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April 2015
Let life be like music. ~ Langston Hughes ~
“Let life be like music,” Langston Hughes said. Maya Angelou wrote, “Music was my refuge. I could crawl into the space between the notes.” Good words for this Winter season as we await the Spring thaw and the arrival of our musical Seasons In The Sun. So to get you in the right frame of mind, we’ve once again filled these pages with all kinds of music goodies for you to partake of. Some early festival announcements include Merlefest, Bloomin’ Barbeque and Bluegrass, Bath Bluegrass Jamboree, and the South Carolina Guitar Show. Other events include The Shenandoah Jamboree, Carnegie Hall, The City Of Galax, and Music Camps North too! And a big thank you to our friends National Media, Mountain Fever Records, Fretwell Bass, BeARcade Music, PVCC, WMRA, Kathy Anderson, Native Ground Books, Tim White, Huss & Dalton, and Blue Sprocket Sound. We could not do this without these fine folks. Please visit them, engage their services, and tell them you heard about them here in AR. See you out there! (See all their ads in this edition.)
Questions, comments, suggestions: greg@americanarhythm.com
PUBLISHER Image credit https://trueblueridge.files.wordpress.com
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 Donna Ulisse the publication’s region. Subscriptions are available inside the United Don and Martha DePoy 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. Donna Marie Miller Foreig n su bscrip tion req u ests shou l d b e sen t to 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 or original owner. All Zebra Media advertising material subject to approval. Associated Dist. PUBLISHER/EDITOR IN CHIEF Greg E. Tutwiler Associate Editor Ed Tutwiler MARKETING & PROMOTION Mark Barreres (GrassRootsNetworking.com) ADVERTISING Letters, Comments, Suggestions Business office 540-433-0360 greg@americanarhythm.com advertising@americanarhythm.com www.americanarhythm.com
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April 2015
Vinyl Still Matters
By Edward Tutwiler
At the 2015 Grammy awards, Prince paid homage to the pioneering musical format with this comment; “Albums ... remember those? Albums still matter.” And with that, I invite you to read on. - editor Climb into Mr. Peabody’s way-back machine with me, and travel back to the mid 1960s to downtown Lynchburg VA. There, one chilly, misty Saturday morning, I wandered into a pawn shop/record store and pawed through bins and bins of 78 RPM Long Play (LP) recordings of late 50s rock and roll and rhythm and blues artists. I came upon a copy of Jimmy Reed’s Greatest Hits, which I hugged all the way to the cash register. My rainy Saturday was complete when I returned to my apartment. I dropped the vinyl disc Jimmy onto a Gerrard turntable equipped with a Pickering 38T pick-up cartridge that sent an analog audio signal to the preamp of my 20-watt Gromes Little Jewel amplifier. Its 6L6 power output vacuum tubes, drove a custom engineered, acoustically balanced, hand crafted wood speaker cabinet. This cabinet was equipped with both woofer and tweeter loudspeakers connected through an electronic cross-over at just the correct audio frequency. When the stylus of the pick-up cartridge dropped into the vinyl record’s grooves, the speakers came alive with a quiet hiss, then a faint pop and scratch, and then the room filled with sounds of Mr. Reed playing his electric slide guitar and singing stories about Kansas City and a Big Boss Man. Jimmy would blow his mouth harp and the tweeter would screech out the high notes. Mr. Reed would slide his fingers on the guitar strings and I could hear the sound of them moving. He would shift in his chair and the squeak would come alive in my living room. His wife sat behind him in the studio, and I could hear her very softly whisper the next words of the song to him and sometimes even sing a quiet harmony along with his voice.
I Was Dismayed
Returning the way-back machine to the present, I recently listened to a digital recording of the same Jimmy Reed album reproduced via an MP-3 player the size of a candy bar and a set of broad-frequency range earphones that are lighter than a feather. As I listened to this old familiar and beloved R&B artist, I was dismayed. Gone were the chair squeaks, the finger slides, the quiet whisperings, and the sharp mouth-harp notes. The sound was certainly clean and quiet but it was also so different to my ears. I missed the resonance and the faint echo—dare I say it had no depth? I had assumed, that the richness of the sound, the scratches, pops, and all that drifted to my ears from my long ago hi-fidelity system, and the heavy vinyl records that it played, were all part of an obsolete way to listen to music; however, I recently discovered that many Americana string-music acts now release material using analog recording technology on vinyl media. What this action might represent is hard to discern. Maybe it’s just a nostalgia fad; maybe it’s artists experimenting with art; or there might be a real resurgence in interest in vinyl recording occurring. Let us see what some folks have to say to us about this.
Coming Back
Let us first look at the decline and resurgence in vinyl recording in general. A story appearing on www.billboard.com offers some thoughts about vinyl’s return. During the early 2000’s in an effort to produce a more convenient way to put recorded music in the hands of consumers, record companies developed and tested a series of products that had new sound providing properties. Nothing tested better than the digital format compact disk (CD). It proved to be more accepted in the market than vinyl records and the retail purchase price was less—thus vinyl’s market share eroded. The recording industry became excited about digital music. cont. on page 6
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The Apple ® Corporation was having great success with its iTunes, and sales for its iPod were exploding. This shift in analog to digital format affected business decisions, and financial support rapidly shifted from vinyl records to digital format media. It must be noted, even though vinyl releases slowed to a trickle, vinyl records never disappeared from the market. There have always existed independent recording companies who consistently release titles on vinyl, and there has continually existed a robust underground and somewhat cultish society that supports the vinyl record industry.
Process intersects with product to really make a difference. We can take our time. I can show up to a party with box wine, which might carry more and have really convenient packaging, but six people still enjoy pouring wine out of a glass bottle.”
Sonically Different
The change in consumer A 2014 Christmas spending ultimately re- Retail Display sulted in the demise of the big national retailers that sold vinyl records. Vinyl recordings sight, I reached out to Mr. Trent could have eventually become exWagler of the folk/roots Americana tinct had not something organic string-music band, The Steel happened to prevent that from Wheels. happening, and this was a grassroots movement known as Here are Trent’s thoughts, “We Record Store Day. started releasing our music on vinyl in 2011 with the Lay Down, Lay Low release. There are a numRecord Store Day ber of reasons we did so. Some of Record Store Day is an international the motivation was the product itday of celebration observed on the self. Vinyl is big and tactile. The third Saturday of April each year. listener must participate, with a Its purpose is to celebrate the cullittle skill, to play the music. You ture of independently owned record put the record on side A or side B stores. Record Store Day brings toand place a needle that turns litgether fans, artists, and thousands eral grooves into musical ones. of independent record stores all When that side is finished, you around the world. Many famous must do it again. I think, in the and not so famous recording artface of an instant digital culture, ists and other talented folks particithe vinyl resurgence is there to repate in the day by making special mind us that we can slow down. appearances and performances.
