The Bluegrass Standard - Volume 2, Issue 1

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INSIDE: Mountain Music Museum • Brooke Aldridge • Monroe Mandolin Camp • Murphy Hicks Henry • The Price Sisters • Molly Tuttle • Sisters Sadie • Sierra Hull • and more! ...

Special Issue: Focus on Women in Bluegrass! photo: Shelly Swanger

Volume 2 ~ Issue 1

HI GHLIGH T S !

8 Becky Buller

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The Bluegrass Standard The Bluegrass Standard magazine is published monthly.

Opinions expressed are not necessarily the opinions of The Bluegrass Standard or its staff, advertisers or readers with the exception of editorials.

Publication of the name or the photograph of any person, business or organization in articles or advertising in The Bluegrass Standard is not to be construed as any indication of support of such person, business or organization. The Bluegrass Standard disclaims any responsibility for claims made by advertisers.

Advertising rates are subject to change without notice. The Bluegrass Standard reserves the right at its sole discretion to reject any advertising for any reason. It is our policy to publish any letters to the editor that are signed and verifiable by phone number. We reserve the right of anonymity upon request. Letters must be grammatically correct, clarity and original and free of libel. The Bluegrass Standard reserves the right to decline publishing or reprinting any letter.

39 Heidi Herzog

47 Murphy Hicks Henry THE BLUEGRASS STANDARD

Please forward any letters to: editor@thebluegrassstandard. com The views expressed are not necessarily those of The Bluegrass Standard. Copyright Š2018. All Rights reserved. No portion of the publication may be reproduced in any form without the expressed consent of the publisher.

Th e Blu e gr as s S t a nd ard S t a f f This month's Contributing Writers: Susan Marquez, Daniel Wile Keith Barnacastle • Publisher The Bluegrass Standard represents a life-long dream for Keith Barnacastle, who grew up in Meridian, Mississippi. For three years, Keith brought the Suits, Boots and Bluegrass Festival to Meridian, allowing him to share his appreciation for the music of his youth with fans from across the country.

Now, with the Bluegrass Standard, Keith's enthusiasm for the music and his vision of the future of bluegrass reaches a nationwide audience, every month!

Richelle Putnam • Managing Journalist Editor Richelle Putnam is a Mississippi Arts Commission (MAC) Teaching Artist/Roster Artist (Literary), a Mississippi Humanities Speaker, and a 2014 MAC Literary Arts Fellowship recipient. Her YA biography, The Inspiring Life of Eudora Welty, received the 2014 Moonbeam Children’s Book Awards Silver Medal. Her non-fiction books include Lauderdale County, Mississippi; a Brief History, Legendary Locals of Meridian, Mississippi and Mississippi and the Great Depression. She writes for many publications.

Shelby Campbell • Journalist Editor Shelby Campbell is a writer and designer whose heart beats for creativity. A native of rural Livingston, AL, she found her passion in journalism and design at The University of West Alabama, where she received a Bachelor's degree in Integrated Marketing Communications. Shelby is creative, driven and passionate as a web designer and creative specialist for The Angie Denney Agency in Pensacola, Florida. She also has her own lifestyle photography business, Shelby Campbell Photography, based in Foley, Alabama.

Kara Martinez Bachman • Journalist Kara Martinez Bachman is an author, editor and entertainment journalist.

Her music and culture reporting has appeared in dozens of publications and she's interviewed many performers over the years, from local musicians to well-known celebrities.

She's a native of New Orleans and lives just outside the city with her husband, two kids, and two silly mutts.

Stephen Pitalo • Journalist Stephen Pitalo has been an entertainment journalist for more than 30 years, having interviewed everyone from Joey Ramone to Bill Plympton to John Landis. He is the world’s leading authority on the The Golden Age of Music Video (1976-1993), mining inside stories from interviews 70+ music video directors and countless artists of the pre-internet music era. You can check out his blog GoldenAgeOfMusicVideo.com.

James Babb • Creative Director James Babb is a native Californian, and a long-time resident of Palm Springs. He has been involved in creative work of many types, ranging from electronic design in the 1980's, to graphic and online design today.

In addition to his work for The Bluegrass Standard, James designs and produces large-format graphics for trade shows and special events. James also provides custom framing of paintings by artists from his local creative community.

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Becky Buller

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Christian Davis signs with Turnberry Records

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Mountain Music Museum

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Tomorrow’s Bluegrass Stars:

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Molly Tuttle

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HighRoad

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The Krickets

Kevin Beddingfield

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The Gold Heart Sisters

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Brooke Aldridge

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Heidi Greer

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Music Barn: Heidi Herzog

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The Price Sisters

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Amanda Cook

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Back Porch: Murphy Hicks Henry THE BLUEGRASS STANDARD

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Ashleigh Caudill

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Sierra Hull

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Pearl & the Polka Dots

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Sister Sadie

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Festival Guide

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Music & Art Philippe Chambon

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Suits, Boots & Bluegrass

fan photos THE BLUEGRASS STANDARD

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Becky Buller:

A Bluegrass Phenomenon & Plain Ole Momma

By Richelle Putnam 8

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There are reasons you can’t put Becky Buller on a page.

First, it’s her voice—not just her singing voice, but her conversational voice that pours like Southern Hospitality seasoned with honesty, humor, and humility. Second, her musical talent and skill must be experienced before anyone totally gets this bluegrass sensation. No, you can’t put Becky on a page…but we’re going to give it a serious try.

Her parents played with a bluegrass band called Prairie Grass, so “I started bugging them about fiddle lessons when I was about 8 or 9,” said Becky. “They finally got me lessons, which were mostly classical, but my teacher played a little fiddle in a country band and she knew that that was what I really wanted to do.” Becky learned fiddle tunes in addition to her classical music, “so I was really blessed to be able to do both disciplines at the same time.”

Becky never really felt comfortable taking on the role of a band leader, so she was always a member of someone else’s band, such as Valerie Smith and Liberty Pike, who Becky performed with for ten years.

“I worked in her office during that time, too, and learned about how a band gets on the road and stays on the road.” Becky’s public relations degree from East Tennessee State University (ETSU) also came in handy, especially when she later broke out on her own.

Becky was working with Darin and Brooke Aldridge when she and husband, Jeff Haley, were expecting their first child. Their daughter, Romy, was born in 2013, and when she started walking, the touring life had to change. Jeff told Becky she needed her own schedule. He was right. “I had to have my own band because I needed to promote my album, ‘Tween Earth and Sky. I was painted into a corner and couldn’t escape being a band leader anymore.”

And Becky Buller sure knew how to pick ‘em…band members, that is.

Bluegrass legend Ned Luberecki is a master of the banjo, a music educator, and “he’s darn funny,” said Becky. Named 2017 IBMA Banjo Player of the Year, Ned is also the voice of the IBMA Awards THE BLUEGRASS STANDARD

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CONTENTS show through his SiriusXM Bluegrass Junction radio broadcast, which received a 2016 IBMA Distinguished Achievement award. Another funny guy in the band is Nate Lee, an IBMA award-winning instrumentalist and renowned teacher of private lessons and music camps.

“We didn’t know how hilarious he was until August 2017, when he finally came out of his shell,” said Becky.

Guitarist Daniel Boner is known as “the Professor.”

Becky was a senior at ETSU in 2000 when Boner enrolled in the Bluegrass, Old Time, and Country Music Studies program. In 2010, he became director of the program. Daniel Hardin, bass player and tenor singer, makes more than music—he makes whiskey! Don’t worry…it’s legal. He’s an expert machine operator and fire fighter at the Jack Daniels Distillery in Lynchburg, Tenn.

Becky’s accolades include the 2015 IBMA Recorded Event of The Year award for her cover of Bill Monroe’s “Southern Flavor,” featuring members of Bill Monroe’s Blue Grass Boys.

She was the first person to win in both instrumental and vocal categories at the 2016 (IBMA) awards and she took home the IBMA 2017 Fiddle Player of the Year award.

One downside as a bandleader is keeping the band on the road, she explained. “I’m my own publicist for the most part, too, so there’s a lot of that stuff going on that takes away my creativity as a writer. I continually try to find out new ways in which to write, to stay creative.”

Becky cowrote her single, “Speakin’ to that Mountain” with Jeff Hyde, who also cowrites with Eric Church. “He’s doing really well as a songwriter,” said Becky. “Speakin’ to that Mountain,” released late March 2017, is the first official single on her upcoming Crepe Paper Heart album. “Calamity Jane,” released September 2017 with special guest, Rhonda Vincent, is the second official single on the album. “I admire [Rhonda] so much for her talent, but also for her business sense,” said Becky, who cowrote this song with Tim Stafford of Blue Highway, a writer of many outlaw songs.

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CONTENTS Also featured on the album is Phoenix Arise, a cover song written by Mark Simos and Lisa Aschmann in the wake of Hurricane Katrina. “I heard it when they wrote it and I just loved it.”

Then, in February 2016, only ten miles from Becky’s St. James, Minnesota hometown, an explosion burned down a city block in the small town of Madelia.

“It put a lot of folks out of business. I wanted to do something to help and I remembered this song.”

Through downloads of the song, Becky and her band raised money, with “every penny going to the families to rebuild and get back to work.”

Still, Becky’s main gig is being momma to Romy, who just started piano lessons. She’s four. For now, Becky tells us, Romy is only writing songs for her family. But who knows… one day we may be trying to fit her onto a page.

Becky’s New Year’s Resolution/Goal ~ “I seriously would like to get my house clean and I’d like to be able to juggle it all better.”

(We think she’s doing a pretty good job!)

