The Bluegrass Standard - September 2021

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OUR CHOICE

40 CONTENT OUR STAFF THE LONESOME RIVER BAND BIGHORN BLUEGRASS CAMP THE BORROWED MULES TOM T HALL THE FULLER FAMILY SINGERS ERIC FROMMER BROTHERHOOD OF BIRDS VIDEO CHART BILL EMERSON THE HI-HO LOUNGE SONGS FROM THE ROAD BAND SORTIN THE MAIL FAN PHOTOS

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Our Staff

Keith Barnacastle • Publisher

The Bluegrass Standard is a life-long dream of Keith Barnacastle, who grew up in Meridian, Mississippi. For three years, Keith brought the Suits, Boots and Bluegrass Festival to Meridian. Now, with the Bluegrass Standard, Keith’s enthusiasm for the music, and his vision of its future, reaches a nationwide audience every month!

Keith@TheBluegrassStandard.com

Richelle Putnam • Managing Journalist Editor

Richelle Putnam is a Mississippi Arts Commission (MAC) Teaching Artist/Roster Artist (Literary), a Mississippi Humanities Speaker, and a 2014 MAC Literary Arts Fellowship recipient. Her non-fiction books include Lauderdale County, Mississippi; a Brief History, Legendary Locals of Meridian, Mississippi and Mississippi and the Great Depression.

Richelle@TheBluegrassStandard.com

Rebekah Speer • Creative Director

Rebekah Speer has nearly twenty years in the music industry in Nashville, TN. She creates a unique “look” for every issue of The Bluegrass Standard, and enjoys learning about each artist. In addition to her creative work with The Bluegrass Standard, Rebekah also provides graphic design and technical support to a variety of clients.

Shelby C. Berry • Journalist

Shelby Campbell is a writer and designer whose heart beats for creativity. A native of rural Livingston, AL, she found her passion in journalism and design at The University of West Alabama, where she received a Bachelor’s degree in Integrated Marketing Communications. Shelby also has her own photography business.

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Susan Marquez • Journalist

Susan Marquez is a freelance writer based in Madison, Mississippi and a Mississippi Arts Commission Roster Artist. After a 20+ year career in advertising and marketing, she began a professional writing career in 2001. Since that time she has written over 2000 articles which have been published in magazines, newspapers, business journals, trade publications.

Stephen Pitalo • Journalist

Stephen Pitalo has been an entertainment journalist for more than 30 years, having interviewed everyone from Joey Ramone to Bill Plympton to John Landis. He is the world’s leading authority on the The Golden Age of Music Video (1976-1993), mining inside stories from interviews 70+ music video directors and countless artists of the pre-internet music era. GoldenAgeOfMusicVideo.com

Kara Martinez Bachman • Journalist

Kara Martinez Bachman is an author, editor and journalist.

Her music and culture reporting has appeared in dozens of publications and she’s interviewed many performers over the years, from local musicians to well-known celebrities.

She’s a native of New Orleans and lives just outside the city with her husband, two kids, and two silly mutts.

Emerald Butler • Journalist

Emerald Butler is a writer, songwriter, fiddler, and entertainer from Sale Creek, TN. She has worked and performed various occasions with artists such as Rhonda Vincent, Bobby Osborn, Becky Buller, Alison Brown, top 40 radio host Bob Kingsley, and country songwriter Roger Alan Wade. With a bachelor’s degree in Music Business and a minor in Marketing, Emerald uses her creative talent to share the love of music with others. Emerald@TheBluegrassStandard.com

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EMERALD BUTLER

SINGING UP THERE A LITTLE AT A TIME:

THE LONESOME RIVER BAND HONORS THE EASTER BROTHERS The Easter Brothers are credited with helping pave the way for bluegrass gospel music, frequenting festivals and churches, and contributing several original songs to bluegrass gospel songbooks.

The Lonesome River Band is honoring their contribution with their tribute album “Singing Up There: A Tribute to the Easter Brothers.” The band had early success with this project with the release of their “Little At A Time” single that features the bands’ musical prowess as well as the Brother’s common man lyrics.

“I had always wanted to do an all gospel project,” said the band’s leader and banjo player Sammy Shelor. “It was always on my heart and on my mind, but I had never really found the material that had fit us. I have listened to the Easter Brothers since the early ‘70s.

I knew their music pretty well and actually got to record with them later in their career.” After listening more closely to the Brother’s music, Sammy realized that the brothers’ vocals were pretty much structured like The Lonesome River Bands’ in 3 part harmony. “The more I listened to it, the more it made sense.” It’s a challenge to match the genetic magic of familiar harmony like the Easter Brothers had, and the Lonesome River Band didn’t try to duplicate that. “You try to pay tribute to the feel of what 8

they did, but instrumentally and vocally we would never try to duplicate. So, we just took the songs and thought about them in The Lonesome River Band context and did the songs like we would do them but try to keep the feel and message of the song.”

Faith has also played a big role in this project. It’s typical for artists to want listeners to be inspired by their music; religious-based or not. However, while driving to another engagement in his truck, Sammy shared his heart for the message that the Easter Brothers legacy inspired. “They were very devout in what they did. They had chances to do country music years ago and they turned that down because they wanted to serve the Lord and preach about him.” One of the reasons that Sammy has been so touched by this music is because of what he describes as common man lyrics. These are stories that someone with a degree from the school of hard knocks can easily

understand. They’re not fancy.

They’re simple, but that’s what makes the lyrics to these Gospel songs so relatable. Even in this modern day.

