IBbluegrass international
Vol. 29 No. 4 April 2014
International Bluegrass
Vol. 29 | No. 4 | April 2014
Editor: Taylor Coughlin taylor@ibma.org
Designer: Erin Erdos Humann erinfaitherdos@gmail.com
STAFF
Nancy Cardwell Executive Director
BOARD
Taylor Coughlin Special Projects Director Publications Editor
Eddie Huffman Technology & Office Systems Manager
Joe Lurgio Member/Convention Services Director
Jon Weisberger/Board Chairperson
Alan Bartram/Director, Artists/Composers/Publishers Henri Deschamps/At Large Stephen Mougin/At Large Cindy Baucom/Vice Chair Craig Ferguson/Director, Event Producers Brian Smith/Director, Agents/Managers/Publicists Becky Buller/At Large Craig Havighurst/Secretary, Print/Media/Education Ben Surratt/Director, Recording/Dist./Marketing Danny Clark/At Large Carl Jackson/Director, Artists & Composers Tim Surrett/Director, Artists/Composers/Publishers Jamie Deering/Director, Merchandisers/Luthiers William Lewis/At Large Angelika Torrie/Director, International Regina Derzon/Director, Associations Ned Luberecki/Director, Broadcast Media Elizabeth Wightman/Treasurer, At Large
INFO CONTACT US
INTERNATIONAL BLUEGRASS
The monthly emailed publication of the International Bluegrass Music Association
(ISSN #1095-0605) IBMA: IBMA is the trade association
608 W. Iris Drive, Nashville, TN 37204 USA 615-256-3222 | 888-GET-IBMA Fax: 615-256-0450 Email: info@ibma.org Website: www.ibma.org
that connects and educates bluegrass professionals, empowers the bluegrass community, and encourages worldwide appreciation of bluegrass music of yesterday, today and tomorrow.
Statement of fact and opinion are made on the responsibility of the writers alone and do not imply an opinion on the part of the officers, directors, staff or members of IBMA. Portions of International Bluegrass may be reprinted provided that explicit citation of the source is made: “Reprinted with permission from International Bluegrass, the publication of the International Bluegrass Music Association, www.ibma.org.�
table of contents FeatureS 8| Tony TRISCHKA 16| Kristy Cox: Aussie songstress Makes american debut
18 | Special consensus: John denver style
News 6 | 2014 Leadership bluegrass review 10 | WOB 2014 Conference registration, hotel and ticket info 20| Sound healthcare and advice 22|awards eligibility and songwriting showcase deadlines
Departments 4 | Letter from the editor 5 | From the executive Director’s desk 24 | bluegrass music industry news 26 | Heard ‘round the world 27 | welcome new members April
Letter from the editor
EDITORIAL
Distracted by Daydreams by Taylor Coughlin
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kay, before I get too far into this editorial, I just have to brag to y’all: Kenny and Amanda Smith jammed in my office on Friday night. I look to my left and there they are there (in my memory, at least. They would be crazy if they were here at 5pm on a Monday), Amanda with her supreme voice and Kenny flatpicking away. If I may, I’ll extrapolate on this memory by including Mark Dillon, Rick Sparks and Richard Bicknell on banjos (yes, three!), and the ever-charming Vickie Vaughn on bass. I mean, how’s a girl supposed to concentrate with daydreams like that? Anyway, back to the editorial. Right. Leadership Bluegrass 2014 (the best class ever!). I am officially a graduate! I learned about my leadership style (let’s hear it for the blues!) and learned how to do a banjo roll, albeit painfully slow. I was privileged to hear the concerns and triumphs of my partners working for bluegrass music, and grew in my confidence for building good networks and asking for help when I need it. For the other 349 of you who have been through this incredible experience, you need no further explanation (but you may argue that your class was better, if you like). For the countless hundred others of you who want to be, all I can say is be on the lookout for the dates and application deadline next year. I guarantee you it is worth an awkward call to ask for a reference, or the money it takes to get here (lots of yummy food is provided and odds are you can find a couch to sleep on somewhere). The people I got to know over three days have inspired me in my work at IBMA and are my motivation to not get distracted by jamming daydreams…too much. I must give a heartfelt thanks to our planning committee, our sponsors, and Nancy Cardwell for working tirelessly for our class. They gave their time, money, and energy to be there to make the experience so enriching for the 25 of us. Y’all: Your investments paid off! For a full list of class participants and sponsors, flip over to page 6 for a recap. As the flowers begin to blossom and the weather warms up, so are things in our office (literally, I felt the need to crack my window today) and with our partners in Raleigh as we finalize big details and work on the smaller ones for World of Bluegrass 2014. Take this as my personal invitation to come out to Raleigh and experience what all the buzz is about! IBMA members can take advantage of early registration, hotel rooms, and tickets now! For the general (but still awesome) public, please take note that you’ll be able to purchase everything on Monday, April 14. Visit IBMA.org for information and details (you might just like what you see)! Now excuse me, I have my leadership style to analyze and a banjo roll to practice. Yep, back to Leadership Bluegrass daydreaming again. ‘Til May, Taylor Coughlin
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From the Executive Director’s desk
EDITORIAL
Twelve ways we’ve stepped it up at IBMA by Nancy Cardwell For most of the world, the year begins on January 1. But for bluegrass industry folks like you and me, the beginning of our annual cycle starts with the kick-off of IBMA’s World of Bluegrass registration. That’s March 31 for members, and April 14 for the general public—people I like to call “potential members.” I’ve had the honor of serving as your Executive Director for a year and a half now, but September in Raleigh will mark my 20th year on staff at IBMA. It’s been an amazing ride so far. The last couple of years in particular have been a time of change and new energy for IBMA and the bluegrass world overall. Just off the top of my slightly foggy head (after three days straight of 24/7 Leadership Bluegrass), the following are some accomplishments we can all be proud of:
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The IBMA Youth Council, under the direction of Chairman Andrew Rigney, plans to launch a new “greengrass” environmental initiative at World of Bluegrass in Raleigh this year, along with playing a lot of great music.
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The launch of IBMA Momentum Awards, which recognizes individuals on both the musical and business side of bluegrass who impress us quickly with their talent
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be working with William Lewis and the team at PineCone on production for Wide Open Bluegrass this year, and Raleigh-based Ted Loomis as our Bluegrass Ramble Manager.
The spectacularly upgraded and professionally designed new digital magazine which you’re reading right now…along with 1.5 million other people since we launched IB on www.issuu.com in 2012. (You go, Taylor, Erin, Caroline and Katherine!) A new IBMA logo and website at ibma.org, plus some behind the scenes improvement with our server and cloud-based database storage (Big thanks to staffer Eddie Huffman, our new IT committee headed by Henri Deschamps, and designer Landon Elmore!)
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Lots of international bluegrass activity at WOB 2013, with more to come this year.
