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Bluegrass, New Grass, Old Time, Mountain Blues, Folk, Roots, String, and all things music in between!
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One of my favorite places to browse around in is old antique shops. The eclectic ambience and retro/ Americana decor not only makes for a fun trip down nostalgia lane, but it’s also a place to connect physically with yesteryear. Over the weekend we visited a really big one located in Verona, VA called The Factory Antique Mall. It’s huge! I usually head straight for the book stacks in the back, but along the way I’ll stop and flip through the boxes of old vinyl records. Remember those? What a treat! I thumbed through a collection of old Folk and Bluegrass records packed in an old apple crate. The Stanley Brothers, Mac Wiseman, The Country Gentlemen, and early Doc Watson 33 LP’s littered the collection. Man, those are the roots. By no real intention, we have crafted what has become a “roots” edition this time here with our editorial selections - funny how that works out sometimes. So, enjoy the buffet, and get out there this spring and see some live music!
Questions, comments, suggestions: greg@americanarhythm.com
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Americana Rhythm is published six times a year. All correspon- Business office 540-433-0360 CONTRIBUTORS dence should be sent to PO Box 45, Bridgewater VA, 22812 or Ed Tutwiler email to greg@americanarhythm.com. Copies of Americana Kaye D. Hill Rhythm are made available free at various pick up locations within Wayne Erbsen the publication’s region. Subscriptions are available inside the United Ryan Babarsky States for $16 US currency made payable by check or money UNC Ashville Students Andrew McKnight order sent to Subscriptions at PO Box 45, Bridgewater, VA, 22812. Doak Turner Foreig n su bscrip tion req u ests shou l d b e sen t to Becky Allen greg@americanarhythm.com. Copyright 2013. All rights reserved. Don DePoy Reproduction of copy, artwork or photographs is strictly prohibited DISTRIBUTION without permission of the publisher. All advertising material subEd Tutwiler ject to approval. Zebra Media PUBLISHER/EDITOR IN CHIEF Associated Dist. Greg E. Tutwiler The Southern Downtown Books EDITORIAL ASSISTANTS The Purple Fiddle Ed Tutwiler Floyd Country Store Jacenta Tutwiler Shen. Valley Farmers Mkt. Lisa Tutwiler Heritage Farmers Mkt. MARKETING & PROMOTION ... many more! Mark Barreres (GrassRootsNetworking.com) Letters, Comments, Suggestions ADVERTISING greg@americanarhythm.com Greg Tutwiler www.americanarhythm.com
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Shenandoah Music Trail
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June 2013
By Edward Tutwiler
At the 2012 Folk Alliance gath-
ering in Memphis, AR’s display booth was located near a booth staffed by folks promoting the ROMP festival. These folks that put on this festival were from the International Bluegrass Music Museum (IBGMM). At the time, we were focusing upon the festival and did not learn too much about the underlying message of who was behind it. Since then, we’ve been hearing about this museum group and thought that you readers might care to know a bit about this fine organization. With that in mind, I contacted Ms. Gabrielle Gray who is the Executive Director for the International Bluegrass Music Museum. We had a long conversation about the museum and how it got its start and its goals for the future. The International Bluegrass Music Museum is located in downtown Owensboro, Kentucky in its RiverPark Complex. Owensboro (located along the Ohio River) is a fairly prosperous city of 55,000 citizens. Owensboro has an industrial and commercial base that supports a solid cross section of working folks from blue color to professional who have an appreciation of the arts and lends support to them Less you think this city is a small-town, Owensboro offers: four collages plus a university, a symphony orchestra, a semi-professional community theater two professional dance companies, and three fullscale museums. The waterfront is developed into a showplace with a convention center and several large hotels.
Blue Moon
An important part of this previous information is that Kentucky part. The fact that they call KY the Bluegrass State might be a clue. Plus, the knowledge that Owensboro is located only 30-some miles from Bill Monroe’s birthplace might be another. Further, Monroe’s famous Blue Moon of Kentucky is claimed as one of Kentucky’s state songs. It probably goes without saying, that bluegrass music is the official state music. And don’t forget, Monroe’s band was known as the Bluegrass Boys. While originally named for the lush central KY pasture land, the term Bluegrass State now refers as much to its musical heritage.
Bluegrass History Collection In beginning to tell the story of the IBGMM, it is important to remember that this genre of music known as bluegrass is really an amalgam of Appalachian roots music, African rhythms and
chants, white and black gospel music, and other stringed instrument sounds. As a named style, this distinct art form, is fairly recent. As is well known, bluegrass music took its name from the name of Monroe’s band—The Bluegrass Boys. Monroe had picked this name because the band was formed in KY—the Bluegrass State. Further, the music form never jelled as a distinct sound until the 1940s and early
1950s when Monroe and many other like-minded performers started achieving some fame and radio air play doing the old music is a new style. The separation of the art form into its distinctive classification did not occur until
the 1960s. (Remember, Virginia resident Bill Clifton is known as the promoter and organizer of the world’s first designated bluegrass festival, and that festival was held at Oak Leaf Park in Luray, VA on July 4, 1961.) With that in mind, note that the idea for a museum devoted to this art form is a fairly recent one. Nevertheless the IBGMM is the world’s only facility devoted to the history and
preservation of the international history of bluegrass music.
The Mission
Ms. Gray said that the idea for this museum grew out of a 1985 meeting held in Nashville, TN. This meeting of about 30 like-minded people was two-fold. They wanted to form a trade association to promote bluegrass music, and they wanted to build a trust fund that would support musical old timers who had fallen on hard times. They chose to call this association the International Bluegrass Music Association (IBMA) Once these folks came to the agreement to form the association, they saw the need for location, staff, and money to make it a reality. One of the people at that first meeting was aquatinted with an Owensboro music promoter by the name of Perry Woodward. Mr. Woodward was well known at the time for a very successful concert he had put together. This concert paired the bluegrass hall of fame Osborn Brothers with the Owensboro Symphony Orchestra. Ms. Gray said, “This was the first time in anyone’s recollection that bluegrass musicians had played along side orchestral musicians. The concert drew an enormous crowd of close to 20,000 people and received a write up in the Wall Street Journal, which made it become immediately famous”. Of course that bold entrepreneurial move had been noted by the folks at that Nashville meeting. So, they decided to give Mr. Woodward an invitation to
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the next meeting. Sometime that same year, the organization held a second meeting and Mr. Woodward was in attendance. According to Ms. Gray, “He told the group ‘if it is just about money, here is what I propose that you do. Move the headquarters of the IBMA to Owensboro, KY, which is the nearest town to Bill Monroe’s home-place, and I will make certain that the staff is paid and that you will have a place to do your business.’ He proposed to them that he would get donations from the Owensboro community to get this thing started and singlehandedly got it going in 1985.” With that proposal, the IBMA group voted to begin operation in Owensboro. The IMBA operated as a for-profit operation from Owensboro, KY from 1986 until 2003. In 1990, the IBMA made the decision to spin off a museum division as a non-profit arm. The city of Owensboro, with help from the IBMA, formed a board of directors to oversee this operation. By 1991, the museum was founded. It began operation in a small building in the RiverParks Center that it shared with the IBMA offices.
