If imitation is the highest form of flattery, the renewed life of these grand old tunes in our generation is satisfying indeed. Y et their diffusion owes at least as much to the circle as to the band. And we are likewise mindful of our debt to the fiddlers from whom we learned these tunes Henry Reed, and also Vaughn Marley, Harlan Coble, Lonnie Corsbie, Ross Miller as well as the wider circle of musicians whose influence helped shape our music. The musicians who taught us these tunes have all passed away. On the other hand, Henry Reed s children, grandchildren, and great grandchildren are playing his tunes now.
Bands are for but a while, but circles and tunes are forever.
With benefit of hindsight, I also realize that the enthusiasm was not just ours, but was shared by a generation of young musicians who fell in love with old-time instrumental music. Our enthusiasm touched faraway places. Eventually many young musicians from the home region of these tunes came to share the enthusiasm. S econd, listening to the tunes themselves reminds me how right we were in our enthusiasm for them. The older generation of West Virginians, Virginians, and North Carolinians from whom we learned these tunes had splendid repertories thousands of great tunes and played them with a special grace and beauty.