International Bluegrass, October 2015

IB bluegrass international

Vol. 30 No. 10 October 2015

An Unforgettable WOB

Hats off to Raleigh IBMA Award Winners PLUS! Photos from the events

International Bluegrass Vol. 30 | No. 10 | October 2015

Editor: Taylor Coughlin taylor@ibma.org

Designer: Erin Faith Erdos erinfaitherdos@gmail.com

STAFF

Paul Schiminger Executive Director

board

Taylor Coughlin Communications and Professional Development Director

Eddie Huffman Convention Services and IT Systems Director

Jon Weisberger/Board Chairperson

Alan Bartram/Director, Artists/Composers/Publishers John Goad /Director, Print Media/Education Becky Buller/Director, At Large William Lewis/Director, At Large D.A. Callaway/Director, At Large Steve Martin / Director, At Large Danny Clark/Director, At Large Stephen Mougin/Director, At Large Jamie Deering/Director, Merchandisers/Luthiers Joe Mullins / Treasurer Regina Derzon/Director, Associations, Secretary Joe Mullins, Director, Artists/Composers/Publishers Mike Drudge / Director, Agents, Managers & Publicists Leah Ross/Director, Event Producers

Ben Surratt/Director, Recording/Dist./Marketing Tim Surrett / Vice Chair Angelika Torrie/Director, International Bob Webster / Director, Broadcasters Junior Williams / Director, Artists & Composers

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International Bluegrass

The monthly emailed publication of the International Bluegrass Music Association

(ISSN #1095-0605) IBMA: IBMA is the trade association

608 W. Iris Drive, Nashville, TN 37204 USA 615-256-3222 | 888-GET-IBMA Fax: 615-256-0450 Email: info@ibma.org Website: www.ibma.org

that connects and educates bluegrass professionals, empowers the bluegrass community, and encourages worldwide appreciation of bluegrass music of yesterday, today and tomorrow.

Statement of fact and opinion are made on the responsibility of the writers alone and do not imply an opinion on the part of the officers, directors, staff or members of IBMA. Portions of International Bluegrass may be reprinted provided that explicit citation of the source is made: “Reprinted with permission from International Bluegrass, the publication of the International Bluegrass Music Association, www.ibma.org.�

Tab l e o f C O NT E NT s International bluegrass

4 Thank you to everyone involved!

We appreciate everyone’s patience as we transitioned overnight to transform the Raleigh Convention Center

6 Editorial: Roll on, Buddy, Roll on Editorial and goodbye from departing IBMA staff member Taylor Coughlin

7 For a little perspective A reminder of everything that everyone has accomplished in the last week.

8 Chiesi USA - Sponsored content U.S. affiliate of this 80-year old company is focusing its research and development on therapies to treat “orphan” diseases, as well as conditions that affect the most vulnerable of patients.

10 Unbroken Circle: Nitty Gritty Dirt Band Celebrates 50 Years | by Nancy Cardwell A look at an iconic band that has inspired generations of musicians for 50 years.

16 The 26th Annual International Bluegrass Music Awards The Earls of Leicester Sweep with four wins: Entertainer of the Year, Album of the Year, Instrumental Group of the Year, Gospel Recorded Performance Of the Year

20 World of Bluegrass Photo Gallery Photos graciously provided by James McKelvey, Willa Stein, Todd Gunsher and David Brainard.

26 Industry News

Wait..

what just happened?

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International Bluegrass | September 2015

The 2015 World of Bluegrass was unlike any other. Previous years, we lucked out with the weather but this year was a different story. Instead, we lucked out with a great alternative in moving the entire Wide Open Bluegrass Festival indoors no small feat. We appreciate everyone’s patience as we transitioned overnight to transform the Raleigh Convention Center into the mecca of bluegrass music (if only for a couple days.)

It takes a village to pull an event like this off, especially when the game plan changes late in the 4th quarter. The event simply would not have happened if it were for a great number of very important people.

A special thank you goes out to (in no special order): William Lewis of PineCone, Laurie Okun, Loren Gold and the entire Local Organizing Committee, Julie Brakenbury, Gray Henderson, Taylor Travesari, Ted Loomis, Julie Aijala and Planet Bluegrass, Doug Grissom, Lindsay Clapp, Jamie Katz Court, Tammy Jeffries, Courtney Wheeler, Ronna Rubin, Claire Ratliff, Susan Woelkers, Erin Erdos, Cindy Politte, Eric Kean, Ed Kean, Jeff Woronka and ETIX, Jeremy Darrow, Kimber Ludiker, Caroline Issachsen, Judy McDonough, Joe Spann, Joe Bittel, Nick Forster, The Gibson Brothers, Martha Dantzic, Amy Reitnouer and Megan Bedford, Raleigh Volunteers, Artists, Sponsors, Vendors, Business Conference Attendees, and FANS. YOU make the bluegrass community.