Trent goes on to say that he thinks that the vinyl experience is also sonically different. Here is how he put it, “I wouldn’t say it’s better or worse, though many like to argue both sides. Digital music allows us to hear more—more frequencies with more clarity. The argument for vinyl says that more is not necessarily better. I like the sound of music on vinyl. I like the way the medium of vinyl has its effect on the music. We started putting out our music on vinyl because we want people to be able to choose the slower pace that vinyl represents, the warmth of the sound, and the process. It really speaks to some people. Others think it’s crazy to go back to vinyl records. That’s okay with me.” The fact is this: vinyl recordings typically now account for less than
Often, the day is used as a time to issue special vinyl releases to mark the occasion. The first Record Store Day occurred in 2008 and continues to the present with increasing significance. This interest in the local independent retailers of music reproduction has lead to a renewed interest in vinyl recordings; and this interest in vinyl records has, in turn, reignited a passion for music. We would be amiss if we did not also seek the artist perspective on vinyl recording. To gain this in-
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6 percent of the annual music album sales yet the analog vinyl format still remains available for a new generation of music fans. Digital format media will always be the mainstream because of the portability and convenience it provides. The CD led to the MP-3 player, and this little player has led to legal delivery of music on smart telephones. Nevertheless, even with the rush to digital media, discriminating music consumers still enjoy a premium sound; and vinyl recordings provide maybe the best representation of a music performance and a closer connection to the performing artist. I dismantled my old hi-fidelity system some time ago, and I embrace with gusto the experience of listening to music on my smart telephone—music which I receive from AR’s very own Americana House Party station on the www.Live365.com web site. Having admitted to that, I still fondly remember those rich full sounds that the vinyl analog records provided for me on those lazy, rainy Saturday afternoons so long ago way down in Lynchburg town.
Live In Your House By Gene Bowlen
Every so often, we here at Ameri-
cana Rhythm like to break out the topic of House Concerts. It appears to me to be one of the most underused options available for listeners to experience live entertainment. Artists are eager to play music—it’s what they do. And when it’s cold outside, the outdoor opportunities are greatly limited. You might be surprised just how much fun you can have at a house concert. For this issue, I invited Gene Bowlen of BeARcade Music Production to offer his experience with house concerts. Gene hosts a regular house concert series in Port Republic, VA. – editor I inherited the house concert series from Andi Arndt who had started it several years ago at her house in Harrisonburg, VA. She was getting very busy with her work doing voice-over for books-on-tape and asked me if I would consider taking over the series. She had seen my live-room in the recording studio and thought it was the perfect place to host a small musical event. It turned out she was right. The live-room measures 24 by 36 feet and has an 18-foot post and beam ceiling. It is chapel-like in appearance. It has large windows on three sides that have panoramic views of a large part of the eastern half of the Shenandoah Valley and the Massanutten Peak—hence the name, Concerts with a View. I also inherited my first performer from Andi as well. That person was the singer/songwriter, Ben Bullington, from Montana. Ben was a very interesting guy. he wrote and sang very personal songs about the wide open spaces of Montana and about his childhood near Lexington, VA. Ben had been diagnosed with pancreatic cancer several months prior to coming to perform at that first house concert. He had retired from his role as a smalltown doctor and had taken to the highway to share his music with anyone who would listen. (You can refer to http://benbullington.com/ bio.php for more details if you wish.) Nevertheless, that first show was a great success with about 30 people in attendance, including Ben’s friend Robin Williams of the Robin and Linda Williams folk duet. The next month, I hosted one of my favorite local artists. That being Kat and the Travelers, fronted by Kathy Kraft., Kathy is co-owner of Laughing Dog T-shirts in Harrisonburg, VA. We recorded
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that whole session with the hope of releasing it as a live CD. I am now into my third season of concerts.
Not That Difficult
It’s really not that difficult to produce a house concert. We’re not talking about a theater room for 300 patrons here. That is not the point. A house concert is meant to be intimate. And there are a whole host of performers who dig this kind of setting. – editor To produce a house concert, you begin by inviting a musician to come play in your space. Your space could be your living room, basement, deck, or even your carport. After you’ve found your musician, you then invite all of your friends to come listen to her, him or them perform. Ask your friends to bring a snack to share; and plan to have a great time. This food and drink is shared with all who intend. As the host, you should provide a start to the snacks and provide some non-alcoholic beverages as well. A typical house concert performance space provides an intimate listening environment for 20 to 50 people to listen to an acoustic performance up close and personal. You can mention to your invitees that there is usually a suggested donation to be given to the performers but be sure they understand that it is a suggestion and not a requirement. The good taste and integrity of our audiences has always led to a reasonable amount of money in the donation basket. While any money is given to the continued on page 17
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Don’t mind me for starting off a
little sappy this issue, I love my husband. He’s been a good match for me. We have similar interests, great respect for God, and a love for our family. We also have a matching sense of humor that keeps us grounded. Rick and I have learned to make light of our blunders and keep troubles confused by laughter. Our marriage has been a long one, and writing love songs comes easy for me. Therefore, here comes the lesson in songwriting for this edition. There are layers to every relationship that make up great song material. You don’t need to have a true heartache to be able to write heartbreak songs. I can look within the dimensions that make up my relationship with Rick and find emotions that mirror heartache and turn that emotion
into writing a break-up song that is convincing. Wow, that sounds daunting but it’s really not that hard at all!
Spurned Lover Emotions
Rick has never broken my heart but there are things in my past that have. My “spurned lover emotions” can certainly be found in the great disappointments that I have experienced through other things such as my stint in the country music market. For a brief time, I held the coveted spot of a major recording artist with Atlantic Records. When I lost my recording deal in the 90’s I thought I would die of a heartbreak. It was awful, filled with regret, longing, loss, and all of those elements that make up the classic heartache story. Rick’s role during that time was that of a champion. He picked me up when
I was down. I have written countless songs using that time in my life. I still go there when I need to feel that kind of gut wrenching, fit throwing, world crashing, hair pulling heartache. It works every time. Hey, I actually think that description would make a good song! (I have dibs!)
