Americana Rhythm Issue #37

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Issue #37

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February 2012

E E R F

Music Culture of the Shenandoah Valley, Central Virginia, Blue Ridge, Piedmont, South West,Virginia Highlands, and beyond

IN THIS ISSUE: v Up On Stage v Bluegrass Guitar v Seldom Turns 40 40 v The Autoharp

Moot Davis

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February 2012

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February 2012

Table Of Contents

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Here we are, just shy of the Christmas

holiday - and we’re doin’ it again.

Although we planned a little siesta for this issue, thanks to all who ask us to “do it again,” in spite of the planned seasonal break. So here we go! Lot’s of good stuff packed in these pages - merry Christmas! And by the way, happy birthday going out to Seldom Scene celebrating 40 years of music pioneering.

Also best wishes and speedy recovery to my dad, Ed Tutwiler, who writes many of our regular features - currently recovering from surgery. If you’d like to send him a get well soon note, his email address is in the business card link at the bottom of this page.

From our family to yours - may you have many blessings during this season, and best wishes for the coming 2012.

I’ve got a feeling it will be the best yet!

Sincerely, Check out our new music Profiles web site!

7 The Scene Turns 40 8 Honky Tonkin’ 10 11 SVMMA 12 Auto Harpin’ 14 15 Market Place

Questions, comments, suggestions: greg@americanarhythm.com Listen to our streaming radio station, 24/7/365. Click the radio button from our web site, www.AmericanaRhythm.com

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CHRISTMAS PRESENTS. See page 15!

Americana Rhythm is published six times a year. All correspondence CONTRIBUTORS should be sent to PO Box 45, Bridgewater VA, 22812 or email to Ed Tutwiler greg@americanarhythm.com. Copies of Americana Rhythm are made Kaye D. Hill available free at various pick up locations within the publication’s reWayne Erbsen gion. Subscriptions are available inside the United States for $15 US Ryan Babarsky currency made payable by check or money order sent to Subscriptions UNC Ashville Students at PO Box 45, Bridgewater, VA, 22812. Foreign subscription requests Andrew McKnight should be sent to greg@americanarhythm.com. Copyright 2008. All Doak Turner rights reserved. Reproduction of copy, artwork or photographs is strictly Becky Allen prohibited without permission of the publisher. All advertising material Scott Perry subject to approval.

DISTRIBUTION PUBLISHER/EDITOR IN CHIEF Mark Barreres Greg E. Tutwiler David LaFleur EDITORIAL ASSISTANTS Nate Sparks Ed Tutwiler Ed Tutwiler Jacenta Tutwiler Doug Williams Lisa Tutwiler Stuart Thomas MARKETING & PROMOTION Floyd Country Store Mark Barreres (GrassRootsNetworking.com) Letters, Comments, Suggestions ADVERTISING greg@americanarhythm.com Greg Tutwiler www.americanarhythm.com Business office 540-433-0360

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February 2012

By Edward Tutwiler

Up On Stage When we sit back in an audience

listening to a good Americana string-band performance; and that performance is filling us with all that good stuff that we crave from the music we love; thoughts of how do they do that rarely fill our minds; however, it is a very real question—how do they do that? Not long ago, I sat down with Mr. Rick Altis, who is bass player for the locally well known High Ground bluegrass band and asked if he would tell us a bit about the dynamics of a string band.

Not All The Same

String bands are all different.

There are bands that stand on tradition although not so many as in the past. These are what many have come to define as preservationist groups—much like what James King does. There are others who get completely away from the roots and use traditional instruments to play in very untraditional styles such as what you will hear at a Railroad Earth or Cadillac Sky concert. In between these bookends sets the progressive folks like The Steep Canyon Rangers and the High Ground band that Rick plays with. Bands such as these play music in a traditional manner and use traditional string instruments yet they perform a lot of material that members of the band have written, and they often do some fairly eclectic music; nevertheless, they do a lot of material that is traditional bluegrass or in the traditional style. Mr. Altis said, “There is nothing wrong with a preservationist band because we need to have examples of that music. We do some of the preservationist music in our band that we don’t tamper with; however, we also do a lot of stuff that is not traditionally bluegrass.”

Progressive bluegrass certainly does enjoy a great deal of popularity today. Rick believes that this is due to how it is performed.

Gone is the stereotyped hillbilly with no shoes playing in a band and singing thru his nose—that is the way a lot of people thought of bluegrass. Of course, having The Steep Canyon Rangers playing

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with internationally famous comedian and banjo player, Steve Martin, before a national audience in Washington DC helped. There are any number of things such as this that have brought bluegrass and folk and traditional into a more serious light with people.

Rick said, “It’s more acceptable because it no longer looks like what it was to begin with or what it was perceived to be. I have an appreciation for Bill Monroe and the Stanley Brothers and everybody who brought it up to the forefront but it needs to continue to grow. We do not want it to stay in a little festival gathering somewhere and have the same 50 people attend. We need to get it to a bigger audience.”

Bands often get their start styling themselves like a more famous counterpart. The High Ground band did this to some degree but soon discovered that it must find its own way. Rick said that when they first started their band they favored the Lonesome River Band. This was because of its modern sound that members of High Ground embrace. Nevertheless, over the years they have evolved musically. Here is how he put it, “Over the years, we’ve come to realize we have to take our own turns to the left and to the right, and even though we might be in the same style as they are, we’re High Ground and we don’t copy anyone.”

Off The Cuff

The question about practice came up. Mr. Altis c o m m e n t e d, “We play a lot.

So we don’t get together to practice as much. I would not say that we don’t need to practice because we’re always working on new things. I don’t even know how many songs we can do now— somewhere in Blue Highway on stage at Merlefest 2009. the 200 range.”

Times Do Change

Currently, progressive string music bands enjoy a lot of success playing to venues that were not so bluegrass friendly in the past.