YOU make it special. We are honored to be part of it.

Thank you again, and we will see you next year in Raleigh!

With gratitude and banjos still ringin’ in our ears, IBMA Staff (Paul, Taylor, and Eddie)

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Roll on, buddy, roll on

by Taylor Coughlin

I’m pretty darn lucky. When most people leave their jobs to go on to the next one, they may get a few colleagues to give them a pat on the back and maybe treated to lunch at Olive Garden (unlimited soup and salad = definite appreciation). Me? I just got to celebrate with World of Bluegrass – more notably, the Bluegrass Hurricane Party of 2015.

When I started my job at IBMA as a Special Projects and Publications Editor in March 2013, I immediately became immersed in a community that I never really knew existed. It felt enriching and exciting and it has been one of the biggest reasons I have enjoyed my time at IBMA. I’ve definitely come to learn that World of Bluegrass is a big family reunion; I see so many great people I don’t get to see very often who encourage me, sup-

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port me and my colleagues, and wish nothing but the best for me on a personal level. That has really humbled me, and I am truly grateful. I know that is hard to find.

As I leave my post, I’d like to take some time to say thank-you to some of the folks who made a special impact during my time at IBMA: Nancy Cardwell, Paul Schiminger, Eddie Huffman, Judy McDonough, Dan Keen, Jon Weisberger, Stephen Mougin, Tim Surrett, Regina Derzon, Angelika Torrie, Susan Woelkers, Sheila Selby, Amy Reitnouer, Emilee Warner, Becky Buller, Ben Surratt, the entire Leadership Bluegrass Planning and Alumni committees, Mary Burdette, Trisha Tubbs, Erin Erdos Humann, the Education Committees, Jeremy Darrow, Molly Driessen, Claire Ratliff, Casey Campbell, Susannah Armstrong, Molly Slemp, Ed Baker, William Lewis and the PineCone office, Laurie Okun, Loren Gold, Julie Brakenbury, Fred Bartenstein, Tom Kopp, Alan Tompkins, Danny Clark, Daniel Mullins, Joe Mullins, Shannon Turner, Ronna Rubin, Jill Crabtree, and Katherine Forbes.

International Bluegrass | September 2015

This community of people is a small but mighty representation of the many who look out for each other, support each other’s projects and go to their shows; they fight for one another, they promote one another, and they are truly bonded in the ways of bluegrass and roots music.

They’re special, and if you’re reading this, it means you’re part of it. You have a role to play in this community – no matter what it is that you do in your day-today, jam-to-jam life. It is important for you to keep making connections within our community, and welcome new ones like I was once. The good can keep growing – but you must nurture it.

So, if you’re back at home and singin’ the post-WOB blues, chin up! Your community is still there.

Get active in it and before you know it, another World of Bluegrass will be on your doorstep.

Thank you for reading International Bluegrass and supporting IBMA in any way that you ever have. Keep doing it. And thank you to everyone who was part of my experience at IBMA. See you at a show, Taylor Coughlin IBMA Professional Development and Communications Director

For a little perspective: Plans started percolating about moving the Wide Open Bluegrass Festival indoors to the Raleigh Convention Center on Wednesday morning, September 30. To move what has been touted as an 180,000 cumulative attendee event inside one building seemed daunting – but cancelling the event a couple days out because of a nasty weather forecast would not be considered. After a meeting with IBMA and Raleigh partners Wednesday afternoon, it was non-stop planning and no sleep for a lot of folks until the final chairs were placed in Exhibit Halls A & B about eight minutes before the first set on the Wide Open Bluegrass Main Stage Friday morning at 11am. So, what took nearly 6 months of planning flipped on its head and changed completely in less than 48 hours.

It took determination, sleepless nights, on-the-go decision making, and a great meeting of minds and teams to pull off what many have exclaimed was the best World of Bluegrass ever!

We want to express our heartfelt gratitude to our partners at the Raleigh Convention Center, Red Hat Amphitheater, the Greater Raleigh Visitors and Conventions Bureau, and PineCone. Without their commitment to delivering a great event, we simply would not have had one.

