MUSIC
The Beauty and the Banjo About two years ago my father went to buy some lorry parts and came back with a banjo. My conception of a banjo player was like most, a southern ‘hill-billy’ sat on a rocking chair, with a shotgun by his side and a blade of straw hanging out of his mouth. by
NATHAN RODNEY-JONES
F
ew instruments are connected to a stereotype as strongly, however this connection to the white southern stereotype is ironic as the predecessor of the banjo, with its pear-shaped body and three fishing wire strings, was first played in African tribes. And when it spread across to America, the banjo was often played by slaves and became a key instrument in the early development of ‘the blues’ providing slaves with a communal refuge and enabling them to express their feelings of discontent with their lives. Earl Scruggs, seen as the father of modern banjo playing for introducing ‘Scruggs style’, thus revolutionised the playing of the instrument and bluegrass alike. Being able to play Foggy Mountain Breakdown at full speed, for example (more commonly known as the theme from Bonnie and Clyde), is an impressive feat in itself, proving the skill of this musician. This style is favoured by Somerset born Johnny Butten, the Guinness World Records’ fastest banjo player, playing at 260 beats per minute. On the other hand, a master of clawhammer or old time banjo, where the strings are played downward instead of picking upwards, can produce a multi-textured sound that is soft, yet dominant, enough to play melodies and solos and can at the same time produce a highly rhythmic sound. The early 1900s saw the rise of black blues musician Gus Cannon, aka Banjo Joe, who had to play in a myriad of styles to earn a living, a testament to his skill with the instrument. From another angle, the introduction of ‘guitar style’ or up-picking in 1885 by Frank B Converse created classic banjo playing, leading to the banjo being seen as gentile in Victorian society: it was often used by women as a means of expressing their inner feelings to a man. This earned the banjo the now little-known title of ‘the instrument of love’. The banjo may not have the sound and appeal of the electric guitar but it can create a certain unique atmosphere that, even today, is subtly present in some alternative styles of music from the combination of blues and bluegrass in the work of Mean Mary to Mumford & Sons to the use of an electric banjo in the folk group Mad Dog Mcrea. There has even been a push from Paul Elwood to bring the instrument into classical music, as its absence from the European
AN INSTRUMENT OF MASS DISRUPTION NATHAN RODNEY-JONES by
Sleek cased Sublimely strung Subtle resonance – My father had bought me a banjo, The best mistake he ever made. I took it in my hand, All others took a step back. I picked away days on that resO ’. All he could do was listen in dismay To the first four bars of duelling banjos Stuck on painful repeat Determined to retreat, He lived out in his shed. Now five bars I could play, Father’s ears were numbing. The neighbours took a holiday, As I had discovered strumming.
“ in Victorian society it was often used by women as a means of expressing their inner feelings to a man.” music scene in centuries past has left the banjo out of classical compositions. Elwood intends to keep the definite country sound of the banjo while using unheard of practices when playing, such as bowing the instrument to give it a sound unique from other instruments and playing styles alike. So perhaps don’t dismiss the banjo as just the iconic sound of deliverance – country, classical and contemporary, the banjo may take you on an unexpected journey.
I picked out a beat With a guy with a bass I could feel the heat Desperate banjo haste For him ’twas no feat Sweat poured down my face A downpour faced. Lone blue road. Cold gentleness. Solitary accompanied walk. Broken string. Farewell, case closed. Open, simple strum, Warm hum. The rain ended. Lights on, Case in hand, Pen in other. We picked away the day, The banjo is here to stay.
The Exonian 2021 51
