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The Bluegrass Standard
click here to subscribe − it's free! 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. Please forward any letters to: editor@thebluegrassstandard.com The views expressed are not necessarily those of The Bluegrass Standard. Copyright Š2019. All Rights reserved. No portion of the publication may be reproduced in any form without the expressed consent of the publisher.
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Nick Chandler and Delivered Fireside Collective Jeff Austin Band Sassafras Wimberley Bluegrass Band more THE BLUEGRASS STANDARD
Jon Stickley Trio
Echo Valley Lincoln Hensley Tony Trischka Town Mountain more THE BLUEGRASS STANDARD
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Tomorrow’s Bluegrass Stars:
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Ruta Beggars Braeden Paul Blades of Grass Deeper Shade of Blue special tribute:
Les Sears THE BLUEGRASS STANDARD
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The Blu e gras s St andard St aff Keith Barnacastle • Publisher The Bluegrass Standard is a life-long dream of Keith Barnacastle, who grew up in Meridian, Mississippi. For three years, Keith brought the Suits, Boots and Bluegrass Festival to Meridian. Now, with the Bluegrass Standard, Keith's enthusiasm for the music, and his vision of its future, reaches a nationwide audience every month!
Keith@TheBluegrassStandard.com
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 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.
Richelle@TheBluegrassStandard.com
James Babb • Creative Director James is a native Californian, and a long-time resident of Palm Springs. He creates a unique "look" for every issue of The Bluegrass Standard, and enjoys learning about each artist. In addition to his creative work with The Bluegrass Standard, James also provides graphic design and technical support to a variety of clients.
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Gloria Ware • Sales and Marketing Director After spending most of her career in the hospitality field both as a trade show manager and hotel Director of Sales in Phoenix, San Francisco and Palm Springs, Gloria is pleased to use her sales and marketing experience to bring advertisers the best way to promote their products and services in The Bluegrass Standard.
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The Blu e gras s St andard St aff Shelby Campbell Berry • 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 also has her own photography business.
Kara Martinez Bachman • Journalist Kara Martinez Bachman is an author, editor and 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. GoldenAgeOfMusicVideo.com
Susan Marquez • Journalist Susan Marquez is a freelance writer based in Madison, Mississippi and a Mississippi Arts Commission Roster Artist. After a 20+ year career in advertising and marketing, she began a professional writing career in 2001. Since that time she has written over 2000 articles which have been published in magazines, newspapers, business journals, trade publications.
Emerald Butler • Journalist Emerald Butler is a writer, songwriter, fiddler, and entertainer from Sale Creek, TN. She has worked and performed various occasions with artists such as Rhonda Vincent, Bobby Osborn, Becky Buller, Alison Brown, top 40 radio host Bob Kingsley, and country songwriter Roger Alan Wade. With a bachelor’s degree in Music Business and a minor in Marketing, Emerald has used her education, experience, and creative talent to share the love of music with others. THE BLUEGRASS STANDARD
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Nick Chandler Delivering the Goods to Fans of Bluegrass
by Kara Martinez Bachman Nick Chandler said when he’s having a tough time in life, his mandolin is the thing that brings him peace. It’s “real relaxing,” he said. His instrument is so calming that when he was a little boy, he’d put himself to sleep just by plucking its strings. “I’d take it to school with me,” he said, reminiscing. “I’d fall to sleep with it, and my mom would have to come take it off me.” He got into music because it was all around him while growing up. He said Ralph Lewis, of Bill Monroe’s Blue Grass Boys, used to come by for visits at his uncle’s house. Lewis was an important early exposure, among others who got him excited about traditional bluegrass. just decided the mandolin tickled his fancy.
One day, the young boy
“I told my brother,” he said, referencing a childhood conversation that got the ball rolling, “I told him I think I can play that little guitar.” That’s what he called it then: the “little guitar.” “I think it’s one of the most beautiful instruments,” Chandler said, with real emotion in his voice. Quite a bit has happened to the gospel and bluegrass performer since he learned to play that “little guitar” at age nine. Today, Nick Chandler and Delivered have built up THE BLUEGRASS STANDARD
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a busy performance schedule and entertain crowds at events such as Shindig on the Mush (Leicester, North Carolina, happening July 13) and County Bluegrass Festival (Fort Fairfield, Maine, happening Aug. 29-31). Chandler and the guys are hoping to have a new CD ready before the touring season gets hot and heavy. As of now, a projected release date is May 1. “My thing that I like to do is go back and find old obscure songs and make them sound like I like to do them,” he explained. He said the recording will also feature some originals and will for sure include some gospel numbers. “Gospel influence is real big to me,” Chandler explained, saying he’s not strictly bluegrass, because he “grew up in both worlds.” “I played gospel music real heavy for four or five years,” he said. “I actually get to step in both worlds, and it’s great.” His first “step” into performing professionally happened at the youthful age of fifteen, when he and a few friends were able to snag a stage show at Carowinds Amusement Park in Charlotte, North Carolina. The youngster did six-shows-a-day, six-days-a-week, pulling in unexpectedly large crowds. It was at the park that he first met influential performers such as multi-Grammy Award-winner, Bobby Hicks, with whom he says he’s still “real close.” Chandler said those nostalgic times at Carowinds were a real highlight of his music career, because it’s when he was first able to make contacts with other bluegrass performers and rub elbows with the industry. Today, he’s proud not only of the experiences he’s had as a musician, but he is rightfully proud of the band he’s now assembled. There’s Bo Bullman, with his guitar and vocals. Chandler said Bullman has played with “just about everyone.” He’s apparently got some real writing chops, too, which will be on display in the new CD along with Chandler’s own writing. Bullman’s songs have been covered by notable 12
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performers, including Dailey and Vincent. On banjo and offering vocals is Evan Fowler, who Chandler said takes care of “the real high stuff” when they’re putting together the harmonies. “He’s a very strong tenor, he can go very high,” he said, of his bandmate. Providing the low grounding of upright bass — the “backbone” of Nick Chandler and Delivered — is musician Matthew Norton, who in the past has also performed with the likes of Larry Sparks, Jimmy Norton and more. The new record will be the group’s second, following “Groceries, Gas and Used Cars,” released on Poor Mountain Records in 2017. He said it’s pretty cool that all band members live so close to each other in western North Carolina. In fact, they’ve got the good luck — quite rare among bluegrass outfits who aren’t members of the same family — that they all live within just a dozen or so miles of each other. Chandler said he’s “always had a band,” but the affection with which he describes the current lineup makes it clear: he enjoys performing with these guys. He easily sums up his relationship to music in one sentence.
“I love playing music, I’ve been around it all my life.”
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Climbing higher in the scene with their progressive approach to American folk music, Fireside Collective formed in the mountain city of Asheville North Carolina, and quickly gained a following for their modern take on the bluegrass sound. Following the release of their debut album Shadows and Dreams in 2014 — an album that weaves bluegrass, funk, rock, and blues influences into a refreshing representation of modern folk music — the band hit the road
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seeking to wow new audiences with their energetic live show built on instrumental proficiency, colorful harmonies, and innovative musical arrangements. From love to metaphysics, Fireside Collective wants to reach into your consciousness. Whether that’s to think or to dance is apparently up to you. The band members put together the collective during their college years in Greenville, North Carolina, when Iaquinto and White began playing in a jam band called Beside the Fire, taking a deep dive into funk and classic rock, as well as country and bluegrass-influenced music. “We mostly played college parties and local gigs,” Iaquinto recalls. “We met Tommy Maher during this time and bonded over a shared love of American folk music. Once the band members graduated, we all headed in different directions. I decided to move to the mountains to be immersed in the rich music and art scene. After a few years of attending bluegrass jams, working on fiddle tunes, and performing in local bands, I decided to reach out to some old friends and see if they were interested in starting a band. It was late 2013 that I called Tommy on the phone and we began discussing the idea of recording some of my songs and hitting the road. Our loyal and reliable bass player Carson jumped on board right away and we began working on music. We released an album of all original music in 2014 and began touring that year as well.” Walking that line between progressive and traditional shows just how good Fireside Collective really are, going as far as formally educating themselves in this music they love. “Everyone in the band has a deep love for bluegrass music as a modern American art form,” Iaquinto said. “We all find joy in tracing its roots and learning bluegrass songs. It's a really exciting and honest style of music and we all really love where it came from and where it's going. Our guitar player Joe Cicero and our banjo player Alex Genova even went so far as to earn college degrees in bluegrass music. The music of Bill Monroe, Flatt and Scruggs, and the Stanley Brothers is timeless, and we really love playing this style. “At the same time, none of us grew up on it. We all have different musical backgrounds and came to bluegrass after learning other musical styles on our instruments. We love classic rock and, in particular, the music of THE BLUEGRASS STANDARD
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FESTIVAL GUIDE the 60s and 70s. We feel that a healthy blend of bluegrass drive, classic rock song structures, and modern lyrics, can sound really good and be a whole lot of fun to play. We enjoy the full spectrum, and we even find ourselves drifting from show to show depending on our audience. Some nights can be really traditional while other shows tend to feature more improvisation.”
