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Czech bluegrass is Czech interpretations of bluegrass music that emerged during the middle of the twentieth century in the southeastern United States.
The music's history and performance in the Czech lands, however, make it more than simple example of mimesis. The American genre and style have been absorbed and transformed in the Czech context to produce a spectrum of uniquely local phenomena. These musical compositions still bear enough relation to their inspiration to merit the "bluegrass" name. Czech Bluegrass can be considered with respect to ideas of transculturation, appropriation, traditionalism, and "world" music.
Czech interest in things American dates to the nineteenth century, and is suffused with luminous conceptions of the Old West, cowboys, American Indians and other iconic images. Being in a socialist economy, American ideologies inspired the musicians and artists to tramp. Czech Tramping emerged as its main vector after 1918 in the newly formed Czechoslovak Republic. Tramping in this sense is a Czech-specific blend of ideas taken from Scouting, the German wandervogels, and Americanist romanticism. The music that accompanied the movement (tramp music) was a blend of Czech folklore, early jazz and other "syncopated music", such as barbershop, harmony singing, and popular songs from the U.S., France, and elsewhere. Czech tramping enthusiasts quickly incorporated the sounds and "style" of Bluegrass when they first heard this music in the late 1940s. [1] [2] [3]
Many Czech bluegrass "old-timers" date their involvement with something specifically bluegrass-like to the post-war years, a lean time for the music, but one that contains important developments. Information and inspiration for the music reached Czechs through unlikely means. When Czechs tuned into Armed Forces Network radio programs from US military installations in Munich, they were flooded with a wealth of American music that they were able to freely use for their own ends. Tramping's song repertory was soon augmented with tunes learned from the likes of Bill Monroe, Johnny Cash, Jimmie Rodgers and others.
Instruments were often an obstacle, especially the still largely unknown banjo. The few musicians who tried to get by on tenor banjo and guitar banjo had little to inform their attempts at emulating what they heard on the radio, until Pete Seeger's 1964 Prague concert. Banjoist Marko Čermak was able to build the first Czech five-string banjo from photographs taken at this event. Soon after he started presenting this new style and instrument in performances with the group Greenhorns (Zelenáči).
This first generation of players (which also includes Rangers and Taxmeni) inspired many Czechs to take up distinctly bluegrass-like music, necessitating cottage industries and then actual businesses to support this community with written materials, recordings, and of course, instruments.
Czechs were in many ways isolated from sources of American bluegrass, but still were able to stay informed, though not without some difficulty. Paradoxically the 1968 Soviet invasion helped Bluegrass in the Czech lands. It scattered many Czechs into exile, whence they were able to send books, recordings, and other materials back home. The first (and now longest-running) Bluegrass festival in Europe began its history in 1972 in Kopidlno, only seven years after Carlton Haney introduced the concept with his Roanoke (VA) Bluegrass Festival of 1965.
When recordings by the band New Grass Revival starting spreading through the Czech bluegrass community in the 1970s-80s, interest was sparked in the progressive possibilities of this music. The band Poutníci are a Brno-based group that included in their repertory bluegrass standards translated into Czech, newly composed and more folk-like songs, as well as classical instrumentals adapted for bluegrass instrumentation. They also sing almost entirely in Czech, making their music more accessible to wider audiences in their own country. This group continues to play today, with almost entirely new personnel. Lead singer and songwriter Robert Křesťan has become one of the most well-regarded Czech "folk" singer-songwriters, and has continued his trajectory away from the core of bluegrass with his band Druhá Tráva, who are best known in the U.S. for their collaboration with former Bluegrass Boy Peter Rowan.
Mandolinist/Fiddler Jiří Plocek left Poutníci to found the band Teagrass and has created an exciting performance idiom that includes elements of more traditionalist bluegrass, jazz, klezmer, Moravian folk music, and other regional traditionalist genres.
Petr Kůs is another notable composer/bandleader known more for the poetics of his texts than for his solid mandolin chops. Like Křesťan, he moved from emulative beginnings to a style that is less indebted to Bluegrass, though his band has always maintained the traditional bluegrass instrumental lineup and a lot of its musical affect.
Traditional bluegrass music played on acoustic instruments was a vital part of Czech culture during the Velvet Revolution in the Czech Republic. Bluegrass, along with other styles of music, was used as a form of expression and rebellion by the Czech people, as a way to express their grievances with the Communist Party of Czechoslovakia. Czechs were exposed to bluegrass music through the radio, and eventually began taking these American songs and changing the lyrics to reflect their frustrations with the government at the time and express longing for change and freedom. This style of music made it easy to come together as a community and play these songs as a way to subtly rebel against a corrupt government.
The bluegrass boom in the years following the 1989 velvet revolution was an expansion that attempted to fill the realm of possibilities Czechs enjoyed after being freed from the constrictions of state socialism. Druhá Tráva toured the U.S., and American artists were more able to perform in the newly forged (as of 1993) Czech Republic and its counterpart, Slovakia. This bubble didn't last, however. Druhá Tráva and Poutníci as well as some other hybridizing groups still perform successfully, but are not part of active musical development.
In the last decade, enthusiasts in the Czech Republic—following trends in the U.S. community—have nurtured a strong interest in the traditionalist forms of the music. Groups like Reliéf, Bluegrass Cwrkot, Petr Brandejs Band, Roll's Boys, Dessert, and many more fit into this category. They all perform aspects of bluegrass drawn from work by American musicians of the early days of the genre, including Bill Monroe, Flatt and Scruggs, Jimmy Martin, and all the usual suspects.
