Farewell to the King
Jimmy Martin, a Bluegrass Legend is Gone

This article ran in the Summer 2005 Issue of the Bluegrass Journal

Written by Dave Russell • All Rights Reserved by the Author, July 2005
Reprint Rights Available by Contacting the Author or The Bluegrass Journal Editor

On May 14, 2005, the bluegrass world lost one of the great pioneers of the music. Jimmy Martin, the King of Bluegrass, died from cancer at the age of 77. There was some hope, a few weeks before his death, that he might pull through and perhaps even play some shows this summer, but it was JimmyÕs time to go and he shall be greatly missed. We thought it would be appropriate to do an article on Jimmy and give him a much deserved recognition for his great contribution to bluegrass music.

Jimmy was born on August 10, 1927 in Sneedville, Tennessee, and grew up in a poor farming family. His father, Ease Martin, died when Jimmy was four years old, which put a strain on the family financially. Most people donÕt know that Jimmy left the third grade to work in the fields to help his family. Real- life situations, like these, were a main ingredient that went into the making of bluegrass music. Similar experiences were a part of the stories told by Bill Monroe, Flatt & Scruggs, the Stanley Brothers, and many others. You can hear the struggle and sad memories not only in the lyrics of their songs, but in the feeling they put into every note. While so many great musicians contributed to the making of bluegrass music, Jimmy Martin had an edge about him that made him the King. The explosive rhythm he kept on the guitar, and his focus on playing the music with precision was the very thing that helped to develope other notable musicians like Bob and Sonny Osborne, J. D. Crowe, Doyle Lawson, Bill Emerson, Alan Munde, Paul Williams, Vernon McIntyre, Dana Cupp Jr., and Audie Blaylock. His influence also played an important roll in the lives of musicians that never had a job as a Sunny Mountain Boy.

Early on, Jimmy Martin knew that it was his destiny to play music. He grew up on a farm under a step father that worked him hard, but Jimmy decided that music was his future and set off to make his dreams come true. In 1949, Jimmy was working in a factory, and decided to go down to the Grand Ole Opry one night to meet and audition with Bill Monroe. He hoped to replace Mac Wiseman who was planning to leave the Bluegrass Boys. Jimmy sang a couple of songs with Bill, and played a round of the Orange Blossom Special with Chubby Wise. Monroe was convinced Jimmy could more than cut it, so he hired him on the spot. For the next five years, Jimmy played for Monroe and recorded perhaps some of the greatest duets in the history of bluegrass music. Some of these songs include Walking in Jerusalem, The Little Girl and the Dreadful Snake, Voice from on High, and Sitting Alone in the Moonlight. JimmyÕs relentless guitar rhythm, which really blossomed during his time with Monroe, helped to create a punchier, more precise sound for bluegrass music.

In 1954, Jimmy left the Bluegrass Boys to play with Bob and Sonny Osborne until 1955. During this time, Jimmy and the Osborne brothers moved to Detroit and played at local clubs, as well as the WJR Radio Barn Dance. In 1956, Jimmy and the OsborneÕs split up but he continued with a line up of great musicians and many more recordings. In 1956, Jimmy heard the young J.D. Crowe pick the banjo on the radio while he was driving through Lexington, KY. He was so impressed with Crowe that he drove to the radio station where Crowe was playing and offered him a job with the Sunny Mountain Boys.

For the next six years, Crowe played for Jimmy and thereÕs no doubt that he learned timing and precision from the King. Jimmy was a big hit on shows like the Louisiana Hayride and the Grand Ole Opry and this helped to popularize bluegrass music in the mainstream country market. His emphasis on strong, tight harmonies is what really caught peopleÕs attention, yet the music itself was every bit as precise and tight. Jimmy even managed to get some hits like Rock Hearts on the country top 40 list. In the years to follow, he had several other hits that have remained as favorites in the bluegrass world to this day. ItÕs rare not to hear his songs being performed today even by bands that have a more contemporary edge. Without question, his music has an energy that inspired and continues to inspire bluegrass musicians.

Jimmy recorded a number of classic bluegrass hits through Decca between 1956 and 1974, many of which became country hits as well. During this time the country airwaves were filled with songs like Ocean of Diamonds, Sunny Side of the Mountain, Hit Parade of Love, and You DonÕt Know My Mind. In addition to the Louisiana Hayride, the Sunny Mountain Boys got a great deal of exposure from playing on the WWVA Wheeling Jamboree. The popularity of the Sunny Mountain boys continued to grow throughout the 1970s, and JimmyÕs name had long since been established as a force to be reckoned with in bluegrass music.