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Financial progress, (better defined in our annual report after the April 2014 board meeting) boasts a 33% savings in office rent with the move to the Berry Hill neighborhood in Nashville, less expensive credit card processing and e-communication, a move from cash to accrual-based accounting on the advice of our auditor, plans to begin rebuilding our financial reserves, the hiring of the fabulous Jacqueline Weiss (IBMA’s new part-time bookkeeper), and Susan Woelkers, our equally fabulous new sponsorship development consultant. We’re also thrilled to
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Impressive increases in membership and WOB attendance this year, and our first WOB smartphone app.
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The collaboration with the American Queen Steamboat Company, for August and September bluegrass cruises this summer (which will benefit IBMA and offer $100 coupons to folks who register with our code. Call and ask us for it!)
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IBMA’s Facebook numbers have doubled in the past year. Plus lots of new fun with all things Twitter, Instagram, GooglePlus and Bluegrass Nation.
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A new Business Conference marketing analysis and plan spearheaded by staff member Joe Lurgio, the same guy who is working with Chair Charles Humphrey III of the Steep Canyon Rangers to lead an enthusiastic and motivated Membership Committee.
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The September Worldwide Bluegrass Music Month “Practice Random Acts of Bluegrass” promotional campaign (with cool stickers), to help us paint the world all shades of blue(grass).
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And of course, the incredible welcome we received from the city of Raleigh, North Carolina at World of Bluegrass last year. Everyone’s still talking about it— there, here, pretty much everywhere in the worldwide Bluegrass Nation. And this year’s event Sept. 30 – Oct.4 promises to be even more exciting.
Be sure and get your tickets and conference registrations while they’re still available this month, and I’ll see you in Raleigh. I’ll be the tall blonde with a pink clipboard, walking fast and smiling big.
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Leadership 2014
Bluegrass
by Ted Lehmann
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arly Thursday morning on March 20, 2014, 22 somewhat bleary-eyed people showed up at the impressive BMI offices in Nashville for a three day event called Leadership Bluegrass. Ranging in age from late teens to early seventies, coming from as close as Nashville and as far away as England, Alberta, CA, Nevada, Texas, Maine, and New Hampshire, we had little in common besides our love of bluegrass music and a desire to learn. Three days later, the LGB class of 2014 emerged from the plush offices of the law firm Bone McAllester Norton, housed high in the Tennessee Bank building as friends and colleagues who have joined a fifteen year long line of future leaders, many of whom have become well-known names occupying key positions in bluegrass music and IBMA. Our functions in bluegrass were varied almost beyond belief: agents, music publishers, event promoters, artists, talent bookers, students, photographers, journalists, association presidents, equipment and instrument manufacturers, college professors, songwriters, talent managers, music teachers, publicists, and the owner of a
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Nashville bar. We met under the very professional efforts of facilitator Trisha Tubbs, a Washington (State) based consultant with long experience in facilitating intensive workshop and professional growth experiences in business and industry as well as being a bluegrass event
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producer and long-time IBMA member who, along with other members of the Planning Committee, has designed and built LGB from its beginning in 2000. The design of the intensive three-day experience served to create an environment meeting two major purposes: to help
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LBG 2014
REVIEW
us learn more about many aspects of the bluegrass business, and to meld us into a cohesive group joining with past attendees at LBG and the wider world of bluegrass music. The process proved itself to be involving, challenging to intellect and personal skills, and deeply rewarding. Throughout the three days we were exposed to dynamic leaders from the music world of Nashville, which styles itself as Music City. Liz Allen Fey, a specialist in leadership development and strategic planning, spent time with us examining our vision and standards as they apply to emerging as leaders, after which we had an opportunity to meet in groups to explore our styles and report to the larger group in a format we designed.
We were encouraged to explore new ideas and to move outside our comfort zones,
a movement each person at LGB experienced at various times during the workshop. We learned that moving beyond our own boundaries allows growth to happen. We all developed as individuals and as a group within a larger group. We thought and talked about the business of developing a band, a festival, a song in order to obtain sustainability, to be able to continue in our roles. A panel of three entrepreneurs helped us look at the role of the entrepreneur, seeking new ways to develop audiences by finding the holes not filled by others. We examined our own anxieties about risk taking and our tolerance for it as we sought to stretch ourselves. And then we were presented with a wonderful opportunity to examine the development of a single artist through his career, viewed from the outside as largely successful, as Sirius/Xm’s Bluegrass Junction station manager Kyle Cantrell interviewed
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bluegrass and country singer/ songwriter Jim Lauderdale about his most interesting career. Jim emerged as a very real person sharing himself within a trusted group. Kyle showed himself to be the fine interviewer those of us who admire his work on satellite radio have all seen, a consummate interviewer who finds the niches where truth lies. One of the great mysteries for me has been the process by which Professional Rights Organizations (ASCAP, BMI, SESAC) assure payment for artists and writers while protecting them from copyright invasion. An expert panel including former ASCAP vice-president Dan Keen, attorney Stephanie Taylor, artist and IBMA President Jon Weissberger, and attorney David Crow explained the process while role-playing a contract negotiation – exciting and fun. IBMA Executive Director Nancy Cardwell explored the state of the bluegrass industry before Tom Kopp, Executive Director of the Bluegrass Foundation and Belmont College’s Michael McLain looked at music education culminating in the whole class playing a tune on Deering Goodtime banjos. Half-way through the workshop looked like a good time to break into groups to undertake a SWOT (Strengths, Weaknesses,
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Opportunities, Threats) exercise in small groups on a music topic of our own choice, and presenting our findings to the class. The working day ended with the Della Mae team meeting with us to discuss their emergence as a band, and the teamwork beyond mere talent it takes to achieve such heights. The day ended with a taco supper and jam at the new IBMA headquarters. On Saturday morning we readjourned at the law firm of Bone, McAllester, Norton on the 16th floor of the Tennessee Bank building with stunning views of downtown Nashville including a small peek at the Ryman Auditorium. Everyone was tired, but willing, as two more stimulating and thoughtprovoking presentations focused on the awesome possibilities and demanding knowledge explosion of the digital world followed by an exploration of new kinds of venue for presenting music, including cruise boats and caves. After lunch the workshop concluded with a series of exercises designed to help us bring closure to the event and place it and our learning into the context of our lives.
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At 5:00 P.M. on Saturday afternoon we left: carrying home with us a series of experiences and friendships that will affect each of us differently over the long term. Some of our new friends we’ll see at jams, festivals, and at the World of Bluegrass, while others we may not see again. Nevertheless, we’ve formed a bond between us and with the many others who have preceded us at Leadership Bluegrass, reaffirming our commitment to the music, helping continue its growth and health, while learning and growing together. Pretty good outcomes for three days in Nashville. Ted Lehmann and his wife Irene travel about 200 days per year to bluegrass events where they both photograph and video, he writes a blog, and she often works selling merch for artists or undertaking various tasks for the festival promoters.