Iaquinto added that their band might even have a mission to complete. “Sometimes it's hard to put your finger on it exactly, but there is something about going to a live concert and having an uplifting experience. When a band is having fun, and playing good music, and the audience is right there with them, it makes the world a better place. We want to be a band that can lift people up and take them to a positive place. We also want to write and record music that people can enjoy and find comfort in. We understand that music can be really powerful in people’s lives and we want to honor and respect that.” “Early on in the band’s career, we got to travel out to Telluride for the annual bluegrass festival,” recalls Iaquinto about some of the band’s best memories so far. “We competed in the band competition and advanced to the finals where we got to stand on the beautiful main stage looking out at the Rocky Mountains. We had the privilege of opening up for Hot Rize in Steamboat Springs and we recently opened for Jerry Douglas. Jerry was awesome and spent a lot of time talking with us. That meant a whole lot to us. We performed at a ton of great festivals this past year but playing Grey Fox [a prominent bluegrass festival] was a lifelong goal of mine. We had a blast performing at that one.” Though they don’t always show their influences, Iaquinto gave hints about what’s on the jukebox at the Fireside rehearsal afterparty. “We are big fans of Sam Bush, Bela Fleck, and the Newgrass Revival. They were an early band that saw the potential of blending bluegrass and rock and roll influences. We also have a lot of respect for Hot Rize, and believe they had a firm grasp of traditional music, while also moving the music forward. Most members of the band are also avid Grateful Dead fans, so this definitely has an effect on the band’s overall sound. We tend to let songs 16
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drift into one another during live performances, and also enjoy some extended improvisational jams, when the time is right. There are a lot of great modern string bands nowadays, but we've always looked up to the Infamous Stringdusters. They are such great musicians and songwriters, and we think they've done [a lot] to help bluegrass music reach a broader audience.” “In terms of influences people may never guess... our guitar player is a huge fan of R&B and Hip-hop, especially Prince. You can see some of this influence on stage at times. I grew up singing in church choirs and performing in school musicals, which may have indirectly influenced much of my songwriting. Our banjo player is an avid fan of jazz music. And our bass player is infatuated with music from the 80s, in particular, Toto and Level 42.” Iaquinto said the band also embraces their hometown in their style and their hearts. “Asheville is such an inspiring place to live. It has a rich history relating to folk music, early country and bluegrass music. There are bluegrass jams five nights a week and the sounds of banjos and fiddles ring around the street corners. At the same time, there are great funk, jazz, and jam-band scenes, as well as many other types of music. It's a town that embraces art and culture, and that in effect keeps us inspired. Asheville really honors the traditional and embraces the progressive. To us it's a healthy blend of lifestyles that translates into our music.” The coming months looks to be productive for Iaquinto and company, and they’re eagerly heading into Echo Mountain studio to record their third album this year, with Travis Book of the Infamous Stringdusters producing this album.
“We will be raising some money through crowdfunding in order to really take our time on this album. We hope to have the album out by mid to late summer. We have some amazing festivals lined up all over the country. We'll be playing on the West Coast for the first time at Wintergrass in Bellevue, Washington. “We are really excited for bluegrass, Americana, and the entire roots music genre, as a whole. We feel like there is a lot of great music happening out there and we are honored to be a part of it.” THE BLUEGRASS STANDARD
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HillBilly Fever brings to the stage a crowd-pleasing mix of traditional Bluegrass and gospel favorites, along with a few surprises thrown in for fun. A highlight of their shows comes when Bob and Wes cut loose with some awesome twin fiddling. If you think HillBilly Fever would add a great touch to your next festival or event, contact Mark at: hillbillyfeverband@gmail.com Everybody Needs a Shot of HillBilly Fever!
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Jeff Austin Band by Susan Marquez The only child of a single mother, Jeff Austin grew up in an environment that fostered a love of good music. His mom loved music, including classic rock that encompassed the Beatles and Bob Dylan and old country by artists such as Kris Kristofferson, Waylon Jennings and Willie Nelson. His sitter for the first decade of his life spent hours listening to records with young Jeff. “My mom worked all the time. My sitter had a realty eclectic – but amazing – taste in music. We would listen to Queen and the soundtrack of Rocky Horror Picture Show. It was a big dance party every day! My sitter actually took me to my first concert when I was eight years old.” THE BLUEGRASS STANDARD
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The concert he attended was the J. Geils Band. Jeff remembers how he was moved by the connection between the audience and the performers. “I was just drawn to it.” More concerts followed. REO Speedwagon. Motorhead. Judas Priest. The Grateful Dead. Bluegrass music didn’t play a big role in Jeff’s musical upbringing. “My first real exposure to bluegrass was hearing the Darlings and Lester Flatt and Earl Scruggs play on The Andy Griffith Show on TV.” It was when Jeff was involved as a sound guy in his high school production of Huck Finn that he heard the Nitty Gritty Dirt Band, which he really liked. Then he heard David Grisman playing on the Grateful Dead’s American Beauty album. “The sound of the mandolin caught my ear.” Jeff went to the University of Cincinnati where he studied musical theatre. He quit college after the first year and put a down payment on a mandolin. “I really wanted to play music full time. I laugh and say I left the secure world of musical theatre for the even more secure world of starting a band!” His mom supported his decision, even surprising him with secretly paying off the mandolin. Already confident playing the guitar, Jeff purchased a Mel Bay basic mandolin chord book and began learning how to play. “I’m still learning every day!” He listened to the Grateful Dead’s American Beauty album over and over, trying to emulate the mandolin on the song Ripple. In the mid-1990s, Jeff was living in Champaign, Illinois and met Dave Johnson of Yonder Mountain String Band. “I joined the band as a rhythm mandolin player, and basically got a crash-course in how to play.” He was in the band until 2014, when he felt the pull to spend more time with his family. “I got a two-for-one deal when I married my wife, because she had a child. We then had two more, so now we have a twoyear-old, a five-year-old and an 11-year-old.” The family moved from Colorado back to Jeff’s home state of Illinois. He’s now fronting The Jeff Austin Band. Going into their 20
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fourth year together, the band has had the same line-up for two years. Beginning with their first tour of the new year, a different guitarist will join the band onstage. “His name is Julian Davis, and at only 19 years old, he is insanely good.” The band tours about half of the year, playing 80 to 90 shows annually. “We love getting together, because we are scattered across the country,” says Jeff. According to Jeff’s website, www.jeffaustin. com, “When on the road, Jeff likes to carve out some time of his own to explore the local food culture. After a long day… surrounded by people… musicians, crew members, you name it… nothing is more satisfying than finding a local treasure… and sitting down to a meal. Alone. ‘Some people can’t do it. Me? I revel in the activity. Dining alone in America is one of my favorite pastimes. It allows me to connect with the experience in a whole different way… to really feel what inspires these culinary pioneers to do what they do.’” Fueled by good food, Jeff Austin hits the stage for a high energy musical experience. “My style, if you can call it that, is different, so they say,” laughs Jeff. He tends to attack the mandolin when he plays. “I lean in to the music, when most mandolin players lean back a bit. I think my technique often comes from a place of panic and fear, but there are body positions that I’m comfortable with when I play. If something’s really ripping, I have to lean back for a couple of riffs. I push towards rhythm, although I’ve never sat with a metronome or scales.
