International Bluegrass | December 2013

IB

International

Happy Holida ys from I BMA!

Bluegrass

Vol 28, No 1 2 , D e c . 2 0 1 3

Country Family Reunion films Simply Bluegrass 1

with your heroes

International Bluegrass

Also in this issue ■■ Ricky Skaggs Artist-in-Residence ■■ Welcome new members ■■ Bluegrass without Borders

International Bluegrass International Bluegrass Music Association Vol. 28 | No. 12 | December 2013

Cover Feature Country Family Reunion films Simply Bluegrass with your heroes

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News 4 | Seminary Professor “Picks for Pickers” 6 |Ricky Skaggs Artist-in-Residence 8 | Tom Kopp named Foundation for Bluegrass Executive Director 14 | The Grascals exemplify “American Pickers” 16| Della Mae’s American Voices experience; deadline approaching 18 |Acoustic Stories Review 20 | Fresh Sounds

Departments 3 | Editorial from Joe Lurgio 21| Heard ‘round the world 22 | Bluegrass Music Industry News 25| Membership List

IBMA Staff Nancy Cardwell Erdos Executive Director Joe Lurgio Member/Convention Services Director Taylor Coughlin Special Projects Director/Publications Editor Eddie Huffman Technology & Office Systems Manager IB | International Bluegrass Editor: Taylor Coughlin taylor@ibma.org Designer: Erin Erdos Humann erinfaitherdos@gmail.com International Bluegrass (ISSN #1095-0605) IBMA: 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.

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.

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.”

Editor’s note: Thanks to the International Bluegrass Music Museum for co-sponsoring the 2013

IBMA Awards Show! Our apologies for the omission in the November Issue. Also in November’s issue, the story “Flood Devastates Lyons; Lyons Jam organizes to raise funds for musicians,” by Garian Vigil, was reprinted courtesy of Pow’r Pickin’, the publication for the Colorado Bluegrass Music Society, which was not acknowledged. We regret the error.

Sombreros and Ten Gallons: How I wear two hats for IBMA’s membership services

by Joe Lurgio

What is does the term “IBMA” mean to you?

To many people the “IBMA” is an annual convention produced by the organization of the same acronym. I’m sure you’ve overheard or said something similar to this yourself: “I’ve been to every IBMA since 2001” or “Did you hear Noam’s speech at IBMA?” Of course, most of us know the week often referred to as “IBMA” is actually called the World of Bluegrass, or “WOB,” produced by the International Bluegrass Music Association (IBMA).

Wait! Don’t turn the page yet. I’m not going to waste your time dealing with semantics.

As a recent transplant to Nashville from New England, I’m excited to be a part of an energetic, diverse, new staff under the direction of a new Executive Director and Chair of the Board of Directors. There is an exciting energy here at the IBMA office, and I am very excited to be serving the bluegrass community.

I was hired to wear two hats: Director of the annual convention and Director of the organization’s membership services. If these were real hats they would probably be a tall ten-gallon, and a wide brimmed sombrero. Each of these roles is at the heart of the organization.

After going through my first World of Bluegrass as a staff member, I realized what I already knew as an attendee: It’s a huge undertaking for such a small staff. Producing a week of quality networking, learning, honoring achievements, acknowledging our heroes and hosting amazing live music (there were over 300 official performances by 161 bands during WOB ‘13) is nothing to scoff at.

The membership services sombrero is still hanging on the hook, just worn less than the tall ten gallon. This is not entirely negative, because WOB is a great achievement each year. The events act as bedrock for our community to stand on throughout the year. With the move to Raleigh, WOB has grown into what some have coined “the South by Southwest (SXSW) of acoustic music.” WOB has evolved into the major visible “service” we provide to our members. The Foundation for Bluegrass Music (started by IBMA to administer the Bluegrass in the Schools program and beyond— now with their own separate board, executive director and 501 (c ) 3 tax status) and the Bluegrass Trust Fund—IBMA’s charitable arm, also provide important services to the bluegrass community and the general public.

I come to the IBMA with over a decade of project management experience in the engineering field. I grew up steeped in bluegrass music (yes, the Northeast is and has been abounding with bluegrass, too), and I have worked within the industry as a bandleader, graphic designer, workshop organizer and teacher. I’m motivated to work with the Board of Directors, the staff and our committees to manage the annual conference, to strengthen existing value and generate new value to membership services that support you throughout the year.

One of my major goals is to expand the services we provide members. You are probably already aware of our Sound Healthcare group health insurance plan, the extremely affordable event liability insurance through SteelBridge Insurance, group instrument insurance through Clarion, WOB event discounts for members, free access to email databases for members, the rental car discounts, and the variety of leadership, professional development, showcase and networking opportunities currently offered to IBMA members.

Since WOB, I began evaluating the services we are providing members and ways to improve. Here are just a few examples of initiatives we have been looking into: •

Empowering members with an easy-to-use online database with the ability to gather specific information to meet your personal industry goals (i.e. generate a list of all festival promoter contacts in a specific region, look for bands touring through your area, search for a bass player or instrument repair person in a certain region/zip code, or create a members-based “couch surfing” network to foster easier, more economical travel for members).

•

Revisiting the terms of all IBMA-endorsed insurance plans, ensuring that they are current, and providing members with high quality, cost effective benefits.

•

Adding additional membership-based content to all our publications, including a new monthly article in International Bluegrass focused on current benefits, getting the most value from the services, and keeping you current with new initiatives.

•

Researching additional ways to gain value-added discounts for additional services (i.e. airline and travel discounts).

•

Working closer with our regional associations and educational organizations to create a web of connected services around the globe.

•

Scheduled use of the IBMA office by members. Many of you travel to the Nashville area to conduct business and as members, the IBMA office is your space too. For example, you could use the IBMA conference room for meetings, interviews or a songwriting session, or use the office wi-fi andr phones for business purposes while traveling.

•

Developing year-round mentor programs to encourage and enrich both mentors and those who are being mentored.

•

Expanding our “Backyard Bluegrass” YouTube video series (which includes promotion of member bands and artist videos filmed in IBMA’s backyard—with a copy to the artist to use too), into more educational or mentor info-based short videos for member use.

•

Renewed (and new) International and Youth Council support and opportunities

•

And more we’re still working on!

Please feel free to call the IBMA office with any questions or ideas you have. Better yet, stop by the office the next time you’re in Nashville and say hello!

-Joe Lurgio

Seminary Professor “Picks for Pickers”

by Wayne Rice

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About the Trust Fund

r. Rick Stern is professor of homiletics at St. Meinrad Seminary and School of Theology in southern Indiana. He is also a banjo player. He took up the instrument 12 years ago as a way to meet new people outside his seminary community. Apparently he hadn’t heard those jokes about the social lives of banjo players.