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REVIEW
Leadership Bluegrass Class of 2014 Alane Anno, Alane Anno Photography (Hendersonville, TN) Richard Bicknell, Bluegrass Music Association of Maine (Windham, ME) Sherrill Blackman, the sdb music group (Nashville, TN) Seamus Brady, G7th Ltd (Peterborough, UK) Lizard Thom Case, Bobby’s Idle Hour/ Songwriter (Nashville, TN) Taylor Coughlin, IBMA (Nashville, TN) Jamie Deering, Deering Banjos (Spring Valley, CA) Mark Dillon, University of North Carolina Greensboro (Randleman, NC) Pam Gadd, Songwriter & Musician (Nashville, TN) John Curtis Goad, East Tennessee State University/ Bluegrass Today (Rogersville, TN) Pattie Hopkins, Kickin Grass (Winterville, NC) Nate Lee, Chuck Lee Banjo Company/ Alan Munde Gazette (Nashville, TN) Ted Lehmann, Ted Lehmann’s Bluegrass, Books & Brainstorms (Keene, NH) Chris Luquette, Frank Solivan & Dirty Kitchen (Alexandria, VA) Cameron Matthews, AOL Music/ The Bluegrass Situation (Astoria, NY)
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Patrick McAvinue, Audie Blaylock & Redline (Parkton, MD) Matt Merta, Songwriter/Artist/Manager/ Freelance Writer (Dearborn, MI) Daniel Perry, Belmont University (Nashville, TN ), Student Monitor Claire Ratliff, Laughing Penguin Publicity (Nashville, TN) Cass B. Scripps, Agency for the Performing Arts/APA (Nashville, TN) Matthew Slocum, DC Bluegrass Union (Falls Church, VA) Amanda Smith, Kenny & Amanda Smith (Lebanon, TN) Anna Sommerville, Northern Bluegrass Circle Music Society (Edmonton, Alberta, Canada) Rick Sparks, Northern Nevada Bluegrass Association (Reno, NV) Ashlee Jean Trott, Music City Roots (Nashville, TN) Vickie Vaughn, Vickie Vaughn Band (Nashville, TN) The Leadership Bluegrass planning committee this year includes Alan Tompkins (Chair), Louis Meyers (vice-chair), Joan Kornblith, Jean Spivey, Emilee Warner, Ben Surratt, Nolan Lawrence, Trisha Tubbs (facilitator), and Nancy Cardwell (staff liaison).
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FEATURE
TONY TRISCHKA’S The journey: GREAT BIG WORLD by Taylor Coughlin
Rounder Records’ longest standing artist, revered banjo player Tony Trischka, has earned the respect and the right to create his own musical palatte. On his latest record, he says he’s a kid in a candy store, proclaiming: “I can do whatever I want!” Yes Tony, by all means, please do.
roots, Great Big World listens like a journey through the soul of a pertinent creative mind – one that has Trischka’s (time) signature all over it. But despite the different directions in which Trischka influences the sound of his 5-string, he remains grounded in tradition.
Listening to each track on the 16th album from Trischka is a joyful, contemplative, eye-opening, educational, emotional ride. From bluegrass, to genre-bending
“Bluegrass is still at the heart of everything I do,” Trischka says.
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If there was any doubt, one would just have to hear the first track, “Say Goodbye (For KM)” on Great Big World to set things straight. It’s a fine introduction, rich with vocals by Michael Daves, mandolin by Trischka’s son Sean, and a spirited fiddle by Mike Barnett, an interesting juxtaposition with the emotional lyrical content of the song. “Rounder [Records] wanted a bluegrass track to begin the album,” Trischka pointed out. “We wrote ‘Say Goodbye’ in a day and a half.”
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FEATURE What’s different about Great Big World from Trischka’s previous work is the amount of lyrics. Even though he has always penned thoughtful and evocative words, he said he felt compelled to write more for this album. “I thought – ironically – ‘Does the world need another banjo tune?’ But the average person relates to songs and stories,” he said. “It’s like going from Technicolor from black and white to have lyrics.” Perhaps most noteworthy for its lyrics is the wild west-inspired “Wild Bill Hickok” sung by Ramblin’ Jack Elliott, with a nice treat of a voiceover from actor (and longtime friend of Trischka’s) John Goodman. “I was researching Wild Bill Hickok,” Trischka explained, “[The song was] long and ballad-like and I decided to break it up with a fiddle tune and ‘Wanted’ ad. John [Goodman] just seemed like a great fit.” Trischka added that not only was “Wild Bill Hickok” a great challenge for him, but also for Ramblin’ Jack. “He said it was the hardest thing he’d ever sung because it was so wordy,” Trischka said, “We had to go in [the studio] and artificially create breath.” With more lyrics to be sung, Trischka recruited great voices to help sing them. Abigail Washburn lends haunting vocals on “Lost” (“No one could’ve done a better job,” Trischka said). Aoife O’Donovan on “Angelina Baker” with Michael Daves, and Catherine Manning (the incredibly soulful and spiritual “Joy”) contribute as well, rounding out the impressive vocal contributions. The precision with which Trischka plays is characteristic of his instinctual style and high standard of performance, especially in songs “The Danny Thomas,” “Ocracoke Lullaby,” and “Single String Melody,” which were all new originals by Trischka, each written for a single string on the banjo. When it came to recording, Trischka said the serendipity of scheduling and “spur
of the moment decisions” were challenging, but fun. “Some of the banjo sounds were not satisfactory to me, even though they sounded fine during the recording,” Trischka said. “We had to go in and rerecord some things.” Overall, the process happened over a year and a half. With so many schedules to align and songs to get just right, Trischka was happy to get everything exactly the way he wanted it. “It all ends up working out,” he said. Beyond his genre-challenging, imaginative work, Trischka has also made a name for himself as a well sought after banjo teacher. He stresses new students to be aware of timing, from a technical standpoint, and believes in following your heart as a musician; something he has proven in his own career. “Follow your muse,” Trischka advised. “If the star shining in front of you says play bluegrass, play bluegrass.” What cannot be ignored are the influences Trischka has had that have sculpted who he is today. From early on, his parents were influential in his music, and from a family connection, he got to know the prolific Pete Seeger, who became his teacher in many ways, and also a very good friend. The recent passing of the American folk pioneer has prompted many to ask Trischka to share his anecdotes, memories, and lessons learned. Trischka said he heard Seeger’s banjo ringing in his ears from early on, as his parents’ politics aligned with Seeger’s, and therefore their music tastes did, too. He grew up listening to the Almanac Singers, and the Weavers. “He was an amazing banjo player…more than a strummer; he did a lot of other stuff too,” Trischka said. “He was in a world of his own… When he re-worked [Irving Berlin’s] ’Blue Skies’ in 1955, it was ahead of its time. His working of it gave me a whole new appreciation for him.”
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Trischka was fortunate enough to see Seeger about a week before he passed away. “He was burning bright a week before he passed,” Trischka said. “His spirit was still very strong.” Beyond the banjo, Seeger was influential to Trischka in the same ways he was to many others: through his civil rights and environmental involvement, and passion for humanitarian values. “He was influential in all ways, not just musically,” Trischka said. “There was one time we were saying goodbye from a gig, and Pete walks up onto a hill by the side of the road and picks up a broken headlight. He just started picking up litter. It was the tiny things he did like that that made a difference.” “He was so positive,” Trischka remembered. “I’ve really taken to the term: Think locally, act globally. I still believe in the human race. In spite of negativity, [because of Pete] I still have to keep that positive attitude. I think: ‘Do one small thing that can make a difference.’” Through the music he inspired and the values he instilled, it isn’t too much to say that Seeger’s influence in our great big world made a mark on Trischka in a great big way.