“When I go on stage, I go out with a totally free mind and just play.”
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The Old-Time Flavor of Sassafras Ever tasted the old-time flavor of sassafras tea? Well, the bluegrass outfit Sassafras is just as traditional, and maybe reminds us of the same sweetness of days gone by. Guitarist and vocalist Randy Gambill said the band’s mandolin and fiddle player and vocalist, Wes Tuttle, came up with the name. “We’re all kinda woodsy guys, outdoor guys,” Gambill said. “Sassafras trees...and it’s kind of sassy.” In addition to Gambill and Tuttle, the band — hailing from the Blue Ridge Mountains of North Carolina — also includes Billy Gee (bass and vocals) and Chris Bryant (Banjo, vocals).
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Gambill took a moment to specifically mention Bryant, saying he’s “a fine banjo player. A really fine banjo player.” In addition to performing with Arthur Smith back in the 1980s, Bryant was previously a member of Charlie Waller & the Country Gentlemen, as well as the Darin and Brooke Aldridge Band. Gambill also has an interesting background; he spent years being a part of a bluegrass community in Europe. “I lived in England for many years,” he explained. “I was in a bluegrass band with three other British guys, but I played a lot of Celtic [music].” Gambill said the bluegrass community is a little different than it is in the U.S.; it’s more concentrated. “There was a really tight subculture over there,” he said. “You knew everybody in the community...It’s not six degrees of separation, it’s usually two.” He said the Celtic sound he learned in England doesn’t show up in the music of Sassafras, because the band focuses only on traditional bluegrass, with some newgrass occasionally tossed in and a smattering of country, folk and western swing. “I’m a great New Grass Revival fan,” he explained. “I have been forever. But Chris [Bryant] is pretty much a straight Scruggs guy.” “I love it all,” he said, adding that overall Sassafras would be categorized as traditional, but “we venture off into the ozone occasionally.” Gambill said his love for guitar started when he was a kid. “I started when I was about 12 years old,” he said. An older friend had a guitar, and when he first watched him play, Gambill was hooked. “I went there one time and he was playing, and I was like, wow, that’s the coolest thing I’ve ever seen, that’s what I want to do.”
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And he’s done it. Gambill has since performed with Doc Watson, Jim Lauderdale, Doug Jernigan and Jack Lawrence. While performing in Europe, he’s shared the stage with Alison Krauss, Tim O’Brien and more. As for the other band members, fiddler Tuttle has shared the stage with Doc Watson, Josh Graves, Kenny Baker and too many names to mention. He’s also recorded with Tony Rice, Ronnie Bowman and other musicians. Gambill said he and Tuttle have been strumming and pickin’ together for many years. Gambill has also had a longstanding musical friendship with upright bass player Gee; the two have been making music together in some form or another for 20 years now. A member of the Blue Ridge Music Hall of Fame, Gee has a background that includes touring with Charlie Waller and the Country Gentlemen. He also tours with the Darin and Brooke Aldridge Band, with whom he’s appeared onstage at the Grand Ole Opry. Gambill said sometimes, different members of the band will do side-gigs together. “As Billy [Gee] said, we’re all in different bands...together,” Gambill laughed. “All of us play in different bands at different times, to keep the calendar filled up,” Gambill said, adding that he personally does 60 or 70 gigs a year, including official Sassafras dates and various configurations that include other Sassafras members. For instance, every year, Gambill plays Merlefest with Tuttle and Gee. As a trio, they call themselves The Bank Notes. They’ll be appearing again on the Merlefest stage this April. It does get a little confusing knowing where you might find one of the guys when not performing with Sassafras, but rest assured: you’ll probably find them all somewhere, soon. Gambill said he just loved the mountain music community.
“Bluegrass is a cool music, and everybody’s pretty earthy.”
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Everybody Knows It’s Wimberley The Wimberley Bluegrass Band Is More Than California Dreamin’
by Stephen Pitalo The Wimberley siblings took to music by at a very early age by listening to vintage country and bluegrass, listening to the Nitty Gritty Dirt Band repeatedly as wee ones. “The first thing that made us consider playing bluegrass was their first Will the Circle Be Unbroken album,” Michael Wimberley told us. “It's what introduced us to bluegrass by combining it with the early country artists we had been listening to. The album had lots of cool artists on it all playing great songs together and having fun — we listened to it on repeat!”
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Asking their parents for instruments for Christmas back in 2006, the four Californiaborn Wimberleys taught themselves how to play, performing their first public set only two years later. A steady diet of Bill Monroe, Flatt & Scruggs, Doyle Lawson, and Ricky Skaggs led the Wimberleys down a long road — jamming as often as possible and finding a lot of fans along the way — to where they are now: one of California’s most sought-after bluegrass acts. This clan of talents consists of Danielle Wimberley on mandolin, James Wimberley on banjo, Mark Wimberley (his twin) on guitar, and Michael Wimberley on fiddle. They all sing, with Michael usually taking the lead and the others singing that tight harmony unique to family groups. The Wimberley siblings did not initially plan to be a professional band, but after receiving much encouragement through many repeated requests to perform, they realized that there was a great demand for a young sibling band that played such a delightful genre of music as bluegrass. Then the siblings, with one mind, wholeheartedly agreed to pursue this as an ongoing business. “Being in a band of siblings comes with a few perks, namely, the blend of our vocals into tight ‘family harmony’ and the ease of communicating on stage with each other with even less than a look,” Michael explained. “Since we are so close, playing music is how we like to have fun together and this brings extra energy to our performances and is the reason we've been together as a band for so long – eleven years and going strong! Even through college and after graduating, making time for music together remained an important focus. THE BLUEGRASS STANDARD
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“We tend to be of like mind when it comes to musical tastes, and we think that this brings a cohesiveness to our musical arrangements. Additionally, the fact that we are siblings makes our band unique. It is uncommon to see bands comprised entirely and solely of siblings and that is one of the things that catches people's attention.” In 2007, The Riley Family at Los Rios Rancho in Oak Glen, California heard them play, and offered the foursome their first gig. From there it was word of mouth, and the Wimberleys started performing more and then managing themselves as a band business. Although you might recognize (barely) Danielle and James playing mandolins in a nationally-aired commercial for KFC featuring Darrell Hammond as Colonel Sanders there have been many highlights in recent years for this family band. “Last year we were featured at the NAMM 2018 show, a global music trade show convention, which saw an attendance of 115,000 people. We have also performed at various places in Northern and Southern California with award-winning guitarist Dennis Agajanian. In 2015, Warner Brothers featured our song ‘Hard Working Man’ in an episode of ABC’s nationally broadcasted sitcom The Middle, and the same year. We also performed in Chapman University's nationally televised Christmas program, playing Carol Barnett’s “The World Beloved: A Bluegrass Mass” with the University choir, and gave a musical presentation for TEDxChapmanU, part of the TEDx series.” The band also connected with one of their past influences, as Ricky Skaggs is now a Wimberley compatriot. 28
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“One of our greatest influences in our lives as a band is Ricky Skaggs. From his earliest recordings with Ralph Stanley, to his country years, to all of his current music, we are huge fans. We have gotten to know him personally through the years and he has always been very encouraging to us.” The Wimberleys keep well connected to their area of the Golden State, feeling a solid bond with the locals. “We’ve found a very supportive and encouraging family in the city of Orange, California. We’ve played around the city and county at various festivals, colleges, government prayer breakfasts, and fairs, and we find that the music is right at home in all these venues, even if it is a little more uncommon in SoCal. It allows us to introduce a lot of new people to bluegrass which is always such a fun part of playing the music!”
Michael also said 2019 is the year for expanding and accomplishing more as the band continues to travel and bring bluegrass to new audiences.
“We are currently increasing our merchandise, with addition of band t-shirts at the end of last year and recording our sixth album this year!”
