IBbluegrass international
Vol. 29 No. 8 August 2014
Songwriters picked for Showcase
Who are the
IBMA Award show Co-hosts?
A Very
Green WOB
Gig fair sign up goes online
International Bluegrass Vol. 29 | No. 8 | August 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 Chair
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 The monthly emailed publication of the International Bluegrass Music 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
International Bluegrass (ISSN #1095-0605)
IBMA is the trade association 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 10| IBMA Award show Co-Hosts: Lee ann Womack and Jerry Douglas 6| Sustainability of WOB
News 8|Board of Directors results 12 | Bluegrass history in the netherlands 16|Q&A with Board member Cindy Baucom 20|Youth council stage artists 22|Songwriters Showcase announced
writers Departments 4 | IBMA 2013-14 Financial report 18| Membership News:Invest? Me? 19|Job opening: Membership services specialist 24 | Fresh sounds 28| Bluegrass Industry News 33|New members: July
Editorial
2013-2014 Financial Report
from Nancy Cardwell
IBMA’s fiscal year begins on July 1 and ends on June 30. Following is a summary of finance reports in the five areas of our annual budget: General Administration & Membership, Special Projects, Awards, Business Conference, and Wide Open Bluegrass Festival. ACTUAL--- Gen Admin & Memb
Special Proj.
Awards
Conference
Festival
INCOME
$153,631
$11,712
$134,907
$411,070
$742,190
EXPENSES
$345,872
$8,744
$132,128
$337,940
$565,226
NET INCOME ($192,241)
$2,968
$2,779
$73,130
$176,965*
TOTAL YEAR END NET: $63,601 *Note: The 2013 Wide Open Bluegrass Festival net includes a $90,681 donation to the Bluegrass Trust Fund, which is substantially more than the $12,155 we were able to donate last year and more than twice the amount we have been able to send to the Bluegrass Trust Fund in IBMA history. The Bluegrass Trust Fund is IBMA’s 501(c)3 charity arm with a separate board of directors; its purpose is to help individuals in the bluegrass music community during times of emergency need. BUDGETED-- Gen Admin & Memb
Special Proj.
Awards
Conference
Budgeted Income
$117,000
$13,000
$133,180
$342,688
$423,960
Budgeted Expenses
$246,401 $48,946
$124,529
$247,498
$355,889
$8,651
$95,190
$68,071
Budgeted Net Income ($129,401)
($35,946)
Budgeted TOTAL YEAR END NET: $6,565 Difference between budgeted and actual year end net: $57,036 BALANCE SHEET---IBMA’s total equity and liability balance on June 30, 2014: $767,214 Our balance on June 30, 2013: $499,468 Difference: $267,746 Percentage of increase: 154%
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International Bluegrass
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Festival
editorial
Additional notes: • We budgeted for $100,000 in membership dues income in the 2013-14 fiscal year, and we reached $140,000.
• IBMA completed an IT upgrade, including a redesign of ibma.org update and a move of databases to cloud-based storage during the 2013-14 fiscal year, which was unbudgeted in the “General Admin” category.
• The decision was made to move all staff salaries into the “General Administration & Membership” category mid-year, so that’s why our budget and year end totals vary more than usual.
• A transfer of $20,000 was made to IBMA’s account for reserves in June 2014. The board’s goal is to transfer 10% of net income annually to reserves in the future.
Overall… •
•
•
Our actual income for General Administration & Membership was much greater than our budgeted expectation. Thanks to all the new members of IBMA, we’ve had a 40% increase during the past year and a half. Expenses for General Administration & Membership were higher than anticipated because of the unbudgeted IT office and web upgrades, and also the decision to move salaries from Special Projects to Gen Admin/Memb. Staff also worked diligently to keep expenses down in this (and all) categories. Thanks to the IBMA Membership Committee, headed by Dwight Worden in 2013 and Charles Humphrey III in 2014. Our actual income for Special Projects (which includes Leadership Bluegrass, Bluegrass Nation/ Marketing, Communications & Publications, and IBMA Youth Council), was slightly less than anticipated, but expenses were much lower due to the staff salary move to General Administration. Thanks to our Leadership Bluegrass sponsors, alumni, and facilitator Trisha Tubbs, who keep expenses down, in a program where financial assistance needs vary from year to year. Alan Tompkins led our LBG Planning Committee for the class of 2014. The IBMA Awards Show slightly exceeded our anticipated income, but expenses were higher—including North Carolina taxes, which are being added to the purchase price of tickets in 2014. Thanks to producers Chris Stuart and Jon Weisberger for an unforgettable 24th annual IBMA Awards Show.
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•
The IBMA Business Conference, which includes Bluegrass Ramble showcase series in downtown Raleigh, brought in more than $67,000 in unexpected income, but cost more than $90,000 in unanticipated expenses. A number of variables affected both numbers,
•
The Wide Open Bluegrass Festival brought in more than $318,000 in anticipated income, but incurred more than $209,000 in budgeted expenses. Congratulations to the 2013 Wide Open producers Craig Ferguson and William Lewis for a sell-out crowd in year 1, and also to the city of Raleigh for staging an incredibly successful street festival that brought an estimated 140,000 people to Wide Open Bluegrass events. The perfect weather didn’t hurt anything, either. IBMA is pleased to report a successful financial year in 2013-14, due to team efforts from the Board of Directors including IBMA Treasurer Elizabeth Wightman, a number of committees and producers, our partners in Raleigh (including the Local Organizing Committee), a growing membership, and staff. We’ll count on you all to continue working together for the future of bluegrass music, as members and supporters of IBMA in 2014-15.
