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Ralph Stanley, one of the founding fathers and abundant originals of American bluegrass music, died on Thursday. He was 89.

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His grandson, Nathan, acquaint on his Facebook folio that Ralph Stanley died afterwards a continued action with bark cancer.

“My affection is burst into pieces,” he wrote. “My papaw, my dad, and the greatest man in the world, Dr. Ralph Stanley has went home to be with Jesus aloof a few account ago. He went affably in his beddy-bye due to a long, abhorrent action with Bark Cancer.”

His publicist, Kirt Webster, additionally accepted the account to the Associated Press.

Partnered with his earlier brother Carter, tenor accompanist and banjo amateur Stanley helped advance the “high lonesome” complete of bluegrass, the able cord bandage music accustomed in the backward 1940s by singer-mandolinist Bill Monroe and his agitator sidemen, guitarist Lester Flatt and banjoist Earl Scruggs.

The adamantine Stanley consistently backed abroad from the “bluegrass” label, however, allotment to accessory his awful alone appearance with a added admirable blazon of music.

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In “Man of Constant Sorrow,” his 2009 account bound with Eddie Dean, he wrote, “If you columnist me on it, I’ll acquaint you the aforementioned affair I consistently acquaint the army at a show: ‘[I play] old-time abundance appearance of what-they-call-bluegrass music.’ It’s a mouthful, I reckon, but it’s about the best I can arise up with.”

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Initially assuming beneath the amplitude of Monroe (with whom Carter Stanley afterwards sang in the aboriginal ’50s), the Stanley Brothers and their bandage the Clinch Abundance Boys formulated their own characteristic access to the bluegrass genre, and developed a memorable aboriginal repertoire. They recorded prolifically for Columbia, Mercury and King Annal into the ’60s.

Following Carter’s afterlife in 1966, Ralph Stanley addled out on his own, recording a awful admired alternation of albums for the absolute characterization Rebel Records.

Dr. Stanley — accepted thusly in the bluegrass affiliation for his honorary doctorate from Tennessee’s Lincoln Memorial University — witnessed a arresting career improvement afterwards his music was featured in the Coen brothers’ 2000 blur “O Brother, Area Art Thou?” and its blockbuster soundtrack album.

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Winner of three Grammy Awards, Stanley was accustomed with the Civic Medal of the Arts in 2006.

He was built-in 18 months afterwards his brother, in Dickenson County, Va., in the Appalachians. He was aloft in the Primitive Baptist Church, which advantaged the close-harmony singing that would affection in his afterwards work. His mother, Lucy, played banjo in the aboriginal two-finger “clawhammer” style, and she bought Ralph his aboriginal banjo from an aunt for $5.

While his father, Lee, was not a accomplished musician, he sang at home, and Stanley would afterwards acclaim him for introducing the brothers to the old-time songs that would arise in their repertoire, best conspicuously “I’m a Man of Constant Sorrow.”

After admission from aerial academy and confined an Army block in active Germany, Stanley advised enrolling in veterinary school. But instead he absitively to accompany his brother, already a adept of the cord bandage the Blue Ridge Abundance Boys, in a new unit, the Clinch Abundance Boys. Carter usually took advance vocals, with Ralph accidental aerial harmonies.

The act — which took its cues from the contempo groundbreaking abandon recorded for Victor by Bill Monroe’s Blue Grass Boys — garnered absorption with their radio performances on WNVA in Norton, Va., and WCYB in Bristol, a boondocks disconnected by the Virginia-Tennessee border. (Earl Scruggs aing the closing base during the Stanleys’ administration there, and was assuredly active in Ralph’s acceptance of Scruggs’ adult “three-finger” banjo style.)

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The Stanleys’ 1947-48 recordings for Rich R Tone Records, an absolute characterization in Johnson City, Tenn., included covers of some of Monroe’s aboriginal abandon and Carter Stanley originals like the air-conditioned annihilation carol “Little Glass of Wine.”

The annal put the brothers on the map, and in 1949 the Clinch Abundance Boys were active to Columbia Records. Bill Monroe, who was a brilliant on the label’s roster, beheld the Stanleys as appalling competition, and anon exited the characterization in a anger for Decca.

The Stanley Brothers’ 1949-50 Columbia abandon showed their apace developed ability of the bluegrass style, featuring both civil and actuality songs accomplished with aerial activity and intensity. A 1950 affair apparent the recorded admission of “I’m a Man of Constant Sorrow,” with a advance articulate by Ralph.

The brothers were briefly afar aback Carter active on with a affectionate Monroe for a abrupt assignment as advance singer. The bluegrass ancient alike offered to appoint both brothers and affection them in the Blue Grass Boys with collective billing, but the Stanleys regrouped for a final affair for Columbia in 1952.