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Jon Stickley Trio Not your father's Bluegrass by Shelby Campbell Berry
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Many words have been used to describe the music of Jon Stickley Trio since the band was created – bluegrass, acoustic, Americana, progressive, jamgrass, jazz, and the list goes on even to include electronic dance. The truth is this genre-defying band has a sound all its own – unlike any artist to date. Commonly referred to as a bluegrass-jazz band, this trio from Ashville, North Carolina is making waves in the acoustic music world with their innovative flatpicking and effortless beats. The experience keeps the feet of listeners tapping to the music. While rooted in the traditions of bluegrass music, Jon Stickley Trio also gets inspiration from artists like Tony Rice, David Grisman, Green Day, Nirvana, and Grateful Dead. After releasing two albums and one EP in the last few years, the trio has stormed the nation with their unique sound – playing hundreds of shows every year. “In a time when a lot of instrumental music feels more like math than art, Jon Stickley Trio reminds us of the pure joy that can be created and shared through music,” said Greensky Bluegrass’ Anders Beck. Jon Stickley has played music since his pop showed Jon his first chords at twelve years old, but his love for bluegrass and newgrass music didn’t truly start until high school when he was given a mandolin to play alongside multiple bands. Jon participated in various bands throughout the years, including Colorado’s legendary Broke Mountain, while he learned to blend different musical elements – which led to the creation of Jon Stickley Trio. Presenting his original music and rapidfire flatpicking alongside Lyndsay Pruett on violin and Hunter Deacon on drums, this trio proves to be a force of nature in acoustic music. A resourceful guitarist with impeccable timing, Lyndsay Pruett plays multiple genres of music — bluegrass and swing to classical, Latin, country and hip hop — making her the perfect fit for Jon Stickley Trio. As a brand-new member of the band, drummer Hunter Deacon is an amazing asset with his genre-defying sound. Trained classically with a heavy jazz influence, he trained under drummer Keith Brown before completing a residency playing jazz in Hangzhou, China. Since his return, he has played with multiple bands before finding his home with Jon Stickley Trio. Riding the wave of their critically acclaimed album Lost at Last, the trio independently released their third and most recent album Maybe Believe in 2017. An evolved album with lots of live energy, this album is the trio’s best work to date. I got a chance to chat with the band’s namesake himself, Jon Stickley, to talk about the band’s history-making music and what makes them an asset in the acoustic music world. THE BLUEGRASS STANDARD
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The Bluegrass Standard: What inspires and influences your unique blended-genre sound, and your love for music? Jon Stickley: Love of high energy music is what guides our band’s cross-genre style. Energy is what has drawn me to different styles of music, and our band incorporates a lot of those high-energy influences. Bluegrass, Gypsy Jazz, Punk, Dance, Ska, Metal and Classical are all high energy styles of music, and you might could say you hear a little of all of that in what we do. TBS: As a nontraditional artist who typically gets labeled as bluegrass music, how do you approach listeners who enjoy your music but aren’t lovers of traditional bluegrass? JS: We approach all listeners the same. We just try to play our music the best we can, and since it’s kind of all over the place, there’s something for everyone.
TBS: What drives you to continue your unique journey as artists? Especially as your sound classifies you as different from other artists in similar genres of music. JS: Well, we’ve gotten a pretty good response, and that means a lot to me because it’s very different music. I love traditional bluegrass, but there are so many bands that do it so well, we just decided to do what we’re best at.
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TBS: What part of your personal life drives you to tell stories through your music? JS: My music is 100% inspired by my life. Our music doesn’t have words but I still find it very emotional to play because each piece is tied to so many memories at this point. Music is my outlet for a lot of my emotions that I tend to bottle up in everyday life.
TBS: What have been your accomplishments throughout your career in the music industry? JS: Most of our greatest accomplishments come in the form of gigs. We’re about to go on Jam Cruise which has always been a huge goal of ours. We’ve played The Kennedy Center and so many top festivals. Another huge honor was being featured in The New York Times after our release of Lost at Last.
TBS: What does family mean to you, and how to do you juggle family and a career? JS: Family is very important to me. I love my wife and my dogs, and it’s hard to leave them and go on the road. The upside is that when I’m home, I can settle in and do that full time. I like working in my music room, cooking, and hanging out watching tv.
TBS: Lastly, what’s next for you guys as a band? What can we expect? JS: We’ve got plans to record an album this year and are working on some really exciting material. We’re headed out on the famous Jam Cruise, and have a full tour schedule for 2019. We’re looking forward to playing some great new festivals and some of our old favorites as well. Come check us out! It’ll be fun!
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Out in the country in Western Pennsylvania,
about an hour west of Pittsburg on the Ohio border is an old barn built in the 1890s. Fading paint on the side spells out Echo Valley Farm. “It was there when my parents bought the farm,” says Lizzy Anderson. “We didn’t know that someday that name would come to define us.” Echo Valley was the name of the farm and the community where the Anderson family lives. The working farm has 25-head of beef cattle, as well as miniature donkeys, chickens, turkeys and puppies. “We all pitch in to help on the farm,” says Lizzy. The family has played together since 2009, traveling primarily to festivals in the western part of Pennsylvania, including the Three Rivers Arts Festival, the Saint Joseph’s House of Hospitality Charity Bluegrass Concert, Coleman Station and other local festivals. “We usually play two to three shows a week, sometimes up to five shows a week,” says Anderson. With six girls and one boy, the chances of sibling rivalry are great, but in the end, 36
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it’s the sibling harmonies that people remember. “We all argue and fight, that’s just natural with siblings,” says Lizzy. “But we make it work. At the end of the day, people come to our shows to hear us perform, and we always want to leave knowing we did our best.” While the parents of the Anderson clan can play instruments, it wasn’t a big part of their lives. “My dad plays guitar and my mom plays piano, and we grew up hearing bluegrass because that’s what they liked,” says Lizzy. “We had some friends who played bluegrass and Southern Gospel, and that influenced us as well. I started taking piano lessons at age eight and Emily began taking violin lessons. That’s where our bluegrass roots began.” Lizzy recalls that on the first Saturday of each month, the group did a hymn at church. “We sang Nothing but the Blood for a full year. It got embarrassing, because that’s the only song we knew. We decided we had to learn some more songs!” Sister Isabell took up mandolin and violin, Olivia started playing the fiddle (and has taken up banjo in the last six months), Emmaline is on bass and Annamae plays mandolin and sings, while David (the youngest of the siblings and the only boy in the group) is a vocalist who is also picking up the banjo. “I remember when Emmaline started playing the bass five years ago, she had to stand on a milk crate to play!” Playing came naturally to the Andersons. “We didn’t do sports, we did music, and it works for us.” The group began putting music videos online and they wanted to optimize their chances of being “found” online. “To do that we needed a name that would work,” Lizzy says. Remembering the name painted on the side of the barn, the group decided Echo Valley would be a good name for their band. The name, Echo Valley, combined with their strong stage presence, musicality and tight harmonies has made the multi-instrument talents a force to be reckoned with in the bluegrass world. Their self-titled debut album was released in April 2016 and their second album, Rise and Shine, was released in January 2018. The band performed at Dollywood for the Barbeque and Bluegrass Festival in May 2018, which Lizzy describes as a “dream come true.” The band played nine shows in three days at Dollywood. “We met so many people.” THE BLUEGRASS STANDARD
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Echo Valley is a family affair. “We travel in a 15-passenger van with a trailer, driven by my father, who is also our business advisor working on marketing and general strategies,” explains Lizzy. “Our mom provides moral support and does all our meal planning.” While the group hasn’t recorded any original tunes yet, Lizzy says the girls are all writing a little. “It’s a process.” They enjoy making music videos, most of which are made on their farm. On their new Christmas EP, the Anderson channel another famous sister act, the Andrews Sisters, in their version of Jingle Bells. “We especially loved making that video, which features a crateful of puppies!”