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World of Bluegrass
Going Green
at World of Bluegrass and beyond By Andy Rigney IBMA Intern
O
ne all-too-common characteristic of the vast majority of live music events is a significant problem, but almost unnoticeable to the average consumer: waste, and tons of it. Music events were producing extreme amounts of landfill waste each year and nothing was being done to reduce it. However, in the past decade, the music community has taken a giant step into the world of sustainably produced events, and
the bluegrass community isn’t far behind. Music festivals like Telluride and RockyGrass are already on the cutting edge of sustainably produced events. Their contribution is a beacon urging others in the bluegrass community to step up their game to be environmentally responsible. IBMA is taking steps to accept the challenge with their World of Bluegrass event in Raleigh, NC this year.
World of Bluegrass
Tips to save the environment, and keep money in your pocket.
In addition to providing an industry leading business conference and a entertaining street festival showcasing both up-and-coming and established artists, IBMA desires to produce these events as sustainably as possible. Not only do we want to reduce waste and energy usage, we want to educate attendees about easy ways to festivize sustainably in Raleigh! Ultimately, we have to have each attendee’s help to become a sustainable festival. One way you can participate while you’re in Raleigh is to download Joulebug, a Smartphone app designed to make your life more sustainable. Specifically Designed for Raleigh, the app gives you cost-effective, fun, and smart ways to be more sustainable. Now, we aren’t saying you should hitchhike, but we are saying you should jump in a carpool with some other bluegrass enthusiasts that you may or may not know, and ride on over to Raleigh together. Check out IBMA’s Zimride site to post your route and offer seats in your car or to look for other people in your area that are going to IBMA. Ridesharing is a fun way to cut down your carbon emissions and help shrink IBMA’s carbon footprint.
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We don’t only want to shrink our energy consumption, we really want to cut down on our waste as well. Be sure to look for Raleigh’s ‘Big Belly’ recycling and waste receptacles. In the pilot program alone, these solar-powered trash compactors saved the city $39,296. The receptacles collected 47,450 lbs of recycling in a short 6-month period. IBMA encourages you to seek out the use of these Big Bellies while you are in Raleigh! IBMA plans to see our business conference and festival continue to practice sustainable initiatives and intends to continue partnering with businesses and organizations striving towards their own environmental goals. When we see you in Raleigh this year, we hope you will join us in our goal to be more sustainable. Ask us about how you can get involved by emailing Andy Rigney at marigney@mail.lipscomb.edu
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News Alerts
IBMA Board of Directors Results to be announced in
August
Results of IBMA Board elections for three representatives will be announced in August. Individuals in the following three membership constituency categories will be running: Artists & Composers:
Print, Media & Education:
Broadcasters:
Joe Mullins, Joe Mullins & the Radio Ramblers
John Goad, Bluegrass Today/
Ned Luberecki, SiriusXM
Emilee Warner, Warnerblaster
David Smith; KDUR (Durango, CO), KFJM (Prairie Public Radio)
Chris Pandolfi, The Infamous Stringdusters
East Tennessee State University
All three seats are for three-year terms that begin in October, 2014. Many thanks to Carl Jackson (Artists & Composers) and Craig Havighurst (Print, Media & Education) who have served six years on the IBMA Board of Directors, and thanks to Ned Luberecki, who was appointed to finish out Cindy Baucom’s Broadcaster term after she was appointed as ViceChairperson of the IBMA Board of Directors. Good luck to all the candidates, and thanks for being willing to serve IBMA in a leadership role.
World of Bluegrass alert: Gig Fair Appointments Move Online Artists and booking agents planning to attend the World of Bluegrass in Raleigh this year are encouraged to register for the IBMA Business Conference in advance, so they will be able to sign up for Gig Fair appointments online, among other benefits. Look for an email message in August from IBMA to artists and agents with more details. Head to IBMA.org to pre-register for the Business Conference today so you will be eligible to make Gig Fair appointments online, starting September 1.
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International Bluegrass
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Lee Ann Womack and Jerry Douglas Announced As Hosts for the
25th International Bluegrass Music Awards
G
rammy-winning country vocalist Lee Ann Womack and Grammy-winning musician Jerry Douglas will host IBMA’s 25th annual International Bluegrass Music Awards, scheduled for October 2 at Raleigh, North Carolina’s Duke Energy Center for the Performing Arts. Known as bluegrass music’s biggest night of the year, the International Bluegrass Music Awards acknowledges the year’s outstanding talent and achievements, honors new Hall of Fame inductees, and waves the worldwide flag for bluegrass music. “Aside from the fact that each has a boatload of undeniable talent and personality, Jerry Douglas and Lee Ann Womack share a musical outlook that has plenty of room for creativity and innovation on the one hand, and for a love and mastery of tradition on the other, “ said IBMA Board chair Jon Weisberger. “It’s a perfect combination, and one that exemplifies the enduring vitality of our kinds of music. To say that we’re excited about having these folks hosting our awards show is an understatement.” 10
Womack slipped into Raleigh during last year’s World of Bluegrass to enjoy a grassroots fan’s perspective, catching Wide Open Bluegrass and street fair artists, listening in to some of the many jam sessions (occasionally acceding to requests to sing from pickers who recognized her), and enjoying the Awards Show that she now looks forward to hosting with Jerry Douglas.
“Last year, I came as a fan – and I loved every moment of World of Bluegrass!” Womack said. “The joy everybody has about the music, the quality of the playing, seeing old friends, discovering new artists and even meeting Tony Rice! To be a part of the IBMA Awards is such an honor, I can’t tell you...and to get to co-host with Jerry Douglas? How lucky can one girl get?!”