Here’s What I Mean
I want to give you an example of a song that comes out of my life with Rick. It is actually a love song that I wrote for my sweet husband but it reveals a bit of my heartache in it also. You see, I had an epiphany one night as he lay there sleeping beside me that he has always been my knight in shining armor. Any trouble that I manage to get myself into (which happens on a regular basis), he heroically takes it on for me, and lifts that weight off of my
Live & Recorded Sound Services BeARcade Music Production Port Republic, VA Located in the heart of the Shenandoah Valley
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shoulders. I pulled myself out of my warm, comfortable bed in the middle of that night and went into my office and wrote this song about him. Nice, huh? I couldn’t wait for the sun to rise so that I could sing him my love song. From my office, I heard our alarm blaring. I heard Rick stumble out of bed and head to the kitchen for coffee, and I waited, one, two, three minutes before I came around the corner with my guitar and my new love song. He held his hand up at me in a “give me a minute” kind of salutation so I paced a little and then sang it anyway. H e was completely underwhelmed...FINE! I stomped off to my office to stew. Just as I was ready to declare hurt feelings, he came in and handed me a cup of coffee and asked to hear it again. This time he was moved. See the song lyrics on page 15
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Fast Track To The Top
By Greg Tutwiler
Few bands ever get to enjoy the
kind of attention the kids from Flatt Lonesome have received in the past few years. Since their debut in 2011, they have released two CDs (working on a third); won the SPBGMA band competition (2012); won Merlefest’s Chris Austin songwriting contest; and was awarded the Emerging Artists of the Year Award this past fall at the IBMA’s. Tim Stafford of Blue Highway calls them “the real deal,” and Sirius XM Bluegrass Junction’s Kyle Cantrell says they are “one of the most compelling and entertaining groups I’ve seen in bluegrass in a long time.” For anyone who thinks Flatt Lonesome has reached their peak, Cindy Baucom of Knee Deep In Bluegrass disagrees: “They just keep getting better and better.”
We Grew Into It
Siblings, Kelsi, Buddy, and Charli Robertson grew up in a traditional family in Florida. Dad was a preacher, and was looking for something he and the kids could do together as a family. “Our dad was our biggest influence in our musical career - he kind of just picked out the instruments for us, honestly,” Kelsi told me recently. “He wanted something we could do as a family and on weeknights hanging out. My brother started first, with the banjo, at around 10 or 11. I was 13 when I got my first Mandolin, but I didn’t get real serious about it until I was 15. It was a process, it wasn’t an immediate thing – we grew into it,” she remembers. Kelsi recalls her dad saying, “You don’t have to do this, I’m not pushing anything on you, I just thought it would be something we could try out – and now here we are, playing music for a living.” The band got formed when the siblings were teenagers, and along with dad, they started playing at local events and in churches
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around the area. “We got really busy playing as a family band during the week and in our church on the weekends,” Kelsi said. “We finally just got too busy for dad to travel with us, so he encouraged us to start our own band and see what we could do out on our own.”
New Horizons
They formed the new band with a few childhood acquaintances. Three of the gang had just graduated high school, and three were still in school. In 2011, they decided to enter the band competition at the SPBGMA convention in Nashville, TN. “It was the first time we had ever played on stage together,” she mused. “We got third place, and it really lit the fire in us to want to see if we could make this work professionally.” After that win, they went home to Florida, determined to pursue a career in music. “We played a
few little shows here and there throughout the year, and decided we should go back to SPBGMA the next year and enter again. We won! That was encouraging. And while we were there, we met the people who would end up being our label and managers.” Flatt Lonesome left Nashville (now home) with a first place award, a management team, and a record deal.
The Fast Track
In the fall of 2014, Flatt Lonesome won IBMA’s Emerging Artists of the Year award. “That was a huge surprise and honor for us,” Kelsi said. “This part of it has come quickly. We’re still riding very high on all of it. It’s very exciting for us.” And while the goal is full time, all but one in the band is still holding a part time job to supplement their income. “I work for Toyota Monday through Wednesday,” Kelsi said. We’re all
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very blessed to have flexible schedules. We usually travel the rest of the weekend. We don’t really get a day off, but we love the music, so it’s a worth while trade. I think all of us will always do some other things from time to time, but our goal is to be able to do this full time as soon as we can. We already have over 50 dates booked for 2015, so it’s really looking up for us.”
Seize The Moment
Kelsi said that none of the folks in the band have actually been to college yet, and that’s okay. That probably sounds bad,” she laughed. “We don’t recommend that. But with the timing of how the music came into our lives, and everything that happened with the awards and the attention, we just all decided and do believe that when music comes and shows an opportunity, you’ve got to take it while it’s there. School’s always going to
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be there. This is what we’re doing right now, and we’re enjoying it.” Flatt Lonesome has a distinctly unique sound. Just about anyone can pick up an instrument and learn to recreate the music they love. But to get to the next level, you have to have something special. You have to sound like no one else, but yourself – and not be trying to sound like someone you want to be like. And while these guys are cranking out a progressive-traditional brand of bluegrass, their obvious sibling harmonies and stellar instrumentation set them clearly a notch above.
Who We Are
“It’s just who we are,” Kelsi said. “It’s the music we gravitate towards. It’s just the vibe we feel naturally. I don’t think we really come together and say, ‘okay, this is what we’re trying to put out.’ It just all evolves around bluegrass, but we try to put a youthful vibe into it. And I think that honestly comes from the fact that we’re all in our twenties. Without being too progressive about it; we like the progressive stuff, but we also love the traditional. We just try to stay true to what we like to listen to.” “Dad brought us up on old country, so we all really enjoy listening to old country,” she said. “We grew up listening to Merle Haggard, and Willie Nelson and
George Jones. But we do listen to everything – we even like some of the pop stuff. We really don’t drive down the road listening to bluegrass 24/7. We enjoy other things, and I think those influences show up in our music in subtle ways.”