The Easter Brothers wrote over 500 songs. James Easters’ son, Jeff, helped the band sort through about 400 of them. A lot of the publishing information for the songs was gathered for the band by Jeff too.

Sammy shared that it was very difficult to choose which songs to put on the album.

They tried to stay away from songs that were the most popular Easter Brother songs like “They’re Holding Up The Ladder” and “Thank You Lord For Your Blessings On Me”. “We tried to find more obscure stuff, but really well-written songs,” Sammy said. While working on the project, Jeff Easter told Sammy that he was surprised that no one else had done this kind of tribute for the Easter Brothers before. James Easter, the surviving Easter Brothers member, has heard about the new project, and Sammy shared that he’s very happy about it.

“Singing Up There: A Tribute to the Easter Brothers.” is available on all major streaming services and the band’s website. The album was released through Mountain Home Music Company.

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Susan Marquez

BIGHORN BLUEGRASS CAMP The Big Horn Mountains and Big Horn National Forest in Wyoming are big draws for tourists each summer for their recreational offerings. Fishing, camping, hiking, backpacking, horseback riding, picnicking, sightseeing, and photography are just a few of the activities people enjoy doing in the scenic area.

And for a week every summer, the sound of bluegrass music fills the air when students at the BigHorn Bluegrass Camp start pickin’ and singin’.

Once an ancillary event to an annual bluegrass festival held in Buffalo, Wyoming, the bluegrass camp came into its own in 2017 under the leadership of Karen Blaney. “The festival was the main attraction, and a company was hired to do the children’s music camp,” she says.

“Five years ago, we decided it would suit our community better to do the camp ourselves.” The festival has 10

been on hiatus for three years, but the camp continues to go strong.

Karen is the director of the camp which drew 60 students, ages seven to 18 (and up), this year. “That’s our largest number of campers so far,” she says. Held each July at

the Johnson County Fairgrounds, the camp draws campers from around the county and neighboring counties, as well as students from other parts of the state and as far away as Nebraska.

For years, Karen has taught high

school and she is the high school drama director. She got into directing the festival by accident, she says, but now she can’t imagine not being involved. “I have three children, and my middle child, Morgan, was a very shy and anxious child. I sent her to the bluegrass camp, and she fell in love with the upright bass.

She came home after the first day and told me she had found her ‘thing.’” Morgan played piano a bit before the camp, but she had never played a stringed instrument.

She is now in college at the University of Northern Colorado at Greenlee majoring in jazz studies, and she is the bass player for a bluegrass band named Prairie Wildfire. The band is on teaching staff at the camp.

“In the past, we’ve had a professional band come to the camp each year,” says Karen.

Horseshoes and Hand Grenades,

a progressive bluegrass band from Wisconsin, once played regularly at the festival, and they have been regular special guests of the camp. “They did demonstrations for the campers, and they taught classes. They would also do a show for the kids, and another show for the community.

“They were unable to come this year due to COVID-19, so Prairie Wildfire took over their duties.”

The interesting thing about Karen being the director of the camp is that she doesn’t play a stringed instrument, and until her daughter started playing bluegrass, she was not particularly a fan of the genre. “I didn’t know I would like it so much,” she says. “I think bluegrass music was just waiting to be discovered by me!” Karen also works throughout the year as the manager of Prairie Wildfire, as well as booking shows for the Occidental Hotel, owned by David Stewart.

“David is a singer and a songwriter, and he is a mentor for my daughter and her band,” says Karen. “He has written many top songs, and he’s always hosted the concert for the camp in the Occidental’s beer garden. He and his wife, Jackie, are big supporters of the camp.” Karen hosts concerts at the Occidental throughout the year. “We have a January Jam there, as well as the Spring Jam, both of which raise money for the camp.”

The community supports the camp

in many ways, including financially.

“We received $2000 in scholarships raised by members of the community that ensure that every kid, regardless of their family’s financial situation, is able to attend the camp.” The Wyoming Arts Council and the Johnson County Recreational District support the camp as well.

“I’m involved with the camp because I see how it can literally change a child’s life,” says Karen. “I saw it happen with my own child and I’ve seen it

happen with other children. It’s unusual to see kids show up early for anything, especially in the summer, but here they show up an hour before camp some mornings, for a private lesson, or just hoping to get a little extra help.” Campers do not need to own instruments to attend the camp. “We rent instruments. Kids sometimes have to try a few different instruments until they find the one they like the best.”

Camp is concluded with a concert on the last day. It’s fun to see the parents watch their children on stage,” says Karen. “The community is invited as well, and they love it. Many of the kids continue playing all year at the weekly jam held at the Occidental. It’s heartwarming to see the young kids playing with the old-timers.

We have started seeing some of the same kids come back to camp summer after summer, and many of them have come back to be on staff. Music has a way of opening children up to bigger things, and we are proud to be a part of that.”

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Stephen Pitalo

Something Borrowed, Never Blue The Borrowed Mules Love Playing and it Shows

G. Clark Shifflett, III formed his band the Borrowed Mules from a stable of local musicians who just clicked.

“Brad Benge and I played together for a few years in a group that occasionally included David Mansfield on fiddle, Kelsey Crews on banjo, and Jon Martin on mandolin,” Shifflett said. “We routinely jammed together at the worldfamous Station Inn in Nashville, Tennessee.”

As for the Borrowed Mules’ strange name, guitarist Shifflett blames a mandolin player – actually, their current mandolin player in the Mules, Carl Caldwell.