International Bluegrass
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news release
“It is my great pleasure to be co-hosting this year’s IBMA Awards,” said Douglas. “In the forty years that I have been a professional musician, starting with the Country Gentlemen in 1973, bluegrass music has been my anchor and compass wherever I may go. If that weren’t enough, I get to share duties with the beautiful Lee Ann Womack, one of the most amazing singers in the world and a very funny lady. I don’t exactly see a night of sticking to the teleprompter with her around, and that is just fine with me. I’m sure it’s going to be a wonderful evening for us all!” Womack, who burst onto the scene with “Never Again Again,” has always been a purist about music. A singer’s singer, in addition to her international multiple week #1 “I Hope You Dance,” recently performed by special request at Maya Angelou’s memorial, the Jacksonville, Texan has recorded with Bryan Sutton on Divided & United, Buddy Miller on multiple projects, Willie Nelson, Alan Jackson, Don Henley, David Nail and Dan Tyminski. The Way I’m Livin’, her much anticipated roots music project on the Sugar Hill label, has already received positive notice from The Wall Street Journal, RollingStone. com and USA Today. Womack’s connection to bluegrass goes beyond just being a fan of the music. Ricky and Sharon White Skaggs put in appearances on her first two albums, while for her epic I Hope You Dance, Womack brought in Ronnie Bowman and a pre-O Brother Dan Tyminski to sing with her on the Don Williams classic, “Lord, I Hope This Day Is Good” - and, coincidentally, kicked off the album with Ronnie and Greg Luck’s “The Healing Kind.” A few years later, she returned to the well when she tapped a group of bluegrassers that included Bowman and members of the justforming Infamous Stringdusters to accompany her on a couple of memorable tours, and she’s continued to call on Bowman and long-time friend Shawn Lane (Blue Highway) for occasional performances since.
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Internationally recognized as one of the world’s most renowned Dobro players, Douglas ranks among the top contemporary artists in American music. Douglas has garnered 13 Grammy Awards while holding the distinction of being named “Musician of the Year” by The Country Music Association (2002, 2005, 2007), The Academy of Country Music (11 times), and The Americana Music Association (2002, 2003), as well as numerous International Bluegrass Music Association awards. In 2004, the National Endowment for The Arts honored Douglas with a National Heritage Fellowship, acknowledging his artistic excellence and contribution to the nation’s traditional arts, their highest such accolade. In addition to his groundbreaking work as a member of Alison Krauss & Union Station, The Country Gentlemen, J.D. Crowe & The New South, Boone Creek, Strength in Numbers, Elvis Costello’s Sugarcanes, and others, Douglas has graced over 2,000 recordings by such distinguished artists as James Taylor, Paul Simon, Ray Charles, Lyle Lovett, Elvis Costello, Garth Brooks, Charlie Haden, Earl Scruggs, Phish, Emmylou Harris, Bill Frisell, The Chieftains, and the eight million-plus selling soundtrack to O Brother, Where Art Thou?. On September 16, 2014, Rounder Records will release two very special albums featuring Douglas: Three Bells, featuring Douglas collaborating with fellow Dobro masters Mike Auldridge and Rob Ickes, and The Earls of Leicester, a bluegrass supergroup featuring Douglas, Tim O’Brien, Shawn Camp, Barry Bales, Charlie Cushman, and Johnny Warren paying tribute to the music of Lester Flatt & Earl Scruggs. Tickets for the Award Show, as well as for the ticketed portion of Wide Open Bluegrass (which takes place at Red Hat Amphitheater and Raleigh Convention Center Ballroom Stages), Bluegrass Ramble Showcase passes, IBMA Business Conference registration and hotel reservations – along with additional details and pricing information – are available through IBMA’s website, ibma.org.
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A history of bluegrass in the Netherlands: Strictly and seasoned, rough and real
By Loes van Schaijk, The Netherlands
5th European Old-Time and Bluegrass Festival in theater De Oosterpoort in Groningen, the Netherlands in 1984
B
luegrass first reached the Netherlands near the end of the ‘50s, just about the time when in the US, the music was recognized as a distinct style and given its own name. According to sociologist Mel Elteren, this late introduction is due to the fact that for a long time the conservative Dutch elite tried to protect the nation’s youth from the corrupting influence of American mass culture (Van Elteren 1998). Of course there were American soldiers in the Netherlands during and after the Second World War, but obviously not all Americans listen(ed) to bluegrass music or even knew it existed. Regular Dutch people didn’t came into contact with American soldiers that much, and if they did, it’s more likely that they shared a dance on rock-’n-roll or soul music. In the ‘60s and ‘70s, those who had a transistor radio and tuned in to the American Forces Network (AFN) could catch a bluegrass program like the early morning program “Stickbuddy Jamboree,” broadcasted from an American military base in Germany. For people who had to get up for work early in the morning, bringing a portable radio could make the long bike ride a lot more enjoyable.