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While the IBMA flourished, the museum was only open by appointment and during the annual IBMA Fan Fest and World of Bluegrass Conference. In 1995, the museum board appointed several well known directors (Drs. Tom Adler and Bill
in that capacity every since. At the time, she was a well known festival promoter and the museum group wanted her to start a new festival in Owensboro to replace the festival that the IBMA had moved to Louisville as well as run the museum due to her administrative experience and knowledge. That is how the ROMP festival came into being. The first of which was in 2004.
Relocation
Evens) who greatly raised the profile of the museum. The museum operated another year and then shut down due to extensive decline in the building’s physical condition. At that time, the state of Kentucky donated money to the museum for a complete renovation. During the period that the museum was shuttered, it under went a massive reconstruction. The museum reopened in April, 2002 in its current format. Ms. Gray came on-board in 2003 to run the museum and has remained
Due to the unavailability of its normal Owensboro host facility, in 1996, the IBMA was forced to move the Fan Fest to Louisville, KY in order to find an adequate sized facility. This move was good for the success of the festival, and they stayed there for eight years. In 2003, the IBMA moved its headquarters to Nashville, TN to be closer to the nexus of bluegrass musicians. They continued to hold the Fan Fest and World of Bluegrass Conference in Louisville, KY until 2005 when they moved that to Nashville as well to consolidate with the headquarters location. Of course, the IBGMM forever remained at its original home in Owensboro.
I wondered to Ms. Gray how closely the two groups (IBMA and IBGMM) were now related and here is how she explained the relationship, “We are forever joined at the hip. We know the same people; we are in the same family but we are total individuals.” (What this means is that they have different boards of directors and different missions statements.) Plus, IBMA is for profit and IBGMM is a non-profit operation. She further explained, “Our mission is to protect, put together, and preserve the history of bluegrass music and their mission is to stabilize and grow the music.” Ms. Grey says that the museum has a very robust collection of old artifacts on display, and that this collection is growing all the time; however, the thing that they are most proud of is a 10-year old project called the Video Oral History Project. This project was headed by a Mr. Joe Gray who is a filmmaker. He toured with a camera crew to interview more that 200 pioneers of bluegrass music in their own homes. She says that this is a massive project and that they now have 268 documented films in the can with about 25 edited into final
June 2013
form. There is a five-year plan to have all the films edited into final form so that the museum can present single documentaries of each person. Gray says, “We used the video format so that in addition to seeing the people, viewers can see the performance style as well. I know that the purists want oral histories and while not pure in the minds of some historians, the video captures the performance style.” As to how the museum gets the artifacts that are on display, items are usually offered to the museum but the museum folks also go farm for them as well. It is also worth noting, that the IBMA’s famous Bluegrass Hall of Fame that began in 1991 is housed in the IBGMM facility. Gray went on to tell us, “We also teach. We have an entire teaching staff here at the museum. We provide instruments and lessons to 100s and 100s of people on Saturdays here at the museum. It is like a hoard that descends upon the museum during that time. Currently, there are 400 participants in the program.”
New Digs
The city has told IBGMM that if they raise the money to re-purpose the old state office building that the
city will give the museum that building. This building is located directly beside the convention center and three hotels. The current museum has 22,000 square feet of floor space while the proposed facility will yield 66,000 square feet. There is a good possibility the museum will realize this goal as they are well on their way in fund raising and have only a $3M need remaining. As far as fund raising is concerned, Ms. Gray feels that they are in a good place. They have been growing steadily and enjoy good press. She grades the growth overall as good since it has occurred in the face of the national recession. About that festival: Gray said that in 2012, the ROMP festival attracted about 21,000 attendees over a three day period. ROMP is getting big and the ticket sales for the 2013 edition is 10 times what they were for last year’s edition. What about that unusual title you ask? I also talked to Chris Langdon at the museum to ask him what the ROMP acronym stood for. He chuckled; then said that it stood for nothing more than for all the folks that loved bluegrass to come on down to Owensboro, KY and have
a ROMP with each other this June. He did admit that maybe, unofficially, the title might stand for Right On My People but for us to not hold him to that. Nevertheless, the 2013 edition of this fine festival is being held June 27, 28, and 29 right there in Owensboro. I’ve only scratched the surface in telling you this overview history of the IBGMM. By all means navigate you computer browser to www.bluegrass-museum.org to learn much more. If you plan a road trip to the ROMP festival and to see the museum this year, Owensboro, KY is two hours north of Nashville, TN along the Ohio River. Contact information for the IBGMM is 207 East Second Street, Owensboro, Kentucky 42303; or you can place a telephone call to 1270-926-7891 (toll-free: 1-888-6922656)
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Place your Ad here for less than you think! Call (540) 433-0360 for more details!
Every so often we like to re-visit this idea just in case it’s slipped your mind.
Did you know musicians WILL play in your home? It’s true! For the serious music fan, hosting a concert in your home is a great way to spend an evening with a dozen or so of your friends and family, and invite your favorite indie artist in to entertain you. And it’s not as expensive as you might think. Artists deserve to be paid for their craft, but they’re hungry to play music too. Imagine what you could offer a musician if you each chipped in $10 or $15 a piece. You’ll get a great evening of fun and entertainment, and you’ll be supporting live music. Want to know more? Check out www.ConcertsInYourHome.com.
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June 2013
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.
Luke Jordan By Bryan Sinclair, UNC Asheville project supervisor The blues of Luke Jordan “had a beautiful sweetness and a kind of wry wistfulness that made them unforgettable,” according to Samuel Charters in Sweet as the Showers of Rain. Research by Bruce Bastin tells us that Luke Jordan was an important figure in and around Lynchburg, Virginia, highly regarded for his skillful, cleanly-picked guitar style.
Discovered Although very few African American blues musicians from this region manag e d to re cord , Jord an was discovered by V ictor Re cord s around the age of 35. He traveled to Charlotte, North Carolina, in August 1927, to record several sides for that lab e l. His records sold well enough that Victor decided to bring him to New York for two further sessions in November of 1929. Luckily, 10 of the 12 tracks that he recorded during his brief career are available today on Document CDs DOCD 5045 and DOCD 5574. His most memorable recordings,
“Church Bells Blues,” “Pick Poor Robin Clean,” and “Cocaine Blues,” feature not only some nice guitar work indicative of the East Coast style but also Jordan’s intriguing tenor voice marked by a certain ethereal, delicate quality. Most recently, the James River Blues Society has recognized Luke Jordan as a important figure in Virginia blues b y e re cting a historical marker in his honor in downtown Lynchburg.
Luke Jordan’s known recordings as listed in Blues & Gospel Records, 1890-1943, 4th ed.