Rick told me that their High Ground band performs several times a month at lodges on the Skyline Drive in the Shenandoah National Park. Because of this exposure to audiences that are unfamiliar with this type of music, new friends for it are made. Rick cites this example, “Every week there are people from places like: New Zealand and Australia, Wales Germany, and Czechoslovakia. We get international emails from people that saw our show saying how much they appreciated our music.”

chapters to a story, I wondered how the melody came about. Here is Rick’s take on that, “I think the melody is harder than writing lyrics. Band-mates, Larry and

With 200 hundred songs in their repertoire, we wondered how they could remember all the lyrics. Rick indicated that different folks had different methods and that after you have listened to a song enough times you just remember it without much effort.

He went on to tell me that his method was to relate the song to a story. Rick says, “A song is just a way to tell a story, and I remember the verses as chapters. You just remember the first chapter and the words will come to you and so forth thru the song. This is not to say we don’t make mistakes now and then.

It Tells A Story

In getting back to Rick’s earlier statement that song lyrics are

Well known guiter maker Wayne Henderson on stage at Merlefest 2009.

Jimmie, are more into the melody part of a song. There are only so many notes to a music scale, and there are only so many ways to put them together; however, there are timing issues that allow you to make them different. When you write a song, the words are going to change. You might have to say the same thing with different words just to get it to fit. It all has to fit mathematically into the musical scale. We use the Nashville numbering system and the studio numbers to tell each other what to do.”

There we have it dear readers; one man’s take on how one particular music group gets it done. Maybe the next time you kick back and zone out on the sounds of your favorite Americana string music band, you will not take for granted all of that love that they pour out for you to soak up. Rather, you might take a moment to reflect upon what they are doing and how they go about doing it. By all means, do soak up the love because that is the real reason they do what they do; however, also consider all the hard work and time that those performers put in just so we can enjoy their music

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February 2012

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.

Leslie Riddle

By Cori Gross and Christina Aldridge, former UNC Asheville students

Like many blues men of his day, Lesley Riddle is considered by Riddle relocated to Rochester, many to be one of the biggest contributors to country music as New York, in 1942. He sold his we know it today. Born on June guitar in 1945, either because 13, 1905, in Burnsville, North he couldn't find anyone to make Carolina, Riddle received little music with, or simply didn't education as a child and purwant to anymore. It was there sued manual labor as a career. that Mike Seeger hunted Riddle One of his first down to jobs was at a record him in cement plant, 1963. Seeger where an acciand the New dent cost him Lost City his right leg at Ramblers the knee. Durplayed a ing his recovery concert with period, Riddle Maybelle focused his Carter, who played sevattention on eral songs she learning to play had learned the guitar. He from Lesley developed his Riddle. own unique Lesley Riddle (r) with Brownie McGhee.

Seeger asked picking techCourtesy of Birthplace of Country Music Alliance. her who she nique and slide had learned the songs from, and style. Throughout the 1920s, upon finding out, Seeger Riddle played and sang with searched Riddle down and small string bands at churches persuaded him to continue and neighborhood gatherings.

In Kingsport, Tennessee in playing. Between 1965 and 1928, Riddle met A.P. Carter, 1978, Seeger made several founding member of the Carter recordings with Riddle on the Family country band. Carter guitar and piano. In 1993, learned the song "Cannonball" Rounder Records released these from Riddle, and Riddle began recordings as well as recordings accompanying Carter on his of Riddle playing with the "song-collecting" trips throughCarter Family. Riddle died on out the Appalachian region.

July 13, 1980. He was a greatly Carter would write down lyrics talented musician who made an he liked, and it was Riddle's job undeniable impact on the sound to remember the music. of the Carter Family, thus Maybelle Carter, A.P.'s sister-ininfluencing country music as a law and guitarist for the band, is whole. Unfortunately, Riddle noted as having learned much never received the recognition in the way of guitar technique he deserved, and the only recording of his music available from Mr. Riddle. today is the album Step by Step.

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

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February 2012

40 Years And Counting; Bluegrass Pioneers Seldom

By Greg Tutwiler

Editor’s note - In May of 2008 we ran this story about Bluegrass pioneers Seldom Scene. Given that it’s the 40th anniversary of the band, I thought you might like to see the story again - and maybe get to know these guys a little better enjoy!

along with the JMB, so Connell was no stranger to John Duffy. But a blurb in a 1995 issue of Bluegrass Unlimited magazine took him aback. The Seldom Scene was hanging it up. How could that be?

John Duffy

In 1957, Charlie Waller, Bill

Emerson, and John Duffy formed the Country Gentlemen. And, for nearly 10 years they rode a folk revival wave, breaking all of the traditional rules, and setting the bar for every progressive bluegrass band that followed. In that late 1960s, the original line-up disbanded, however, Charlie Waller continued the Country Gentlemen, now a tradition carried on by his son, Randy.

John Duffy, mandolinist, settled into a life of instrument repair in Arlington, VA, content to pick a little here and there on the weekends. He eventually found himself in a weekly jam session with new buddies, Mike Auldridge, a graphic artist with the Washington Star; Tom Gray, who worked for National Geographic; John Starling, a physician and ear, nose and throat specialist, and Ben Eldridge, a mathematician and computer expert. Like many guys who have their weekly card game, these guys had their weekly jam session; one that turned into a weekly Thursday night sell-out gig at the tiny Red Fox Inn in Bethesda, Maryland. And for the next 24 years John Duffy and the varied line-up of the Seldom Scene wooed and won audiences locally as well as nationally, becoming one of the country’s premier progressive bluegrass groups.

In 1995 Dudley Connell was quite content in his job with the National Council for the Traditional Arts as an archrival specialist. You see, Dudley had walked away from the road professionally in the late 80’s after a 10 year stint with the Johnson Mountain Boys. Two of his band’s 10 albums had received Grammy nominations.

That was quite a career in itself.

The Seldom Scene was, of course, a Washington D.C. based band,

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Scene

John, what do you think about you and I getting together and singing sometime?’ There was complete silence in the other end of the line, and I thought, uh oh, I’ve stepped over a line here. Then he said, “Well, do you know any of our material?” and I said ‘not really, I’ve heard you on the radio, but I’ve never studied your stuff.’

He gave me a list of half –a-dozen songs to learn and we made a date to get together.”

The New Scene

“It almost felt like a death in the family for me,” Dudley recalled.