Why So Quickly
“We would obviously give God the credit first,” she said. “He’s the one that gave us the talent in the first place. We don’t ever take that for granted. And obviously there’s a lot of our own hard work that goes into this too. It hasn’t come easy. This didn’t happen over night. We also have incredible managers and booking agents, and a record label that’s pushing us, and letting us be the kind of band that we are and play the kind of music that we enjoy. Our managers, Danny and A ndrea Roberts, are a huge part of why we are where we are right now.
When we came into this, we knew nothing about the music world. We grew up playing much differently than playing on the road at festivals and theaters, and being around promoters. So we’ve had to learn the ropes along the way, and just try to be who we are.” The band’s current CD, Too, produced three top five singles last year; “So Far,” “Dangerous Dan,” and “I Can’t Be Bothered.” And “So Far” reached number one. They are considered by some as “the rising voice in bluegrass music.” Mature beyond their years, and with hearts of passion for their craft, one would do well to pay close attention to this young, up and coming band
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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
Riyen Roots; the song hunter that could have ensured the clan’s survival, or the struggle of the shaman’s mind as he howled at the moon and stars, struggling to understand his very existence. To me, this was the beginning of the blues we all feel from time to time, and the evolution of this thing we modern folks call music. As long as people go through the ups and down of life and seek comfort in knowing others empathize, the blues will be there.”
FEATURE ARTISTS Born in Atlantic City New Jersey,
Riyen Roots family moved to Philadelphia when he just three years old. It wasn’t long after when his mom noticed his strong interest in music and an ability to sing. She sought out public events for him to perform, where he sang everything from old standards like Woddy Guthrie’s “This Land Is Your Land”, the “The National Anthem”, the Platter’s “Earth Angel”, and Tennessee Ernie’s “Sixteen Tons.” “I think some of it was a bit too advanced for a three year old,” Riyen recalled, “but my mother knew what she was doing. She wanted me to be able to sing any style for any kind of audience I may encounter on my path.” That variety of influence can be seen now in his performance, where he incorporates 100 plus years of every genre of music he feels connected to.
Soul Of The Roots
“That’s what the Roots part of my name is all about,” he said. “It’s actually an acronym for Rhythms Of Old Touching Souls (Roots), and of all the genres I’ve fallen in love with on my musical journey. Growing up, my family went through a lot of hard times, and the blues spoke to me on a very deep level.” “It is the music of the people, made by the people, for the people,” Riyen said. “Any given night there is
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a blues artist or band playing for the hard working people. The rhythms and words bring peace to a weary mind during times of suffering, poverty, and social oppression. It can also be the soundtrack to an evening of dancing, good times, and celebration of overcoming life’s difficulties.”
It’s All Connected
For Riyen, the blues is the epitome of human artistic expression. “Music truly connects us all,” he said. “When I found my bluesy path, I found an extended family with a great history and many members I related to worldwide who support each other. I love the blues world, and it seems they love me. We’re family now and I will play for them until they bury me in the rich American soil from which I came. Hopefully under a big ol’ tree with lots of ... roots,” he mused.
Riyen’s said his style of blues is a mixed gumbo of all the styles of blues that influenced him through the years; Delta, Chicago, Piedmont, Blues Rock, Trance Blues, Prohibition Era, and even Party Blues. He says he’s inspired by everything. “Literally,” he said. “Everything I see, touch, smell, taste, and hear along my path. But musically, I’d like to continue keeping the blues alive every where I travel in the world.”
It Was The Beginning
Riyen feels like the blues was really the first form of music. “It’s been with us since the beginning. It has been mankind’s main form of expression since the first cave woman gave birth, and the cave man moaned after loosing his woman to illness, and banged meatless bones in angry rhythmic expression of his loss. It may be the hunter’s pain after the failed hunt
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Riyen says he’s written about 200 songs in the past twenty years. He says he gets this feeling that he should pick up his guitar and riff for a while. “Usually, a simple riff inspires the melody,” he said, “and then I take pen to the pad. Sometimes I just get an idea for a song and then go about it, but usually, the process is somewhat involuntary. I feel I channel these words and melodies sometimes. It’s hard to take credit when it just flows. ninty percent of my songs were finished in less than 20 minutes. My pen never lies and my music is as honest as I can make it. I am a song hunter.”
CD In The Works
Riyen is currently at Echo Mountain Studios in Asheville, NC working on his new CD. It will consist of mostly acoustic arrangements. . “We are looking forward to promoting this release by touring hard this year in the US and Europe,” he said. “No man is promised tomorrow, but I plan on playing for the rest of this life,” he concluded. Find out more about Riyen and check out his brand of Blues here:
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April 2015
In this new series, we get a little deeper into the inside track with some of our featured artists. These stories are just a snapshot of a longer interview that you can hear in it’s entirety by clicking the link on our web page; www.AmericanaRhythm.com.