Becky teaches all ages and levels in both live and online classes. She meets students where they are, and works on tunes they want to work on. For details, visit www.beckybuller.com

The Becky Buller Band couldn’t do it all without their loyal sponsors:

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1 2/1 8/1 7 CHRIS TIAN DAVIS S IGNS WITH TURNBERRY RECORDS Multi Dove Award winning and Grammy nominated artist Christian Davis signs with Turnberry Records and Management Team, a division of The Bluegrass Standard Magazine. It is a rarity in any genre of musical entertainment that someone comes along with an individual talent that can captivate an audience for an entire performance. Even more of a rarity is when someone comes along with not only the God given talent, but the heart and compassion to make a difference.

Over the past 1 0 years, Christian has endeared himself to a wide audience as gospel, bluegrass and country fans have embraced his deep, rich vocals and easy-going personality on and off stage. Fans have marveled at his vocal talent and he quickly became a crowd favorite at shows across the world.

Davis states “Joining Turnberry Records is genuinely exciting for me!

Not only is Turnberry my first solo record label, but Keith was the first promoter who booked me and my band after departing Dailey & Vincent as he gave me a platform to bring this incredible music to life. Keith’s association with the music industry has long defined his values and I am honored that he has welcomed me to the Turnberry Family. The label has embraced my personal evolution as an artist and performer in the Gospel, Bluegrass and Country genres allowing me to continue to inspire and enrich the lives of people all across the world. I am overjoyed to partner with Turnberry as we cross new horizons musically and personally!”

Embarking on a new solo venture, Christian’s next album will meld styles of “traditional back porch bluegrass” with a little bit of “new grass.” The new album is being co-produced by Christian Davis and Keith Barnacastle along with Grammy award winning producer, Wayne Haun. The album is slated to release in early 201 8.

The Bluegrass Standard Magazine couldn’t be prouder to represent and be a part of this amazing journey. For more information, please visit christiandavisonline.com or thebluegrassstandard.com

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Turnberry Records ────

──── “Joining Turnberry Records is genuinely exciting for me! ────

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Mountain Music Museum to Reopen in Kingsport, Tennessee, January 27 Celebration will include performance by Ralph Stanley II & The Clinch Mountain Boys (KINGSPORT, Tenn.) – Three months after closing in Bristol, Tennessee, the Mountain Music Museum is gearing up to reopen at its new home at 316 Broad Street in nearby Kingsport, with special guests and new exhibits, on Saturday, January 27, from 10:00 a.m. until 9:00 p.m.

The celebration will include a live performance by Grammy-winner Ralph Stanley II & the Clinch Mountain Boys, beginning at 7:00 p.m. Other performers throughout the day will include bluegrass artist Tim White, country singer Kaitlyn Baker and Master of Ceremonies will be Rick Dollar! Admission to the museum, which is usually $5, will be free during the grand reopening.

“Our region is rich in the traditions of mountain music,” said Kingsport Mayor John Clark. “From bluegrass to gospel to old time and classic country music, we are excited to see them on display in Downtown Kingsport. The Carter Fold is just across the ridge on the ‘sunny side’ of Clinch Mountain in Hiltons, Virginia, and their instruments were purchased right here on Broad Street. The Country Music Hall of Fame in Nashville has the lyrics of the Carter Family song ‘Will the Circle Be Unbroken’ etched on its walls. Today, country music a multi-billion industry. That started here. I’m excited to see it come full circle.”

“We are excited about our new location,” said Rick Dollar, the museum’s newly appointed executive director.

“There is more space for more exhibits. We have a lot of great things planned for 2018.”

One new exhibit at the Mountain Music Museum will be a collection of memorabilia related to the late Dr. Ralph Stanley, who lived in McClure, Virginia, about 60 miles north of Kingsport.

“Ralph II offered to donate some of his personal items to us,” Dollar said. “When we saw them, we knew right away that they deserved to be in a museum. We are grateful to the Stanley family.”

The museum was established in 1998 by the nonprofit Appalachian Cultural Music Association (ACMA). Dollar said he hopes the new location will help to further distinguish the Mountain Music 14

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CONTENTS Museum from the Birthplace of Country Music Museum in Bristol, which people sometimes confuse.

While both museums celebrate the history of country music, the Birthplace of Country Music Museum is focused primarily on the 1927 Bristol Sessions, the famed recordings produced in a makeshift studio in Bristol that launched the country music industry.

The Mountain Music Museum in Kingsport celebrates the evolution of country music, by reaching farther back in history, to when immigrants settled in the surrounding mountains in the 1800s, bringing their Irish, Scottish and African rhythms with them.

“It’s no coincidence that bluegrass music sounds similar to a lot of Irish and Scottish music,” said Tim White, chairman of the ACMA board, museum cofounder as well as host of the nationally syndicated public television concert series Song of the Mountains. “What people think of as American mountain music is really an off-shoot of music that immigrants brought with them from other countries.”

In addition to historical exhibits, the Mountain Music Museum also features live music on a regular basis, most notably “The Pickin’ Porch,” a weekly show hosted by Rick Dollar. Performances by national artists will take place at the Kingsport Renaissance Arts Center, while emerging artists will perform at the museum. Additionally, the museum is planning an outdoor concert series called Bluegrass on Broad. Details will be announced at a later date.

The Mountain Music Museum is managed and promoted by the all-volunteer, nonprofit Appalachian Cultural Music Association, which Tim White founded with area business owner James Bryant.

The Mountain Music Museum will reopen on Saturday, January 27, from 10:00 a.m. until 9:00 p.m., at 316 Broad Street, Suite 102, Kingsport, Tennessee 37660. Ralph Stanley II & the Clinch Mountain Boys will perform at 7:00 p.m. Admission is free. For more information, visit www.AppalachianCulturalMusic.org or call Rick Dollar at 423-7970275; Fred Anderson at 513-607-7026.

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The Society for the Preservation of Bluegrass Music in America 16

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44TH Annual SPBGMA Bluegrass Music Awards & 35TH National Convention Sheraton Music City Hotel Nashville, TN

Program

Showcase of Bands Thursday, February 1, 2018 Plantation Ballroom

4:00 PM 4:40 PM 5:20 PM 6:00 PM 6:40 PM 7:20 PM 8:00 PM 8:40 PM 9:20 PM

The Po’ Ramblin’ Boys Deer Creek Boys The Kevin Prater Band Newtown Feller & Hill And The Bluegrass Buckaroos Deeper Shade Of Blue The Kody Norris Show Joe Mullins & The Radio Ramblers Jeanette & Johnny Williams

Friday, February 2, 2018

Showcase of Bands Friday, February 2, 2018

4:00 PM 4:40 PM 5:20 PM 6:00 PM 6:40 PM 7:20 PM 8:00 PM 8:40 PM 9:20 PM

Saturday, February 3, 2018

Trade Exhibits in Plantation Lobby (Show Ticket NOT Required Friday 9 AM-4 PM) 9 AM (Must have show ticket Friday after 4 PM & Saturday and Sunday) 12:30 PM 1:00 PM TRADE EXHIBITS are in the McGavock’s Ballroom and Tulip Grove off of 1:30 PM 2:00 PM the main lobby.

2:30 PM NO ticket required for these areas.

3:00 PM Exhibit times Thursday 3-8 PM, 3:30 PM Friday & Saturday 10 AM-8 PM, Sunday 10 AM Opening.

5:30 PM

Multiple showcases on hotel property Thursday, Friday, Saturday after 10 pm!

Claybank Remington Ryde Flashback Donna Ulisse & The Poor Mountain Boys The Farm Hands Ronnie Reno & The Reno Tradition Russell Moore & III Tyme Out Chris Jones And The Night Drivers The Country Gentleman Tribute Band

Plantation Ballroom

International Band Championship 1st Round Eliminations The Special Consensus The Farm Hands Cedar Hill Crowe Brothers Steve Gulley And New Pinnacle Danny Paisley & Southern Grass International Band Championship 2nd Round Eliminations Dinner Break

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Kevin Beddingfield

by Shelby Campbell

Kevin Beddingfield, the nine-year-old music phenomenon who has played bluegrass since he was a toddler, shows no signs of stopping anytime soon. But what is it about little Kevin that attracts so many bluegrass fans?

Known by many as the new Stringbean, Kevin is a one-man-band with a love for bluegrass. The passion for his music sprung from listening to Stringbean and Grandpa Jones with his great-grandfather.

“Kevin has always liked the way Stringbean plays and sings,” said Paula Beddingfield, Kevin’s mother. “He is an old soul, and if String and Grandpa were still alive, Kevin would get along with them perfectly.”

This fourth grader from Flag Pond, Tenn. picked up his first banjo at three-years-old teaching himself to play by watching Youtube videos of Stringbean and Grandpa Jones.

He repeated the videos until he could do it perfectly.

“Kevin would watch Grandpa Jones videos and tell his dad that he was going to play just like that someday,” Paula said.

In 2016, Kevin began working with multiple teachers - learning to play clawhammer style on the banjo, as well as learning to play the mandolin, guitar and dobro.

Tomorrow’s Bluegrass Stars is a large part of Kevin’s life, as well. He was discovered in The Music Outlet in Sevierville, Tenn. by fellow Tomorrow’s Bluegrass Stars member Zack Wright. Soon after, Kevin was inducted into Tomorrow’s Bluegrass Stars as the 192nd member.

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CONTENTS “Mr. John Colburn at TBS goes above and beyond for these kids,” said Paula. “He does whatever he can to help them meet their goals for themselves, and he is supportive of each and every one of them.”

