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April 2016
“Let life be like music.” ~ Langston Hughes ~
It’s been a weird winter here on the east coast ... sometimes you’d think it was never coming, then we got two feet of snow ... so now we’re really ready for the spring and summer music season; really ready! And we have all the goods you need right here in one place to fill up your calendar nicely. For the indoor spirit, you’ll want to check out the newly renovated Wayne Theater in Waynesboro, VA - the new home to the Shenandoah Jamboree and all other sorts of musical goodies. And for the outdoor adventurers, we have loads of annual festival info along with several new ones for you to check out this season. Color anyone? Maybe you noticed we’ve thrown in a little color ... late last year we migrated our operation to a new printer which has given us the opportunity to snazz things up with a little color here and there - hope you dig it. And we hope you dig all the ways we’ve uncovered for you to enjoy some great Americana music this spring too. By the way, make sure you visit our new podcast on iTunes, Americana Music Profiles. See you out there! Questions, comments, suggestions: greg@americanarhythm.com PUBLISHER Image credit https://trueblueridge.files.wordpress.com
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Americana Rhythm is published six times a year. All corresponCONTRIBUTORS dence should be sent to PO Box 45, Bridgewater VA, 22812 or Ed Tutwiler email to greg@americanarhythm.com. Copies of Americana Wayne Erbsen Rhythm are made available free at various pick up locations within Donna Ulisse the publication’s region. Subscriptions are available inside the United Don and Martha DePoy States (only) for $18 US currency made payable by check or Andrew McKnight money order sent to, Subscriptions at PO Box 45, Bridgewater, Mark Whetzel VA, 22812. Foreign subscription requests should be sent to Kaye D. Hill greg@americanarhythm.com. Copyright 2016. All rights reDISTRIBUTION served. Reproduction of any content, artwork or photographs Ed Tutwiler is strictly prohibited without permission of the publisher or origiZebra Media nal owner. All advertising material subject to approval. Associated Dist. PUBLISHER/EDITOR IN CHIEF Greg E. Tutwiler Associate Editor Ed Tutwiler MARKETING & PROMOTION Mark Barreres (GrassRootsNetworking.com) ADVERTISING Letters, Comments, Suggestions Business office 540-433-0360 greg@americanarhythm.com advertising@americanarhythm.com www.americanarhythm.com
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April 2016
The Wayne Gets Second Life, Finally In the beginning, there was the dream, and in the dream there was a theatre, and that dream was good. Yes, that is my pitiful attempt to set the tone for a story
theatre is for the most part a bygone icon. The ones that have survived demolition are boarded and decaying. Such it is in downtown Waynesboro, VA. The old Wayne
erty over to the city to do with as they saw fit. Waynesboro’s leaders took the property but had no plans for its use. To their credit, the Waynesboro City Council created the Wayne Theatre Alliance and gave the group authority to oversee the revitalization of the Wayne Theater. The city turned over that ownership and responsibility to the Alliance in 2000.”
Greatness In Mind
that has a Genesis and a Revelation; however, this is not a story with a beginning and an end but rather a story about an end that became a new beginning. What follows is the Phoenix-like story of the Wayne Theatre Ross Performing Arts Center in Waynesboro, VA that opens for public performances in March, 2016.
Theatre showed its last film in 1999. After that showing, the owners (RC Theatres) turned the prop-
Since that humble beginning, the Wayne T heatre Alliance has worked tirelessly toward creation of a state-of-the-art educational and theatrical facility. It has been an uphill battle. There have been many obstacles to overcome not the least of which has been a sputtering economy that later would be called the Great Recession. The project faced a series of funding challenges—each seemingly more daunting than the one previous— since the nonprofit launched with the goal to restore and reopen the theatre. Many people thought it would never happen. The construction effort started and stopped at least three different times over the course of the effort. Not to minimize the efforts of 100s of unnamed, dedicated, behind the scenes workers of every type; however, local real estate agent, Mr. Bill Hausrath, who serves as the chairman of the Wayne Theatre Alliance, and Dr. Clair Myers, who is the Alliance’s long-serving Executive Director, have been the public faces of the effort from the beginning and have worked tirelessly for its success. They have been the ones
By Edward Tutwiler
who have many times faced the naysayers and doubters that were constantly questioning the project. Dr. Myers, serving as Executive Director of the Wayne Theatre Alliance, was the one tasked with raising funds to build the theatre and oversee the construction. Several months ago The Wayne Theatre Alliance’s Board of Directors issued special recognition of Dr. Clair Myers by naming him Executive Director Emeritus. Bill Hausrath, Chairman of the Alliance, was quoted in a recent theatre newsletter saying, “Dr. Myers has been the point person over the last 10 years in guiding the organization to this point. He has shaped decisions about how the Wayne was rebuilt and how it will operate in the future. It has sometimes been a challenge to keep the momentum but his unfailing professionalism and hard work have gotten us to the opening. We couldn’t have done it without him.” During Dr. Myers’ 10 year tenure as Executive Director, he was actively involved in the design and fund raising efforts. In the early days, he created The River City Radio Hour, which became an entertainment staple in the community and helped maintain public interest in the restoration project.
Keeping Momentum
Several years ago, when the outlook toward the future looked especially grim, Dr. Myers produced three seasons of weekly entertainment at a store-front location that
In AR Issue 12, September 2007, we told you a story that began like this, “I dare say there are not many among us who are of boomer age and older that can not remember a trip down town to the local theatre. Those days are long gone with rare exception. The local downtown
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was dubbed WTA’s Gateway. The variety of uses for the Gateway and the lessons learned there led to the redesign of the Wayne Project. Thus, the Wayne Theatre Ross Performing Arts Center now boosts not only a fully furnished intimate auditorium, but also a lecture hall, the Custin Cabaret, and a multifunction events room, the Lowdermilk Events Room. During this recognition ceremony Myers told those in attendance that he had been fortunate to have been involved in a project that called upon all of his past training and experience. He also admitted that the Ross Center is the capstone of his career and that he is grateful to have been a part of its creation. Myers will continue to work for the Alliance in the areas of development and grant writing, as well as hosting the River City Radio Hour, and leading other artistic developments. A few days ago, the folks in charge of the Wayne Theatre Ross Performing Arts Center invited the media to drop by and get a sneak preview behind the scenes of this $10 million restoration effort. Ms. Tracy Straight, who is the new Executive Director of the Wayne Theatre Ross Performing Arts Center, and who will be handling programming and operations going forth, has been associated with the Wayne project for several years in various behind the scenes roles and recently assumed more of the duties for which Dr. Myers had been responsible. What a tour it turned out to be. While painters were still doing some last minute touch up on some window sills and workers were putting finishing touches on the 40foot stage there is no doubt that barring a little broom work here and a dust cloth rub there, this show is ready to begin.
Grand Re-Opening
The main doors open to a well appointed auditorium where 385 seats face a deep 40-foot stage. “There is not a bad seat in the house and you feel like you’re right there practically on stage with the performers,” Straight stated. She was spot on with that statement. We tried several of the seats in various locations and there is truly a clear view from every corner of the room. Person-
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ally, I fell in love with the balcony seating and do believe this might be my hangout in the future. The room is open with no supporting pillars to block the view of the stage. The new performance area features a hydraulic orchestra lift, fly loft, wings and state of the art lighting, sound, and projection equipment. There is an ample backstage area complete with well-done dressing rooms and lounge area for performers. This venue has all the technical support needed for top level productions as it contains a state-of-the-art technical booth arrangement that gives both the
sound and light crews separate work areas to control the shows. Less you think the wonderful main auditorium is all the new Wayne has to offer, let me tell you more. The Performing Arts Center includes an upstairs 60 seat cabaret and a separate lecture hall with room for 100 guests. The cabaret features a configurable arrangement that lends itself to many possibilities while the lecture hall is equipped with screen and projection facilities. On top of all this, there are tiny intimate gathering spots scattered throughout the facility (such as an historic stained glass room) that can be apportioned to many and varies gatherings and events.
history lecture series. Plus, the Shenandoah Jamboree, a very popular regional country music variety show that has enjoyed a long run in a now defunct venue in the lower Shenandoah Valley, has recently agreed to stage their very popular reoccurring show right here in River City on the stage of the Wayne.
had a great group of volunteers, a tremendous group of steady supporters, financially, emotionally and attendance-wise. Now it’s time to turn on the lights and get the show started. It has been a long haul (but) we’ll be a new, quality center for the valley and certainly a showplace for Waynesboro.”
