Americana Rhythm Magazine Issue #50

April 2014

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April 2014

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April 2014

It didn’t really sink in that this was issue #50 until we got to freak week - that week where we scramble to find all the pieces of the puzzle, and strive to meet our press deadline. Whew! This really is the fiftieth time we’ve published Americana Rhythm Music Magazine - wow! So to celebrate I thought, let’s brush up the design a little - why not? I’ve got time, right? Yikes! But we did it anyway, so I hope you like the minor modifications.

But more importantly, please take note of the great new festivals we’ve partnered with this year! Thanks to The Bloomin Barbeque and Bluegrass in Sevierville, TN; The Charm City Folk and Bluegrass festival in Baltimore, MD; Houstonfest in Galax, VA; and The Rappahannock Americana Festival in Washington, VA. And thank you as well to National Media, Blue Ridge Community College, Fretwell Bass, Rebel Records, Blue Ridge Acoustic Uprising, Mountain Fever Records, Huss & Daltin Guitars, Donna Ulisse, Mars Hill Community College’s Old Time Music Week, Holiday Lake 4-H Park’s Banjo and Mandolin Camp, Augusta Expo, Allegheny Mountain Radio, WMRA Radio, and Native Ground Books & Music - We truly couldn’t do this without you!

Plus, a special thanks to our contributor, distributors, and support staff.

You guys rock! And of course, our loyal readers - you are the inspiration that keeps the engine running. Your continued interest, comments, subscriptions, and moral support make this what it is most of all - Fun! How about 50 more?

Questions, comments, suggestions: greg@americanarhythm.com

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April 2014

By Edward Tutwiler

King Guitars: The Artist Within I’ve interviewed a number of

work and mentioned that I should build a guitar. My reply was that I have no idea how to build a guitar but he kept insisting. A short time later my son agreed with this musician and told me of a guitar builder with whom I could consult. I contacted this builder and learned from him what I could.

At that point, I was a woodworker but I certainly was not a luthier.”

Nevertheless, Mr. King obtained plans, frames, and wood and started building a guitar and learned as he went. He said, “With this first guitar, I learned what worked and I certainly learned things that I should never do again.”

great instrument makers, and the instruments produced by these folks are of first quality in workmanship. Further, I developed a deep respect for their efforts; and recognize them to be the skilled craftspeople that they are. Therefore, I get excited when I get to meet yet another instrument maker. That certainly was the case when I set up an interview with Mr. Edward King of King Guitars located in Staunton, VA. The advertisement for King Guitars states that they are “beautiful, hand-made, custom built, one-of-a-kind guitars”. What the ad should also say is: “artist at work”. While quality instrument makers are all great craftspeople, Mr. King is more. He is an artist, and his media just happens to be wood that he forms into guitars, which meet every adjective listed in his ad.

The Artistic Approach

Walking into Mr. King’s studio you are drawn to the many framed photographs. While looking at the photographs, your eyes fall upon a shelf of finely made pottery and another shelf filled with wood and crystal geodesic shapes. Mingled among all of this artistic expression are finished musical instruments of various types as well as the tools, frames, and patterns that are the hallmark of the luthier trade. Capping this artwork are beautifully finished guitars. While Mr. King is certainly a luthier that specializes in guitars, he is an artist who creates many things of beauty.”

An Instrumental Artist

Graduation found Mr. King joining the corporate world, and after 10 years realizing that he needed a change with a new life and a new place to live. I wondered why he chose Staunton, VA to settle. He replied, “I drove through the Shenandoah Valley in route to visit a friend, I fell in love with the views along the way, and decided that this is where I want to live. I moved here in 1985 and choose Staunton because it was centrally located.

I asked what he did with that first guitar. He said, “As I was building it, I was sending pictures to my sister. As she viewed these pictures, she told me she wanted to buy the finished guitar because it was King Guitar #1, and she wanted it in her

collection that contained some of my other artwork. Since then, I’ve been building almost non stop. Not to say that I have not done other projects in between. In fact, I built two xylophones; a hammered dulcimer (from plans that I traced from a friend’s instrument); and a steel drum that I hammered from an old oil drum; and this wooden thumb drum that I like to play.”

I wondered if every “King” guitar is custom. His reply was, “Yes, definitively; maybe not custom for someone special but definitely custom none the less. No two have been alike. Even if I were to build two out of the exact same woods they would not be the same.”

A King guitar is a Dreadnaught style. This name defines the size and general shape; specifies the neck size and length; and the number of frets on the fret board.

Standardized plans for this style of guitar are all the same size. Build-

With this different artwork on display, I wondered what turned him to building guitars. “Here’s his reply, “A bit over two years ago, a musician was looking at my art

Edward King grew up in the Pennsylvania countryside milking cows, mending fences, and learning to work with his hands before he went to collage to obtain a liberal arts education and decide what he wanted to do with his life. While in school, he took a number of art courses and ended with a BFA in Stoneware Pottery. He said, “This was an epiphany for me; I wanted to be an artist. When people think of an artist, they often think of someone who paints or draws.

That is not what I do. I am an artist/craftsman.”

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April 2014

ers do experiment with these specifications and Mr. King has adopted a narrower neck and a few other minor changes in his design; however, the body construction is standard Dreadnaught. He said, “It works, and it sounds good so why change.”

Mr. King told me that he could only build six or seven guitars in a year’s time because it takes at least six to eight weeks to start and finish a guitar. He does the neck and the body separately and once he’s finished the final polishing, he glues the neck and bridge in place and installs the strings.

I asked about the various types of woods. He replied, “That first guitar was constructed with a mahogany back and sides, a spruce top, mahogany neck, spruce interior bracing, and ebony fret-board and bridge, which are standard woods for guitars. Since then, I started using a whole variety of woods. I like the different grain patterns, and I find that different woods give different tones. I do use Red Spruce on the majority of the tops but I’ve also used Cedar. I find that there are a whole variety of woods that can be used for guitar construction. In the past, I’ve used

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Walnut, Cherry, and an African Fapele wood. Recently I started branching out into new fret-board materials other than Ebony.