“Bluegrass pickers move around a lot, and the roster rotated around a ‘stable’ of great pickers for a 12

while,” he said. “Sometime around mid-2018, Carl told me he was gonna work me ‘like a borrowed mule.’ Considering the fluctuating nature of the musicians, I decided that would be a great name for a band.” Eventually, the lineup settled

into a groove, with fiddle playing provided by Craig Fletcher, and began their journey together.

As far as their influences, there seems to be no end to the list of names and genres that influence their sound. Whether they are

performing dyed-in-wool bluegrass as a classic country standard, the Mules carry a pack of influences and styles that would, well, weigh down any pack mule.

“We love Monroe, Crowe, Rice, Twitty, Wiseman, Robbins, DLQ, the Osborne Brothers, Seldom Scene, the Gentlemen, and even pre-turn of the century,” Shifflett listed off as their most admired musicians and style. “We also love great harmonies and frequently switch parts for fun.”

Nailing down a favorite song to perform is also challenging, but “Sweet Sunny South” is a lyrical favorite for the Mules, who deliver high energy and humor during their sets and invite friends to play,

such as Bob Minner, an acoustic guitarist in Tim McGraw’s band.

“Marty Robbins’ ‘Big Iron’ is a much-loved story tune and so is ‘30 Years of Farming,’” he said.

“Instrumentally, ‘Foggy Mountain Special’ gives everyone a chance to

shine, but ‘Wheel Hoss’ is a big crowd pleaser and a real barn burner!”

True to their giving nature, the Mules served as entertainment for the sixth annual Temple Theatre Sweetheart Dinner & Show in 2019, which helped raise $32,000 for the restoration of the theatre.

Staying sane during the pandemic proved challenging for the Mules, who sometimes expand to eight performers for gigs.

“Some informal -- and at times secret -- pickin’ parties kept us in each other’s company and musically alive,” he said. “We were also livestreamed during the latter part of the shut-down for a series of ‘online only’ shows to fill-in for one of our bluegrass friends at the Station Inn while she recovered from an injury.”

In addition to their Station Inn

gigs, the band hit the stage on the Sutton Ole Time Music Hour at the Sutton General Store in Granville, Tennessee not long ago.

A new Mules recording project that includes some favorite covers, as well as original material, will be released soon.

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REBEKAH SPEER

It’s been seven days since I received the sad call that Tom T left this world to finally be reunited with his beloved, Miss Dixie Deen. I have spent the past seven days reading social media posts and articles that other writers have written on Tom T. I must admit I am not going to write about the celebrity facts of Tom T and Miss Dixie though I am a humble admirer of all these two accomplished in their lives. Instead, I am going to write about Tom T & Miss Dixie from my perspective and what they meant to the world of bluegrass and its ragamuffins like myself who they took under their wings until we found our own wings to fly.

My last communication with Tom T was a birthday video that included my best friend and IBMA Songwriter of the Year, Donna Ulisse, and me. We were being our usual

silly selves and recorded a gloriously horrendous version of Happy Birthday. I sent the video to his assistant, Melissa, and texted that we loved and missed him dearly.

I mentioned I was going to get everybody together to come see him whether he wanted us to or not. He replied back, “The door is always open, and you know where I live unfortunately. – Tom T”.

Melissa texted that he was laughing and said, “You guys are great.”

Photographer: Joshua Black Wilkins

He called me Rab-a-kah. He stood at the counter making a cup of java that seemed to be ¼ coffee and ¾ hazelnut creamer and told me, “I have been looking at the way your name is spelled, and it seems it should be pronounced Raba-kah.” From that day on in the Fox Hollow camp located in Franklin, Tennessee I was “Rab-a-kah” to everyone.

We never did make it out to see him. With the battles of Covid-19 and its mutations it just wasn’t safe on top of the fact Tom T was a notorious recluse. I chuckle thinking about the Miss Dixie that I knew and how she would have fussed at him for locking himself away. I imagine I will always regret not getting to see him one more time.

Tom T was happy to be retired from the road and the spotlight. He avoided it as much as possible even when he was part of the entertainment world. I do believe he still enjoyed some aspects of it though.

He told me once that he absolutely hated photoshoots.

Conveniently, he told me this on the day Miss Dixie made him stand still long enough for me to snap a few pictures of him for her email blasts.

I have seen recent photos of Tom T after my time there, and I can’t help but wonder if those photographers were as nervous in that given moment as I was. Dan Hays wrote about Tom T on social media saying, “…In his retirement he seemed to simply want to be Thomas Hall…not “Tom T.” He was fond of saying he was the only man in Nashville trying to get OUT of the music business. He seemed to earnestly set himself toward that goal shortly after his wife and bluegrass music’s fairly [sic] Godmother, Dixie, passed a few years back.”

I was initially hired as a graphic designer and then as a studio engineer for the Halls.

They both loved bluegrass music and the people who play and sing it. Tom T and Miss Dixie considered it their philanthropic duty to 15

favorite bluegrass artists like Lester and Earl, which he later gifted to Jerry Salley. He also painted Bill Monroe, Ralph Stanley, and several others of his favorites. I think he really enjoyed giving his paintings to friends. I was lucky enough to receive a portrait he painted of me. I have it proudly displayed in my home as a reminder of how he saw me.

Foxhollow Recording Engineer Rebekah Speer & Tom T Hall

help artists in the bluegrass world. I, for one, know how appreciated they were by this community.

Tom T was an intellect. He had a wry sense of humor and a mysteriousness about him.