“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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Oh Shenandoah; Save Our River
June 2013
By Greg Tutwiler
Americana/Folk enthusiasts have
likely all heard some version of “Oh Shenandoah.” The origins of the song are varied but at least date back to the 19th century. The original author is unknown and there are many versions of the often sung
Morgan. In 2010, at the ripe old age of 22, he formed a non-profit company called Earth Krops dedicated to the task of cleaning up the Shenandoah River. “The Shenandoah is littered with everything from discarded bottles and cans, to rotting tires and rusted farm equipment. The river isn’t going to clean itself. That’s where we come in,” He said. According to the company’s information, Cameron spent many years on the water, much like his grandfather, fly fishing legend Harry Murray. But it wasn’t until 2009 that he decided to dedicate himself and his life to returning the once beautiful Shenandoah to it’s natural state. He maintains that one day he just had a dream about this organization and that’s where it all started. And since 2010, Earth Korps and it’s army of volunteers have pulled over 47,000 pounds of trash a year from the water and off the river banks.
and treasured song. One interpretation tells of a pioneer’s love and longing for the Shenandoah River Valley here in Virginia. Folks here love their heritage and the Shenandoah River Valley, and it’s banks have been an integral part of the rich history. The main body of the Shenandoah River, which is comprised of the North Fork flowing north on the West side of the Massanuttan Mountain and the South Fork flowing north on the East side of the Massanuttan Mountain, begins at Riverton where the forks join. The river continues north and flows into the Potomac River at Harpers Fairy WVA.
Top 10, Really?
Sadly, in 2006 the Shenandoah River was listed as one of the ten most endangered rivers in the country, due largely in part to physical pollution. This of course is cause for concern, and some see it as a call to action. Enter Cameron
How Can You Help?
Earth Krops knows everyone can’t be a part of the clean up crew, but you can certainly take a day or two and enjoy some live entertainment. So here’s a great way to support the clean up efforts and fellowship with some of your favorite artists. On June 15 – 17, the 4 th annual Shenandoah Riverside Festival will take place at Watermelon Park in Berryville, VA. The three day event will include artists such as Rhonda Vincent, Iron Horse, Holy Ghost Tent Revival, Russell Moore& III Tyme Out, Lonesome River Band, Hackensaw Boys, Lonesome Highway, The Woodshedders, and more. Additionally, there will be an array of educational materials from other non-profits, as well as food and craft vendors. For more information or to purchase tickets, go to www.watermelonpark.com or www.shenandoahriversidefestival.com. All proceeds from Riverfest benefit Earth Korps.
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June 2013
By Wayne Erbsen
I Wish I Had A Hamburger Last night was a big night for bluegrass. Along with 800 other bluegrass fans, I found myself seated in the back of a ginormous room at the Crown Plaza Hotel in Asheville, North Carolina for the Bluegrass First Class show. The head liners that night included Darin and Brooke Aldridge, Russell Moore and Third Time Out and The Lonesome River Band. The frosting on the cake was the final band of the evening, a reunion of the Bluegrass Album Band. The audience held their breath as this legendary group of musicians took the stage. They had not even played together for thirty years. Of course, the band included Doyle Lawson, J. D. Crow, Bobby Hicks, Tony Rice and Todd Phillips. Joining the band on guitar and vocals was Josh Williams. Most of us in the audience weren’t actually sure what this legendary lineup would actually sound like, since at least three of the members were in their mid to upper sev-
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enties. Would they come out hobbling on walkers carrying oxygen tanks? As we soon found out, the answer that was a resounding NO! The group sounded tight and polished, just like they had been playing every night for years. Age had only increased their considerable musical skills, and each member of the band performed brilliantly. The big unknown for me was Josh Williams. I had heard his name for several years but frankly, I didn’t have a clue about him. I had seen him perform as Rhonda Vincent’s guitar player, but he seems to have a limited roll as a singer in that band, and I really didn’t know what to expect. I have to say that in many ways, he stole the show. His singing was absolutely stunning. He sang with great expression, tone and dynamics. He did slightly mess up the last verse of their opening number, “Blue Ridge Cabin Home.” After they had finished that song, he confided in the audience that
he certainly knew the words, but right there on stage, it finally dawned on him that he was actually playing with the Bluegrass Album Band, and it shook him up. He said he now had himself under control, and that it wouldn’t happen again. It didn’t. In fact, he flawlessly sang the words to some very rarely performed bluegrass songs like “Don’t Forget Me Little Darling,” and “We Can’t Be Darlings Anymore.” I was very impressed with Josh, and am now a die hard fan.
here and there, but he also forgot complete verses. Doyle would stand beside Charlie and feed him the forgotten words. Doyle said he often felt like a ventriloquist, because he’d sometimes have to actually sing the words with Charlie’s tone and inflection. As you may already know, the Country Gentlemen were a bunch of cut ups, often playing tricks on each other. Their outlandish behavior on stage included playing their instruments behind their backs. Doyle relayed to us that one time when Charlie forget the words, Doyle played a trick on him. Instead of feeding him the correct words, he said, “I wish I had a hamburger.” Charlie started to sing that line, and then turned to Doyle and said, “those aren’t the words, are they?” Of course, when we all heard that, we almost died laughing.
Doyle Lawson assumed the role of spokesman for the group, and he did a great job keeping things light. Between songs, Doyle told a really funny story. As a member of the Country Gentlemen for many years, Doyle admitted that the lead singer of that group, Charlie Waller, often had problems remembering the lyrics to the songs. Not only did he forget a word or a line
Wayne Erbsen was born in Los Angeles, California, elevation 105'. In 1977 he moved to Asheville, NC, elevation 2134'. In 1999 he purchased a get-away log cabin near Big Pine, NC, with an elevation of 3800'. When he’s not measure elevation, Wayne teaches old-time and bluegrass instruments and singing and writes books for his company, Native Ground Books & Music. Contact him for a free catalog: (828) 299-7031, banjo@nativeground.com, or go on-line at www.nativeground.com.
Festival Turns 40:
June 2013
Wheatland Celebrates By Stauff Riter 1974 marked the year that President Richard Nixon resigned, the movie Jaws was filmed, and “Annie’s Song” by John Denver was number one on the song charts. It also was the year of Wheatland Music’s first festival. Forty years later and Wheatland Music Organization (educational, nonprofit) has grown to become one of the preeminent presenting organizations in the country. Its annual festival is held the weekend after Labor Day.
More than 200 artists and 12,000 music and arts enthusiasts from over 1,200 zip codes trek north to Remus, Michigan to enjoy performances, music and dance workshops, juried arts, luthiers, children’s activities and more. Wheatland exists to preserve traditional music and the arts. It is a unique place where all ages are inspired by master artists, encouraged to participate in workshops and then share what they’ve learned with others. They are encouraged to “carry it on.”
Special Commission
In celebration of its 40th anniversary, Wheatland Music Organization commissioned Sharon Leahy and Rick Good, the former directors of the Rhythm In Shoes dance and music company, to create Carry It On! - a multi-disciplinary percussive dance and music project rooted in the traditional arts. In an unprec-
edented effort, four generations of artists, from Michigan dancers in training to professional dancers and musicians from across the country, are taking part. The Carry It On! activity is being supported in part by an award from the Michigan Council for Arts and Cultural Affairs (MCACA), The National Endowment for the Arts, the Outreach Fund of the Country Dance and Song Society and gifts by Wheatland supporters. Of the numerous festivals featuring traditional arts across the c ou n t ry, Wheatland is one of a few to feature dance as a primary arts experience. Over the years, a wide variety of traditional arts dance styles have been offered such as French Canadian, Appalachian clogging, Chippewa Ojibwe Tribal, English Clogging, Swing, Tap, Cajun and more.