After joining a bluegrass band and volunteering at several IBMA events, Rick heard about the Bluegrass Music Trust Fund, a charitable organization that was set up by the IBMA to help bluegrass music professionals during times of emergency financial need.

Having been inspired and mentored by numerous bluegrass music professionals himself, Rick decided that he wanted to get involved, to perhaps make a donation himself.

But how should he do it? It would certainly be easy enough to write a check and mail it in, but Rick came up with a better idea that he calls “Pickin’ for Pickers.” To draw attention to the work of the Trust Fund and also to have a bit of fun in the process, he contacted several bluegrass artists and made them an offer. “Let me play my banjo with you on one song—either on stage or off—I will make a contribution to the Trust Fund.”

To his surprise, his offer was accepted, first by the Grascals and then by Doyle Lawson and Quicksilver. As chairman of the Trust Fund board of directors, Doyle was more than happy to play along (literally) with Rick. At a 2013 concert, Doyle invited Rick onstage (unrehearsed) to play banjo on “Sing Me a Song About Jesus,” one of Doyle’s standards.

Rick has also played his banjo with Barry and Holly Tashian, Art Stevenson and High Water and

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Dr. Richard Stern | Photo from St. Meinrad faculty website the 2013 NashCamp staff band including Bill Evans, Tim Stafford, Matt Flinner, Missy Raines and Fletcher Bright. And each time, the Bluegrass Trust Fund has benefited from Rick’s generosity and his desire to express gratitude to the musicians who have enriched his life.

The Bluegrass Music Trust Fund was established by the IBMA in 1987 as a non-profit charitable organization, separate from the IBMA but accountable to it. It qualifies under Section 501(c)(3) of the Internal Revenue Service Code as a tax-deductible charitable organization. It is governed by a five-person board of directors who are appointed by the IBMA board of directors. Currently the Trust Fund board includes Doyle Lawson (chairperson), H. Conway Gandy, J. D. Crowe, Del McCoury and Wayne Rice. This board is responsible for managing the fund, which includes accepting donations, investing the money wisely and making decisions on grant disbursements. Each of the board members serves at his own expense.

The mission statement of the Trust is to provide assistance to bluegrass music professionals in times of emergency financial need. Any individual, anywhere in the world, who is or has been at some point in their career involved in bluegrass

music professionally—whether or not they are IBMA members— qualifies for assistance from the Trust during times of emergency need. This includes musicians, composers, broadcasters, event producers, agents, luthiers, educators, managers and employees of record companies.

Families of such individuals may also be eligible for help from the Trust.

An emergency need is any financial hardship that is unexpected or unavoidable, such as a medical emergency, an accident or natural

Fund has been able to do and will continue to do in the future. If you or someone you know needs assistance from the Trust Fund, applications for assistance are available from the IBMA office.

Once the application is filled out and returned to the IBMA office, it is reviewed by the Trust Fund board to determine the applicant’s eligibility for assistance. All applications are held in the strictest of confidence. No one has access to this information except the Trust Fund board and the executive director of the IBMA.

to do some good work.

The IBMA Trust Fund welcomes your support as well. If you would like to get involved, here are some ways you can contribute:

• Attend the Wide Open Bluegrass Festival! Not only will you have a great time, but you will be supporting the Trust Fund. Each year the IBMA donates a significant amount of the proceeds directly to the Trust Fund.

• Consider sponsoring a fundraiser on behalf of the Trust Fund. You’ll be extending a helping hand to numerous bluegrass music professionals you know and love. It’s a very worthy cause.

• If you or someone you know would like to make a tax-deductible contribution to the Trust Fund, please contact the IBMA office for more information.

disaster, a death in the family or circumstances when all other forms of financial assistance have been exhausted. Every application for assistance is evaluated on a case-by-case basis.

So far, more than a half million dollars in various amounts have been given to dozens of bluegrass music professionals who have needed our help. We can all be very proud of what the Trust

Thank You for Your Support!

Thank you, Dr. Richard Stern for your unusual and creative way of supporting the Bluegrass Trust Fund! And on behalf of all those who have received financial help from the Trust Fund, we want to thank the hundreds of people who have given their time, talent and financial gifts to keep the Trust Fund going for the past 25 years.

Thanks to you we have been able

• If you or someone you know would like to include the Trust Fund in a will, such bequests are gratefully received and acknowledged.

One of the foundational objectives of the IBMA when it first began was to establish and maintain a Trust Fund that would extend a helping hand to bluegrass artists and industry folks in time of need.

Thanks to you, the Bluegrass Trust Fund has been able to do that very effectively.

International Bluegrass

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Ricky Skaggs Artist-in-Residence

by Taylor Coughlin, photos by Donn Jones

I

t was bound to happen; that Ricky Skaggs would eventually be selected as an Artist-inResidence for the hallowed Country Music Hall of Fame and Museum in Nashville, Tennessee.

For the legendary multi-instrumentalist, 2013 has been quite the year. To list his schedule and accolades from this year alone would take up quite a bit of text, but they are individually important and noteworthy, nonetheless. Among these are an autobiography and new live album being released; multiple acclaimed performances; earning an award with his wife, Sharon; and having a scholarship established in his name at a Tennessee university. Oh, and yes, this year he was named the 11th Artist-in-Residence at the Hall.

As explained by the Country Music Hall of Fame and Museum, “the program annually honors a musical master who can be credited with contributing a large and significant body of work to the canon of American popular music.”

Previous artists have been Earl Scruggs, Vince Gill, Jerry Douglas, and Tom T. Hall, just to name a few. As part of the program, the artist is given free reign over two nights of music to showcase his or her own creative craft which make for an intimate, up-close-and-personal musical experience.

“Country Boy at Heart”

On November 18 in Nashville, Skaggs began night one of his performance with the theme “Country Boy at Heart,” inciting lively images of Bill Monroe dancing on a subway in New York, from his video of the same name (If you’re lost, just watch the video here).

Inside the new CMA Theater, Skaggs made a dedication and proclamation for the future of the venue since it was the first public performance to take place (it opened with the Country Music Hall of Fame induction ceremony a week earlier). With his band Kentucky Thunder prepped behind him, Skaggs flew into an electrifying version of “Heartbroke” from his 1982 album Highways and Heartaches.

With rich tones, and an at once humbled and commanding presence, Skaggs played through his most beloved country songs. His first guest was wife Sharon White; they sang the duet they sang at their wedding, “If I Needed You.” Then, The Whites joined Skaggs for “Honey, Won’t You Open That Door,” with Buck White wailing on the piano keys.

While Skaggs took out his mandolin and began tuning, he

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told the story of his first time meeting and playing with his mentor, Bill Monroe, imitating the Father of Bluegrass to a “T.”