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Pretty soon, bluegrass lovers scattered around the country were introduced to one another by mutual friends or ads, and letters in music magazines. On rare occasions, a 78 rpm record of Hank Williams or Tennessee Ernie Ford could be found in a music store bin, but people who were serious about building up a bluegrass collection had to import records from the United States or Japan. People who had a collection were often very willing to share their music and knowledge with others. As people got together for this purpose, clubs were founded, like The Dutch Stickbudy Club in 1958 and Folk Club ‘65 in 1965. Many clubs would be founded and disbanded in the following decades; the members of some clubs had a tendency to be so passionate about the music that disagreements over a review or difference in opinion about what exactly was or wasn’t “strictly country” could break up friendships that were once forged by that very same music. However, there would always be a small group of people who would invest all of their free time, and sometimes even their own money, into maintaining (inter)national networks and organizing events for others to enjoy. Because of the personal taste of these people, the Dutch bluegrass landscape was, in general, a bit more traditional compared to countries like the Czech and Slovak Republics where there is a larger audience for contemporary and progressive bluegrass bands. Meanwhile, back in the ‘50s in Holland, a few people tried their luck at playing bluegrass themselves, which was not easy in an age before Homespun Tapes and YouTube tutorials. Banjos were available, but most of them were 4-strings, as were used in Dixieland bands. Most mandolins were of the classical Italian type that were used in German/Austrian folk orchestras. Nobody knew what a Dobro was, but there were
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Hawaiian steel guitars. English was not as widely spoken and taught in schools as it is today, making it very hard for people to figure out the lyrics by ear, especially if they were sung in a strong Southern accent. Early bluegrass musicians in the Netherlands spent quite some time trying to figure out how to play that recurring high tone in the rolls they heard on the radio and on records before they realized they needed 5-strings. Advocates of the folk revival such as Mike Seeger of The New Lost City Ramblers introduced a larger audience to bluegrass music, also in the Netherlands. After Pete Seeger performed in the Netherlands, some music shops sold longneck banjos, without being able to explain to the customers how these had to be tuned, causing a fair amount of broken strings and frustration. The popularity of The Beverly Hillbillies, Deliverance, and Bonnie and Clyde reached across the Atlantic. A hugely influential event was the concert of folk-rock band The Flying Burrito Brothers in the Netherlands in 1972 in which they played two sets in bluegrass formation under the name of Country Gazette. Superstar Johnny Cash performed in the Netherlands in the same year. The first American bluegrass artist to perform in the Netherlands was probably Bill Clifton (who lived in the UK at the time) at De Waag in Haarlem in 1967. Bill Monroe’s first performance in the Netherlands was in Utrecht in 1975, with the Dutch groups The Tumbleweeds and The Country Ramblers as support acts. Jim & Jesse also performed in Holland around that time. In the stories of early bluegrass musicians from the Netherlands, pure chance plays an important role. Rienk Janssen says that when he was president of the Jim Reeves fan club looking to import country records from the US, it was so expensive that he would just order records from Starday’s $ 1.99 yellow list at random.
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A history of Bluegrass in the Netherlands
feature
One record that he ordered this way, Bill Clifton’s Mountain Songs, got him hooked on bluegrass and made him forget all about Jim Reeves. Compilation records, which were sometimes released under purposefully vague names (for copyright reasons) like Bluegrass with the five-string banjo by Stanley Alpine and the Sweet Mountain Boys or Bluegrass Banjos on Fire by Homer and the Barnstormers, could be bought in warehouses. John van den Broek and Henk Donkers of Bont & Bluegrass both tell me that when they heard Flatt & Scruggs’ “Salty Dog Blues” on the 1961 Newport Folk Festival album, at first they absolutely hated it, only to gradually become captivated by it, until in the end, it was the only song from the album they would listen to. As hippies protesting against the war in Vietnam, capitalism and mass consumer culture, they were not too thrilled with the connotations that (music from) America had (folk revival music excepted), but, they say, they were “hypnotized” by it nonetheless. The first bluegrass bands in the Netherlands were The Dutch Bluegrass Boys (1965), The Rusty String Pickers (1965), The Smoky Mountain Rangers (1967) and The Kentucky Mountaineers (1968). The music of The New Lost City Ramblers had inspired Berry Selles to found The Country Ramblers in 1971 together with Jan Roelofs. After the skilled instrumentalists Lody van Vlodrop and his brother Paul joined the band, The Country Ramblers would grow out to be the first professional bluegrass band in the Netherlands and the first Dutch band to showcase in the US (at the Berkshire Mountain Festival). Paul would later found 4 Wheel Drive, an international bluegrass band consisting of professional musicians that is still active today and which showcased at the IBMA Fan Fest in 2002. Kevin Lynch, an American bluegrass musician who came to the Netherlands on tour with Traver Hollow and other bands many times in the ‘80s and ‘90s until he settled there perma-
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nently in 2008, remembers the impact that performance made on him and the rest of the audience. Lead singer Theo Lissenberg, admired both in the Netherlands and in the US for his knowledge of the music’s history and context and for his warm, expressive voice, was in a late stage of cancer at that time but made the trip anyway. According to Kevin, the audience “literally jumped up out of their chairs after the final song, ultimately demanding three encores.” (Interview with Kevin Lynch; April 3, 2014). Another Dutch bluegrass band that has been operating on a professional level for quite a while and has made multiple tours to the US is The Bluegrass Boogiemen. The band has a knack for playing for all kinds of audiences, from senior citizens to young punk rockers, and has been in high demand since they signed with Excelsior. The Unplugged craze of the ‘90s, including Nirvana’s performance of “Where Did You Sleep Last Night,” brought many young people to styles as roots, Americana or alternative country. The 2001 Coen Brothers’ film O Brother, Where Art Thou? and the concert Down From The Mountain confronted an entire generation of young adults in the Netherlands with a wide range of bluegrass music. Recently, the Belgian movie The Broken Circle Breakdown (2013, based on a play) caused a true bluegrass revival in Flanders. The film won a César and was nominated for an Oscar. The imagery of the movie appeals to the currently trendy hipster-taste for all things retro, rough and “real.” Guido de Groot, organiser of the highly succesful Bluegrassfestival Pijnackerplein in Rotterdam, says: “People want fair and organic food, and they want fair and organic music. Acoustic music, down to earth, with the performers so close that you could touch them. Music that you could go see with your grandmother and children, or you could go see it and get totally wasted. Because it’s rock-’nroll too, you know.” (Interview with Guido de Groot;
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March 18, 2014). In his opinion, this “rough but real” quality of bluegrass music fits perfectly to the mentality of the district of Het Oude Noorden in Rotterdam where the festival is held. “[...] there are quite of a lot of Hillbillies here, which gives the district a folky feeling, people are sitting on their front porches just like they used to do in Kentucky or Tennessee. Rotterdam is actually the Deep South of Europe [...]”. (Retronique 2012; translation LvS). Roughly speaking, there are two bluegrass communities in the Netherlands; the more traditionalist group is always looking for a “strictly” sound and defines their taste as distinct from both the classical or religious music of their parents and the youth cultures that other members of their own generation embraced (like rock-’n-roll, Brit pop, folkrock, psychedelic rock or rockabilly), while the other group consists of people who subscribe to some form of youth culture but are looking to either deepen or widen their understanding of the music, its origins and the community. Some people feel most comfortable in their own familiar group, while others prefer to be able to move freely between groups or straddle both worlds. For some, bluegrass is a very important part of their identity, while others prefer not to draw too much attention to their musical tastes. But on the whole it does seem like there is an appeal to bluegrass music which speaks equally to the young and the old, the hipsters and the square, and connects them. What fiddler Joost Belinfante writes about the musicians of the band C.C.C. Inc. might be something all bluegrass lovers can either relate or aspire to: “In forty years, we have been through all the major events in life as a group: adventure, hate, love, infidelity, insanity, death. And you can hear it in the music: it is seasoned. We have become the people we used to sing about.” (Belinfante 2008, 1; translation LvS).
