In that, Grisman came to fully realize his musical intent. And to incorporate jazz improvisation and soloing into the already technically challenging genre of bluegrass would make his life mission pretty clear by the dawning of the '70s.
Ann Arbor, Michigan was a hotbed of hippies, social unrest and more drugs than can be recalled during this time. And that's why, in part, John Sinclair based his White Panther Party and the MC5 there after growing tired of the police harassment being levied upon them in Detroit. Ann Arbor, though, also had the Stooges for a bit, making the MC5 less of a threatening presence.
During the '40s and '50s Frizzell was a part of the blossoming of country's initial commercial period. At that time, as opposed to now, songs weren't nonsensical retreads masquerading as stories from real life - they were real to life. To hear Merle Haggard sing about going to jail meant that he'd gone to jail. But the enormous catalog of Frizzell influenced a generation being raised on the radio, the Grand Ole Opry and traditional songs.
The FBB were more than adept at any number of sounds...country was one.
Beginning in the early '60s, Keith played with Bill Monroe's Bluegrass Boys and basically redefined the way in which banjo was to be played in the genre over the span of less than a year. These innovations would basically lay the ground work for what would later be referred to as new grass. Of course, these musics are all still tied to country and folk music from the '20s and '30s, but with a defiantly modern tinge to it all.