A Long Time Coming
Every happy ending’s end signals an exciting new beginning’s begin—a great set of opportunities, and yes, a new set of challenges as well. The old Wayne Theatre is in good hands as it emerges as the Wayne Theatre Ross Performing Arts Center. It is surrounded with good vibes from the hometown folks and by every facet of the entertainment community as well. Performers are gearing up to ply their talents; promoters are preparing to showcase their stable of presentations; and we publishers and writers in the music business who have always cheered for more live music and performance venues all are eager to see the fruition of years of effort by many tired but happy true believers.
“It has been quite a roller coaster,” Straight said. “Sixteen years since the very first meeting.” She continued, “The opportunities here with this space are amazing. This is the community’s largest classroom. It’s a place where people can come together to be educated and enlightened, and enchanted, and enriched. My hope would be that everyone would take the step. and walk through the doors. I know they will engage in an experience that will make them want to come back again and again. Our goal is to offer a wide variety of genres and diversity in entertainment so there is something for everyone at an affordable price. We want the theatre to be a part of a bigger community and draw people to Waynesboro from throughout the state. Bill Hausrath added “We woke up a lot of mornings wondering how we were going to get there, because there were a lot of obstacles. We’ve
The Ross Center will open with its first public performance by Robin and Linda Williams on March 4, 2016. The preview season will continue through August. The season’s schedule will include musical performances, a weekly classic film showing, and a science and
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New Life
The Alliance’s website lists all events at the Ross Center and the opportunity to purchase reserved tickets. The inaugural season will begin in September, 2016 with a performance by a major national performer. Details will be made public later this summer. If you want to learn about opportunities to become part of the ongoing effort to make Wayne Theatre Ross Performing Arts Center a jewel of the Shenandoah Valley, you can call 540-943-9999 or navigate your computer browser to waynetheatre.org.
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April 2016
Bluegrass Island By Greg Tutwiler
For many folks
along the East coast, summertime means a trip to the Outer Banks of North Carolina, commonly referred to as OBX. It’s a strip of la nd sandwiched between the Atlantic Ocean on one side, a nd the Currituck Sound on the other. The area is historically noted for many things including the Birthplace of Flight (Kitty Hawk), the Lost Colony (Manteo), and the Graveyard of the Atlantic where over 3,000 shipwrecks rest in peace underwater.
Nostalgic Trip
The main drag, aside from the fairly new 158 bypass, is the historic highway 12 that runs parallel to the ocean and is dotted with favorite classic hotels, beach
shops, and restaurants. Those even more adventurous take the dogleg left and travel down highway 12 south through Cape Hatteras towards the iconic Ocracoke island community, reachable only by an hour long ferry ride. In between however are nearly 60 miles of highway straddling sand dunes and a half dozen sea side communities. It is there, in the little town of Frisco (mile post 66.5) where you’ll find a quaint pottery shop
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known as Red Drum. Wes Lassiter and his wife, Rhonda Bates, spend most of their spring, summer, and fall days spinning mugs, bowls, vases, and hand crafting pottery art that they sell to some of the hundreds of thousands of eager vacation travelers passing through each year.
More Than Just Pottery
Wes is also a musician, and former member of the bluegrass/ Americana band Molasses Creek.
He plays banjo and guitar, and even taught his wife how to play bass. Six years ago they started a new band called Banjo Island. “We had this little place that seated about 30 people, so we started doing weekly shows, and people started coming.” he told me. “Two years later we bought a building which had been an old cottage house. We made the upstairs into gallery for our pottery. Downstairs, there was this big huge closed in garage that we turned into a theater, doubling our
April 2016
capacity,” he quipped. “People still keep coming back year after year. We get a new audience every week, which makes it nice,” he said. “We have a fairly set show that we do every season that consists of not just bluegrass music, but we’ve also added in some more Americana style tunes too.” Wes named the music space the Martin Parker Theater (after best friend/drummer who passed away not long ago). The converted garage seats 70 people and features music every Wednesday (and now Thursday) evening beginning at 7:00 PM. During the vacation season, from late spring through late October, Wes’s band,
Bluegrass Island, headlines the evening except when guest musicians make an appearance.
Outside Acts
When I asked Wes about bringing in guest acts like Side Line, or Lonesome River Band, and even artists like Tony Trischka, he said, “The guest bands that come here truly get spoiled. You just can’t tell someone how wonderful the experience is. You have to show them. You get them fishing, and lying on this incredible beach;
they don’t want to go home,” he laughed. “I’ve never had anyone come here and not say, ‘I can’t wait to get back – I love it here, and the intimacy of the room is amazing.’ We know we have something great here.” Wes designed and installed the sound and lighting himself along wi th the hel p of Skip Cherryholmes. “We get a lot of folks tell us just how good the music sounds in here,” he said. “It’s just a special place.” They added a coffee shop to compliment the gallery and theater, and Wes recently constructed a traveling stage/jam bus to be able to take entertainment out to other
parts of the island. It is also a featured jam stage at the Outer Banks Bluegrass festival held annually in September just up the highway in Manteo, NC. If you’re near or passing through Frisco, NC this year, you owe it to yourself to stop in and visit with Wes and Rhonda. Have a cup of Java, buy a local piece of pottery, and bring your guitar along. Wes just might even sit and pick with you a while www.reddrumpottery.com
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April 2016
Thanks to our partnership with ReverbNation (www.reverbnation.com) we are honored to give you a peak at a few of the nation’s hardest working indie artists. Each month we select one entry to showcase for you here. Enjoy! THIS MONTH’S FEATURE:
By Greg Tutwiler
The Dusty Pearls we are practically regulars. It’s home away from home. It was in Eureka that we cut our teeth, shed the pop country chains, embraced our comedy side and found ourselves. I’m serious - if we had never left Tulsa, we would be on a totally different path. Thank God for Eureka Springs, AR and the freedom to discover ourselves.”
FEATURE ARTISTS Broken Arrow, OK is home for Mark and Shelly, a.k.a., The Dusty Pearls. Their debut, self titled, full-length album, is out and the critics are pleased. Michael D. Smith of Wordkrapht.com says, “Doubtless they will be compared to The Civil Wars if their following continues to grow but unlike other male-female duos The Dusty Pearls deserve that compliment,” Happenings at the Hollow remarked, “Their exciting mixture of country/ pop/classic rock will leave you with a cheery spirit and a little spring in your step!” “Best Song” winner in the Folk Genre for the 2014 Alchemy Songwriting Competition, and grand prize runnerup, overall, this duo’s music will get you tapping your toes and singing right along. These two story tellers at heart, Tulsa natives, met in church, and “haven’t been back since,” Mark quipped.