It’s A Pine Guitar?

At this point, Mr. King pulled out a finished guitar that he made entirely from reclaimed 300 year old Heart Pine wood. He told me that

he had used Heart Pine years ago when he was a cabinet maker and thought this wood would make a fantastic looking guitar. He exclaimed, “Much to my horror, I discovered that you can’t sand Heart Pine due to the resin the wood contains. You must planethe wood and finish it with fine scrapers. Nevertheless, I built this Heart Pine guitar.

When Terry and I finished, it sounded good, his and I was pleased.”

Derring Then, he pulled out a shaped back.

Banjo.

It was Wormy Chestnut wood, and I made an excited comment. He laughed at my reaction and told me this story, “The mill where I do my spraying was running some Wormy Chestnut wood for use in a plank table. I wondered what that wood would look and sound like built into a guitar so I brought some home and here it is—another experiment. I don’t know if it is going to work but I can tap on this back and hear a very good vibration with a deep sound although I’m not sure what the final sound will be like; and I think I will need to experiment with a rubbed oil finish.”

I asked if using different woods was the artist’s expression. He replied, “This is true. If I get a wood in the

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shop that I have never used before, I’ll lay it on the table and look at it. My mind will turn as to what I am going to do with that wood and how it is going to work. It will make me smile because it is something that I have not used before.”

I asked how he chose the wood. He said, “Some of the wood comes from people who want me to build a guitar. A client wanted a guitar from all local wood. He wanted nothing to be imported, and he was going to supply the wood. He brought Walnut from Singer’s Glen; Osage Orange wood from the Harrisonburg area; and Red Spruce wood from West Virginia.

(The Walnut was a burl from where two tree trunks grow together into a ‘Y” and create this fantastic grain pattern.) The Osage Orange wood had been stored and seasoned for over 20 years and was for the fret-board and the bridge.

The guitar top, braces and tone bars were to be the Red Spruce wood.”

Mr. King told me that he had made a replica of it, which he pulled out for me to admire. It was beautiful although I’m not sure that word does this piece of art justice. The fact that it is constructed from all local, native wood made the piece that much more unique.

April 2014

Affection For All

Most King Guitars have a new home when they are finished but for some, they already have a home—Mr. King’s. I speculated that since he puts so much of himself in each guitar, he might feel a sense of loss when it leaves his studio. He said, “Yes, I do. I once made from scratch a resonator guitar for someone. Even though I had built other guitars, this was my first attempt to build this type.” He consulted with a couple builders of resonator guitars. One of them coached him in an innovative interior design for the instrument.

Mr. King offered, “I learned as I went when I built that thing.

When I finished, I put on the strings, tuned it, and strummed across its strings. I could not believe the sound that I heard. I was very pleased. I sold that resonator guitar to my client but I miss it so much that I must make another one day. When I let that one go, I had to hug it and wave good-by. It was rough letting it go.”

I wanted to know how he put a monetary value on his creations.

His answer, “It is very difficult because there is no way I can get the money back for the material and labor. I may put seven or eight hours a day into building a single guitar. I’ve had well known people, respected players and such, play my guitars and judge the value of them to be comparable to any of the well known custom guitars that are available for sale. I don’t play, and I don’t have the ear to really know whether my guitars sound good or not; however, these people tell me they sound fantastic. A client once played one of my guitars and said that the harmonics are right on and in perfect tune all up and down the fret board.

This was a guy who had bought, sold and played hundreds of guitars in his life. It is possible to find some raw wood for guitar construction that has a four-digit price tag for just the back and sides.Therefore, the final price I place on a finished guitar becomes an individual discussion when the time comes to have that discussion.”

Summing up, Mr. King related, “I really enjoy doing this. It is fun to sit here and cut out the pieces from all the different wood types and put them together. I make everything as exact as I can possibly make it. I don’t cut corners. If something needs to be an exact shape, I make it an exact shape. There are times when something does not go right and I need to start over from the beginning. I really don’t understand everything about the actual makeup of a guitar to be able to explain to someone the function of each component. I’m sure there are many people who do know but I don’t. I know the parts that are needed and I know that if I change one item, I don’t know what the result might be. I can experiment only slightly. It must follow a set plan for me.”

This is not a craft project that Edward King is assembling here. This is the most Zen-like approach to instrument making that I have encountered along the Americana music trail. If someone creates something from nothing and that something has beauty, then that someone is an artist in my eyes, and I see Mr. King as an artist. It just so happens that his particular piece of art ends up being a superb sounding guitar. To learn more, contact King Guitars at edwardk8@verizon.net or call (540)885-3765

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Send us your name and address along with your check or money order for $16 made out to Americana Rhythm, to PO Box 45, Bridgewater, VA, 22812. (PLEASE PRINT CLEARLY) You can also subscribe Via PayPal on line at www.AmericanaRhythm.com

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April 2014

By Wayne Erbsen

Salty Dog Blues Salty Dog. Just hearing these words brings back a flood of old memories. Beyond the bluegrass song named “Salty Dog,” the words make me remember the two feisty yet lovable old guys who wrote it. I’m talking about my old friends, Wiley and Zeke Morris, who composed “Salty Dog Blues” back in 1935.

