What goes around comes around.
In the sixties, there seemed to be a lot more experimentation in music than today. Bear in mind, when a person got formal musical training in that time period, odds were nine-to-one that he’d be getting classical training. There were no schools for rock, rap, or whatever then.
There was the ‘street-school,’ of course, which meant sleeping wherever one could find a couch or a floor and hoping to sit in and earn a few bucks from the jazz musicians who were very popular at the time. But there was little chance of learning music from an institution of learning unless it was classical. Street buskers were routinely arrested and jailed for anything from loitering to panhandling.
You’d never hear a violin in the music of that particular 1960's era, until a very few people had the vision. Think of Hot Tuna, Jack Casady and Jorma Kaukonen, already offshoots of Jefferson Airplane. They had the audacity to bring in Papa John Creech for the Outlaw Folk/Country/Rock that the Tuna were then famous for. Hot Tuna personified Outlaw before there even was Outlaw. If you don’t believe me, just look at photos of the two of them from the Tuna albums. I defy you to say Kaukonen and Casady aren’t Outlaw!
Around that same time, halfway across the country, a sadly underrated jazz-rock group from Chicago called The Flock brought in a violinist named Jerry Goodman, giving a whole new meaning to the word rock.
Just to see Goodman’s photo on the album jacket of their second and final album, long hair wildly flying as he brings the fans up out of their seats in amazement and wonder — whipsawing his violin, sweat flying, and shirt off — is to get a vague idea of what this phenomenon was all about. Goodman went on to record with John McLaughlin and the Mahavishnu Orchestra, as well as become a renowned solo artist. Papa John Creech was already famous in his own right before joining up with the Airplane and Hot Tuna.