Country singer and guitar slinger Brad Paisley took the stage with Skaggs for “Highway 40 Blues,” giving everyone assembled in the new concert hall the chills with electrifying guitar solos and impressive, impeccable style.

After a brief intermission, Skaggs welcomed longtime friend Emmylou Harris and guitarist Brian Ahern for “Darkest Hour.” Harris expressed her appreciation for Skaggs, saying, “I’ve learned a lot of bluegrass from him.”

From then, it turned into a family affair: The Whites joined Skaggs onstage again, this time with his daughter Molly playing clawhammer banjo on The Carter Family’s “Gold Watch and Chain.” Then, with the stage dimly lit, Skaggs and Molly stood alone to sing “Single Girl, Married Girl.”

Skaggs told the audience how important family is, and how it’s important to teach the young ones about the ones who came before them, citing The Carter Family as the first family band who started it all.

Taking a turn for the gospel, Gordon Kennedy joined Skaggs onstage for the Mosaic hit “You Can’t Shake Jesus.”

Adding another legendary guitarist to the stage, Peter Frampton came on for “My Cup Runneth Over.” With Kennedy, Skaggs, and Frampton all on guitar, the night was placed into the “once-in-a-lifetime” category. The prolific trio from such diverse backgrounds blended so well together, there was no doubt that music is a unifier.

The Whites kicked off the second portion of the night with “Children Go Where I Send Thee,” and a new favorite, thanks to O Brother, Where Art Thou? “Keep On the Sunny Side.”

For the closing number, Paisley came back out to join on Skaggs’ first single, “I’ll Be the One to Blame,” with Kennedy and Frampton. “I’ve played this since I was seven,” Paisley deadpanned, sharing the disbelief with the audience that the collaboration of musicians onstage was indeed happening. With night one over, it was hard to imagine how night two would be topped.

“Bluegrass Rules”

It was his first and true love: bluegrass, and Ricky Skaggs was going to save the best for last.

On night two of his artist-in-residence, Skaggs began the evening not with himself, but with Irish fiddler Martin Hayes, and guitarist Dennis Cahill. “I wanted to play the music that was the cornerstone of bluegrass with ancient tones from ‘way, way back there,’” Skaggs explained, launching into a Bill Monroe imitation. Skaggs left the stage as Hayes and Cahill began with a soft, melodic Irish tune. Then, the tempo climbed and Hayes and Cahill launched into a controlled chaos of invigorating Celtic tones. A humbled Harris said he was “delighted” to have been invited to play, as he elicited a standing ovation from the crowd.

Skaggs joined the duo for the traditional tune “Billy and the Low Ground” with such incredible fervor and life. “It’s music rooted in joy,” Skaggs smiled before launching into the well known song.

Skaggs’ longtime friend and bluegrass legend Del McCoury came onstage for the Monroe Brothers’ tune “Sinners You Better Get Ready.” On the wings of twin tenor vocals, the CMA Theater was lifted up and taken back in time.

Kentucky Thunder came onstage for a string of traditional songs by Bill Monroe, Flatt & Scruggs, and The Stanley Brothers. A powerful cover of Monroe’s “Bluegrass Breakdown” took the show into intermission.

Skaggs invited longtime friend Alison Krauss to the stage, who looked joyful and humbled to sing with Skaggs. As Skaggs began singing “Vision of Mother,” it was unmistakable how Krauss felt watching Skaggs sing before joining in harmony. With The Whites, Krauss, Paul Brewster, Eddie Faris, and Skaggs, Krauss led “Down in the River to Pray” a cappella, rocking the house.

It’s been no secret that Skaggs likes unexpected collaborations. His recent live album with Bruce Hornsby has garnered national attention, with the duo performing on late night television in October. That being said, Skaggs wasn’t about to let Hornsby off the hook without a collaboration that evening, so Hornsby took the stage with Skaggs, beaming with gratitude. The two took it away with “Dig a Hole in the Meadow,” and straight into “Whiskey Before Breakfast.” Hornsby’s musical imagination spilled onto the keys as Skaggs’ masterful mandolin playing took the performance to another level. Without skipping a beat, the two heartily dove into Hornsby’s hit “The Way It Is” and a lengthy, entrancing jam ensued.

With nothing left to be desired (or so it was imagined), the encore came with even more surprises. Del McCoury, Martin Hayes and Dennis Cahill came back onstage with Skaggs, Kentucky Thunder, and Hornsby. Skaggs explained they’d start off with the first song played on the Grand Ole Opry in 1925, “Tennessee Wagoner” and it would take off from there – and it did. From another effervescent Celtic segment, to “The Storms are on the Ocean” featuring The Whites and Krauss, to “Cluck Ol’ Hen” with Alison Krauss on the fiddle, and Buck White taking it away on the keys with Hornsby on “Alabama Jubilee” the theater experienced a rollicking, incredible time that could never be recaptured in words.

Skaggs’ curation of the two evenings proved his intuition and intelligence as a musician, and his passion for country, bluegrass, and music without labels was infectious. Skaggs solidified his place as one of America’s greatest examples in working at a passion, expanding boundaries, and exploring by all means possible. With respect and reverence of the past, Skaggs took his skill and vision to the future.

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Tom Kopp named Foundation for Bluegrass Executive Director

by Kitsy K uykendall & Taylor Coughlin Tom Kopp of Asheville, NC, has been selected to be the first Executive Director of the Foundation for Bluegrass, as announced by Kitsy Kuykendall, Board Chair. He will begin serving on January 1, 2014.

Kopp, who retired as a college professor of education at Miami (Ohio) University after 30 years, has been immersed in the bluegrass community for many years, serving as a dedicated leader in bluegrass education, and bluegrass culture and appreciation. He has served on the Foundation’s board, and has taught “Utilizing Bluegrass Music in the Classroom” workshops in 17 states during his tenure as IBMA’s Bluegrass in the Schools committee chairperson.

Kuykendall expressed that Kopp will be a fine asset to the Foundation.

“We are very proud to be able to have such a dedicated person as Tom Kopp agree to serve as our first Executive Director,” she said. “The board firmly believes that this is the next big step for the Foundation.”

In his teaching experience, Kopp has developed programs that teach American culture appreciation, and Appalachian history and culture appreciation through bluegrass music and its community. “Bluegrass is a cultural bridge,” Kopp explained.

“In teaching, you want to create bridges without barging in, and bluegrass is perfect for building bridges.”

Further confirming the boards’ decision, Kuykendall said, “He has a passion for bluegrass music and the desire to help people all over the world learn about it so they can share that love of the music with him. We look forward to working with him in our efforts to achieve our mission and financial goals. The Board of Directors is very grateful for all the hard work the staff of the International Bluegrass Music Association has done over the last few years for the Foundation and plans to continue its strong working relationship with that office through Mr. Kopp.”

