Americana Rhythm Magazine Issue #43

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FEBRUARY 2013

Bluegrass, New Grass, Old Time, Mountain Blues, Folk, Roots, String, and all things music in between!

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February 2013

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February 2013

Hey! You’re still here? ... sorry, I just to get my Myan poke in before the joke gets old. Of course the world didn’t end.

We’ve got way too much music left to play!

Preview

Table Of Contents:

4 6 7 Shenandoah Music Trail 8 Doyle Lawson 10 Memory Lane 12 Ukin’ It 13 14 15 Market Place Listen to us on line:

Seriously, Merry Christmas, and a much anticipated happy new year to you and your family. We’re still here and planning to have an awsome 2013 right along with you.

Before we close out the year, let’s take a peak back at the year and remember all the neat things we’ve gotten to experience.

And don’t forget to be thankful for all the great music out there - hug a musician when you get a chance - they help all us fans have a great time through out the year. Peace!

Questions, comments, suggestions: greg@americanarhythm.com

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there a venue, instrument maker, band, artist, music school, or hot new CD we should know about?

Send your ideas and suggestions to: greg@americanarhythm.com.

Americana Rhythm is published six times a year. All correspon- Business office 540-433-0360 dence should be sent to PO Box 45, Bridgewater VA, 22812 or CONTRIBUTORS email to greg@americanarhythm.com. Copies of Americana Ed Tutwiler Rhythm are made available free at various pick up locations within Kaye D. Hill the publication’s region. Subscriptions are available inside the United Wayne Erbsen States for $15 US currency made payable by check or money Ryan Babarsky order sent to Subscriptions at PO Box 45, Bridgewater, VA, 22812.

UNC Ashville Students Foreig n su bscrip tion req u ests shou l d b e sen t to Andrew McKnight greg@americanarhythm.com. Copyright 2008. All rights reserved.

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DISTRIBUTION PUBLISHER/EDITOR IN CHIEF Mark Barreres Greg E. Tutwiler David LaFleur EDITORIAL ASSISTANTS Nate Sparks Ed Tutwiler Ed Tutwiler Jacenta Tutwiler Doug Williams Lisa Tutwiler Stuart Thomas MARKETING & PROMOTION Floyd Country Store Mark Barreres (GrassRootsNetworking.com) Letters, Comments, Suggestions ADVERTISING greg@americanarhythm.com Greg Tutwiler www.americanarhythm.com

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February 2013

By Edward Tutwiler

Renewing The Space, Preserving The Past On several occasions, we’ve

profiled theaters from a bygone era that have risen from ruins to become again a vibrant part of a community as well as told you stories of others who are still struggling to return to their former glory.

Many small towns up and down the Appalachian Mountains have experienced this happening—not always to a successful conclusion but never for any lack of effort. These stories seem to have a common theme of a wealthy benefactor wishing to give back to a community in a way that would enhance and enrich the lives of the average folks living there. Then, as times and tastes change, these wonderful palaces of silver screen and performing arts slowly waste away.

They end their lives either abandoned to fall down or as big storage containers for society’s all-fall. However, for some, a new life is given by non-profit organizations that just cannot stand to see these once grand dames fade away.

We here at the magazine have a soft spot for any venue that features live performances be it music, dance, or play, and we think you do also. That is why we seek out stories about these faded palaces from yesteryear that are once again houses of Americana treats. This time we want you to know about the Lincoln Theatre in Marion, VA.

Somewhere Out There

Marion, VA lies in the highlands of southwest VA along the Great Wagon Road or Wilderness Road (I-81/US-11) that heads on toward TN. It is a town of 6400 citizens and serves as the County Seat and the hub of commerce for Smyth County and is the home of the Lincoln Theatre.

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According to the information on its web site, “The Lincoln Theatre is one of three existing Art Deco Mayan Revival theaters in America.” The Lincoln Theatre is listed as a Virginia historic landmark and is also listed on the national register of historic places. After undergoing a complete restoration in 2004 to the tune of $1.8 million dollars that included a sound and lighting system that is stateof-the-art, the Lincoln Theatre is an impressive palace for the performing arts that seats 500 attendees. The Lincoln features a year-round schedule of performing arts and is also available for touring companies, groups, and individual artists.

To you readers who are also National Public Radio and television fans, you probably know that the well-received show, Song of the Mountains is presented monthly on the Lincoln Theatre stage. These performances are recorded and edited for public television airing. If you don’t know, Song of the Mountains is an awardwining concert series that features bluegrass, old-time, and

Celtic music as well as new material performed by original artists. However, we are speaking of now, and to get to now we must trace the path of the Lincoln Theatre from then.

Who Done It

In 1928, a prominent local businessman named, Charles Wassum returned to Marion from a trip to New York City with an idea to build an elegant apartment building and a motion-picture theater. He envisioned these projects to be a monument to Marion’s future.

Wassum did build an impressive four-story apartment building of stone and brick in the town’s downtown; however, instead of building the theater, he sold that property to Charles Lincoln who owned a furniture factory and was the town’s wealthiest citizen. Mr. Lincoln had a desire to build an up-todate movie theater for the town.

Based upon the impression that a large theater he had visited in Atlanta had made upon him, Lincoln employed the designer of that Atlanta building to design and build his theater in

February 2013

Marion. Thus a New York design studio, Novelty Scenic Studios, decorated a theater in Marion, VA. Sadly, Charles Lincoln died of pneumonia several months into the $150,000 project build-out by the firm of Eubank & Caldwell. Fortunately, his sons, Charles, Jr. and John, inherited control of the father’s empire and completed the project.