Kevin has also received much recognition for his incredible talent. He has won first, second and third places in youth banjo at various fiddle competitions, as well as placing first and second in flat foot dance. Kevin is the reigning third place National Champion in youth banjo and mandolin from the Smithville, Tenn. Fiddlers Jamboree. He placed second in the Youth Talent Contest in Knoxville, Tenn. at the Tennessee Valley Fair.

Winning these awards allowed Kevin to be recognized as a young bluegrass artist on the rise, and he has been endorsed by Deering Banjos and LC King Manufacturing.

Vince Roberts presents Kevin with an awesome fiddle!

With a goal to perform on the Grand Ole Opry by the time he turns ten, Kevin strives to preserve bluegrass and old-time mountain music with everything he has.

Preserving Bluegrass One Youngster At A Time!

John Colburn & Maggie

Tomorrow’s Bluegrass Stars continues to support the awareness of its many talented young members, and the preservation of yesterday’s bluegrass music for tomorrow.

Click the banner below to visit the TBS website:

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Molly Tuttle

by Susan Marquez Molly Tuttle is on top of the world. She is a songwriter, vocalist, and virtuoso guitarist, as well as a recording artist and teacher, and she has racked up an impressive number of awards for her talent. In 2012, she was named Best Female Vocalist and Best Guitar Player by the Northern California Bluegrass Society and she won the Chris Austin Songwriting Competition at the Merlefest Music Festival.

In 2016, Molly received the IBMA Momentum Award for instrumentalist of the year. She followed that up in 2017 by being the first woman in the 27-year history of the IBMA to be nominated for Guitar Player of the Year, which she won. She was also nominated as Emerging Artist of the Year and Female Vocalist of the Year.

It’s been a whirlwind career for Tuttle so far. Of course, she did have a solid start, being the daughter of Jack Tuttle, who plays multiple instruments and teaches guitar. “My dad taught me how to play guitar when I was eight years old,” recalled Tuttle. “I also took piano lessons.” But it was the guitar she gravitated to the most, especially when she started attending to Bluegrass festivals and shows in the San Francisco Bay Area where she was raised. She played local gigs when she was 11 or 12, “places like the local pizza parlor and such,” all the while building a following. “I took a song-writing class at a local community college, so that gave me a good foundation for writing.”

Tuttle was awarded a merit scholarship to the prestigious Berklee College of Music to study music and composition. She received the Foundation for Bluegrass Music’s first Hazel Dickens Memorial Scholarship.

While at Berklee, Tuttle joined an all-girl Bluegrass group called The Goodbye Girls. Lena Jonsson (fiddle) is from Sweden, and the group played a combination of Bluegrass, 24

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CONTENTS jazz and Swedish folk music, touring Jonsson’s home country several times.

After graduation, Tuttle left Boston and moved to Nashville in 2015, where she recorded an EP called Rise, released in 2017. She also recorded a couple of CDs with The Goodbye Girls, Going to Boston (2014) and Snowy Side of the Mountain (2016). Collaborations with other artists include John Mailander, Mile Rocks, AJ Lee, Korby Lenker, Bobby Osborne and Billy Strings. Tuttle and her dad, Jack, put out a CD in 2007 called The Old Apple Tree.

Tuttle’s haunting melodies and lyrics come from personal experience, she says. “Everything I write comes from my own feelings or experiences. “Most of the time I let the songs take their own form.” Her videos on YouTube have been watched tens of thousands of times, some well over 100,000 times. Awardwinning video director and editor Bill Finipiak directed Tuttle’s latest music videos. “We took a couple of weeks to do those, and it was really fun,” she said. “For the Save This Heart video, Bill had me sitting in front of a wall and he shot a lot of close-ups of my fingers and face. He really tried to find unique ideas for the videos.” The video for You Didn’t Call My Name was shot in Finipiak’s Jeep. “We drove around downtown Franklin, Tennessee and got shots of the lights and old buildings. I think it looks beautiful.”

And for the Lightning in a Jar video, Finipiak took Tuttle to a hill outside Franklin where the sun was going down. “It was a beautiful setting. He mixed in video from old VHS tapes my mom had of me when I was little and growing up on my grandparents’ farm. The old videos worked perfectly with the song.”

In addition to recording and touring, Tuttle enjoys teaching guitar to others.

“I started teaching private lessons when I was in high school to make some extra money. My dad would send students my way. I have also taught group classes at music camps which I really enjoy. It’s such a great way to connect with students.”

“My goal in 2018 is to make an album,” said Tuttle. “I have a bunch of songs ready to go.” Touring keeps Tuttle busy, but touring doesn’t mean she is a tourist in the places where she plays. “I really don’t get to do much at all except play a gig and move on to the next town. And I want to travel for fun. I want to make time to really explore and enjoy the places I visit.”

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The Road Less Traveled

Sarah Davison & HighRoad’s Journey is Guided by Faith and Talent

By Stephen Pitalo “I love playing for other artists, but at the same time, I’ve always felt called to do gospel music,” said Nashville resident Sarah Davison, guitar player and leader of the country-bluegrass-Christian-gospel hybrid quartet known as HighRoad.

“When HighRoad first started, it awakened this part of me I didn’t even know God had in mind,” Sarah explained.

Since that awakening, and the group’s formation, Sarah and bandmates Kinsey Kapfhammer (guitar, vocals), Kristen Bearfield (mandolin, guitar, banjo, vocals), and Lauren Conklin (fiddle) earned six SGM Scoops Diamond Award nominations and an Absolutely Gospel Music Female Group of the Year award.

With gigs at leading gospel music events at the Gatlinburg Gathering, Myrtle Beach’s Singing In The Sun and the National Quartet Convention, to name a few, HighRoad certainly is traveling in the fast lane -- with God always riding shotgun.

“I started the band with a dear friend of mine who played the fiddle,” Sarah explained, “and we began playing at small churches around our home areas. I fell in love with hymns from a very early age, so it was like second nature to arrange them for fiddle and piano. We started getting busier and busier, and we kept adding people to the group as members changed. Now, here we are, having a great time writing tunes and playing music that we love!”

As a gifted pianist and vocalist in her own right, Sarah has toured with country superstars from Hall of Famer George Jones, current hitmaker Chris Young, and even ACM Award-winner Mark Wills at none other than the Grand Ol’ Opry. She formed HighRoad in 2010, and most recently, the combo played the Country Music Hall of Fame in her home base, Nashville.

With the band’s third full-length release, Somewhere I’m Going, HighRoad partnered with GRAMMY®-nominated producer Ben Isaacs, who helmed their 2014 sophomore set, Angel at the Crossroads. It’s grassy instrumentation, lush harmonies and gentle nostalgia-laden melodies that connect with Sarah’s rural roots in southwestern Iowa.

Penning eight of the album’s 12 selections, Sarah and company sing about heart and home, especially on the title track with lyrics like “Home is not just somewhere I’m from 26

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CONTENTS / It’s somewhere I’m going.”

“The song is about going home to see friends and family, but a lot of our friends and family are not there anymore because they’ve gone on to be with the Lord,” Sarah explains. “I think every person can relate to looking back on their childhood, those memories with aunts and uncles and friends who are no longer here with us. We can be assured we’re going to see them again someday.” Unfortunately, in the past year, she has endured the loss of numerous family members—including two grandparents.

Somewhere I’m Going also features fresh arrangements of favorites “In the Sweet By and By” and “I’d Rather Have Jesus.” Including hymns on each of their recordings continues to be a significant part of High Road’s DNA. “Those old songs are so good, and the words just tug at your heart,” Sarah says, noting that the hymns they record for each album are a traditional staple that’s here to stay. She keeps a list of song ideas in her smartphone to document or record the melodies in her head when she’s away from the studio or her guitar.

“When I do sit down to write, it’s usually the melody that comes to me first, but not always. Every song is different!” she said.

For Sarah, the best part of performing is watching people laugh, cry, or smile during their songs, and seeing folks sing along with the band, but the way she connects with her faith seems contagious during those moments.

“Music is a language of its own and for us, it’s always great when God stirs in people’s hearts and they leave differently than they came in that night.”

Sarah wouldn’t say it’s tougher to be a bandleader or to navigate the music business if you’re a woman, because it’s not really on her mind.

“I honestly don’t think too much about the fact that I am a woman doing what a lot of men do -- I just go for it and try to do the best I can! There have been times where I’ll sit in with a band full of grown men and I’m the only girl in the mix. They act surprised when I load my own gear, and don’t complain about stuff! (laughs) I enjoy driving and loading a trailer, writing charts, and getting everyone together for a weekend of concerts. I grew up on a cattle farm, so doing ‘chores’ that require a little extra effort is just a way of life to me.”

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“The Siren’s Song” The Krickets

By Shelby Campbell New Year’s Resolution as a Band:

“Album #2!”

There’s something beautiful about swampy, harmonizing melodies that warm our soul. With a sound influenced by mythical creatures of the same name, the Song of the Spanish Moss Sirens’ singers truly know how to draw you in with their music - just as expected.

The Krickets are a female swamp-folk band from the Gulf Coast of Florida. Winning over the hearts and ears of listeners since their debut album was released in 2016, the group combines Country and Americana music with a hint of Bluegrass for a stunning, unique sound.

The band is comprised of Melissa Bowman on vocals, guitar and banjo; Emily Stuckey on vocals, guitar, percussion and mandolin; Lauren Spring on vocals, guitar, fiddle and mandolin; and Katrina Kolb on bass.

Raised in the wetlands of the Gulf Coast, it is no surprise that The Krickets used the influence of their swampy surroundings to create a captivating debut album, Spanish Moss Sirens. Complete with powerful female vocals and a gentle, flowing banjo, the effect of their music is indescribable.