The range of "bluegrass" expressions in the Czech Republic is wide. All the streams of emulation and innovation persist, serving different needs and sub-communities. An interesting current phenomenon is the growing streams of bluegrass music and materials that are exported from the country. Czech bluegrass bands of the more traditionalist variety tour to some degree in the U.S., but find it more practical to limit their travel to Europe, where they are known for their masterful instrumental and vocal performance. Czech luthiers have built a reputation for their fine craftsmanship and quality instruments. Makers such as Jiři Lebeda, Ondra Holoubek, and Eduard Kristůfek produce guitars, mandolins, and dobros that are known and purchased worldwide. Most significantly, perhaps, are the metal parts produced by banjo-makers Jaroslav Průcha, Láďa Ptáček, and Pavel Krištůfek, which are used throughout the world, most notably by Gibson and other established U.S. makers.
The banjo is a stringed instrument with a thin membrane stretched over a frame or cavity to form a resonator. The membrane is typically circular, in modern forms usually made of plastic, originally of animal skin.
William Smith Monroe was an American mandolinist, singer, and songwriter, and created the bluegrass music genre. Because of this, he is often called the "Father of Bluegrass".
Bluegrass music is a genre of American roots music that developed in the 1940s in the Appalachian region of the United States. The genre derives its name from the band Bill Monroe and the Blue Grass Boys. Like mainstream country music, it largely developed out of old-time music, though in contrast to country, it is traditionally played exclusively on acoustic instruments and also kept its roots in traditional English, Scottish and Irish ballads and dance tunes, as well as incorporating blues and jazz. It was further developed by musicians who played with Monroe, including 5-string banjo player Earl Scruggs and guitarist Lester Flatt. Bill Monroe once described bluegrass music as, "It's a part of Methodist, Holiness and Baptist traditions. It's blues and jazz, and it has a high lonesome sound."
Skiffle is a genre of folk music with influences from American folk music, blues, country, bluegrass, and jazz, generally performed with a mixture of manufactured and homemade or improvised instruments.
Old-time music is a genre of North American folk music. It developed along with various North American folk dances, such as square dancing, contra dance, clogging, and buck dancing. It is played on acoustic instruments, generally centering on a combination of fiddle and plucked string instruments, most often the banjo, guitar, and mandolin. Together, they form an ensemble called the string band, which along with the simple banjo–fiddle duet have historically been the most common configurations to play old-time music. The genre is considered a precursor to modern country music.
Folk punk is a fusion of folk music and punk rock. It was popularized in the early 1980s by The Pogues in England, and by Violent Femmes in the United States. Folk punk achieved some mainstream success in that decade. In more recent years, its subgenres Celtic punk and Gypsy punk have experienced some commercial success.
Flatt and Scruggs were an American bluegrass duo. Singer and guitarist Lester Flatt and banjo player Earl Scruggs, both of whom had been members of Bill Monroe's band, the Bluegrass Boys, from 1945 to 1948, formed the duo in 1948. Flatt and Scruggs are viewed by music historians as one of the premier bluegrass groups in the history of the genre.
Druhá Tráva is a Czech bluegrass band originally formed in Czechoslovakia in 1991 by Robert Křesťan and Luboš Malina. As of 2021, they have released thirteen studio albums, four live albums, two compilations, as well as a number of side projects. They have been described as evolving from underground musicians who subverted Communism to international artists who "upend convention".
Tramping is a movement in the Czech Republic and Slovakia that incorporates woodcraft, hiking/backpacking/camping and scouting, styled on the culture of the United States, especially the Wild West. Tramping is also associated with a distinctive style of clothing, hiking culture, slang, and music known as Czech tramping music.
Byron Douglas Berline was an American fiddle player who played many American music styles, including old time, ragtime, bluegrass, Cajun, country, and rock.
Americana is an amalgam of American music formed by the confluence of the shared and varied traditions that make up the musical ethos of the United States of America, with particular emphasis on music historically developed in the American South.
Traditional bluegrass, as the name implies, emphasizes the traditional elements of bluegrass music, and stands in contrast to progressive bluegrass. Traditional bluegrass musicians play folk songs, tunes with simple traditional chord progressions, and on acoustic instruments of a type that were played by bluegrass pioneer Bill Monroe and his Blue Grass Boys band in the late 1940s. Traditional bands may use their instruments in slightly different ways, for example by using multiple guitars or fiddles in a band.
William Bradford "Bill" Keith was a five-string banjoist who made a significant contribution to the stylistic development of the instrument. In the 1960s he introduced a variation on the popular "Scruggs style" of banjo playing which would soon become known as melodic style, or "Keith style". He was inducted into the International Bluegrass Music Hall of Fame in 2015.
Mladý svět is a popular weekly magazine published in Czechoslovakia from 1959 until 1989, and later in the Czech Republic until 2005, when it was merged into the magazine Instinkt. It contained photographs, editorials, comics, and other works. Mladý svět was revived in 2021 and continues to be published as of 2024.
Poutníci is a Czech bluegrass ensemble, heavily influential in the second wave of the genre.
Bluegrass mandolin is a style of mandolin playing most commonly heard in bluegrass bands.
Kukuruza is a Russian band who progressed from a student startup to become an international touring act in the early 1990s.
Although it is commonly thought that bluegrass music originated in the Appalachian region of the United States, it has roots in other countries, as well. Over the past 90 years Bluegrass music has spread from the hills of Appalachia in the United States to create small communities of musicians and listeners in over 62 countries in Europe. The use of indigenous musical instruments and traditional folk music that originated in foreign folk cultures have allowed bluegrass to become popular in foreign countries.