“You know, they were a Washington institution, and have been sense their inception.” So Dudley called John Duffy to offer his sentiments. “I said, ‘I’m so sorry to hear that you guys are hanging it up after all these years.’ And he said humorously, ‘we haven’t really absolutely decided we’re going to quit, we’re just looking for a lead singer, guitar player, bass player, bass singer, dobro player, etc.’ He was kind of making a joke about it you know. And I don’t know why I said it, but I said, ‘hey

That was spring of 1995, and because of conflicting schedules, the guys weren’t able to get together until September. “I actually wasn’t looking for a job when I called,” Dudley said, “but by the time September rolled around I wanted that job so bad. It had gone from sort of a casual interest to, wow, this could be a great gig. I have a full time job. The band doesn’t tour much. And when they do go out the money is good. And as I studied the music I began to think, you know I could really get behind that. I really started enjoying the idea.”

“So I went over to John’s house, along with Ronnie Simpkins who

had joined by now as bass player, and Fred Travers who had joined as the dobro player. We met with Ben and John and started playing some stuff. It just felt great right out of the shoot. John was a really easy guy to sing with because his pitch was always just so true.”

Their first show was New Year’s Eve at the Birchmere in 1995. Remaining founders, John Duffy, and Ben Eldridge (banjo) publicly welcomed Dudley Connell (guitar and vocals), Travers and Simpkins into the band. “It just went great,” Dudley remembered.

Decision Time

Sadly, in December of 1996 John Duffy died due to a sudden heart attack. Just like that, a legend was gone, and once more, a legendary band considered hanging it up.

“We did end up having about a year with John until he passed away. But in that year, it was probably the highlight of my music career. The thing with the JMB is that we were all basically kids when we started playing. With John, it was the first time I had ever worked with a real veteran of this music business. He was just a real bluegrass hero. He was one of the most innovative players, in

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What Makes It Work

So Dudley and the guys, with the exception of Ben, are the next generation of the Scene. I asked him what it was like filling legendary shoes. “Well it has been 12 years, and most of the time its fine. Even though we’re the new guys, we’ve been around a while. Although we’ve started to develop our own material, we still do songs like, “Wait A Minute,” “Old Train,” and “Muddy Waters,” and all of those old tunes that people want to hear. But people are starting to ask for the stuff that we’ve recorded with this band too. So the legacy kind of continues in that way, and that’s a good thing. But Ben my opinion, to ever play, besides Bill Monroe and Earl Scruggs.

That time was like magic for me.”

Dudley figured the magical ride was over. The legend was gone, how could they possibly continue? Who would want the band without John? “I really thought that was it,” Dudley said. “What a tragedy. And we were really just getting it going as a band. Things were working. After John died, we got together at Ronnie’s house to try to figure out what we were going to do with these contracts we were sitting on. And Ben was really the one who said maybe we ought to just test the waters and see if we could carry on without him. So we called our agency, and they went to the promoters who were holding the contracts, and said do you still want the band without John? Only two promoters canceled their contracts. So we decided to go on and see if we could make it work.”

They needed a mandolin player though. “The first replacement was Dan Comiskey who was with Alison Krauss, but we knew that was only a temporary thing. We used Mark Newton on a couple shows, and we used Don Rigsby on quite a few shows. Ben had talked to Lou Reed, who had played with the group once before, in the 80’s. He played a set with us on a show in North Carolina, and that worked. He knew the material, and it just clicked.

That was July of ’96, and there hasn’t been a personal change since then. Actually our current line-up is the longest running configuration of the band since its inception.”

Ronnie, Lou, and Dudley we’ve never tried to copy the guys from the past because you can’t really do that and pull it off. It’s a real balancing act for a band that’s been around for 30 plus years; trying to play the music that people want to hear, that they come to hear, but also to introduce new stuff. That’s the tricky part.”

one hand, it’s good that the band is still able to sell CDs and shows, and stand on its own, but on the other side too, it’s sad, and shows that people do forget about the old. It’s just the way things go. But we like to remind folks that there were others that came before us. I can’t stress enough the importance of John Duffy to bluegrass music. He was larger than life.

And he had this sort of urban wit, and he was able to sell a song like “The Fields Have Turned Brown,” to an urban audience. That really helped the music a lot. He took it out of the country and brought it into the city.”

What Makes ‘Em Different?

Dudley believes one of the things that is still nice about being in Seldom Scene is the whole approach to how they play music.

“We really don’t have to go out and perform.

We like it, and we do it because we like it, but our livelihood doesn’t depend on it. Everybody has full time jobs. In a way, this is still just a hobby for us. So it takes

a lot of pressure off. And the band has maintained that spirit. It’s really still like the weekly card game where your friends get together and play music for the fun of it.

It’s a real joy. For me, being in the Washington area, it’s the best gig out there. I’ve played with other groups additionally along the way, and I still play a little bit with Hazel Dickens, but I kept running into scheduling conflicts, so I’ve really backed off that. The Scene is really the priority for me now.”

And why wouldn’t it be? Dudley says, “It’s sort of a free-willing, rollicking party on stage with the audience. You just never know what’s going to happen, and that keeps you on your toes. And it keeps the music really interesting too. The audience is always different, and they’re yelling for requests. It really is like a party. We do everything from Eric Clapton to Carter Stanley and everything in between; Steve Earl, Bob Dylan, and John Prine even. One of the things I’ve really enjoyed about working in this band is that there are not a lot of restrictions as far as material. Everybody listens to everything, and everybody comes with their own ideas.”

Find more info at www.SeldomScene.com.

“We get a lot of people that have followed the band since its inception and know all of the material, but we also have the newer fans that has just heard of the band, and never heard the older songs. More and more these days, we get audiences that never got to see John Duffy. I have mixed feelings about that. On

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February 2012

On The Honky-Tonk Beat

By Greg Tutwiler

I first heard Moot Davis about six

years ago when I was co-publishing the indie artist publication, Singer & Musician. His self titled debut CD showed up on my desk in the to-be-reviewed basket, with not real bio sheet as I recall. I popped it in the player, half expecting it to be generic at best. I remember listening all the way through, and then taking it home with me to listen again. It was fascinating. The genre’ was one that I was not quite as familiar with at the time since we were more focused on indie rock. Moot’s music had that classic honky-tonk vibe – right off the streets of 1960s Nashville.