And, we would like to thank the fans and the locals who came to the event without skipping a beat and showed us your appreciation and enthusiasm. Your patience and understanding were not unnoticed and we hope you had a marvelous experience.

We hope you join us for another outstanding World of Bluegrass week, September 27 through October 1 (Wide Open Bluegrass Festival being September 30-October 1) in the unmatchable Raleigh, North Carolina.

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Sponsored content

Chiesi USA | Taking on Rare and Chronic Diseases Presenting sponsor focuses on innovation in healthcare Cary, NC – Chiesi isn’t afraid of a tough challenge. That’s why the U.S. affiliate of this 80-year old company is focusing its research and development on therapies to treat “orphan” diseases, as well as conditions that affect the most vulnerable of patients.

Orphan diseases are rare diseases and disorders that affect fewer than 200,000 people in the United States at a given time. The National Institutes of Health estimates that 30 million Americans suffer from one of the more than 7,000 rare diseases that have been identified.

“We’re in business to develop and acquire therapies that address unmet needs,” says Josh Franklin, Vice President of Strategy and Business Development, when asked to explain the company’s focus. “Patients depend on this type of research to help improve their treatments, and we’re determined to be the kind of company that makes these patients our priority.”

Tackling Cystic Fibrosis One of the key focus areas for Chiesi (pronounced “kee-AY-zee”) is Cystic Fibrosis (CF), a life-threatening genetic disorder that damages the lungs and limits the body’s ability to break down food and absorb nutrients. The Cystic Fibrosis Foundation (CFF) estimates that about 30,000 Americans are living with CF, and approximately 1,000 new cases are diagnosed each year.

In the 1950’s, children with Cystic Fibrosis died before reaching school age, but treatment advances have resulted in significant improvement.

The average life expectancy for a CF patient has increased from less than 20 years in 1980 to 41 years in 2015, according to the CFF. “Scientists at Chiesi see this progress as a challenge to do even better,” says Alan Roberts, Vice President, Scientific Affairs. “We’re passionate about enhancing the care of patients with CF,” he says. “That’s why we’re

by Bruce Morrow

committed to building and growing our portfolio of therapeutic products, educational resources and support tools for CF patients and their healthcare providers.”

Helping Premature Babies Another area of focus for the company is a disorder among healthcare’s youngest and most vulnerable patients. Respiratory Distress Syndrome is a breathing disorder that is common in premature infants, whose bodies don’t produce enough of the liquid that helps keep their lungs from collapsing. Without enough of this liquid, called surfactant, the infants struggle to breathe, which can lead to organ damage and death. According to the March of Dimes, about 16,000 babies develop this breathing problem each year.

Chiesi’s longstanding focus on neonatal care is a source of pride for the company.

“The future of our world pivots on what we do for our children,” says Ken McBean, President and Chief Executive Officer. “Part of our global mission as a company is to enhance care for the youngest of patients, especially those whose lives may depend on it.”

Family Values Chiesi USA is part of a long history that began in 1935 in Parma, Italy.

Giacomo Chiesi, a chemist, bought

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International Bluegrass | September 2015

Sponsored content

the Laboratorio Farmaceutico Parmense, determined to do research and develop drugs that were badly needed throughout Europe.

Just as the company began to expand and sell its product outside of Italy, World War II intervened, and the factory was destroyed by a bombing raid. After the war ended, Chiesi rebuilt and launched its first penicillinbased ointment, and by the mid-fifties a new factory had been constructed, where 50 employees manufactured a wide range of successful drugs.

In 1966, Mr. Chiesi handed over management of the company to his two sons, and they began what became a long period of expansion into international markets, including the United States, and

into new therapeutic areas including rare diseases and neonatology. The Chiesi USA portfolio of products also includes products for the hospital and adjacent specialties.

McBean thinks Chiesi’s commitment to rare diseases and vulnerable patients is a direct reflection of Chiesi’s roots.

“We’re a family company, with a deeply rooted set of family values,” McBean says. “We take our role as people helping people very seriously, and that informs what we do to serve our patients and providers, how we treat one another inside the company, and how we support our community.”

For more information about Cystic Fibrosis, visit the Cystic Fibrosis Foundation at www.cff.org.

For more information about Respiratory Distress Syndrome, visit the March of Dimes at www.marchofdimes.org.

For more information about Chiesi USA, visit www. chiesiusa.com.