Both Miss Dixie and Tom T were avid readers. I don’t recall a single wall without books, all of which they had read.

Tom T had a degree in journalism. He was the type of character who would learn all he could about a subject or story then only tell what he wanted the reader or listener to know. He would have the “office girls” help collect facts about whatever subject of which he was curious at the time. He asked me one time to look up how many angels 16

could dance on the head of a pin. I don’t recall ever finding anything specific other than the answer was supposedly seven or infinite, as angels don’t have a physical form per se. I never thought his request was odd at all, just purely Tom T. When I first came to Fox Hollow, Tom T was really into painting. His art had a folksy whim to it. He painted his

Tom T was an avid Nicorette man. He was never without Nicorette gum that I could recall. He would take it out of his mouth to sing and stick it on the music stand or lyric sheet. I can’t say I ever saw him reclaim it after he was done recording. While I’m on the subject of Tom T recording, he was what we would call a “one-take Jake”.

Very seldom did he ever sing a song twice, but then again, he didn’t need to.

One day Tom T came in while I was working on either an “As a kid I would practice with his records and write out his lyrics by hand so I could learn his songs. He was the single biggest influence on me as a songwriter. To personally get to know him (and Miss Dixie) after moving to Nashville and call him my friend was a true honor.

Not many people are blessed to actually know and become friends with their musical hero.”

Jerry Salley

ad or a graphic. He told me, “You know Rab-a-kah, people like to put a period after the T in Tom T, but it’s not an initial. It’s just simply “T”. ” So, I learned pretty quickly to leave the period off.

Tom T and Dixie were everyday people yet at the same time they were exactly what you expect your heroes to be. I can hear him now… “Rab-akah, hand me my reading glasses”, though he had twenty-five or so odd pairs of them scattered around the studio. He was humble and he had humility. He was one hell of a songwriter. He was and always will be “The Storyteller”. •

Tom T’s Nicorette gum on a chart...

“Rebecca, you said smile...” Tom T 2011 17

Tom T was definitely a legendary songwriter, singer, and entertainer, but to my family and I, he was all of that, but most importantly, he was our friend. He and Miss Dixie brought us into the fold at Fox Hollow, and our lives are so much richer because of it. We treasure our time spent there with them. He took so many people (including me) under his wing, and taught them about the music business, songwriting, life, golf, installing peacock defense systems, and so much more! Talent and creativity like his only comes along once in a lifetime, and I’m so glad I got to share a few miles of his journey alongside him. He left the world a better and richer place, than when he found it.

Troy Engle

“Tom T & Miss Dixie were some of the best friends Bluegrass music ever had.

It was an honor to know them, record their songs and even write one with them. Forever they will be missed.”

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Larry Stephenson

I still pinch myself when I think about having a wonderful 3 hour lunch with Tom T and Miss Dixie. I cannot tell you what I ate that day but I can tell you that the stories he told were priceless!

At some point I mentioned that I had Catahoula Dog named Molly and Tom T leaned over and asked if she had a blue eye and I said yes! Without skipping a beat he offered to buy her from me right then and there because he said he always wanted a blue-eyed dog. Then he regaled me with a story of seeing a blue-eyed dog on a front porch out in the country some years back and he had longed for that dog ever since. I quite simply worshipped Tom T’s writing and will always be grateful I had the opportunity to tell him so sitting there at his lovely table.

Donna Ulisse

We had the privilege of getting to know Tom T Hall years ago, having spent hours at their home studio and at their dinner table. His songs have always reflected the very nature of his personality. Sometimes he said the most in the room by only saying few words. Few but profound. We have so much love and respect for him and Miss Dixie and will greatly miss him as we do her.

The Isaacs

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Our friendship with Miss Dixie and Tom T Hall began in the spring of 2005. I was working on a gospel cd at the time and had reached out to them for a song for the project. I was a bundle of nerves when Miss Dixie came on the line. I indicated that we had never met, but we had mutual friends in Chris and Sally Jones” to which Miss Dixie responded “then you must be a fine person”. This quickly put me at ease, and from that day on, both Tom T and Miss Dixie took us in like family. Each year we traveled to SPBGMA and IBMA, we would visit and spend quality time with them, helping throughout the events and having the time of our lives.

Tom T had a special way of letting you know he cared about you and that you mattered to him. Be it a word of encouragement, wisdom, or simply welcoming you with a tender and unassuming “we left the light on for you”, Tom T made us feel special, and we remember his every mark of affection. He was genuine in song and in person, it was who he was to the very heart of the man.

Gifted and so giving, a life so well lived. We have such fond memories of them both.

Janet McGarry & Serge Bernard

Tom T and Miss Dixie were so kind to me every time I was around them, which wasn’t really very often. It was such an honor that they invited me to write with them for the Pickin’ Like A Girl album. When I got to the writing session, Tom T said, in a gruff, matter of fact way, “We’re going to write ‘The Windowsill Song’ and it’s going to be all about the birds coming to the windowsill. They’re teaching you their tunes and you play them on the fiddle.” Then he walked out to work in the garden or with the chickens or something, leaving Miss Dixie and I to start on the song. All day he wandered in and out of the writing session, adding a thought here and a line there. It was so interesting to me to observe their writing process, how they weren’t afraid to fight for things they felt strongly about adding to or leaving out of the song. I went all Beatrix Potter on the last verse, which I worked on at home and emailed over to them. So glad they liked it! I have another song idea I squirreled away a long time ago, in hopes I’d have a chance to write with them again, but it wasn’t meant to be. I’m so grateful to have gotten to know them!