“Our harmony is what really brought the band together and our bluegrass and country heroes certainly shaped the band’s sound,” Lauren said.

Named the 2016 IMEA Folk Artist of the Year and recipient of the 2016 Folk Singer/ Songwriter Song of the Year at the Independent Music Awards, The Krickets originally came together to play a cancer benefit concert. Now, they continue to support the cause 28

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CONTENTS by donating a portion of every album sale to The Cricket Fund Beyond Diagnosis that provides women’s health services to the uninsured.

Produced by Ben Tanner of the Alabama Shakes at Muscle Shoals, The Krickets released their debut album in May of 2016. With a progressive sound that touches on nostalgia, Spanish Moss Sirens gives listeners a gorgeous artistry that flows throughout the album.

“Ben is a terrific human and producer, and he just really got us,” said Lauren.

“He encouraged us to be ourselves and wanted the recording to be as authentic as possible.

After raising funds on a Kickstarter campaign and writing their album in Lauren’s home studio within in two weeks, The Krickets decided on John Paul White’s Single Lock studio behind his Victorian home in Florence, Ala. for recording their album.

Spanish Moss Sirens was inspired by the beauty of the Gulf Coast but also transitional moments for each band member - death, loss, birth and transition.

“The album was heavily influenced by the Gulf Coast’s colorful history and our families.

The song subjects span from lullaby to a murder ballad, and we just tried to do our best at telling the stories,” Lauren said.

Moving forward, The Krickets continue to be inspired by the artists that influenced their sound on their debut album. These artists include Alison Krauss & Union Station, Dolly Parton, Emmylou Harris, Johnny and June Carter Cash, and Mumford & Sons to name a few.

“We hope our listeners leave our shows touched by their own story in some way, and we hope our music is powerful enough to take them there,” Lauren said.

“We hope they feel a little more validated or acknowledged. Be it in joy, grief, awe, nostalgia, or simply story-telling.”

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CONTENTS

Gold Heart:

The Family that Plays Together…

By Daniel Wile “Are you guys family?” Gold Heart mandolinist Tori Gold laughs as she explains that the band still fields this question at meet-and-greets. The irony is that the soaring harmonies from sisters Tori, Jocey (pronounced Jah-see), and Shelby Gold blend into one voice the way only sisters’ voices can. They also share an unmistakable resemblance to each other.

Since releasing their first CD in 2006, Gold Heart has been turning heads in bluegrass audiences all over the world.

The Gold Sisters didn’t find bluegrass; bluegrass found them. The girls grew up in southern Arizona, far from the storied Appalachian homeplaces of bluegrass lore. “One Sunday morning on our way to church,” Tori explains, “our dad was flipping through the radio and he came across this bluegrass station, KXCI, and they were playing bluegrass music. We thought, ‘Wow! That sounds really cool!’” After that, the radio stayed tuned to KXCI every Sunday morning. The girls then devoured any bluegrass they could find, citing Doyle Lawson, James King, and J. D. Crowe as early influences.

During long car rides when they were young, their mother taught them to sing harmony on children standards like “Jesus Loves Me.” Instruments soon followed. Jocey was the instrument experimentalist of the group. She first tried the banjo, and then she received a mandolin for a birthday. But it was the guitar that clicked with her. “It just happened that she loved the guitar,” Tori says. “She could play it the best out of all of us, and her rhythm was amazing.” Tori had fallen in love with the mandolin, so she inherited Jocey’s old birthday gift.

Shelby showed interest in the fiddle and signed up for an instructional camp. Thinking it would be a fiddle camp, she was disappointed to learn that it was a violin camp. “We returned her rented violin,” Tori says with a laugh. But the itch to play didn’t go away.

“We rented a fiddle again, and she pretty much taught herself to play,” Tori claims.

News spread that there was something special with the Gold sisters.

“A friend of our family’s got word that we were singing and playing a little bit,” Tori says.

He offered to put them in a fifteen-minute time slot on a small county fair stage. “We agreed to it, though we didn’t even know how to play any songs yet.”

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CONTENTS The girls crammed to learn enough songs to fill a set, played the fair and were immediately intoxicated. “We loved it!” Tori exclaims.

Tori, Jocey, and Shelby knew they wanted to pursue music full time. After forming Gold Heart and working to round out the instrumentation, the sisters believe that they found the perfect lineup. Tori, Jocey, and Shelby are now joined onstage by their father Trent on bass and brother Kai on banjo. They have released four albums, and the latest album for Mountain Fever Records was produced by banjo and fiddle juggernaut Ron Stewart. Gold Heart’s success hasn’t diminished their respect for the artists who influenced them. “To be able to go to a festival and see those same people onstage that you’ve been listening to on the radio, that is amazing to us.” Tori says.

It is a rare bluegrass band that is fronted by a trio of women, and that has helped Gold Heart’s appeal. “People have been so receptive,” Tori says. She and her sisters bring an array of original material—from ballads to hard-driving bluegrass—to their performances. The Gold Heart sisters enjoy dismantling the stereotype that a “girl band” would only play slow songs.

One female bluegrass pioneer in particular inspired them.

“Growing up, one of the first people I remember hearing was Lynn Morris.,” Tori recalls. “We grew up when she was singing, and we got to see her perform live. She has such a beautiful voice, and her personality is even more beautiful.”

Gold Heart has a clear resolution for 2018: release the band’s fifth album.

“We’re super excited about the songs that we’re writing and can’t wait to share them with everyone,” Tori Gold says.

2018 should be a good year for Gold Heart.

The Gold sisters remain in awe of the career launched from that fifteen-minute county fair gig. “It’s neat being able to look back and remember when we were playing a small show and think, ‘Maybe sometime we’ll play in Europe.’” With a European tour under their belt, “We can look back and say we worked hard and were able to do that.” Tori adds that their biggest dream is to play the Opry.

And through the normal challenges of working in a travelling band, the family bond has only strengthened. “With any band, to be able to travel with each other and then be able to get up on stage and sing with each other, you’ve got to be friends to be able to do that,” said Tori.

“To be in the middle of singing harmony on a song and look over and see your sister, or your dad and your brother, it’s like ‘Wow! This is pretty amazing.’”

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“Sing, and Touch a Heart; Teach, and Change a Life”

Brooke Aldridge

by Richelle Putnam

Brooke Aldridge started singing the day she could talk and performed in her first talent show before she reached double-digits in age. But Brooke’s parents never expected her to compete. “I always had that option of saying no, but I just loved it so much. I was very blessed to have my parents backing me and encouraging me.” Growing up in church, singing was an integral part of Brooke’s life. On Sundays, she and her family often spent the day at her grandmother’s, sitting around and singing a Capello.

During college, Paige and a few guys she’d grown up with in church started a band. Future soulmate and husband, Darin Aldridge knew the guys, having jammed with them at SPBGMA and the IBMA. But Darin only knew “of” Brooke.

Darin’s mom and dad had grown up where Brooke was from, but had moved away before Darin and his brother were born. “I always heard about Darin from all his family,” said Brooke. “His uncle was a mayor in my hometown.” So, Brooke also knew “of” Darin. The two had even emailed back and forth about the music business.

But the two had never met.

“I went into this church where I was playing, and Darin was there,” filling in for one of the band members. “I had no idea he was going to be there. We kind of hit it off and became really good friends.”

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CONTENTS Since the other band members weren’t pursuing music like Brooke, Darin told her he knew the music business and could get them started at some festivals. “I heard the quality of her singing, but I also saw her passion and compassion and her love for the Lord,” said Darin. “From the first time I met her, I knew I wanted to pursue our friendship. We started singing together and one thing led to another.”

“We had a lot of the same goals and ambitions,” said Brooke. “After about a year, we started dating and after three years we got married.”

But their serious music focus continued, and it paid off.

At the 2017 IBMA Awards Ceremony, Brooke took home the “Female Vocalist of the Year” and Darin earned the “Mentor of the Year” award.

“Just talking about it, I almost tear up, because it’s overwhelming to be recognized for doing something you have loved your whole life,” said Brooke, remembering how as a kid she watched awards shows on TV and went to concerts to see her musical heroes, “thinking I would love to do that one day.” To be in the top was huge, “and to bring it home lets you know that you’re doing the right thing in life, that it’s what God called you to do.”

What fans may not know: On trips, Darin may carry as many or more clothes than Brooke!

Being a mentor is Darin’s way of giving back to the community, said Brooke. He has been teaching since he graduated from high school.

“I had a lot of folks growing up that were there for me,” he said. He wanted to do the same.

Brooke is also a teacher, having earned a degree in Elementary Education, “just in case the music didn’t work out, but with us traveling so much, it’s hard for me THE BLUEGRASS STANDARD

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CONTENTS to take on a lead position.” As a teacher’s assistant, Brooke admits that it’s tough juggling music and school work, “but I have a principal who works very well with me and coworkers who are very supportive of what I do. This is my 10th year in the school system.”

Brooke incorporates music into the classroom whenever she can. “Last year I started working in a classroom with children with autism and they are so responsive to music.” If a student gets upset, the first thing Brooke turns to is music. “Darin and I are very involved with children.

There’s nothing like knowing that you have touched a child’s life in some way and impacted them.”

There are no boundaries when it comes Brooke’s voice. It crosses genres like a ferry crosses calm water, but she didn’t get into bluegrass music until she was a teenager. “I’d heard it before, but I don’t think I really came to appreciate it until I got a little older and I sat down and listened to some of the artists.”