International Buegrass

| September 2015

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Unbroken Circle: Nitty Gritty Dirt Band Celebrates 50 Years By Nancy Cardwell

An absolutely packed, sold-out crowd filled the Ryman Auditorium September 14 to celebrate the 50th anniversary of the founding of the Nitty Gritty Dirt Band, the group that ushered in an entire generation of new bluegrass fans with the 1972 release of their critically acclaimed Will the Circle Be Unbroken album.

Joining The Dirt Band onstage was Sam Bush on mandolin, Jerry Douglas on resonator guitar and lap steel, and Byron House on bass, plus guest appearances by Vince Gill, John Prine, Rodney Crowell, Jerry Jeff Walker, original Dirt Band member Jackson Browne, Alison Krauss, and former band member Jimmy Ibbotson. The

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show was taped for PBS, to air during the national pledge drive, March 5-20, 2016.

The wooden pews at the Ryman Auditorium are notoriously difficult to sit on for any length of time. But with so many standing ovations the enthusiastic audience hardly noticed, as they leapt to their feet over and over to applaud and sing along.

It’s difficult to wrap one’s mind around the fact that this band is 50 years old.

The members, Jeff Hanna, Jimmie Fadden, John McEuen and Bob Carpenter, are still at the top of their collective game. There’s still a tangible, recognizable NGDB energy onstage and a con-

International Bluegrass | September 2015

nection with the audience that simply hasn’t waned over the years. The only difference is that three to five generations of fans now show up to “ride and rope and hoot.” (See lyrics to “Cosmic Cowboy.”)

There’s a family aspect to the audience that feels comfortable to the band of musical brothers. “When we started in 1966 there were some folks that were a couple of decades older than us,” Jeff Hanna said. “Now their kids come to see us, and their kids’ kids. Our band roots are in folk music and roots-based traditional music, and you see the multigenerational thing at bluegrass and roots/Americana music festivals, too.”

Headline Here Around 20 years ago, Hanna said the four band members “looked around and realized that we were so lucky to be healthy enough to still be doing this, and to have a fan base that still showed up. There’s a lot that Father Time can erode…. We still have a lot of our chops, and we’re very lucky for that.

But then I look at people like BB King and Tony Bennett and Willie Nelson and Ralph Stanley and I think, ‘There’s no reason to retire from this.’ It’s such a great vocation, and we’re lucky to have it.”

“It’s like The Station Inn,” John McEuen smiles. “You go into the Station Inn and it feels like 1974. It doesn’t seem like it’s been there 40 years. It does not seem like we’ve been around 50 years. I intended to be in this business a long time when I started, so that aspect is no surprise. But the fact that

I’m here at this end of the Dirt Band is a surprise—one that I’m grateful for and happy about. It still seems to be improving. During the past several years there’s been an upswing of interest in what this group of people does.

I do believe that the bluegrass music style has had an effect on creating some of the success the Dirt Band enjoys,” he credits. “I think it also helps that we don’t play just one style of music.

If you went to a Dirt Band show and listened to the music in three different places, you might think it was three different groups. I think the variety has helped us survive.”

Humbly, McEuen said he and the guys are grateful for “various things that nobody understands. We are told every show at the signing table, ‘Oh, my kids heard me playing your music and now they make us take it in the car.’ Or,

‘My little girl knows all the words to “Dance Little Jean.”’ That record is 28 years old, but we’ve got two and eight and fifteen-year-olds singing it now!

I can see them from the stage sometimes,” he adds, incredulously. “Then when we do ‘The Wait’ for an encore, young people in their 20s sing along with all the words.”

There are only a handful of mainstream bands popular in the 1960s and ‘70s that are still touring. “We seem to represent an era, and there are a lot of people now saying, ‘Wow, I haven’t seen you guys in 30 years.’ I haven’t been out much either,” McEuen jokes.

“And also, the re-mastering of the first Circle album on vinyl three years ago is a better recording, with a poster and extra photos.” With a renewed interest in vinyl, a new generation of fans and musicians are discovering The Dirt

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Band, Roy Acuff, Maybelle Carter, Doc Watson, Earl Scruggs, Jimmy Martin and Merle Travis on Will the Circle Be Unbroken I. On the topic of keeping a band together, Jeff Hanna said, “A lot of things that bust bands up happened earlier in our career. A couple of guys left the band, and then came bank and then left again.

We realized that’s a natural rhythm, and it doesn’t have to break a band up.

We just circle the wagons and move forward. Also, I think we’ve all got a pretty good collective sense of humor and a huge amount of gratitude and humility about how fortunate we are to have this gift of playing music with each other. We make a noise together that we don’t make individually.”