The designers of the Lincoln Theatre created an Art Deco interior and enhanced it with images of an ancient Mayan temple. They adorned the interior with painted appliqués of exotic creatures and mythological gods. They opposed this design with six very large murals that depicted scenes from national and local history.

These murals were painted by a local artist, Lola Poston. The interior was completed with a high ceiling, modern lighting, and the latest in projection equipment. The end result of all this was that the Lincoln Theatre immediately became the premier movie house of southwest VA. The Lincoln opened in July of 1929. About 1000 folks packed the house and hundreds more were turned away because the building would not hold them. Over the ensuing years, the Lincoln Theatre screened 1000’s of movies and its stage showcased performances by nationally known movie stars, entertainers, and musicians.

mid-1970s; however, lack of customer support doomed their effort, and it closed again.

After this, the building and its systems fell into severe disrepair.

dollars to restore the Lincoln.

The group chose a regional group to do the restoration.

Hundreds of volunteers added their efforts to aid in the reconstruction of the structure and its decorative interior. This restoration effort included the installation of modern sound and lighting systems. Restoration included the removal and refurbishment of those huge murals mentioned earlier to the tune of $20,000 for each mural. The restoration also included the addition of dressing rooms and rehearsal space and removal of some seating capacity to accommodate a large stage extension.

The Lincoln Theatre reopened on May 16, 2004, with a performance by the Grammy Awardwinning group, Riders in the Sky. The Lincoln Theatre stands in downtown Marion today as a viable, successful venue that offers events year-round.

As with most of these restored grand ole dames of silver screen and performing arts, the Lincoln relies on grants and endowments as well as the gate receipts for sustainability. The keepers of the flame reach out to the public for help to sustain success of The Lincoln Theatre.

Folks who wish to help may call them at (276) 783-6092

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Back Around Again

Sometime in the late 1970s, a non-profit group, The Lincoln Theatre Foundation, purchased the building with preservation hopes in mind but to no avail.

The building sat neglected until the 1990s when the Foundation revived their plan. This renewed effort met with success and the Foundation raised more than $1.8 million

The Lincoln Theatre operated for 44 years before closing in December of 1973. Operators attempted to reopen it in the

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February 2013

“Don’t Sing!”

These are the words that were indelibly etched on my teenage mind in the far away past. Actually, the year was 1963. Let’s go back there.

In the 1958 the Kingston Trio recorded the North Carolina murder ballad, “Tom Dooley.”

This recording went on to become #1 on the Billboard charts and helped to usher in a major revival of folk music in the late ‘fifties early ‘sixties. At that time I was living in southern California where a number of folk clubs sprang up, including the Ash Grove, the Troubadour, and the Ice House.

One night a week each of these clubs had a “Hootenanny,” which were evenings with an open mic where anyone with a guitar and enough courage could get up to pick and sing. The term “Hootenanny” was actually coined

by Lee Hayes, who was a member of the Weavers, a controversial folk group that was formed in November, 1948 by Ronnie Gilbert, Lee Hays, Fred Hellerman and Pete Seeger.

Havin’ A Hoot People then started having hootenanny parties in their homes.

These “hoots,” as they soon became known, caught on like hula hoops and Slinkies. It was at one of these hoots in 1963 where I was singing away on some popular folk song.

Back then we sang songs like “The Water is Wide,” “This Land is Your Land,” “Pastures of Plenty,” and many of the hits of Peter, Paul and Mary, the Tarriers, the Kingston Trio and Joan Baez. We were just starting to get into bluegrass. I had hardly finished singing my first song when the guy sitting next to me with a banjo slung over his shoulder looked directly at me and said, “DON’T SING.” I couldn’t believe my ears,

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Kingston Trio

so I looked at him and said, “What?” He stared directly at me and very slowly and deliberately enunciated these same words, “DON’T SING.” I can still see his lips slowly forming each word. I couldn’t believe he said that. Of course, I knew I didn’t have the polished voice of a trained singer, but I couldn’t understand why someone would go out of their way to demand that I stop singing a folk song. His rude comments hit me bone deep. It felt like he not only stabbed me with his dagger, but he twisted it in for good measure. As you would expect, I’ve never quite gotten over it. In fact, It changed my life.

Sing Along Anyway The good news is that it changed my life for the better. Even though I wasn’t consciously aware of it, I must have made a secret vow to myself that in spite of his rebuke, I would sing anyway. And sing a LOT. So at every hoot, there I was, singing away. As time went on, my repertoire increased and I was learning songs by the bucketful. In fact, my memory was so sharp back then that I could hear a song once or twice, and I had the lyrics forever stitched into the fabric of my brain. At one point, I made a list of all the songs I had in my head and the list topped seven hundred songs. Only recently have I started losing my grip on the lyrics of some of the obscure songs that I rarely sing.

Inking It Down As I learned and collected more and more songs, of course, I kept personal songbooks of lyrics that I had copied from LPs or heard people sing. Being interested in history made me want to dig deeply into the origins of the songs as well as the stories of the people who sang them. In 1982 I started publishing a series of songbooks on such themes as old-time, bluegrass, railroad, Civil War, pioneer, cowboy, outlaw and gospel. To date, I’ve edited and published twelve songbooks under my

publishing company, Native Ground Books & Music. By publishing these books, I like to think I have helped to keep many of the old songs alive. In my books I’ve tried to make it clear that you don’t have to have a great voice to get out there and sing. In fact, you don’t even have to have a very good voice at all.