Kopp says he is ready to give all the gifts he has to the position.“I look forward to being at the base of an organization that spreads joy, and is such a positive thing,” he said.

Fun fact: Kopp’s favorite bluegrass tune is “’52 Vincent Black Lightening” by The Del McCoury Band. “The lyrics, with Del’s voice, and the tone…it totally re-defined bluegrass for me,” he smiled.

ing er donat d i s n o c or Please dation f y n u o F e lida to th your ho n i s s a r Blueg iving charity g

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.

Some examples of programs that can grow under this umbrella: • Bluegrass in the Schools (grants, workshops, other resources)

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.

• Academic conferences

All gifts – no matter the size – are acknowledged and are tax deductible as a charitable donation.*

• Public artistic presentations of an educational nature

Make a donation today. Visit the Foundation website or call 615-256-3222 for information.

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International Bluegrass

• Literary work and related efforts • Historic preservation • and other works of a charitable nature

Happy Holidays From all of your friends at IBMA

Click on the wreath to visit IBMA’s YouTube channel for a bluegrass holiday playlist. Add your favorites to IBMA’s Facebook and Twitter pages too!

“Country Family Reunion” films bluegrass special

by Taylor Coughlin The Gibson Brothers, and Donna Ulisse.

SiriusXM’s Bluegrass Junction program director Kyle Cantrell was also part of the event.

The House Band consisted of Barry Bales (bass), Bryan Sutton (guitar), Adam Steffey (mandolin), Stuart Duncan (fiddle) and Ron Stewart (banjo).

It was simply an acoustic music lover’s fantasy: a gaggle of highly esteemed bluegrass musicians in one place, at one time, relaxing in rocking chairs, swapping stories, and playing bluegrass music. With warm laughter and rich beguilement, some of the genre’s top performers and pioneers gathered to share their stories and play music in front of their peers, and lucky for anyone not there, it was all caught on camera for a special episode of “Country Family Reunion: Simply Bluegrass.”

Each of the featured musicians sang and played with the house band. The artists, who all seemed comfortable like family, engaged in in-depth discussions on their backgrounds, influences, and funny stories, making this a truly once-in-a-lifetime event.

Since 1996, RFD-TV has been broadcasting the “Country Family Reunion” series, produced by long-time disc jockey Larry Black. The show’s intention is to bring America’s most treasured artists together in one place to reunite, reminisce, and perform while the cameras roll.

Between segments, Bill Anderson, Ricky Skaggs, and Larry Black sat down to talk about the thrilling day, and the state of bluegrass.

This special episode was the second bluegrass-themed show to be filmed.

It was hosted by Bill Anderson and Ricky Skaggs and featured: Mac Wiseman, Bobby Osborne, Jesse McReynolds, Doyle Lawson, Dierks Bentley, Rhonda Vincent, Dailey & Vincent, The Whites, Del McCoury, Sam Bush, The Roys , Jerry Douglas, The Grascals (Jamie Johnson, Terry Eldredge, Terry Smith), Ramona Jones, Paul Brewster, Ronnie Reno, Sierra Hull, Larry Cordle, Carl Jackson,

“I come from a time where country wasn’t very separate from bluegrass. When I was a disc jockey in the late ‘50s, I would play an Eddy Arnold record and follow it up with a Flatt and Scruggs record, play a record by The Browns, then play a record by Don Reno and Red

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Bluegrass is on the cusp of being bigger than ever, and bluegrass is becoming the new country.

Bill Anderson, on hosting “Simply Bluegrass” and his connection to bluegrass music:

Smiley, that’s just the way that it was.

I grew up with a great appreciation for acoustical music. When I was four or five years old, I was listening to [banjoist] Snuffy Jenkins on the radio every morning. I had him for breakfast, along with my Corn Flakes! This music is very deeply embedded in me. Ricky [Skaggs] is an expert on the bluegrass, I’m just trying to drive the train and make sure we don’t have train wrecks along the way.”

On the Americana movement and its relation to bluegrass Ricky Skaggs “I think it’s helpful. But, it’s a lot of singer-songwriters, strummers – not a lot of pickers in Americana. You find more people that are trying to get a song cut, or be known as a singer-songwriter artist. That’s what differentiates bluegrass from anything: It is picker driven, performance driven all the time. It’s built around a band, not around a lead singer… In a bluegrass band, everyone is important.”

Larry Black: “In ‘99 we did a bluegrass reunion with Mac Wiseman.

Mac hosted it and invited a bunch of the older guys who have passed on now. I was thinking about that this morning looking around the room; Dailey and Vincent were not together, playing with other bands. So many people in that room were not indi-

Bobby Osborne

Ricky Skaggs, Larry Black, and Bill Anderson speak on the experience vidual artists then, so it has young-ed up. So what it does, in my opinion, is bring a whole new audience in. Bluegrass is on the cusp of being bigger than ever, and bluegrass is becoming the new country.”

On the process for making “Simply Bluegrass” happen LB: “It took us two years to get Ricky’s schedule in line. We started trying to plug in bands and people and availabilities.”

The Whites

RS: “We had to have a top-notch, 100% validated house band in order to get people to come. How often are you going to get to play with Bryan Sutton and Stuart Duncan at the same time?... This is a great show and I can see another show coming out of this.”

On what makes “Simply Bluegrass” different from other “Country Family Reunion” episodes: LB: “The people [make the difference]. They eat, sleep and breathe bluegrass. They make the room come to life. The first 10 minutes of any of these things you go, is it gonna kick in? and you heard the laughter, they are lovin’ each other. They’re loving being there, they’re loving telling these stories, and all of a sudden at the end of the day, they’re gonna go: good grief, can we do more of this? So that’s the real distinction for me. It’s them loving each other and loving bluegrass.”

Dierks Bentley

Paul Brewster

DVDs are available for order on the Country Family Reunion website or by calling 1-800-931-5723, and are slated for release in January. Photos courtesy of Gabriel Communications and Phil Johnson.

Doyle Lawson

Jerry Douglas International Bluegrass

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Country Family Reunion Ramona Jones

Del McCoury

Sierra Hull Sam Bush

Gallery continued Rhonda Vincent

Gibson Brothers

Larry Cordle & Carl Jackson

The Grascals exemplify “American Pickers,” release new album

By Taylor Coughlin Progressive, hot pickin’ favorites.

The Grascals have always had a knack for finding ways to stand out. This time around, they teamed up with their good friend, country superstar and bluegrass diehard Dierks Bentley, and The History Channel’s hit TV show “American Pickers” to produce a hit theme song and music video with the show’s host Mike Wolfe.

The song is a favorite on their brand new studio album When I Get My Pay from Mountain Home Records.

