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I keep in mind when Roland got prepared into the Army, the only lead man they [the Kentucky Colonels] had was [banjoist] Billy Ray and sometimes Leroy Mack on dobro. So, Clarence began taking an interest in playing some lead things on the guitarsome concepts that he received from his brother [Roland]

You played together, right? Yeah, sure, however I could not play like him, I still can't play like him. Nobody else can either [chuckles] It's been an intriguing ride, I tell ya, to enjoy this whole scheme of things, from a time when there was no bluegrass guitar to what it has actually evolved to now.

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Unlike someone like Doc and most flatpickers nowadays, you do not use a strictly rotating design of down-up picking. Right. It seems to me that what you've done is found the most effective way of picking any provided group of notes. Yeah, combined with pull-offs. I utilize a great deal of pull-offs, and attempt to make them seem like they're really plucked notes.

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Then I began to get arthritis in my right-hand man, and now I have tendinitis genuine bad in my left handover ten years or two, that's actually changed it even further. Chord Melody Guitar Music have actually decreased; I don't play that many fiddle tunes or real fast breaks anymore. However you've expanded your playing in other ways.

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Sometimes in the middle of a solo, I'll weave in a number of chord patternsuse a series of chords as an integrated part of a solo [Examples 2 and 3] I find myself doing more and more of that. Your playing appears really free these dayslike you're permitting all your concepts to come out and you're not afraid to take possibilities.

It's simply one big circus of looking for something to avoid dull myself [chuckles] The solo on "Walls of Time" [from Quartet], where you enter into double time, reminds me of Coltrane. Did that just take place in the studio? Or did you plan to do that? I don't understand when I began doing that.