Over the years, I’ve heard rumors that the Morris Brothers didn’t really write “Salty Dog.” It’s been speculated that they actually lifted it from earlier sources. With my curiosity aroused, I recently began looking into the origins of “Salty Dog.” With a little digging, I found there was no shortage of earlier songs that used the same title. The first recording of “Salty Dog Blues” was by Papa Charlie Jackson on September of 1924. Next to record it was the Allen Brothers on April 7, 1927. Little more than a month later, Sam and Kirk McGee waxed their own version of “Salty Dog Blues” on May

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11, 1927. The following May, the song was recorded again by the Booker Orchestra. In November of 1930, the Allen Brothers went back in the studio to record a number they called “A New Salty Dog.” To further capitalize on the success of their earlier recordings of the song, the Allens recorded it for a third time in February of 1935. This time they called it, “Salty Dog, Hey, Hey, Hey.” After comparing the Allen Brothers’ original recording of “Salty Dog Blues” with that of the Morris Brothers, I am willing to concede that there are enough similarities to suggest that the Morris Brothers could have at least heard the Allen Brothers’ earlier recording. However, similar melodies and chord progressions were common in the late 1920s. For example, in 1925, Charlie Poole and the North Carolina Ramblers used a related melody and chord progression for their popular recording of “Don’t Let Your Deal Go Down.” To people who know a little

music theory, the chords are built on what’s called a “circle of fifths.” Rural musicians sometimes refer to it as “going around the horn.” Even though the Allen Brothers’ recording could have influenced the Morris Brothers’ version of “Salty Dog Blues,” Wiley and Zeke never indicated to the author that they ever head this recording.

machines with nickels, dimes and quarters. I think we hit three or four jackpots. Boy, here it would come!

You know you had a pile of money when you had two handfu ls of change. The name of that place was the “Salty Dog,” and that’s where I got the idea for the song. There’s actually more verses to it than me and Wiley sing, a lot more verses.”

I got to know the Morris Brothers in 1979-80. At that time, I was living in Swannanoa, North Carolina, which was only a short drive to Black Mountain, where they each lived. Both Wiley and Zeke were big talkers and were not bashful about showering me with tales of the wild and wooly days of playing music professionally in the 1930s and 1940s.

Brother Wiley Morris had this to say: “The song is now considered a standard. Everybody uses it in the bluegrass field, just about. We’re making more money off it now on copyright royalties than we ever did on our record, with other people using it. I reckon that song is known all over the world. When I get my statement every six months, it’s being played in every nation under the sun. That song is even popular in Japan! ‘Salty Dog’ ain’t one that’s gone up to high heaven and then fell completely down. It’s just one that’s considered a standard. It’s our biggest song ‘cause it’s a good five string banjo number played bluegrass style.”

Here’s what Zeke told me back in 1980 about how he came to write “Salty Dog.” “I got the idea when we went to a little old honky tonk just outside of Canton, which is in North Carolina. We went to play at a school out beyond Waynesville somewhere, and we stopped at this place. They sold beer and had slot machines. At that time they were legal in North Carolina. We got in there after the show and got to drinking that beer and playing the slot

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My favorite Zeke Morris story is based on what happed after someone dented the door of my 1964 Volvo sedan. At that time, the brothers each ran their own body repair shop in Black Mountain, North Carolina.

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Annoyed that my door wouldn’t close properly, I brought it over to Zeke’s shop for him to take a look at. Zeke closely examined the door and then left for a minute, but soon returned with the biggest sledge hammer I’d ever seen. Now, I should tell you that Zeke was only about 5’6" tall, but you could tell by looking at him that he was really strong for his size, and you wouldn’t want to mess with him.

Zeke reared way back with that hammer and hit the striker of that door just as hard as he possibly could.

Wham! After that, the door closed just like butter!

“Salty Dog Blues” entered the bluegrass repertoire after Flatt and Scruggs recorded it for Mercury Records on October 20, 1950 at WDAE radio station in Tampa, Florida. In addition to Lester and Earl, the musicians on this session included fiddler Benny Sims, along with Curley Seckler on mandolin and Jody Rainwater on bass. In addition to “Old Salty Dog Blues,” this historic session yielded such classics as “Doin’ My Time.” “Cora’s Gone,” “Pike County Break down,” “Preachin’ Prayin’ Singin’, Rollin’ in My Sweet Baby’s Arms,” “Back to the Cross,” “Farewell Blues,” “Take Me in a Lifeboat,” “Will the Roses

Bloom (Where She Lies Sleeping), and “I’ll Just Pretend.”

Even though “Old Salty Dog Blues” was one of the biggest numbers Flatt & Scruggs ever recorded, the lead singing was actually done by Benny Sims, the fiddler in the session. Sims learned it directly from the Morris Brothers when he worked with them in the mid 1940s. Soon after this recording was made, Flatt & Scruggs switched to Columbia Records, where they rerecorded “Salty Dog Blues.” This time it was Lester who sang lead. As Wiley Morris told me, “when it came out on Columbia it was Lester and Earl doing the singing with their group. It didn’t do any good for us when Benny sang it, but when Lester and Earl put it on Columbia, it sky rocketed.”

Wayne Erbsen is a jam-leader, musician, author, publisher and radio host.

He has written thirty songbooks and instruction books for banjo, fiddle, guitar, mandolin and dulcimer. His newest books include Bluegrass Jamming on Banjo, Bluegrass Jamming on Mandolin and Bluegrass Jamming on Fiddle. Check out his web site www.nativeground.com. Call or email for a free catalog (828) 299-7031 or banjo[at]nativeground.com.

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April 2014

Rhonda Vincent; It’s Just Me

By Greg Tutwiler

Rhonda Vincent was born with

music running through her veins.

Her professional career started when she was just five years old singing gospel music in her family’s band, The Sally Mountain Show.

The now Five-time Grammy nominee from Kirksville, Missouri, Rhonda was recently dubbed the new Queen of Bluegrass by the Wall Street Journal.

Her career has now spanned over forty years She has racked up numerous industry awards, and recorded nearly 20 of her own bluegrass and country CDs. Nevertheless, this fifth generation entertainer’s life could have easily ended up differently.

A Different Route

Rhonda was five classes short of graduating college with a degree in business when she got a call from David Parmley inviting her to come to Nashville and make a demo CD. “So I went to Nashville thinking I would just be there a day or two,” she recalled. “It was over a weekend and I figured I would be back in classes on Monday. Monday came and they said, ‘could you stay?’ I loved it so much and I was enjoying myself so much that I just stayed another week.”