The album has made a splash with its original songs, Kristin Scott Benson’s vocal debut, and a music video for

“American Pickers” featuring footage from the show and in the studio. Read more about the album in Fresh Sounds on page 20 On November 12, Jamie Johnson, Terry Eldredge,

Danny Roberts, Terry Smith, and Kristin Scott Benson celebrated with “American Pickers” host and friend Mike Wolfe at the Antique Archaeology store (retail home of the goods bargained for on the show) in Nashville.

Watch t he new video fo r “Ameri can Pickers” here

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Things We Can’t Forget: Della Mae’s experience with American Music Abroad

By Courtney Hartman, reprinted with permission from Berklee Today

Last winter I spent six weeks on tour in South and Central Asia with my bluegrass band Della Mae. Our American Music Abroad tour was sponsored by the U.S. State Department. Our purpose: diplomacy through music, sharing our American culture through personal interactions in foreign places. In 44 days, we traveled through Pakistan, Uzbekistan, Turkmenistan, Kazakhstan, Kyrgyzstan, and Tajikistan. We collaborated with local musicians, performed public concerts and workshops, and spent time with children in schools and orphanages.

The “stans” are so different from one another, and each has a unique and rich musical heritage.

Every place offered hospitality and generosity. We jammed and collaborated with local musicians in every city. Most musicians played their own traditional music. Despite the inability to speak a single word of a common language, we shared music for hours. It was fascinating to see how easily American music traditions blended with theirs. Bluegrass has been passed on orally through the generations and is based in songs and fiddle tunes, and the music of these regions is passed down in the same way. Folk songs often focused on topics similar to ours, and they had a strong foundation of instrumentals similar to fiddle tunes.

Cultural Milestones In Pakistan we collaborated with the talented Natasha Ejaz, in 16

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has become a dear friend of Della Mae’s.

whose culture female musicians are rare. It was inspiring to learn what she has endured so she can share her voice. She and Pakistani bands joined us for concerts in Islamabad and Lahore. In Pakistan, as rare as it is for young women to play music, it is just as uncommon for young women to see live music. We played at two women’s colleges in Pakistan and have never before been received with so much excitement and anticipation. Ejaz is applying to study at Berklee and

We spent Thanksgiving week in Turkmenistan, celebrating the first ever cultural collaboration between the United States and that country. As we walked into the performance venue, we witnessed them raising two massive portraits: one of President Obama and one of Turkmen President Gurbanguly Berdimuhamedow. This was the first time that the Turkmen government had allowed another president’s portrait to hang alongside its president’s. It was an honor to witness that moment in the country’s history.

In each country we toured, we visited schools and orphanages.

The children would usually perform a few songs for us and then we would play for them. In these remote areas, it was amazing to see the lasting influence of the State Department Jazz Ambassadors program that ran between the 1950s and the 1970s. During that

period, one of the touring musicians was Louis Armstrong. On the album that he coproduced with Dave Brubeck, Real Ambassadors, he sings:

out her sparkly purple hair barrette and pressed it into my hand.

She gave me her single earthly treasure, something that made her feel beautiful, to show gratitude for the small thing that we had given her. There was silence in the van as we drove back to Dushanbe.

The State Department has discovered jazz/ It reaches folks like nothing ever has. /

After 40 days of traveling and sharing our music we had gained a lifetime of memories and a new perspective. That precious little girl gave me a gift I’ll always remember.

Like when they felt that jazzy rhythm, / They know we’re really with ’me. / That’s what we call cultural exchange.

On the other end of the spectrum were the orphans and refugee children that we played for. We visited orphanages in nearly every country and spent time with Afghan refugee women and children in Pakistan and Tajikistan. We let the children play our instruments.

To see joy and light come into their eyes as they strummed a guitar string or held a fiddle for the first time was beautiful. For most of them, it was the first musical instrument they had touched in their lives.

There was one moment in Tajikistan that I will never forget. It was our last program and we drove out of the capitol of Dushanbe to an orphanage in the countryside.

We arrived and watched as a few five year olds gathered snow in teapots to take to the kitchen for water. It was a bitter cold Sunday afternoon, and the orphanage was quiet. As we walked through the cold cement halls to the meeting hall, a horrific odor came wafting from the bathroom areas and filled the entire building. The children’s

Della Mae’s poster from Kazakhstan.

Photo courtesy Della Mae

rooms were heated with coal and the few hours of electricity that the government allowed them each day were confined to the kitchen. As we set up our instruments children began to trickle into the room, helping one another in wheelchairs, little ones on their laps, a few using adult walkers to support their polio-crippled bodies. The only thing we had to share with them was a glimpse of joy, our hope was to help them forget the cold, hunger, and physical pain, even if just for a brief moment. It was difficult to watch these children without tearing up.

As we began to play and sing, a few children came to the front of the room and began twirling and dancing around with one another.

Smiles slowly emerged on their faces and light returned to their eyes.

As we finished and said goodbye, a seven-year-old girl clung to me.

Looking me in the eyes she took

We can’t forget that music is a gift in so many ways. Too often, we rob music of its immense power to communicate, getting caught in the whirlwind of ego and selfpromotion. If we let it, music can help heal us and others around us. It can communicate love and peace beyond language or borders and become the common bond between us. But, we have to let it.

I would encourage anyone interested in the State Department program to apply. Applications for the 2014–2015 season are due in January. For more information, visit the American Music Abroad site at http://amvoices.org/ama/.

It could open the door to a life experience you’ll never forget.

Colorado native Courtney Hartman is a guitarist, singer, and writer, currently touring with the bluegrass quintet Della Mae. Applications for the 2014-2015 seasons must be submitted online on January 6, 2014 by 5 p.m. PST. For more information on American Music Abroad including criteria for consideration, and to print an application, visit AMVoices.org.

Acoustic Stories

Pickin’ for the Prez and Other Unamplified Tales By Bill Amatneek

By Taylor Coughlin

I

f a seasoned musician had a dollar for every good story he had, for every big wig he played for or met, and for every rundown hotel room they’ve slept in, well, seasoned musicians would all have beachfront homes in Florida. But to remember those stories and tell them with a storyteller’s craft takes a special seasoned musician, like versatile bass and banjo player Bill Amatneek.

great photos, some taken by Amatneek himself.

Among the stars profiled are Bill Monroe; Peter, Paul & Mary; Frank Wakefield; Pete Seeger; Peter Rowan; Laurie Lewis; Bob Dylan; Tony Rice; Lou Gottlieb; Bill Keith; Stephane Grappelli; and more. From bluegrass to big band, and jazz to Middle Eastern belly dancing music, Amatneek takes us through it all. (we’ll list them in a second), and as a journalist for Rolling Stone, Bluegrass Unlimited, and Down Beat.