Line Up
Some of the other 40th annual festival performers are The Duhks, The Revelers, Big Sandy and his Fly-Rite Boys, The Boxcars, The Waymores, La Bottine Souriante, and Run Boy Run. For more information about attending the 40th annual festival being held September 6, 7 & 8th , 2013, or Traditional Arts Weekend from May 24 – 26, 2013 (both including Carry It On! activities) see www.wheatlandmusic.org or call (989) 967 8879. A new memory book celebrating the first forty years will also be on sale starting in September.
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June 2013
Legendary Preservation Born and raised in Eastern Ken-
some,” James said. He was living over in England, and would come By Greg Tutwiler back to the states every other year or so, and we would do some shows together.”
tucky in a little place called Pine Hollow, James Reams along with his band the Barnstormers are celebrating 20 years this year. Depending on your geographical location, you may not have yet had the chance to enjoy James’ brand of old time bluegrass music – but it won’t be long. It’s taken him ten years, but he’s putting the polish on the soon to be released documentary film “Making History with Pioneers of Bluegrass: Tales of the Early Days in Their Own Words.” For the project, James interviewed over 20 of the first generation bluegrass musicians – folks who paved the way. They talked about their history as musicians and life in the early days of bluegrass. Set to be released this summer, the film will become a vital asset to future generations bluegrass musicians. James recalled how life in Pine Hollow was behind the times, even then. “My dad was in an old time string band,” he said, “and he would take me to square dances where they played. I remember kerosene lanterns and saw-dust floors. For a man my age (57) that’s sort of strange. Lots of times, that’s an older generation than I am. But it was normal to me. And it was part of the tradition of growing up. We even listened to the Grand Ol Opry. I just came up around music. So naturally I picked it up and started to play with dad and in my own bands around town in bars and pubs.”
Change In Scenery
Eventually the senior Reams realized that for his family at least, it was time to leave that life behind. “I guess I was lucky. Dad was looking for a better life,” James said. So when James was late high school age his dad piled the family “… into an old Nash Rambler with some hard boiled eggs and headed north. We went up to Wisconsin where Dad knew some family and started farming there.” It was different, and it was better for the family. And James continued his love for music.
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At the same time, James was playing with a great fiddler named Bill Christophersen. “I mentioned to Tom that we should record something, so the three of us went into the studio. I was about 30 at the time. After we did the recording, somebody suggested that we shop it around to record labels. I thought they were crazy.” But they sent it to Gary Reed in Roanoke, VA atthe then national record label Copper Creek Records. The next day Gary called James and offered them a record deal. “All my life I had been playing string music for fun and for passion, but I never thought I’d get a record deal, particularly on a national record label.”
James remembered that the Fox River Valley where they lived was a big printing area. “I was very interested in printing,” he said. So he worked during the day at a print shop and would play little bars, and taverns and opry houses on the weekend. “One day (Late in his 20s by now) I got a wild hair and decided to move to New York City.” He packed two cardboard boxes of stuff, a pair of work shoes, and his guitar, and got on a Greyhound Bus bound for the big apple. “I’d never been there before in my life,” he said. He quickly got a job working for a printer in New York, and at night would peruse the folk pubs and bars in eclectic Greenwich Village. Clubs like The Bottom Line and Folk City became his hangouts. He began playing in those clubs and rubbing elbows with the elite of the day honing his skill and love for string and folk music.
Pickin’ With Legends
Tom Paley, who had worked with Woody Guthrie, and was one of
the founding members of The New Lost City Ramblers took a liking to the young James Reams. “We started hanging around together
The record, The Mysterious Redbirds was pretty well received. And so Gary told James he could release some other material. Barnstormin’ with James Reames And The Barnstormers was next. James had formed the group back in 1993 as a way to get to play more often. Their record was released in 2001, and the world opened up for them. “We got lots of national attention and all of a sudden people knew my name,” he recalled. One afternoon James and the Barnstormers were performing at a festival in New Hampshire. Ready to head out to the next gig, they encountered van trouble. “We needed some help,” he recalled. In addition, their banjo player was missing. “So I went to the biggest bus there on the grounds. It was Vernon McIntyre and The Appalachian Grass. I knocked on the door and they let me in. When I got on that bus I recognized a banjo player named Walter Hensley – the first banjo player ever to play Carnegie Hall,
June 2013
and the first banjo player to have his own major label release; on Capitol Records. Some think he’s one of the greatest underrated banjo pickers of all time. There he was sitting on that bus. At that time, he was retired – working a blue collar job and raising a family, and just playing a few dates with friends.”
Calling Him Out
“On a whim, I said to Walter, ‘do you want to record a record?’ He said, ‘I don’t know, I haven’t re-
corded in a long time. I’d really like to practice and get some material down and we can see where it goes.’ So I took the Barnstormers to Walter’s house for practice and rehearsals – and we ended up recording an album called James Reams, Walter Hensley and The Barons Of Bluegrass. That album was nominated in 2002 for Recorded Event Of The Year by the IBMA, along with the Chieftons and The Nitty Gritty Dirt Band. We didn’t win, but look who we lost to. We got a lot of airplay though, and the people of the early days of bluegrass were thrilled that a legend like Walter Hensley was back out and recording again.” James got to record another album with Walter, and several more with the Barnstormers for Copper Creek Records. Now James Reams and The Barnstormers are playing nationally in Colorado, and California, and of course on the east coast
from New York down into Virginia. They’re celebrating 20 years as a band. But there’s something else equally exciting.
The Real Purpose
When James met Walter all of a sudden he realized that there was a story there – his story – and the story of this whole generation of the first bluegrass musicians. They all had a story, and stories. And they were getting older, and we were losing them. So he became fascinated in meeting as many of them as he possibly could and actually documenting it. It was the history of the creation of a musical form stored up in the minds and hearts of these guys. “So we set out filming me interviewing as many of these guys as we could with the idea of turning it into a documentary.” James said that in many cases the folks appearing on the film are no longer with us, and in some cases, this was their last recorded interview. Some of the men featured in the film include Bobby Osborne, Curly Seckler, Jimmy Martin, Kenny Baker, and Melvin Goins, just to name a few. The plan was to make the viewer feel like they were back stage with the legend “just hanging out and shooting the breeze.” With the film almost complete, James lost his partner and love Tina Aridas in 2011 to cancer. Her dying wish was for James to complete and publish the film. And thanks to a Kickstarter campaign and the support of his fans, the film will be ready in just a few months. Stay tuned to this magazine, or visit their website at www.jamesreams.com for up to date information
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June 2013
Blue Ridge Music Hall Of Fame Every spring we Americana mu-
sic lovers make plans for our festival going season. For many, these plans include a trip to Wilksboro, NC to attend the 4-day Merlefest on the campus of the local Wilkes Community Collage. Often, when we include the Merlefest, we attend it without looking around town a bit to see what else Wilksboro has to offer. I’ve certainly been guilty of doing just that in the past and I’m sure you have as well. I think that maybe we’ve been myopic. AR’s publisher called me the other day with a suggestion that folks should consider setting aside a few hours while at Merlefest to visit the Wilkes Heritage Museum. That sounds like a plan, so let me tell you just a little about this unusual place. The Wilkes Heritage Museum, Inc. (WHM) is a non-profit organization that was formed in 1968 with the core mission of operating and maintaining the Old Wilkes Jail (c. 1859); the Robert Cleveland Log Home (c. 1779); and the Wilkes
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Heritage Museum itself, The museum building is actually the former Wilkes County Courthouse (c. 1902).