This year the band crosses the ocean on their first overseas tour, which includes Prague in February, and on to France, and, later in the year, Ireland. “I hope we represent well our country and where we came from in the heart of Appalachia, which is where bluegrass was formed,” said Darin.

“We were called to do this for a reason,” said Brooke. “To be able to touch somebody means more to us than anything.”

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Darin and Brooke’s band members: Carley Arrowood (fiddle, lead and harmony), Matt Menefee (mainly banjo), Billy Gee (bass).

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CONTENTS

The Sowell Family

LuLu Roman

Chosen Road

Carolina Blue Kevin Pace & The Early Edition

Backline 36

My Brother's Keeper THE BLUEGRASS STANDARD

Fan of a good song:

CONTENTS

Heidi Greer of the Band Heidi and Ryan

By Keith Barnacastle Heidi Greer says that she and her husband Ryan are founded on roots, family, faith, and love. This year they bought a new home in KY. They completely renovated it and now it feels like a home that fits them and their children. Interesting for the fans, the new house, is a huge blessing.

Ryan’s dad got them to look for a home, but couldn’t find anything in a price range they felt was affordable and a good home.

So, they found this great fixer upper and remolded the older home. Ryan did a lot of the work. He likes to say we have great

“sweat equity” in our home.

It’s only been a few months since they moved in. Ryan is planning a studio in the basement and is loving being new home owners. What’s new besides the new home? Heidi says she has great new songs that will be the start of a new album to be released in 2018.

Family get togethers during her childhood influenced her. It was her uncle who taught her to play guitar and she is grateful to her parents for taking her to concerts. The experiences had a profound influence on her music.

Family traditions around the holidays, and her huge family (her mom was one of 12 children) were times to get together, play bluegrass and gospel. She wants to pass that heritage onto her own children. Heidi and Ryan have a 5yr old girl, and a 2-yr. old boy.

Heidi hopes that both children will get into music, just as she did and was influenced by Heidi’s family traditions.

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CONTENTS Heidi and Ryan sit and play music with their kids; their daughter has a guitar now and loves to sing. Heidi hopes that one day a new family band will emerge. Heidi wants people to know that she is a singer first and has been playing the fiddle for only 4 years.

Her heart, though is in writing music. Not being a really outspoken person, about how she feels, songwriting has helped her express her thoughts and feelings. She thanks God for giving her the ability to sing, and write music so she can share that message with the world.

The songs that she writes are a window into her feelings about life and love. Ryan heavily influences her writing and loves that the two are writing music together. She would also like to co-write and perform with the Issacs. It would be an inspiration to have a joint writing session with them. She admires their values and devotion to gospel music. Heidi Loves Allison Kraus and would enjoy Allison singing with her on the new CD. The CD coming out in 2018 will be filled with original music and be fully gospel in a contemporary style. She and Ryan have talked about Tim Shelton of Clay Hess band singing with them on the new Cd. She and Ryan loved being at IBMA and performing on the Poor Mountain Records showcase.

What is Ryan doing these days since the remodel? Well he is the mail man and works daily at the post office. He is focusing on recording and playing guitar. Heidi and Ryan’s hobby is to sing and play music, they both love old rock music. Their favorite tunes come from The Eagles. Heidi says she is always a fan of a good song.

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Music Barn

Heidi Herzog and the Monroe Mandolin Camp

by Richelle Putnam Returning to Monroe and the Roots of American Music For 27 years, Heidi Herzog was a professional opera singer with a strong classical music background in violin. Totally immersed in the opera scene, she was also the administrator of a progressive opera company in Long Beach, California.

So, how the heck did she end up in bluegrass?

“I grew up in up-state New York. My mother was a concert pianist in Europe, and my father loved bluegrass, “said Heidi, who played mandolin and fiddle in the bluegrass band with her siblings. But they also had a string quartet and, “We would go do the symphony. I sang my first opera when I was 8 years old. I’ve grown up in both worlds.”

Often, musicians saturated by both worlds describe the difference in the genres, the on-beat of classical and off-beat of bluegrass. Heidi, however, says opera and symphony are more kin to bluegrass that we realize because of the, “the improvisation of opera and the coloratura of singers where there’s a cadenza,” when basically everybody stops for a show piece by a violinist or celloist or a singer. In opera many famous singers took the music as their own and, “made this virtuosic showcase for their voice, which was very improvisational.” So, there are improvs and similarities between the bluegrass band and the constrictions of that and the improvs and constrictions of an orchestra and vocalists.

There are also liberties of phrasing, which is incredible in bluegrass, Heidi added.

“Bluegrass isn’t just fast and hard driving all the time. There are so many nuances, which are part of phrasing in how you communicate the message of the line, the music, which is also the same in opera.”

Heidi met mandolin master, Mike Compton less than a decade ago at the Mandolin Symposium in Santa Cruz, Cal. A few years later, when the facilitator decided to longer hold the Symposium, Mike came to Heidi, saying it was too valuable not to happen anymore. He wanted Heidi to do it.

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CONTENTS “I said, sure, how difficult could it be,” and Heidi wasn’t being sarcastic. “I thought what a great opportunity to create something from scratch and to bring in a lot of different elements, which are important from a teaching standpoint and for students and how they learn.”

In 2013, Heidi began organizing and creating the Monroe Mandolin camp, germinating ideas, preparing a 5-year and a 10-year plan. “We started in 2014. The first year we had five instructors and two luthiers.” Years one and two were just mandolins; year three, they added banjo; year four, fiddle. Last year they added square dance and clogging with a live band, which will be a tradition on opening night with the pre-camp jam and party.

“And this year we are adding guitar and singing,” said Heidi.

At the camp, students receive a handout for whatever instrument they are going to do.

“Sometimes we have CDs, YouTube videos, regular notation, but we provide a resource manual that our students take back and work on throughout the year.”

She explained that it doesn’t matter what genre you’re in, whether classical, bluegrass, pop, “there are all these basic foundational tenets that are applied across the board. You and I learn differently. You may be more visual, I may be more oral, other people have this kinesthetic touch.” Therefore, musicians learn through reading regular notation, through tablature, by putting their fingers on the keyboard, and by listening and watching. There are many ways of learning, whether you’re six or 80.

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CONTENTS One of the long-term goals was to bring the camp to different regions in the country, just as Monroe traveled around sharing his music. “What’s important to both Mike and myself about the space is that there is nature surrounding it, as well as a peaceful space and mellow community that is inviting.”

This year the camp moves to North Carolina in the Lake Junalista Conference and Retreat Center, which has been around for over 100 years. “There will be this space of community where if you want to sit down and have a cup of coffee with a luthier while your mandolin is getting fine tuned or tweaked, you can do that,” said Heidi. “There are all these spontaneous jams and conversations about instruments.”

People fly in from as far away as Sweden, England, the Dominican Republic, France, Ireland, and Canada to attend the Monroe Camp and “the language of the groundbreaking music Monroe created is the binding element,” said Heidi. “We’re the only camp in the world that focuses just on this American music form/genre that Monroe created.” The camp brings in original bluegrass boys because of “the wealth of their knowledge and their stories. You must know where [the music] came from.”

In 2018, Heidi and Mike will start Mini-Mon camps where “we bring a few instructors and set up a shorter length of time in different regions, which makes it more affordable for people to attend.”

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The Price Sisters

By Susan Marquez If 2018 is anything like 2017, the Price Sisters are going to be a couple of busy young ladies. With a new album set to be released in early 2018, Leanna and Lauren Price have a full schedule of touring, playing at festivals and workshops and anywhere else they can share their take on traditional Bluegrass music.

The twin sisters have created quite a buzz in the traditional music community with their own unique interpretation of bluegrass music. Their lovely harmonies were honed while growing up in Sardis, Ohio. “We come from a musical family,” said Leanna, who recalls the family gathering on the front porch after supper when the weather was nice and singing along with their parents. “If it was cold or rainy, we’d sing in the kitchen.”

When the girls were six, the movie “Oh Brother, Where Art Thou” came out. “We listened to that soundtrack a lot,” said Lauren with a chuckle. “Harmony began to make sense to us.” The girls started lessons on instruments when they were nine – Lauren on mandolin and Leanna on fiddle. “We played a few talent shows when we were 11 and 12, mostly around Sardis. My dad played guitar for us.”

The turning point came when the twins went to the Augusta Music Festival in Elkins, West Virginia in 2010 when they were 16. The festival was intense, with a full-emersion into Bluegrass music. “Leanna signed up to take a fiddle workshop with Darol Anger,” said Lauren, “and I signed up for a mandolin workshop with Mike Compton. I didn’t know who he was, but I wanted to play mandolin like him.” As it turns out, Compton was the mandolin player on the “Oh Brother, Where Art Thou” soundtrack. “Something clicked for us at Augustus, and we began to take our music much more seriously.”

The girls went to every workshop and festival they could during their junior and senior years at high school. “We were kind of ‘ate up’ with all things Bluegrass.” Lauren laughed.

“The music was addictive to us.” The sisters became known for their Bill Monroe-type mandolin playing and Kenny Baker-like fiddling. “They are the foundation of Bluegrass, 42

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CONTENTS and we have always stayed pretty true to that.” While some kids played sports, the Price Sisters played music. “When we realized how big the Bluegrass community is, we wanted to start at the beginning and learn as much as we could.”