As long as you follow good jam etiquette and remember not to sing during performances, except when invited, you’ll be fine!

So all you closet singers, I hope you’ll take a lesson from me and venture out from under the coats and umbrellas and sing your guts out, good voice or not. And don’t forget to sing by the “letter” method. Just open up your mouth and let ‘er fly! We can’t wait to hear you sing.

Wayne Erbsen has been teaching banjo, fiddle, guitar and mandolin since dinosaurs roamed the earth (really about fifty years). Originally from California, he now makes his home in Asheville, North Carolina. He has written thirty songbooks and instruction books for banjo, fiddle, guitar and mandolin. Check out his web site at http://www.nativeground.com/ or email or call for a FREE catalog: (828)299-7031 or banjo[at]nativeground.com.

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By Wayne Erbsen

My ability to memorize the lyrics to so many songs has certainly come in handy. I could be mistaken, but to me it seems like many bluegrass musicians have a fairly small number of songs in their heads. It happens frequently that when I’m in a jam many of the singers invariably forget some of the lyrics. When that happens, I’m usually the one who jumps in there to prompt them on the forgotten words to the song.

And when nobody could think of anything to sing, I’m there with a bag full of songs, so I’m often the de facto singer.

February 2013

Along

the Shenandoah Music Trail

By Don DePoy PhD

I rish

mu sic has been in the Shenandoah Valley since the mid1700’s when the mostly Scot-Irish families established their first settlements along the South Fork of Shenandoah River. They brought an assortment of dance-step tunes including jigs, reels, hornpipes waltzes, quadrilles, gallopedes (barn dances), schottisches, cotillions (contra) and other popular country dances. Many of these tunes and dances are still popular today, and you can hear some of the tunes every Sunday evening in Harrisonburg, Virginia.

There is an Irish music session each Sunday from 7 to 10 PM at Corgans’ Publick House. The session’s lead musicians include: Erin Murphy playing Uillean pipes & flute, Carole Sease playing accordion, and Jim Gaskins playing fiddle. Regular attendees include Phyllis Gaskins who plays mountain dulcimer, Steve Kasdan on tenor banjo, Rae Kasdan, playing keyboard, and Cheryl Tobler rounds out the regular session playing flute and fiddle. Elkton born Phyllis Gaskins explains, “We gather in the traditional Irish way of sharing our love of the music. Players of the music are welcome to join us and listeners will hear some of the best traditional music the Valley has to offer.”

Traditional Talent Phyllis and her husband Jim have performed in old-time and Irish music bands for over thirty years, including Elk Run String Band, Frosty Morning, Port Road String Band, and Highlander String Band. Their love of traditional American music and its ties to the valley led them to study with old fiddle masters of the Appalachian mountains. Tracing the roots of this music led them to the Irish and Scottish fiddle tunes and songs tradition.

To explore and expand their study of this root music trips were made to Ireland to study with fiddle and singing masters there as well as to Cape Breton, Nova Scotia Canada, where they studied with traditional Scottish music with fiddle and piano masters.

Phyllis’s musical passion is her interest in the traditional playing style of the mountain dulcimer. It quite possibly is the only instrument other than the banjo that was created in the United States with its ancestry including many different varieties of instruments, commonly referred to as scheitholts, brought into the Shenandoah Valley by early German settlers. The late Junior Davis, a local fiddle maker from Linville, Virginia was considered to be the last traditional scheitholt maker in the world. Phyllis met him in the 1980s and has several of his instruments. Although her first love affair with the mountain dulcimer started with a Kentucky/North Carolina style, it quickly switched to the older Virginia style. This drone and noter playing style fits in especially well with the sounds of fiddles and banjos playing traditional dance tunes. After playing traditional Appalachian music on the dulcimer for many years, Phyllis soon discovered that it rings well in traditional Irish and Scottish tunes.

Phyllis has several CDs to her credit and has just published a new book Galax Dulcimer- A Job of Journeywork. Phyllis and Jim are cohosts of a traditional old-time music jam on Wednesdays, 7 to 9 PM, at 34 Court Square in downtown Harrisonburg, Virginia. Phyllis and codirector Marsha Harris are currently making plans for Crooked Road Dulcimer Festival 2013 Memorial Day weekend at Ferrum College, Ferrum, Virginia more information visit http:// crookedroaddulcimerfestival.org/ You can purchase Phyllis’ new book online at www.virginiadulcimer.com.

The Irish Music Sessions are free and open to the public and held each Sunday evening from 7 to 10pm at Corgans’ Publick House, 865 Port Republic Road, Harrisonburg, Virginia 22801 (540) 564-2674.

Reach Shenandoah Music Trail at www.shenandoahmusictrail.com or contact Don DePoy at depoyd@hotmail.com.

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February 2013

Hall Of Famer, Doyle Lawson

This past fall Doyle Lawson was inducted into the IBMA’s Bluegrass music Hall Of Fame - it couldn’t have happened to a more deserving fellow. In the fall of 2007 I had the privilege to speak with Doyle. And in honor of his prestigeous award, we are reprinting that article here.

Cream always rises to the top.