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onference registration, tickets and hotel reservations opening for World of Bluegrass 2014 MEMBERS ONLY TICKETS AND REGISTRATION OPEN NOW at IBMA.ORG MONDAY, APRIL 14 FOR THE GENERAL PUBLIC If bluegrass music moves you, then come to the event that moves bluegrass music. IBMA’s annual bluegrass music homecoming, slated for September 30 – October 4 in Raleigh, North Carolina, will build upon last year’s tremendous success with new activities, seminars and business opportunities for attendees. The International Bluegrass Music Association (IBMA)’s World of Bluegrass 2014 event, September 30 – October 4 in Raleigh, North Carolina, will open Business Conference registration, hotel reservations, Wide Open Bluegrass festival tickets, IBMA Awards Show tickets, Bluegrass Ramble Showcase passes and Exhibitor/Bluegrass Marketplace sales for IBMA members on Monday, March 31—and for the general public on Monday, April 14. Current IBMA members can take advantage of an exclusive, two-week opportunity to reserve a place at IBMA’s World of Bluegrass week. Many of the events and hotels sold out last year, so don’t wait! Registration will take place via IBMA’s website, www.ibma.org. Note that hotel reservations are contingent upon the purchase of a ticket and/ or registration to at least one World of Bluegrass event. Additional details and pricing information will be available on the website. Qualifying professional members can also partake in the prestigious IBMA Awards voting process. Join now at IBMA.org.
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IBMA’s World of Bluegrass (WOB) event consists of four parts: the IBMA Business Conference, September 30 – October 2; the 25th Annual International Bluegrass Music Awards, scheduled for Thursday evening, October 2; the IBMA Wide Open Bluegrass Music Festival (a fundraiser for the Bluegrass Trust Fund), October 3-4; and the Bluegrass Ramble, an innovative series of artist showcases, taking place September 30 – October 2 on seven stages in downtown Raleigh and at the Raleigh Convention Center. We celebrated as Raleigh became our new host city last year, and it proved to be an amazing rejuvenation of the World of Bluegrass events and the bluegrass community, with total attendance for the week’s festivities estimated at 146,000, exceeding expectations for the event’s first year in our new conference home. Since then, we have read and listened to all the comments, feedback, and surveys from last year’s attendees and we look forward to building upon the success of 2013 by making improvements to existing events and
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by adding new, exciting components to the full week. We still are including the amazing aspects you have come to cherish at the IBMA’s WOB such as: • A phenomenal festival line-up • Opportunities to see unique, once-in-a-lifetime musical collaborations • Networking and business opportunities • Inspiring speeches and stunning moments that inspire the entire bluegrass community • More live music than you can imagine: In 2013 we hosted over 300 performances by more than 160 different artists during the World of Bluegrass, and we plan to have even more this year!
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Here are just some of the things we are working on bringing to you in 2014: New & Improved IBMA Business Conference: -
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The debut of the “Bluegrass Marketplace,” a two-hour, concentrated “mini” exhibit hall giving small businesses, service providers, songwriters and local associations that don’t fit the traditional four-day exhibit hall model an affordable and appropriate alternative to promote their activities to the business community.
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Increased food and beverage available onsite
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A streamlined Business Conference registration, Bluegrass Ramble, and Wide Open Bluegrass festival ticketing process through etix.com.
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An improved Gig Fair format. This popular WOB event sometimes referred to as “speed dating for artists & talent buyers,” directly connects bands attending the Business Conference with top music event producers from all over the world.
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The return of the IBMA Health Fair.
A return of the popular “DJ Taping Sessions” connecting radio DJs with artist and industry leaders for onsite interviews.
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An expanded four days for the “Bluegrass Expo,” with some new innovations that will make the Exhibit Hall bustle, Wednesday – Saturday.
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A special two-day Talent Buyers Focus planned for October 1-2, especially for event producers and agents, with a new pitching - session, reception, an expanded Gig Fair and discounts for firsttime talent buyer attendees. More - talent buyers at the Business Conference, of course, means more booking opportunities for - agents and bands. So it’s a win: win situation for all concerned.
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Panel-based seminars, poster seminars, and small group intensive sessions designed to help attendees focus on specific issues and connect with experts in their fields.
The Bluegrass Ramble…and more!
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Information and details regarding performances, seminar details, speakers, presenters, exhibitors and general attendees will be shared and posted at ibma.org as early as possible to help you get the most out of the conference.
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A dedicated transportation system – with extended hours – running nonstop between hotels and Bluegrass Ramble venues, provided by the city of Raleigh, 7 p.m.-2 a.m.
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An additional official showcase stage in the Raleigh Convention Center, which will provide the opportunity for attendees to see all official showcase bands under one roof during the course of three days.
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A new streamlined schedule for the Bluegrass Ramble: Tuesday, Sept. 30 (7 p.m.-2 a.m.), Wednesday, Oct. 1 (7 p.m.-2 a.m.), and Thursday, Oct. 2 (10 p.m.-2 a.m.)
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The return of privately hosted “After Hours Showcases” (Tuesday – Thursday) and the new Friday – Saturday “Wide Open After Hours” format will provide additional performance opportunities for both artists and bluegrass fans. All registered Business Conference attendees interested in performing will have the opportunity to have their contact info shared with the appropriate booking contacts.
A new and improved Business Conference program book. Enhanced networking opportunities The return of the popular Song Demo Listening Sessions, the Songwriter Showcase, new receptions, and a special track for Emerging Artists interested in moving up to the next level of touring and recording.
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WOB 2014
NEWS
Full Week Improvements: Lodging
ZimRide’s WOB Ride Share Program: a great online
o Hotel rooms in the two official main hotels are available to registered IBMA Business Conference attendees and those who purchase tickets to the IBMA Awards or Wide Open Bluegrass.
tool to connect you to others traveling to IBMA events, provides the opportunity to save transportation costs. You might even make some new friends, traveling to the World of Bluegrass together.
Sustainability is coming to WOB: Bluegrass is going
o Complimentary transportation from the official WOB campground to the main hotels sponsored by the Raleigh Convention Center
green, under the leadership of IBMA’s Youth Council in collaboration with the city of Raleigh.
o Prices have not increased one cent at official IBMA hotels or at the State Fair Campground.
and exciting in the film world, focused on bluegrass and roots music.
The Bluegrass Film Expo: A celebration of what’s new
Celebrity Jams! Once in a lifetime opportunities to play with your favorite bluegrass personalities.
Keep an eye on ibma.org, Twitter, IBMA’s Facebook page and Bluegrass Nation for more news on specific events, festival and showcase line-ups, and all things World of Bluegrass. If bluegrass music moves you, we know you’ll want to join us Sept. 30-Oct. 4 in Raleigh, North Carolina. See you there!