During this time, Jimmy had a line up of musicians who would later go on to form the next generation of bluegrass giants. Already mentioned was J.D. Crowe who would venture on to form the New South. The New South featured notable musicians like Ricky Skaggs, Doyle Lawson, Tony Rice, Larry Rice, Bobby Hicks, and Jerry Douglas to name just a few. Doyle Lawson, who played mandolin for Jimmy, would go on to work with Skaggs, the Country Gentlemen, and ultimately his own band, Quicksilver. Banjo player Alan Munde, who played with Jimmy from 1969 to 1971, later formed the Country Gazette with former Bluegrass Boy, Byron Berline. Bill Emerson played banjo for Jimmy in the 1960s after having toured with the Country Gentlemen. He would later return to the Gentlemen in the early 1970s. These musicians have one thing in common, besides talent. Each of them will testify to the fact that Jimmy Martin had a real knack for timing and precision. You can hear his influence in their music with an emphasis on timing and tight vocals.

In 1971, Jimmy took part in a project with the Nitty Gritty Dirt Band, and the album titled, Will the Circle Be Unbroken. This three record project included a great line up of stars like Earl Scruggs, Merle Travis, Mother Mabelle Carter, Roy Acuff, and Doc Watson. The album was a big hit and sold over four million copies. ItÕs been said that Jimmy even worked some with Nitty GrittyÕs banjoist, John McEuen, and helped him play the banjo with more punch. There was a second Will the Circle Be Unbroken album released in 1989, but only one of JimmyÕs songs was recorded on this album, whereas six of his songs were on the first.

JimmyÕs taste for country music was seen in his love for the music of Gene Autry, Hank Williams, George Jones, and Marty Robbins. He thought that their music could be done bluegrass style and people would see it as bluegrass. Anything Jimmy decided to play was certain to be well accepted in the bluegrass world, yet it had to have the heart and soul of classic country. You would never catch Jimmy attempting to play in a contemporary style of music, however. He was the true purist when it came to bluegrass and country music. The musicians who played for Jimmy testify to the fact that Jimmy wasnÕt afraid to tell when you were playing wrong. You played JimmyÕs music his way, or you hit the highway. Vernon McIntyre spoke of his time with Jimmy in the early 1960s and how "Jimmy wasn't afraid to tell you what he thought about your playing, about anything about you." Right when you thought you had JimmyÕs music right, you would get a dose of reality that put you in your place. Vernon played banjo for Jimmy just thirteen months, but he learned a lifetime about playing the banjo and bluegrass music from Jimmy.

Regarding banjo players Vernon mentioned that ÒJimmy said there were only 2 banjo pickers that could play for him, J.D. Crowe and Bill Emerson.Ó Jimmy always had control over what was happening on stage and his members were focused on him. Jimmy used to tell his band, ÒDon't watch the audience, they're not going to help you. Watch me, not them." Jimmy hired you, body and soul. If you traveled 6 hours to a show, you practiced and picked all the way there. Jimmy Martin will go down in history as one of the best things to ever happen for bluegrass music. This in no way diminishes the significance and importance of Bill Monroe, Flatt & Scruggs, the Stanley Brothers, and many others. All of these great musicians equally played a role in the development of bluegrass music. Jimmy was different insofar as the feel and touch he brought to the music. The demands he made on his musicians were tough and he expected nothing but the best out of each and every one of them. Some people simply did not like Jimmy, and felt he was a rebel and too hard on his musicians, but, then again, would Jimmy have ever produced such quality music without his style of management?

Regardless of what people think about Jimmy Martin as a person, there is no doubt that he caused a tidal wave in the bluegrass world, the results of which can be seen in many great bands today. ItÕs important that JimmyÕs influence be passed on to up and coming musicians today. Far too many younger musicians donÕt listen to JimmyÕs music, or have a clue how foundational his guitar rhythm is to playing quality bluegrass. Many try to imitate players like Tony Rice and Bryan Sutton, yet even they will testify to the fact that if you want to play bluegrass guitar correctly, listen to Jimmy Martin and Lester Flatt first.

Jimmy will be sorely missed, but his spirit will always be with us in every G-run played, and tight harmony achieved.