How many people actually play this style?

[Austin]

I'm curious. How many people even know about it? It seems rare to find someone who does.

[Ethan Schwartz]

I don't know about in the past, but the people active today who I would consider "banjo composers" (as opposed to just  ensemble players) include Bela Fleck, Noam Pikelny, Jens Kruger, maybe Steve Martin (more of a bandleader) and Wes Corbett. All bluegrassers. Fleck is the most prolific in terms of recording output, but a lot of that is ensemble work. 

[Ethan Schwartz]

.

[Austin]

Yeah they're definitely composers, but they don't utilize the banjo to it's full potential like Grimshaw, Cammeyer and Eno.

Ethan Schwartz said:

I don't know about in the past, but the people active today who I would consider "banjo composers" (as opposed to just  ensemble players) include Bela Fleck, Noam Pikelny, Jens Kruger, maybe Steve Martin (more of a bandleader) and Wes Corbett. All bluegrassers. Fleck is the most prolific in terms of recording output, but a lot of that is ensemble work. 

[Ethan Schwartz]

I mean, I'd be pretty happy to have Pikelny's level of technical skill. 

https://youtu.be/iuV1JyEnTmE?si=xihHxfOXJk44WCm5

[Jody Stecher]

Is that a fact?

Austin said:

Yeah they're definitely composers, but they don't utilize the banjo to it's full potential like Grimshaw, Cammeyer and Eno.

Ethan Schwartz said:

I don't know about in the past, but the people active today who I would consider "banjo composers" (as opposed to just  ensemble players) include Bela Fleck, Noam Pikelny, Jens Kruger, maybe Steve Martin (more of a bandleader) and Wes Corbett. All bluegrassers. Fleck is the most prolific in terms of recording output, but a lot of that is ensemble work. 

[Ethan Schwartz]

It's also not a fair comparison because all of these guys are excellent improvisers. You have to be, because solo breaks are a major component of bluegrass. Fleck in particular is amazingly versatile. 

[Austin]

Yes. 

Jody Stecher said:

Is that a fact?

Austin said:

Yeah they're definitely composers, but they don't utilize the banjo to it's full potential like Grimshaw, Cammeyer and Eno.

Ethan Schwartz said:

I don't know about in the past, but the people active today who I would consider "banjo composers" (as opposed to just  ensemble players) include Bela Fleck, Noam Pikelny, Jens Kruger, maybe Steve Martin (more of a bandleader) and Wes Corbett. All bluegrassers. Fleck is the most prolific in terms of recording output, but a lot of that is ensemble work. 

[Austin]

I should explain. Fleck doesn't utilize multiple voices in the way Cammeyer, Grimshaw and Eno do.

Austin said:

Yes. 

Jody Stecher said:

Is that a fact?

Austin said:

Yeah they're definitely composers, but they don't utilize the banjo to it's full potential like Grimshaw, Cammeyer and Eno.

Ethan Schwartz said:

I don't know about in the past, but the people active today who I would consider "banjo composers" (as opposed to just  ensemble players) include Bela Fleck, Noam Pikelny, Jens Kruger, maybe Steve Martin (more of a bandleader) and Wes Corbett. All bluegrassers. Fleck is the most prolific in terms of recording output, but a lot of that is ensemble work. 

[Jody Stecher]

Right. And more.  Full potential as/for/with/in  WHAT?     Grimshaw and Cammeyer developed banjo composition mostly in the area of harmony. Eno seems to have been more rhythmically oriented. All were also concerned with melody of course.  All the composer/players named by Ethan and myself have utilized these things but also the banjo's polyphonic, dynamic,   and timbre potentials. The latter area is a prime characteristic of bluegrass banjo playing. A good player produces a wide range of timbres.  In the early days of recording banjo players like Ossman and Van Eps played as hard as they could so that the recording horn would pick up the sound.  There was one and only one tone quality.  They managed to produce dynamics but the right hand was frozen in one spot near the bridge.  This, for better or worse is a legacy of that era. Today's classic players sometimes do the same.  Bluegrass players achieve timbre contrast by moving the right hand as far away from the bridge as the 12th fret, as close to the bridge as nearly on top of it, and all points between. 