They went to college at Davis & Elkins in West Virginia. “We were supposed to play with an old time string band when we got there, but they were going through faculty changes and that didn’t work out,” said Lauren. A concert in Kentucky was a life-changer for the sisters. “We needed a place to practice and our guitar player, Scott Napier, said we could practice at the college in town.” That college was Morehouse State University, where the Kentucky Center for Traditional Music is located. “We had no idea that existed,” said Leanna. When they walked in, they saw a photograph of Bill Monroe and Bobby Morehead from the 1966 Fincastle Bluegrass Festival hung behind the front desk and they instantly knew they were in the right place. “We met Raymond McClain, Center’s director, and Jesse Wells, the assistant director, and they took us on an impromptu tour of the school.” They transferred the next semester and graduated with Bachelor of Science degrees in Traditional Music in May 2017.

Napier, who plays with the Lost and Found Bluegrass Band, sent a self-produced CD the Price Sisters made with their family in 2013 to his band’s label, Rebel Records. Dave Freeman, the label’s owner. Freeman liked what he heard and said he looked forward to hearing more. They were signed to the label in December 2016 and with Bill VornDick as their producer, they set out to record their first CD as The Price Sisters in Nashville.

“They asked us who we would want on a record, and we got Ron McCoury (guitar), Charlie Cushman (banjo), Mike Bub (bass), and Alan Bartram (vocals),” said Leanna.

The self-titled album features six traditional Bluegrass tunes and one new song in the traditional vein. Their haunting harmonies add a special touch to each song.

Their second CD, “A Heart Never Knows,” is set for release in February or March 2018.

“We are very pleased with how it turned out,” said Leanna. “There are four new original songs out of the 12 on the album. The rest are older tunes that we kind of ‘dug up,’ so to speak. They are songs that have only been recorded maybe one other time, most at least fifty years ago at that. We really like to find older tunes that may not be as familiar and bring them back to light.”

Their plans for 2018 include playing as much as they can.

“It’s a privilege for us to play anywhere,” Lauren said. “We’d also like to be nominated for an IBMA award, but for now, we are happy to perform and promote our new album.”

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The Water Is Fine: The Amanda Cook Story

By Shelby Campbell It’s hard to believe Amanda Cook’s voice wasn’t always coming from our speakers.

Growing up in bluegrass music with her father’s influence, Amanda was signed by her first major record label in early 2017, and she released her debut album in November.

What a year!

Rewind ten years to 2007 when Amanda, a Jay, Florida native, formed bluegrass group High Cotton with her father and received her first taste of performing. Six years later, she was determined to create her own sound, and released her first self-released solo album One Stop Along the Road.

“I dreamed about hiring my own group and beginning a project, and in 2013, I got the nerve to make it happen,” Amanda said.

The album made it to the top 150 Roots Music Bluegrass Album Chart in both 2014 and 2015. Because of this success, Amanda started her musical journey with quite a loyal fan base. The light-hearted, down-to-earth style helps to create an incredibly strong connection with her audience.

While Amanda may be new on the bluegrass scene, don’t be fooled into thinking she is short on talent. When she performs, her music is honest - full of heart and soul throughout every song.

One of bluegrass music’s favorite labels, Mountain Fever Records, raised their bar of excellence when they signed Amanda to their roster - and she joined artists such as Junior Sisk & Ramblers Choice and Volume Five.

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CONTENTS “We’ve watched Amanda grow so quickly as an artist the past couple of years,” said Mountain Fever Records president Mark Hodges.” She has everything it takes to be one of the top artists in the country, and we’re proud she has chosen to take us along the journey.”

Mountain Fever Records joined with Amanda in recording her debut album on a major record label, Deep Water, which was released on November 3. With distinct melodies and unique vocals, this album proves that Amanda has certainly found her sound.

“There is a common thread that is woven through each arrangement of every well-crafted song,” said songwriter Jerry Salley. “Come on in and enjoy Amanda Cook’s Deep Water. The water is fine and the music is outstanding.”

Deep Water means a tremendous amount to Amanda.

Considered a long-term goal for her career, she certainly achieved it plus some with Mountain Fever Records.

“Deep Water is an open and honest interpretation of my sound. The love I have for music, the passion that I carry for performing and the sincerity of our performances comes through on each song. What you hear on the album is what audiences experience at our live shows, minus the jokes,” Amanda said.

According to Amanda, she feels on top of the world when her band plays a live show of new music and the crowd truly responds. What they are creating in that moment is the most successful thing they can do as artists.

“The creation of music and the people that share the same passion as you do is a wonderful experience,” Amanda said.

“Playing live and feeling that high that only comes from the stage is one of the best parts of this whole experience.”

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The Amanda Cook Band begins 2018 playing many new music festivals, and continuing to write. They hope to complete a second album with Mountain Fever Records.

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Amanda Cook Band: New Year’s Resolutions Amanda: My New Year’s resolution would be to try to relax a little more and live in the moment rather than always focusing on tomorrow. We’ve had so many wonderful moments this year that I feel I missed out on some of the enjoyment, saying to myself…”ok what do I need to do now?”…

Greg Jones (mandolin): My New Year’s resolution is to be the best man I can be at all times. Continuing to work to be the best at my craft and balancing family time.

George Mason (fiddle): I confess that I never set a New Year’s Resolution.

However, I set goals for my next year, and here is my goal: Be a better Christian. Be a better Grandpa. Be a better musician. Take better care of my health. And be a better Martial Artist.

Josh Faul (bass): My New Year’s Resolution is to learn one new song every day for the year 2018.

Carolyne VanLierop (banjo): I want to focus on writing more and making it part of my daily routine to write down a least a line or two a day. Honing my craft in writing is a major goal for the next year.

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Back Porch Murphy Hicks Henry

by Richelle Putnam Pretty “Darn” Good for a Girl Years ago, at an IBMA awards ceremony, Murphy Hicks Henry sat in the audience alongside her daughter, Casey, who, like her mother, had chosen to become a bluegrass banjo player. The night would include a salute to young people in bluegrass and five young musicians gathered on stage where they stood, peering out at the audience.

But for Murphy, there was problem…a big problem. All the musicians were male.

There wasn’t a female in the bunch…none...zilch…zero. “Ladies and gentlemen,” the announcer proclaimed, “the future of bluegrass.”

“I was apoplectic,” said Murphy. “That was 15 or 20 years ago, and they should have known better, because it was a time when people were already aware of inequality.” That moment altered Murphy’s life as a woman of bluegrass and as a woman banjo player. “It was personal to me.”

Murphy contacted the people who put the program, who told her that they had tried to find a young girl to put on stage, but they couldn’t find one, and the one or two they asked, couldn’t do it. But that wasn’t a good enough excuse. “I thought to myself, you didn’t call me, and if you’d had called me I would have called every person I knew in the bluegrass world and we would have found a woman for you. We would have flown her out there on our own nickel.”

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Yeah… Murphy Hicks Henry was ticked-off.

In fact, she was so ticked-off, she started a database of women in bluegrass and from that, she started the newsletter, “Women in Bluegrass,” which she published quarterly.

“Somehow, one of the editors at Illinois University Press got one of the newsletters and suggested that I turn the newsletters into a book,” said Murphy.

But Murphy wanted a comprehensive history of women in bluegrass, much like Neil Rosenberg’s Bluegrass, a History, which incorporated only men. She put 10 years into Pretty Good for a Girl, starting from scratch.

“I wasn’t using any of the articles I had already written, except as references.”

There was very little information about women in bluegrass and the Internet had not yet evolved into what it is today. “I had to go to the original resources, magazines, albums, CDs, and interview a lot of women,” said Murphy.

“It was so important to me to get as much factual information as I could in between those two covers so people would know that bluegrass was not a man’s music, as it has been called so often. There were women there from the beginning,” said Murphy.

Murphy was able to incorporate Sierra Hull and Molly Tuttle into the book. “but they were so young and so new on the scene, they didn’t get a large treatment,” said Murphy. “When performers start out young you never know if they’re going to last because it’s just so hard, especially for women.” You run into the marriedwith-children issue, “which I talked about in the book with Missy Raines, Kristin Scott Benson and Kathy Kallick. A few chose not to have children because they wanted to follow their careers.”

Murphy’s husband, Red, has been greatly 48

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CONTENTS supportive Murphy’s career. He read every chapter of Pretty Good for a Woman, and helped in getting permission from photographers for use of the photos. “The greatest gift he gave me was giving me the space the work and he didn’t bug me about it,” said Murphy. He also took care of the business end of their small company—The Murphy Method.

Murphy started her “Method” over 30 years ago and it’s claim to fame is that “my method of music is completely without written music or tablature. It’s all done by ear. I’m not saying it’s the best way to learn how to play other music, like classical or any other kind of music, but bluegrass is improvisational,” and if you don’t start out learning-by-ear, eventually you’ll run into a brick wall because you are tied to music or tablature and can’t improvise and join in a jam.

Since the 1970s when Murphy grew up in bluegrass, she has witnessed women musicians gaining confidence. “When women learned the banjo, men couldn’t say that women couldn’t play the banjo anymore. Then women learned to play the fiddle and got into bluegrass bands and [men] couldn’t say that anymore.” One of the last instruments to be conquered by women on the larger stage was the guitar. Women were not strong enough to play flat-pick guitar. “That was very discouraging for even those of us who were very confident in our other instruments.”

And then came Molly Tuttle, 2017 IBMA Guitarist of the Year.

For the past five years, Murphy has hosted a banjo camp for women only. “I think they feel more comfortable screwing up. They know that everybody there is going to be supportive and that nobody is going to judge them. It’s a safe place for women to stretch their wings a bit.”

The IBMA now uses Pretty Good for a Girl Women in Bluegrass as a resource and reference book.

One of Murphy’s fondest memories is the first time she jammed with an all-female group.