In addition to gratitude for driving droves of new fans to bluegrass with the Circle album, many in the blue-

grass community have always liked the Dirt band because of their solid vocal harmonies and the fact that acoustic instruments were left high in the audio mix onstage and on mainstream pop and country radio. “The Dirt Band put mandolin, fiddle, harmonica and Dobro in people’s faces, and the faces smiled,” McEuen said. “I give a lot of credit to Jeff Hanna,” he adds. “He picked songs that allowed that kind of instrumentation to complement the lyrics. It made sense for acoustic instruments to be a part of the songs he was singing.”

“When the band started, one of the things we all shared was a love of traditional acoustic American music,” Hanna explained. “Our heroes were Doc Watson, Reverend Gary Davis and Mississippi John Hurt. Les Thompson, one of our original members, and John McEuen had a bluegrass band back-

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ground with the Wilmore City Moonshiners, and I had the Illegitimate Jug Band in high school. When we started out we were more like the New Lost City Ramblers than Flatt & Scruggs, but when Les and John joined up, there was a bluegrass element that came into the band. We could play an old ‘30s number and then go right into ‘Foggy Mountain Breakdown.’ Our musical heroes were the Beach Boys because of where we lived [in California], but we also got to hear The Dillards and the Kentucky Colonels with Roland, Clarence and Eric White. I remember seeing the Whites on a local television show called Cal’s Corral when I was just 14 years old. We admired the bluegrass musicians. We all got ‘the (bluegrass) bug’ and would go to the Ash Grove and The Mecca in Orange County to hear the Dillards play.”

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Jeff read all the liner notes on his Doc Watson albums and discovered other groups on the Vanguard label like The Greenbriar Boys. John’s brother, Bill McEuen was a huge Jimmy Martin fan.

McEuen developed a relationship with Doug Dillard, who encouraged him and turned him on to players like J.D. Crowe.

“When we did the first Circle album, Jimmy Martin took us to his house before we recorded and rehearsed us to death,” Hanna recalled, smiling. “He told us, ‘You are all going to become Sunny Mountain Boys!’ Our initial exposure to harmony singing was the Everly Brothers, and then later we got into the Louvins, the Stanleys and the Osbornes. There’s such a plethora of great harmony singers in bluegrass, and

it just keeps growing. That’s one of the things I love about bluegrass music. It continues to grow like a chia pet.”

In the early 1970s Hanna said the members of the Dirt Band were fortunate to meet “two bands that were really pivotal in the growth of bluegrass music: The New Grass Revival and the Earl Scruggs Revue. We played a lot with both of those bands. Earl Scruggs was one of the most open-minded guys out there musically, and so was Vassar Clements. Every time I looked at Sam onstage at the 50th anniversary show at the Ryman, I felt like I had a shot of Red Bull. Seriously, it made me so happy seeing him over there with Jerry Douglas, doing what they do, just being in the same orbit with them.”

The recording of the first Circle album was the culmination of “a collective dream to make a record with our musical heroes,” Hanna said. “It became a reality when John (McEuen) asked Earl on behalf of the band if he’d like to record with us. Earl said, ‘I’d be proud to.’ That opened the door to ask Doc Watson.’”

Bluegrassers had already taken notice of the Dirt Band before the Circle album because of the Uncle Charlie and His Dog, Teddy record. “The way we used the five-string and mandolin along with electric guitar, drums and bass really appealed to Earl (Scruggs) and Doc (Watson’s) kids. So they were in,” Hanna said. “Merle (Watson), in his understated way, said, ‘Daddy, I think you should do this.’ From there on, we

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Headline Here kind of formulated a wish list. And once we got to Nashville, Earl and Louise Scruggs were really instrumental. Earl brought Vassar Clements, Norman Blake and Roy Huskey in. Then we had Jimmy Martin. The word, ‘organic’ gets overused, but the stars really lined up.

We cut the album in six days. I was 24 years old—which seems really young to me, now. That was about the average age in our band then.”

Looking back at high points during the past five decades, Hanna mentions “the Circle projects—all three of them. The second one came as a result of June Carter expressing to us, on tour in Europe, ‘If you ever do a second one, John and I would love to be a part of it.’ So there was Johnny Cash, and we had the New Grass Revival and singer-songwriters like Bruce Hornsby and John Hiatt. Then 10 or 12 years ago we did the Circle 3 album, and we got to play with the Del McCoury Band, which is always a pleasure. We call them ‘the little Buddas’ because they are always smiling.”