By then, Rhonda was behind in her classes, and facing a decision. That was in November of 1983. “I had been engaged for about a year at that point,” she told me. “When I finally got home, I told my fiancé (Herb Sandker) that I was just going to have to quit for the semester. He said, ‘let’s get married.’ In two weeks I went from being in college studying business, to going to Nashville to make my first demo, to quitting college, to planning a wedding for Christmas Eve. Who knows what would have happened if I had stayed in college,” she reflected.

In 1988, Rhonda released her first solo album, New Dreams and Sunshine. In 1985 she got the chance to compete in The Nashville Network’s TV series, You Can Be A Star. Rhonda won the competi-

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tion and was signed to her first professional recording contract.

Through the years, she has recorded and performed in both country and bluegrass. For Rhonda, there is not nearly as much difference between the two formants as others see.

There Was No Line

“When I was five and touring with my family, we had a television show, and a radio show, and made our first recording, and there wasn’t a line between country and bluegrass,” she said. “Dad would sing a Jimmy Martin song, Aunt Kathryn would sing a Kitty Wells.

Grandpa would sing Bill Monroe, and Mom would sing Loretta Lynn. It was just our music. There wasn’t a line defining either, or.

This was just the music that we played. My Dad played all the instruments. He might play electric guitar like Chet Adkins on one song, and then pick up the banjo and play like Bill Monroe on another one.”

“So I traveled with my family performing bluegrass. And then I cut

a couple of country albums. I met James Stroud and had the opportunity to record a couple of mainstream country albums. Soon after we started recording, they brought me into the office and James said, ‘can you get the bluegrass out of your voice?’ So I was really confused for a long time.

Some say I sound like country, and then others are asking me to take the bluegrass out of my voice. I had never before encountered people defining either, or. It was just me, my voice, who I’ve always been.”

always try to incorporate in what I do. Probably the perception of others is that I keep bouncing back and forth. But I’m just playing my music. It’s really kind of what inspired this new CD, Only Me,” Rhonda said.

Only Me

The project is a two disc set containing, appropriately, half bluegrass, half country. She teamed up with some folks like Diamond Rio, Daryle Singletary, and Willie Nelson. “The obvious thing would

Defining Moment

Rhonda said that an opportunity to play with George Jones helped define for her this question, ‘am I country or am I bluegrass?’ “After I put my first bluegrass band together and we got the chance to open some shows for George Jones (our first show was in Salem, VA); when we came off stage everybody said, ‘we love your country music.’ That’s when I discovered that it’s really in the perception of the listener. We were playing bluegrass, and they were hearing country. Now it’s just something that I

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have been to put them on the country CD,” she said, “but I wanted to do just the opposite. So,

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we put them on the bluegrass side.

Daryle and I have sung together many times, but never in an acoustic setting. I thought that would be really neat so we joined up. on the beautiful song We Must Have Been out of Our Minds. Then I thought that not only would it be neat to have Willie sing bluegrass, but also have him play, so we did that too.”

Ronda went on, “The Bluegrass pickers on this song are some of the best that I have ever heard.”

“When I think of Bluegrass, this is the sound that I hear. Rhonda’s voice is beautiful, and I am thankful for her letting me be a part of it all.” says Willie Nelson.

I asked Rhonda what was different for her now, from when she was singing in the family band.

“The technology for sure,” she said.

“Sometimes that makes things easier and sometimes not.”

She also said that one of the first things she discovered after making the career move is that there was a lot about the business and not near as much about the music. “I think that discovery disappointed me a bit. Because I grew up in this musical family and it was all about the music. That was the center piece. It’s what we did. That changed for me when I grew up; because it’s really about more than just singing a song. There’s a lot that goes into creating a CD, and promoting a CD, and selling it too, all the way down to touring, and managing a band, and maintaining a bus. I went from being this

little girl who grew up in a musical family where music was the way of life and it evolved into a musical career with all these other parts about it.”

Changing Perceptions

“I love that’s there’s such a wide variety of ages involved in bluegrass/string music now,” she said.

“I had a grandfather come up to me at a recent show and say, ‘I can’t wait to hear you play.’ My granddaughter says ‘I can’t wait to see what you are going wear.’

We’ve been somewhat of a crusader of sorts, I guess, for fashion in bluegrass. Where bluegrass has been presented in the mainstream a couple of major times, it has been portrayed as sloppy, bearded, overalls, no teeth. That is not what I would consider a proper image for bluegrass. We’ve been trying to

change that and let people know that, yes, you can wear a Jackie Roberts designer gown, or a Vera Wang gown, and still play bluegrass music.”

“Because of a few movies such as: Deliverance and Oh Brother!

Where Art Thou? , people automatically have this unsophisticated image of bluegrass. So that is something we have been trying to change. Yes gals, you can still play bluegrass and wear gowns, and the guys can wear nice suits. Really, Bill Monroe and Flatts and Scruggs all wore suits. They never presented themselves in that overalls image. We like to show it can be sophisticated and still be fun ”

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April 2014

Thanks to our 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 select one entry to showcase for you here. Enjoy!

THIS MONTH’S FEATURE:

By Greg Tutwiler

The Wetherman FEATURE ARTISTS West Coast indie musician, 29

year old Nicholas Williams, is no stranger to art of song making, independently writing, producing, and releasing five full length studio albums since 2007.

William’s latest project, Streams and Pastures, features his first five-member: Rachel Murray (Vocals), JP Salvat (Percussion), Alex Hayward (Drums, Misc.), Drew Matulich (Fiddle/Mandolin) and Adam Mantovani (Upright Bass). Their artfully soulful melodies further compliment the new generation of Americana music finding it’s way into the main stream today.

We caught up with Nicholas for a little insight into his music and this latest installment. He told me that he started playing music in 2001 while attending high school in Worthington, Ohio. After a few years of open mic nights and home recordings out of his dorm room at Ohio State, he eventually donned the name ‘Whetherman’ in 2007, and released his first studio album, Bull, where he performed all of the instrumentals.

“It made some decent waves across the indie music scene and on iTunes,” he recalled, “so I moved to Chicago shortly after to embrace a more musical city.” He followed up with a sophomore

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album, The Great Lull. “I didn’t find much musical momentum there, so I decided to move to the ocean side in Jacksonville, FL to get away from the city, and found myself creating sunny folk songs.”