The World of Bluegrass pricing schedule for 2014 is as follows: Tier 1 Pricing level: • Members only: Monday March 31, 2014 – Sunday, April 13, 2014 • General public: Monday, April 14, 2014 – Sunday, May 4, 2014 Tier 2 Pricing level: • Monday, May 5, 2014 – Sunday, June 1, 2104 Final “Walk Up” Pricing level: • Monday, June 2, 2014 – October 4, 2014
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WOB 2014 RATES
NEWS
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From the Executive Director’s Desk
EDITORIAL
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From the Executive Director’s desk
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EDITORIAL
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FEATURE
America, meet Kristy Cox Aussie songstress debuts talents to U.S.
Australian singer/songstress Kristy Cox is really good at telling stories – probably because she has a really good one of her own. Kicking off her musical career in the country music scene in Australia, Cox has garnered a lot of hard-earned love and respect for her ability to sing and write songs that tug at the heartstrings and get feet on the dance floor. She has a string of top 10 country hits in Australia under her belt and many industry awards; most recently she was honored with the 2013 Capital News Australian Independent Female Vocalist of the Year award. Recently, Cox’s story has evolved overseas: In 2013, she moved to America – solo – to pursue a promising career in bluegrass, signing with Pisgah Ridge. While Cox isn’t brand new to the bluegrass scene (she was an official showcase act in Raleigh last September), many are still getting to know her, especially in the U.S. Cox’s new album Living For the Moment was released in February, and was produced by Jerry Salley. What shines most on her American debut album is her clear, powerful, and emotional vocals, not to mention her band, the likes of which feature David Johnson (fiddle and resonator guitar), Darren Nicholson (mandolin), Steve Sutton (banjo), Stephen Mougin (guitar), and Mike Bub (bass). She also co-wrote half the songs on the album, proving her chops. Cox kindly agreed to talk to International Bluegrass over the phone about her recent project, where she’s been, and all
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by Taylor Coughlin
the great places she’s going. She was in New York and it was snowing at the time. “I can’t wait to get back to Nashville tonight!” she said, in a charming Aussie accent. International Bluegrass: How has the transition been, as a citizen, and as an artist in a different country? Kristy Cox: As a person it’s been very exciting, a lot of ups and downs. Obviously, the culture is very similar to Australia; we have a lot of things that are very similar, but also that are very different. But as a whole, I find American people love Australians. They want to hear me talk all the time! (Laughs) I think I’ve settled in pretty well. I’m human, so I do have my moments where I want to be home; I miss seeing my family, my nieces and nephews. All of that has been the hardest… I’m basically here on my own, I didn’t move over here with anybody. I’ve got a bunch of friends here, but I don’t have any family here, so that’s been a hard transition. From an artist
International Bluegrass
point of view, the industry here has been so receptive and positive toward me, and so encouraging that I couldn’t ask for anything more. I love playing music here! The audiences love the music, which is great. Australian audiences have been fantastic over the years, but there’s something with Americans and bluegrass music: they understand it and they get it. Even though I border on the country [music] side, they don’t seem to mind; they still love what I do. It’s really exciting to get to play to new crowds and people who don’t know who I am. I can introduce them to me and who I am, and have a whole lot of fun. It’s everything I hoped it would be, plus more. IB: What was your focus for Living For the Moment? KC: Because it’s my first American release, I really wanted to introduce the audience here in America to who I am as an artist and a as person, and take them on my musical journey throughout the album. The album’s got a couple of
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FEATURE country ballads; it’s got some fast-paced bluegrass songs, too. And basically the reason I did that was to show the audience here where I come from musically; I come from a country music background. But I really love that, unlike country music these days, bluegrass has really held on the importance of the lyrics and vocals and harmonies, and all the reasons I fell in love with music to start with. I did the country/pop thing for a while, and I just couldn’t do it anymore; I wasn’t happy. When I stumbled across bluegrass, I was like, ‘This is the kind of music I want to be singing and want to be playing.’ The album shows that I do come from country roots, but I’ve fallen in love with this thing called “bluegrass,” so it kind of shows the transition I’ve been through, and I want to introduce myself as a person and an artist to the audience here. IB: You have some amazing co-writers on this album. Tell me a little more about what it was like to co-write with them. KC: I feel really lucky. I met Jerry [Salley] at IBMA in 2007 and I just fell in love with him as a person. He’d just produced an album which I really loved, and I got to get to know him well. And this is the first album that I’ve actually written with him. This is my third album with Jerry in the producer seat, but this is the first album where we’ve actually had time to sit down and write, which was a great experience for me because, obviously. Every single album I’ve done has been filled with Jerry Salley songs because he’s such a great writer. And he’s got so many great contacts; at my hands, I have thousands of fantastic songs that I can record. But for him to appreciate me as a writer and want to write with me was a big deal to me. And same with Johnny [Duke] and Stephen [Mougin]. These are writers I’ve really been inspired to be like, and now with this album actually being able to write with them – it was the most fantastic experience. When I put an albums together, I don’t mind if I do my songs or not, I just want an album of really great songs, so the fact that I was able to get
half the album where I’ve co-written was really humbling to me. I’m excited that I’m growing as a writer. IB: You come from a country background and that certainly carries that quality, but it fits so well in bluegrass. Who have you listened to to craft your own style? KC: I grew up listening to Loretta Lynn and Dolly Parton. I think my first albums were the Dixie Chicks and Alison Krauss, so I’ve always sort of leaned to the bluegrass side of country even when I was playing country, and without even realizing it. The first song I sang onstage was a Flatt and Scruggs song, and I didn’t even know who Flatt and Scruggs were at the time! (Laughs) So that’s kind of funny… I think it was just meant to be. Alison Krauss is one of my idols, and Rhonda Vincent. Lee Ann Womack, her voice is incredible, I love her voice so much. But those are the ladies, and there are lots of guy bands I listen to who I couldn’t sound like even if I tried! IB: So moving beyond vocal influences, where does your songwriting influence stem from? KC: I really just write for me; I write very honestly, which can be dangerous for a songwriter. I’m pretty much an open book. From a songwriter point of view, I really concentrate on the lyrics and the content. I’ve done a whole bunch of songwriting, and I can’t think of one particular songwriter who has really influenced me, but I always tend to lean towards songs, especially when I’m singing, that have a really deep and meaningful lyric content to them. I listen to lyrics first, and music second which is different to a lot of musicians – a lot of musicians will listen to the music, then they’ll like the music, and then they’ll listen to what the song is actually saying – whereas I don’t even hear the instrumentation or the melody until I’ve really listened to the lyrics. It’s important to write a song and to write it in a way that, it is from your point of view, but that anyone can listen to.