Note: This article was based on the research for my master thesis ‘High lonesome’ below sea level: high modernity individualism and the traditionalist bluegrass community in The Netherlands (1960-2014) which is currently awaiting approval. I am hoping to find a PhD position in (socio)musicology. Questions, comments and suggestions are welcomed at loes@ kunstendenkwerk.nl. Keep track: http://www.kunstendenkwerk.nl/Kunst_ en_Denkwerk/Weblog/Weblog.html Sources: Joost Belinfante, “Voorwoord”, in: C.C.C.Inc.: Een band 1967-2007 (revised edition 2008; Haarlem 2007) 1. “Interview met Guido de Groot van het Pijnackerplein Bluegrass Festival”, in: Retronique. Real men real style (June 21, 2012). http://www.retronique. nl/interview-met-guido-de-groot-van-het-pijnackerplein-bluegrass-festival/ Elteren, Mel van, “Dutch Country Music: between creative appropriation and mere epigonism” in: Popular Music and Society (1998) 91-113. Interviews and email contact (2014) with: Jaap Margry, Paul van Vlodrop, Pieter Groenveld, Dutch Bluegrass Boys, Blue Grass Boogiemen, Hans van Dam, Bob Heidema, Rienk Janssen, Bont & Bluegrass, AG and Kate, Guido de Groot, Tennessee Studs, Laurens Joensen, Floris de Vries and Mariecke Borger, Wim van de Weg, Herman Brock Jr, Fred Reiffers, Kevin Lynch, Jaap van Beusekom, Advan Trier, Frans van Trier, Theo van Trier, Loek Lamers, Henk Abrahams. All quotations are translated from Dutch to English for this article by Loes van Schaijk.
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Q&A with Cindy Baucom, Vice Chair
IBMA BOARD
Shake Getting to Know & your IBMA Board howdy Cindy Baucom is the host, producer & network affiliate manager of the nationally syndicated “Knee-Deep In Bluegrass” radio show. She was elected to the Board in 2008 and currently serves as Vice Chair. In brief, what brought you to bluegrass music? I was born and raised in the Blue Ridge Mountain of North Carolina and nearly every activity growing up involved music in some way; it was just all around me. My dad had been playing Bluegrass since he was young. I developed a passion for it early and was lucky to grow up attending festivals and conventions and eventually joining my Dad’s band when I was in the 9th grade. My first radio job came at the age of 17, on my hometown radio station after school.
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What do you hope to bring to the bluegrass community by serving on the board of directors? I appreciate the opportunity of having a voice in this industry. I think my 3 decades in broadcasting, along with being a singer and bass player, too, have given me a lot of insight as far as what elements might help further the reach of bluegrass Music to the fans. And with a husband who has worked his entire career in Bluegrass, gives me another area to pull information and experience from.
International Bluegrass
How have you seen the bluegrass industry change? Working in it, I have seem more acceptance of Bluegrass as a serious music format. I have heard a wider variety of influences come into the genre, giving the sound of bluegrass a broader spectrum from tradition to contemporary to progressive.
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IBMA board
What projects are you working on for the future of bluegrass music right now?
Give us the top three best festivals you’ve attended.
“Knee-Deep In Bluegrass” continues to growand that is my main focus. I also work hard promoting Terry [Baucom, husband] and his music, so the driving-style of bluegrass banjo can be enjoyed by the masses!
Again, I just feel so honored that I have not only attended these great events, but served as emcee. My top 3 would have to be: MerleFest; The inaugural Dailey Vincent Fest; and The Red White and Bluegrass Festival.
What is your favorite (bluegrass) album and why?
What is your advice to someone fresh to the bluegrass industry?
Wow...I have many, many favorites, so this is a tough one...”Never Thought of Looking Back” by Terry Baucom on the John Boy & Billy label holds such a special place in my heart. I was privileged to work as producer and harmony vocalist on that recording that featured some of the greatest talents in music. It took me out of my comfort zone and became very successful...there is no feeling to top that!
Establish as many relationships and friendships as possible, early on. When we work together, so much more can be accomplished. Many of my teenage festival jamming buddies are active in music on a professional level. That, along with never ceasing to educate yourself on everything from the music’s history to the most current trends. Follow your passion and be prepared for the opportunities as they are presented to you. IT’S A WONDERFUL LIFE!
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Membership news
Membership Focus
by Sam Gee, Sound Healthcare & Financial
Who me? Invest?
The typical person retires around the age of 65. For the next 20 to 30 or more years after that, they’re going to have considerable expenses without the benefit of employment income. If one has an adequate amount saved, they still have to allow for the effects of inflation. So, how does one prepare? It begins with a sound financial plan and a sizable part of that plan includes investments.