Nicholas got in touch with a local drummer who had a studio, Alex Hayward, and recorded his third album, Nooks and Crannies, in 2010 with bassist Adam Mantovani joining the instrumentation. “After that record, I met a slew of local musicians who became good friends, including percussionist JP Salvat, vocalist Rachel Murray, and mandolin/fiddle player Drew Matulich. I started performing regularly around town, and eventually landed gigs at a few local festivals, at which point I asked some of those friends to start playing larger shows with me.” He was then invited to record his fourth album, Wind in the Trees, in New Orleans during the spring of 2011.

After several festival performances, a few nationwide solo and duo tours (with vocalist Rachel Murray) and a few new members later, Nicholas decided to record his fifth and most recent album, Streams and Pastures, last Spring in Jacksonville, FL, with Alex and the band.

Nicholas has penned all of the Whetherman song to date. He told ne that much of his lyrical influence is probably derived from his interest in short stories growing up, and a new affection for poetry when he was learning how to play guitar. “I’ve got a strong respect for lyricists like Paul Simon, Nick Drake, Neil Young and Van Morrison. I’m sure they’ve managed to rub off at least a little on me,” he said.

Whetherman has been invited to do a pre-booked tour in Germany and Denmark this June, so currently, their goal is to raise enough funds with their Kickstarter campaign to get them across the pond. “In the long run, our goals are to play more festivals across the country, to continue getting solid opener spots with national touring headliner acts, and to eventually get to the

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point where we’re primarily touring theaters and intimate listening environments as headliners.”

I asked Nicholas what his most memorable experience as a musician has been so far; “Last July we all performed three sets at Floyd Fest in Floyd, Virginia,” he said. “Tucked away in the Blue Ridge Mountains, it was one of the most beautiful settings with incredible people for a music festival we’ve ever been a part of. Then a week later, Rachel, Alex, Adam and I played to a silent sold out show at The Bluebird Cafe in Nashville, one of the stepping stones for any great singer/songwriter. That was a week of time I will remember forever.” www.Whetherman.net www.Facebook.com/Whetherman

April 2014

Lester Flatts and Earl Scruggs

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April 2014

Regional Campus Offers Stringed Curriculum

By Edward Tutwiler

I opened my mail box the other

day and out fell a new catalog from Blue Ridge Community Collage (BRCC) in Weyers Cave, VA. That occurrence in itself is not all that surprising for over the years I’ve hit them up for a little knowledge on numerous occasions. The unusual part about this catalog is the course offerings on page 10 for the spring session. The heading on the page shouted, “You asked for more music courses. Here they come!”

Following that headline were descriptions for new continuing education courses all relating to this great big Americana music scene that we all revel in. There is a course dealing with how to set up a banjo and another on how to set up a mandolin. Along with these, are other string music gems. One course offers to teach students how to play, bluegrass, Americana, and even a bit of jazz with an up-right Bass Violin. Another course offers to teach beginners how to make their mandolin ring, and yet another course offers to teach beginners to learn their way around an acoustic guitar. My favorite is the beginning course in Appalachian dulcimer. Some of these courses provide 10 to 12 hours of instructions while others are one-day seminars but all are very interesting and reasonably priced.

By Popular Demand

I do not know if all this wonderful opportunity for musical knowledge is just Americana string-music magic or it is by design. Apparently, some past and present BRCC students who have taken ukulele, guitar, and banjo classes asked that more opportunities be made available for learning about stringed instruments. In response, BRCC chose to make new classes available along with the current offerings that you can find when you check out their continuing education offerings. I checked, and found that the current catalog offerings include: three one-day acoustic stringed instrument jams; two levels of bluegrass banjo courses—one for beginners and another for more experienced players; and a ukulele course that is geared to those with no musical experience.

This is a robust lineup of continuing education musical exposure.

The down-side (if it can be called that) is this: All of these courses are wildly popular, and enrolment is

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limited. BRCC holds the class sizes to a small number of students to maximize the learning experience.

Of course, this means the early registrants get the seats.

I mentioned above that either Americana music magic or wonderful design are possible reasons that BRCC is offering these courses this spring so to find out the real reason, I got in touch with Ms. Jennifer Whitmore, Program Manager for the BRCC Fine Arts Center, to get the real answer.

I begin by asking Ms. Whitmore what prompted BRCC to offer courses about string music. She told me that BRCC had been offering guitar and banjo classes for several years and because her focus is arts enrichment, she and the college decided to step out the arts enrichment to the community through music. She went on to explain that among the past and current students in the banjo and guitar classes were a lot of bluegrass fans that wanted to learn additional instruments such as the mandolin, ukulele, and dulcimer.

Plus, Mr. Warren Dovell, who operated The Guitar and Amp Center in Harrisonburg for 30 years until his retirement, recommended that BRCC offer a ukulele class.

His reason was that he was familiar with a lot of students who played. Here’s Ms. Whitmore’s take, “So, we did so, and featured it in our continuing education magazine. Lo and behold, we filled all the classes last fall. We needed to add an additional section for guitar and ukulele because of the full classes. So, we’re doing the same again this spring and hope to continue forth in the future as long as we have the enrolment.”

Paying Attention

I wondered if the whole idea of offering music instruction as part of continuing education arts enrichment just happened or was it a more structured idea. Here is her reply, “As program managers for continuing education, a lot of our role is to be out in the community asking questions and trying to find out what our customers want to study. We have five program managers in our division so we are each responsible for certain areas. We are constantly assessing through evaluation of our current customers and

April 2014

their friends as to what they hear on the street that people are interested in studying. It is really byrequest from our customers but we certainly initiate from a program perspective in terms of following up. We also have a continuing education advisory board appointed by the dean that meets twice a year with people in the community.

They bring ideas to the table for consideration. They are out in the community and hear what prospective students would like to study. It is a combined effort.”