“I had never had the chance to play in a group that was all women. It had a completely different feel and was less competitive.”

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Ashleigh Caudill: Rebellion and Attitude

By Keith Barnacastle Ashleigh Caudill’s most recent project is Winter Blues Songwriter’s session, volume 1 2017 which is a digital release.

This digital release features songs that might not make it on the album in addition to songs from her regular touring schedule. This doesn’t mean they are not good enough to be on a CD, but are on digital release because they are outside the realm of the current project yet need to be heard.

The Winter Bluegrass Songwriters Session June 2017 is only available online. It’s an experiment to see if people will buy it on I Tunes, Spotify, or Amazon. Her previous release is the CD Loony Bird in 2016 and currently available as well. Ashleigh says that she likes the feel of the cd case and the disc for her music but times do change.

The Winter Blues Song Writer Session has been a success, she is looking to do another series in 2018. These will be tunes that she writes and plays live on her shows. The digital release captures the real vibe of the musicians that play with her and it resonates with the people who buy the digital release. She has had numerous artists, play with her, like Molly Tuttle, Jake Stargell, Kyle Tuttle, Jenny Lyn and Allen Barchem a favorite bass player of hers. The second digital release will be announced this month, January 2018, but Ashleigh is not sure what style it will be however it promises to be definitely unique.

With Volume II, Ashleigh is leaning more toward the singer songwriter.

She says, “It is stripped down songs with pedal steel and electric guitar, along with a solo of me singing and playing the bass.”

Ashleigh loves the traditional bluegrass songs, but says if the song can carry itself it can be put it out in another genre and sound. The challenge for 2018 is to have 4 volumes of the digital releases this year in 2018. In her touring schedule and events, she does play the digital volume songs and traditional bluegrass tunes. She does a few cover songs from bands but likes to put her own spin on the tune which makes it fun and magical.

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CONTENTS Ashleigh was able to attend Merle Fest because of a song she wrote entitled “Row

by Row.” It was her first cut by the way. At the time, she was working in North Carolina and was notified April 1, 2012. She thought it was a mean joke by some of her friends and said it can’t be real. She thought “is someone messing with me.” The Song “Row by Row” got her to Merle Fest and it was a blast.

The song actually ended up on The Balsam Range album Papertown 2012 and was nominated in the IBMA Awards.

Ashleigh feels in that touring solo shows you don’t have anyone to lean on. It’s raw, just you and your skills with the banjo, or with the upright bass. It’s fun taking that out to the fans and relying on oneself and no one else.

Bluegrass instruments are what she grew up on. That traditional sound has always been a part of her music, even though her shows may not always be in the traditional sound.

It’s pure rebellion and attitude, you can’t take it away, if that is what you love to do. It’s Monroe, Flatt, Scruggs. They did it like the way they like to do it.

Ashleigh has learned so much from the bluegrass community. It’s like no other genre. You learn from your mentors and kids like you. They all come together and play.

Strangers become family, you don’t remember how or where you learned it, but you just remember it.

Ashleigh loves being with her family and enjoys singing with her sister in Colorado when they have family get togethers.

Ruby her dog is her best traveling companion while out on the road.

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The Rich Music — and Even Richer Community — of Sierra Hull

by Kara Bachman Martinez Yeah, Sierra Hull’s music is bluegrass. There’s something about it, though — something deeper, more creative, perhaps subtly genre-bending — that sets it apart as works of originality.

Alison Krauss described it well. Krauss — credited as Hull’s first inspiration, as the artist who brought her into the bluegrass fold — is quoted at Hull’s website as having said: “I think she’s endless. I don’t see any boundaries. Talent like hers is so rare, and I don’t think it stops. It’s round.”

Obviously, audiences hear this richness as well.

They try to define Hull’s unique sonic fingerprint and struggle to find the right words.

The Grammy Award-nominee said plenty of people come up to her after shows and use interesting words to describe the work she has always thought of as being bluegrass. Jazz, they call it. Classical.

Blues. The lexicon reflects the not-easily-defined artistry Hull brings to her music.

“You get such a diverse amount of words to describe what we’re doing right now,” she said.

Of course, then again, there’s the idea that over-analyzing anything perhaps takes away from it. Defines it too much. Perhaps spirits away a wee bit of its magic.

What’s more, Sierra is hesitant to claim to be anything but steeped in bluegrass.

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CONTENTS “I wish I could claim to be a jazz musician,” she said, wistfully. “I wish I could be a person who could claim to know about classical.”

She did, in a little way, acknowledge what listeners always sense.

“But I think all the listening I did to all that finds its little influence in what I do,” she said.

The 26-year-old — who found her first gigs singing in church — picked up the mandolin as a girl. It wasn’t until she was exposed to Krauss, though, that she was fully hooked.

“I first heard Alison’s music when I was nine years old, about a year after I picked up the mandolin,” Hull said. “She was my biggest childhood hero.”

She said Krauss’ album “Forget About It” absolutely captivated her. Although she said it wasn’t straight-up bluegrass, it really was the portal through which she entered the folk world.

In terms of New Year’s resolutions for 2018, Hull said she’s working towards a new album to be released in the coming year. She wouldn’t say much about what’s in the works for what will be her fourth release on the Rounder Records label.

“The conceptual part of the album is still to be determined fully,” she said, adding that “most of it takes shape in the studio, “Bluegrass isn’t anyway.”

“I’m kinda daydreaming about what it’s gonna be,” she added.

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just a sound.

It sounds like home to me.”

—Sierra Hull 55

CONTENTS Another goal for the year: she’s just announced a tour where she hopes to up the ante on her previous outings.

She said she normally travels with a bassist, but this time also wants to shake things up a little and feature a saxophonist for some shows, a fiddle player for some, and will offer a slate of “great opening acts.”

Surprisingly, Hull said her very favorite thing about bluegrass isn’t even the music itself — it’s “the community of it.”

“There’s a beautiful thing within the bluegrass community,” she said. “It’s the shared experience.”

It’s as if the music is a social glue that instantly binds people together. She learned this lesson when she was still quite young.

“I was learning all these fiddle tunes on the mandolin, and there’d be somebody there I never met who knew these same songs,” she reminisced.

It didn’t hurt that Hull grew up in rural Tennessee, just a stone’s throw from the Kentucky line. Bluegrass was easy to find around her home region.

“Bluegrass isn’t just a sound. It sounds like home to me,” she stressed, summing up just about everything.

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Powerful Voices & Polka Dots

By Shelby Campbell

The well-rounded sound of Pearl & the Polka Dots encompasses folk and other styles of acoustic melodies.

Formed in Pearl, Texas in 2014, the band is comprised of Anji Pearl on bass and vocals; Rachel Bates on fiddle, guitar and vocals; and Charlie Day on mandolin and lead guitar.

Front band member Anji Pearl plays and dances with a bass covered in polka dots and a joy that reverberates through her constant and infectious smile.

Rachel Bates grew up playing the violin, but went 30 years before picking it back up again—and turning it into a fiddle. That was after a life-changing experience at Camp Bluegrass in Levelland, Texas, when Rachel returned home with a love for bluegrass. She is an artist in every sense of the word - from music to painting and drawing, to creating one-of-a-kind vintage outfits, and designing personalized tiles in her art studio.

Performing on stage for more than 50 years, seasoned country musician Charlie Day was 15 when he went on his first tour with Willie Nelson. Being able to proficiently play any stringed instrument has allowed Charlie opportunities to play on the Grand Ole Opry, be a regular on Louisiana Hayride, and play alongside most of the country legends.

We sat down with Anji to learn more about Pearl & the Polka Dots, how they got their start, and some of their favorite moments.

The Bluegrass Standard: Can you tell me a little bit about your band and what you are all about?

Pearl: Our band is about empowering women to follow their dreams and about doing what they love with people they love. We are our happiest when performing, and our audiences always enjoy our show due to our intense joy. We have had an unbelievable journey and have made friends in the music family that we will hold dear to our hearts forever. Our band is about sharing the happiness that polka dots bring and, with each show, the polka dot attire in our audience grows larger. Pearl and the Polka Dots truly love our fans and know that they are the reason we have become the band that we are!

The Bluegrass Standard: Where did your band’s love of bluegrass come from?

Pearl: Our love of bluegrass comes from jamming with the most incredible, kind, and talented musicians at music festivals. It is no secret that bluegrass musicians are like family, and as we have matured in our playing, we understand that we are part of this bluegrass family that is to encourage others to play as we were all once encouraged. Unlike any other genre, bluegrass musicians - no matter how famous they become - are always kind and approachable as we are.

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The Bluegrass Standard: What made you decide to start the band?

Pearl: The decision to start the band happened suddenly and with much excitement. The first time we were together at a bluegrass venue, we were sitting in a room alone where we decided to start singing. The stage manager walked by and heard us sing our first song ever together jamming and asked if we would perform the following day. We were instantly loved by the crowd and we knew at that moment that we had something really special. We had dreams of being in a band and, suddenly, we were.

The Bluegrass Standard: What is your favorite part of this experience?

Pearl: Without a doubt, our favorite part of our experience as Pearl and the Polka Dots has been the fans! Understanding that we have done more in three years than most do in a lifetime, we are aware that we have been blessed and are very grateful for our memories.

The Bluegrass Standard: What is your goal/mission on what you want to do with your music?

Pearl: Our mission is to do what we love with those we love and to encourage others to do the same, whether it be music or whatever they enjoy. We hope to share the love we have for our fans through our music.

The Bluegrass Standard: What songs tend to be an audience favorite? What are your favorites to perform?

