. Was amazing. Bill, one time, helped me with rhythm be suggesting that I chant CHAT-ta-noo-ga as I play. He was a unique and wonderful guy. He was the first to talk to me about the "Circle of the Fifths." RIP Bill.

[journeybear]

When we're serendipitously discussing the folk scenes of 50 years ago in this current nostalgic thread, (http://www.mandolincafe.com/forum/showthread.php?119291-Greenwich-Village)
Yes, that made me think about Bill Keith. In researching the circumstances of an event I described having attended there, I found a blog about it with several photos taken that day - and there was Bill Keith, as he should have been, of course. After all, he was all tangled up in the Jim Kweskin Jug Band's circuitous career.

That led me to wonder about the other times our paths had crossed, and one in particular which I suspected, the one which I can access information about, thanks to the kindness of a member - Winnipeg Folk Festival 1991, who sent me scans of the program. I see that he was indeed there. I thought so, though I wasn't sure - his unassuming presence did make him a bit invisible - because my attention at the time was drawn to Maria Muldaur and something Eric Weissberg did. I've told this story before. Basically, my jug band did a workshop with The Jug Band. We played a set, they played a set, then we did a few songs together. Geoff Muldaur didn't travel with a mandolin, not playing it that much, so he borrowed my banjolin to play on one song. When I picked it up in the middle of the combined set, it was in some strange tuning - in fact, one of the pairs was tuned in a third. :disbelief: Eric Weissberg noticed my puzzled look, and said, "Oh, that's his 'Minglewood' tuning. Here, let me tune that up for you." And did so, perfectly, in about 20 seconds! :disbelief: Truly amazing. My running joke for years after that was, "Eric Weissberg tuned my banjolin. I'll never have to tune it again." :grin:

Anyway ... :whistling: This just came to mind because I was sure I had met Bill Keith but I couldn't quite put my finger on when and where. I am proud and humbled to have shared the stage with such an accomplished talented musician. :mandosmiley:

[bobrem]

Here's the TV show

x2-O_A3PvvM

Great playing. And lots of hair.

[allenhopkins]

Correction: one of Keith's obits says he went to Amherst, not Wesleyan. I knew it was one of the "little Ivies," but had Wesleyan in my head.

Not a major issue, but want to get it right...

[Ivan Kelsall]

From sblock - "you were really playing very accurate transcriptions....". Actually,the book which i gave away,became notorious for the mistakes in the transcriptions,although many of those were attributed to the printers' lousing up & either missing parts out or mixing them up. Nevertheless,what was there & correct,was an enormous help & it was the very first tutor book that i ever bought. I gave it away mainly because i'd been playing for close to 20 years & i'd taught myself many of the techniques in the book - but i really wished it had been available 20 years earlier !!!,
Ivan

[Mike Marshall]

Thank you Bill for all you've done for the banjo and for leaving us this beautiful approach to music making that you have always had. You wil not be forgotten. I can't count the number of times I listened to, studied and was amazed by all the 'LP records' that I owed with your banjo playing on them. Whether your own or some of my other heros as a young teenager. They rang true and still do.
A sad day, Be well.

M

[grassrootphilosopher]

How much fun is the "Oops moment" in "Dark Hollow"?! Been in the same situation at the same phrase before myself!
I just had the chance to watch the whole link, what a great reach back in time.
I am wondering about the mandolin Mr. Grisman is playing, any information, TP cover says fifties(?) to me, thinking early-mid?
And, Clarence's guitar, same D-28, prior to the finger board sound hole enlargement change?
Bill's top tension, well before the "Great Lakes" banjo time frame? Just curious, the folks here have more insight on all that than I.