I observed that the program appears to have been very successful.

Jennifer replied, “It has. We are extremely pleased. We have some customers who, once they get in a music class, continue semester after semester. Once students take a class, be it beginner of intermediate, they can always come back for further instruction. As you know, music is practice, practice, practice.

You don’t learn to play a banjo overnight but if you continue through each of the music courses soon you will get in a groove; and then you have to keep playing because you now want to do so. We find that once students learn to play one instrument, they will be more likely to want to learn how to play another one. We have cus-

tomers who have taken all of our music classes here at BRCC. We are very pleased with that.”

She continued, “It is all combined—our fine arts events and our personal enrichment classes. We are trying to keep our finger on the community pulse to learn what the community is wanting. This is a strong bluegrass area with the Court Square Theater music series and the Augusta County Expo Dole Lawson concert coming up in March. We’re hoping to capitalize on all this interest. Whether people are retired or not they can come join a class and learn to play a musical instrument. There is no stress, and there is no test. It is just a lot of fun. The instructors are really motivating and get the students to want to continue taking classes over and over.”

Eager Instructors

I asked if there was any difficulty finding instructors for the music classes, and Ms. Whitmore offered that it is not a difficult task. She said that most of the instructors came to her through referral from several sources. She has a relative who is in the music business and is in touch with many musicians that he refers to her. Plus, she has connections at The Arts Council of the Valley, who is big in the music scene and in a position to make referrals as well. What happens then, I asked. She replied, “Once I get some possibilities, I research their backgrounds to see if they have teaching experience and if they are interested in teaching at BRCC. If they have taught privately, that is a real plus because these people will be much more able to come and do a group teaching. Our students really like group teaching because they are not always on point as they would be in a private session, and the group class may contain a player who is on a different level of ability yet comes to a beginners class and is able to help a new student.”

BRCC has connected the music classes with Fine Arts Center events. They are doing a grant supported program by Simple Gifts

www.AmericanaRhythm.com

this spring that consists of three four-hour stringed-instrument workshops. The sessions are to be held February 22, March 15, and April 5. These are open sessions, and an attendee does not have to have taken a class at BRCC to attend a workshop; however, advance registration is necessary. Jennifer said, “Enrollment is already popping for these workshops, and we are excited about that. Plus, coming up on February 22 at 7PM in our Fine Arts Center theater is an appearance by Mark Campbell who will be giving an Appalachian Music concert. We are expecting it to be a sell-out and are encouraging everyone to get their tickets as soon as possible.”

So it seems that we Americana music fans have yet another avenue to pursue to get our musical cup filled to overflowing. If you want to try your hand at being a doer as well as a hearer of our heritage string music, here is your chance. But do not tarry. These classes start soon and the registration for seats goes fast. You can obtain more information and registration details by navigating your computer browser to the following web sites: www.brcc.edu/ continuinged/nc-classes/nc-music and www.brcc.edu/fac/performances

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April 2014

Bluegrass Marathon Jam Most people cringe when they

think of running a marathon, but the marathon that Brian Sullivan runs is probably a lot different than what you have in mind: He organizes the annual Richmond Bluegrass Marathon Jam. Every year for the past four years, our Commonwealth’s capitol has been home to this festival-style event, which features an array of local bands, local food, and local beverages. As if that wasn’t enough, all proceeds go to the Richmond Fisher House, an organization that provides housing for the families of military veterans who are recuperating at the local VA hospital.

This year, the festival’s fifth, the event will be held on Saturday, February 22 at the Glen Allen Cultural Arts Center from 12:00PM to 12:00AM. It will indeed be a marathon with 12 hours of music provided by 28 bands on 3 different stages.

A Festival is Born

Brian Sullivan, who organizes the festival, is also a member of East of Afton, a band that will be play-

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By Ryan Babarsky

ing at the event (Sullivan plays upright bass). He and his bandmates were inspired to create the Richmond Bluegrass Marathon Jam by an event in North Carolina put on by a man named John Santa. His NC bluegrass marathon raised money for the local Fisher House there by having people pledge for each hour each musician played.

In 2009 , Sullivan and his bandmates wanted to make the idea into something that was their own: “We liked the idea of raising money for the Fisher House, but we kinda wanted to put a twist on it and make it into a small festival.” That first year, the event was held at Grandpa Eddie’s, a barbecue joint. “It was standing room only for the entire twelve hours…

We knew we had something good on our hands at that point.”

They must have been right, as the event is now in its fifth year, which promises to be a good one, with 28 bands donating their time and 2,000 spectators expected. For a list of participating groups, please visit

www.rvabluegrassjam.com/bandsand-schedule.

Staying Local

The Richmond Bluegrass Marathon Jam is all about keeping things local. Sullivan is proud of that aspect of this event: “We love the idea of this of being a local event. So rather than trying to go out and grab a national name and all that, we just try to keep it local bands, local food, local craft breweries all supporting a local cause.”

The Richmond Bluegrass Marathon Jam is a family-friendly event, and bluegrass fans of all ages are encouraged to attend. It is free to get in the door, but donations to the Richmond Fisher House are re-

www.AmericanaRhythm.com

quested and highly recommended.

You can donate online (visit www.richmondfisherhouse.org/ donate.php) or at the doors. Any checks should be made out to “Richmond Fisher House.

Jamming is encouraged. If you play, bring your instrument along.

Sullivan describes the atmosphere at the event as being very inclusive: “Typically, on the event day, you’ll see jams going on throughout the venue all day long from the very first open (people are there starting to play music at 11 and we have to kick them out at midnight). It’s like a big family reunion of musicians.” If there are any local band members you’ve been dying to play music with, this may be your chance!

The Richmond Bluegrass Marathon Jam has raised over $37,000 for housing for military families in Richmond so far. If you’re interested in getting out of the cold for a day, listening to some stellar local bands, maybe picking a little yourself, all while supporting a wonderful cause, you probably can’t go wrong with this event. You can find more information at www.rvabluegrassjam.com and w w w. f a c e b o o k . c o m / rvabluegrassjam

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April 2014

Elkton, Virginia: America’s Gateway West Since 1716

the Shenandoah Music Trail

sic fresh and alive for others to enjoy for generations to come.