And, that’s no different in the music world. Longevity doesn’t necessarily translate into notoriety, but in this case, Bluegrass icon Doyle Lawson has had a long and notable career, and he and his band Quicksilver are one of the bluegrass industries top acts. Doyle and his band have recorded more than 30 albums, and received numerous awards including nearly ten IBMA (International Bluegrass Music As sociation) awards, and recently nominated in five categories this year including, Mandolin Player of the Year, Vocal Group of the Year, Album of the Year for More Behind the Picture Than the Wall, Song of the Year for “Sadie's Got Her New Dress On,” Entertainer of the Year Gospel Recorded Performance of the Year.

Doyle was born near Kingsport, Tennessee in 1944, where he began his career as a bluegrass musician in 1963 with Hall of Honor member and bluegrass pioneer Jimmy Martin. For the next 15 years he honed his skills doing what he loved best, singing and playing the mandolin, in emerging bluegrass groups the Kentucky Mountain Boys, and the Country Gentlemen. “From the time I was a small child I knew this was my life, what I was going to be doing as a career, and I never s trayed from that,” Doyle told me recently.

And in 1979 he struck out on his own, forming the band Quicksilver. Those formative years paid off as Doyle Lawson and Quicksilver rose to the top.

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decide to leave East Tennessee and drive to Southern California. It probably bothers my driver more than me,” he laughed. “I just love the country, and the views that we have.

I enjoy this part of the world that God has allowed me to live in. There’s always something that I can see that I never noticed before. But the love of music, the being on stage, that’s the reward for all the other stuff I do to stay in this business. My reward is getting to get up on stage and perform, and hopefully bring a smile to people’s faces and put a little joy in their heart, and make them glad that they came.

Hopefully they’ll go away with less of a load on their shoulders if they had a rough week or whatever. That’s the reward for me.”

They released a series of acclaimed albums—including the pioneering all-gos pel Rock My Soul in 1981. Sticking closely to the traditional bluegrass roots, Lawson developed a style that blended traditional and gospel elements with some progressive influences that became the distinctive Lawson/ Qui cks i l ver sound.

Gospel Beginnings

Much of the groups early music was influenced by drawing on material contained in Doyle’s father’s shape-note hymnbook collection, and on the sounds of African-American gospel quartets and s outhern gospel groups he heard as a young kid.

They recorded more than 15 all-gospel bluegrass albums that featured a wide range of styles, making a powerful impression in the bluegrass community. He was also a member of Bluegrass Album Band, which helped bring the repertoire and musical approaches of the music’s early giants to new generations of musicians and fans in a series of acclaimed albums made between 1980 and 1996. All of that helped to solidify Doyle Lawson’s position as a major player in bluegrass music today.

I spoke with Doyle about his career and his music, and his take on things recently. I asked him if he ever thought his career would lead him to where he is now. “My sights were set on that (a career), but certainly

By Greg Tutwiler

not to the extent it has become.

In my early days, I had no intent on becoming a band leader. All the good things that have come my way, or the accomplishments; I never looked at it that way, I wanted to play music and be on stage with a band,” he said. “But then you mature, and as you mature as a musician, and as an adult.

You start looking at things from a different perspective, and then it evolves into whatever it becomes. But the more things that start happening, you seize that moment and you start to see how you can enhance that or broaden it, or do more with it, or take it to the next level.”

One Lucky Guy

After more than 40 years in any industry, one generally contemplates retirement. Not Doyle. “I’m a lucky guy. I get to do what I love to do, and earn my living doing it,” he said. “I love to travel, even though I’ve been all over the world, I still like the country side. I love the west too. It doesn’t bother me at all if I

Although the music has changed, Doyle Lawson strives to stay true to what he knows are the roots of bluegrass music, and believes are important to preserve for future generations. “There are vast differences in music today,” he said.

Not only in our music, but music in general, simply because of the passing of time, and the implementation of the computer world, and the internet ages that we live in. You know, we’re able to reach people more quickly either by email or our web site – people go on it and they can order your recordings, read about the band, and check your schedule. And of course the venues we play, as far as bluegrass, are bigger and better as far as the environment and sound capabilities.”

“And the music itself has changed somewhat. But that goes hand in hand with the passing of time. With each generation of musicians you have a little bit different outlook on the approach of the music.

There’s a lot of great music being played - new music. Not to take anything away from

February 2013

anyone’s talent, but there is music being played today that I may not necessarily consider authentic Bluegrass. It’s very very good acoustic music, but my own take on it is that the music was defined with the music of Bill Monroe, when he added Earl Scruggs on the Banjo. That kind of solidified the style that became know as Bluegrass.”

“And I think now, some of our music is just a little far to the left, or right. But again, I want to emphasize that I’m not saying that it’s bad music. In fact some of these new folk’s ability are almost beyond my comprehension, but when you talk about authentic bluegrass, the Monroe style is the base line. I think we need to be cautious in some ways to not have bluegrass go the same way country music has as far as drifting from their original roots. You know, progress has its price. I don’t think there’s any sure fire solution, but I hope that bluegras s does n’t arrive at the point where what people call

bluegrass music, and market as bluegrass music, has no kinship at all with where it started.

I believe in progress, and I think there’s room to grow and progres s and still remain within the boundaries of tradition.”

Changes

When I spoke with Doyle, he was rehearsing a new bass player. After 28 years as a band leader, I suppose you would experience changes in your line-up. “Changes are always going to occur, s ometimes more than others,” he said.