Pearl: Fans love the speed of the bluegrass song Dark Hollow that we have recorded on our live CD. Hands down, when we play Rolling in My Sweet Baby’s Arms, there is hardly a person in the crowd that does not clap or dance, so that is one of our fan’s favorite.

The Bluegrass Standard: What is the band’s goal on what they want to do with your music going forward?

Pearl: Our biggest goal currently is to continue to play and perform as we audition women to join us in our adventure. Choosing a band member is more difficult for us because whomever we find must love music, be extremely kind, love people and commit to a very busy schedule and to always wearing polka dots!

The Bluegrass Standard: Anything new on the horizon for Pearl & the Polka Dots?

Pearl: Pearl and the Polka Dots have three CDs currently and are working on creating a children’s “Polka Tot” cd and a gospel CD. The Bluegrass Standard: When do you feel that you are the most successful at what you do?

Pearl: We feel most successful after the completion of all our shows because the fans are always excited to meet us and often are bringing us polka dot presents. We love our gifts given to us, and they are many. That is success… bringing happiness and kindness to others! I just want to thank all our fans and friends who have helped us, encouraged us and believed in us. Without them, none of these miracles and blessings could have happened. God has been very good to us and we give Him the glory!

This spring, Pearl & the Polka Dots won a video contest hosted by the 2017 Farmgrass Fest. The trio dreams of one day playing Dollywood.

As Rachel’s husband, Larry Bates has an open invitation to join Pearl & the Polka Dots on stage on special occasions.

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A Close Harmony of Music and Friendship

by Kara Bachman Martinez For the five ladies of Sister Sadie, making good music isn’t just about tight harmonies and expert musicianship. It’s about enjoying each other. It’s about friendship.

“There’s a great chemistry among us that just works,” said Tina Adair, co-lead vocalist, mandolin player, high-harmony singer, and occasional guitarist. “We operate like sisters.

It’s almost like a family.”

Adair lives in Nashville and works a “day job” at Belmont University, adding her expertise to the school’s programs where musicians learn the ins-and-outs of the music business.

She said she’d of course been in other bands before, including her own. But with Sister Sadie, there’s a kind of bonding among band mates that just doesn’t come along every day.

“It takes all five of us to make Sister Sadie,” Adair said. “If you take one piece of the puzzle out, it’s just not the same.”

Adair strums and plucks among a lineup that also includes five-time IBMA “Female Vocalist of the Year,” Dale Ann Bradley; fiddle-player Jeanie Richardson; Gena Britt, with the banjo; and Beth Lawrence, with her acoustic bass.

Adair joked that occasionally when the group has to make a decision about something, she’ll laughingly say things such as: “We’re five middle-aged women...y’all pray for us!”

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CONTENTS Such comments, though, are really just jokes. Sister Sadie appears to be a well-oiled machine, run by women who enjoy a common music and a powerful friendship.

“We’re having a good time and enjoying each other,” Adair said. “We were all friends prior to this starting up.”

It “started up” just a few years ago, and last year, the group dropped its first album, the self-titled, 12-track “Sister Sadie,” released via Pinecastle Records.

Adair said that a resolution for 2018 is to complete the group’s sophomore album.

“We start next weekend,” she said, when she spoke to The Bluegrass Standard in early December. “We’ll go into the studio. We hope for a late spring release.”

Adair said aside from it, of course, being a bluegrass record, there is, as of now, no overall goal for the direction the next album will take.

“The plan is to go in with the same mind frame [as the first album] logistically,” Adair said, “But I think we want it to just organically happen.”

She said because not all band members live in Nashville, they don’t see each other often when not on the road or in the studio. Because of this distance, Adair said the time these song-mavens spend in the same room is considered “golden.”

Speaking of touring, another New Year resolution is to expand the schedule so people from more regions of the country are able to take in a relatively rare Sister Sadie show.

“Another large goal of ours is to make sure we’re reaching all the regions across the states,” Adair said.

She explained that unlike many bluegrass acts, band members are active in other careers, musical groups, and activities, so they don’t have time to play that many dates. Right now, about fifteen stops are scheduled for 2018. Adair said more will be added, but the total will still come under 20 or 25 dates or so at most. This makes expanding the geographic spread of those dates even more important. In the coming year, the schedule takes the ladies as far west as California and as far east as Maine.

“We want to make it a special event wherever we go,” Adair explained.

Surely, these talented musicians will have no problem achieving that goal.

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CONTENTS

January Festivals & Events Dates

Event

Location

Fridays

Friday Bluegrass Night Blue Cypress Bluegrass

Fellsmere, FL

January 4-6

New Year's Bluegrass Festival

Jekyll Island, GA

January 6-11

The Bluegrass & Blue Water Cruise

Charleston, SC to the Bahamas

January 7

American Legion Bluegrass: Nothin Fancy & Remington Ryde

Hughesville, MD

January 12-13

SPBGMA Bluegrass Music Awards & Midwest Convention

Jefferson City, MO

January 12-13

Perrysburg Bluegrass Festival

Perrysburg, OH

January 12-14

BayGrass Bluegrass Festival

Islamorada, Florida Keys

January 18-21

YeeHaw Junction Bluegrass Festival

Okeechobee, FL

January 19-21

Blythe Bluegrass Festival

Blythe, CA

January 22-27

Caribbean Classic Country & Bluegrass Cruise

Jacksonville, FL

January 25-29

Danny Stewart's Bluegrass Cruise Week 1

Tampa, FL

January 27

Rock Crusher Canyon Bluegrass Festival

Crystal River, FL

For links to websites for all of these festivals and their locations, check out our Events tab at TheBluegrassStandard.com!

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February Festivals & Events Dates

Event

Location

Fridays

Friday Bluegrass Night Blue Cypress Bluegrass

Fellsmere, FL

February 5-9

Danny Stewart's Bluegrass Cruise Week 2

Port Canaveral, FL

February 9-11

Big Sky Big Grass

Big Sky, MT

February 11

American Legion Bluegrass: Russell Moore & IIIrd Tyme Out

Hughesville, MD

February 15-17

Palatka Bluegrass Festival

Palatka, FL

February 16-17

Kansas Bluegrass Association's Winter Bluegrass Festival

Wichita, KS

February 16-18

Bluegrass First Class

Asheville, NC

February 16-18

Mid-Winter Bluegrass Festival

Denver, CO

February 16-18

Joe Val Bluegrass Music Festival

Framingham, MA

February 20-25

Florida Bluegrass Classic

Brooksville, FL

February 22-25

Wintergrass

Bellevue, WA

February 23-24

Des Moines Area Bluegrass Festival

Johnston, IA

February 23-25

Winter WonderGrass

Steamboat Springs, CO

Feb 25 - Mar 1

Danny Stewart's California Bluegrass Cruise

Long Beach, CA

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Music & Art

Abstract Expressionist Philippe Chambon

The life of an artist, regardless of the medium, involves a certain continuous passion.

Musicians know this, as do creative people of all stripes. That passion is what drives the artist to create unique and meaningful work.

At a very early age, Philippe Chambon developed a passionate interest in artistic expression that overrode all else. Born in Lyon, France to a young couple that encouraged and supported his appreciation for all things artistic, Philippe was exposed to the work of many of the great artists of Western Europe.

As a child, Philippe could always be found in a corner of his room that he had christened his “artist’s studio”, well-stocked with paints, watercolors, colored pencils and stacks of paper that he could use to express himself in unexpected ways. Just like many young musicians, he found his schoolwork to be uninteresting, and was more inclined to experience the world on his own.

After arriving in the United States, Philippe began to experience the wide range of music available in his new home. Although American popular music was sometimes played on the radio in France, he was amazed to find that Americans had a rich history of native musical genres. While listening to different musical styles, Philippe began to paint while allowing the notes, beat and lyrics to influence his hand.

Philippe began to experience visual musical creativity as a connected, intertwined universe.

Comparing the qualities of music to color, and 68

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CONTENTS the way in which colors can reverberate in their own way on the canvas, is very evident in his abstract expressionist paintings. By interweaving layers of color into a complex tapestry of vibration, these paintings challenge the viewer to discover both the intensity of the visual notes, and the peaceful moments between them.

Today, Philippe paints daily in his Palm Springs studio. The California sunshine lights his easel, and the desert air carries his choice of inspirational music for the work at hand. Whether it’s classical or jazz, rock or folk, country or bluegrass… he takes it all in, picks up his brush, and begins.

Visual Acoustic No. 1, 26” x 26”, 2016

“Painting for me begins with a blank canvas, the day’s music playing, and an open question. Nothing is planned or arranged beforehand; the inspiration must come from within.

My ideas, thoughts, and emotions become colors and shapes as I move across the canvas.”

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Representing: Mike Bentley &

Cumberland Gap Connection Jeff Brown &

Still Lonesome Kristi Stanley

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Suits, Boots & Bluegrass

fan photos 72

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Suits, Boots & Bluegrass

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Next Month…

from the Publisher's desk

As we look back on the first year of this incredible journey, I am in awe of what has been accomplished by our staff of Journalists, our Creative Director, and all of our supporters in the Bluegrass industry.

Now on to the future, our 2nd year…

2018 will be exciting and rewarding for all the fans, musicians, readers and our staff.

Thank you all for year number 1! The Bluegrass Standard is the premier magazine that’s FREE and will always be FREE! Please let us know how we are doing, email Editor@TheBluegrassStandard.com Best wishes for a happy and prosperous New Year, Keith Barnacastle — Publisher

Balsam Range Jeff Brown The Po Ramblin’ Boys The McClain Family The Dalton Gang and more!

For the latest in Bluegrass, visit our website!

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