The Nitty Gritty Dirt Band was the first American rock band to tour Russia back in 1977. Winning Grammys has been a high point. “It 2003 we won a Grammy and an IBMA Award, which we’re really proud of,” Hanna said. “And for John McEuen and I, getting to have our sons sing on the Circle album, volume 3 on a song that Gary Scruggs wrote called ‘Lowlands’ was really cool.

McEuen and his banjo, specifically, were there for the opening of an Emmynominated film score for National Geographic, and John played banjo on Michael Martin Murphey’s hit, “Carolina in the Pines,” a top 20 pop hit. He recalls touring Japan in the 1970s, and he’ll never forget the trip to Russia.

“The bluegrass band, Kukuruza told me the reason they had a band was because of our tour in Russia,” McEuen said.

“We played 28 sold-out shows with 4,000 in each audience. We were on a television show that played to 140 million people, and it affected them.

We noticed at the concerts that some people would get up and run out, and then run back in every 20 minutes. We finally figured out that they were sharing tickets with two or three friends.

The concerts were completely sold out, so people would run out and loan their tickets to someone else, and then they’d come back. And it wasn’t so much The Dirt Band that made the impression,”

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McEuen said. “It was the fact that we were playing American music.”

The Circle album opened doors and changed lives in the studio, as well as in the fan base, McEuen believes. Work picked up for Jimmy Martin and Doc Watson. Doc’s most requested song became “Tennessee Stud.” It helped establish Vassar Clements as a solo artist, and John was thrilled to hand Maybelle Carter her first gold album. “The Circle album did things for me,” John says.

“Marty Stuart took me out one morn-

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ing to play with Lester Flatt at the WSM station. I never in a million years thought I would meet Ralph Stanley, or play with Don Reno twice. Or hear Earl Scruggs saying to me, ‘I want to meet the boy who played “Randy Lynn Rag” the way I intended to,’” he smiles.

If he had one message for the bluegrass family, Hanna said it would be, “Just tell them that we love them and we’re grateful. Although we don’t consider ourselves a bluegrass band, we’re so grateful for the welcome we’ve always gotten from the bluegrass community.

It’s music that we’ll always love, and I’m so glad to see it alive and well and growing at an enormous rate. It’s a little daunting to go to a festival and see a 14-year-old kid who can already play circles around us. The evolution of chops is astounding to me. It puts a grin on my face. It makes me shake my head and go, ‘Wow. How did that happen?’”

Hanna said it was “an honor and a privilege” to share the stage at the PBS filming with people like Vince Gill, Alison Krauss, Sam Bush and Jerry Douglas—who he considers “younger musical siblings. Jeff says he is blown away when he gets to hear artists like Sierra Hull, Chris Thile, and Sara and Sean Watkins, and see the musicians that they have become.

“One of the things I love about bluegrass music is that once musicians under that umbrella develop astounding chops, there’s something almost intuitive that compels them to develop taste and restraint,” Hanna adds. “They know when to jump in and blaze, and when to play the exact, right lick. That’s definitely an element that I see in the current crop.”

Jerry Jeff Walker wrote “Mr. Bojangles” for the Dirt Band, their first huge hit.

The band recorded “American Dream” before they met the composer, Rodney Crowell. “Then later on he gave us ‘Long, Hard Road,’ which was our first country hit, and the first time Jerry Douglas played on a recording with us,” Hanna said. “There was a lot of six degrees of separation going on, on the Ryman stage. John Prine, as well, has done a lot of live stuff with us. The last time we recorded with him was on the Circle 2 album, on his song, ‘Grandpa Was a Carpenter.’”

“It’s a little blurry now, but it’s been a great ride,” Hanna says, reflecting on the first 50 years of the Nitty Gritty Dirt Band. The smiling fans at the Ryman auditorium last month and numerous friends and fans in the bluegrass family would have to agree. Will the circle be unbroken, indeed.

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The 26th Annual International Bluegrass Music Awards The Earls of Leicester Sweep with four wins: Entertainer of the Year, Album of the Year, Instrumental Group of the Year, Gospel Recorded Performance Of the Year

Bluegrass music’s finest were honored October 1 at the 26th Annual International Bluegrass Music Awards, handed out in front of full house at the Duke Energy Center in Raleigh, N.C. The Earls of Leicester swept with four wins: Entertainer of the Year, Album of the Year, Instrumental Group of the Year, and Gospel Recorded Performance of the Year. Add to that Earls of Leicester member Jerry Douglas’ win for Dobro Player of the Year and Earls member Shawn Camp’s Male Vocalist of the Year win; a good night indeed for the five-piece band.