“Sometimes one will drop out, sometimes a couple will go at once. I’ve had three quit at the same time. But a part of it is that I have always freely featured people in my band by putting them out front. In some ways that could probably shorten their stay here, but on average you’ll get four to five years from somebody. I’ve had a couple that stayed almost ten years though.”

“The thing you’ve got to re-

member is, if the music had stopped with Bill (Monroe), I wouldn’t have a job today. Anything that doesn’t grow will die. So while I would like to keep people in the same spots for the duration of the band, you know it’s not going to happen. I look at the guys who have gone on from Quicksilver, and see their careers now, and it feels good to have been a part of their career. I feel like in some way, I helped the music as a whole continue on, and that’s the bottom line. It’s not if some key musician leaves, the music’s going stop. You shouldn’t look at it that way.

When changes occur you just go on, wish them the best, and hopefully in turn, they will pass along something to someone else.”

About The Songs

“We do write some of our songs. But mostly I tend to look outside for our material.

I have people that are what I consider my favorite writers.

They just seem to turn out good songs consistently. Not

every song will fit what I do of course, but they’ll fit somebody. That’s the mark of a good songwriter. They can write songs that will fit more than one artist.”

Doyle Lawson has established himself in this industry, and has made major contributions to it musically as well. For Doyle, it is about doing what he loves to do. And it’s about his convictions to his faith and the tradition of bluegrass. “I don’t ever want to record anything that I would be ashamed of for my children or grandchildren to hear, or would be a bad influence on some young person,” Doyle said. “But my faith is a very viable part of who I am too. I’m quick to tell anyone that I’m the instrument that God uses for the good of what He wants to accomplish.

So I always try to give Him credit first. I just do what He’s allowed me to do to the best that I know how to do it. But my faith and my religious convictions are very important to me ”

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February 2013

I’m parting a little from tradition in this issue. Normally in this column I visit with one of our industry artists for a window into their life as an entertainer; and that will return in the next issue.

For the moment, I’m in a season of reflection, looking back over the past eleven months at all that’s happened in the music world – especially our little corner of it; and more directly, my little corner here with you.

It’s crazy how quickly the days, weeks, and months fly by. I remember my elders saying to me when I was little, “you think life is fast now, wait until you get to be my age.” It’s funny; I got there, and fortunately some of them are still alive. And they’re still saying it. So, in the interest of nostalgia, I’m throwing on the brakes for a few minutes and looking back before the train goes off the 2012 track for good.

My musical journey began back in February with a trip down to Memphis, TN and the annual Folk Alliance conference and festival. Typically, among other things, it has become a coming out party for a lot of newer acts looking to break out onto the music scene. This year was no exception. More than ever, the gathering seemed to be filled with young string based trios, quartets, and quintets filled

Lookin’ Out My Back Door

By Greg Tutwiler

one place you’ll likely ever experience. And it was a fitting beginning to my year in music.

Reflect The Ink

Americana Rhythm prints six times annually, and over the years I have been blessed with the opportunity to speak with some fabulous folks that have been featured on the cover. As I perused back over the last six issues I was amaze at the ones I had forgotten about. So, I wanted to share just an excerpt or two from those intriguing conversations.

Is sue number 37 featured Honky Tonkin’ Moot Davis. It’s not exactly acoustic music, but Americana just the same. Moot put into words what I suspect every songwriter would say about their music; “I write about what happens to me; things I’m going through, wants, desires, and nightmares of what I don’t want; mostly all personal in some aspect.” I like that.

In the next issue (#38) it was Russell Moore, band leader for IIIrd Time Out. Russell went on to win the IBMA Male Vocalist Of The Year in September. I caught a lis tening Michael Cleveland room set from them a few months ago, and I must say, the award was well deserved.

Reflecting on the groups 20 years in the industry, Russell said, “I feel like we’re just getting started after twenty years.” That’s what we like to hear!

with aspirations of grander stages. Groups like The Hard Road Trio, The Roys, Blue Cactus Choir, The Side Street Steppers, and Tillers Folly, rubbed elbows with veteran performers like Kathy Matea, Suzy Bogguss, and Jim Lauderdale.

It’s a family reunion atmosphere dripping with some of the most honest roots music in

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In the first spring issue, (#39) I got to re-visit with one of the first guys we featured nearly seven years ago. Trent Wagler is front man for his band, The Steel Wheels. They are a prime example of how this business can flourish the right talent into a major presence. Trent has gone from small town, local act to (along with his fellow band mates) budding national

roots household name. How true this statement is, not only in music, but nearly every as pect of life; “We were told that to be a part of this bigger community you need to just keep showing up and let people know you’re serious about the long haul.”

Issue 40 brought me to Southern bluegrass favorite Loraine Jordan of Carolina Road. Loraine’s long history in traditional bluegrass mus ic serves her fans well. She’s an ac-

Woody Platt with the Steep Canyon Rangers

The Steeldrivers

complished mandolin player, and loves that Monroe style.

Loraine cited her family roots for the foundation of the band’s success. “My grandmothers inspired me well. I got a little of both of them in me.

One had a big heart and wanted to take care of everyone with a smile, and the other was a business woman.”

In the next issue (#41) I got the chance to speak with the big hearted, big talented Michael Cleveland on the band Flame Keeper. The nine time IBMA fiddle player of the year overcame a disability (blindness) to become one of the industry’s top respected musicians. “It took me years to be able to even hold the thing or play anything at all,” he recalled.