Fast-forward to about 3 months ago, and an email from Moot asking me to pre-view his new CD, Man About Town. The timing was perfect as I was scheduling my next feature – and now in a position to focus on Americana – I jumped on the opportunity to peek a little further into the life of Moot Davis, who now has 17 film and television placements with his music including the Oscar winning film “Crash” and the horror-hit “The Hills Have Eyes.”

Honky Tonk Jersey Boy

Moot Davis was born in 1975 in Trenton, NJ, and grew up in Hamilton, NY although both parents family roots were in West Virginia. He got his stage legs in his early 20s as a stage actor in plays that traveled around the U.S. and Europe. “Around 22 or 23, I began to want to learn the guitar so I could accompany myself on the songs I had been making up since I was a teenager,” he told me. “The songs seemed to be getting better over time and I thought the guitar would help. Moot worked construction jobs between acting tours and one day asked one of his bosses on the job site to show him some chords on the guitar. He did, and a few weeks later Moot wrote “Whiskey Town” which ended up being placed in the film “Crash” some years later.

At the time, Moot recalls feeling like “just an actor who was writing country songs as a way to pass the time.” When he had a handful of originals, he auditioned for a slot on a local, live radio show

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called the “Heartlands Hayride”.

It was a smaller type show based on the Grand Ole’ Opry format that originates from Nashville, TN. “It was two hours long and in front of a live studio audience as well as going out over the airwaves,” he said. “I got on every week and performed my songs, often writing them shortly before I went on the stage and air. I did that for a year, and then one day someone said that if I was serious about this, I should move to Nashville. So, I did.” He had some contacts that he had made during his year on the radio show with touring acts that would come through for him. “So when I got to town, I called them and we put together my first Nashville band. A year to the day that I drove down to Nashville, I was being flown out to Los Angeles to make my first record with Pete Anderson.”

Moot’s album would not be released until 2004 at which time they “started touring like crazy.”

More than 200 dates a year for the better part of 4 years he recalled.

“We toured all over the US, Canada, Europe and even Japan.”

During that time he got his first song placed in a film.

A Change Of Pace

In January of 2008, Moot moved to Wellington, NZ. He was there on a year long work visa and could basically do whatever he felt liked as far as a job. “Once there I worked on the film “Avatar” just doing background work to have some spending money. After that

Moot says he fell in love with the golden era honky tonk music solid country gold greats like Hank Sr., Webb, Lefty, and Carl Smith. “But Hank Sr. was my guy,” he said. “His music was timeless and a time capsule to me, and I loved the raw emotion in his songs; that and the fact that he led a somewhat troubled life really added to the overall mystique.”

Along with the country classics, Moot was influenced by Bob Dylan and Roxy Music/Brian Ferry as a kid. “My father loved them and would play the same cassette over and over with Dylan’s Desire on one side and greatest hits of Roxy on the flip side. He and his brother also had a band, and they would practice in the basement. They made up their own songs and that’s where I got the idea to start writing my own stuff. “

Putin’ It On Disc

Moot was in his late twenties when he signed with Pete Anderson and his label Little Dog Records. “We recorded my first album, cleverly titled “Moot Davis”, during a two week period.

When I went back to Nashville after the recording session, I knew I was not going to stay in Nashville long. I quickly moved out to LA, and Pete and I put a band together and started playing.”

Moot and Pete put out a second album on Sept. 11, 2007 called Already Moved On, however Moot was ready for a change and ready to slow his professional relationship with Pete a bit and try running his own show. “I moved back to Nashville and started rehearsing a new band and played a few shows but my heart was not in it,” he remembered. “I think I was burned out a little from all the touring and behind-the-scenes drama. And quite frankly, I was growing more and more leery of the path the United States was on since 9/11. So I was looking for a place far away.” And He found it in New Zealand.

was over I worked on a play at a small theater there in Wellington.

I also became a security guard and stared writing songs again.” He wrote at least 50% of the songs that would end up being on his new album “Man About Town”.

After a few weeks of being a security guard, the company Moot was working for recruited him to be a New Zealand Marshal in the district courts in Wellington.

There was a large murder trial going on, and because of the NZ gangs involved, the local court cops and the regular cops needed extra help. “Now mind you, I have

February 2012

not had one day of training as a security guard much less training to be a NZ Marshal dealing with violent gang members,” he said.

“And just to add a visual element to the scene, I was sporting a rather large mustache for the play I was in, so I looked like a 70’s undercover cop. No violence ever erupted and I showed up for work, so they promoted me.” He started doing private home security for wealthy folks in NZ. He also did some plain clothes witness/perpetrator protection/ babysitting. “It is important to point out that I am not the security guard type,” he said, “as in I get no pleasure telling people what they can and can’t do.”

After six months in New Zealand, he was ready to get back to work but his relationship with Pete and his record label was strained to say the least. “We tried for four years to make a third album happen but personal differences prevented it. I had odd jobs during this time, but worked up all the new songs with a band in New Jersey.” Then out of the blue he got a letter from Little Dog Records saying he was free, “so I ran to Nashville to see if I could bring my career back to life,” he said. He got hooked up with a guy in Texas who would eventually become his

business partner and financial backer, Paul W. Reed. With his help Moot was able to get Kenny Vaughan and the Fabulous Superlatives on board as well as Chris Scruggs and Elizabeth Cook for a duet. “We recorded the album in five days for the record label I started with my business partner Paul; call Highway Kind Records.”

What It Is

Moot lovingly refers to his music as “honky tonk roots music. I am defiantly a product of the golden era of country music thatI fell in love with, and a mixture of the classic rock, folk, signer songwriter, jazz standards and old school blues music that I listen to today.” He started playing country in the very beginning because it was a simple form that as a struggling guitar player/song writer, he was able to perform.

“Two or three chords, basic song format kind of thing. After I figured what I was doing, country music was really what I gravitated towards and it just seemed to work for me.”

Moot wrote all the songs for his new album Man About Town as well as all the songs on the first album, and co-wrote the second album with Pete Anderson. “I write about what happens to me,” he said, “things I’m going through, wants, desires and nightmares of what I don’t want; Mostly all personal in some aspect.” This latest CD is my favorite because I am finding my own thing here; I really like the new songs and feel that the recording is really good. It took a long time to get to the point of recording, but once we started, it just all came together. I am really proud of it.”