Additionally, North Carolina’s own Balsam Range took home Vocal Group of the Year, Song of the Year for “Moon Over Memphis” and the group’s Tim Surrett earned Bass Player of the Year. Bill Keith and Larry

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Sparks were inducted into the International Bluegrass Music Hall of Fame.

Hosted by The Gibson Brothers, the show featured performances by The Earls of Leicester, Flatt Lonesome, Hot Rize, The Del McCoury Band, The Gibson Brothers, and a surprise performance by Alison Krauss and Larry Sparks.

The evening was streamed live on www.musiccityroots.com.

“Congratulations to each of the IBMA Awards winners, it is quite an honor and achievement to have your professional peers recognize you in this way,” said IBMA Executive Director Paul Schiminger. “To all winners and nominees, you have achieved a standard of excellence we all admire and celebrate.”

International Bluegrass | September 2015

Performances by Alison Krauss, The Earls of Leicester, The Del McCoury Band, and Others

Winners of the 26th Annual International Bluegrass Music Awards are: Entertainer of the Year: The Earls of Leicester Female Vocalist of the Year: Rhonda Vincent Male Vocalist of the Year: Shawn Camp Vocal Group of the Year: Balsam Range Instrumental Group of the Year: The Earls of Leicester Song of the Year: “Moon Over Memphis,” Balsam Range

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Album of the Year: The Earls of Leicester, The Earls of Leicester, Jerry Douglas, producer Gospel Recorded Performance of the Year: “Who Will Sing for Me,” The Earls of Leicester Instrumental Recorded Performance of the Year: “The Three Bells,” Jerry Douglas, Mike Auldridge, Rob Ickes Emerging Artist of the Year: Becky Buller Recorded Event of the Year: “Southern Flavor,” Becky Buller, with Peter Rowan, Michael Feagan, Buddy Spicher, Ernie Sykes, Roland White, and Blake Williams Banjo Player of the Year: Rob McCoury Bass Player of the Year: Tim Surrett Dobro Player of the Year: Jerry Douglas Fiddle Player of the Year: Michael Cleveland

The Special Awards were presented at a luncheon earlier on Thursday, October 1.

Bluegrass Broadcaster of the Year – Chris Jones Bluegrass Event of the Year – (tie) A Lester Flatt Celebration 2014, Sparta, TN; 42nd RockyGrass Festival, Lyons, CO Best Graphic Design For A Recorded Project – (tie) Mychael Gerstenberger, Complete Recordings 1936-1955, The Chuck Wagon Gang; Deano Minton, Trouble Follows Me, Junior Sisk & Rambler’s Choice Best Liner Notes For A Recorded Project – Eddie Stubbs, Bill Malone, Marty Stuart, Jeremy Stephens, Shaye Smith, and Harold Timmons, Complete Recordings 1936-1955, The Chuck Wagon Gang

Bluegrass Print/Media Person of the Year – Gary Reid, author, “The Music of the Stanley Brothers and The Bluegrass Hall of Fame Inductee Biographies,” 1991-2014 Bluegrass Songwriter of the Year – Becky Buller Distinguished Achievement Award honorees were: Alison Brown, Murphy Henry, International Bluegrass Music Museum, “Bashful Brother” Oswald Kirby, Steve Martin. Martin flew in just to receive the award, and gave a heartfelt acceptance speech. After the Special Awards, he met with members of the press for a Q&A.

Momentum Award winners Winners for the Momentum Awards were presented during a Wednesday Luncheon with Gold Heart, The Church Sisters, and Lonesome River Band showcasing.

Guitar Player of the Year: Bryan Sutton

Performance Award, Instrumentalist Annie Stanninec, Nate Lee, Patrick McAvinue (all fiddlers)

Mandolin Player of the Year: Jesse Brock

Performance Award, Vocalist Summer McMahan

Inductees into the Bluegrass HOF: Bill Keith and Larry Sparks

Performance Award, Band Lonely Heartstring Band

Industry Involvement Alan Tompkins Festival/Event/Venue ISIS Restaurant and Music Hall

International Buegrass

Mentor Andrea Roberts

| September 2015

17

World of B photo g

Bluegrass gallery

Exhibit Hall | venders

Business conference | Worhshop stage

Hotel Jams

Keynote: Nick Forster

Momentum Awards

Ramble

IBMA Awards

Red carpet

orthophonic joy | showcases

YOUTH COUNCIL

Kids on Bluegrass | Wide Open Festival

Industry news

On the charts - as reflected at press time Billboard: Radio by Steep Canyon Rangers at number one; Hogan’s House of Music by Ron Block at number two; The Phosphorescent Blues by Punch Brothers at number three.