From backstage run-ins to 2a.m. airplane calls, Amatneek takes us through his life as a musician for many well known artists

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If readers had a dollar every time they felt a little envious of Amatneek’s life, they wouldn’t quite have a beachfront homes in Florida (the book is 328 pages, after all), but they’d sure be able to go on vacation somewhere.

With humility and humor, we learn what it was like to pick with Jerry Garcia, be at a party with Dionne Warwick, interview Aretha Acoustic Stories is available Franklin, and play for the at Vinyard Press for $27.

President of the United States. What’s special about this book is Amatneek’s style of writing: you feel as though you are around a campfire, instrument in hand between jams, and he is telling the story to you.

Pickin’ for the Prez and Other Unamplified Tales features 33 stories and 49

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Fresh SOunds | December 2013

{

Chasing Blue, Low Valley: From the Boston bluegrass scene comes Chasing Blue, ripe with original songwriting, intriguing arrangements, and progressive lyrical thought. On Low Valley, the next generation does well to blend their voices, tune their technical prowess and deliver with forward-thinking tone.

The quintet offers different parts of themselves that together makes them a solid band and one that should earn the attention of fans of acoustic string music, young and old. www.chasingblueband.com

James King Band, Three Chords and the Truth: Taking classic country songs and giving them his bluegrass makeover, revered vocalist and bandleader James King sings straight to the heart of the listener on Three Chords and the Truth. In his usual impressive style, King shares stories through song with unmatched emotion and power. Guest musicians on the album include Ron

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The Grascals, When I Get My Pay: Perennial hit makers The Grascals continue to score on When I Get My Pay, showcasing their versatility, expert songwriting, and infectious sound. With some countrified bluegrass, to regular heartbreaking ballads and rollicking banjo rolls, When I Get My Pay is a solid listen. The standout track has to be “American Pickers” featuring Dierks Bentley; the theme song is based on the popular reality show American Pickers, and the show’s host is featured in the music video. Also noteworthy is the powerful, harmony laden cover of “Bluegrass Melodies,” a tribute to band mentors, The Osborne Brothers. www.thegrascals.com

Stewart on the banjo, Jesse Brock (mandolin), Jason Moore (bass), Jimmy Mattingly (fiddle), and Josh Williams (guitar). Don Rigsby and Dudley Connell sing harmony vocals. www.jameskingband.com Jean-Luc Leroux, Ma Mando et Moi: This endearing Frenchman’s bluegrass and country album reflects a unique and inspiring interpretation of music, full of fine mandolin picking, and sweet harmonies. The foreign language barrier adds to the intrigue and novelty of the album, making it a joy to listen to.

Notable guests on the album include Mike Bub on bass, and Rob Ickes on Dobro, Guthrie Trapp on electric guitar, Matt Hooper on fiddle, and Butch Robins on banjo. Leroux is based in New Caledonia.

Jean-Luc‘s website Jonathan Warren & The Billy Goats, On This Very Evening: From the get-go, this album by trio Jonathan Warren (vocals, guitar, bass, banjo, harmonica), David Sather-Smith (vocals, cello, guitar), and Andrew Smith (drums, percussion), is a rollicking, genre-bending good time.

Warren’s creativity as a musician and songwriter is played out with honesty and humor as he mashes bluegrass, new-time, folk, Appalachia, and rock.

Pay attention to the rascal you hear in their voices. www.jonathanwarrenmusic.com

Newtown, Time Machine: On their first album with Pisgah Ridge, the bluegrass band from Lexington, Kentucky crafts their diverse musical influences into something powerful. Time Machine is chock full of clever and rich stories, passionately told by Kati Penn-Williams on fiddle and lead vocals, CJ Cain on guitar, mandolinist Clint Hurd, banjo picker Jr. Williams, and Terry Poirier on bass. www.katipenn.com Unspoken Tradition, Simple Little Town: You can tell a band is tight by the music they produce together, and judging by that, Unspoken Tradition has set a standard. With a sound that is steeped in tradition and cultivated by passion, new ideas and life experiences, Simple Little Town delivers something for everyone. It’s the relatable stories and lyrics that connect the listener to this solid band the most, the sheer talent in instrumentals is the icing on the cake. www.unspokentradition.com

Heard Round the World Heard ‘round the world

by Taylor Coughlin

■■ Friedrich Hog, president of the German Bluegrass Music Association, has made his weekly ‘Americana’ radio show on Radio Free FM Ulm playlists available through the link on the European Bluegrass Blog’s separate ‘Radio playlists’ post.

■■ IBMA Board Member Angelika Torrie of Switzerland will be teaching bluegrass jamming using the Wernick Method on a two day workshop on SatSun, Feb 8-9, 2014, 9:30AM - 4:30PM (with one hour lunch break), in Basel, Switzerland. It’s the first bluegrass jamming workshop using the Wernick Method in Switzerland. Angelika became a certified Wernick method teacher back in April 2013 and her first teaching at Adiaha’s Bluegrass Camp in Aschau, Germany, was very successful and well received. To find out more, please visit www.bgjam.com to find out more or go directly to Angelika’s registration page (information available in both German and English) to hold your spot.

■■ Congratulations to former IBMA board member Rienk Janssen of the Netherlands who was recently appointed the new Chairperson for the European Bluegrass Music Association! In November the EBMA had a board meeting in La Roche, France where they planned the 6th European Bluegrass Summit which will take place March 14-16 in Prague, Czech Republic.

■■ Tony Rice and The Manzanita Band performing at IBMA’s Award Show in Raleigh this past September is the cover for the November 2013 issue of Japan Bluegrass Journal MoonShiner.

■■ Twisted Timber from Czech Republic won the Talent of Country Radio Award recently, which is the only Czech radio that plays country, folk, and bluegrass music.

■■ The 2013 Banjo and Bluegrass Conference of Australia takes place Thursday December 12th through Sunday December 15th. The conference will feature headliners Jens Kruger and Alan Munde, Ian Simpson, Hamish Davidson, George Jackson and his band The Company. Others on the faculty include popular conference regulars Gary Vann (fiddle, mandolin, banjo), Wendy Holman (jam skills), Mark Nahuysen (guitar) and Peter Nahuysen (banjo).

The venue is Tranquil Park Resort, Sunshine Coast Hinterland, Australia. The cost is $780 for the 3 days. For more information go to: bellbirdbanjos.com

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Bluegrass Music Industry News | December 2013 On the Charts as reflected at press time Billboard: The Bluegrass Album by Alan Jackson remains at number one; Devil Makes Three’s I’m a Stranger Here at number two, and The Living Years by The Isaacs at number three.

