quote by Travis Tritt

Bluegrass is really a big part of my background.

— Travis Tritt

Fantastic Bluegrass quotations

You know, for most of its life bluegrass has had this stigma of being all straw hats and hay bales and not necessarily the most sophisticated form of music. Yet you can't help responding to its honesty. It's music that finds its way deep into your soul because it's strings vibrating against wood and nothing else.

Bluegrass has brought more people together and made more friends than any music in the world. You meet people at festivals and renew acquaintances year after year.

It seems like bluegrass people have more great stories to tell than other musicians

I hope you came out to hear some bluegrass music. If you didn't, we're both in the wrong place.

I play these sort of comical instruments I invented, like the electric rake and the electric plunger. I do a lot of almost stand-up comedy material. Just the juxtaposition of the different styles in itself sometimes is funny. Like, I do sort of an acoustic version of 'Purple Haze' that has some bluegrass licks in it.

When you're a kid, you listen to what your family is listening to. For my family, it was bluegrass.

It was around that time, early 60s. There were like three kindred spirits in New Jersey. I had two friends who played folk music, old-time music and bluegrass and we started a little band called the Garret Mountain Boys.

I was born in Philadelphia, Pennsylvania, and am a product of a family that were jazz aficionados and also very interested in progressive politics. And so I had a lot of artists and musicians in my home. Lots of Latin music, folk, and jazz and blues, bluegrass-type of stuff. Painters and stuff like that.

I wanted to use some kind of name so people would know where I was from.

So I took the name "bluegrass." There is not a prettier name in the whole world.

The local music community here was dying for a place to record, so we started doing acoustic, folk and bluegrass and then did rock projects for other bands, as well as for my son Tal and my own work.

Most of the music I've become interested in is hybrid in its originsClassical music, of course, is unbelievably hybrid. Jazz is an obvious amalgam. Bluegrass comes from eighteenth-century Scottish and Irish folk music that made contact with the blues. By exploring music, you're exploring everything.

I used to listen to country and western and blues, John Lee Hooker, spirituals, the Bluegrass Boys, and Eddie Arnold. There was a radio station that come on everyday with country, spirituals, and the blues.

Listening is like running down a mountain on a switchback trail, the sound of surprise generating its own momentum. There’s a punk glee inside the bluegrass craft–and a punk vehemence inside the bluegrass smile.

Because the blues is the basis of most American music in the 20th century.

It's a 12-bar form that's played by jazz, bluegrass and country musicians. It has a rhythmic vocabulary that's been used by rock n' roll. It's related to spirituals, and even the American fiddle tradition.

I don't really have a favorite bass player.

I listen to a lot of bluegrass. But then again, I'm not a typical bluegrass bass player. I was really into the Grateful Dead, and I still am - I don't listen to them too much, but for me they are a big influence.

Bluegrass is wonderful music. I'm glad I originated it.

I like for it to be mountain music or old-time country music or traditional bluegrass. Either one will fit me. It's traditional, basically.

I was never into the Bluegrass, Bill Monroe and stuff like that.

It was so much fun playing simple American bluegrass. I got to meet Doc Watson.

I started playing bluegrass with my family, so there were the G, C and D chords.

I was playing a Martin acoustic because that's what Carter Stanley of the Stanley Brothers played. Then I got into the really raw blues of Hound Dog Taylor and started on electric guitar.

Early Bluegrass is my favorite kind of music, not to many people know that.

I think Earl Scruggs playing propelled bluegrass and Bill Monroe's music to the level that - where we're all still talking about it.

My mother's a singer and my mother's father is a singer, and everyone on both sides are all country-western bluegrass musicians.

When I hear bluegrass today, I hear so many new sounds in it.

It's almost like country music in a way.

I've always wanted to make a bluegrass album.

I think the great country songs mixed with some of that bluegrass instrumentation - and surrounding all that with a little bit of a rock vibe and energy - is the kind of music I make.

I like big shows, a lot of volume and a lot of energy.

I love electric instruments. But I do love mixing those with bluegrass instruments and cranking those up, too, with a little bit of that rock energy.

That's what I love about Nashville and the music community - seeing kids around acoustic music and bluegrass picking parties is the best.

I think the Flecktones are a mixture of acoustic and electronic music with a lot of roots in folk and bluegrass as well as funk and jazz.

The music has to come from bluegrass first.

We always said back in the 70s that if you want to play newgrass you have to go through the school of bluegrass. You know, maybe Jack Black can make a movie now called School of Bluegrass . That would be cool.

I always loved bluegrass, but there was so much I didn't know about American country music in respect to the origins of this country. It was interesting to see the evolution of it.

Mike Compton knows more about Bill Monroe style mandolin than the Father of Bluegrass himself.

I'm just trying to unite the western crowd and the bluegrass crowd a little more. ... I get to do that again on my new album, Tall Grass and Cool Water.... This is the first time I've had every song on an album be a Bluegrass and Cowboy Song at the same time.

I'm very proud of all the bluegrass-oriented albums.

It just reminded me and my fans that I should always record acoustic music and country records, along with anything else that I might want to do.

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