Zak Smith
Meet New Jersey singer/ songwriter Zak Smith. Described as Alternative Americana, Zak’s music is infused with traditional and gospel overtones, and influenced by rock and roll greats like Neil Young, The Rolling Stones, and Bruce Springsteen. Zak grew up in New Jersey and still lives there. He performs with his band as often as possible. Most of them hail from Brooklyn, NY, which is where they perform most of their shows. Zak began music at the ivory keys, but recalls hating practice and quickly found other outlets for his growing interest in making music. In the late 90s, in his early teens, he discovered classic rock. He admired the songwriters most, and soon took to pen, crafting his own lyrics. “Led Zeppelin was the first band I really loved,” he said. “Then it was Hendrix, and the Doors. I just wanted to hear everything they ever did.” A love of writing early in life led Zac to place a strong emphasis on lyrics. “From very early I knew I wanted to be a writer. Even before I was into music; was into writing. I read a lot, and still do. Words felt like the most creative aspect to me. So when I got into music, it felt really natural to be drawn to writing lyrics.” Zak gathered up a bunch of tablature books his dad had stashed around the house. He studied and practiced, eventually teaching himself how to read music and play the guitar better. Those experiences combined to shape and mold the sounds and lyrics Zak creates today in his music and on his new CD, Signs Of Life. “It definitely doesn’t sound like Led Zeppelin,” he laughed. “It’s kind of a stripped down effort. It’s less like Appalachia so I just call it Alternative Americana,” he said. To find out more, visit www.ZakSmithBand.com
Cary Morin Described by some as “one of the best acoustic pickers on the scene today,” Ft. Collins CO resident Cary Morin “brings together the great musical traditions on Americana music and beyond like no other.” Public talk radio host Richard Higgs had this to say; “A man and a guitar, a lot of soul, and an understanding of the history of soulful men with guitars in American music can sometimes achieve this kind of timelessness in their work.” Cary grew up in Montana – started playing piano, and around the age of 11, taught himself how to play guitar. “We lived out in the country, and there were no other kids around, so I had lots of time to mess around with the guitar,” he recalled. “It was a great way to grow up.” Cary combines Americana, blues, folk, bluegrass, jazz, and reggae, along with his Native American Indian roots to create a genuine and authentic sound. “It’s kind of a big pot of stew from all the different bands I’ve played with over the years,” he said. Cary still plays some of those kinds of music as circumstances allow. “But I really enjoy where my music is at right now as a solo guitar player,” he said. Although a seasoned musician, Cary says, “I’m constantly learning more about performing and writing songs. I’m so blessed to have had so many years to dedicate to what love.” Carey says his song ideas often come in spurts. “As the thoughts come to me, I jot them down, and then when I get off the road, I can sit down with my guitar down and spend time with them.” Cary’s new self-produced CD, Tiny Town, is out now. The two-time Colorado Blues Solo Champion says, “I really like the solo guitar approach. There aren’t many guys that do it anymore, but it really fits me right now. I just enjoy that kind of music. I’d like to do one more after this one.” To find out more, visit www.CaryMorin.com
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Justin Mather Boulder City, Nevada is home for Justin Mather. He’s been performing nearly 20 years, both as a solo act, and as front man. His rustic Americana roots music draws influences from Johnny Cash, to Neil Young, and resembles southern rock acts like the Allman Brothers. “I was in my first band when I was 14 or 15,” Justin recalls. “I was in several bands through high school, and I always ended up being the singer. It seemed like every ensemble I was ever in no one wanted to be the singer – so I became the front man.” After graduation, he knew he wanted a music career. Most people think when to want to leave home to pursue music you move to Nashville – not Justin – he chose Vegas. “I’m originally from Massachusetts where there’s lots of country roads and wide open spaces, and not much going on,” he said. “But I knew in the back of my head that if I stayed there, nothing was going to happen,” he said. “I met a girl, and through getting to know each other, we discovered we both really wanted to move – so we said, ‘let’s get out of here,’ we did; just packed up on a whim and headed to Vegas. That was seven years ago, and it’s been a great move for me.” He says the opportunities are there, just like any other big city, you’ve just got to involve yourself and make it happen. “When I came out here I went to open mic nights all the time, and it wasn’t very long before I got my first gig. And of course I went knocking on doors with my CD. And I’ve gotten a lot better – that’s the key – you’ve got to good first,” he said. “You just have to keep playing – that’s how you get better.” And his new CD, Old Records, is evidence that it was a great move indeed. To find out more, visit www.JustinMather.com
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April 2015
article, “Bluegrass and Old-Time Music, What’s the Difference?” http:// nativeground.com/bluegrass-music-aold-time-music-whats-the-difference/
By Wayne Erbsen Chatam County Line Bluegrass or Clawhammer Banjo Which One is Easier to Learn? ©
You’ve got your heart set on learning to play the banjo. Come to find out, there are currently two popular styles of banjo playing: bluegrass or clawhammer banjo. Which one should you choose? And more importantly, which style is easier?
have four or eight notes. The thing that’s so impressive and thrilling about Scruggs style is the sheer number of notes that come flying out of the banjo! The downside is that the melody often gets lost amidst a swarm of other notes.
First, let me explain each style and then we’ll talk about which one is easier to learn.
Clawhammer, or old-time banjo, is an older style that has its roots in West Africa. In the 1830s, white musicians such as Joel W. Sweeney started learning the banjo from African-American slaves. Sweeney was soon joining other performers on the minstrel stage playing what was then called “stroke style.” The basic idea behind the modern clawhammer style is that the melody is played by hitting or stroking down on the strings, and quickly following that with a little rhythm that sounds like “claw - ham - er.”
Bluegrass banjo was more or less “invented” by Earl Scruggs who first showcased it on the Grand Ole Opry in December, 1945 when he joined Bill Monroe’s Bluegrass Boys. Earl’s way of playing was partly influenced by his brother Junie Scruggs, along with several older banjo players including Snuffy Jenkins, Smith Hammett and Mack Woolright. Scruggs used ideas he gathered from these players and created his own smoother and faster style. The basic idea behind what is often called “Scruggs Style” is that the melody of a song is played as part of a series of notes called “rolls.” Most rolls either
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For the most part, Scruggs style banjo is played in bluegrass music and clawhammer banjo is played in oldtime music. If you’re unclear about the differences between these two different but related styles, check out my
Terry and his Derring Banjo.
So now that we know a little about the differences between bluegrass and clawhammer banjo playing, let’s get down to brass tacks and answer your burning question, “which style is easier to learn?” I hate to do this to you, but “it depends.” Traditionally, clawhammer style has been thought to be easier to learn than bluegrass Scruggs style banjo. That’s because once you learn the basic clawhammer stroke, everything else easily falls into place. It’s like the old analogy of riding a bicycle. Once you learn to ride the thing, everything else is easy.