“But I knew even then I wanted to play bluegrass.”

February 2013

We rounded out the year with Tim Shelton, lead s inger/ founder of New Found Road.

With a sound more country progressive than traditional,

Moving On

Every year we lose a few more of the music’s voices; Levon Helm, Etta James, Joe South, Dave Brubeck, all gone this

fast style finger work has influenced guitar lovers everywhere. Doc was instrumental in bringing the guitar out front as a alternative lead instrument and a viable compliment to the traditional mandolin. Ricky Skaggs was quoted as saying about the pass ing of Doc Watson, “An old ancient warrior has gone home.”

A Festival Every Weekend

Jim Lauderdale

Tim was a late bloomer by most standards, but has parlayed that into one of the festival circuit’s hottest acts. “I was a late bloomer coming to music,” he told me. “I didn’t sing a note until I was 18. I never sang in front of anybody, I mean not a soul.” You’d never know it today, if we hadn’t told you.”

year. But probably closer to home than any are Earl Scruggs and Doc Watson.

Earl died in March of 2012. He was one part of the Flatts and Scruggs duo and his hard-driving banjo picking style influenced generations over the course of his life. He was instrumental in mastering a three-finger picking s tyle that would bring the banjo from the rhythm section to a lead instrument. He was probably most popular for their hit “Foggy Mountain Breakdown,” and the “The Ballad Of Jed Clampett,” but he also helped shape the “high lonesome sound” signature to today’s traditional bluegrass music.

Doc Watson, an Academy award winning accomplished flatpicking guitarist, followed Earl by just a few months, leaving us this past May. His folkmountain rooted sound was loved by generations of fans and often mimicked by guitarists world wide. His lightning-

I have this fantasy of climbing in an RV and hitting the road every weekend, beginning about May and landing at a festival every week until the end of September. Ok, so it didn’t happen this year, but I pretended.

I got in my SUV every weekend in September and landed in some place s pecial each time. What a month that was!

A week later we loaded up the bus (not really) and headed down to Bristol, VA for the annual Bristol Rhythm & Roots Reunion. It had been on my list for several years and just hadn’t worked out. Wow! What have I missed! This is one amazing weekend. There were oodles of music performances; Steep Canyon Rangers, Doyle Lawson, Steeldrivers, Volume Five, Peter Case, Gibson Brothers … I’ll run out of space if I keep going. And the cabaret of

We kicked it off at the Shenandoah Valley Music Festival’s minibluegrass day which Doc Watson culminated in a topnotch performance by street vendors and food choices Seldom Scene. The following are tantalizing to say the least. weekend we got to hang out at two; First, The Grottoes Music Next stop; The Nothin’ Fancy Festival, in Grottoes VA which Festival in Buena Vista. The hosts featured Loraine Jordan, Chris

of this event are a group of seasoned performers that deliver a top notch show every time out.

You were able to see these guys three days in a row – and add to that, Marty Raybon, Rhonda Vincent, and a host of others fabulous entertainers.

We rounded out the month with a stop in at the Misty Mountain Music festival in Crozet’ VA, a CD release party in Harrisonburg, VA, and two dinner hall shows in Staunton, VA. Whew! Would I do in again? You bet! Just tell me where to sign up.

Jones and Night Driver, and Michael Cleveland. The next day, a trip over to Pickin’ In The Panhandle treated us to Tim Shelton, and The Kentucky Headhunters. Ah, the memories.

I hope you’ve enjoyed coming along my little trip down memory lane. If you were at any of these places, you know how much fun they were – and I look forward to seeing you again this coming festival season.

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February 2013

Digging In The Closet

By Edward Tutwiler

A

s often happens when we get older, we get to settle estates and disperse keepsakes and treasures from bygone days. It is not a task to take lightly as you are dispersing someone’s memories and you need to treat them in a respectful manner. Alas, such a task fell to me some years ago. As I went through my mother’s life accumulation, a cute little stringed musical instrument came to surface. I remember the story from my childhood as it being something that she had given to my father way before I was a gleam in either of their eyes. It was old but in reasonable shape. I had very little idea of what it was so I poked it in a closet and there it reposed until recently.

Old Strings

This past winter, I helped with the Americana Rhythm Music magazine show booth at the Folk Alliance gathering in Memphis, TN. The booth near ours held the display of an instrument maker. He

had the usual assortment of guitars on display but what caught my eye was the multitude of banjoukuleles on display. These were well made instruments—finely handcrafted and finished in rich detail; and not inexpensive. They were the handiwork of a young builder and player and several times during the week, he would crank one up and lay some listen down for us.

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By now you have connected the dots and know that the instrument that I saved from my mother’s things and leaned in my back closet was a banjo-ukulele. I decided that I needed to know a bit about this instrument and thought that you might also.

According to the wilkipedia.org web site, the banjo-ukulele is sometimes referred to as a banjolele.

Banjolele is a generic nickname

given to the instrument, which was derived from the name banjolelebanjo. Technically, the instrument is a four-string instrument with a small banjo style body and a fretted ukulele neck. It combines the small size, tuning, and playing style of a ukulele with the construction and distinctive tone of a banjo.

The instrument achieved its greatest popularity in the 1920s and ’30s.