After a abbreviate acknowledgment to Rich R Tone and bounded radio work, the brothers were active by Mercury Records, area Flatt & Scruggs had recorded their aboriginal high-voltage sides. The Stanleys’ 1953-58 recordings for the characterization were works of attenuate adorableness and power, and alike apparent a attenuate abandonment from their tradition-based sound, on the animate guitar-inflected “If That’s the Way You Feel.”

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The pair’s longest characterization affiliation was with Cincinnati’s King Records, which appear their actual from 1958-66, a aeon that additionally saw the Stanleys attain their accomplished contour as alive performers at folk and bluegrass festivals. Their administration with the characterization begin them recording in a array of styles, essaying bluegrass, folk and actuality and alike abnormality occasionally into pop — they cut a hasty awning of characterization acquaintance Hank Ballard’s R&B hit “Finger Poppin’ Time.”

By the mid-’60s, Carter Stanley’s ascent alcoholism had taken a assessment on his abilities as a performer, and he died from cirrhosis of the alarmist on Dec. 1, 1966. Though Ralph advised giving up music, he absitively to advanced the Clinch Abundance Boys as a soloist.

He wrote in his memoir, “I could apprehend Carter saying, ‘Little brother, don’t let me down.’ I had to go aback and do my best, the way he had done for all those years.”

Stanley went on to almanac abandoned for King, but he had his best advantageous affiliation with Rebel, an indie characterization operated by bluegrass enthusiast Dick Freeland out of the basement of his Washington, D.C., home. His recordings for the aggregation continued from 1971 into the new millennium.

From the aboriginal ’70s on, the Clinch Abundance Boys became a appalling ancestry arena for top bluegrass talent. One of Stanley’s aboriginal stars was advance diva Roy Lee Centers, who was tragically attempt to afterlife afterwards an altercation at a affair in 1974. Guitarist Larry Sparks went on to an award-winning abandoned career.

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Stanley’s greatest discoveries were approaching country stars Ricky Skaggs and Keith Whitley. The duo, again assuming calm in the Lonesome Abundance Boys, were asked to amplitude out their aperture set at a appearance in Fort Gay, W. Va., afterwards Stanley bootless to access on time. Impressed, the bandleader assassin the teenagers, who contributed to the beauteous 1971 actuality anthology “Cry From the Cross” and the civil set “Something Old – Something New.”

Stanley appear dozens of albums through Rebel and Freeland’s eponymous latter-day label. He admiring the greatest absorption with 1991’s “Saturday Night and Sunday Morning,” an all-star two-disc set breach amid civil and angelic material. Guests included Bill Monroe, Jimmy Martin, George Jones, Emmylou Harris, Vince Gill, Dwight Yoakam, Patty Loveless, Alison Krauss and above bandage associates Skaggs and Sparks.

His late-career advance to all-embracing distinction came aback T Bone Burnett enlisted him for the country-steeped soundtrack of the Coens’ aeon ball “O Brother, Area Art Thou?” The ambassador was gluttonous a awning of “O Death” in the address of aboriginal hillbilly aerialist Dock Boggs’ banjo-accompanied version, but Stanley assertive Burnett to let him accomplish it a cappella.

Voiced in the blur by a hooded Klansman, “O Death” became one of the highlights of the Mercury soundtrack album, which became a must-have roots music set that awash about 8 actor copies in the U.S. The accumulating served as a basic admiration to the Stanley Brothers: It independent assorted versions of “I Am a Man of Constant Sorrow” (as performed by Dan Tyminski of Alison Krauss’ bandage Union Station), and bankrupt with the brothers’ aboriginal 1955 adaptation of “Angel Band.”

In 2002 — 55 years afterwards the alpha of his recording career — Stanley accustomed his aboriginal Grammy Award for macho country articulate performance, for “O Death.” He additionally aggregate in the anthology of the year Grammy won by the “O Brother, Area Art Thou?” soundtrack. (He accustomed a third Grammy in 2003 for “Lost in the Lonesome Pines,” called best bluegrass album.)

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No best a alcove brand luminary, septuagenarian Stanley became an all-embracing brilliant in the film’s wake. He was featured in the civic “Down From the Mountain” bout and a consecutive documentary directed by D.A. Pennebaker, Chris Hegedus and Nick Doob. He additionally appear his aboriginal major-label annal in about bisected a century, acid two acoustic-based collections of acceptable actual for Burnett’s Columbia-distributed DMZ imprint.

Though he ceded banjo arena to his bandage mates, Stanley remained a amateur into his 80s on bout with the Clinch Abundance Boys. He was frequently co-billed with his grandson, actuality accompanist Nathan.

His survivors additionally accommodate his wife, Jimmi; son; Ralph II; and daughter, Jeanie.

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