There are 13 new original tracks on this CD ranging from honky-tonk, to a Rolling Stones vibe, and a great duet with Elizabeth Cook. “Kenny Vaughan produced it, and Marty Stuart’s band, the Fabulous Superlatives play on the album.

Chris Scruggs plays lap steel and guitar, and Hank Singe r from G eo rg e J o ne s’s band plays fiddle.

We recorded it in Madison,TN at Jim Reeves old house.” This is the first album I have released on my own label.

Moot says his goal now as a musician is to “build a career similar to that of Lyle Lovett. Well respected, touring, making albums, doing some film work and really having a nice life, doing what I love. A good life built on the songs I write and the friends I make ”

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February 2012

By Wayne Erbsen

Clarence White and the Roots of Bluegrass Guitar in Southern California I grew up in Southern California and in the early sixties I lived within earshot of the Ash Grove, a legendary folk club on Melrose Avenue in West Hollywood. As I recall, Monday night was called “hoot night,” and the house band was “The Country Boys.” When I first heard the band in mid-1962, it consisted of Clarence White on guitar, Billy Ray Lathum on banjo, LeRoy Mack on Dobro, and playing bass was Roger Bush.

In the fall of 1962 the band got the opportunity to record their first album for Briar International. At that time the founder of the band, Roland White, was in the army, so he did not appear on the album. The producers of the record were none other than Merle Travis and Joe Maphis. Merle suggested that the name of the band was too generic, and someone pointed out that Mac Wiseman was calling his band The Country Boys. Since Merle was from Kentucky, he suggested the band change their name to the Kentucky Colonels. Late that fall, I was in the audience and I could clearly see the band’s excitement when they proudly showed off their new record from the stage of the Ash Grove. It was called “The New Sounds of Bluegrass America,” and blazoned across the front cover was the band’s new name, The Kentucky Colonels.

During this period, I was trying to learn the guitar. I was struck like a bolt of lightening as I watched Clarence White perform with the band. The syncopated timing of his guitar breaks as well as his smooth rhythm playing was unlike anything I had ever heard. At the time, I had no idea just how unique and innovative he was. I only knew that he knocked my socks off. The next year, I was lucky enough to be at the guitar workshop at the 1963 UCLA Folk Festival. During the workshop, someone raised their hand and asked Clarence where he learned his stuff.

He shyly responded that two of his big influences were sitting next to him on stage, Joe Maphis and Doc Watson.

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Clarence’s association with Joe Maphis went back to 1955. The year before, the White family formed a band called The Three Little Country Boys. Clarence was on guitar, Roland on mandolin, and Eric Jr. was on tenor banjo. Their sister Joanne played the bass and their father, Eric Sr, occasionally joined them on harmonica. By the next year, Joanne had dropped out and Eric Jr. took over the bass duties.

Things started to come together for the band when they entered and won a talent contest sponsored by radio KXLA broadcasting from Pasadena.

The show was the brainchild of a country radio personality named Carl Deacon Moore, who called himself the Squeakin’ Deacon. I’ll never forget one time I was listening to his show and the Squeakin’ Deacon told his radio audience that bluegrass music was “as good as home cookin’ and short sleeveeatin’.” As a prize for winning the talent contest, The Three Little Country Boys got to appear as guests on a local TV show called Ralph T. Hicks’ County Barndance Jubilee.

More than anything else, the performance on the Jubilee jump-started the career of The Country Boys, as the band was now calling itself.

Appearances on several Southern California country radio shows followed, and they soon were noticed by Joe Maphis, who called himself King of the Strings. Joe later went on to write “Dim Lights, Thick Smoke, and Loud, Loud Music” that was covered by Flatt and Scruggs. Joe was a popular country music star who often performed with his wife Rose Lee, along with Katie Warren, who billed herself as Fiddlin’ Kate. Joe’s trademark was his double neck electric guitar. Joe took Clarence under his wing and demonstrated to Clarence how the guitar could be a powerful lead instrument.

In 1963 The Kentucky Colonels played in Berkeley, California at a folk club called the Cabale Creamery on San Pablo Avenue. While in Berkeley, the band visited with Sandy Rothman, who had earlier played guitar in Bill Monroe’s band, The Bluegrass Boys. Rothman introduced Clarence and Roland White to Campbell Coe, the owner of a music store called Campus Music that was situated a block from the UC Berkeley campus. Coe was an outstanding and versatile guitar player who played both country and swing, and who led a band called The Country Cousins.

Coe was adept at the music of Django Rinehardt and exposed both Clarence and Roland to Rinehardt’s music via his 78 record collection.

Coe gave the White brothers a reelto-reel tape of Django Rinehardt who recorded with Stephan Grappelli and the Hot Club of Paris.

When they returned to Southern California, Clarence mentioned to Joe Maphis that he had discovered the music of Django Rinehardt. Joe readily admitted that he had learned many of his hot licks by listening to Django Rinehardt’s 78 records.

Just as Clarence was soaking in the influences of Joe Maphis and Django Rinehardt, he was profoundly affected by the music of Doc Watson. In 1962 Doc made an appearance at the Ash Grove as part of an old-time band that consisted of Clarence “Tom” Ashley on clawhammer banjo, Fred Price on fiddle, and Doc on guitar. Shortly after they played to a full house at the Ash Grove, the band was supposed to come back several months later, but they cancelled that

date. It might have had something to do with the fact that Ashley refused to travel by airplane. With some hesitation, Doc reluctantly agreed to do a solo set at the Ash Grove, where he was greeted with unanimous approval. This performance helped launch Doc’s solo career. On subsequent visits that Doc made to the Ash Grove, Clarence was able to absorb more of Doc’s amazing guitar playing. In particular, he was inspired by Doc’s ability to play fiddle tunes like “Black Mountain Rag,” “Soldier’s Joy,” and “Beaumont Rag” on the guitar.