I contacted Ms. Marilyn Payne at the Wilkes Heritage Museum and asked her to share a bit of information about the museum with us. Here is what she had to say,
By Edward Tutwiler
“The Wilkes Heritage Museum first operated as the Old Wilkes Jail Museum during the early 1970s. This is the old jail that held Tom Dooley originally for his murder of Laura Foster (Editor note, you may remember the famous folk song titled Hang Down Your Head Tom Dooley). In the early 2000’s, the Wilkes County Courthouse became available to us as a new court house was built on another site. A committee was formed and money was raised to restore and renovate the old building which was in dire need of repair. We launched a fund raising campaign in the community and raised enough money through grants and gift-giving to accomplish our initial goal. We moved many artifacts from the old jail and received many more from the community as loans and/or donations. All the exhibit rooms are full of displays depicting every aspect of history in the county.” The exhibits on display include those associated with the early settlement, medicine, military history, moonshine, and early stock-car racing.
June 2013
Linking The Past
The original plan was to restore the Old Wilkes County Jail to its original 1860 appearance and operate it as an educational center for the community. From those original plans, museum leaders went on to restore the 1779 home of Captain Robert Cleveland; the 19th century Finley Law Office; and the 1902 Wilkes County Courthouse. The restored courthouse now serves as the home of the museum’s display area. The WHM held its official opening in November of 2005. Since that opening, the WHM has contributed to the education and culture of the county’s present and future. The museum does this through a collection of artifacts, images, and a robust collection of stories about the early settlement, military history, industry, agriculture, medicine, communication, education, entertainment, and transportation. The feature of the Wilkes Heritage Museum that most interested us here at the magazine is its Blue Ridge Music Hall of Fame. The Blue Ridge Music Hall of Fame is located in the old restored courthouse along with the museum. It is important to know that the federal government has designated Wilkes County, NC as part of the Blue Ridge National Heritage area. Therefore, it seemed natural for the WHM, in partnership with Wilkes Community College (representatives of Merlefest), and along with both local and national scholars, historians and musicians to promote this unique Hall of Fame.
ber nomination committee includes scholars from Appalachian State, UNC-Chapel Hill, the University of Wisconsin, the Library of Congress and the Smithsonian Institution. These folks prepare a ballot upon which a 51 member selection committee votes. This nomination and voting activity take place in two rounds between September 15 and October 30 each year. The inductees are selected in the following categories: Nationally Known Artists, Pioneer Artist, Regional Musician and Sideman, Recording Industry, Gospel Music Promoter, Organizer and Special Contributor, Master Musician and Tradition Bearer Honorary Inductee. Once selected, the inductees are recognized at a gala dinner and induction ceremony. The even to be held in the fall of 2013 is the sixth such event. Ms Payne spoke of the inductees. “In 2012, we inducted George Hamilton IV, David Holt, Robert “Tut” Taylor, Cindy Baucom, and the Chuck Wagon Gang all of whom performed. We also inducted Charlie Poole, Dewitt “Snuffy” Jenkins and inducted William “Oliver’ Swofford as an honor-
ary inductee. For 2013, we are inducting Andy Griffith in the Nationally Known Artist from the Region category; the Stoneman Family in the Pioneer Artists category; Norman Blake, in the Sidemen and Regional Musicians category; Lester Flatt in the Songwriter category; Kyle Creed in the Luthier category; and Blue Grass Unlimited with Pete Kuykendall in the Media and Scholar category.” If you are at all familiar with artists from these southeastern mountains, you will certainly recognize some or all of the names Ms. Payne mentioned. So folks, if you are going down the Merlefest this spring, by all means take a few hours from your music listening to slip downtown on Thursday or Friday and check out the Wilkes Heritage Museum (they are open 10-4 weekdays]. For more information, you can write: Wilkes Heritage Museum, 100 East Main Street, P.O. Box 935, Wilkesboro, NC 28697. Or you can call them at: 336 667-3171
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The Hall of Fame showcases and preserves the very rich musical heritage of the Blue Ridge Mountains area from northern Georgia to northern Virginia. The purpose of this Hall of Fame is to educate people about the history of the music from this area of the world and make them familiar with Blue Ridge area musicians of all genres. The museum does this with exhibits and an annual celebration of inductees, which is the highlight event each year. According to Ms. Payne, “Candidates for election into the Blue Ridge Music Hall of Fame must meet at least one of the following criteria: those people who achieved notoriety as singers, songwriters, master musicians or national or regional performers in any form of musical heritage who were either born in or near the Blue Ridge Mountain Region or who were substantially active or resident for a substantial period of time within the region. These people and organizations include luthiers, organizers and promoters, sidemen, media personnel, dancers and callers, broadcasters, recording engineers and record company operators. Candidates may also be those residents anywhere who helped expand the appreciation of the music of the Blue Ridge region, primarily old-time, bluegrass, piedmont blues, and sacred music.”
Who Decides
The Blue Ridge Music Hall of Fame induction committee involves local experts along with leading national authorities in selecting the annual inductees into the Hall of Fame. The 15 mem-
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June 2013
Welcome to our new f eature! Thanks to a new partnership with ReverbNation (www.reverbnation.com) we are honored to give you a peak at a few of the nation’s hardest working indie artists. Each month we’ll select one entry to showcase for you here. Enjoy! THIS MONTH’S FEATURE:
By Greg Tutwiler
The Deadfields FEATURE ARTISTS Identifying themselves as “Americana/Folk,” five southern gents hooked up in Atlanta Georgia back in 2011 for one common goal; “have fun, write, and perform meaningful music.” And it was magic almost from the beginning as Geoff Reid (Lead vocals, guitar, harmonica), and Jeff Gardner (guitars, mandolin, vocals), began booking and performing shows even before the band’s lineup was complete. Jeff explained to me that he and Geoff originally played together, and then split into two separate bands. As time would have it, those two bands ran their course, and they decided to give it another run. “We loved the ideas and direction that each of us were feeling and decided to immediately begin working on songs for what would become the first CD.” Eager to share their new creation the two started booking acoustic performances anywhere they could. They quickly added Corey Chapman (pedal steel, dobro, banjo) to the acoustic version. It wasn’t long before they knew a full band was in order and subsequently placed an ad in the local classifieds which netted Brandon Markert (percussion, vocals). In January 2012 they rounded out the lineup with Chase Alger (bass, vocals) and headed to the studio to lay down their debut CD Dance In The Sun (released Feb. 2012).
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According to their web site, while the CD has seen it’s share of success, “nothing really compares to an actual live Deadfields show. It is full on, honest energy from start to finish. Whether performing to a packed house or just the lucky few that happen to discover the room, no matter, The Deadfields’ show is something you can’t forget and has demanded repeat performances.”