www.AmericanaRhythm.com
If you believe what I just said about how easy it is to learn clawhammer banjo, I’m guessing that you’re ready to run and get your banjo and start to learn clawhammer style. Well, hold your horses right there. I’ve actually figured out how to make bluegrass banjo even easier than clawhammer style. Let’s call this new way of learning bluegrass banjo “the melody approach.” In the many bluegrass banjo instruction books I’ve looked at over the years, the most common way of teaching banjo might be called “the roll approach.” That means that tunes are taught with the melody and the roll already combined. For many beginners, this way of learning doesn’t work very well because the melody is lost in a swarm of other notes. Using this method means that the beginner is faced with the daunting task of memorizing an entire page of notes, with no clear understanding of which of those notes are the melody, and which ones are the roll. It also leaves very little room for improvising. On the other hand, with the melody approach, the first thing that is taught is the basic bare bones melody of a song - just the tune itself. After that, the student is introduced to one simple roll: the thumb-pinch. This amazingly simple method that I use has allowed
April 2015
thousands of frustrated banjo players to easily pick up the banjo and play. They’re able to add the thumbpinch to a variety of bluegrass, folk and gospel tunes without being burdened and dependent on reading and memorizing an entire page of complicated tab. By the way, the thumb-pinch merely involves playing a melody note with the thumb quickly followed by plucking or pinching the 1st and 5th strings together at the same time. That’s it! Once a beginner gets the hang of using the thumb-pinch method, of course, other rolls can be added to make the tunes more fun and interesting. The melody approach is exactly what I use in my book for beginners, Bluegrass Banjo for the Complete Ignoramus as well as my newest book, Bluegrass Jamming on Banjo. This book takes over where the Ignoramus leaves off. Now, let’s get back to our original question of which is easier to learn, bluegrass or clawhammer banjo. I would actually say that bluegrass banjo can start out somewhat easier if the student leans by this melody method using the thumb-pinch. That’s because the thumb-pinch is slightly easier to grasp than the basic clawhammer lick. On the other hand, clawhammer is a quite simple style to learn once you get over the small hump of learning the basic clawhammer stroke. It all boils down to is this: Either bluegrass or clawhammer banjo can be quite easy to learn if you find the approach that works for you. And here’s a novel idea: Why not learn both styles? At their most basic level, they both decorate the melody with either a simple roll or a clawhammer lick. Of course, it might be a good idea to focus on one style before going on to the other. That is, unless you don’t mind eating your peas and carrots in the same mouthful! For more information about playing banjo in clawhammer style, check out Wayne Erbsen’s book: Clawhammer Banjo for the Complete Ignoramus! Wayne has written three bluegrass banjo books: Bluegrass Banjo for the Complete Ignoramus, Bluegrass Jamming on Banjo, and Starting Bluegrass Banjo from Scratch. Also check out his instruction books for fiddle, mandolin and guitar at www.nativeground.com. Free catalogs are available by calling Native Ground Books & Music at (828) 2997031.
Song, cont.
from page 8
The lyric reflects some of the tough times I’ve been through. The meat of the song is that I have a partner that makes those sad things bearable by his love and support and I , the writer and singer, am aware enough to recognize the gift this gives me. The fact that I write love songs for a husband that might not always be in the mood to hear them makes me smile because I know that he knows the truth when he hears it!
An Easy Climb
written by Donna Ulisse © Uncle Hadley Music SOME NIGHTS ARE SOLID GOLD AND SOME DAYS ARE BLACK AS COAL THAT’S HOW MY LIFE ROLLS HARD TIMES SIT LIKE A STONE ON SOME UNFORGIVING THRONE JUDGIN’ ME ALONE Chorus: ‘TIL I’M WAKIN’ OF A MORNIN’ AND FIND YOU SLEEPIN’ BY MY SIDE THEN ALL THOSE MOUNTAINS ON MY JOURNEY STEEP AND CURVY ARE JUST AN EASY CLIMB MEM’RIES ARE LIKE THE SEA OH, AND SAD ONES ARE FATHOMS DEEP THEY ROLL INSIDE OF ME Chorus: ‘TIL I’M WAKIN’ OF A MORNIN’ AND FIND YOU SLEEPIN’ BY MY SIDE THEN ALL THOSE MOUNTAINS ON MY JOURNEY STEEP AND CURVY ARE JUST AN EASY CLIMB Bridge: I AM A LUCKY SOUL TO HAVE FOUND YOUR WARM HAND TO HOLD IN THIS WORLD I AM A THANKFUL GIRL ALL THOSE MOUNTAINS ON MY JOURNEY STEEP AND CURVY ARE JUST AN EASY CLIMB
Donna Ulisse has been a two time nominee for IBMA Songwriter of the Year, a signed songwriter to Uncle Hadley Music (ASCAP) in Nashville, for 15 years, and has released seven bluegrass albums on the Hadley Music Group label. Her songs have been recorded by Claire Lynch, Nu-Blu, The Bankesters, Darin & Brooke Aldridge, Louise Mosrie, Diana Jones. One of her songs appeared on the 2014 Grammy winning album Streets of Baltimore by the Del McCoury Band. She has just published her first book The Songwriter In Me: Snapshots of My Creative Process, available on Amazon.com.
www.AmericanaRhythm.com
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April 2015
Along
can’t find a dance in your area, give us a call at: 540-209-3540, and we’ll help you find one.
the Shenandoah Music Trail
During the cold winter months,
we fun loving bluegrass and oldtime musicians look for our livemusic fix inside, and you can as well. You can find local jams in your area almost every night of the week. Bluegrass and old time jams come in several varieties, and each has the function to make a welcoming community and work to keep music alive for others to enjoy. The key to a successful jam experience is to recognize the type of jam you are attending. Beyond the welcoming circle jam, where everyone is in attendance to have fun and enjoy music making, you might also find performance jams. Performance jams have a place for the audience to sit, and a stage area for musicians. At a performance jam you will find musicians at all levels of playing ability. There is usually a strong core of regulars around a microphone who will take turns and offer anyone stepping up an opportunity to play and or sing a tune. Performance jams offer a great opportunity to get the feel for performing and learning how to play with others.
Private Picking
Another popular winter music making opportunity is a private pick. Private picks are usually held in someone’s home or other private space. If you visit some of the public jams, your new friends might offer an invitation to attend a private pick. Private picks are often attended by high-level musicians and the music making can be magical. Don and I strive to have two private picks a year where we invite our musical friends and their families to come to our home for an afternoon or evening of music and a potluck dinner. I have enjoyed time after time the benefits of real folks coming together to share a break or sing a song for the first time in a friendly, supportive venue with musicians who can relate to the musical journey!
House Party
For years, Don and I have been going to house parties. Similar to a
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Summer Music
By Martha Hill
private pick, you are invited into a private home for music and a potluck dinner. The difference in this case is the musicians in the audience do not play. Instead, they listen and often pay a suggested donation that typically ranges from $5.00 to $15.00. The donated money goes directly to the performers or serves as a fund raiser for a non-profit organization. Our first house party was in Maryland where we enjoyed an evening of top notch entertainment by Jimmy Gaudreau and Moondi Klein (www.jimmyandmoondi.com). The hosts transformed their family room into a club venue setting complete with small tables and about 25 people in attendance. We were treated to an intimate evening of stories; banter with friends; and gentle joking in a relaxed atmosphere filled with requests and great music. The hosts set the stage; provided water, tea and coffee; and welcomed their friends to support these talented musicians.