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International Bluegrass
IB: What are the major differences you’ve noticed in business practices in Australia and America? KC: The size! Our bluegrass scene is really starting to grow back in Australia, but it’s really still quite small. We’ve probably got only 20 full time bands in Australia. So, just the sheer size of the industry over here. I think the workings and the mechanics of it are very similar. But trying to get noticed and heard is hard when you’re a little fish in a big pond. I did that back home in Australia when I first started to sing, so it’s a little bit like starting all over again. But, that’s probably the main thing for me is the size; the industry here is huge. IB: What lessons did you learn in Australia that you brought with you to America? KC: I think the biggest lesson I learned in Australia was to stay true to myself, and knowing what I’m worth. That’s a big thing for an artist. It’s kind of hard when you’re starting out, you wanna do everything and you wanna be everywhere. So one of the main things I’m doing here in America is focusing on one area at a time instead of trying to accomplish absolutely everything. I’m not gonna bite off more than I can chew right now; I’ve done that before and I don’t want to do that again. And I’m extremely lucky that I’ve got huge support from my label and my publishing company, and Jerry. And every single media contact or booking agent has been really nice, and really supportive, and they’ve given me great advice. It’s helping me get focused and know where I need to go next. And I’m still in that learning process; the album’s only been out a few weeks. It’s going to be a learning curve for me, but I’m working through it! Kristy Cox’s Living in the Moment can be purchased on iTunes and KristyCox.com and also found on AirPlay Direct. She has many tour dates around the globe in 2014, including her native Australia. Keep up with her at KristyCox.com.
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FEATURE
Special Consensus BREATHES BLUEGRASS LIFE INTO JOHN DENVER SONGS
The Special Consensus has come out with a new album – a full on tribute to folk singer/ songwriter John Denver titled: Country Boy: A Bluegrass Tribute to John Denver. For fans, it’s an absolute treat. For the band, it’s a treat too, but it’s really about the songs. “Every song tells a story,” says Special Consensus front man and banjo player Greg Cahill. “It really touches most of us in some way, shape or form.” Produced by powerhouse Alison Brown and released on Compass Records, the idea for all-Denver album had percolated with Cahill since the beginnings of Scratch Gravel Road. “Several bluegrass bands have recorded his hits, but nobody, to our knowledge, has dedicated a whole recording to his music.” The record includes 10 tracks of well-loved Denver tunes, and a couple of unfamiliar ones that are just as worthy of popularity as their brothers (and maybe thanks to this album, they will become more well known).
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by Taylor Coughlin “It was really enjoyable,” Cahill says. “Usually we go in and have a focus, of course, and do something, but this just felt like it was gonna be really pretty widereaching and that could really appeal to other genres and people who listen to all kinds of music, not necessarily just the bluegrass crowd. We’re really trying to make it a labor of love and really a wonderful experience for everybody.” Oh, and the variety of guests. Heaven help us. Besides the chosen songs themselves, they make the album even richer with texture. The pairing of guests to songs would imaginably be quite a challenge, but for everyone involved, it was all part of the experience that set this record apart. “There are so many great voices and players – instrumental and vocal voices in bluegrass music right now – that there’s just a lot to choose from,” says Alison Brown. “But there were certain songs that just really cried out for certain people to do. When I think about ‘Wild Montana Skies,’ which was not a song that I really knew before we started working on this
International Bluegrass
project, when we heard John’s version of it, I think, to all of us, it just seemed like Claire Lynch was the voice to have on that song,” Brown said. “The texture of her voice just really cried out.” Other noteworthy recruits are Dale Ann Bradley on the completely heartencompassing “Back Home Again,” and Jim Lauderdale’s countrified rendition of “Poems, Prayers and Promises” will make anyone a believer. Michael Cleveland and Buddy Spicher joyously play twin fiddles, with Cahill and Brown on twin banjos for an instrumental “Country Boy.” “The idea of making [“Country Boy”] just an instrumental and getting a really distinctive twin fiddle voice, to all of us, really started to seem like a unique spin on a tune that’s been covered so many times,” Brown says. “You know, it’s such a good tune, it just stands up as a tune.” The fact that one can recognize immediately that the song is “Country Boy” even without the fun, well known lyrics is a testament to the quality instrumentation
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FEATURE played by the artists. “To me, bluegrass music is really unique in the fact that instrumentalists and vocalists can be considered on a par to the audience,” says Brown. “Instrumental voices in this music are just as important as they are in jazz, and that’s pretty unique about those two idioms because that’s not true in pop music. When I can, I like to remind people of that, and I think by doing “Country Boy” as an instrumental, we kind of make that statement.” Perhaps it’s the familiar melodies, or lyrics memorized by a crackling fire, that keep John Denver close to people’s hearts and make him timeless. But beyond the imagery of the Rocky Mountain High, jumping on Grandma’s feather bed, and eagles soaring in the sky, John Denver’s songs resonate on a deeper level that can be told through any genre and felt through any generation. “In some ways, hearing John’s voice come through this music now in 2014, you’re really hearing something from the ‘70s: ideas and themes that were so present in the 1970s and hearing them 40 years later, you just realize how universal John’s music is and how timeless some of those ideas are,” says Brown. “In some ways you may think his “green attitudes” were very ‘70s, but they’re very relevant today, too. To me, it’s more about human themes that have stood the test of time.” The choice to do a tribute album to John Denver for Special Consensus’ next album was not just a wise one for the fans, but a wise one for the business, too. Less than two years from the debut of the Grammy-
don’t enjoy John Denver songs who also are fans of bluegrass music.
Allison Brown
“It’s amazing how many people were touched by him and his music,” Cahill says. “And you know, once the word was out that we were releasing this recording, I can’t tell you how many folks – even really young folks like teenagers – at the festivals came up and said, ‘Oh my mom listened to that!’ or ‘My dad used to play those songs!’ You know, there’s still a huge connection to his music and then, of course, people in their 60s, 70s and even 80s are even familiar with his music.”
nominated Scratch Gravel Road, the band was itching to get back in the studio. But they knew that in order to make their next effort stand out, it would have to be something different than what they’ve done before. That’s where Cahill’s longtime initiative would come perfectly into play.
If you are lucky to catch Special Consensus live anytime soon (you can catch their tour dates here), you’d better bet you’ll hear some of those familiar tracks, and if you’re even more lucky, you’ll get to see some of the guests on the album join Special C onstage. Hey, it’s happened before!
“Greg came up with the idea for this record and I think it’s a brilliant way to follow up on a really strong band record,” Brown says. “Because if we’d done another band record, I’m sure it would’ve been great, but why would someone need that if they just bought Scratch Gravel Road? I think this way you give fans something that hopefully really becomes a must-have.”
“The world of bluegrass is not that big, especially all the touring bands, everybody kind of knows everybody and a lot of the fans are very well known,” Cahill says. “This also brings that connection together which we hoped to create in a studio, but now when we’re at different festival with someone else who was on the recording. Rob Ickes was really disappointed they were leaving the next day when we were at Joe Val because he would’ve jumped up and played on the song. So that just shows a connection, how we all really are emotionally.”
Fans will no doubt easily embrace the album as a quality work of music from a fantastic band, and bevy of lauded guests, but it has the potential to grab people beyond the fact that they’re fans of the artists producing the music: because they’re John Denver songs, and you’d be hard pressed to find a lot of people who
From the Rocky Mountains, wild Montana skies, to the country roads of West Virginia, Special Consensus’ tribute to a folk legend will surely harmonize with us all.
