Richard Greene is well known as an innovative and influential fiddle player who first attained prominence with Bill Monroe and the Blue Grass Boys in 1966. Alongside his musical life Greene has, starting as a young teenager, been obsessed with photography, from using a bathroom as a darkroom, developing black and white and color film, progressing to today’s digital photographic challenges.
In the past few years his photographs have caught my attention, showing his remarkable eye for the unusual, for sharp angles and different perspectives.He has several portfolios; those that I have thumbed through to date are the Abstract Architectural, the Landscapes, and one that Greene has called Forgotten But Not Gone.
He applies his musical philosophy of expression, innovation, technique, and composition to his photography.
Very active in the Los Angeles photographic community, Greene’s work has been seen in several exhibitions throughout the United States, and he has won awards each year since 2016.
Last October he was a finalist and prize winner in the Outwin Boochever Portrait Competition, and his work is displayed in the Smithsonian National Portrait Gallery, Washington, DC.
The third-place winning image was of a group of youths on a Monroe, Louisiana street. In this interview he talks about the encounter.
The national, triennial competition and exhibition is funded by an endowment from Virginia Outwin Boochever (1920–2005).
As well as making his own recordings, the award-winning fiddler Greene features on albums by Bill Monroe, The Blue Velvet Band, Seatrain, Muleskinner, and Peter Rowan, as well as many other notable bluegrass artists.
Fiddler magazine has come up with a unique way to celebrate their 20th year of publishing.
They have released a retrospective CD/book package called Fiddlers 20 which includes transcriptions and recordings by 20 artists featured in the magazine over that same number of years. True to the Fiddler vision of showcasing the diversity of fiddle music, bluegrass and old time tunes are represented, along with jazz, swing, Cajun, and folk music styles from Cape Breton, Canada, Sweden, Mexico and Texas.
Bluegrass Today readers are likely to recognize contributors Becky Buller, Laurie Lewis, Mark O’Connor, Rayna Gellert, and Alan Jabbour. Prominent practitioners from other fiddle styles are also featured, like Michael Doucet and Buddy MacMaster. Each track is taken from recordings by the various artists.
Here’s a complete list of songs and players:
Calvin Vollrath – Reel of the Métis
Evan Price – Le Mouton Chanteur
Alasdair Fraser – Rob Fraser’s Welcome to San Francisco
Alan Jabbour – Rocky Mountain Goat
Michael Doucet – L’amour ou la folie
Laurie Lewis – Burley Coulter’s Song for Kate Branch
Judy Hyman – Audubon’s Lucy
Kevin Burke – The Doon Reel, The Reel of Mullinavat, Maud Miller
Richard Greene – Wolves A’ Howlin’
Mats Edén – Lisselsjövalsen
Pete Clark – Huntly Lodge, The Marquis of Huntly’s Strathspey, Miss Hannah of Elgin, Craigellachie Lasses
Martin Hayes & P.J. Hayes – The Golden Castle, Mickey Callaghan’s Fancy
Dan Gellert – Old Folks, You’d Better Get to Bed
Rayna Gellert – The Girl I Left Behind Me
Paul Anastasio – Mi Burro Verde
Christian Howes – Tango Doblado
Becky Buller – Clivus Mulchum
Buddy MacMaster – Mrs. Ferguson of Reaths, Lord Doune’s Strathspey, Pigeon on the Gate, Mrs. Johnson Pitworth
Larry Franklin – Fiddler’s Road
Mark O’Connor – Amazing Grace
The Fiddlers 20 package can be ordered from the Fiddlerweb site, for $20 of course.
From October 1, 2010 through to the end of September 2011, we will, each day, celebrate the life of Bill Monroe by sharing information about him and those people who are associated with his life and music career. This information will include births and deaths; recording sessions; single, LP and CD release dates; and other interesting tidbits. Richard F. Thompson is responsible for the research and compilation of this information. We invite readers to share any tidbits, photos or memories you would like us to include.
November 9, 1895 George Dewey Hay born Attica, Fountain County, Indiana. Hay, also known as “the solemn old judge”, was manager of the Grand Ole Opry and director at WSM, Nashville, when he recruited Bill Monroe and the Blue Grass Boys to the Grand Ole Opry cast in October 1939. He was one of America’s pioneer radio showmen. *
November 9, 1942Richard Greene born in Los Angeles, California. Greene worked for Bill Monroe for about a year from February 1966, when he took over the fiddle role from Gene Lowinger, through to March 1967, during which time he was involved in the recording of the LP, Blue Grass Time (Decca DL 4896), during what amounted to five studio sessions. **
November 9, 1961 Recording session – During an afternoon session at Bradley Film & Recording Studio Bill Monroe assisted by Jimmy Maynard [guitar], Curtis McPeake [banjo], Bessie Lee Mauldin [bass], and Vassar Clements and Buddy Spicher [both playing fiddle] recorded three songs; the Grayson and Whitter number Little Maggie and re-makes of I’m Going Back To Old Kentucky and Toy Heart, both previously recorded with Lester Flatt.
November 9, 1967 Recording session – Bill Monroe recorded Is the Blue Moon Still Shining?, Train 45 (Heading South) and Kentucky Mandolin. Assisting Monroe during the session at the Columbia Recording Studio were Roland White [guitar], Vic Jordan [banjo], James Monroe [bass], Benny Williams and Vassar Clements [both playing fiddle]. ***
* An American radio personality, Hay was the founder of the original Grand Ole Opry radio programme, the WSM Barn Dance, which began in 1925. Two years later “The Solemn Old Judge” (he was neither solemn nor old), as Hay billed himself, announced, “For the past hour, we have been listening to music taken largely from Grand Opera. From now on we will present the Grand Ole Opry.” That name became synonymous with country music world wide and continues in use today.
As well as developing the persona of a judge, Hay is noted for his blowing a steamboat whistle during every on air appearance.
A remarkable visionary and colorful romantic who played a vital role in the commercializing and promotion of country music, Hay was inducted into the Country Music hall of Fame in 1966.
** Greene joined the band early in 1966 and played with Monroe for about a year, including the band’s first overseas tour, that to England in the summer of 1966.
While he is featured on two Decca albums, it was through live performances that the line-up of the time – which included Peter Rowan, Lamar Grier and James Monroe – made its biggest impact.
His wild fiddling led Monroe to comment, “Richard is adding a lot to bluegrass. It’s hard to keep him from adding too much”.
As well as being a Blue Grass Boy, Greene has been a leader of a few other significant bands, such as Seatrain, the Great American Music Band, Muleskinner, The Grass Is Greener band and The Greene String Quartet.
He frequently performs his original compositions for bluegrass violin and orchestra with a variety of ensembles throughout the country, including his piece entitled What If Mozart Played With Bill Monroe?
*** Melissa Monroe’s Is the Blue Moon Still Shining? (an answer song to Blue Moon of Kentucky) and Train 45 (Heading South) were paired on a single (Decca 32245) released on January 1, 1968.