Vallie May Stroop of Harrisonburg and David Kyger of Fulks Run organizers of the weekly jam held at the Chimney Rock VFW Hall, every Friday evening from 7 to 10pm at 14550 Runions Creek Rd, Broadway, VA.
your feet and your spirits! It’s a great time to dance, socialize, or just sit and listen to some of the best bands and callers in the Shenandoah Valley. No experience is necessary, and all ages are welcome. You do not really need to bring a partner. The callers teaches the dancers all the dance moves required before they start. Here’s the information for a Contra Dance dance held in Dayton, VA just a little south of Harrisonburg, VA: www.daytoncontra.org or send an email daytoncontra@gmail.com. There are Contra Dances being held all over Virginia but if you
Many of the musicians performing at house parties are on the road touring and welcome the opportunity of an intimate performance and a great home cooked meal. (Sometimes the host also provides overnight accommodations.) You could consider hosting your own house party. It takes about six months to plan such an event. If you want more information about musicians traveling through your area give me a call and I will point you in the right direction. If you are a band member interested in being hosted at a house party as you travel through the area, we will put you on our band roster with the Shenandoah Music Trail.
Contra Not Banned
Traditional music goes hand in hand with traditional dancing. Have you ever attended a local Contra Dance? Check around your area, grab your honey, and enjoy an evening out dancing to a live old-time band. Let the rhythms lift
www.AmericanaRhythm.com
The schedule for the 2015 Music Series at Hopkins Park at Massanutten Resort in McGaheysville, VA is complete. This free family entertainment occurs every other week from May through August. We hope you join us for a variety of eclectic performances from jazz to bluegrass, to classical to mountain clogging. Visit www.hopkinscabin.com for more information.
Don and Martha host the Bluegrass Music Jam at the Elkton Community Center in Elkton, Virginia every Tuesday evening from 6 to 8:30 pm. It’s free and open to the public, and all levels of pickers and listeners are welcome. For information on The Shenandoah Music Trail is spon See more at: www.svmmma.org.
April 2015
House Concerts continued from page 7
performers, I get to bask in all of the well wishes from the audience who have had a great time and are usually eager to come back again.
Finding Talent
Finding talent to perform at a house concert is not difficult. There are several house concert organizations and networks to which you can refer such as www.concertsinyourhome.com. These organizations provide guidelines, advice, and referral networks to help you get started and to help you obtain information on artists from outside of your area who are interested in your type of venue. Many artists prefer the house concert venues because the audience is friendly and are a the concert specifically to listen and very often also willing to buy merchandise. If the performers are travelling, the concert host typically opens their home for the night so the artist can save on hotel costs and get a decent meal. At our house concerts, we have also been able to offer afternoon workshops with several of our artists. For a recent show, we featured the Sunny Mountain Serenaders. This trio features three highly acclaimed
musicians, and each one is providing a workshop in the afternoon before the evening concert. Interested attendees often get a small discount if they attend both the workshop and the concert. Typical suggested donations for a show vary from $10-$15 depending on the artist, and workshops in the $25-$35 range.
Coast groups to try to get them here as well. Almost all of the music at my house concerts has been acoustic, although I do usually set microphones for the musicians as well as do some slight sound reinforcement. I do this mainly so I can bal-
Exposure
A great way to survey talent options is to attend festivals where the type of music in which you are interested is being offered. In my case, I am a life-long musician and have been deeply involved in oldtime music for the past 25 years; therefore, I attend a number of music festivals on the east coast each year. Also, as the sound guy for events such as Blue Ridge OldTime Week that is held each June at Mars Hill University in North Carolina, I get to work with the faculty and their performances all week. This means that I have been able to expand my circle of friends to include a good many highly talented musicians. I’ve had folks here at my house concert from much of the East Coast and some of the Midwest. Currently, I’m working with a couple of West
months as folks can stray outside during breaks or come early and have a picnic. I strive to provide one show each month of the school calendar year but I have missed a couple so I have now removed December from the schedule. Doing this has really de-stressed my holiday season quite a bit. I shut down the concerts through the summer months because of my music festival attendance and my work with BeARcade Music Productions.
Reaching Out
ance vocals and instrument levels to the live-room space. Taking this step, has also allowed me the opportunity to record several performances, which I have used in a few subsequent recording projects.
How Often
My house concert shows are typically on Saturday night and occasionally on Sunday afternoons. Sunday afternoon concerts can be a great option in the warmer
www.AmericanaRhythm.com
I make use of email lists, social media, and other web-based methods to reach out to interested folks. For example, I have converted my band’s email distribution list to include the concert events. Anyone who asks can and will be added to that list. This insures that they receive two to three e-mails per month that details all that is going on in the studio. I currently have nearly 400 people on this list. This really helps get the word out to people who are already interested in this type of event. To find out more, you can visit the web site www.bearcademusic.com. The web site has the most detailed information about the concert and is often linked to other electronic media
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April 2015
Music From The National Scene
Music From Your Neighbors
welcome to the latest edi-
tion of SPINS! Feast your ears on these delicious musical morsals (in no special order) - 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’ii love them all like we do! And they’re just in time to help you preview the spring and summer fest schedule.