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Lincoln Hensley Young Artist with an Old Soul by Shelby Campbell Berry Like many young bluegrass artists, Lincoln Hensley, a Flag Pond, Tennessee native, was drawn to the sound of traditional bluegrass music by listening to artists like Flatt and Scruggs on old cassette tapes belonging to Hensley’s uncle. Hensley’s first recollection of truly connecting with bluegrass music was when he picked up the banjo for the first time after hearing Earl Scruggs play the instrument. “The first bluegrass album I ever had was Flatt and Scruggs: The Complete Mercury Recordings. The stuff Earl did on there was absolute gold. His right hand is what always drew me to the banjo. His note separation is perfectly spaced. Always very solid and tasteful, he played exactly what needed to be played and nothing more,” said Hensley, who primarily plays the banjo but also plays the guitar and pedal steel. Hensley began taking music lessons at a local music store after picking up the banjo. Following multiple lessons with different teachers, he found the man who became
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his banjo mentor – Edison Wallin. Helping Hensley to create and perfect his style of music, Wallin encouraged and taught Hensley along the way. Once Hensley started high school, he joined the Unicoi County High School Bluegrass Band, becoming the first banjo player. With great leadership and opportunity, this band prepared Hensley for playing larger crowds with other artists. “I was fortunate that early on I had friends [who] were my age that were also starting to play bluegrass,” said Hensley. “We all learned and progressed together. Having friends your age [who] also play music helps a lot. It keeps you inspired and wanting to play. I was really enjoying playing music with that group of kids, and when graduation began closing in, I realized that this is what I wanted to do for the rest of my life.” After graduation, Hensley enrolled in East Tennessee State University, studying in the Bluegrass, Old Time, and Country Music program. His excessive talent and drive led Hensley to some incredible opportunities in the last few years as well. While studying music with Edison Wallin, Hensley first began listening to the music of the incredibly talented Osborne Brothers. Over time, Hensley gravitated toward the Osbornes’ style of bluegrass music, eventually leading to Hensley contacting Grand Ole Opry and Bluegrass Hall of Fame member Sonny Osborne. Soon, their studentteacher relationship grew into friendship and ultimately to a Grand Ole Opry debut 40
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for Hensley. Offered the chance of a lifetime to play with the Osborne brothers on the historic stage in April 2018, Hensley got to meet his goal of playing the Opry before his 20th birthday – only weeks before the date. “I can’t say enough about how blessed I am to have gotten to play the Opry,” said Hensley. “Bobby and Sonny are truly legends of this music. They have been everywhere and done it all. It was definitely a dream come true to get to stand beside them and share the stage with them at such a historic venue. The Opry is sacred to anyone who plays bluegrass or country music, and everyone wants to play there at least once in their career. To get to do that so early in mine is something I never thought I would do.” Since performing on the Opry, Hensley has joined David Peterson and 1946 playing banjo with him at his personal appearances. As a traditional, classic bluegrass band, they are compelling to listen to. Hensley is grateful for the opportunity to play a small part in their success. “Really, David Peterson and 1946 are one of the few bands on the bluegrass circuit today that I really feel like I could fit in with. David likes to play the old style of bluegrass music – hard driving, lonesome, powerful, spontaneous, raw, and real.”
In addition to joining the band, Hensley is also in the beginning stages of recording a banjo album as well. With countless recognitions, an Opry appearance, new bands, and exciting records, we are in for a lifelong career from this budding artist.
In 2016, attracting the attention of Recording King Banjos, the company created Hensley multiple custom, one-of-a-kind banjos to play, including a gold-plated one. “The main thing that drew me to Recording King was the quality and the attention to detail. They make their banjos in the same design as the old pre-war Gibson Mastertone banjos, but you can get one for around $1,000 as opposed to the $100,000 for the pre-war flathead banjo. “They’re a great company to work with, and their banjos cannot be topped for the price in my opinion,” said Hensley. THE BLUEGRASS STANDARD
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Renowned banjo player Tony Trischka is still going strong by Kara Martinez Bachman It would be impossible to list all the accomplishments and experiences of Tony Trischka, one of the most notable banjo players in the world. His journey has taken him from touring places such as Japan to working on Broadway. It’s cast him in a feature film (“Foxfire”) and allowed him to create music for the off-Broadway rendition of Driving Miss Daisy, starring Jessica Tandy and Morgan Freeman. He’s appeared on NPR radio programs and broadcast television shows, released myriad recordings, and produced records such as Steve Martin’s Grammy-nominated “Rare Bird Alert,” featuring Paul McCartney, The Dixie Chicks, and the Steep Canyon Rangers.
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FESTIVAL GUIDE Incredibly, that impressive list is just the tip of a huge iceberg. This list will grow some more when later this year, a unique project is released. Trischka has literally been working on it off and on for 10 years. The recording, This Favored Land, is a concept album that tells the story of the Civil War.
“but I’ve always had some fascination with it.”
“I’m not like a Civil War buff,” Trischka explained,
He said the evolving project started a decade ago when he wrote the first song that lit the fuse. It was a tune about a riverboat gambler. He said he “used the music of a Jimmie Rodgers blue yodel” and then wrote some lyrics for it. The record will be truly lyric-driven and include a series of stories and influences from the mid-19th century, for instance, an account of the Great Train Robbery. Trischka will also tie in the experiences of those who suffered most before and during the war that divided an entire nation. “Friends took me in Asheville, North Carolina to this slave graveyard that dated to the 1850s, and it was so powerful,” he said. Music inspired by that visit will appear on “This Favored Land,” which he calls “a thematic story.” It will also include spoken word contributions by well-known actors John Lithgow and Keith Carradine. “I’m hoping to turn it into a theatrical project,” Trischka explained, adding that even if it turns out to not be the stuff of Broadway, he’s looking for a venue where it would work well. 44
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“I’m talking to some people,” is all he’d reveal about plans to create a “This Favored Land” stage show. Trischka said he fell in love with the banjo after hearing a 1963 Kingston Trio folk song, “Charlie and the MTA,” which included a killer solo by Dave Guard. He remembers saying to himself afterwards: “Oh my God, I’ve got to play the banjo.” He was given a banjo as a Christmas gift at age 13 and has been gigging since age 14. He’d taken lessons from a guy who lived two blocks away from him in Syracuse, New York, who had a bluegrass band. It didn’t take much to set him on the road to being a truly respected roots musician. Sometimes recognized for his unique swaying from the traditional “rules,” Trischka said he was already fooling around with original sounds when he was just a teen. That’s nothing new, he urges. It’s just not new. He insists bluegrass has always been
about mixing it up.
“Earl Scruggs,” he explains, “the very first solo he took on was with Bill Monroe in 1946 or ‘47.” Trischka said that solo was influenced by boogie-woogie Scruggs had heard when he was a kid. “Earl Scruggs was taking chances, and stretching the vocabulary, and no one was doing anything like that,” Trischka continued. “From the very beginning, there were these jazz influences in the music.” “Earl Scruggs is still my hero,” he added. Trischka picks out the traditional stuff, of course, but insists he doesn’t identify himself as a “bluegrass musician,” and doesn’t want others to see him that way, either. He also plays jazz. Folk. Classical. “I do all of it to varying degrees,” he said. He sees himself as having THE BLUEGRASS STANDARD
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a much wider reach and a more expansive breadth of experience in genres that stretch beyond the confines of mountain music. He said he simply views himself as “a banjo player.” “I also have a fascination with the history of the instrument,” he said, explaining how an early version of the banjo was played by enslaved Africans who made their instruments from gourds. He won’t be visiting the part of Africa where gourds were plucked and strummed, but in February he’ll visit the continent for the first time for a South African Banjo Safari, where he’ll give lessons and perform with musicians from the region. In addition to writing and performing, Trischka also teaches. His online lessons provided through ArtistWorks includes 250 pre-filmed lessons and interviews with notable people. He also evaluates student-sent videos and gives comment to his students on how to improve technique and performance style. Information on the Tony Trischka School of Banjo may be found at Artistworks.com. Trischka talks as if his banjo is his life. Based on what he’s accomplished, the decades and decades of playing have resulted in what appears to be a pretty wonderful life. He said there’s a sense in which he didn’t choose his instrument, but it kinda flowed in the other direction.