Becky Buller 20

“Tom T was a very warm and engaging performer but he was never fond of crowds, and he never craved the limelight. In and outside of music he was a true individual and a renaissance man, constantly learning and expanding his skills. His songs were true stories that he had lived or witnessed. He was also extraordinarily generous. That’s what gave them their power. On a personal note, he was a close friend and mentor. It’s a huge loss.

Tom T was the kindest considerate man I’ve had the pleasure of knowing, always had such a good heart, treating Ronnie & I like family. We loved him dearly.

Frances Mooney

Chris Jones

Tom T Hall was a simple man. He wrote simple melodies that the average person could understand. We were blessed to record two songs that he wrote especially for us. Both were number ones on the national chart. I’m glad our paths crossed.

Lorraine Jordan

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SHELBY C. BERRY

HOME IS WHERE THE GOSPEL IS: THE FULLER FAMILY SINGERS

“We started singing and playing together in nursing homes when we noticed our 3 oldest daughters were able to harmonize with parts,” said Brain Fuller, father and bandleader for The Fuller Family Singers. “The three oldest girls had a desire for what we were doing in the church and the nursing homes,” Brian continued.

“So, I told the girls that if they would practice every weekday for a month for 30 minutes

per day, then I would give them a dollar for every day.

And if they missed, they paid me a dollar. We did this for about two months, then the vision took hold, and the rest is history.”

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Brian’s only exposure to bluegrass music had been a single radio station that played bluegrass music on Saturday nights. Rachel was specifically influenced by bluegrass music due to her family roots and being raised in North Carolina.

“Several of my family members played the banjo, and I grew up around it all of my life. My grandad owned a shop where

and bluegrass flair. Neither Brian nor Rachel played musical instruments until after they were married. However, the children started much earlier and continue learning new instruments while Rachel composes original music for their family band.

Today, this family of 10 from Mount Pleasant Mills, Pennsylvania, perform and share the gospel at churches, festivals, and other events.

Rachel plays guitar; 15-yearold Lauren plays acoustic guitar, piano, bass, and dobro; 14-year-old Charlotte plays piano, ukulele, and banjo; 11-year-old Brianna enjoys bass, piano, and fiddle; 10-year-old Micah plays ukulele, piano, and bass; and 8-year-old Isaac plays piano and ukulele. Joining in song are six-year-old Caleb and fouryear-old Sadie, alongside the family’s newest addition, 18-month-old Judson, but these youngsters will also learn to play instruments like their siblings.

The Fuller family lives on a small farm where they raise dairy beef, goats, and produce, and are adding a pick-your-own strawberry patch. They also own and they would host bluegrass jam operate a custom saw-milling business and a kettle corn sessions,” said Rachel. concession business.

While The Fuller Family Singers primarily sing gospel “We live in a farming songs, they tend to lean community surrounded by towards music with a country horse and buggy Mennonites,”

said Brian.

than what we would have,” said blessings in life and how different it could be for you.”

Brian.

This simple everyday life draws the Fuller Family to traditional The Fuller Family Singers use Their music and testimony music belonging to likes of The their music as a vessel for Jesus shares Jesus and the message of Carter Family and Patsy Cline, Christ, which, in 2019, led to salvation because they, “hope to inspire people to work on their families and have a home where mom and dad love each other, the kids respect their parents and live in the way that God intended. We believe that we can be a testimony of what God intended for a family unit when we are living for His glory. That is the driving force behind our music and what we want to do.”

For the Fuller family, music has been a sacrifice in some ways, “but it is a sacrifice well worth making.” and soundtracks like The Sound them performing at a prison crusade in Florida. of Music.

“We are influenced by our love of older music, older things, older movies, and the things we collect,” said Rachel. “Bluegrass has the feeling of the older songs that focus on simpler times.”

“It was a very incredible experience to be there,” said Rachel.

“It was quite the eye-opener to have people tell you that you are living their dream,” said With the Fullers centered on Brian. “We were asked to come music and family, it is no surprise back this December. Something that fellow bluegrass artists like that makes you realize your Autumn and Canyon Moore asked The Fuller Family Singers to join Tomorrow’s Bluegrass Stars.

“Tomorrow’s Bluegrass Stars has really encouraged the younger kids to get involved in their music. It has definitely been an encouragement to get more involved and branch out more 23

Eric Frommer

Photographer Susan Marquez

Eric Frommer has been a bluegrass fan since he was 17.

The Long Island native heard Lester Flatt on television, but it wasn’t until he bought a Nitty Gritty Dirt Band album and heard “Foggy Mountain Breakdown” that he became a big fan of the genre. “That was a kind of gateway album for me,” Eric laughs. “I knew the song was by Lester Flatt, so I went to the record store and bought a Lester Flatt album and listened to it over and over again.”

megapixel camera, and I wasn’t very good at photography, but I enjoyed it and I wanted to get better.” As he could afford it, he bought better camera equipment. “I took some classes before going on an Alaskan cruise,” Eric recalls. “My dad Eric went to many bluegrass died, and my siblings and I festivals up and down the east coast. “I saw Bill Monroe several wanted to do something nice for my mom. We decided to times, and I must have seen the Osborne Brothers 40 times. I saw take her on an Alaskan cruise, and I wanted to improve my Jim and Jesse, and I saw Ralph photography skills so I could get Stanley, and of course, Lester some nice photographs during Flatt and many others.” At the age of 21, Eric moved from Long the trip.”