During this time, Clarence’s brother, Roland, was in the army, so Clarence started to play more lead guitar breaks with the Kentucky Colonels. In September of 1963, Roland rejoined the Kentucky Colonels after seventeen months in the service. As the older brother, Roland reassumed the leadership role of the band. During this time Roland told me that they held rigorous rehearsals late into the night. He said that they liked to practice into the wee hours when they were already bone-tired so that “we could give it all we had.”

Rehearsing long hours paid off.

Each week when they performed at the Ash Grove or served as the house band for hoot night, the band seemed to get tighter and tighter. I think that Roland brought some of the “spit and polish” attitude of the army to the band, and it paid off in spades!

Listening to Clarence play with the Colonels each week was like going to guitar college for a lot of us in the audience. There’s no telling how many budding guitarists like myself were profoundly affected by watching and listening to this band, and especially hearing Clarence on guitar. It’s certain that Joe Maphis, Doc Watson and Django Reinhardt were Clarence’s inspiration, but it was Clarence himself who forever changed the role of the guitar in bluegrass music in California and beyond

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Wayne Erbsen’s is Director of the Appalachian Music Program at Warren Wilson College in Swannonoa, North Carolina and president of Native Ground Music, which produces recordings and books on old time music. Wayne is an active teacher of banjo, fiddle, mandolin and guitar. Contact Native Ground Books & Music, 109 Bell Road, Asheville NC 28805 (800) 752-2656. http://www.nativeground.com/ Free catalog available.

Along the

Plan B We are pleased to share with you a new music venue called Plan-B, a new community cafe, in Broadway, VA. With the slogan of “Where friends meet for fine local fare, music, and more,” Plan-B opened in September of 2011. It’s a community, family-oriented gathering place where one can savor the fresh baked goods, hand crafted soups, salads and sandwiches, and delicious, locally roasted fairtrade coffees in spacious comfort.

Plan-B’s food philosophy of All-fromscratch, All-from-natural-ingredients food means that all the meals and the assortment of baked items are made fresh on site using only wholesome, often local ingredients without additives or preservatives. Plan-B also invites local guest bakers and chefs to come create their extraordinary yummy dishes.

Shenandoah Music Trail

By Don DePoy

Most importantly, Plan-B features a spacious comfortable seating and stage area for an array of weekly live musical entertainment. From open acoustic jams to formal concerts by the regions best artist, visitors to the area now have a much needed venue to round out the offerings in northwestern Rockingham County. The music includes: bluegrass, old-time string band, contemporary folk, singer/song writers, blues, Americana and International folk music. Makes plans to visit Plan-B at 202 North Main Street in Broadway, Virginia, or you can call (540) 896-2221. Visit them on the web at www.PlanBBroadway.com.

the guitar, he started with an open tuning style and often used a slide. He admits playing some modern type country tunes at first and even a little rock music. He began touring the festivals of Southwest Virginia with his father, and 1968 Harold picked up the fiddle learning fiddle styles by deftly listening for tunings and bow stroke changes.

“Old-time” Harold Harold Hausenfluck, a piano tuner by trade, was born blind in 1952 in Charlottesville, Virginia. From 1956 to 1971 he attended the Virginia School for the Deaf and Blind in Staunton. It was during those years that he first became interested in country music. The first instrument Harold learned to play was the harmonica at age eight. Soon to follow was the "jawharp" and then the guitar. With

In 1969 Harold picked up the banjo and learned from Aunt Lou McCray and Glenn Smith. It was during that time in 1969 that I met Harold. We performed together in the Staunton area for several years until Harold moved away in 1971. Harold struck up a life long relationship and recording career with Abe Horton of Fancy Gap, Virginia, and in 1984 he was

February 2012

crowned old-time banjo champion at the Galax fiddle convention. In 1990 he won the same honor in old-time fiddle. Harold’s influence on his generation is profound. Hundreds of oldtime enthusiasts have learned from his often custom made learning and demonstration tapes. His extensive recordings with Heritage Records include: one man band, recordings with the old Dixie-B-Liners, and solo banjo and fiddle projects. In 1999 Harold suffered a stroke which ended his string instrument career. Wheelchair bound, one handed and blind, Harold ran an FM old-time radio station (WHBH) for several years.

Harold now resides in an assisted living home in Richmond and has once again taken up the harmonica.

Recently, a compilation of Harold’s music has been released. Old-time music is still alive, and folks like Harold Hausenfluck are what keep the younger generation connected to the vintage art form. More information on how to purchase his new CD, Harold Hausenfluck: Volume I - The Fiddling Collection,contact Field Recorders' Collective, 6206 Washington Street, Ravenna, OH 44266 (www.fieldrecorder.com).

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February 2012

The No-Respect String Instrument There is not a lot of good one can

say about getting long in the tooth except maybe that memories tend to reach back further into the past.

I was doing some remembering not long ago, and I recalled an episode of the Johnny Cash TV show from back in the 1960s. On this particular program, Maybelle Carter (of Carter Family fame) and her daughters made one of their many appearances. Usually, Mother Maybelle played her guitar in that unique Carter-scratch manner that she had made famous; however, on this performance, Cash introduced her as doing an instrumental rendition using an autoharp. Maybelle’s performance brought the house down that night. Recently, I watched a www.YouTube.com clip of that performance and it go me to thinking that I wanted to know a bit more about the autoharp and I hope you might want to do that as well.

An Auto What?

Just what is an autoharp? According to infor m ation from Wikipedia-the on-line encyclopedia, the autoharp is a musical string instrument that is constructed with a series of chord bars that are attached to dampers.

The player presses the dampers to mute all of the strings other than the strings that form the desired chord to be played. The instrument is really not a harp but rather, a chorded zither.

The autoharp is not an ancient musical instrument as it first showed up in Appalachian string music around the turn of the 20th Century. History is not definite as to whom to credit with the invention of the autoharp. In 1882, Charles F. Zimmermann, a German immigrant, was awarded a patent for a design for a musical instrument that included mechanisms for muting certain strings during play. He called his invention an Auto-Harp. His design was unlike later instruments with the same name. The shape of the Zimmermann instrument was symmetrical, and the felt-bearing bars moved horizontally against

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the strings instead of vertically.

There is no record of any commercial availability of this design.