“The banjo chose me,” Trischka said. 46
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Town Mountain by Susan Marquez As with any band, it takes a while for a group to find their voice. That is true for Town Mountain, a band that formed in Asheville, North Carolina in 2006. “It took a couple of years for us to really gel,” says Jesse Langlais, the banjo player and a vocalist for the band. “By 2008 the band began getting more attention.” The three original members of the band are Langlais, Robert Greer on guitar and Phil Barker on mandolin. “The fiddle and bass positions have rotated, but we’ve had Bobby Britt on fiddle for a year and a half now, and Zach Smith on bass, and both are strong for us.” All the members of the band are based in Asheville except Britt, who lives in Boston. “He went to college there and stayed,” says Langlais. The music of Town Mountain can be described as alive and vibrant. They push the limits and their new album, New Freedom Blues, reflects the band’s eclectic influences, from traditional bluegrass to roots pop to hardscrabble honky-tonk. Each of the band members writes, and their new album is filled with original music, written or co-written by members of the band. “We don’t play much traditional bluegrass music,” explains Langlais. “I love all the traditional bluegrass tunes, but people have heard them over and over again. We want to give our fans something THE BLUEGRASS STANDARD
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new. Only eight songs on the six LPs we’ve recorded have someone else’s songs on them.” Langlais, a native of Maine, says that like many of the band members, he didn’t get into bluegrass until he was 18 or 19 years old. “I was a big Jerry Garcia fan and listened to The Grateful Dead. Like many bluegrass fans, I was mesmerized by David Grisman’s playing on the Dead’s American Beauty album.” Langlais says that it wasn’t too long ago when rock guys like Jerry Garcia were hanging with bluegrass guys, so that influence was a strong one. “Many of the rock guys were bluegrass guys first, so there was crossover from bluegrass into rock.” Town Mountain’s sixth album, New Freedom Blues, was recorded in Echo Mountain studios in Asheville. “We recorded a couple of cuts for an EP there awhile back. We built a good rapport with the folks there, and we decided then that we wanted to record our next album there. Echo Mountain is truly a spectacular facility, one of the best recording studios in the nation. And it’s right in our own backyard. It was so nice to be able to go home at night and sleep in our own beds. We have experienced roughing it, putting several people in one room to sleep. Recording at Echo Mountain made everyone more in tuned to the session. And that was a good thing, because without a label backing us, the budget was always in the forefront. We were under the gun to record 11 cuts in a set period of time.” To help make the recording sessions be more efficient, Town Mountain sought the services of veteran producer Caleb Klauder. “We really respect his musicality and demeanor. He took this project very seriously, and added good input in terms of arrangements. Our music in the past has been more road-tested and set, but for this album, Caleb made some great suggestions that made it even better. About half the songs on the album were new to us, so having him there was ideal.”
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Also on the album is drummer Miles Miller. “We don’t have a drummer in our band, so we brought Miles in for a couple of songs. He was so good, and it made such a big difference, that we had him stay and he played on nine of the 11 tunes.” The album was released in late October 2018, and the band will take the new songs on the road with their upcoming tour. The band tours year-round. “We played 115 to 120 dates last year,” says Langlais. “We have a new Ford Transit that we travel in and we’re ready to launch this year’s tour.” The downtime will be just a precious time for Langlais this year, as he is the first of the band members to father a child.
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Fiddler’s Porch
Ruta Beggars by Emerald Butler I cannot tell you how many posts filled my Facebook feed this past January 11th with snapshots, testimonials, and utter excitement for the Earl Scruggs feature on Google. It is always exciting for me to see Bluegrass and those who have pioneered the genre to be brought into the mass media of my generation. I am also pleased to see the growth of interest in Bluegrass in our educational institutions. As a recent college graduate from Tennessee, I was mainly aware of the Bluegrass, Old Time, and Country Music studies at East Tennessee State University. However, within the past year, I have heard more of the roots music program at Berkley School of Music. Then I was introduced to a Bluegrass band from Berkley who call themselves The Ruta Beggars, and I think they are a great example of this generation’s Bluegrass exposure. It all started in the class room. The band members hale from Ohio, Nebraska, Connecticut and Philadelphia, but they still continue to stay connected inside and outside of school. Not only did Berkley bring them together, but it also introduced some of them to a new experience of Bluegrass. Unlike Micah Nicol (guitar), Trevin Nelson (banjo), and Sofia Chiarandini (fiddle), who grew up playing at bluegrass festivals, Ariel Wyner (mandolin) was a classically trained opera singer who was not familiar with Bluegrass and who had never picked up a mandolin before Berkley. “I thought that they thought they were better than me,” mandolin player and former opera singer Ariel confessed. As I listened during a 5-way video chat on Facebook, I was amused to hear the first impressions from each of the band members. The boys in the band had met in a school ensemble class where they performed under the name Trevin’s Wet Noodle Band. The band members laughed at their first memories, but they shared that they THE BLUEGRASS STANDARD
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hit it off really fast despite the first impressions. “I kind of met them all separately while they were all in that class together,” Sofia added. After seeing the boys perform, both Sofia and her parents determined that Sofia should play with them. “I could just tell; they had so much potential with their chemistry on stage,” Sofia shared. The next semester the group made it happen. In another ensemble class instructed by Dave Hollender, The Ruta Beggars was formed. “I guess I technically came up with the name,” Sofia confessed. “I was trying to think of something that was kind of eclectic like roots music.” The group said that bluegrass is their main genre, but they like to throw in a few other sub genres of roots music into the mix like old time, and swing. While trying to come up with a pun for roots, Sofia started naming vegetables. She had never heard of a rutabaga before Trevin had mentioned it, and “Ruta Beggars” popped out of her mouth. Though the members and the name may have seemed like a perfect fit, there were still challenges for the band to overcome. Some of these challenges were deconstructing the common stereotypes of the Bluegrass genre. “I just knew it as hillbilly music… or I thought of the Punch Brothers” Ariel shared about his first impression of Bluegrass. The group shared that they see Berkley as a school that provides constructive criticism and instruction to its students. Each member of the band shared some of their reasons for attending Berkley saying they attend because they see the 52
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school as one of the best music schools in the country. This fact shows in their vocal harmonies and instrumental technique. Each member brings their own unique talents to the table. From Ariel’s opera singing to Micah’s professional experience as a magician and clown, the group adds great entertainment to great music. The Ruta Beggars are still continuing their college career, but they plan to keep on performing and creating content after they graduate. They just released an original swinging single titled, “The Trains Don’t Run No More,” which was inspired by a temporary shutdown of their local transportation system. Currently they are discussing an upcoming tour, and they plan to record more music. Until then, the band seems to be very content, happy, and thankful for the musical community they are getting to be a part of.