Island and now lives in Everette, The more he went to bluegrass Washington. shows and festivals, the more “I am a big bluegrass fan,” says he realized that the old-timers Eric. “I can’t pick or anything. weren’t going to be around I am just a fan, but one of the forever. “I wanted to be sure I biggest fans ever.” He has been got good photographs of them attending the Wintergrass so they will be remembered in festival since it started thirty the future.” He has been shooting years ago and began taking music photography for so long pictures for fun. “I had a two24

now that his status as a worldclass photographer of musical acts has given him the freedom to shoot Earl Scruggs in venues where photography isn’t allowed.

“I’ve also shot photos of his brother, Randy Scruggs, as well as Doc Watson. Sadly, some of those pictures were used by public radio for their obituary pictures.”

Eric now shoots thousands of photographs at each festival.

“Wintergrass is huge. It lasts for four days, with four stages that have music jamming 24-hours a day. I have been a fixture at the festival for so long that I know most of the people there. I never wanted to volunteer, because I didn’t want to miss the bands I wanted to see.” Eric gets to a show before setup and doesn’t leave until after it’s all over. He gets crowd shots, pictures of jam sessions as well as the youth

says he waits in line for his seats, and he sits with friends. “We always sit in the second row. I don’t want to get too close to the stage because I don’t want to look up the performers’ noses. I don’t even think about camera settings. I look for certain emotions. I am such a fan that I know when a performer like Doyle Lawson will stand, walk around, and turn. I am careful with my angles so that I won’t get a mic stand in the photo, but I’m careful to capture the instruments because people want to see Doyle’s mandolin!”

While he loves shooting photographs of bluegrass artists, Eric’s love of photography extends to other subjects as well. “I love shooting air shows when I can, and car shows, even though I know nothing about planes or cars! I also love shooting wildlife, particularly birds.” But music is his passion, and his love for the artists makes his hobby of photography the most rewarding.

To see Eric’s work, visit his website at ericfrommerphotography.com. symphony at Wintergrass. “No matter what I shoot, I want the people who see the pictures to feel like they were there.” When Facebook and blogging platforms came out, Eric realized that could be his venue for sharing his photographs year-round.

“It takes me a year or more just to go through all the photos I take, choose the best ones, and edit them. It’s very time-consuming, and I have a full-time job.” Eric works for a mortgage company on the appraisal desk. “I have 1000 independent appraisers under me, and I have to make sure they get things in on time for closings. It’s demanding.” While his office is just 28 miles from his home, it would take him an hour and a half to two hours each way. “Since COVID-19, I’ve been working from home, so that gives me more time in the evenings to edit.

It’s not that different from Ansel Adams. He didn’t have photoshop like we have today, so he had to manipulate photos with developing chemicals and an enlarger. Both processes are time-consuming.”

A simple lightweight foam device that attaches to any guitar and allows it to be leaned safely $9.95 $17.95 for Three Free Shipping It’s Simple, It Works…Protect Your Guitars!

A fan first, and a photographer second, Eric 25

By Kara Martinez Bachman

26

January 2021) and “Caged, Vol. 2” (released May 2021) -- are now available for download on all platforms.

The lineup includes Christianson on guitar; his brother, Cole Christianson, on banjo; Gavin Haskin, with his mandolin; and Matt Blake, providing the bass.

“My friend Gavin [Haskin] was playing in a local group [Ginstrings]...the band was slowing down,” Christianson said. “He asked me to sit in on a really informal pick-up gig, and we kind of clicked.”

They’re just getting started, but the twin-cities-based Brotherhood of Birds -- the bluegrass group with a unique name -- is spreading its wings.

They’ve only been around less than a year, and they’ve already released two recordings and have booked several successful gigs during a year that has been difficult for most all live performers.

We’ve been lucky to be playing outdoor gigs, so we haven’t had too much trouble,” explained Brotherhood of Birds guitarist, Willie Christianson.

“I started playing when I was maybe 11 or 12,” Christianson reminisced. “My brother was into the Grateful Dead and the jam band scene...he’d kind of let me hang around and jam with When not performing outdoors, them.” they used the past months to record music.

Christianson said he’d played himself in a few bands over the “We kind of split it into two years -- generally rock or related parts,” Christianson said. “Two genres -- but Brotherhood of shorter EPs.” The recordings -- Birds is a first.

“We had a pretty busy summer. titled “Caged, Vol. 1” (released

27

“This is actually the first-string band I’ve played in,” he said.

“It’s been really fun getting back into it with my brother...it’s been really rewarding.”

The band’s name is curious.

And yes, there’s a bit of a story behind it.

“The bird thing just kind of take in a little bit of what this upstuck,” Christianson said. and-coming band has to offer.

He said the group is positive about the future, but he was reluctant to give a specific outline of where they hope to be at this time next year. That’s probably wise, considering the uncertainties so many musicians have faced over the past year.

There’s just no telling where things might be headed.

“One morning at Gavin’s house in St. Paul,” Christianson explained, “we looked out the window and there were like 20 or 30 people out there with “It’s still hard to want to count binoculars.” on what’s coming up,” he said.

“We’re just enjoying it in the A rare species of bird had been moment while we can. We just spotted in the neighborhood want to keep playing live shows.” and a group of birdwatchers had assembled there to look at As of now, there are several live it. gigs slated for this month and next. It’s a great opportunity to

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Dates currently on the schedule include September 3, Shangrila Music Festival at Harmony Park (Clarks Grove, Minn.); September 4, Brotherhood of Birds Bluegrass Americana Art Show at Day Block Brewing (Minneapolis, Minn.); September 23, Allison de Groot & Tatiana Hargreaves with Brotherhood of Birds at Day Block Brewing (Minneapolis, Minn.); September 24 and 25, Gun Flint Tavern (Grand Marais, Minn.); and October 16, Pert Near Sandstone with Mae Simpson and Brotherhood of Birds at First Avenue (Minneapolis, Minn.).