Do It Yourself The Deadfields are one of a growing number of what the industry calls DIY bands. As Corey explains; “DIY for the Deadfields is about embracing the challenges and opportunities associated with being an independent band in these times. The current challenges in the music industry are well documented, but the opportunities, especially given the current technology and communication tools available, are greater than ever. This allows us to record our own music, distribute our own music, design graphics, collaborate remotely, manage and book the band, communicate and
connect with our fans – all in house. It is about more than the technology, though. It is about each member bringing unique skills to the table with a willingness to use those skills to do whatever needs to be done to move the band forward.” As the band chugs across the country with their brand of DIY Americana, Chase shared with me how he sees the future of this collaboration. “My vision for this
band is not a vision but a reality. Everything I’ve always wanted in a band has come true. So whatever else happens is just a bonus. I’m 30 years old playing tunes with my best friends and being applauded for it! Really? Yeah! My goals have been surpassed. But while we are at it, I’d love to do this for the rest of my life and be able to support my family while doing it.” Of course, they’ve had outside help along the way. But this selfsufficient philosophy allows them to focus on creating music they all enjoy and on just putting it out there rather than focusing on achieving milestones like signing with a record label or with established
management or a booking agency. There is a collective belief that those things will come in time, at the right time. “We are not waiting on those things. We are just doing it,” Corey said.
Often Wrong, Never in Doubt When I spoke to the guys, they were putting the finishing touches on their sophomore Often Wrong, Never in Doubt. Corey told me that it was shaping up to be exactly what they wanted going into the recording process. “We are all proud of our first album but we knew we wanted more of the band’s personality – individual and collective – to come through with these recordings. It is still our own mix of styles that make it broadly fit into Americana. But we believe it has a little more edge, energy, and attitude to it. There is also more collaboration – from the song writing to the arrangements and the overall production direction. There is always a nervous excitement when putting out a new project. “Dance helped make many new fans for the band,” Corey said. “We hope Often will introduce more music fans to what we do and that existing fans will appreciate it as positive growth for the band. Of course, we just have to put it out there and see what happens.” For more information about The Deadfields visit their site www.thedeadfields.com, and you can check out their music on ReverbNation and iTunes. And if you want to have these guys come to your town, ask. They just might take you up on it. My gut tells me, book them while you can
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Listen for The Deadfields on our radio station ...
Blind But Now I See Arthel Lane “Doc” Watson, blind from birth, was revered as the voice of Appalachian music by many for more than half a century. When he passed away at the age of 89 last May 2012, he left a void in the music world that will likely never be replaced. Doc spent his early years playing harmonica and a homemade banjo but it was the $12 Stella acoustic guitar his dad bought him when he was just 13 that changed everything. In 1960 folklorist and co-founder of the Smithsonian Folklife Festival Ralph Rinzler discovered Doc playing in a Honky Tonk band in North Carolina. He sounded “as though he’d been been picking for a hundred years.” Doc, unknown to the rest of that world at that time, would go on to record over 50 albums and win seven Grammy awards, and forever change the way guitar pickers play their music. Needless to say, Doc and his music will be immortalized for years to come. One such effort set to release this spring is author Kent
Gustavson’s book, Blind But Now I See. From the book jacket, “inside this book are untold stories from Doc Watson’s life and career: the details of the tragic loss of his son Merle Watson in a late night accident, the real story behind the abuse he Author Kent Gustavson suffered at the Raleigh School for the Blind, and his first trip alone on a bus to New York City with a borrowed Gibson guitar.” Kent Gustavson, who holds a PhD in classical composition from Stony Brook University in New York, and is an award-winning author, spent six years meticulously researching and interviewing for this project. He conducted well over 100 interviews and the book contains stories and insights from such legendary musicians as Bela
June 2013
By Stauff Riter
Fleck, Ben Harper, David Grisman, David Moultrup, Jerry Douglas, Jonathan Byrd, Marty Stuart, Michelle Shocked, Mike Seeger, Norman Blake, Ricky Skaggs, Tommy Emmanuel, Tony Rice, Tony Trischka, and Warren Haynes, among many others. Blind But Now I See has already won a Next Generation Indie Book Award, and is a finalist in the Foreword Book of the Year Awards. Vintage Guitar Magazine wrote, “Musicologists will appreciate the chapters on Doc’s singing style and guitar work... Music fans will delight in the book as a whole, a splendid recounting of Doc Watson as man whose ‘...approach to folk music on a guitar was like Horowitz’s approach to the piano...”
was so rock-solid in those family hymns that I still sing the bass part today, because it’s stronger in my mind than the melody! He pointed me towards the blues, early rock and roll, traditional Appalachian fiddle music, and balladry. He literally started a brush fire in my musical mind.”
Gustavason told No Depression magazine; “I stumbled across a copy of The Watson Family by Folkways records. Watson’s voice
Any Doc Watson fan will want to own a copy of this extensive and well written documentation of the late folk music legend
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June 2013
side and the Wine Bar on the other. Music, family, fantastic food and a great vibe are the hallmarks here. For musicians the Rest & Bar are perfect, with an abundance of power and space, threestep-access and room to stow your gear. There are plenty of “no arm” chairs for guitar players and bullyspace for business cards and event notices.
Shenandoah County has a pulse
that is easy to appreciate and a spirit that’s hard to tame. If you race past on Interstate 81, Shena ndoah County will fly by in a mere 40 minutes. But stretching along the length of Shenandoah County is Route 11, the old romantic road of Days Past, and the real treasures dot the towns and meadows like a string of pearls. This is real America, Bootstrap America, full of rich musical heritage, engaging art, down-home dining and many other aspects of a place that shines with pride. You have to see it to savor it. Route 11 wants to make you a lifelong companion. If Shenandoah County has a pulse, Route 11 has a Rhythm, and we want to share that rhythm, that charm, with you our readers.
It Begins In Edinburg You may recognize the big powerhouse names like Suntrust Bank or Edward Jones Investments, but the real nuance of this no-traffic-lighttown is nestled along Main Street. Business is done on a first name basis, and every aspect of daily life in Edinburg is the same. Get ready to get acquainted! In the traditional way, merchants and businesses
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By Don Challe know that the best customer is a long-time customer, and simple courtesies such as Please and Thank You are standard here. Save gas and use your shoes. There is plenty of Main Street parking, all of it free.
Carmella’s Café: The Gathering Place Every town prides itself on a gathering place, and Carmella’s is a great “in and out” Café, with outdoor patio seating right on Main Street. Inside there are two distinct venues, the Cafe Restaurant on one
time is money and Carmella’s Café respects the need to eat and run sometimes.
Music makes a café look good and the proprietress knows it. “I want this place to crackle, all the time,” says Carmella, “Activity is the spice of life, and even if you only have time for an espresso or glass of wine, drop by and make yourself at home. Park on the patio and play your guitar, and there might just be a free meal in it for you!” Local food and suppliers are important, too. Carmella works closely with nearby producers and Farmer’s Markets to ensure freshness. Most of their ingredients come from less than five miles away, a true investment in community, business, and local agriculture. Set aside an hour for a Europeanstyle friendly lunch or dinner, or call ahead to have lunch ready the moment you arrive. We all know
Plans for the future? “We have really jump-started with the Anniversary, Wedding and Celebration Party opportunities along Route 11,” relates Carmella, “since we can deliver on local-source catering, plus music and décor for all tastes and budgets.” You will find many things to enjoy at Carmella’s Café.