The Extraordinary Life
The married couple is, “living an extraordinary life,” Shelly said. “We are raising seven children between us. Music is everything. We make music to celebrate, to escape, to cope, to laugh, to cry, to dance ... music is life. It’s also date night,” she exclaimed. When it comes to making music live, “we are the core,” Mark said, “the duo, the songwriting team, the yin and
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Strictly Passion
the yang, sugar and spice.” While they include some wonderful musicians as part of their musical team, 50% or more of their 2016 schedule is just the two of them. Mark and Shelly feel like they fit more in the Americana/folk rock genre’ if anything. “We aren’t pop but we aren’t country either,” Mark said. “We are classic rock junkies who love a good Led Zeppelin or Fleetwood Mac cover. We have great respect and fascination for great, but also we bring a wide variety of influences and loves that include everything from John Mayer, to jazz, to Alice in Chains and Peter Gabriel.” Songwriting is the heart of The Dusty Pearls, and it too is a joint effort. “I give Mark tons of lyrical material,” Shelly said. “He adds a melody and then we come together to work out all the nuances and harmonies and the song is born. But some songs sit around gestating forever. It is like when you sit down to write and it effortlessly flows out of you. Then the next time you just get one sentence. It is a great sentence but that
is all you get. Nothing else, so you put the pen down grab some inspiration (red wine) and nothing. Then other times it feels like this: Imagine yourself in New York City, inside a grandiose empty two story loft. The industrial piped ceilings and hardwood floors set the stage for a hair raising, goose bump inviting, acoustic experience. You and the person you love most in the world take your place on your backs, lying in the middle of the floor. You close your eyes and the music washes over you. That is what making music and writing songs together is like.”
Eureka
Mark said one of the most favorite gigs in their history is in Eureka Springs, AR. This place is one of the country’s best little hidden gem artsy Ozarks mountain towns. Rowdy biker bars, eclectic cafes, and a heavy bluegrass / mountain music influence make it a wonderful venue. “We started playing there right when we first started. Three or four years ago, by chance, we scored a cafe gig. Now
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Mark and Shelly both agree that music is their passion and, and as Mark puts it, “a steady hardworking part-time endeavor.” Shelly is a licensed massage therapist / naturopath / budding herbalist with a private studio, and Mark is a commercial audio / visual technology expert working in education. “In another world, another life, music would be it for us,” Mark quipped. “But since we met later in life, we make the most out of what we have.” On weekends when each of their kids are with Ex’s, they create mini-tours and getaways. “We play shows intentionally that are family friendly so the kids can come,” he said. “And then we play shows that are intentionally not kid friendly, so we can have a night off.” “We are so humbled, privileged and thankful that people have responded positively to our music,” Mark concluded. “It’s a treat - we enjoy it so much, that we would continue to do it, even if no one listened. So it’s that much more remarkable and humbling, such a treat, that people connect with what we do. We are so, so grateful!”
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April 2016
By Wayne Erbsen
“Wabash Cannonball” on the Ukulele After over two years of hard work, we just released my newest book, Ukelele for the Complete Ignoramus. I co-wrote it with my friend Ted Parrish. In looking over many other ukulele i n st r u c ti o n books, we discovered that most of them show a million chords and strums, but rarely teach students to play the melody. Our book not only teaches nine basic strums and 27 simple chords, but we have also developed our own simple tab system to teach the melody to 41 familiar songs. The book also features many playing tips and song histories as well as the complete lyrics, over 100 vintage photos and an instructional audio CD.
How to Read the Tab. Looking at the tab of “Wabash Cannonball,” you’ll see that the four horrizonal lines represent the four strings on the uke. As you hold your uke, the Courtesy of Doug Walker “A” string is closest to the floor. The numbers on the string are the frets that you play. There are four beats per measure. A little verticle line underneath the “G” string means you don’t play any note on that beat. The chords are shown above the lines. You can either strum the chords or play the melody. If you play with a friend, one person can play the lead and the other the chords.
Wabash Cannonball For lovers of railroad songs, it doesn’t get any better than Wabash Cannonball. It was apparently based on an earlier song first published in 1882 by
the name of Rock Island Route by J.A. Roff. Although the Carter Family recorded it in 1929, it was Roy Acuff and his Crazy Tennesseans’ recording in 1936 that helped turn it into the classic it is today. It didn’t hurt that it was one of Acuff ’s signature songs that he frequently performed on Saturday night on the Grand Ole Opry. For a great train song we need a great train rhythm, and the cowboy strum fits this song like a glove. The dramatic strum also works well. For the melody, use your first finger at the 2nd fret so your pinky can reach the 5th fret without moving your hand. Notice that most of the notes are played at the 2nd fret anyway.
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********************************* Wayne Erbsen’s first instrument was the ukulele which he started strumming when he was four years old. He has written over 30 instruction books for banjo, fiddle, guitar, mandolin, dulcimer and ukulele. For information and a free catalog, please visit www.nativeground.com.
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April 2016
Rivers Of Music If you have a strong interest in the
June 22 – 25 this year marks the 13th annual ROMP Festival. Each year this bluegrass/Americana music features a stellar line-up of acts in a friendly camping atmosphere. The festival also includes original arts and crafts, farm-to-table healthy food vendors, and professionally-led
ROMP is traditionally held the last weekend in June.
children’s activities. The Yellow Creek Park, a 150-acre facility famous for its raptor rescue center, makes a gorgeous setting for this event. Acts scheduled to perform this year include, John Prine, Punch Brothers, Del McCoury & David Grisman, Sam Bush Band, Hot Rize, Leftover Salmon, and Balsam Range just to name a few.
Bluegrass Museum
The museum has inter-active exhibits, posters, costumes, and memorabilia, along with live instrument demonstrations, and also houses the International Bluegrass Music Hall of Fame. The non-prophet organization was founded in 1991 as a tribute to the pioneers of bluegrass music and the people who made it great. The museum experience begins with a tribute to Bill Monroe, and proceeds with a timeline that follows the roots of bluegrass music, from the Scots-Irish string bands to camp meetings and gospel quartets, through fiddling conventions, the jazz era, and the folk music revival. There is a large selection of stringed instruments on display throughout the museum, along with a showcase of historically significant instruments and the folks who crafted them.
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ROMP Fest
roots of bluegrass music, you might consider a trip this summer to Owensboro, Kentucky. It is not only home to the International Bluegrass Music Museum (IBMM), but also plays host to the River Of Music Party (ROMP), sponsored by the IBMM. Originally held on the banks of the Ohio River,
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Attendees are encouraged to bring their instruments and jam with ROMP artists day and night, or dance until dawn at awesome after-hours parties, featuring national acts on the cabin stage in the park’s rustic Pioneer Village. Artist-led instrument workshops will take place throughout the day, giving musicians the chance to interact and teach fans and players of all ages and skill levels. ROMP is the annual fundraising event supporting the International Bluegrass Music Museum. Museum admission is free to all festival attendees
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April 2016
Rising Appalachia The beautiful thing about Ameri-
cana music is that it’s this huge umbrella where a tremendous amount of sounds can hang out. Everything from traditional string, old-time, and bluegrass, to the more progressive sounds of new-
grass, folk-rock, jam band, and mountain soul; and really everything in between. There is so much room for creative interpretation with stringed instruments in the Americana genre’. That’s what I love about our cover story featured artists in this issue. Their sound is as diverse as the well traveled backgrounds of the band’s founders, Leah and younger sister Chloe. Rising Appalachia’s songs are steeped in tradition and filled with devotion to the people, places, and causes closest to their hearts. This quote from their web site bio speaks volumes about their approach to their music; “Intertwining a deep reverence for folk music and a passion for justice, they have made it their life’s work to sing songs that speak to something ancient yet surging with relevance.” It went on to say, “Rising Appalachia is a melting pot of folk music simplicity, textured songwriting, and those bloodline harmonies that only siblings can pull off. Listen for a tapestry of song, clawhammer banjo tunes, fiddle, double bass,
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acoustic guitar, djembe, barra, bodhran, spoken word, and a wealth of musical layering that will leave you called to action and lulled into rhythmic dance simultaneously.”