David Grisman is playing the post Loar Fern that was his mainstay for many years. It is also featured on the "Old And In The Way" record. Check it out here: http://www.mandolinarchive.com/gibson/serial/81408 even though David Grisman says it´s a ´25 Fern (http://www.mandolincafe.com/news/publish/mandolins_001265.shtml), which had its fretboard replaced (read about it in the booklet of "Tone Poems" Track 10 (Dawg After Dark: http://www.amazon.com/Tone-Poems-Grisman/dp/B000003915 or DclUCnQn2pI

Clarence White´s guitar is a Whitebrook guitar that if I´m correct went on to Roland White. It has nothing to do with the White/Rice 1935 D28 that had its soundhole enlarged before Clarence bought it (before 1967).

Concerning Bill Keith: He was a frequent visitor of the EWOB in NL. He was allways very gracious to everyone. He was also some smoker... And what a musican he was! RIP

[journeybear]

I did want to say, even though it goes without saying, because it also needs to be said - that's a wealth of talent in that group! Richard Greene, David Grisman, John Kahn, Bill Keith, Peter Rowan, Clarence White.* If it were rock music, that would have been called a supergroup. :mandosmiley:


* In alphabetical order, because - what are you gonna do? :confused:

[AlanN]

One important LP he was part of was 1974 Muleskinner - A Potpourri Of Bluegrass Jam.

Went back and listened to this (for the first time in a looong while) and was struck by some of the grooves:

- Dawg's emotive solo on Cold Rain & Snow - noted out in that excellent little book Recorded BG Solos 1966-1976
- The drums on Soldier's Joy - Dawg notated out his solo in a FRETS issue
- The banjo/mando intro and dim chord on Blue Mule

I still faintly recall the feeling I would get when listening to this record back in the day. It was very hip.

[JeffD]

Bill Keith is one of those guys who was in the right place at the right time doing the right thing with the right people again and again for many years. He was a crucial piece of the puzzle, yet somehow fit in so well he escaped wide recognition for his achievements. He showed up in a wide range of contexts, live and on recordings. I've seen him a few times, though it was always the others on the stage that I was going to see. But his skill as a team player was something that impressed me and stayed with me.

His name comes up a lot here, even in a thread currently running. It's so strange to get this news while thinking about him. He's going to live forever in these discussions.

Heartfelt wishes to his family and friends. RIP, Bill Keith. Thanks for all the music.

Well said. Very well said.

[RichieK]

Spot on Olaf! And I'll always remember Bill Keith playing 'Nola'.

[Timbofood]

I am always impressed at the knowledge shared here, I thought that was the "Fern" but was (obviously) unsure of Clarence's guitar! Thanks so much.

[chuck3]

Wow ... just hearing this now. RIP Bill. I can't say I knew him well, exactly, but we crossed paths in several ways -

- we both played on one track of C.B. Smith's album "Flesh and Bone" - a tune called "Who I Am." (I was on upright bass.) However, Bill added his (excellent) banjo track after the rest of the band had put down their tracks, so I didn't meet him then.

- played between sets of the Saturday Night Bluegrass Band's, his Woodstock-based bluegrass band, gigs at the Bearsville Theater in Bearsville NY.

- I liked his bluegrass band so much that we hired them to play at our daughter's wedding in upstate NY. A rock band came later in the evening, but Bill and his band did all the music between the ceremony itself and the dancing later.

- I met his son Martin Keith several times when Martin worked at Joe Veillette's luthier shop in Woodstock. Martin is out on his own as a luthier now. Great bass player and quite a luthier in his own right.

Memories ... Bill was one of the greats for sure.

[Dawg]

Bill Keith was a musical giant. He changed the landscape of bluegrass music and banjo playing in so many wonderful ways and spawned so many amazing disciples that his contribution to American music is incalculable. He also was my dear friend for over half a century and a mentor and colleague. I was fortunate to have a final visit with him the day before he left to receive his well deserved award. I am so privileged to have known him and will cherish the years of music we shared until the end of my days.

[robbif]

I'm just catching up, after being closely involved for the last few months with my dear friend Bill and his journey.

I'd like to belatedly share my Bill Keith Tribute Page (http://frobbi.org/billkeith/index.html).
It contains lots of audio and video recordings.

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