June 2013
The Artist’s Retreat
Astonishing Art can be found in unlikely places. Route 11 has numerous wonderful Art Centers showcasing an entire spectrum of inspiration and composition. Unique among these is the Edinburg Art Gallery, owned since (FILL) 1972 by Mark Strauss. He is an Artist, Author, Public Speaker and Holocaust Survivor. Though his paintings were exhibited on the Washington Mall and Old Town Alexandria for many years, Mr. Strauss has the greatest enthusiasm for speaking to the student population in area schools about the dark years of World War II.
cases work from mostly local artists: furniture, pottery, stained glass and flower-pressed compositions. It also has a fully-outfitted studio, where Mr. Strauss not only cultivates his own commissions but provides private art instruction as well. “All things in truth, I would give art lessons for a good bottle of gin,” the artist laughes, “but we have to trade in the prevailing currency, and that is indeed dollars and cents.” A visit to the Gallery is another unique experience that is singular and dynamic. Pictures and interviews are welcome.
What About The Music? The Edinburg Gallery also has one of the best Southern Porches along Route 11, with a sweeping expanse that warms in the sun all day long. There are plenty of rocking chairs and other seating, and this invites the oft-guitarist and locals as well to park awhile and strut their stuff. Mr. Strauss believes in socializing the traditional way, with friends and strangers alike, and there is more than enough room to enjoy comfort, sunshine, and a great view of everything passing on the street below. “There was great tragedy, yet great tenderness,” Mr. Strauss explains, “My generation of Europeans is passing, slowly, and I think it important to speak to students who may not completely grasp that the troubles of the past are easily, repeated in the future. There is still time to embrace understanding of our fellow man, and to act on that understanding in a positive, constructive way.” The Edinburg Gallery is a longstanding local institution, generally known as “the big yellow house with a steel bull in the front yard”. (FILL), an artist friend of the Strauss Family, crafted automotive parts, household items and farm implements into varied animals and works of art. All are on display in the front yard. Creation is the main thrust of the Edinburg Gallery, and it starts at street-side. An author of numerous books on the subject of tragedy and tenderness, Mr. Strauss’s oil paintings feature the same elements. The gallery is full of his work, and that of many other artists, nearly two dozen in all. As with many shops along Route 11, the Gallery show-
Bring a guitar, notepad or business card. A lot of business gets conducted on that porch! Folks come and go as with any social setting, but musicians are the ones who make the place really hum on the porch. This is the place to riff out new ideas, sit a spell, and talk the afternoon away. Friendly dogs are welcome too. “Art is the one thing that separates us from the animals,” claims Mr. Strauss, “and there is nothing more unifying than good company and good music.” Well said. See you in ED!
Contact Information Carmella’s Cafe: 102 South Main Street Edinburg VA 22824 (540) 984-8330 www.carmellascafe.net Edinburg Gallery: 108 North Main Street Edinburg VA 22824 (540) 984-3066 www.markstrauss.com
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June 2013
APRIL Merlefest 25 April 25 - 28, 2013 Wilkesboro, NC www.merlefest.com
MAY Houston Fest May 3 - 4, 2013 Galax, VA www.houstonfestgalax.com Augusta Lions Bluegrass May 4, 2013 Stuarts Draft, VA (540) 294-2888 Heart Of Virginia Festival May 4, 2013 Farmville, VA www.heartofvirginia.org Magic In The Mountain May 10 - 11, 2013 Clifton Forge, VA www.cliftonforgemainstreet.org Doyle Lawson Bluegrass Festival May 9 - 11, 2013 Denton, NC http://www.farmpark.com/ doylelawsonbluegrass.html Central VA Family Bluegrass May 16 - 18, 2013 Amelia, VA www.ameliafamilycampground.com Habitat Jam May 18, 2013 Lexington, VA www.rockbridgehabitat.org Hills Of Home Bluegrass Festival May 23 - 25, 2013 Coeburn, VA www.drralphstanleyfestival.com DelFest May 23 - 26, 2013 Cumberland, MD www.delfest.com
Kerrville Folk Festival May 23 - June 9, 2013 Kerrville, TX www.kerrvillefolkfestival.org Little John Mountain Music Festival May 23 - 25, 2013 Snow Camp, NC www.littleJohnsMountainMusic.com Crooked Road Dulcimer Festival May 23 - 26, 2013 (Ferrum College) Ferrum, VA http://crookedroaddulcimerfestival.org/ Gathering In The Gap May 25, 2013 Big Stone Gap, VA www.gatheringinthegapmusicfestival.com Fiddlers Grove Festival May 24 - 26, 2013 Union Grove, NC www.fiddlersgrove.com Carnegie Hall Blues & Jazz May 29 - June 2, 2013 Lewisburg, WV www.carnegiehallwv.org
JUNE Graves Mountain Festival May 30 - June 1, 2013 Syria, VA www.gravesmountain.com Clinch River Days Festival May, 30 - June 1, 2013 St. Paul, VA www.clinchriverfestivalsharepoint.com Ocracoke Festival June 7 - 9, 2013 Ocracoke, NC www.ocracokefestival.org Blue Ridge Old Time Music Week June 9 - 15, 2013 Mars Hill, NC http://www.mhc.edu/oldtimemusic Shenandoah River Fest June 14 - 15, 2013 Edinburg, VA www.shenandoahriverfestival.com Clinch Mountain Music Festival June 2013 Gate City, VA www.clinchfest.net
www.AmericanaRhythm.com
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Peach Bottom Farm Fiddle & Strings June 10 - 14, 2013 Independence, VA www.peachbottomfarm.com Rockahock Bluegrass Festival June 13 - 15, 2013 Rockahock, VA www.rockahockbluegrass.com Bluegrass In Cherokee June 13 - 15, 2013 Cherokee, NC www.bluegrassincherokee.com Highland Co. Old Time Fiddlers June 13 - 16, 2013 Monterey VA www.highfiddle.com Virginia Blues & Jazz Festival June 14 - 15, 2013 Warm Springs, VA www.garthnewel.org Wayne C. Henderson Music Festival June 15, 2013 Mouth Of Wilson, VA www.waynehenderson.org Bluegrass In Sedalia June 20 - 22, 2013 Sedalia, VA www.sedaliacenter.org Music In The Mountains Festival June 19 - 22, 2013 Summersville, WV www.adamsandandersonbluegrass.com Grayson Co. Fiddlers Convention June 28 - 29, 2013 Elk Creek, VA http://www.ecvfd.net/home/graysoncounty-fiddler-s-convention Int. Bluegrass Museum’s ROMP June 27 - 29, 2013 Owensboro, KY www.rompfest.com
June 2013
Along
the Shenandoah Music Trail
By Don DePoy PhD
This issue’s focus is not so
much about the local music scene in the Shenandoah Valley but a road trip that explores new territory. I would like to offer some personal observations of some obscure music venues. Music knows no boundary and can open many doors. Just beyond a particular river basin you will find a treasure trove of hidden local music. For those who don’t know, Martha Hills and I tour as the duo Me & Martha (meandmartha.com) and travel a fair amount promoting the musical heritages of the Shenandoah Valley. Last month, we had the opportunity to travel out to Lexington, Kentucky and do a live radio program.
Red Barn Radio
You most likely have heard of The Grand Ole Opry. However, chances are you have not heard of the Red Barn Radio (www.redbarnradio.com). For over eleven years they have showcased Old Time and Bluegrass musicians, both from Kentucky and neighboring states where the music has settled and flourished. In weekly live conversation and performance with their talented guests, Red Barn Radio enlivens and archives Kentucky’s musical heritage, and brings to the airwaves a uniquely refreshing and folksy hour of Americana programming. To be asked to be part of their efforts was all quite exciting. We had a chance to play music from the Valley and talk at length about the
Shenandoah Music Trail and the history of the music. We were recorded live with a studio audience and broadcasted over several Kentucky radio stations and streamed live via the internet. The program was also video recorded and will be featured at a future date. Red Barn Radio offers a plethora of talented musicians you might want t o che ck the m o ut the (www.redbarnradio.com).