Appalachian Concrete
Although Leah and Chloe were born and raised in suburban Atlanta GA, they grew up in a family steeped in music and art. “We did a lot of front porch playin’ and had a lot of folk music gatherings in our home growing up,” Leah told me. Although both sisters chose to live abroad for a while, music was never far from their hearts. “We had been messing around as young adults with incorporating our family’s tradition of music in with our own kind of up city bringing,” Leah said. “Every now and then, we were playing for farmers markets in and around town. We always got such an amazing reception from that, so we though it would be fun to record an album. It was really just intended as a sweet holiday gift for our family and friends, and to have something for the occasions that we played out somewhere. We recorded the whole thing in one afternoon,” she said. They printed a couple hundred copies for kicks and went about
their twenty something life enjoying being college students. “We never really planned on touring, actually,” Leah said. “We certainly weren’t planning on starting a band. We were just doing a lot of busking, both in school full time,
doing street theater, activism and art studies. Neither of us were pursuing any specific career. Being in school was as much a way to be near our family and reintegrate into family activities as anything.”
By Greg Tutwiler
While music became more and more serious, the sisters were also still supporting other early twenty -something careers – Leah in a theater project, Chloe in teaching. “We had our hands in all kinds of social oriented things as well, and it was very easy for music to fit into that,” Leah said. The music side of it continued to expand though. “We kept getting such a strong reception. It really was not our chosen path. I think it sort of chose us,” she said. “When your creativity takes precedence over the need to perform it takes away that angst feeling of needing to take any gig you can get. We never really had that relationship with it. Every single invitation was like it was almost a surprise.”
Unintentional Success
The album clicked though, and Leah and Chloe found themselves being drawn into something bigger than they had imagined. “We got so much reception from that album we were invited to participate in a big annual concert in Atlanta GA where they brought in Grammy Award winning artists from traditions in Scots/Irish music, bluegrass, and Appalachian – we were invited to represent the voice of the young Appalachian music movement,” she said. “We had never even been on a microphone in front of people like that before. But it was amazing and that just sort of launched us one step at a time deeper and deeper into really trying to present our vision and our interpretation of these old songs.”
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The Name In A Dream
Now with six recorded projects and nearly 12 years into this unintentional career, I wondered where they got such a cool name for the band. “We were working on that first album and really couldn’t settle on a name,” Leah told me. “One night it came to me in a dream – just really simple – the continued
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next morning I went to Chloe and said, ‘what do you think about calling the album Rising Appalachia?’ “I had this picture of taking the foundation of Appalachian music with all these other sorts of instruments and sounds rising out of it – we were raised in the city, and we had all these other influences, so we were not really trying to make traditional Appalachian music. We wanted to showcase this kind of weird, unique blend of influences that had come into our lives. We really thought this would be the only album. But as our idea and our projects grew, we took on the name of that first CD as the name of the band and of the whole project.” For several years Rising Appalachia was just Leah and Chloe as the principle musicians. “We would have guest musicians step in and out of different phases of whatever we were doing at the time,” Leah said. “For a number of years it was an ever changing project. When we traveled Europe we picked up local musicians to play with us while we were there. Later we traveled the US with a really amazing five piece for a while too,” she said. “In our mind for a long time it was the two of us always working with this collection of collaborators. But I think in this most recent four piece configuration that we’ve been touring with for about four years now, it’s felt like it’s the most gelled we’ve been.”
More Than Just Music
Their most recent CD, Wider Circles, is but another extension of the Rising Appalachia movement. “Our crew is unique in the sense that none of us had the dream of being the next Bob Dylan or Willie Nelson where we’re just on the road 365 days a year,” Leah said. “All four of us have other interests and other passions, but we are definitely in a heavy hitting full time performance phase for the last number of years.” That being said, one glance at their web site and the tab, Rise Collective, you get that there is much more than music going on. Their involvement includes everything from youth education, sound workshops, aerial performance, and poetics, to fire-spinning, yoga
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and meditation, creative blogging, and Acro-yoga. The latest aspect is new project called the Slow Music Movement. “It was a title I came up with last year when I was doing a Ted Talk and I was trying to figure out how to explain our work. We came up with the Slow Music Movement term and are hoping that it will become a blueprint for lots of different musical projects to adopt and really want to help make that happen.”
Slowing Down
There is this unspoken expectation in the music business of making a new album every year. This time around the band decided to be intentional about not adhering to that formula. “This year we were very intentional about launching the title of our year and of our tour and the Slow Music Movement,” Leah said. “We’ve all intentionally put our new ideas on the back burner so that we could spend the year fortifying our relationship with the people and places, and maybe finding new ways to play the songs that are on our current CD, and coming up with medleys of some of our older material; just really feeling like we can spend the whole year nurturing all of the work that is already been done. We’re just really trying not to have too many ideas on the table that are always new. We never want to crank out a new album just to have new stuff,” she said. Leah summed up Rising Appalachia this way; “We’ve really intentionally wanted to create a music that is inquisitive and provoking; Music that talks about popular culture and a shift in consciousness and some of the things that are going wrong in our communities and our societies. We want to do it in a way that does not beat people over the head though, in a way that sort of creates a platform for people to maybe question things in their own lives. We try to leave fertile ground and open doors without necessarily trying to create music that dictates the answers. That’s been something we’ve wanted to straddle for as long as we’ve been real consciously writing our lyrics and even collecting folk songs. We challenge the question; how can we nudge some of the norms of our mainstream culture without necessarily trying to create a protest song?”
Songwriters:
April 2016
By Mark Whetzel
A night of your own One of the great advantages of the
digital age is the unprecedented ability to be heard and seen. From personal websites to social media, it has never been easier to develop careers, promote shows and distribute products. However, even with the technological tools that are currently available, one of the most useful ways to establish a following and connect with other artists at the local level is through singer/
writer’s nights and house concerts. Coupled with the resurgence of interest in acoustic instruments, the number of writer’s nights has grown significantly across the United States. Most moderately sized communities have at least one writer’s night, and larger areas typically have several. And although they continue to grow in popularity, many singer/songwriter nights have been established for years and have helped launch the
Ryan Garst songwriter nights, which are often simply referred to as writer’s nights. Initially, songwriters were hired to write for performing artists and hopefully their songs would find their way to various singers. Their tunes became, in a sense, a commodity like many other products. This began to change in the sixties with the rising popularity of folk music. Singers who could give some background to their songs during performances established a sense of genuineness and sincerity with the listener. The vocalist became not only a performer but also a storyteller. Consequently, this type of performance lends itself well to small, intimate settings such as
careers of many well known performers. The Blue Bird Cafe in Nashville, for example, has hosted Writer’s Night since 1984. Over the years singers such as Garth Brooks, Kathy Matea and Taylor Swift have started their careers at the Blue Bird Cafe.
Anywhere USA
One example can be found in the town that I live in, Harrisonburg, VA. Even though there have been various open mic nights for decades, Brothers Craft Brewing, a local craft brewer, has been presenting a new singer/songwriter night for over a year now. It is hosted by Ryan Garst, one of the continued on page 19
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April 2016
Listen to the expanded interviews at www.spreaker.com/show/ americana-music-profiles, or search Americana Music Profiles in iTunes!
Ted Hefko
The Travelin’ Hillbillies
Carrington Kay Rob Smith and Kristin Kay Smith make up the duo of Carrington Kay. We recently visited with Rob and Kristin, and we’re excited to help them share their brand new CD, Shine Through.