Darin & Brook Aldridge Snapshot
www.bluemafiaband.com Tight harmonies and some hot pickin’ are the backbone of this relatively new bluegrass quintet, Blue Mafia. Husband and wife Tony and Dara Wray front the band on their new CD, Pray For Rain. You’ll want to hear this one
Lindsay Lou & The Flatbellys Ionia
www.darinandbrookaldridge.com
www.lindsayloumusic.com Michigan based roots ensemble Lindsay Lou & The Flatbellys recorded their latest CD in just four days last fall. Don’t let that fool you it’s super good - full of energy, and fun roots tunes
www.flynncohen.net
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Darin and Brook Aldridge just keep getting better! Their latest CD, Snapshot, features guest spots from the likes of Doyle Lawson, Sam Bush, and Ricky Skaggs. Look out bluegrass world, these kids are for real
A fan of Celtic infused music? You’ll want to check out the latest from Flynn Cohen. With just the right balance of Appalachia, bluegrass, and old-time, Flynn takes you on a musical ride through the Irish countryside
The Tao Of Bluegrass Portrait Of Peter Rowan
Ralph Stanley and Friends
JeConte Down By The Bayou
The Steel Wheels Leave Some Things Behind
The Onlies Long Before Light
www.south40films.com This DVD explores the life of former bluegrass boy and Americana music legend Peter Rowan; not just his music, but his artistic and spiritual endeavours as well. It’s a poinant look at a career spanning four decades - well worth watching for sure
Man Of Constant Sorrow www.crackerbarrel.com
www.jeconte.com Northern California’s blues singer/harp player JeConte teams up with legendary bluerock guitarist, Anders Osborne in this new project, Down By The Bayou. It’s a Cajun swampy, blue-rock, souful laced gumbo of groovy tunes
www.thesteelwheels.com Steel Wheels fans will be ecstatic about this long awaited new release. We got an early listen, and I promise, you WILL NOT be disappointed. The Harrisonburg, VA boys are on top of their game; on the road, and with this fresh set of tunes. You want this
www.theonlies.com Seattle folk trio, The Onlies release their new sophomore set, Long Before Midnight. Did I mention they are all 16 years old? You’d never know by listening, They sound more like a seasoned band . Keep an eye on this gang
Shannon and Heather Slaughter Never Just A Song
Volume Five Voices
Mark Brine All Alone & Blue
www.volumefivebg.com
www.markbrine.com Sounding a bit like a cross between Jimmie Rodgers and Hank Williams, Mark Brine’s music is full of insightful lyrics and poetic instrumentation. A 60’s New England folk singer, his music seems timeless and timely at the same time. Great job, Mark
www.AmericanaRhythm.com. Uncle Woody, The Spin Doctor PO Box 45 Bridgewater, VA 22812
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Wrinkle Neck Mules I Never Thought It Would Go This Far
www.wrinkleneckmuels.com Celebrating 15+ years as a band , the W rinkle Neck Muels are enjoying the fruits of their sixth CD. Americana rock, best describes these guys. Going old school, they recorded this one live to tape. Fans will dig this one
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Blue Mafia Pray For Rain
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Ralph Stanley lays it down again, in style, with this exclusive Cracker Barrel super collection. Ralph hooks up with greats like Di erks Bentley, Old Crow, Josh Turner, and Del McCoury just to name a few. A must add
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Nathan Stanley The Legacy Continues www.nathanstanleymusic.com Grandson of the legendary Ralph Stanley, this rising prodigy and Virginia resident, Nathan Stanley has a new CD, The Legacy Continues. Senior Stanley, and Brad Paisley join him for a pair of duets on this one
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www.shannonandheatherslaughter.com
Winner of the 2012 Chris Austin songwriting contest, Shannon has written a passal of songs for folks like Lou Reid, Blue Highway, and the Lonesome River Band. On this new set with wife Shannon, they are in top form
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A festival favorite - Volume Five’s fifth CD, Voices, reminds us why they have so many fans. Their music spans the spectrum from traditional, classic, and on-the-edge. Hal Ketchum and Dolly Parton add some vocals too
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You can send new Americana CD releases for consideration to PO Box 45, Bridgewater, VA, 22812
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Flynn Cohen The Lazy Farmer
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April 2015
SPBGMA Winners Announced While many in the music world were dialed in on Sunday night (2/8) to the Grammys; some of us were more interested in the outcome of the 41st annual SPBGMA Bluegrass Music Awards. Check out below to see if some of your favorites took home the prize. Album of the Year: Pull Your Savior In Larry Stephenson Band Song of the Year: “That’s Kentucky” Lorraine Jordan & Carolina Road
Entertainer of the Year: Rhonda Vincent Gospel Group of the Year (Contemporary): The Gibson Brothers Gospel Group of the Year (Traditional): The Farm Hands Bass Fiddle Performer of the Year: Butch Cooksey Dobro Performer of the Year: Tim Graves Guitar Performer of the Year: Tim Stafford
Female Vocalist of the Year (Contemporary): Rhonda Vincent
Mandolin Performer of the Year: Danny Roberts
Female Vocalist of the Year (Traditional): Lorraine Jordan
Banjo Performer of the Year: Ben Greene
Male Vocalist of the Year (Contemporary): Russell Moore
Fiddle Performer of the Year: Hunter Berry
Male Vocalist of the Year (Traditional): Marty Raybon
Song Writer of the Year: Tom T. Hall & Dixie Hall
Band of the Year (Overall): Rhonda Vincent & The Rage
Promoter of the Year: Bertie Sullivan
Vocal Group of the Year: The Gibson Brothers
Radio Station of the Year: Sirius XM 061, Nashville, TN
Instrumental Group of the Year: The Grascals
DJ of the Year: Kyle Cantrell Sirius XM 061, Nashville, TN
Entertaining Group of the Year: The Farm Hands
So Long To Another Great
At a performance of the Country
Gentlemen Tribute Band at the Court Square Theater in Harrisonburg, VA Saturday night, January 31, attendees were greeted with the sad news that the founder of the tribute band had died earlier in the week. The band members had been encouraged by Mr. Yates’ family to carry on in spite of his passing, and they performed as professionals always do—with heart and soul in tribute to their founder and mentor. Mr. Yates had been battling illness for some previous months and had been hospitalized in Winchester, VA for some weeks. Bill Yates was born April 30, 1936 in Big Rock, VA and died on January 26, 1915. He was 78 years old. Yates began playing string-music at an early age. One of his earliest bands was the Clinch Mountain Ramblers. This band line-up included Bill’s brother, Wayne, and
the regional favorite, Red Allen. Yates had also worked with bluegrass legends Bill Monroe and Jimmy Martin in his younger days. Bill Yates first joined the Country Gentlemen in 1969 until he retired from the road in 1989. Yates returned to the stage in 2004. While Bill was originally a bass player when he returned to the stage, he sang and led the stage show known as Bill Yates & the Country Gentlemen Tribute Band. He was a part of this ensemble until his passing. This band features a Charlie Waller sound-alike singer and the instrumental arrangements and song selections of the Country Gentlemen group that Yates had been a part of for 20 years. During his carier Bill played and sang with many stars of the progressive bluegrass era such as Doyle Lawson, Bill Emerson, Jerry Douglas, Jimmy Gaudreau, Charlie Waller and many others
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