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Braeden Paul by Emerald Butler From an early age, Braeden Paul was exposed to Bluegrass music. First introduced to the sounds of Doyle Lawson and Bill Monroe through Braeden’s father and grandfather, Braeden remembers his dad driving him to preschool while listening to The Johnson Mountain Boys in the car. “I listened to them every day,” Braeden laughed. At age 15, Braeden began playing the mandolin. He gained more experience by playing in bands like Blackland Grass and Blue Valley Tradition. Not long after he graduated high school, Braeden played with Philip Ferguson and Texas True. He performed with them throughout the southwest. With this band, Braeden, then a 19-year-old, stepped into the studio for the first time. The project that they recorded was Old Danville Road, produced by Grammy Award winner Brad Davis. “I was real excited and real nervous, but Brad is such a wonderful producer and wonderful guy. He really put my mind at ease,” Braeden shared. After Philip Ferguson decided to retire from playing music, Braeden decided to start his own band. However, that wasn’t the only thing that motivated the mandolin player. Braeden remembers back to 2016 when two of his heroes passed, Ralph Stanley and Melvin Goins. “I got to thinking about (how) there are really good traditional Bluegrass bands, but there’s not really anything like that here in Texas.” Braeden decided that he could do it. “I really wanted to honor these guys and write my own original material in that style.” So, Braeden rounded up several musicians from his hometown in Plano, Texas, including his dad, and created Braeden Paul & Wheel Hoss. 54
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Alongside performing with and managing his own band, Braeden also works as a booking agent for The Karl Shiflett & Big Country Show. Braeden earned a certificate in Music Business at Collins Community College in Plano, Texas. Eventually Karl Shiflett heard about this and decided to give Braeden a call. “He had said that he was looking for a booking agent for some time, but he hadn’t been able to find one, and (he) asked if I’d be interested,” Braeden shared. “I said absolutely.” This February marks two years that Braeden has worked with Karl Shiflett. “I wanted to have a hand in the national scene, but in a way where I didn’t have to travel as much,” Braeden stated. At age two, Braeden Paul was diagnosed with cerebral palsy, which made traveling more difficult for Braeden. But it hasn’t stopped him from doing what he loves most. “It hasn’t always been easy, and I still have days where if I think about what I deal with; sometimes it’s hard. But part of my attitude has been if I really want to do something I’ll go after it,” said Braeden. Robby Paul, Braeden’s dad, always kept instruments around the house, and Braeden would try to play them, but he couldn’t always get his hands to cooperate. Braeden expressed that his family never thought he’d be able to seriously play music. However, Braeden picked up a mandolin at a pawn shop and decided that even if he might not get good at playing, he would still have a little bit of fun. A year later, Braeden underwent surgery to help loosen up some of the tight muscles in his body. “After that, I felt that’s when I really started getting good at the mandolin.”
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Unfortunately, Braeden shared that most people have preconceived notions when they find out about his disability. “They think you’re not very capable of doing stuff,” Braeden said, “I feel like I’ve had to go above and beyond to show people that it’s the exact opposite. That’s one thing I love about what I do. When I talk to promoters I’m just talking about business and they have no clue that they’re dealing with someone who has a physical disability.” While he’s still booking and playing shows, Braeden is working on a new EP that honors the music of the Goins and Bailes Brothers. He plans to release it in February or March. There is also a recording project for Wheel Hoss in the works. Braeden said that they plan to just keep doing what they do. “If I had to say anything (to sum it up), you can do whatever you want to do. You may have to work really hard at it like I have. But I like to think that as long as you have the attitude and set your mind to it, you can do whatever you want to do.”
For more on Braeden Paul, visit his website: https://braedenpaul.com
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Lineup Announced for 2019 Leon Kiser Memorial Tribute Show Lawson, Ford, Necessary to be Honored; Proceeds to Benefit Music Education (Blountville, Tenn.) – Three individuals who have contributed to East Tennessee’s rich musical heritage will be honored at the 23rd annual Leon Kiser Memorial Tribute Show at Northeast State Community College on Saturday, February 23. Multi-award-winning bluegrass artist Doyle Lawson will be the guest of honor and is expected to perform. Lawson has performed professionally since the age of 18, beginning with Jimmy Martin and the Sunny Mountain Boys, J.D. Crowe and the Kentucky Mountain Boys, and The Country Gentlemen. Since founding the band Doyle Lawson & Quicksilver in 1979, he has released more than 40 albums and won numerous awards, including International Bluegrass Music Association (IBMA) Vocal Group of the Year eight times. He credits East Tennessee’s musical culture with influencing him as an artist. “The music I play is a direct offshoot of my upbringing, in the fact that the a cappella gospel came from my dad and the quartet he sang with for many years, as well as a host of other area quartets,” Lawson said. “I vividly remember WCYB Radio’s ‘Farm and Fun Time’ show and artists such as Curly King, The Stanley Brothers and Mac Wiseman, just to name a few. And there was Bonnie Lou and Buster on TV in Johnson City. I could go on and on.” Meanwhile, country music legend and TV star Tennessee Ernie Ford, who died in 1991, will be honored posthumously, ten days after what would be his 100th birthday. The Bristol native released dozens of albums, spawning many hit singles including “Mule Train,” “The Shotgun Boogie” and “Sixteen Tons.” Ford’s son, Buck, is expected to accept the Leon Kiser Award in his father’s memory. THE BLUEGRASS STANDARD
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by Susan Marquez When two musical forces collide, magic often happens. Such is the case with Kathryn Casternovia and Jef Ramsey. Jef had long been a professional musician when he met Kathryn in 2011. “I was her teacher, and I told her that if she wanted to play in a band, the best place to start is with bluegrass. There’s a ‘team aspect’ to the music which is specific to bluegrass. In Bill Monroe’s band, most of the musicians took their turn playing improvisations off the melody.” The two made great music together and formed Blades of Grass. “We began performing publicly in 2014,” said Jef, who plays mandolin. Kathryn plays guitar and both provide vocals – as a matter of fact, they are known for their beautiful vocal harmonies. The blend of their voices is the focal point of their sound. “To paraphrase Bill Monroe, ‘first learn Bluegrass the way it’s supposed to be, then make it your own,’” says Jef. While bluegrass is a solid foundation for the duo, they have branched out into different genres with the acoustic bluegrass instruments, including Texas swing, vintage country, gypsy jazz, swing era jazz, and even Cajun, Tejano, dance music, as well as many of their own compositions. On the day we talked, the couple was on the beach in Ventura, practicing a Charlie Parker tune. The couple makes their home in Ashland, Oregon. “Ashland is a beautiful place,” said Jef. “It’s in the mountains and it’s a great place for musicians.” THE BLUEGRASS STANDARD
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Jef spent 33 years in the Puget Sound. While there, he was the front man and had a swing jazz band for 20 years. He was the lead singer, mandolinist and rhythm guitarist since 1987. “We played 40s-type jazz and bluegrass at dances and festivals mostly in the Washington state circuit.” His bands performed in many Bluegrass festivals, including 12 times at Wintergrass Music Festival in Belleview, Washington. Wintergrass is presented by a non-profit organization called Acoustic Sound, a group committed to preserving and promoting traditional acoustic American music through presentation and education, with special attention to the bluegrass community. One of the bands Jef played with had a national endowment for Bohemian music. Highly influenced by the music of Bill Monroe, Jef also used to teach at the British Columbia Bluegrass Workshop. “I enjoy teaching,” he says. Kathryn studied classical piano for nine years, from childhood into young adulthood. “I also played folk music on guitar. I grew up in the Ozarks and I remember hearing classic bluegrass songs like I’ll Fly Away at funerals and such. It still gives me chills to hear those songs.” Jef says that Kathryn is a very focused musician. “She really digs deep. She’s got the right kind of attitude for learning. She’s not daunted by anything new.” Jef and Kathryn have performed around the country, including St. Louis, Austin, Idaho, California, and extensively in Washington and Oregon. While they love touring, Jef says Blades of Grass stays busy playing mostly around the Rogue River Valley of Oregon. They play regularly at area wineries, festivals and artisan festivals, as well as in pubs, restaurants, coffee shops and other venues. 60
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They are also popular entertainers at weddings, parties, and private corporate events. Blades of Grass is typically a duo, however, from time to time, the group grows from a duo to multiple musicians. “We have a pretty regular bass player who joins us, as well as a couple of fiddle players and Dobro players,” says Kathryn. “We will often perform as a three- piece up to a five-piece band.” When they’re not playing music, Jef and Kathryn are professional gardeners. They both design and implement gardens around the southern Oregon area. Kathryn also paints in oils, pastels and water colors and teaches art and music. Her work can be seen on her Elemental Designs page on Facebook. She is also a trained graphic artist, and the online look of the group reflects her talents. She even produced a fiveminute promotional video for the group that can be seen on their Facebook page.
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Deeper Shade of Blue is “Steam”ing up the charts By Kara Martinez Bachman Deeper Shade of Blue is happy to bring listeners deep down into bluegrass joy, with its stirring harmonies and adept picking and strumming. Hailing from just south of Charlotte, North Carolina, this outfit with a 17-year run of hitting festivals and other events is having a recent surge of success with its newest album released this past spring, “Steam”. The band has put out other recordings over the years, but according to guitarist and vocalist Troy Pope, this time is a little different. The current album is making bigger waves, and right now, the band is riding high on that deep blue crest of success. “We have about six other projects out, but the latest, ‘Steam,’ has done the best for us,” he said.