New Orleans, Louisiana is once again home for folk/blues/jazz artist Ted Hefko. After a stint in Brooklyn, Ted and his group, The Thousandaires, are bringing his originally penned stories to life with the “spontaneity of jazz, the bare-bones sensibility of early folk and the vibrancy of New Orleans.” The guitarist/tenor sax/clarinet is also excited about his new CD, Distillation Of The Blues. The Madison, Wisconsin born Hefko got an early start on his musical career. When he was just 18, and fresh out of high school, he boarded a Greyhound Bus bound for New Orleans. Music was always part of his life growing up listening to jazz records and watching his dad play spoons in a street band. “He was into Piedmont Blues,” Ted recalled. “When I was finishing my junior year in high school, at 17, I hitched a ride to a New Orleans jazz fest. By the time I got home I realized I wanted to move there.” Not sure if he was ready for college, upon graduation from high school he convinced a former manager who had also moved to New Orleans to let him be her roommate. “The city just fit for me – that spirit of New Orleans,” he said. “I was kind of a pensive kid growing up, but New Orleans will round those edges off of you pretty fast though,” he recalls. “I had some gigs right away, but it really wasn’t happening for me fast enough, and that’s why I decided to go to school for music.” Eventually graduating from the University Of New Orleans with a degree in music, he began a musical adventure wrought with enough stories and adventures to create a lifetime of music – including driving across the country in a van with his band and living off sandwiches and bar menus. “The pay was abhorrent but the scenery was rich,” he exclaimed, “especially driving route 66 through the painted desert or Colorado’s Rabbit Ears Pass in a blizzard.” Ted’s music is littered with fantastic stories, including some of his misadventures through his formative years.
Rob, is a graduate of Virginia Commonwealth University’s College of Music and has shared the stage with some of the biggest names in music, including Sugar Ray, Jewel, and Huey Lewis and the News. Kristen graduated from Baylor University with a Bachelor of Music Education in Choral/Classical Voice with Piano and Religion Minors and from New York University Steinhardt with a Master of Music in Musical Theatre Performance. Rob originated from southwest Virginia, while Kristen grew up in Kerrville, TX. The two met on stage while performing a summer gig for Williamsburg, VA’s Bush Gardens, and the music has been magic ever since. They combined their middle names in order to name their duo, which has recently become a trio. Curt Baker from Salem Virginia has recently joined in, and the melodic change, although subtle, has brought new territory to Carrington Kay. “We met while playing in a group together for a Christmas concert series last year,” Rob told me. “After our last CD, we were trying to regroup and figure out how we wanted to approach this new CD. I had written a song that really meant a lot to me, but it needed something special to go along with it. I had always heard a Dobro or Steel Guitar in it in my mind, and I remembered that Curt was a Steel player. So I invited him to play on the song. He really just captured the mood of the song I was going for.” Rob said that the recording session went so well that he invited Curt to join the group. “He just really adds a great texture to the music, and he’s a very good mood setter. He’s such a good player and brings a great character to our music. We’re just really blessed to have him with us,” Rob said. “I think with this album and the addition of Curt, we really have new focus, and a more specific direction for the shows we perform,” Rob added.
To find out more, visit www.ted.hefko.net
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The Tra velin’ Hilllbillies make their home in the Shenandoah Valley of Virginia. Their sound, heavily influenced by the folk rock sounds of Jerry Garcia, this four piece ensemble craftfully blends the grittiness of southern rock with the traditions of bluegrass, folk and country, along with just the right rock and roll lick or two thrown in for good measure. Daniel Barnett is, as he calls it, “the brother from another mother,” to the sibling trio of Ryan, Shay, and Brandon Garst. Although only together a little over four years, they have managed to notch several hundred performances, record two CDs, and rub shoulders with some if the industries top performers, like The Hackensaw Boys, Sam Bush, and Del McCoury. Their current CD in circulation is titled Blue Skies. I caught up with Daniel just a day after their recording session for their next (untitled) single. “We are finally finding our sound,” Daniel told me. “Although we are from such different musical backgrounds, we all do enjoy some common artists which tend to be the influence we draw from. Grateful Dead, Allman Brothers, and other southern rock bands is what we migrate to. One of our friends told us that if we could figure out what we’re not going to play, we’d be able to put a genre’ on ourselves,” he laughed. “We just like to play really good music; whether it is acoustic or electric, or whether it’s bluegrass, or rock, or soul. Americana is the best way to put it,” he quipped. “We just like to have a good time with really good music.” While the The Travelin’ Hillbillies enjoy playing a good cover tune, their goal is to really focus on original music. “We want to be known as an original band that is putting original music out there. We’re starting to really find our authentic sound and get in our own personal groove, and we want to capitalize on that,” Daniel said. “Ryan writes a lot of our tunes, but it’s always a group effort. We really all feel like a family and it’s nice to treat the songwriting process that way too.” To find out more, vivit www.thetravelinhillbillies.com
To find out more, visit www.carringtonkay.com Check out
on iTunes www.AmericanaRhythm.com
April 2016
Songwriter Night continued from page 17 busiest singer/songwriters in the Shenandoah Valley. Ryan has been a full time musician for several years. A versatile performer, he currently divides his time between solo gigs, his band the Travelin’ Hillbillies, and a duet with Charlottesville based singer Emily Kresky called Together Soul. He has also found himself working with local artists as an in demand producer. Having already hosted an open mic night at Gold Crown Billiards for several years, Ryan had been feeling the need for a local songwriter collective for quite some time. He wanted to foster an atmosphere where up and coming musicians felt welcome and comfortable; A place where a musician could “walk right in the door with an instrument, plug it in and play a song from the heart. No condemnation. Just play it.” After discussing the details with Jason Shifflett of Brothers Craft Brewing, the Blend, as it’s come to be called, started in early 2015. Lots of local musicians have stopped by as well as those who just happened to be coming through town while on the road. The event is held from 8-11 pm on the second Thursday of every month, it usually draws 30-50 people. Typically ten to fifteen of those are musicians. As Ryan puts it, “it’s not a huge crowd but it does have a very homey and community based feeling.” Ryan is sympathetic to young musicians looking for work and believes that the Blend at Brothers Craft Brewing can provide some much needed exposure to the public as well as networking with other singer/songwriters.
The Way Things Work
For those musicians looking for a more laid back atmosphere to develop their performance chops, Golden Crown Billiards open mic is held every Tuesday from 8:3011:30 pm. Although the local singer/songwriter night at Brothers Craft Brewing is very welcoming, there is often a sharp contrast in how some open mic nights and writer’s nights are organized. Here
are a couple of things to keep in mind if you’re an up and coming singer/songwriter who wants to perform. First, Songwriters are often scheduled in advance for a writer’s night. It is not unusual to be required to audition at an open mic night before being considered for a spot on singer/songwriter night. Even if you’re an established performer, some writer’s night hosts will require you to register in advance for the night you wish to perform. There may also be restrictions on time and even instrumentation. For example, some places don’t allow drums for these events if you’re being accompanied by other musicians. They may even put a limit on the number of accompanying musicians.
Best Foot Forward
While open mics are often a bit more amateur in nature, writer’s nights are a time to put forth your most polished, professional performance. While it’s unlikely that record producers and other industry heavy weights will be in the crowd, it’s a great time to make connections that could possibly lead to other things. Remember that the purpose of singer/songwriter night is for the hosting establishment to sell food and drink. Conduct yourself in a way that reflects well upon the host so that they will look forward to having you back in the future. The current music industry is constantly and quickly evolving. For all the new technological opportunities available to artists, there are signif icant new challenges. File sharing, diminished CD sales and fewer gigs with less money are all impacting virtually every style of music. Perhaps the best way to develop a career is to write quality songs, perform as much as possible and establish strong interpersonal relationships. Your local singer/songwriter night may be a great place to start
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April 2016
Something Old Made New Again I have a little writing issue I’ve been struggling with over the years. Should I look back over the songs I started years ago and for one reason or another never finished, in hopes that I can breathe new life back into them today, or should I just cut my losses and continue to write in the moment? In the past I have written with cowriters that consider it a sin to give up on a song. They want to finish the song we start no matter if it’s good or not so good - it must be a completed work. I have written with some cowriters who toss out five or six half written songs that we start together before we decide on the one that might make the best song before we get down to the business of whittling it to the end.