Ethan Schwartz said:

It's also not a fair comparison because all of these guys are excellent improvisers. You have to be, because solo breaks are a major component of bluegrass. Fleck in particular is amazingly versatile. 

[Jody Stecher]

I have not detected multiple voices in Eno compositions. What is an example?  Cammeyer composed for zither-banjo, an instrument designed for multiple voices with its 3 types of strings.  So of course he composed polyphonically. Multiple voices in Grimshaw? Hmm. Maybe.  An example?    But if you think there is no polyphony in the playing of Bela Fleck and other moderne banjo composers and players  perhaps you are not paying attention.

Austin said:

I should explain. Fleck doesn't utilize multiple voices in the way Cammeyer, Grimshaw and Eno do.

Austin said:

Yes. 

Jody Stecher said:

Is that a fact?

Austin said:

Yeah they're definitely composers, but they don't utilize the banjo to it's full potential like Grimshaw, Cammeyer and Eno.

Ethan Schwartz said:

I don't know about in the past, but the people active today who I would consider "banjo composers" (as opposed to just  ensemble players) include Bela Fleck, Noam Pikelny, Jens Kruger, maybe Steve Martin (more of a bandleader) and Wes Corbett. All bluegrassers. Fleck is the most prolific in terms of recording output, but a lot of that is ensemble work. 

[Austin]

You and a canoe and a lot of his exercises from how to excel for Grimshaw and Marche impromptu by Eno. I've listened to Fleck albums though I can't remember which ones off the top of my head. His second concerto is better than his first, but they kind of fall flat at the climax. From what I remember it was absolutely abysmal, but perhaps I remember incorrectly cuz I also remember liking it upon a second listen. Not sure which one best reflects my opinion as I haven't heard it in a while. Perhaps there's polyphony but in the same way you haven't detected it in Eno and Grimshaw I haven't detected it in modern styles. 

Jody Stecher said:

I have not detected multiple voices in Eno compositions. What is an example?  Cammeyer composed for zither-banjo, an instrument designed for multiple voices with its 3 types of strings.  So of course he composed polyphonically. Multiple voices in Grimshaw? Hmm. Maybe.  An example?    But if you think there is no polyphony in the playing of Bela Fleck and other moderne banjo composers and players  perhaps you are not paying attention.

Austin said:

I should explain. Fleck doesn't utilize multiple voices in the way Cammeyer, Grimshaw and Eno do.

Austin said:

Yes. 

Jody Stecher said:

Is that a fact?

Austin said:

Yeah they're definitely composers, but they don't utilize the banjo to it's full potential like Grimshaw, Cammeyer and Eno.

Ethan Schwartz said:

I don't know about in the past, but the people active today who I would consider "banjo composers" (as opposed to just  ensemble players) include Bela Fleck, Noam Pikelny, Jens Kruger, maybe Steve Martin (more of a bandleader) and Wes Corbett. All bluegrassers. Fleck is the most prolific in terms of recording output, but a lot of that is ensemble work. 

[John Cohen]

I don't think it's fair to conclude from period recordings that these players didn't employ dynamics and varied timbres in their concert playing.  

Jody Stecher said:

Right. And more.  Full potential as/for/with/in  WHAT?     Grimshaw and Cammeyer developed banjo composition mostly in the area of harmony. Eno seems to have been more rhythmically oriented. All were also concerned with melody of course.  All the composer/players named by Ethan and myself have utilized these things but also the banjo's polyphonic, dynamic,   and timbre potentials. The latter area is a prime characteristic of bluegrass banjo playing. A good player produces a wide range of timbres.  In the early days of recording banjo players like Ossman and Van Eps played as hard as they could so that the recording horn would pick up the sound.  There was one and only one tone quality.  They managed to produce dynamics but the right hand was frozen in one spot near the bridge.  This, for better or worse is a legacy of that era. Today's classic players sometimes do the same.  Bluegrass players achieve timbre contrast by moving the right hand as far away from the bridge as the 12th fret, as close to the bridge as nearly on top of it, and all points between. 

Ethan Schwartz said:

It's also not a fair comparison because all of these guys are excellent improvisers. You have to be, because solo breaks are a major component of bluegrass. Fleck in particular is amazingly versatile.