How contemporary culture and environment influence old-time music. Festivals. Bands like Crooked Still. Performers like you.
38 Members, Created 1/30/2011 - 
Administrators: ramjo (owner)
From ramjo on 2/17/2011 7:19:10 AM
Last April, member SlimChance began this thread on WK: www.banjohangout.org/archive/175747. It contains many insights into what constitutes WK's signature sound. Besides reference to Tom Collins' video deconstruction of part of the technique (an invaluable lesson!) www.youtube.com/watch, and Tom's futher comments in the thread, it also contains valuable information from member Bill Rogers that helps explain some of the influences contributing to Walt's syncopated perpetual motion: Walt played plectrum banjo in a dixieland jazz band.
What impresses me most about this unique musician is the several things he keeps in (perpetual) motion in his playing. 1. the rich tone from the full chord voicings; 2) the floating, unadorned melody on top of them; 3) the driving rhythm that includes a chuck and light head tap on every off-beat; 4) the pull-offs that and maintain the ringing quality and embelish the melody/chords while adding complexity to the rhythm. Most of Walt's 5-string recordings are not dixieland in flavor, but you can argue that Walt strives to put the complex interweavings of that kind of ensemble into his singular banjo playing. He must have an amazingly developed master-control-module in his brain to keep these many separate physical functions running unerrantly while blending them to exquisite effect.
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