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For the last ten years I have made it a rule to quit wasting time on songs that are not working for me. I have lots of those partial songs in my notebooks and to revisit and spend precious energy trying to carve on them has not seemed to be the most efficient use of my time. But lately I have had some yearning to break my own rule. A new passion has been born in me! I wrote a book a few years back called The Songwriter In Me, Snapshots of My Creative Process, and through the release of this book, doors have flown open. One of the doors has been to teach songwriting. I am thrilled with this opportunity as it was always a girlhood dream of mine to be a teacher. I travel around the country with my husband, Rick Stanley and our other
partners, Greg Davis and Kathy Anderson teaching through workshops called Songwriting Escape. One of the things we offer online or at the workshops is advice on re-writing songs and song critiquing. I love song editing and critiquing and through doing this for other writers I have discovered I have the ability to look at some of my older songs with some distance now. I am critiquing my own works with an eagle eye a nd finding new wa ys to strengthen them. I am able to walk away from an existing melody or totally rewrite a storyline without remorse. Who knew chopping up my song could bring me so much joy? Rewriting is tricky business and can take some time and courage. I happen to love the edit pha se of songwriting myself. My husband is always shaking his head when we write together. I tend to write lyric and Rick
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usually works on melody. When we finish our writing session he walks away thinking it’s all done but, oh, no, it’s not done. I take my mind’s eye and scour the body of the lyric looking for ways to make the lines cleaner or more visual. This can take a good while, sometimes weeks. I will walk back to him later and sing the newly refined lyric for him and he always laughs because he thought it was done before. Now I am using that same approach with some of my early songs. I try and find the merit in them and restructure them. I think of this process as I do renovations on an old house, I am updating and increasing the value! Donna has been called "one of the best singer-songwriters in bluegrass," nominated twice as the International Bluegrass Music Association's Songwriter of the year. Reach her at www.donnaulisse.com.
All It Takes Is A Little Creativity A few years ago I encountered a lady in Paint Bank, WVA who crafted string music instruments from the most unusual of found household objects. Her creations were realistic banjo and guitar type instruments, and when amplified and played by a good picker, were surprisingly easy on the ears. I considered her creations unique until someone recently asked me if I had ever seen a cigar box guitar. The closest example that I could recall was the aforementioned craft creations so I did a bit of research, and the following story is the result.
April 2016
that bore the name of a cigar brand on the box. Also, an 1890 issue of Boy Scout literature provided step-by-step plans for building a playable five-string fretless banjo made from a cigar box. By Edward Tutwiler
boxes and it was not too long before poor folk discovered that these light wooden boxes made dandy resonators for homemade string music instruments; and homemade string instruments cost very little money to own. There is much folklore telling of such instruments existing from 1840 to the 1860s. The earliest known illustration of a cigar box instrument is an 1876 etching created by illustrator and artist Edwin Forbes that showed a union solder playing a box fiddle
The earliest cigar box guitars had one or two strings (modern examples typically have three or more strings). Generally, the strings were connected to the end of a broomstick or a 1 x 3 inch wood slat and to the cigar box resonator. It would be a mistake to assume that all the early cigar box instruments were crude and primitive. There is a National Cigar Box Guitar Museum that has on display two cigar box fiddles built in 1886 and 1889 that seem very playable and well built. The museum’s research revealed that the 1886 fiddle was made for an 8-year-old boy
The cigar box guitar is actually a primitive chordophone; and a chordophone is a musical instrument that makes sounds by way of vibrating strings stretched between two points. When a player plucks or strums these stretched strings, they vibrate. These vibrations usually cause something else to start to vibrate and to produce sound without any direct excitation by the player. That something is said to resonate and is typically a hollow box of some type that forms the body of the stringed instrument. You can see where we are going with this discussion. Crafters of cigar box guitars use an empty, discarded cigar box as the resonator.
You Use A What?
What is a cigar box, you might ask? Since sometime around 1840, cigar manufacturers started using small, portable wooden boxes with 20–50 cigars per box to ship their product. Given the propensity for cigar smoking among the populace, there existed an abundance of empty cigar
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April 2016
but is playable; and the 1889 fiddle has a well-carved neck and slotted violin headstock. It had been crafted for serious playing.
Use What You Got
It should be obvious to all that cigar box guitars and fiddles were most popular among musicians living in poverty many of whom could not afford a store-bought instrument. Many poor AfricanAmerican jug-band and blues players used these handcrafted instruments. During the 1930s the poverty brought on by the great depression promoted a resurgence of home crafted musical instruments particularly in the southern US. While there might not have been any money to purchase a musical instrument, a player usually could craft a playable guitar with an old cigar box, a piece of broom handle and a couple of wires from a screen door. Flash forward to the present. Since about 2011, a modern revival of these craft instruments has been gathering. Some have dubbed it the Cigar Box Guitar Revolution. There has been an increase in the num-
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ber of cigar box guitar builders and performers. There is even a loose, underground group of cigar box guitar performers that tour the US east coast each summer. They are known as the Masters of the Cigar Box Guitar Tour. Recently, there have emerged a growing number of professional Luthers who have begun offering quality made cigar box guitars for sale. These offerings are tricked out with ornate design flourishes, resonator cones, and electric pickups. Then there is the DIY movement where folks strive to handcraft an item that is fairly inexpensive to make and also serves as a creative and musical outlet for them.
I Want One
The first time you see a cigar box guitar, you have an urge to build one for yourself. With a bit of skill and some common hand tools, anyone can do it. A cigar box is
usually available at a local tobacco shop for about $5. A big box store and a music instrument repair shop will usually have whatever else you need. If that seems like too much for you, seek out a complete kit of parts from one of the on-line suppliers. If you are a YouTube fan (https:// www.youtube.com), you can find a variety of videos of folks showing how to build and play modern cigar box guitars. I mentioned the Cigar Box Guitar Museum. This museum provides a free display that is dedicated to cigar box guitars and is located in Speal’s Tavern, a small blues club in New Alexandria, PA. The walls of Speal’s Tavern present a unique display of handmade cigar box guitars, historical photos, and associated artwork. The items
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in the collection of over 40 cigar box guitars displayed at Speal’s Tavern were built by craftsmen all over the country and range from simple, one-string primitive instruments to complex, electrified guitars with frets, double-necks and whammy bars. The Cigar Box Guitar Museum is maintained by Mr. Shane Speal and the Speal family. Mr. Speal is a cigar box guitarist. The museum is free to visit and is open to the public. Speal’s Tavern is located at 1850 Lions Club Rd., New Alexandria,, PA. You can contact Shane Speal at shanespeal@yahoo.com A 2008 film titled Songs Inside the Box documents the modern revival of cigar box guitars. This film was photographed at the Cigar Box Guitar Extravaganza, held in Huntsville, AL each year. You can get detailed information about this at the WEB site: http://alabama.travel/ upcoming-events/11th-annual-cigar-box-guitar-festival. If this short essay has piqued your interest to know more, key the words cigar box guitar into your computer’s search engine and follow that yellow brick road wherever it leads you
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April 2016
Along
the Shenandoah Music Trail By Don Depoy
“You Can’t Play That Song Here” This article was inspired by a recent situation that happened at a jam night held at a small town in Virginia. Attendees were asked to reduce their song selections only to those found in the Public Domain (PD). It dawned on me that there are likely many who don’t understand what this means or how it might apply to you. In order to protect the rights of artists/ composer to their original work, and establish a system for compensation when those artist’s songs are performed, performance rights organizations (PRO) were created. In short, fees are collected and redistribute to copyright holders. Those royalties are
charged to parties who wish to perform publically works created by someone other than themselves. The three main entities responsible to theses services are ASCAP (American Society of Composers, Authors and Publishers), BMI (Broadcast Music Inc.), and SESAC (Society of European Stage Authors and Composers). Typically, the royalties are collected in the form of license paid by venue operators or royalty rights purchased by an artist. Copyright protection is not indefinite though. Eventually, all creative works fall into the public domain. (Copyright free – meaning there are no royalties
to be collected and no recipient who is due them.) This explanation is from RoyaltyFreeMusic.com: “If the Copyright Office has no confirmation that a composer or song-writer is still living, and it has been 75 years since the first copyright protection order was granted, or 100 years since the recognized creation date of the piece, the piece becomes public domain. The reasoning behind this occurrence is either, that copyright protection has expired, or the creator of the piece is presumed dead. Therefore, it would be assumed that any piece of music copyrighted in or before 1930 or that was written by an American songwriter or composer presumed dead by the Copyright Office, is now part of the public domain …. Recent laws passed to protect music and extend copyright for certain works have made it so that the latest copy-
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right date for a piece of music to be considered public domain is 1923.”