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The single by the same name, which was co-written in conjunction with notable songwriter Mark “Brink” Brinkman, has been climbing the charts. According to a press release from the band’s label, Mountain Fever Records, “Steam” is “about that feeling when you just don’t have what it takes to see something through. Or as they put it in the lyric, ‘Had enough steam to blow the whistle, but not enough to pull the train.’” Pope said the tune “Steal Away and Pray” — the 10th cut on the 12-song release — is also doing well and is appearing on the gospel charts. “Being on Sirius Radio really helps,” he explained, “and also having our fans call in [to radio stations] and request it.” He said the band is booked heavily in 2019. Deeper Shade of Blue usually gigs at 50 to 70 events a year — primarily festivals in states including North Carolina, Ohio, Florida, Georgia and Tennessee — and 2019 is expected to be particularly active. The band’s not going to sit back and relax, though — they’re soon to be off on their next sonic adventure. “As soon as we get 12 songs together that we like, we’ll hit the studio again with Mountain Fever Records and get another one out, maybe late next year,” Pope said. That will involve a bit of new songwriting, because as he explained, “we try to always have at least half a CD with original material.” The band consists of Pope on guitar and vocals; Jim Fraley (banjo and vocals); Jason Fraley (mandolin and vocals); Frank Poindexter (dobro); and Scott Burgess (bass). The lineup has been quite consistent, especially for the world of bluegrass, where many groups often have a revolving door of musicians who come and go every few years. “We’ve had just two changes over the years,” Pope said. “Me and Jason and Jimmy have been together 17 years... Frank [came onboard] 10 years ago.” THE BLUEGRASS STANDARD
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The guitar seems to have been a natural fit for Pope, who started strumming when he was about 12 years old. He liked the sounds of bluegrass, and clearly, it has all embedded itself deep in his heart. When he remembers back to the early days with his guitar, Pope tells a simple story of how his first teachers were musicians that readers of “The Bluegrass Standard” have come across before on these very pages. “Doyle Lawson and Larry Sparks and all them were around back then,” Pope said, “and I had them on cassette tapes. I’d put the tapes on and find out what key they’re singing in and put the [guitar] capo on.” Lawson and Sparks must have been, wholly unbeknownst to them, excellent teachers; within three years of plucking his first string, Pope was standing in front of festival audiences. He said it was such an encouraging thrill to be able to play in the same fest lineup as some of his favorites. “We’re fortunate we’ve been able to play right behind, or right before, some of our heroes,” he added. Pope had a few last words to share, delivered on behalf of Deeper Shade of Blue and sent out directly to the band’s fans.
“We love them all,” he said, “and appreciate all they've helped us accomplish in the last 17 years.”
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In Memoriam: Les Sears By Susan Marquez
On January 15, on the stage at the Agri-Civic Center in Okeechobee, Florida, Les Sears was doing what he loved the most. Immersed in bluegrass music at the Yeehaw Music Festival, Sears passed away, unexpectedly and suddenly. On that day, a bright light was forever dimmed. Sears had an uncanny ability to remember detailed information about bands, which helped him become a great emcee and radio host. As a broadcaster, Sears’ voice was heard on Sunday evenings on internet radio show The Bluegrass Jamboree. A true bluegrass historian with an extensive record collection, he had a laid-back style that put all his guests at ease. Sears enjoyed doing voice characterizations of famous radio hosts, including Carlton Haney and Wolfman Jack. A farewell show in his honor was broadcast on January 27. 66
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Born into a musical family, Les was actually named after the great Lester Flatt. He hailed from Rich Creek, Virginia, and for the past few years has spent winters in Florida. His death follows that of his beloved wife, Gladys, who passed away in 2017. Sears was a retired Postmaster with the United States Postal Service. He was a Mason, and an avid ham radio (internal extra class amateur) operator with a call sign of K4HYE. The Rich Creek, Virginia native was a conservative and a Christian who loved everything to do with traditional bluegrass music. Sears was a great picker, and loved to pick in sessions at the SPBGMA and IBMA, often leaving with worn out fingers. He wanted to take advantage of every moment he had to play. A member of the Keepin’ Time Band in southwest Virginia, Sears was mostly guitarist and vocalist in the band, but he also enjoyed playing bass, piano and the accordion. “From the top of his head to the tips of his toes, Les Sears was a TRUE Bluegrass fan,” said CJ Lewandowski of the Po Ramblin’ Boys. “He supported every aspect of the music, living it every day right up until the end. My lasting impression of Les is his kindness towards everyone. His smile was contagious and his passion for the music poured out of him. “He never knew a stranger and that’s something we should all take into account. Be kind to others, no matter what, for Les. I hate to say goodbye to a special friend, but it also makes me realize how special all of our friends in Bluegrass Music are. Legacies are what hold up the foundation of Bluegrass Music and Les was a strong pillar in the Bluegrass Temple.”
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February Festivals & Events Dates
Event
Location
Feb 1-3
SPBGMA National Convention & Awards
Nashville, Tennessee
Feb 4-8
Caribbean Classic Country & Bluegrass Cruise
Cape Canaveral, Florida
Feb 14-16
Palatka Bluegrass Festival
Palatka, Florida
Feb 15-17
Joe Val Bluegrass Festival
Framingham, Massachusetts
Feb 15-17
Midwinter Bluegrass Festival
Denver, CO
Feb 18-22
Danny Stewart's California Bluegrass Cruise
Long Beach, California
Feb 18-24
Florida Bluegrass Classic
Brooksville, Florida
Feb 21-24
Wintergrass Music Festival
Bellevue, Washington
Feb 22-23
KBA Winter Bluegrass Festival
Witchita, Kansas
Feb 22-24
Bluegrass First Class 2019
Asheville, North Carolina
Feb 22-24
Winter WonderGrass Colorado
Steamboat Springs, Colorado
Feb 28 - Mar 2
Cabin Fever Pickin' Party
Virginia Beach, Virginia
Feb 28 - Mar 3
Shorty's Strickly Bluegrass Festival
East Peoria, Illinois
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March Festivals & Events Dates
Event
Location
Mar 1-3
Bluegrass on the Beach
Lake Havasu City, Arizona
Mar 1-3
Winter Bluegrass Weekend
Plymouth, Minnesota
Mar 7-9
Mountain View Bluegrass Festival
Mountain View, Arkansas
Mar 8-9
Des Moines Area Bluegrass Festival
Johnston, Iowa
Mar 14-17
Withlacoochee River Bluegrass Festival
Dunnellon, Florida
Mar 15-17
Marana Bluegrass Festival
Marana, Arizona
Mar 20-24
Sertoma Spring Bluegrass Festival
Brooksville, Florida
Mar 22-23
Bristol Bluegrass Spring Fest
Bristol, Virginia
Mar 29-31
Cabin Fever Festival
Duluth, Minnesota
Mar 29-31
WinterWonderGrass
Squaw Valley, California
For the complete list with links to full info, check out our Events tab at TheBluegrassStandard.com!
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Suits, Boots & Bluegrass
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Suits, Boots & Bluegrass
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from the Publisher's desk
A great big “Thank You” to all of you who made our Women in Bluegrass one of the best issues since our inception! We have a special year planned, so keep on the lookout for The Bluegrass Standard in your area and participating in your local festival. Don’t forget to grab a copy of the 2018 Collector’s Edition, it’s only $19.95! Keith Barnacastle — Publisher
Turnberry Records & Management • Booking 2019–2020 •
Christian Davis soulful baritone
Rebekah Long
unique & captivating, small-town Georgia Bluegrass & Americana artist
No Time Flatt
Tennessee Music Awards “Bluegrass Band of the Year”, 2017–2018
The Kody Norris Show classic bluegrass showmanship
Phillip Steinmetz & His Sunny Tennesseans crowd-pleasing nostalgia
Bluegrass Outlaws
tight, melody-driven harmonies 760.883.8160 • turnberryrecords@gmail.com 12168 Turnberry Drive, Rancho Mirage, CA 92270 www.TurnberryRecords.com
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