What questions do I need to ask myself?
Consider a balanced approach that could include a portion of your money in guaranteed income streams and a portion in investments designed to offset buying power lost to inflation.
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Do I need to invest?
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What are my goals (wealth building, guaranteed income, legacy planning)?
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How do I get there?
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Am I qualified to manage my own investments?
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Is my money where it should be, now?
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What are the risks in investing? What is my risk tolerance?
How do I start? You want to make sure reach your retirement goals. Be careful: quick answers can be dangerous. No one company or product can serve every need. If you are not an expert, consider asking for help. Work to understand what’s available out there, and what’s best suited for you personally. What is the best way to save for my retirement? Should I be in stocks, bonds, gold, real estate, CDs or annuities? What is an annuity? How do mutual funds work? Which investment is best for me? The real answer is: it depends on your own situation, your own needs. All the products have value if used appropriately. The big challenge is in knowing which product to use, and when. We advise sitting down with someone with the expertise and experience to look at your situation and come up with a tailored answer, addressing your real-world situation.
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What questions should I ask my advisor? •
Why should I trust you?
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Why should I work with you?
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What is your experience level?
To get the most out of your money, sit down with someone who cares enough to listen to your needs, your goals and act on your best interest. If you don’t have someone like that in your life – give Sound Healthcare and Financial a call. We may not know everything, but we can get you going in the right direction!
Consultation with Sound Healthcare & Financial representatives regarding health insurance and wealth management is an IBMA Member benefit. To join IBMA, please visit www.ibma.org.
International Bluegrass
www.ibma.org
Job opening
ibma member services specialist
sought for IBMA staff
The International Bluegrass Music Association is accepting resumes through August 25, 2014 for a Member Services Specialist: a “customer service,” contract staff position. Our new IBMA Member Services Specialist will work 20 hours/week, in the Nashville, Tennessee office. The successful candidate will have a deep knowledge of bluegrass music, the bluegrass music industry, and the bluegrass community. We’re looking for someone with a very positive, friendly personality dedicated to the concept of serving IBMA members and helping them get as much value as possible out of their association with the organization they are a part of. Our new Member Services Specialist will be a “people” person with good Microsoft Excel and Access database skills who has a great telephone voice and is skilled at time management. IBMA is committed to serving our members well, in a timely way. If you are a current member, you will be hearing from our new Member Services Specialist on a regular basis by telephone or email, to check in and see how your bluegrass career and project plans are going, how IBMA can help promote what you’re doing, and how we can connect you with other individuals in the community to help you achieve your goals The Member Services Specialist will also be the point person on the IBMA staff for member requests-which will be addressed immediately or fielded to the appropriate staff person. Please send resumes to nancyc@ibma.org. We plan to fill the position in September 2014.
www.ibma.org
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WOB News
IBMA youth council announces
ten youth stage bands
The International Bluegrass Music Association Youth Council has chosen the ten bands who will perform on the Youth Stage at the Wide Open Bluegrass Street Festival in Raleigh, North Carolina on Friday, October 3 and Saturday, October 4. The following bands have been invited to play:
The Lindsey Family, Greensburg, KY Breaking Grass, Rienzi, MS Meyerband, Greenbrier,TN Ash Breeze, Fayetteville, NC Gold Heart, Hamilton, VA There were just under 50 applicants to play this year’s Youth Stage, and were chosen by the Youth Council which is made up of five executive youth members, and led by Chair Andy Rigney. IBMA Board Member Danny Clark, and IBMA staff liason Taylor Coughlin lend help and support. “I am so excited to see the Youth Council working together to encourage youth in the bluegrass community,” said Andy Rigney Chair. “It has been a true honor to work with the teens on the youth council. You can thank them for most of the great youth opportunities at WOB this year.”
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International Bluegrass
The Burie Family, New Berlin, WI Cup O’Joe, Armagh, Northern Ireland The Willis Clan, Ashland City, TN Maybe April, Nashville, TN The Onlies, Seattle, WA Along with programming the Youth Stage, the IBMA Youth Council has activities for youth throughout the World of Bluegrass week. Beginning Wednesday, the Youth will host a kick-off party with ice breakers, jamming, and free food. Youth-focused seminars, famous band dropins and jamming are also scheduled Thursday through Saturday and will be held in the Youth Room inside the Raleigh Convention Center. For more information on the Youth Council, visit The Youth Page on IBMA.org. To purchase IBMA Business Conference Registrations, Bluegrass Ramble Showcase passes, IBMA Award Show Tickets, and tickets to the Wide Open Bluegrass Festival, click here.