The Snitch In The House Perhaps you’ve heard folks tell stories of ASCAP or BMI sending out spies to monitor unlicensed venues and issuing cease and desist letters. It is true that a performance license is required before singing/playing music in public that has a valid copyright, which begs the next question: what is public. Performances are considered public if they take place in a public place and the audience is outside of a normal circle of friends and family. Therefore, if you are playing music for a normal circle of friends and family, a performance license is presumed not required.
continued on page 25
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April 20162015 December
Here’s A Sample Of What’s On Tap For 2016 APRIL Bluegrass Jamboree April 9, 2016 Hot Springs, VA www.alleghenymountainradio.org Old Settler’s Music Festival April 14 - 16, 2016 Austin, TX www.oldsettlersmusicfest.org Merlefest April 29 - May 1, 2016 Wilkesboro, NC www.merlefest.org Charm City Bluegrass April 30, 2016 Baltimore, MD www.charmcitybluegrass.com
MAY Doyle Lawson Bluegrass Festival May 5 - 7, 2016 Denton, NC http://www.farmpark.com/doyle-lawsonbluegrass/
Heart Of Virginia Festival May 7, 2016 Farmville, VA www.heartofvirginia.org Circa Blue Fest May 6 - 8, 2016 Martinsburg, WV www.circabluefest.com Central VA Family Bluegrass May 19 - 21, 2016 Amelia, VA www.ameliafamilycampground.com Bloomin’ Barbeque & Bluegrass May 20 - 21, 2016 Sevierville, TN www.bloominbbq.com Hills Of Home Bluegrass Festival May 26 - 28, 2016 Coeburn, VA www.drralphstanleyfestival.com
Chantilly Bluegrass Festival May 27 - 28, 2016 Floyd, VA www.chantillyfarm.com
Dinwiddie Music Festival June 9 - 11, 2016 North Dinwiddie, VA www.dinwiddiemusicfest.com
DelFest May 26 - 29, 2016 Cumberland, MD www.delfest.com
Houston Fest June 10 - 11, 2016 Galax, VA www.houstonfestgalax.com
Kerrville Folk Festival May 26 - June 12, 2016 Kerrville, TX www.kerrvillefolkfestival.org
Mountains Of Music June 10 - 18, 2016 Southwest, VA www.thecrookedroad.org
Little John Mountain Music Festival May 26 - 28, 2016 Snow Camp, NC www.littleJohnsMountainMusic.com
Rockahock Bluegrass Festival June 16 - 18, 2016 Rockahock, VA www.rockahockbluegrass.com
Crooked Road Dulcimer Festival May 26 - 29, 2016 Ferrum, VA http://crookedroaddulcimerfestival.org/
Wayne C. Henderson Music Festival June 18, 2016 Mouth Of Wilson, VA www.waynehenderson.org
Gathering In The Gap TBA May, 2016 Big Stone Gap, VA www.gatheringinthegapmusicfestival.com
Music In The Mountains Festival June 22 - 25, 2016 Summersville, WV www.adamsandandersonbluegrass.com
Fiddlers Grove Festival May 27 - 29, 2016 Union Grove, NC www.fiddlersgrove.com
IBMM ROMP June 22 - 25, 2016 Owensboro, KY www.romp.com
JUNE
River And Roots Festival June 24 - 26, 2016 Berryville, VA www.riverandroots.com
Graves Mountain Festival June 2 - 4, 2016 Syria, VA www.gravesmountain.com Bluegrass In Cherokee June 2 - 4, 2016 Cherokee, NC www.adamsbluegrass.com Ocracoke Folk Festival June 3 - 6, 2016 Ocracoke, NC www.ocracokealive.org Blue Ridge Old Time Music Week June 5 - 10, 2016 Mars Hill, NC www.mhu.edu/oldtimemusic
Email festival listings to info@americanarhythm.com
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Grayson Co. Fiddlers Convention June 24 - 26, 2016 Elk Creek, VA http://www.ecvfd.net/home/graysoncounty-fiddler-s-convention South Branch Valley Festival June 25, 2016 Romney, WV http://bluegrass.hampshirewv.com/
April 2016
Copyright from page 23 A Reprieve Good news for bluegrass and old-time music jams can be found in a BMI publication, The Legal Aspects of Performing Copyrighted Music. Under article number six, on page seven it clearly states, “Charitable use of music is exempt from licensing only under very narrow exceptions. Basically, if anyone involved with the performance, (whether as a performer, promoter or organizer) is paid, a music license must be obtained.” What this means for jams is, if it is sponsored by a non-profit charitable organization, and no one is paid for the performance, then no performance license should be needed. As we know, most jams are held in community centers, town halls and schools which are generally all considered non-profit organizations. A point of interest; Some jam attendees have actually organized their jam under protection of a 501(c)(3) non-profit status. Another part of the copyright law that is often overlooked is section 17 U.S. Code 107 – Limitation on exclusive rights: Fair Use. “…the fair use of a copyrighted work, including such use by reproduction in copies or phono/ records or by any other means specified by that section (i.e live performances), for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright.
In determining whether the use made of a work in any particular case is a fair use, the factors to be considered shall include— (1) the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes; (2) the nature of the copyrighted work; (3) the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and (4) the effect of the use upon the potential market for or value of the copyrighted work.” This last item, (4) indicates that if there is no loss of income from the use of the copyrighted work, it is okay to use. Anyone singing a copyrighted song at a jam is no wa y compromising anyone’s income. To the contrary, someone may actually go out and buy the original. Of course, when in doubt, it is best to air on the side of caution and contact one of the governing bodies for clarification. A little preliminary planning can save a lot of heartache in the long run. References: The Legal Aspects of Performing Copyrighted Music: http://www.boulwarevaloir.com/BMI.pdf) https://www.law.cornell.edu/uscode/text/17/107 h ttp ://cop yrig h t.corn el l .ed u /resou rces/ publicdomain.cfm http://www.RoyaltyFreeMusic.com
Shenandoah Music Trail Sponsored in part by the Virginia Commission for the Arts, the National Council for the Arts and Virginia Tourism Corporation.
In Honor Of Louis Meyers
Nearly everyone within Americana/Folk/Indie music community knew Louis Meyers. He made major contributions to the industry. Although it feels as if he left this earth way too soon at age 60, he left behind a lasting legacy in the organizations and lives he impacted.
Louis was one of four founders in 1987 of the South by Southwest Music and Media Conference (SXSW) held annually in Austin, Texas. He sold his share in the conference in 1994 to live overseas for a while. In 2005 he became the executive director of the annual Folk Alliance International convention during it’s tenure in Memphis, TN, and oversaw its move to Kan-
sas City in 2013. Louis left Folk Alliance in 2014 to move back to his home city of Austin, Texas.