Bluegrass Today Monthly Airplay: Lorraine Jordan & Carolina Road, “That’s Kentucky,” at number one; Del McCoury Band’s “Big Blue Raindrops” at number two, and Spinney Brothers’ “I Wish That I Could Have Met Carter” at number three Bluegrass Unlimited songs: “Dixie Road” by Doyle Lawson & Quicksilver at number one; “They Called It The three members of Nickel Creek reunited onstage Wednesday, November 13 as part of CBS Films’ celebration of the Coen brothers’ folk music tale “Inside Llewyn Davis.” Mandolinist Chris Thile, fiddler Sara Watkins and guitarist Sean Watkins are recording an album that Warner Music’s Nonesuch label is eyeing for a spring release. No other details have been announced.

For the Record

Now through January 5th catch BlueHighways TV on DISH Network, channel 102. Tune in every Sunday at 1:30pm EST, or set your Hopper DVR to record BlueHighways TV on Blockbuster Studio Ch. 102 on DISH Network, and it is hoped, after this successful run, DISH will carry BlueHighways TV full time.

North Carolina-based string band Carolina Chocolate Drops announced founding member Dom Flemons and cellist Leyla McCalla (who joined the band in 2011) will depart to begin their own solo careers. The Chocolate Drops have added cellist Malcolm Parson and multiinstrumentalist Rowan Corbett to the stage.

Kentucky Thunder tenor vocalist Paul Brewster performed a showcase to celebrate the release of his solo album 3 Minute Heartache in Nashville on November 11.

Guests included Vince Gill and Sonya Isaacs. The album features 10 original songs and can be found at www.paulbrewstermusic.com.

Dave Adkins & Republik Steele have announced their split to pursue personal projects. Since then, Dave Adkins has released a single on Mountain Fever Records titled “Pike County Jail.”

Within a week of each other, banjoist Steve Dilling and bassist Edgar Loudermilk announced they were leaving Russell Moore & IIIyrd Time Out.

Music” by Gibson Brothers at number two, and “The Mountain Doctor” by Don Rigsby at number three..

Bluegrass Unlimited albums: They Called It Music by Gibson Brothers at number one; Brothers of the Highway

by Dailey & Vincent at number two, and It’s Just a Road

by The Boxcars at number three.

Singing News songs: “When I Look Back Down on the Road” by New River Bluegrass at number one; “Revelation Song” by Chigger Hill Boys & Terri at number two, and “He Included Me” by Primitive Quartet at number three.

Guitarist and vocalist Rickey Wasson and banjoist Josh Hymer have announced they are leaving American Drive.

Jeff Carter, co-founder of cable ad company Viamedia, has purchased a minority shareholder stake in Lonesome Day Records. Carter will provide short term financing which will allow Lonesome Day to double or triple their annual releases, and offer marketing, distribution and publicity services to their artists.

The FiddleStar Adult Camp registration opens January 1, 2014. Instructors include Justin Branum, Megan Lynch Chowning, and Matt Combs. The camp runs Friday through Sunday, May 16-18 in Ridgetop, TN. Visit FiddleStarAdultCamp.com for more information.

The Nashville Mandolin Camp has added a second weekend by popular demand. On February 7-9, mandolinist will have the chance to learn from pros like Mike Compton, Roland White, Ashby Frank, and more. Visit Nashville Mandolin Camp online to register.

The Americana Music Association has announced it will move its conference headquarters to Nashville’s boutique hotel, the Hutton Hotel, for the 15th Annual Festival & Conference to be held September 17-21, 2014.

The Ralph Stanley Museum Craft Show will take place Dec. 7, 10 a.m. to 4 p.m. at the Community Center in Clintwood, VA. “Get Well!” cards may be sent to legendary bluegrass fiddler Tex Logan (and the songwriter of Bill Monroe’s classic “Christmas Time’s a-Comin’”) may be sent to: Tex Logan

Room 423, Morris Hills Center

Morristown, NJ 07960

Association Assertions Emma’s Gut Bucket Band is a bluegrass band in San Diego who performs once a week for nursing homes, veterans homes, residential care facilities, schools, and other organizations, as a community outreach program of the San Diego Bluegrass Society. Recently the band increased their generosity by performing for three facilities in one weekend. Keep it up!

It was announced that John Camm was named the new Treasurer for the Desert Bluegrass Association in Tucson, Arizona. Congratulations, John!

The Kansas Bluegrass Association will hold their 25th Annual Winter Bluegrass Festival at the Marriott Hotel in Wichita, Kansas on February 21 and 22. Chris Jones & The Night Drivers, The SteelDrivers, and Junior Sisk & Rambler’s Choice will headline, along with popular

regional acts Lonesome Road, Driven, and the KBA Treblemakers. Visit www.kansasbluegrass.org for more details.

Congratulations to the Southeastern Bluegrass Association who is celebrating 29 years! They held a celebratory show and gathering in November with Fish and Picks, The Night Travelers, and Foxfire Boys in Woodstock, Georgia.

The Intermountain Acoustic Music Association based in Salt Lake City, Utah, saw nine new members and 26 renewing members in the month of November.

Tom Kopp of Asheville, NC, is the new executive director of the Foundation for Bluegrass Music. Tom will begin officially on January 1, 2014. Visit www.bluegrassfoundation.org for more info.

Standing O! The 5th Annual Bluegrass for Hospice event held in Great Mills, MD in October raised over $29,000 for the Hospice House of St. Mary’s County. Headliners included Larry Sparks and Junior Sisk and Ramblers Choice.

At the end of October, Del McCoury had a five-mile stretch of North Carolina Highway 261 in Mitchell County named after him, the section of road from Bakersville city limits north to old Glen Ayre school, remembering a childhood connection that he has with the area. The honor came from the Blue Ridge National Heritage Area Partnership. A celebratory ceremony took place with North Carolina Governor Pat McCrory making the presentation, which was followed by a performance by the Del McCoury Band. That same weekend, Del celebrated his 10-year anniversary of being a member of the Grand Ole Opry. Del yeah!

Bristol Rhythm & Roots Reunion reported a 10% increase in attendance from 2012. More than 55,000 visitors, artists, vendors, and volunteers converged onto Historic Downtown Bristol, VA/TN for the annual, threeday festival this past September.

The Country Music Hall of Fame and Museum in Nashville, TN, will present an interview with music industry veteran Kay Clary at the seventh annual Louise Scruggs Memorial Forum on December 4 at 6:30 p.m. A reception will follow the program. The program is free and open to the public, but reservations are requested.

Reservations can be made by emailing rsvp@countrymusichalloffame.org or calling 615-416-2040.

In Remembrance Myron Dillman, 79, of Peru, Indiana, the father of Dwight Dillman, owner and operator of the Bean Blossom Bluegrass festivals, passed away on Sunday, November 3.