Bluegrass Unlimited Songs: “Bye Bye Love” by Gibson Brothers written by Felice and Boudleaux Bryant at number one; “The Old School Road” by Grass Cats written by Russell Johnson at number two; “Tennessee Flat Top Box” by Darin and Brooke Aldridge written by Johnny Cash at number three.

Bluegrass Unlimited Albums: Brotherhood by Gibson Brothers, Rounder Records at number one; The Old School Road by Grass Cats, New Times at number two; Snapshots by Darin and Brooke Aldridge, Mountain Home at number three.

Bluegrass Today Songs: “Laurie”

by Chris Jones and the Night Drivers written by Chris Jones and Jon Weisberger at number one; “How Blue” by Trinity River Band written by John Mofat at number two; “Drinkin’ Alone” by SteelDrivers written by Chris Stapleton at number three.

Roots Music Report: Songs of Heart and Home, by Greg Blake at number one; Run Away Tonight by Chris Jones and the Night Drivers at number two; Traveling Show by Songs From the Road Band at number three.

Singing News: “Somebody Prayed” by Heaven’s Mountain Band at number one; “Just Three Little Words” by Primitive Quartet at number two; “I’m Ready Now” by Flatt Lonesome at number three.

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industry news

For the record - need to know The Hazel Dickens Song Contest, sponsored by the DC Bluegrass Union, is now accepting entries for their 2nd annual competition. Named to honor the bluegrass songwriter, the contest is a fundraiser for DCBU, who promote bluegrass and traditional music in the greater capitol area (Washington, Northern Virginia, and southern Maryland). Cash prizes are awarded for the top three finishers, which will be announced on March 10, 2016.

Contest entries can be submitted by mail or online, with a $30 entry fee per song. All submissions should fit the category of bluegrass or bluegrass Gospel music. Instrumental entries will not be accepted. The deadline for submissions is January 15, 2016. Full contest rules and entry details can be found on the DCBU web site.

Former IBMA Executive Director Nancy Cardwell has joined the Girl Scouts as a staff member. Cardwell will be the new Membership Specialist for the Hispanic Community,

The IBMA Board of Directors had their annual fall meeting during World of Bluegrass last week. Tim Surrett, bassist of Balsam Range and producer for Mountain Home, was elected Chair. Ben Surratt, Rec Room Studios in Nashville, was elected Vice Chair.

working to increase programming and resources for Spanish-speaking girls in 39 counties surrounding her Nashville office. Cardwell has been a Spanish teacher, and has been heavily involved with the Girl Scouts for many years. It seems to be a perfect fit! We wish Nancy all the best.

Sierra Hull announced her newest album in five years will be coming out in January, called Weighted Mind. It is produced by Bela Fleck.

Special Consensus is losing Dustin Benson on vocals and guitar. He has been a member of the band for over four years.

Ralph Stanley, 88, has suffered a cracked pelvis after a fall last week.

He currently remains in the hospital, but is in good spirits, according to his grandson Nathan Stanley. It is uncertain whether he will be able to resume his touring schedule. We wish the Doctor a speedy recovery!

Hasee Ciaccio, bass player and original member of The Barefoot Movement, is leaving the band. She will continue with the band for the next few tour dates until they find someone to fill in. She plans on finding work in Nashville.

Irene Kelley has signed with Mountain Fever Records. The Nashvillebased songwriter and singer will be working on a new album this winter with producer Mark Fain.

Christian Davis, bass singer for Dailey and Vincent, will be leaving the band to pursue a solo career. He will be focusing on gospel and already has dates booked.

Mountain Heart has signed with Compass Records. A new album will be coming soon.

The following new members joined: Denise Jarvinen – appointed by the board to an At Large seat Marion Leighton Levy – elected by members to Recording, Distribution and Marketing seat Bree Tucker-Myers – elected by members to Event Producers seat Wayne Taylor – elected by members to Artist, Composers, and Music seat

Alan Tompkins – elected by members to an At Large seat Existing Board member Jamie Deering was appointed to the Executive Committee, and Secretary Regina Derzon and Treasurer Joe Mullins were retained in their positions.

Departing were Board members Jon Weisberger, Danny Clark, Junior Williams, Leah Ross, and D.A. Calloway.

International Buegrass

| September 2015

39

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