Mmmmm, I LOVE these discussions!

Frank, you mentioned one of my all time favourite musicians, Obray Ramsey, but I don't think he would be considered a "source". He was a guitar player primarily and (oddly enough) it was Alan Lomax who encouraged him to start playing THREE finger banjo on recordings. Prior to that he picked in the two finger style. He was certainly influenced strongly by Scruggs' recordings even though he was several years older than Earl. He was perhaps the only singer who ACCOMPANIED himself in Scruggs style.

I think when we talk about stuff like this, often the fascination is wondering did ONE PERSON have SO much influence, tunnel vision, and pure orneriness that we can lay the style right at their feet. In Monroe's case, I think we wouldn't be far off. Had he not sung so high, what would we have had? Fast stringband music maybe? Had he not INSISTED that the fiddlers learn to play in B, and E, it would have sounded quite different. Most importantly...had he not finally bowed to Ralph Rinzler's persistence and opened up a little bit, Lomax's take (Flatt and Scruggs were IT!) would probably have been the ultimately prevailing theory. Monroe would have been a footnote, in the same way that Snuffy, The Delmores, and the Morris Brothers have become. IMPORTANT footnotes, but not the prime focus.

Almost everyone says that Charlie Christian was THE first modern jazz guitarist, but isn't that due mostly to his exposure (and recordings) with Benny? Had he remained obscure and in Oklahoma, he might also be a footnote (Like Zeke Morris, who many oldimers say was the FIRST bluegrass guitarist)

So my belated vote goes to Ralph Rinzler for gettin' the "word" out. Mike Seeger too, of course. Just remember that Monroe NEVER called it "Bluegrass" til long after everyone else did.

Rick