I knew Derroll in Los Angeles in the 1950's. He had honed his banjo picking and singing after Bascom Lamarr Lunsford and went on to incorporate it into his own unique style. Derroll was a "flower child" before it was fashionable. In those days he wore a trenchcoat and with his wavy shock of blonde hair, he was an impressive handsome looking man not unlike the movie star Van Hefflin. There were those times that I lead Derroll home after a party. He was always good natured, kind and gentle. I never saw him angry an anyone and I was around him quite a bit in those days. I have a picture somewhere in my house that has been lost but one day will turn up of Woody Guthrie, Derroll and I at a party in Los Angeles.

Derroll lead a colorful and interesting life. He was expelled from Portland Art Institute for organizing a communist cell group. He was the first and probably only person I knew who appled the Zen Buddhist techniques to five-string banjo. These were the days before he had teamed up with Ramblin' Jack Elliott and went to Europe. Derroll was an important part of the L.A. folk music community (yes there was a vibrant one) in the fifties and I will cherish the memories of the fun that we had listening to music and hanging out. Derroll always had a mellefluous speaking voice and spoke like a jazz musician. I'll never forget his big blue eyes lighting up and a huge smile on a beatific face when he was enthused which was practically always and he would say "Wow man!" in that unique baritone.

He wrote Portland Town when he was with us, a small community consisting of Dave Zeitlin, Marsha Berman, Sid Berland (the guy who introduced Derroll to the L.A. folk scene) Odetta, Ed Pearl (former entrepeneur of the Ash Grove) Woody Guthrie, Will Geer, Herta Geer, Bess Hawes, me and others.

I knew him with his first wife. Derroll was definitely a counter-culture guy who knew the nightlife of the jazz world. In those days, they called 'em "bohemian". He was a real character right out of Keroac but far more real in my view. His "hip" demeanor was in ironic contrast to his very basic and musical folk style of singing and playing. His banjo became intricate in the old-time style of three finger playing unlike the clawhammer which in those days he did not do. When he played, it had an Asian sound, an oriental feel which was exotic and transported you to a time when an Obray Ramsey or Dock Boggs (Country Blues) played. Oddly, he didn't play banjo like Bascom Lamar Lunsford who adapted an up-picking technique not unlike Pete Seeger but with one difference, all of his string were played with an upward brush. Derroll was part of the pre-Scruggs three finger style players and adapted it well.

I can see and hear him now....."Wow man! Ain't that the shits!" He would laugh and the room would light up. I remember him and will grieve.

In sorrow and in joy at having known him.....

Frank Hamilton