Louis was a musician at heart and loved being a part of the co mm un it y and being involved in making and presenting music. The out pouring of memories, stories, and heartfelt condolences on his Face Book page are a testament to what he meant to so many people, and how much he will be truly missed
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April 2016
Music From The National Scene
Music From Your Neighbors
welcome to another edition
of SPINS! Feast your ears on all this ear candy! (in no special order) - This collection will keep you busy for a while - Wow! Grab your iPad or Smart Phone and dial up some of these fine folks. We bet you’ll love them all like we do! Winter is over. Let the festivities begin. Enjoy this great music! www.AmericanaRhythm.com Uncle Woody, The Spin Doctor PO Box 45 Bridgewater, VA 22812
Dave Adkins Dave Adkins
Jimmy and the Mustangs
Another Round
Solas All These Years www.solasmusic.com
www.daveadkinsmusic.com
www.jimmyandthemustangs.com
Dave Adkins has gone from singing in a small-town church to landing number one songs, chart topping Billboard releases, and IBMA nominations is just a few years. His latest self titled release is loaded with hits. Go Dave!
Jimmy Hadox is front man for this Austin, TX Americana roots rock band. Rockabilly swingin’ tunes like “Cherry Bomb,” and “Roll The Dice,” make their latest CD, Another round, the perfect retro CD for your collection. Love it
Rhyme & Reason, from the duel coast performer, celebrates the perpetual pilgrim living within us all - bluegrass, old-time, folk - Good stuff from award winning Reams and his barnstormers
Solas (Pronounced Shu-less) has become an iconic IrishAmerican roots band - delivering cherrished music for more than 20 years. Their latest, All These Years, is a reunion of sorts, uniting past and present members
Circa Blue
Joe Normal Crude Folk
Eli West The Both
Youngstown Band 7807 Miles To Younstown
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Lonesome River Band Bridging The Tradition
James Reams and the Barnstormers Rhyme & Reason
Once Upon A Time
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www.jamesreams.com
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www.lonesomeriverband.com
www.circa-blue.com
www.joenormalusa.com
www.elidoes.com
www.youngstownband.com
Celebrating more than 25 years as a premier bluegrass act, the Lonesome River Band never disappoints. “Different than anything we’ve ever done,” says banjo/leader Sammy Shelor. Perhaps, but it’s still really good stuff. Keep your eye on this one
Contemporary bluegrass band Circa Blue’s latest, Once Upon A Time, is a fine example of one of the many wonderful directions bands today are creating new grass. Steve Harris and crew hit the stage in 2012 and have made quite a name for themselves
Crude Folk is the fifth project from the roots, pop-folk artist Joe Normal. “These songs were slapped together with tape, glue, and house paint,” he stated recently; without the polish - and we like that way too, Joe. It might be crude, but it’s unique and catchy
Seattle singer/songwriter Eli West is no stranger to the folk rock scene.His newest project, The Both, is a prime example why the multiinstrumentalist’s debut solo project is already making waves. A collaborative effort, this is really good music
Possibly one of our favs this go round - Youngstown Band is smokin’ hot. They call it Countrybilly! Lead singer Blandine Marie; Sounds like a young Dolly. Cover tunes, done the Youngstown way. You can’t sit still on this one
Town Mountain Southern Crescent
Laurie Lewis & The Right Hands
The Rosellys The Granny Sessions
The Boxcars Familiar With The Ground
At Peace with one’s Ghosts
www.townmountain.net
The Hazel and Alice Sessions www.laurielewis.com
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Southern Crescent is the fifth release from this established Carolinia grass quintet. “Raw, soulful, and with plenty of swagger,” Town Mountain hits it out of the park with this new project. We love the, simple, gritty, classic delivery. One for the collection
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In the mid-60s Hazel Dickens and Alice Gerrard shook up the male-dominate bluegrass world. 40 years later Laurie Lewis pays tribute with her latest project. Laurie has a vocal presence here well worth the listen
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The Paperboys
www.therosellys.co.uk
www.theboxcars.com
www.paperboys.com
British Americana band, The Rosellys, are grab bing American attention with their latest project, The Granny Sessions. A great little folk/ rock CD, one we think you’ll really enjoy. Sweet lead vocal from Rebecca Rosellys
Two-time IBMA Instrumental Band of the Year, The Boxcars are one of the premier progressive grass bands of the day. Their latest, Familiar with the Ground, has them in contention again for industry cudos. Nice
Called everything from Cajun slamgrass to worldbeat; the Celtic/bluegrass influenced 20 year, award winning, veteran band The Paperboys are making hometown Vancouver proud with their latest project. One to watch
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You can send new Americana CD releases for consideration to PO Box 45, Bridgewater, VA, 22812
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April 2016
“Musica es Vida, y La Vida es Dulce” By Andrew McKnight Music is life, and life is sweet. A rich tapestry of music and the soul from the pews to Panama. Being a working artist is rarely dull. I am fortunate that I get to do a lot of different things in music, as I’m not the sort who is deeply satisfied with doing one thing repetitively. This last month has brought me a whole new understanding of how deeply intertwined human existence is with the magic of rhythm, melody and occasionally lyric. Music may have been around for as long as humans have had language. For ritua ls, for comfort, and for celebrations; since they first used tools man and woman have likely beat rhythms on gourds and skulls, and blown into hollow tubes. There is a YouTube video of a performance of the oldest known written music. While they have had to guess at what the writing implies, it is fascinating to hear someone even attempting to bring this most ancient Mesopotamian melody to life from out of the past. I did a concert recently at the Unitarian Society of Marietta OH, and stayed to contribute a couple of songs for their
musical celebration of spirituality the next morning. It was a special service programmed by their choir and inclu ded folk music, choral performances of sacred music as well as a Gershwin classic, and capped by a rousing classical piano postlude. I added a short meditation on the Native American flute, and a full congregation sing of “Good Things Matter.” During my “Story for All Ages” I suggested to the kids sitting on the floor in front of me that they should look around the room, and know a big secret. That inside every person in the room was a kid wondering what the heck happened. And that most every kid had once been a songwriter just like them - making up little ditties, changing words to songs, or simply “rapping” sequences of words that sounded good together. Music is in most all of our veins, and in our feet too. With the memories of that celebration of music and spirituality fresh in mind, we boarded our plane to Panama for our niece’s spectacular wedding. One night we went to Casco Viejo, the colonial center of Panama City, for a spellbinding exhibition of traditional
music and dance. It was lovely, and the rich accordion and percussion music was an integral element of the life of the rural campesinos as well as the formal balls of high society. The wedding was something else entirely - a live band and a DJ trading lively pulsating salsa, merengue, reggaeton, and more. There was even a nod to 70s American disco, and my wife’s favorite, the Cuban diva Celia Cruz. Late in the evening a full Carnival drum line marched in fully costumed like we’d been transported to Rio. A different cultural celebration for Fat Tuesday, much like Mardi Gras down south. Everywhere we went music was playing, and even though I didn’t like everything equally, it was a deep reminder that music continues to transcend language and culture. When we find ourselves deprived of it, it seems that we wither in its absence. Whether it’s happy-go-lucky dance music by the beach, the hard tales of the struggling poor in folk song, or ritual singing of sacred hymnals on Sunday morning, it is like breathing to us, as essential to our lives and our souls as air and water.
When we returned from Panama, we had a sorely sunburned child to contend with despite our best efforts to keep her well sun-screened. She has a high tolerance for pain, but this time her tears and fears got the best of her. No matter what we put on her, it seemed to sting her badly for awhile. We decided to try something different, but it took a lot for her to screw up enough courage to let us. Through her tears I could hear her humming something softly. Afterwards she said, “Daddy, do you remember when you told me that when I was really afraid that I should sing “This Little Light of Mine”, and that it would help me not be so scared?” “Of course dear,” I replied. She said simply, “It works.” Tonight John Prinein our house we pay tribute to my wife’s Cuban and Panamanian cultural heritage. A crockpot of Cuban pork, rice and beans is simmering slowly, and the music of Panama livening up our feet as we move about the kitchen. Musica es vida, y la vida es dulce. Indeed it is
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Andrew McKnight is a writer, singer/ songwriter, promoter, and all around great guy and long time friend of AR. Every once in a while we get the honor of offering you one of his really cool blog entries. Talk to him at www.AndrewMcKnight.net.
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