Older Roots

Around 1883, Karl August Gütter of Germany built an instrument that he called a Volkszither. The design of this instrument most resembles the autoharp played today. Gütter obtained a British patent for his instrument sometime in 1884. During a visit to G e r m a n y, Zimmermann discovered the Gütter designed instrument and returned to the States to begin production of it in 1885. He did not use the Gütter name but rather called it an autoharp and assigned his patent to it. Thus Gütter's instrument design became very popular, and Zimmermann has often been mistaken as the inventor. It was not until 1926 that someone obtained a trademark registration for the name “Autoharp”.

Currently this trademark is held by the U.S. Music Corporation.

This company’s Oscar Schmidt division manufactures Autoharps. There have been recent legal rulings affecting the trademarked term, and the general word “autoharp" has now moved into general usage.

The autoharp in use today normally has 36 or 37 strings; however, there are some 47 string models available. The instruments are strung to have either diatonic or c h r o m a t i c sc a l e s . S t a n dar d autoharp models have 15 or 21 chord selectors available with which the player can select major, minor, and dominant seventh chords.

The Rhythm Of It

Originally and typically the autoharp is a rhythm instrument

autoharp. A three-key autoharp tuned to a circle of fifths, such as a GDA, allows the player to accompany fiddle playing.

By Ed Tutwiler

for playing chord accompaniment; however, modern players often play melodies on the instrument. Players whose instruments are tuned in a diatonic scale are able to play fiddle tunes by using open-chording techniques. They

The autoharp was initially popular as a parlor instrument. Because of mail-order affordability, the autoharp took root in the Appalachian Mountains in the early 1900s. Local musicians quickly adapted it to an assortment of hymns, ballads, and fiddle tunes.

Alas, the nature of the autoharp to require frequent retuning, kept the instrument from being widely adapted in the Southern stringbands of the era.

Hudson DH-15 Autoharp

use a pumping technique on the damper keys while picking individual strings. Skilled players of chromatic scale tuned autoharps can perform a range of melodies.

Respected manufacturers of modern autoharps double the strings, making string pairs for each individual note. With this construction, diatonically strung, singlekey instruments have a fuller sound when played. Modifications of this string placement design result in fewer damped strings but permit two- and threekey diatonic scales to be played that permits tunes containing accidentals that could not otherwise be produced on a single key

Noted Performers

A.P. Carter’s wife, Sara Carter, did play one on several of the early Carter Family recordings, and Maybelle Carter began featuring an autoharp during the 1950’s. It is said that she was as innovative on the autoharp as she had been on the guitar in her early years.

The autoharp was typically played as a lap instrument but Maybelle innovated a playing method that permitted her to cradle the autoharp in her arms and play both melody and accompaniment with her thumb and fingerpicks.

During the latter years of her career and feeling the pain of arthritis in her fingers, Maybelle turned

February 2012

lead guitar playing over to daughter Helen and stuck mostly to autoharp.

The famous Seeger field recordings of the 1950s and early 1960s featured four masters of the Appalachian autoharp: Virginian, Ernest Stoneman (who made his first commercial autoharp recording in 1924 and was instrumental in the Bristol recording sessions); North Carolina Father and son combination Neriah & Kenneth Benfield; and Virginian, and later citizen of Pennsylvania, Kilby Snow. Snow was a left-handed player by the way. On these recordings, Stoneman plays harmonica and sings to the accompaniment of his autoharp while the Benfields perform an autoharp duet and the son does a solo performance as well. Some say that the left-handed Kirby Snow’s performance on these recordings is the best of the group.

Earnest Stoneman is considered to be one of the most well known recording personalities of country music’s first commercial decade.

While Stoneman could play several string instruments, it was with the autoharp that he is most closely associated. Stoneman’s grandmother exposed him to the autoharp sometime around the time it first became available to folks in the rural Virginia hills.

Earnest developed an elaborate thumb-index finger picking technique using a homemade springsteel fingerpick that allowed him to pinch the melody note and follow it with a back-and-forth strumming rhythm. Sources often give Stoneman credit as being the first person to record with an autoharp and to pick out the melody interspersed with the chords. He played the autoharp as a lap instrument, but also used a wooden carrying case arrangement that folded open to form a playing board with the instrument setting upon it to provide amplification.

Even if you have been exposed to a good bit of old-time string music, I’m not sure you have seen and heard many folks playing an autoharp. It is not an instrument that makes an appearance very often.

In Today’s Music

Nationally, old-time and bluegrass artist Heather Berry has performed with the autoharp in Carter Family style musical performances. The Carter Family con-

nection has been good for Berry.

Ms. Dixie Hall (wife of Tom T. Hall) owns one of Mother Maybelle's autoharps and let Berry play it in concert one night.

Plus, Berry has also performed at the Carter Fold in Hiltons, VA. On the Heatherberrymusic.com web site, Ms. Berry provided the following insight about her and her autoharp, “. . . The following week was the Galax Fiddlers Convention in Galax, VA. Every single year we go and camp for the whole week, and every year we have more fun than the last! Lots and LOTS of jamming, fellowship, some killer festival food, and picking on the big stage! Tony (Berry’s husband, editor) came in 3rd in the bluegrass banjo division, and I was pleased to come in 2nd on the autoharp.”

One of the more well-known local central Virginia autoharp players is Carol Phillips of the old-time and Carter tribute Sunny Side Band. Carol recently told me that she didn’t know that she was playing old-time when she first started and didn’t really purposefully play old-time until she picked up the autoharp in 1994. I asked her to comment a bit about her autoharp experience and here is what she said, “The autoharp is not always a welcomed instrument in jams and bands; however, my autoharp is like a comfortable pair of shoes, I just feel good when I’m wearing it.” She went on to say, “Because of it’s size and availability to the folks in the Appalachian Mountains, it became known as a mountain instrument, perhaps that’s why I feel right at home playing it.”

Stoneman Family recordings just to hear the autoharp played as it was played in its heyday. By all means, try to catch Heather Berry or Carol Phillips and the Sunny Side Band live in concert. Certainly, do an internet search for YouTube and watch the Maybelle Carter videos. I believe you will be as mesmerized by these videos as I was by them. I, for one, would enjoy seeing and hearing more of this obscure string-music instrument and encourage you to do the same

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Learning The Art Of Jamming “Jamming” is a staple to the bluegrass and old-time enthusiasts. And if you have ever been to a “jam,” you can appreciate the sense of community and family a bluegrass jam promotes. And if you’ve ever stood around wishing you could jump in, well now there’s a series of books designed for such learning.