According to the banjoukes.com web site, some sources credit Alvin D. Keech with the invention of the banjo ukulele around the 1917-18 time frame. Mr. Keech was a Hawaiian who later moved to England. While it is not certain if he was the person who invented the instrument, he certainly is the person who made it popular. He trademarked the name “Banjulele,” and manufactured a sizable quantity of them and marked them with the Keech name. There is also a record of a banjo-uke being built and patented in California in 1916 by a Mr. John A. Bolander. Regardless of its name and source of origin, the reason for the banjo-uke’s existence and popularity is easy to understand. At that time in history, the

February 2013

ukulele had become very popular yet some folks wanted an instrument that would produce more volume. With this want in mind, an instrument with the size and tuning of a ukulele and having a banjo body to yield more sound volume seemed to be a natural design. Most banjo-ukes have a body diameter of between six and eight inches (do note that most modern banjos have eleven inch bodies or pots).

Back Then

During the 1920s and 1930s banjo makers were the producers of banjo-ukes and these manufacturers produced thousands. These were inexpensive instruments often retailing for $2.00 or less. Some were of open back design while others had some sort of resonator or closed back. Many of the early production of these instruments are still lying around and certainly are a very real part of early 20th Century folk culture. Present day collectors find much diversity in the models that can be found with the designs varying from the standard models that were produced by major manufacturers as well as custom-designed craftsman models.

In design and construction, the banjo-uke parallels that of the banjo—just on a smaller scale.

They are almost exclusively constructed of wood with metal fixtures. The design typically features a neck with 16 frets. This neck design produces the scale length of a soprano or, the less common, concert-sized ukulele. Banjo-ukes may be open-backed, may incorporate a resonator, or may have a solid back. Originally the heads were made of calf-skin but most modern instruments are fitted with synthetic heads. Regardless, there are some players who prefer the natural skin heads for a more traditional tone. The original design called for a gut string but modern instruments have nylon string. Sometimes the third string is a wound string. Players commonly tune their banjo-ukes to GCEA (“C Tuning”) or to ADF#B (“D Tuning”).

If you search a bit, you can find pickers playing banjo-ukes in oldtime mountain music groups. Most

old-time players welcome the instrument in their groups and at their jams; however, this is not the case among bluegrass players, and the instrument does not show up often in that music. Nevertheless, there are well respected musicians who showcase their playing talent with the banjo-uke.

So, what do I do with this new information? I have certainly developed a level of respect for this quaint little musical instrument that my mother gifted my father with all those many years ago. In fact, I’m going down to the local music store and get a set of stings and see what this thing sounds like.

Top 25 Albums of 2012 1. JD McPherson Signs And Signifiers 2. Darrell Scott Long Ride Home 3. Rodney Crowell Songs By Mary Karr & Rodney Crowell 4. Justin Townes Earle Nothing’s Gonna Change The Way

5. Little Willies For The Good Times 6. Willie Nelson Heroes 7. Lyle Lovett Release Me 8. Ray Wylie Hubbard The Grifter’s Hymnal 9. Old Crow Medicine Show Carry Me Back 10. Ryan Adams Ashes & Fire 11. Kathleen Edwards Voyageur 12. Paul Thorn What The Hell Is Goin On? 13. Bonnie Raitt Slipstream 14. Shovels And Rope O’ Be Joyful 15. Carolina Chocolate Drops Leaving Eden 16. Lumineers The Lumineers 17. Todd Snider Agnostic Hymns & Stoner Fables 18. John Hiatt Mystic Pinball 19. Sara Watkins Sun Midnight 20. Bruce Springsteen Wrecking Ball 21. Punch Brothers Who’s Feeling Young Now? 22. Trampled By Turtles Stars and Satellites 23. Brandi Carlile Bear Creek 24. Joan Osborne Bring It On Home 25. Dr John Locked Down

East Coast Piedmont Blues Written by UNC Asheville students enrolled in the Liberal Studies Introductory Colloquia, “The Art of the Blues” (Fall 2005) and “Jazz and Blues in American Culture” (Fall 2003) Supervised by Project Advisor: Bryan Sinclair.

Archie Edwards

By Noah Wilson, UNC Asheville Student Image courtasy of T-Bone’s Piedmont Web Site.

Archie Edwards was born on a farm near Union Hall in rural Virginia in 1918. He worked hard on the farm and was surrounded by music. His dad played guitar, banjo, and harmonica and played with many musicians that passed through.

Edwards knew that he always wanted to be a guitarist. He would play along to some of his favorite records by Mississippi John Hurt, Blind Boy Fuller, and Blind Lemon Jefferson. When he was twelve, his older brother would go to house parties and brag to the musicians and other people at the party about how good Archie was. He would then go home and wake up Archie, who would then go play at the party and be just as good if not better than the older musicians playing there.

He later wrote a song called “Saturday Night Hop” about those nights.

In the 1930s, he and his brother got a job at a near by sawmill. Archie played guitar in his spare time and went home on weekends to play for parties. Tired of the work that

he was doing, he left for New Jersey in 1937 to be a cook for a family. A couple years later he moved back to Virginia and ended up working at a hotel if Columbus, Ohio. He and a friend decided to join the army and serve their year before the U.S. got pulled into the war. But near the end of his time, Japan bombed Pearl Harbor. He served his time during the war as a military police officer.

After the war, he went to Richmond, Virginia, to become a barber.