By Don DePoy PhD

The Blue Ridge Mountains and foot hills of eastern Rockingham County have an amazing history of Appalachian Music development. In 1726, Adam Muller (Miller) and his family became the first settlers west of the Blue Ridge Mountains near present day Elkton. Miller’s home place is just a few miles north of present day Elkton.

Within a few years, the area was teeming with new settlers, and with them came their cultures and destinctive music. Over the years, one can only imagine the sound of the mountain dulcimers, fiddles and banjars rising up out of the Blue Ridge Mountain’s valleys and ridges giving breath to a music style that would spread from its epicenter, often down the Great

Wagon Road, to the far corners of the globe.

The line of musical families from the early settlers to today is unbroken. Elkton area’s musicians include Bela Lam, whose finger picking style banjo was recorded in the early 1920s by Okee Records, six months prior to the famous Bristol Sessions. Elkton is also the childhood home of Patsy Cline. Her musical family along with the Hensley, Meadows, Lam, Shifflett, Dean, Allen, Sprouse and Stroop families (to name only a few) have all contributed to the style and depth of American popular music.

In spite of today’s instant communication, family-oriented music jam sessions still perpetuate an oral music tradition that keeps the mu-

A Bluegrass Jam session, like its Jazz cousin, is the practice of creating music by ear without written notation. It’s the creation of instant performing art and has been going on in the valleys, mountains, cabins, garages and front porches of eastern Rockingham County for over two hundred seventy-five years. Typically, musicians, young and old come together, take turns around the circle and play a variety of songs. These songs include instrumental pieces with individual solo breaks and bluegrass, traditional country or gospel songs often sung in 3-part harmony.

Today the age old family tradition of music making is alive and well and it is once again available as a community social activity. The return of a regular public music jam in Elkton will bring back a town tradition that has spanned many generations. These music jams are the bread and butter of a Shenandoah Valley music heritage that dates back to the 1730s.

www.AmericanaRhythm.com

The Elkton Bluegrass Jam Sessions are being held every Tuesday evening from 6 to 8 pm running through May 13th, and returning in the fall after festival season. Listeners as well as pickers of all ages and abilities are welcome. There is no dress code, so just come as you are! The acoustic Jams are free and open to the public. The sessions are held at Elkton Community Center, 20592 Blue and Gold Drive, in Elkton, Virginia and are sponsored by the Elkton Community Center and the Shenandoah Music Trail.

Serving as hosts for the jam are Don DePoy and Martha Hills.

Both are active in the Valley’s music community, perform internationally as Me & Martha and promote music making as a lifelong endeavor.

For more information or directions for the Elkton Jam contact the Elkton Community Center at 540298-8730. For any information regarding the other weekly jams in the Shenandoah Valley or the Shenandoah Music Trail call 540209-3540

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April 2014

Music From The National Scene

Music From Your Neighbors

welcome to our latest edition of SPINS! How can these guys keep making such great music? Wow! Grab your iPad or Smart Phone and dial up some of these fine folks. We bet you love them all - we do!

Of course, soon you’ll be able to hear cuts from these groups featured on our Internet radio station, Americana House Party as well. You can turn us on from the home page of our web site at www.AmericanaRhythm.com.

The Stray Birds Echo Sessions

Irene Kelley Pennsylvania Coal

The Farewell Drifters Tomorrow Forever

Ray Benson A Little Piece

www.irenekelley.com Probably one of my favorite “grass” roots of the year so far, Irene Kelley takes you on a musical scrap book through the story of her life on this new collection, Pennsylvania Coal. It’s top notch pickers, and stellar vocals

www.thefarewelldrifters.com Paste Magazine called these guys, “the best of what’s next.” They used to be a bunch of kids experimenting with bluegrass - they’ve grown into a sound all their own. This new disc, Tomorrow Forever, is the next level. Nice.

www.raybenson.com

www.thestraybirds.com

You may know Nine time Grammy winner Ray Benson as the front man of his long time band, Asleep At The Wheel. A Little Piece is his first solo project in 10 years, and a bit of a departure from the Wheel sound. Still good

With an emphisis on their tight vocal harmony, The Stray Birds are another of the the new breed of stringed entertainers. It’s pure roots. And it’s real good. The Echo Sessions EP was recorded in one live take. We like it

Blue Highway The Game

Dave Adkins

Don Williams

Tony Trischka

Nothing To Lose

www.bluehighwayband.com

www.mountainfeverrecords.com

Reflections www.don-williams.com

What an interesting group these folks are - part country rock, rock-a-billy, and string jam - they’re probably best live. But their new disc, This Is Lone Justice, recorded direct to two-track tape without overdubs, is still quite entertaining

Marking their 20th year as a band, Blue Highway kicks off 2014 with one of their best CDs to date. This seasoned contemporary blueg rass band is one of the most esteemed and influential groups in today. You’ll want this

Former lead singer with Republik Steele, Dave Adkins has connected with former IIIrd Tyme Out bass player Edgar Loudermilk to take their own band on the road. Each with new CDs, and 80 dates on the book - look out blue-

This is what country used to sound like - now we call it Americana - either way, Don Williams latest CD, Reflections, is an instant classic.

The Country Music Hall of Fame, Gentle Giant’s smooth baritone delivery is as rich as ever

Great Big World www.tonytrischka.com Tony Trischka is perhaps the most influential banjo player in the roots music world. He is the consummate banjo artist. “For more than 45 years, his stylings have inspired a whole generation of bluegrass.” This is a must add

The Woodshedders Wildfire

Ralph Stanley & Ralph Stanley II Side By Side

John Gorka Bright Side Of Down

The Hallelujah Trails The Hallelujah Trails

Everybody’s Favorite

www.johngorka.com Bright Side Of Down is John Gorka’s first studio CD in over four years. Vintage Guitar magazine called him “one of contemporary folk music’s leading talents.” The acclaimed songwriter does not disappoint on this latest

This London, England based duet brings a smooth, rhythmic, folky blend to the table with their new disc. It’s eclectic, harmony-driven Americana / Alt. Bluegrass - “to ease and shake the soul!” We dig it

Uncle Woody, The Spin Doctor

Lone Justice This Is Lone Justice

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www.thewoodshedders.com Dubbed “original indie Americana,” The Woodshedders latest CD, W ildfire, “is a storybook ramble that explores the band’s diverse roots music influences, and spotlights its virtuosic members. Think classic roots meets comtemporary grass .