Click here to see a special video for “Wild Montana Skies”
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From the Financial Desk of Sound Healthcare and Financial
MEMBERSHIP NEWS
by Sam Gee
T
he informal world of the musician often leads to casual business practices with handshake deals and cash payments. When it comes time to file taxes the Internal Revenue Service wants details, and you can wind up paying if you don’t have them to report!
It is to the musicians’ benefit to keep meticulous records. Many musicians are self-employed, so they must file their taxes differently, and have different requirements. Musicians should look for every business expenses they can find, and deduct them before paying social security taxes. It often makes sense to incorporate as a Limited Liability Company, or LLC for certain protections and tax advantages.
Mistakes you might make when you are in business for yourself: •
You forget you have to pay self-employment tax if you have a profit of $400 or more. IRS wants to know.
•
You confuse Gross income and Personal income. Spend on yourself what’s left after expenses.
•
Cash counts. If you are paid, it’s probably income. If the payer reports it, the IRS can track it.
•
Receipts count. Keep the actual receipt as well as the credit card statement.
•
•
You’ve paid in estimated taxes so you think you do not have to file. File! Also, you only have three years to get a refund due you, so file.
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Make sure your reporting name is what’s on your Social Security card. That’s who the government thinks you are.
You think an extension is an extension to pay. Pay what you owe when you file the extension or you will be charged extra.
•
You heard incorporating will save you money. Then you found out that you have to keep track of even more paperwork, taxes and rules. You might just decide that being a sole proprietor remains the simplest and best for you. Look into being a single member limited liability company (llc) instead of a corporation.
•
If someone doesn’t send you a 1099 you think you don’t owe taxes. It’s on you to report regardless of anyone else’s poor record keeping.
•
You don’t believe you will ever get audited. Some musician’s traditionally poor business practices can make them inviting targets for
audits.
Here are some expenses typical to musicians: •
Agency/management fees
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Education, lessons taken
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Business gifts
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Business insurance (yourself or your instruments)
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Business meals and entertainment
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Cabs, subways, buses
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Copying, printing
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Fairs/shows your attend (research!)
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Equipment and software
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Tips/Gratuities
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Home office: rent, gas & electric, insurance
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Instrument and equipment repair
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Promotion
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Instrument purchases
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Studio/rehearsal space rent
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Memberships (professional organizations)
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Tax preparation/legal fees
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Messengers, couriers, postage
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Telephone/internet
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Musician fees
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Stage clothing
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Office supplies
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Travel
For everyone – ask your business professional how to use the rules to pay less taxes while you fund your retirement. Pay yourself first! If you would like to talk to Sam, call him at Sound Healthcare, 615-256-8667.
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International Bluegrass
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From the Executive Director’s desk
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International Bluegrass
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IBMA 2014 Submissions
NEWS
Hey you!
Record labels & Artists:
Is your album eligible for this year’s IBMA Awards?
All professional members of IBMA will receive the first ballot for the International Bluegrass Music Awards in late May. A reference list of recordings reported to have been released during the eligibility period for this year’s awards will be available at www.ibma.org, or mailed upon request. IBMA compiles this information for members who may not be familiar or have access to actual release dates of the recordings. Once again, we are requesting the help of record companies, artists and producer members in compiling the list. To include a project on the reference list send the following information in writing for each recording • Recording Title • Featured Artist/Group • Record Label • Catalog Number • Commercial Release date (month/day/year recording was first made available to consumers). To be eligible for the 2014 International Bluegrass Music Awards to be presented on October 2, 2014 in Raleigh, a recording album or original song must have had its first commercial release between April 1, 2013 and March 31, 2014. Since IBMA will establish the Eligible Recordings List before the first ballots are printed and mailed, your information must be received at the IBMA office in Nashville no later than May 12, 2014. Please note: Even if you have sent IBMA information on recordings during the past year for review in the International Bluegrass, please supply this specific information again, since prior info may not have established an exact release date. Because this reference list will probably not contain every recorded project released during the eligibility period, IBMA members are not limited to titles on the list when making their nominations. Any necessary updates will be made to the list of eligible recordings posted on the website. Your entry will be processed faster if you submit online by clicking here on our webpage. However, if you wish to send in your information through the mail, we must receive it by May 12, 2014. Please send to:
IBMA Awards Elegibility List 608 W. Iris Drive Nashville, TN 37208 24
International Bluegrass
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IBMA 2014 Submissions
NEWS
IBMA Songwriter Showcase Submissions Needed Deadline to Submit a Song: June 2, 2014 Have you written a new song that the bluegrass industry needs to hear? IBMA will host another great Songwriter Showcase to feature the work of 10 selected songwriters during the World of Bluegrass Business Conference in Raleigh on Thursday, October 2. The IBMA Songwriter Showcase is not a contest. Its purpose is to present new, original bluegrass songs to artists, producers and labels looking for new material, as well as to other industry reps in the audience. Both veteran and novice songwriters are invited and encouraged to submit songs. Songwriters who presented original material at past IBMA Songwriter Showcases are not prohibited from submitting a CD again for this year, but they should present a different song.
IBMA Songwriter Showcase Application Procedure: Email an mp3 file with lyrics in a Word document to taylor@ibma.org. OR submit a CD of one original song to: IBMA Songwriter Showcase; 608 W. Iris Drive, Nashville, TN 37204 by June 2, 2014. CDs will not be returned. It is not necessary to submit a highly produced song demo. A vocal with a guitar is fine. Please send five copies of your song lyrics if you submit via USPS. There is no form to fill out or application fee to submit a song for consideration, but be sure to include your contact info: name, address, telephone & email address. Songs must be: *Original works OR co-written by the person who submits the CD/file *Unpublished OR not previously recorded by a major bluegrass artist or a major artist from another genre.
Songs will be chosen on the basis of: *Representation of the bluegrass genre *Potential appeal (Are they likely to draw the interest of recording artists and to get airplay by bluegrass broadcasters?) *Quality of work (lyrics, melody) *Entertainment value. If you have additional questions, contact Taylor Coughlin at: (615)-256-3222, taylor@ibma.org
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APRIL 2014
Industry NEWS
On the Charts as reflected at press time Billboard: Live by Steve Martin and the Steep Canyon Rangers feat. Edie Brickell debuted at number one; The Bluegrass Album by Alan Jackson at number two; Love Has Come For You by Steve Martin and Edie Brickell at number three. Bluegrass Today Monthly Airplay: “All I Was To You” by Newtown (Written by Charles James Cain) at number one; “Streets of Baltimore” by Del McCoury Band (Written by Tompall Glaser, Harlan Howard) at number two; “Wild Mountain Honey” by Junior Sisk and Joe Mullins (Written by Arthur Q. Smith) at number three.
Bluegrass Unlimited songs: “I’m Putting On My Leaving Shoes,” by Big Country Bluegrass (Written by Tom T. Hall, Dixie Hall, Troy Engle) at number one; “The Devil’s Train” by James King (Written by Cliff Carlisle, Mel Foree) at number two; “Dear Sister,” by Claire Lynch (Written by Louisa Branscomb, Claire Lynch) at number three.