He set up a barbershop in Washington D.C. His barbershop became a musical hangout spot for many local musicians. Through the barbershop, Edwards met Mississippi John Hurt. The two started playing together and joined up with Skip James and played around the city for the new white audience. When Hurt died a few years later in 1966, Archie quit playing for a couple of years in grief. Once he finally started playing again, he joined the Traveling Blues Workshop and toured all through Europe. He died in 1998

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“Influenced by ragtime, country string bands, traveling medicine shows, and popular song of the early 20th century, East Coast Piedmont Blues blended both black and white, rural and urban song elements in the diverse urban centers of the Southeast and mid-Atlantic region. In contrast, the Delta blues style of rural Mississippi is believed to have less of a white influence, as it was produced in a region with a higher concentration of African Americans. Although it drew from diverse elements of the region, East Coast Piedmont Blues is decidedly an African American art form. The Piedmont blues style may even reflect an earlier musical tradition than the blues that emerged from the Mississippi Delta.” http://toto.lib.unca.edu/sounds/piedmontblues/

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February 2013

Music From The National Scene

Music From Your Neighbors

Our Special Christmas Selections for the 2012 Holiday’s

Donna Ulisse

Fiddler’s Holiday

Bethlehem

Jay Ungar & Molly Mason

Bill Evans In Good Company

www.donnaulisse.com

www.jayandmolly.com

www.mikeaikenmusic.com

Christmas The Mountain Way Rural Rhythm Collection

Accomplished singer/ songwriter Donna Ulisse’s new Christmas themed CD is fabulous - not like any other holiday CD I’ve heard. Fashioned in a story format, Donna wrote or co-wrote all 11 unique tunes. Excellent

Jay Ungar is regarded by many to be one of America’s finest fiddlers. His new collection of holiday tunes with the Molly Mason Family Band will tickle your old-time fiddle lovin’ ears. This live set is well worth the listen

Looking for some Christmas tunes with a warm, downhome, feel? Americana troubadour Mike Aiken gathered together a collection of happy holiday diddies just in time for the Santa day. They will surely get you in the mood

www.ruralrhythm.com Imagine a bunch of your favorite bluegrass artists all together singing some of your favorite holiday tunes - imagine no longer - it’s here. The Christmas The Mountain Way CD fuel’s your holiday spirit

Bill Evan’s career spans more than three decades - he has established himself as a preeminent banjo performer, composer, author, and teacher. For this latest project, 26 acoustic music legends were assembled.

Hot

American Drive American Drive

The 1861 Project Volume 2

Lonesome River Band Chronology, Vol. 3

Cow Bop California Swing

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www.americandriveband.com

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www.1861project.com

Newcomers American Drive made their official debut at the IBMAs this past September to a much appreciative audience - and high expectations of good things to come. Their freshman, self titled CD is a fine addition to the bluegrass scene

This is the second entry in the ongoing series that features a mix of music and history; the deeply moving stories of Irish immigrants in the American Civil War. History buffs will certainly appreciate the heart and craftmanship of these songs

Christians Creek I Hear Bluegrass

Detour Bluegrass Ahead

My hat’s always off to the home-grown bluegrass band.

Every band starts somewhere, and the latest project from Shenandoah Valley songwriter Greg Eppard is proof if you want it bad enough, you can do it. The band’s latest CD can run with the big dogs. Well done

Michigan based sextet is breaking borders with their new CD, Bluegrass Ahead.

Their new single, “Quaterline Road” is rockin’ all the charts - this is one band to watch. I love their tight harmonies and contemporary, new grass feel

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www.detourbluegrass.com

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Mike Aiken Almost Christmas

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Darrell Webb Band Breaking Down The Barriers

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www.lonesomeriverband.com

www.cowbop.com.com

The 2012 Emerging Artist Of The Year winner, Darrell Webb is one of the hottest young grassers on the scene Breaking Down Barriers, is powerful a “must add” for all contemporary grass fans.

30 years together as a band is an amazing feat. In a time where one-hit-wonders still dominate the air waves, it’s reassuring to find a group like the Lonesome River Band.

This is the third installment of their tribute to 30 years of great bluegrass. Good stuff

The beauty of “Americana” is that nearly anything string will fit - take the latest by a group called Cow Bop. In the vein of Bob Wills meets Benny Goodman, this western swing meets california jazz is unique, and very entertaining.

It’s pretty cool, actually

Creedence Clearwater Revival Ultimate Creedence

Shannon Whitworth & Barrett Smith Bring It On Home

Niall Toner Onwards & Upwards

www.conqueroo.com

www.shannonwhitworth.net

Yea, I know I’m pushing the envelope here - but, CCR has influenced so much of today’s music. Considered by many to be the definitive American rock band - I figure it’s worth a mention that a new mega collection is now available

An album paying tribute to the art of songwriting has possibly become the suprise of the year, for me. These two accomplished artists combine for a brilliant set penned by some of the great songwriters. Soft, genuine, real music

Onwards And Upwards is the American debut for Irishman Naill Toner. It’s a delightful sampling of Irish strings and catchy folksy stories. It’s got a hint of grass, a hint of country swing, and a whole bunch of Naill Toner. Something you’ll want to take a listen to

www.darellwebband.com

today.HisnewCD,

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You can send new Americana CD releases for consideration to PO Box 45, Bridgewater, VA, 22812

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www.billevansbanjo.com

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www.pinecastle.com

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February 2013

Jerry’s

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