August 2021 Number

Song

1

People, Places, & Song

Greg Blake

2

Santa Barbara

3

Artist

Label

LM

Turnberry Records

4

Balsam Range

Mountain Home Music

11

Goodbye Marie

Merle Monroe

Pinecastle Records

7

4

Living Left to Do

Billy Blue Records

6

5

Golden Rule

Joe Mullins and The Radio Ramblers Alex Leach Band

Mountain Home Music

12

6

Singing the Blues

Echo Valley

Independent

13

7

Somebody Loves Me

Rebekah Speer

Turnberry Records

10

8

Now There’s You

Lori King and Junction 63

Turnberry Records

9

9

I Take the Back Roads

Jerry Salley

Very Jerry Records

3

10

Gone Gone Gone

The Brothers Comatose

Independent

NRV

11

Roll That Rock

Pinecastle Records

NRV

12

Somewhere on this Mountain

Bobby and Teddi Cyrus W / Billy Ray Cyrus Nefesh Mountain

Independent

1

13

Someday

Barefoot Movement

Bonfire Music

NRV

14

Just a Little Talk with Jesus

Redeemed Quartet

Independent

5

15

Hello

Nick Chandler and Delivered

615 Hideaway Records

2

Submit Your Professional Videos, or Lyric Videos for Consideration to: editor@thebluegrassstandard.com NRV – New Release Video RE – Returning Video to Chart

29

BILL EMERSON JANUARY 22, 1938 – AUGUST 21, 2021

30

Susan Marquez

AFTER A NIGHT OF PERFORMING IN NORTH BEACH, MARYLAND, BUZZ BUSBY (BERNARD BUSBICE) AND THE BAYOU BOYS PACKED UP AND HEADED BACK TO WASHINGTON, D.C. IT WAS JULY 4, 1957, AND IT HAD BEEN A LONG DAY. THE DRIVER FELL ASLEEP AT THE WHEEL, WHICH RESULTED IN A CRASH. BUZZ AND SEVERAL MEMBERS OF THE BAND WERE BADLY INJURED. BUT WHEN IN SHOW BUSINESS, THE SHOW MUST GO ON. THE BAND’S BANJO PLAYER, BILL EMERSON, WAS RIDING IN ANOTHER CAR, ESCAPING INJURY. BUZZ DIDN’T WANT THE BAND TO LOSE THEIR REGULAR GIG THAT NIGHT AT THE ADMIRAL GRILL IN BAILEY’S CROSSROADS, SO HE ASKED EMERSON TO PUT TOGETHER A BAND WHILE THE OTHERS RECOVERED FROM THEIR INJURIES. EMERSON RECRUITED GUITARIST CHARLIE WALLER, A FORMER BAYOU BOY, ALONG WITH MANDOLIN

PLAYER JOHN DUFFEY AND BASSIST LARRY LEAHY TO FILL IN. THAT HISTORIC DECISION LED TO THE FORMATION OF THE COUNTRY GENTLEMEN, A BAND THAT POPULARIZED BLUEGRASS MUSIC IN THE 1960S.

MARYLAND SUBURBS, WHERE, AS A TEENAGER, HE LISTENED TO COUNTRY MUSIC ON THE RADIO AND DISCOVERED MAC WISEMAN. WISEMAN HAD A DAILY LIVE RADIO BROADCAST FROM NEARBY BALTIMORE, AND IT WAS THROUGH LISTENING TO WISEMAN’S SHOW THAT EMERSON DISCOVERED THE MUSIC OF BILL MONROE, LESTER FLATT, AND EARL SCRUGGS. EMERSON LOVED THE SOUND OF THE BANJO, AND HE TRADED HIS ELECTRIC GUITAR FOR A FIVE STRING. IT WAS AT THAT TIME THAT HE MET JOHN DUFFEY, ANOTHER BUDDING MUSICIAN FROM THE MARYLAND SUBURBS, WHO TAUGHT EMERSON SOME BASIC TECHNIQUES ON THE INSTRUMENT. AFTER THREE MONTHS OF INTENSE PRACTICE, HE WON A LOCAL BANJO CONTEST.

AFTER A LONG AND ILLUSTRIOUS CAREER IN BLUEGRASS, BILL EMERSON PASSED AWAY AUGUST 21 FROM COMPLICATIONS DUE TO PNEUMONIA. HE WAS 83 YEARS OLD. EMERSON WAS CONSIDERED ONE OF THE FINEST BLUEGRASS BANJO PLAYERS IN MUSIC HISTORY, AND HIS CAREER IN BLUEGRASS DATES TO THE MIDDLE 1950S. AT AGE 21, HE WAS AWARDED THE NATIONAL CHAMPION BANJO PLAYER AT THE 1959 NATIONAL CHAMPIONSHIP COUNTRY MUSIC CONTEST IN WARRENTON, VIRGINIA. BORN IN WASHINGTON, D.C., EMERSON GREW UP ACROSS THE POTOMAC RIVER IN NORTHERN VIRGINIA. HIS EARLIEST EXPERIENCE WITH HIS FAMILY THEN MOVED TO THE A BAND WAS WITH UNCLE BOB