Singing News Bluegrass Chart: “When I Get Home,” by Primitive Quartet (with Smoky Mountain Reunion) at number one; “Revelation Song,” by Chigger Hill Boys & Terri at number two; and “It Could Happen In A Moment,” by Mountain Faith at number three.
Bluegrass Unlimited albums: The Streets of Baltimore by Del McCoury Band (McCoury Music) at number one; Three Chords and the Truth by James King (Rounder) at number two; It’s Just a Road by The Boxcars (Mountain Home) at number three.
Association Assertions The Kansas Bluegrass Association held their annual KBA Winter Fest in February. Hall of Fame honorees included Pat Audley, Carl Duncan, Delbert Reser, and Orin Friesen. Top tier performers The SteelDrivers and Chris Jones and the Night Drivers played, along with regional bands The McKinney Sisters, and The Ready Brothers.
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The Southeastern Bluegrass Association announced a new jam site at Reel 2 Reel Recording Studio in Jonesboro, GA. On the 3rd Wednesday of each month, pickers will be invited for instrument workshops and special performances, followed by two hours of open jamming.
International Bluegrass
The Bluegrass Music Association of Maine announced the bluegrass music scene in southern Maine will have a new place to call home in Westbrook. The venue is a former home to Event Records will book Americana acts, serve food and drinks, and will be a place for musicians to come and hone their craft!
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INDUSTRY NEWS
For the Record Compass Records has announced that John Cowan has signed with the label, and that his next album, SIXTY, will be released sometime this summer. Russ Carson is the new banjo player for Ricky Skaggs and Kentucky Thunder. Carson had played with Audie Blaylock and Redline the past three years.
5:00 pm as part of the event at the Wytheville Meeting Center. Information on how to register for the musical instrument auction is at the website www.acousticuprising.com as well as all other information for the entire event.
A recent Belk department store ad featured the ever-dapper Steep Canyon Rangers for a two-page spread in a Raleigh, NC newspaper in March, proving that bluegrass has some style!
The Gentlemen of Bluegrass have signed with Pinecastle Records and recently released their first album with the label called Carolina Memories.
Rhonda Vincent has renewed her sponsorship agreement with Martha White and has celebrated with a new bus wrap! You won’t be able to miss it when Rhonda rolls through your town.
Apple has introduced CarPlay, which allows users to connect their iPhone to their car’s interface, enabling navigation, call, message and music capabilities from the car’s dashboard. FreshGrass, a fairly new and increasingly popular festival held at the Massachusetts Museum of Contemporary Art, has acquired the blog No Depression. Wanna be the next bluegrass idol? Your chance is at Bluegrass on the Plains festival, on May 27 in Auburn, Alabama. First prize includes a free CD demo recording with Mt. Fever Studios, and more. Visit the website to apply. Good luck! The Blue Ridge Acoustic Uprising will present a musical instrument and vintage musical instrument auction on Saturday, April 12th at
theater! The Black Box Theater will serve as a great setting for live broadcasts of bluegrass music in front of a studio audience. Local DC bands Bud’s Collective, Patuxent Partners and Bill Emerson and Sweet Dixie helped kick off the grand opening event on March 21 with the crew at WAMU.
Rob Ickes has announced the debut of three new Scheerhorn/ Resophonic National Guitars. These are all L-body, solid wood guitars designed by Tim Scheerhorn and made in the USA and can be purchased at RobIckes.com. Roland White has announced his band is in the studio recording a new album that should come out this year. This will be the latest effort from The Roland White Band since 2003. WAMU’s Bluegrass Country in Washington D.C. has opened a
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Deering Banjos has introduced a new item for their players, a custom-gauged set of Terry Baucom strings. They can be purchased on Terry’s web site or from Deering dealers. Jesse Smathers has joined Nothing Fancy as their new guitar player and tenor vocalist. Mountain Fever Records has announced Breaking Grass has signed to their label. A new single from the band will be released in April, and a full CD of original music (their third) to follow.
International Bluegrass
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HEARD ROUND THE WORLD
April
The Spinney Brothers (Canada) have announced
their first ever European tour in April with shows in the Netherlands, Germany and Switzerland.
Lilly Drumeva successfully completed her Fulbright
research time in the U.S. She recorded more than 50 interviews with bluegrass and country music professionals and will write the first ever book of bluegrass history in the Bulgarian language. You may read some of her articles at www.lillydrumeva.net.
Monogram, from Czech Republic, is at it again after a two year hiatus. They have added new guitarist Jindra Vinkler. Learn more at www.monogram.cz.
The 22 Beppe Gambetta International Acoustic Guitar Workshop will take place August 10-17 in Ambroz pod Krvavcem, Slovenia. Jack Lawrence, U.S. flatpicker and former partner with Doc Watson, and Doug Cox, a musician, songwriter and producer from Canada are set to teach. nd
Finland’s Jussi Syren & the Groundbreakers has released There’s No Greater Message, their first gospel album. Sample tracks can be heard on the band’s website and on Jussi’s blog, and the album can be bought for €20 through the merchandise page of the website.
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International Bluegrass
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Welcome new members: April 2014 Charles Anasco Robert Ballard James Beck Steven Beverly Tiffany Burie Kevin Carter David Chichester Athelia Chongasing Colleen Clancy Owen Combs Michael Edwards Regina Ference Pau l Foley Jr.
Ken Goodson Wendy Hamer Joyce Harris Scott Jackson Charles Johnson Margaret Kerr Diana Koehn Maureen Lavis Edward LeCarpentier III Syd Lepine Cindy Lochbaum Irene Lundquist Mike Lynch
Created
in 2007, the Foundation for Bluegrass Music is a non-profit charitable organization (501c3) created to serve as an “umbrella” under which funds can be placed and disbursed to support educational, literary, artistic and historic preservation activities of public benefit.
DONATIONS
may be designated to create or sustain a particular program or may be unrestricted. And by combining it with the gifts of others, the legacy of the music and your contribution grows and takes on even greater importance.
All gifts
– no matter the size – are acknowledged and are tax deductible as a charitable donation.*
NEW MEMBERS David Maben Lubos Malina Diana McDuffee Mary Ann Miller Terry Milton Benjamin Minton Jay Molvie Michael Moody Flora Morris Bill Mullins Emily Olson Stephen Parker Jerome Parnell
Jeff Powell Rick Samuel Sonia Samuels Allison Sandlin Jack Shannon Mary Shumway David Ward Bryan West Hilda Wetherington Jeff Williamson Richard Zerance Jeri Zerance
Some examples of programs that can grow under this umbrella: • Bluegrass in the Schools (grants, workshops, other resources) • Academic conferences • Literary work and related efforts • Public artistic presentations of an educational nature • Historic preservation • and other works of a charitable nature
Make a donation today. 29
Visit the Foundation website or call 615-256-3222 for information.
International bluegrass Vol. 29 No. 4 April 2014