Highway Museum
Butcher Holler still attracts visitors by the thousands every year. Other displays include: Patty Loveless, Tom T. Hall, Ricky Skaggs, The Judds, Dwight Yoakam, Keith Whitley, Crystal Gayle, Billy Ray Cyrus, Hylo Brown and others who have roots in the area. Martha and I were invited to appear on the Museum’s Thursday evening stage show and encouraged to come early and participate in the weekly jam before the show.
While traveling to Kentucky off the beaten path (I-64) we were surprised to stumble upon a section of US Route 23, known as The Country Music Highway. The road winds through the easternmost corridor of Kentucky. It has earned that name because of an extraordinary phenomenon. This area is the birthplace or home of a remarkable number of country music stars.
We loved the friendliness and musicianship of the folks. We made a lot of new friends and look forward to seeing them again. If you want to take a road trip to see some of eastern Kentucky’s best bluegrass and country musicians the Museum offers a series of great yearround programs and shows. (www.visitpaintsvilleky.com/museum/)
Along this stretch of road is the best kept secret, U.S. 23 Country Music Highway Museum. The museum features an amazing performance space and museum with a display of world-famous “Coal Miner’s Daughter” Loretta Lynn. Lynn was born a few miles up the road, and her family’s modest home in
On our way back from Kentucky, we did an elementary school performance sponsored by Young Audiences of Virginia (www.yva.org) in Floyd County, in the heart of SW Virginia’s mountain music country. On our way there, I off-handedly
New Generation
continued on page 22
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June 2013
Music From The National Scene
Music From Your Neighbors
Here we go folks, the new
edition of SPINS! Just dialing through this collection of discs gets me excited for festival season - I have several of them marked on my calendar where many of these fine acts are scheduled to appear. Soon you’ll be able to hear cuts from these groups featured on our Internet radio station, Americana House Party too. You can turn us on from the home page of our web site, www.AmericanaRhythm.com. Uncle Woody, The Spin Doctor
Don Rigsby Doctor’s Orders
The Gibson Brothers They Called It Music
Brandon Reeves A Decent Melody
The Steel Wheels No More Rain
Aaron Lewis The Road
www.thesteelwheels.com We can’t say enough good stuff about these guys! And new Steel Wheels fans will want this for sure - it’s a collection of previously self released cuts re-recorded with that distinctive Steel Wheels signature polish. Love it
www.aaronlewismusic.com Aaron wrote all but one of the songs on his new CD The Road. So, not only is he a highly talented singer, the dude can write too! It’s a rootsy Eagles sound at times - can’t imagine why this won’t get major national attention
Dave Adkins And Republik Steele That’s Just The Way I Roll
Bo Isaac & The Rounders Dollar
www.gibsonbrothers.com
www.brandonreevesmusic.com
2012 IBMA Entertainers Of The Year, New York’s Gibson Brothers are one of the hottest brother/duo groups performing today. Pristine harmonies. Solid proof that bluegrass doesn’t have to be from the South to be good
A Decent Melody is the first studio project in three years for the North Georgia troubadour. This could be your new summertime blues CD - it’s got a feel good, groovy rhythm to it. We give it a big thumbs up
Mark Newton & Steve Thomas Reborn
Volume Five
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Run www.volumefivebg.com
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A Tribute To Ralph Stanley www.donrigsby.com “I want the world to know that Ralph’s music is what makes me tick,” said Don Rigsby about his tribute CD, Doctor ’s Orders. Ralph Stanley’s career spans 70 years - and Don can be proud of this salute to the legend
www.newtonandthomas.com Although this is a new collaborative, Mark and Steve are now newcomers to the bluegrass scene. There’s a Grammy nomination, a CMA nomination, and several IBMA awards - And yes, it shows. Reborn is well worth a spin
Another hot group from the ranks of the grass newcomers - Volume Five releases their third project, Run. A few personnel changes under their belt, the music remains the same - hot. They’re one of the brightest young bands out there
www.republiksteele.com Gritty grass could be a nifty new heading in the market And Dave Adkins voice would fit right in. You’ve got that melodic string sound with a Travis Tritt lead - yeah, it works! Be sure to check out these emerging fellas
www.jdmcpherson.com Newcomer to the Bluegrass scene, Bo Isaac gathered up a group of talented friends, called them the “rounders,” and put down some sweet tracks. “Bluegrass is ... the best music on earth,” Bo said. Indeed, he plays it well
Junior Sisk & Ramblers Choice
Holly Renee Allen Big Love
The Deadfields Dance In The Sun
The Story Of The Day I Died www.juniorsisk.us 2012 IBMA Male Vocalist Of The Year Junior Sisk hits the streets with his new CD, and his uniquely talented brand of traditional grass. This new project, like th rest, is top notch classic strings
www.hollyreneeallen.com
Marty Raybon & Full Circle The Back Forty
www.thedeadfields.com
Unsung Hero A Tribute To The Music Of Ron Davies
Atlanta’s Martin Kearns says, “It is not possible to hear (Holly Allen) and remain untouched by her spirit.” Amen! Her new project Big Love, is full of maturity, and authenticity. Her spirited, soulful voice has that something special you won’t soon forget
www.martyraybon.com In Marty’s 40 year career he’s received Grammy, CMA, ACM, IBMA and numerous other awards. His voice and style are distinct. The Back Forty, his latest, is no exception, and likely award bound. You can’t go wrong with this
These five guys from the Carolinia’s and Georgia got together with one purpose; “have fun, write, and perform meaningful music.” Well, I hope they’re having fun because the music sure is fun! Great blend of folk/rock/ blues, and tons of originality
www.wosmith.org Ron Davies songs have been recorded by Joe Cocker, Anne Murray, Three Dog Night, Mitch Rider, and many more. Sadly, he passed in 2003. But he left a tremendous legacy. Honored here, this is a powerful collection
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You can send new Americana CD releases for consideration to PO Box 45, Bridgewater, VA, 22812
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June 2013
Music Trail continued from page 20 remarked, “Kind of odd we are taking the history of Appalachian music to the epicenter of the music’s tradition.” We were enthusiastically welcomed at the school by our audience. I was mildly shocked that few of the over three-hundred fifty children played the music, of their heritage although some reported that they had relatives that played banjo or guitar. Even fewer children knew how to flat-foot or clog. Two teachers volunteered to demonstrate the dances. The teaching staff was even less familiar with the Appalachian music traditions. Just an eye opener as to why it is so important to make the music accessible to as many folks as we can. Please, support live music this year by attending a concert, festivals, and jams. Perhaps most importantly, take someone along, including children, who might appreciate knowing more about the tradition of making music with others.
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“Little Joe” McAlister’s latest CD Determined To Make It Home Is available now at over 25 stores throughout the Shenandoah Valley. “It’s down home, good hearted music.” Pick up a copy today or call Joe to order direct or schedule a live appearence.
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