www.ibma.org
www.ibma.org
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WOB news
Songwriters showcase writers announced with Co-hosts
Larry Cordle, Claire Lynch and Becky Buller
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International Bluegrass
www.ibma.org
wob news
An all-star lineup of prolific singer/songwriters Larry Cordle, Claire Lynch, and Becky Buller, will co-host the IBMA Songwriter Showcase at World of Bluegrass, scheduled for Thursday, Oct. 2 from 1:30-2:30 p.m.at the Raleigh Convention Center in Raleigh, N.C. IBMA is please to announce the following writers have been asked to showcase the original songs listed below Brandi Belle Clarke, Kristina Kidd, Lexi Adams: “Mockingbird” Aaron Biebelhauser and Michael Cleveland: “I’ll Be On My Way” Louisa Branscomb: “Riding Double on My Old John Deere” Dawn Kennedy, Mitch Matthews, David Morris: “Somethin’ ‘Bout a Train” David Morris, Chris Dockins: “Weeds Where the Flowers of Love Once Grew” Emma McDowell Best: “Round and Round” John C. Miller: “Cloud of Dust” Teresa Neal, Louisa Branscomb, CC Crouch: “Money Can’t Buy Grace” Savannah Strong-Finch, Tim Finch: “Your Love is Like Moonshine” Eric Marshall: “A Soldier’s Return”
The following songwriters are alternates and will be contacted in the event an originally-invited songwriter cannot attend: Ulli Buth: “Coming Home as a Stranger” Margaret Drees: “Daughter of the Mountain” Terry Edwards: “Let Love Stay Here Tonight” Robby Hecht: “Pap’s Down the Road Dead” Josh Wajahn: “Running From the Pain”
www.ibma.org
International Bluegrass
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Fresh Sounds
August 2014
Sixty Artist: John Cowan Label: Compass Records
Beyond the Blue Artist: The Duhks Label: Compass Records
Lonesome and Then Some Artist: Larry Sparks Label: Rebel Records
Open Carefully, Message Inside Artist: Doyle Lawson & Quicksilver Label: Mountain Home Music Company
On Down the Line Cold Spell Artist: Michael Cleveland and Flamekeeper Artist: Frank Solivan & Dirty Kitchen Label: Compass Records Label: Compass Records
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International Bluegrass
www.ibma.org
Fresh Sounds
Too Artist: Flatt Lonesome Label: Mountain Home Music Company
Turn This Heart Around Artist: Missy Werner Label: Missy Werner Music
Volume 2 Artist: Nate Leath Label: Patuxent Music
Bright Munde Artist: Alan Munde & Billy Bright Label: Munde’s Child Records
Chapter Two - Boots Artist: The Willis Clan
Hard Core Bluegrass Artist: Al Jones & The Spruce Mountain Boys Label: Patuxent Music
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August 2014
Fresh Sounds
The Road That Brings You Home Artist: Jim and Lynna Woolsey Label: Broken Record Records
Coming Back for More Artist: Richard Cifersky Label: Velvet Music
Straight-Ahead Bluegrass Artist: The Roland White Band
Window View Artist: Nick DeSebastian Label: FGM Records
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International Bluegrass
Better Than Blue Artist: Trinity River Band Label: Orange Blossom Records
www.ibma.org
August 2014
Industry news
On the Charts as reflected at press time Billboard: A Dotted Line by Nickel Creek at number one; The Bluegrass Album by Alan Jackson at number two; Timeless Treasures: Bluegrass Gospel by Jonathan Widger, Sarah Moore and Randy Nichols. Bluegrass Today Monthly Airplay: “Too Blue to Have the Blues,” by Detour (written by Jeff Rose, Terry Herd) at number one; “Pike County Jail,” by Dave Adkins (written by Dave Adkins) at number two; “Like My Dog,” by Darren Nicholson (written by Harley Allen, Scotty Emerick) at number three.
Bluegrass Unlimited songs: “The Game,” by Blue Highway at number one; “That’s Kentucky,” by Lorraine Jordan and Carolina Road) at number two; “Big Blue Raindrops,” by Del McCoury Band at number three. Bluegrass Unlimited albums: The Game by Blue Highway (Rounder) at number one; Only Me by Rhonda Vincent (Upper Mgmt) at number two; Three Chords and the Truth by James King (Rounder) at number three. Singing News: “When I Get Home,” by Primitive Quartet at number one; “God’s Been Good,” by Rochesters at number two; “The Devil’s Train,” by James King at number three.
Heard round the world Wirrina Bluegrass and Acoustic Roots Festival Sept 5-7 is the acoustic event of South Australia and hosted at the Wirrina Resort and Conference Centre, and the artist lineup has now been finalized and can be found at http://www.wirrinabluegrass. com. It includes Carol Bean and Tony Burt from New Zealand, The Company from Queensland, Coolgrass from Victoria, Lou Bradley Trio of New South Wales, Passionate Fools, Taylor Pfeiffer and Trev Warner of South Australia, the Adelaide Old Time Stringband and many more.
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Bennett Sullivan, a banjo player and educator living in New York City, recently partnered with Jiri Markalous, a Czech iPhone/iPad developer to create a brand new learning tool for banjo players based on a teaching method Bennett came up with. The app is called Listen & Learn: Banjo, and is available on the App Store for $1.99. John Flanagan of the Begin Agains, Triple J Unearthed and 2013 Gympie Muster Talent Search fame has received an Arts Australia Council grant to aid the recording of his second album with producer Viktor Krauss (brother of Alison Krauss) in Nashville, Tennessee.
International Bluegrass
www.ibma.org
Industry news
For the Record Jason Burleson of Blue Highway was rushed to the Junior Sisk & Ramblers Choice has announced a new hospital in Le Puy en Velay, France after being taken ill partnership with Chantilly Farm in Floyd County, Virwith, what has since been diagnosed, a stomach ulcer ginia, home of the well-known Chantilly Farm Bluethe weekend of July 26. Burleson recovered and re- grass & BBQ Festival. Chantilly Farm Bluegrass & BBQ united with the band to continue the tour. Festival will now be the home festival for Junior Sisk & Ramblers Choice. The festival will celebrate its fifth ChordBuddy LLC, makers of the popular ChordBudyear in 2015, and will also expand to two days full of dyTM Guitar Learning System and the ChordBuddy music, arts and crafts, children’s activities, and more. Jr. kids guitar, announced that it will be the presenting sponsor for “Knee-Deep in Bluegrass,” a weekly The 32nd annual International Country Music two-hour syndicated radio show hosted by IBMA Conference will be held beginning Thursday, May 21 Vice-Chair Cindy Baucom. “It is exciting to have the through Saturday , May 23, 2015 at Belmont Uniopportunity to introduce the amazing ChordBuddy versity in Nashville, Tennessee. ICMC proposals are to listeners of the show,” said Baucom. “I have seen due by Friday, October 24, 2014. Early submission of time and time again how learning to play music can proposals is preferred. Visit http://www.internationbe life changing, and ChordBuddy makes playing easy alcountrymusic.org/ for details. and fun!” Colorado banjo picker and occasional Bluegrass Sam Moore, voted one of the 100 top pop voices Today correspondent, Jake Schepps, was seriof all time by Rolling Stone Magazine, has joined ously injured in a head-on collision heading home bluegrass group Nu-Blu as a special guest on their from RockyGrass on Saturday night. At press time, upcoming single release “Jesus & Jones,” a song that Bluegrass Today reported he was still in ICU, but was pays tribute to the late George Jones. The highly responsive and recovering. anticipated track will serve as the first offering from their forthcoming album, All The Way, due on SepTown Mountain are set to release their first offitember 16 from Rural Rhythm Records. cial live album, Town Mountain: Live At The Isis, on August 19th, 2014.The concert was recorded in their hometown of Asheville, NC at Isis Music Hall. The album features live versions of previously released studio material including crowd favorites “Lawdog,” “Tarheel Boys” and the fiddle tune “Four Miles.”