Zak McConnell, mandolinist and founder of The Fiddleheads from Georgia, passed away unexpectedly at the age of 26 from what is believed to have been a heart problem.

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IBMA Membership Lifetime Members New Members LIFETIME MEMBERS

Murphy Henry John Hopkins Eddie Adcock Carolyn Hotte Clint Alphin Sid Huston Jay Armsworthy Rienk Janssen Nick Barr Si Kahn Fred Bartenstein John Kaparakis Danny Bermel Louis Kaplan Larry Bomar Dan Keen Guido Bos Bill Keith Dolly Mae Bradshaw Bill Knowlton Alison Brown Kitsy Kuykendall Roland and Rita Clark Peter Kuykendall Albon Clevenger J. Thomas Laing Bill Clifton Barbara Laing Virginia Correll Doyle Lawson J.D. Crowe Lance LeRoy Darwin Davidson Travis Lewis Henri Deschamps Miggie Lewis Kevin Dew Talmedge Lewis Rodney Dillard Roy M. Lewis Dan M. Domont Polly Lewis Copsey Marc Driskill Janis Lewis Phillips Susan Huston Drudge David Mannheimer Mike Drudge Lindsay Mar Kimberley Dumouchel-Cody Todd Mayo James T. Engle Jr. George McCeney Silvio Ferretti Del McCoury Benji Flaming Judith McCulloh Dave Freeman Jesse McReynolds Erich-Dieter Friedli David Morris Hiroshi Fukuhara David Nelson Debbie Garrett Sonny Osborne Richard Gelardin Bobby Osborne Mark Geslison Lewis Phillips Melvin Goins James Reams Cathy Goode Gary Robertson Tom Gray Neil Rosenberg John Grimaldi John Rossbach Milton Harkey Chris Ruud Emmylou Harris Rod Schenk Dan Hays Thierry Schoysman Reggie Helm Curly Seckler Christopher Henry Marianne See Casey Henry George Shuffler 24

International Bluegrass

Richard Spratt Ralph Stanley Chris Stuart Alan Tompkins Trisha Tubbs Mack Turner Miles Ward Dean Webb Jon Weisberger Gail Wiegner Paul Williams Mac Wiseman Dwight Worden Adrienne Young Stan Zdonik NEW MEMBERS Betsy Arledge Dennis Asberry Mike Ashworth Rick Baker Curtis Barns Thomas Barnwell Aina Barnwell Frank Bartolone Gordon Bell Courtney Black George Booze Edward Breeden Sandra Breedlove Perry Brewer Jackie Bridgers Johnnie Brown Richard Brown Nicholas Buchanan J.R. Burrington David Chambers Mark Clifford John Coble James Coleman David Colvard John Constance Charlton Cox Mark Dillon

Renewed Members Larry Dodson Royce Dunnivan Simon Dunson Gerald Durkop Rick Early David Elliott Francois Favron John Ford Jan Franklin Michael Franks Icaro Gatti Massimo Gatti Geoffrey Gay Jean Gevers Marc Gilfillan Bill Gladstone Betsy Gladstone Lisa Glenn James Glenn Shelby Gold Tori Gold Jocelyn Gold Tyler Griffith Hayley Hall Joan Hallman John Harwell Joshua Heston Peter Hicks Derwin Hinson Carol Holden Suzy Holmes Martha Howard Anthony Howell Erin Humann Theo Hurter Tyler Jackson Bollie Jarratt Jr. Kandis Johnson Robert Jordan Janet Kenworthy Rebecca Kenyon Thomas Knoke Chloe Lang Jessica Lang Suman Lankford

IBMA Membership Lifetime Members New Members

Renewed Members

New Members Continued

Scott Lankford Jessica Lestitian Peter Lindholm Brian Lipman Erich Lipphardt Fred Lofton Barry Long Stanley Lowery Justin Mahanna Amanda Maples Marr Shelby Martin Andy Massengill Phyllis McCraw Thomas McGinty Eliza Meyer Matt Moore Jeanette Moore Jan Myren Peter Nahuysen Holly Norman Heather Norman Sawyer Olsen Susan Parker Todd Parks Barry Patterson Todd Pons Silas Powell Kent Powell Allen Proctor Jason Rayburn Andrew Reisser Richard Richardson Kevin Robb Tammy Robinette Joseph Root Redi Russell Tim Russell Linda Sandersen Eric Schlange Mary Ann Schofield Tom Sheesley Nathan Slingluff Paul Smith

Trevor Spear Mark Stoffel John Studders Beat Stuessi Beverly Sulfsted Kathleen Sullivan Jan Sullivan David Tate Brian Thomas Robert Walden John Wallace Annabelle Watts Louis Watts Alfred Weekley Tim Whaley Debbie Wheat Richard Wheat Grace White Kay Wilkes Timothy Williams Thomas Williamson Don Woodall RENEWED MEMBERS Martha Adcock Darrel Adkins Bob Altschuler Gil Benson Florence Bergmann JoAnn Biliter Lloyd Blake MD Katie Blankenship Linda Bourque Gena Britt ET Brown Rudy Burchett John Camm Thom Case John Connors Ron Cox Edward Dunsmore Dr. Ronald B. Epperly

Alan Epstein Cindy Eubanks David Fein Elizabeth Fortune Randall Franks Ray Freas, Jr. Judie Gehman Josh Goforth Steve Gulley Amy Beth Hale Charles Hearn Barry Jennings Kristine King Frank Caroline Kuhn Phil Leadbetter Eddie Litten Gary Loeser Tommy Long Craig Loscalzo Ned Luberecki Joseph Lurgio Claire Lynch Megan Lynch Chowning Katie Mae Mabry Charles Matthews Greg Maxwell Bernie & Debbie McGuire Campbell Mercer David Naiditch Nozomi Ohta Kevin Owens Shirley Owens Pete Peek Glenda Pender Tom Petersen Dan Proctor Samuel G. Rineer Robert Ristau Roberts Bill Barney Rogers Doris Sanders Mark Schatz

James Seitz Lorraine Short Kevin Shults Paul Sizelove Gene Skinner John Slobod Billy Boone Smith Cindy Spear Christopher Starkey Sonya Stead Geoff Stelling Larry Stephenson Ron Stewart Chris Stuart Robyn Taylor Robert Turnage Mary Turnage Bill Turner Gary Wallace Marty Warburton Steve Watts Missy Werner Hilary West John Westbrook Wayne Wilkerson Barry Willis Bill Wolfenbarger Chris Wuerth Gary Yarbrough Kim Yates Frank R. Zeld

To join IBMA visit www.ibma.org or call (615) 256-3222, or toll-free at 1-888-GETIBMA. There are many levels of membership, all with great benefits.

Support bluegrass music and become a member today!

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International Bluegrass Vol.28 No.12 D e c . 2013