A few days ago, I wrote about the too-soon loss of Doug Dillard, an extraordinary banjo player who was a bridge figure between Bill Monroe and the “pure bluegrass” (which is itself an irony, since Monroe was actually an innovator himself.  He took a hodgepodge of what is ssometimes called “old time music,” consisting of fiddle tunes for

Old Doc Watson. Nobody quite like him. He called himself, “just one of the people.”

dancing, old folk tunes, blues and other music that flowed from Appalachia and the south and forged a unique sound dominated by the mandolin and banjo and fiddle.  He was not beyond experimenting himself, even bringing an accordion in a time or two.  (Old banjo joke:  “Perfect pitch—throw the banjo into the dumpster without hitting the sides and landing on the accordion).

What became the new “bluegrass,” newgrass, new acoustic and everything else flowed from the sources in Scotch-Irish music from the mountains and all of those streams, and several powerful innovators, like Monroe, Scruggs, the Stanley Brothers, and the Carter family.  They influenced pop, rock, country and Elvis, all of whom (including the Beatles) declared their love for Monroe.  This melting pot of music was, I sometimes think, an artistic shadow world where segregation couldn’t reach.  The great traditions of music inevitably touched, borrowed and intertwined in ways that Jim Crow could not control.

The musicians themselves might simply say, “Music is music.”  Can’t pen it up or lock it down.  It flows out of a life, a tradition, a stream, and then when it meets another one, something new and wonderful is the result.  In music, uniqueness and blending and mixing can’t help it.  If our politics and culture are corrupted by control, domination and resistance to the new, art is the great underminer.  It remembers tradition and changes it at the same time.

Which brings me to Arthel Lane Watson, known affectionately as “Doc.”  Doc Watson is like Woodstock.  Seems like everybody met, heard or saw Doc at  sometime or other.

Doc and Merle in happy times.

I am an exception.  I have only known Doc on YouTube and CDs and guitar tablature and stories and books.  That’s an extraordinary fact, given that I’ve been going to hear acoustic music at festivals, clubs, and concerts pretty seriously over the past fifteen years.  I’ve gone to guitar camp three times at Steve Kaufman’s acoustic “kamp”, where Doc is revered and talked about like a medieval monk would think about St. Anthony.  I just never got there.  Preachers don’t get weekends off in May, generally, to go to “Merlefest,” the acclaimed festival that Doc started as a perpetual memorial to his son, Merle.  Merle and Doc performed together for many years, but after he died in a tractor accident, Merlefest became Doc’s homage to his son.  It is one of the largest music festivals around and you will hear the top acoustic players and performers there.

So I may be the only person in the world who never met Doc Watson AND missed Woodstock.  Some lives, however, manage to go way beyond themselves.  Every guitar player worth anything has favorite “licks,” a little four or eight or sixteen note chop that you can pop in now and then in an open space, something that says, “that’s me in there.”  I have the famous “G-run” that every bluegrass guitar player knows, of course, but I have a dozen others that, when I don’t know what else to do, I call on it.  I have one I got years ago when I learned “Beaumont Rag,” one of Doc’s most famous pieces, and one that nearly every picker learns eventually.  Glenn Tolbert taught the lick to me in another song, but then I began to hear that little eight note signature in a lot of places.  “That’s a lick from old Doc Watson,” Glenn told me solemnly.  So I kept it and since it was one of the first licks I learned for songs in the key of C, I found it coming along pretty often.   So I expect Ol’ Doc will be with me right on to my end.

So Doc has immortality.  There isn’t a guitar picker in rock, country, blues, bluegrass or jazz that doesn’t know Doc.  Pretty good for a blind old country boy.  When Arthel Lane Watson came along, sixth of nine kids, and lost his eyesight before age two, the prospects didn’t look bright.  When he died recently, every major newspaper in the country from the New York Times to LA ran a story about him.  They refered to him as a legend, a “guitar wizard,” and other superlatives.

Arthel dropped out of school in the seventh grade and began working for his Dad.  He could fix a car by sound and rewired his own house.  How a blind man did that and passed inspection I’ll never know.  Doc Watson was a wonder.  But it’s the picking you need to hear.  You can read about him in one of the stories online—Just type in “Doc Watson” and read.  I’d rather you listen and hear.  Yes, since he came along there are faster pickers, but nobody was doing what he did until he did it.

The very last one below is a haunting rendition of “Amazing Grace.”  Yes, indeed.  “I once was blind, but now I see.”  Sing it, brother.  I like to think about you laying those new eyes you get from God on Merle for the very first time.

LISTEN TO DOC

CLICK TO LISTEN  With Earl Scruggs on “Cripple Creek” at Doc’s House

CLICK TO LISTEN to Doc sing and play “Sittin’ On Top of the World”  He tells about his blindness.

CLICK TO LISTEN  to Doc play “East Tennessee Rag/Beaumont Rag” medley

CLICK TO LISTEN  to “Amazing Grace”