www.ibma.org
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industry news
standing o! Ralph Stanley has been elected a fellow of the American Academy of Arts and Sciences. Stanley will be inducted formally into the Academy at its headquarters in Cambridge, Massachusetts on Oct. 11. The Academy was founded in 1870 to recognize America’s foremost “thinkers and doers.”
Jesse McReynolds celebrated his 85th birthday on July 13 in Gallatin, TN with a lively gathering at Jesse’s farm, the Pick Inn, and there was no shortage of tributes from Jesse’s colleagues, neighbors and friends: Homer Bradley (the unofficial “Mayor of Cairo”), WSM announcer Eddie Stubbs, fiddle-player Jim Buchanan, Opry stars Jeannie Seely and Jan Howard, Carl Jackson, banjo-player Mike Scott, Larry Stephenson, Del McCoury and Sam Bush. They “roasted” McReynolds, who was praised for his sense of humor, his mentorship of other artists, his contributions to bluegrass music and, most of all, his sincere and kind personality.
Corbin Hayslett, a student at the University of Virginia’s College at Wise and an instructor at MECC’s Mountain Music School has won the Orthophonic Joy Music Contest. The contest was a search to find one artist or band to join Orthophonic Joy: The 1927 Bristol Sessions Revisited, a reimagining of the legendary 1927 Bristol Sessions, the groundbreaking recordings that continue to inspire artists around the world, produced by IBMA Board Member Carl Jackson.
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International Bluegrass
www.ibma.org
industry news
Association assertions The Minnesota Duet Championship will take place Friday, August 29 from 2 p.m. to 5 p.m. at the West End Market Stage at the Minnesota State Fair. The Minnesota Flatpicking Guitar Championship takes place at the same place on Saturday, August 30, also from 2 p.m. to 5 p.m. Registration is $25, and space is limited. Find information and register at www. minnesotabluegrass.org.
Nominations are open for the Minnesota Bluegrass & Old-Time Music Association Board of Directors, of which its elections are held in November. Send nominations to Election Nomination Chair Martha Galep at election@minnesotabluegrass.org by Oct. 1, 2014.
Walnut Valley Association’s Walnut Valley Festival in Winfield, Kansas takes place Sept. 17-21. Sign up to compete in seven instrumental championships including: International Autoharp, International Finger Style Guitar, National Mountain Dulcimer, Walnut Valley Old Time Fiddle, National Flat Pick Guitar, National Hammer Dulcimer; National Bluegrass Banjo.
In Remembrance Sound engineer and producer Ronald “Ronnie” Freeland passed away from a long illness on July 20 in Baltimore, MD. He was a great mentor, friend, and honored member of the worldwide bluegrass community.
www.ibma.org
Pat Smith, father of The Grascals’ bass player Terry Smith, and bluegrass songwriter/artist Billy Smith, passed away on Friday, July 26 in North Carolina. Smith was also the former husband of bluegrass/country music journalist, songwriter & television personality Hazel Smith.
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New members: From July the Executive Director’s desk Michael Creed
Richard Hardy
Traditional Music
Timothy Harrison
Sarah Hale
Marcus Paul Nash
Tom Keeney
Amanda Cook
Rosanna Patz
Cynthia Smith Mabe
Sierra Hull
Charles Cain
Nancy Noel May
Sandra Bortree
Daniel Patrick
Lisa Pyrtle
Dee Carter
Terry Brewer
Lou Humphreys
Gary Strong
Jack Turney
Norm Hoover
Trevor Jolly
James Adams
Lynne Lawrence
Raymond L Tims
Gregg Turbeville
Charlotte Scott
Karl Faser Jr
Timothy Tron
Kathy Nichols
Elizabeth Rosas
Kurt Dressler
Nathan R Phillips
Bailey Coe
Scott Brannon
Mechelle Mullins
Frank Arico
John Denniston
James R Marsden
Kathryn Burton
Vivan Carnes
Lisa Bottomley
Mark Sterling
Diane Mckoy
William Lawrence
Brandon Mann
Austyn Howell
James Greiner
Lloyd Baldwin
Matt Leadbetter
Daniel Richardson
Scott Mccarty
Robert Goodwin
Ray Griff
Ashley Hinson
Gerald Via
Judith Goodwin
John Landers
Robbyn Chiles
Kenneth Larmer
Rick Garner
Jenny Leigh Obert
Dakoda Hensley
Melissa De Cloet
Adam Taylor
Rich Crist
Katie Gillon
Daryl Rodgers
Kathy S Pyrtle
Lisa Bushman
Patrice Stockhoff
Katherine Oates
Kentucky Center For
Christine Pasquet
Chris Schaffer
www.ibma.org
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IB