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www.rebelrecords.com In over 30 years of performing together, Ralph and Ralph II have never done a full cobilled album together. How fitting as Dr. Ralph winds down his historic career that they finally get the chance. For posterity, this is one to have

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grassworld.They’rehot.

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www.timanddarrell.com

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

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Lee Moore www.ruralrhythm.com In the last issue (AR#49) we featured a full length article on the iconic Lee Moore. Just so happens Rural Rhythm Records re-released a classic set this month of the famous dee-jay’s celebrated music. This too is one for your collection

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April 2014

PREVIEW We all eagerly await the first echo’s of string season – I mean Spring season – actually I did mean string season; festival season that is. Although according to the Puxatony Phil, we’ve got a few weeks to go. That’s okay.

In the meantime, let me introduce you to a few new festivals that are a part of the Americana Rhythm family this year.

Bloomin’ Barbeque & Bluegrass www.Bloominbbq.com

Sevierville, TN is the hometown for Country music favorite, Dolly Parton.

And this May 16 – 17, Sevierville again hosts The 10th annual Bloomin’ Barbeque & Bluegrass, and the 10th Annual Mountain Soul Vocal Competition, in honor of Miss Parton. The festival combines top notch bluegrass music (this year’s headliners include Russell Moore & IIIrd Tyme Out and The SteelDrivers) with some of the region’s finest barbeque chefs to create a weekend of down home music and finger lickin’ food.

This family-friendly event will once again bring barbeque cook teams from all over the United States to Sevierville to compete for $17,500 in cash and prizes and the title of Tennessee State Champion in the Bush’s Best TN State Championship Cook Off. “The vocal competition is truly unique and draws competitors from all corners of the United States,” says Chamber Marketing Coordinator and event organizer Amanda Maples Marr. Winning competitors take home cash and prizes including a recording session in Nashville, Tennessee.

Charm City Folk and Bluegrass Festival

www.CharmCityBluegrass.com

The Maryland/DC area is a hot bed of new Americana talent. So what better place to host a Folk and Bluegrass festival than the beautiful Druid Hill Park, near Rawlings Conservatory and Botanic Gardens, in Baltimore MD. The festival, set for April 26th, features headlining acts like thirteen-time Grammy Award winner, Jerry Douglas, mandolin prodigy Sierra Hull, and festival favorite Audie Blaylock & Redline.

“One of the things that particularly interested me was the history of the music in Baltimore,” co-producer Phil Chorney said. “Charm City (nickname for Baltimore) can trace its bluegrass roots back to the 1930s, when Southern Appalachian musicians began mi-

grating to Baltimore seeking work. The music they brought with them made Baltimore a bluegrass haven in the 1950s and 1960s.The first bluegrass band to play Carnegie Hall was from Baltimore, folk revivalists New Lost City Ramblers, and were founded by a Baltimore musician Del McCoury.

Del got his big break after meeting bluegrass godfather Bill Monroe in Baltimore.

The festival will be raising funds for Believe in Music, a Living Classrooms program that gives under-served Baltimore City students a multifaceted music education; and donating a portion of the proceeds to the Rawlings Conservatory and Botanic Gardens at Druid Hill Park.

“Baltimore is an amazing place with a passion for live music and good beer,” Phil said, “and we wanted to create an event that year after year can showcase the best that these genre’s of music can offer while highlighting the best Baltimore has to offer in terms of food, brew and scenery.”

Houstonfest

www.HoustonfestGalax.com

May 2 – 3 marks the next installment of Houstonfest held at Felts Park in Galax, Virginia. The event is dedicated to the musical and service legacy of Houston Caldwell who tragically died in a motorcycle accident April 30, 2010.

At the young age of 18, Houston was an accomplished banjo player, volunteer fireman, member of the United States Army Reserve, and highly respected in both the music world and the community.

“It is indeed a privilege to be a part of the culmination of countless hours of planning and work that exemplifies the dedication, service and loyalty of many volunteers, numerous partners and supporters of HoustonFest”, says Debbie Robinson who serves as the Director of HoustonFest. “ Clearly the generous outpouring and participation of so many members of the bluegrass and oldtime music community speaks volumes for the high regard held for the festival’s namesake. While we all continue to miss Houston and profoundly feel his loss, it is obvious through this festival that he continues to inspire many.”

In addition to the more than 25 bands that will perform this year, a special area entitled Camp Houston will be dedicated to youth music, workshops and jam sessions. Panel discussions will feature highly respected scholars in the music field, and regional artisans will display and demonstrate their craft

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See page 7 or visit www.americanarhythm.com

DJ Rex, The CD review guy

“Send me your new CDs for review consideration!”

PO Box 45 Bridgewater, VA 22812

Americana Rhythm is published six times a year. All corresponCONTRIBUTORS dence should be sent to PO Box 45, Bridgewater VA, 22812 or Ed Tutwiler email to greg@americanarhythm.com. Copies of Americana Wayne Erbsen Rhythm are made available free at various pick up locations within Ryan Babarsky the publication’s region. Subscriptions are available inside the United UNC Ashville Students States (only) for $16 US currency made payable by check or money 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 Don DePoy greg@americanarhythm.com. Copyright 2014. All rights reserved.

DISTRIBUTION Reproduction of any content, artwork or photographs is strictly Ed Tutwiler prohibited without permission of the publisher. All advertising maZebra Media terial subject to approval.

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