Jamming on Mandolin, the first of a new series from author Wayne Erbsen, is easy and fun. Wayne teaches 31 bluegrass jam standards and covers how to jam with others,

how to improvise and make up your own tasteful licks and fills, almost painless music theory, how to play harmony, how to transpose and play in different keys, and pretty much everything you'll need to march fearlessly into your next jam or picking session.

And it’s fully illustrated with nearly 200 vintage photos.

And just in case the mandolin is not your thing, coming soon Wayne will release, Bluegrass Jamming on Fiddle, Bluegrass Jamming on Banjo, and Bluegrass Jamming on Guitar. All the books in the series will teach the same 31 tunes

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Contact Native Ground Books & Music, 109 Bell Road, Asheville NC 28805 (800) 752-2656. Visit Wayne’s web site for more info and to order the book a t www.nativeground.com. There’s also a free catalog available with 100’s of great books.

If you should care to hear the autoharp played in the manner that Maybelle Carter innovated, watch the festival lineups to catch a Heather Berry performance. You can catch Carol Phillips and The Sunny Side Band during the summer and fall tourist seasons at Big Meadows Lodge and Skyland Resorts on The Skyline Drive and the Humpback visitor’s center on the Blue Ridge Parkway. You also can catch them at various venues in the central Shenandoah Valley region all during the year.

Well, there you go folks, another obscure layer of the Americana music onion peeled back for your examination. I hope I have whetted your interest just a bit, and made you want to get a copy of the Seeger recordings or seek out some old Pop Stoneman and the

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February 2012

Music From The National Scene

Music From Your Neighbors As mo re a nd more peopl e di sco ver AR Ma ga zi ne, mo re a nd more groups and labels are getting in touch with us - Here are some of our favorite picks! Some tell me this is their favorite page - cool! I know the artists like to hear that. We give you a web link as often as possible so you can listen and decide for yourself. Try iTunes too. If you discover something you like - tell them AR Magazine sent you!

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Live At Bean Blossom Bill Monroe www.ruralrhythmrecords.com This is the year, 100 years ago that it all started for lovers of all shades of Americana. And Bean Blossom Indiana is the hallowed ground of festivals.

And this commerative CD collection recorded there honors the music of Bill Monroe

Volume Five Children Of The Mountain www.mountainfever.com An up and coming bluegrass band, Volume Five’s new CD sets out to honor the story of the coal miner. One of my favorites in this round, Children Of The Mountain will find a few memories, smiles, and tears in the heart of every listener

Charlottesville, VA gal, Holly Renee Renee Allen is kicking it good with her new, debut CD, Red Dirt Soul. A soulful blend of flavors from the likes of Janice Joplin, Bob Dylan, Tom Petty, and Bonnie Rait Yes, Holly Allen’s got soul, and plent of it - you go girl

For The Good Times www.thelittlewillies.net The Little Willies started as an excuse for five friends to get together and make music. Their debut show in 2003 met with rave reviews. Front gal Norah Jones (‘memba her?) leads the cast and this great new CD - it’s fun

Russell Moore and IIIrd Tyme Out Prime Tyme www.iiirdtymeout.com You can just tell when a band has years of experience. IIIrd Tyme Out began in 1991 - out of the gate, making waves and their new CD, Prime Tyme, is nothing short of top notch, again. Love it

Malcolm Holcombe To Drink The Rain www.malcolmholcombe.com Gotta love that soulful country blues sound, and nobody does it quite like Malcom Holcombe. His deep, raspy, soulful lyrical style is grippingly unique. It’s hard not to like it. Grab a cold one and hum along

Doop and the Inside Outlaws What Am I Supposed To Do? www.insideoutlaws.com Another of the gritty, on the verge of outlaw, americana rock bands - Doop and the Inside Outlaws are making their mark with their second CD, What Am I Supposed To Do. Way to go guys

Three Tall Pines All That’s Left www.threetallpines.com Hailing from New England, this quartet is defining the ne w flavor d ub be d Amerigrass - a cross between bluegrass/old -time/ a nd mountain soul. These guys, with their second CD, have something unique - well worth the spin

Heather McCready Give It A Day www.heathermccreadymusic.com Forth Worth, TX is home for this classically trained songstress. Her new CD, Give It A Try, is a delightfully playful collection of yet another addition to the Amerigrass class of 20 12. It reflects the younger influences of the day

Carolina Road Back To My Roots wwwcarolinaroadband.com North Carolina bluegrass has a sound like no other, and Carolina Road is on the front line of defining that sound.

Their new CD, Back To My Roots, has that distinctive old time flair and traditional bluegrass instrumentation. Nice

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Verlon Thompson “Works” www.verlonthompson.com This Oklahoma native is oft noted for his songwriting and touring with famed Guy Clark.

Works, his new indie release CD, has a wealth of stories put to song in a way that only Verlon could. If you like storytellers, you’ll like this

Bridging The Gap www.crowebrothers.com Traditional bluebrass music is alive and well indeed, and no better example this time around than the chart-topping Crowe Brothers and their new CD, Bridging The Gap. Kinda hard to top brotherly harmony

Crowe Brothers

Dan Fisk Bruises From The Backseat www.danfisk.com Drawing comparisons to fellow Virginians Dave Matthews and Jason Marz, for sure Dan Fisk has a sound all of his own. His new CD, Bruises From The Backseat, is solid.

Winner of multiple awards, Dan’s a guy to watch

CD Submission: Americana Rhythm Magazine, PO Box 45, Bridgewater, VA 22812.

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Vintage Blue

Strike The Mics

www.vintagebluemusic.com While the new grassers are taking one end of the spectrum, the grassroots jam bands are setting the mark on the other; like Vintage Blue Kansas based, these guys got skilz. If you like a little rhythm in your soul, check ‘em out

Holly Renee Allen Red Dirt Soul

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

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The Little Willies

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February 2012

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