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LATE 1969. THE GROUP BECAME FAMOUS INTERNATIONALLY, EVEN MAKING A WELLRECEIVED TOUR OF JAPAN IN 1972. EMERSON WAS QUOTED IN AN ARTICLE BY BILL VERNON IN THE JUNE 1972 MULESKINNER NEWS: “CLIFF (WALDRON) AND I WERE JUST STARTING OUT AND WE REALIZED THAT WE HAD TO DO SOMETHING DIFFERENT TO ATTRACT PEOPLE’S ATTENTION – WE COULDN’T JUST DO THE SAME THINGS THAT HAD BEEN DONE DOWN THROUGH THE YEARS, OVER AND OVER AGAIN TRADITIONALLY, SO THAT’S THE REASON WE WENT TO DO THINGS LIKE “PROUD MARY” (BOB SMITH) AND THE BLUE JUKE BOX,” “LOST, GOING HOME” AND “FOX ON THE RUN,” WHICH THE COUNTRY GENTLEMEN RIDGE PARTNERS IN 1955. THAT AND “LONESOME WIND.” RECENTLY RECORDED.” GROUP HAD A RADIO SHOW IN ROCKVILLE, MARYLAND, AND WHILE WITH THE COUNTRY THEY PERFORMED AT MOOSE GENTLEMEN, EMERSON PLAYED IN 1973, FOLLOWING THE GENTLEMEN’S LODGES IN THE AREA. HE ALSO ON NEARLY A DOZEN SONGS, COUNTRY AT RALPH PLAYED WITH ROY AND CURLY AND HE ALSO SANG HARMONY. APPEARANCE IRVIN, A FATHER AND SON BAND HE LEFT THE GENTS AFTER A STANLEY’S MEMORIAL DAY WHICH INCLUDED ART WOOTEN, YEAR TO PERFORM WITH MAC FESTIVAL, EMERSON JOINED THE LEGENDARY FIDDLE PLAYER. WISEMAN AND BILL CLIFTON, THE NAVY WHERE HE SERVED EMERSON CREDITS ROY’S SON, AMONG OTHERS. SMITTY, AS BEING A BIG HELP DURING THOSE WITH HIS PROGRESS ON THE YEARS, HE APPEARED BANJO. ON THE GRAND OLE OPRY AND THE AFTER GETTING SOME LOUISIANA HAYRIDE, EXPERIENCE UNDER HIS BELT, DID A STINT AT THE EMERSON WAS READY FOR HIS GOLDEN NUGGET FIRST PROFESSIONAL WORK. IN LAS VEGAS, AND HE JOINED BUZZ BUSBY AND PERFORMED FOR THE BAYOU BOYS IN 1956 AND MILITARY TROOPS PARTICIPATED IN SEVERAL OF THE ON A USO TOUR. BAND’S RECORDING SESSIONS, EMERSON REJOINED INCLUDING APPEARING ON THE COUNTRY SUCH CLASSICS AS “ME AND THE GENTLEMAN IN 32

HIS COUNTRY FOR TWENTY YEARS. HE PLAYED IN A NAVY RECRUITING BAND, COUNTRY CURRENT, AVERAGING 200 DATES A YEAR. HIS BLUEGRASS BACKGROUND WAS A BIG INFLUENCE ON THE BAND, AND IN TIME THEY PERFORMED AT BLUEGRASS FESTIVALS AND AT IBMA EVENTS. EMERSON’S RETIREMENT FROM THE NAVY

THE YEAR, BLUEGRASS ALBUM OF THE YEAR, AND INSTRUMENTAL RECORDING OF THE YEAR. EMERSON HAS BEEN INDUCTED INTO SEVERAL HALLS OF FAME, INCLUDING THE SOUTHERN LEGEND ENTERTAINMENT AND PERFORMING ARTS HALL OF FAME (2009), HONORARY LIFE MEMBER OF THE IBMM MUSEUM AND INCLUDED IN THE IBMM’S

PEACEFULLY PASSED ON TO HIS HEAVENLY HOME WHILE SURROUNDED BY HIS FAMILY, DUE TO COMPLICATIONS FROM A BOUT WITH PNEUMONIA. BILL WAS A WONDERFUL HUSBAND, FATHER, GRANDFATHER, GREAT GRANDFATHER, A TRUE GENTLEMAN, AND A PROUD NAVY VETERAN. HE WAS 83 YEARS OLD. THIS HAPPENED

GAVE HIM THE FINANCIAL PIONEERS OF BLUEGRASS (2008), FREEDOM TO PURSUE MUSIC WASHINTON AREA MUSIC HALL FULL-TIME. OF FAME (2007), THE SPBGMA PRESERVATION HALL OF GREATS EMERSON HAS BEEN HIGHLY IN NASHVILLE, TENNESSEE RECOGNIZED FOR HIS MUSICAL (2000), AND THE VIRGINIA FOLK ABILITIES. IN 1984, JUNE 10 MUSIC ASSOCIATION’S VIRGINIA WAS OFFICIALLY DECLARED COUNTRY MUSIC HALL OF FAME AS BILL EMERSON DAY BY THE (1984).

GOVERNOR OF VIRGINIA. HE HAS BEEN NOMINATED FOR IBMA A STATEMENT BY THE IBMA BANJO PLAYER OF THE YEARS WAS MADE FOLLOWING SEVERAL TIMES, AS WELL AS EMERSON’S DEATH: “WE ARE BEING AN IBMA NOMINEE FOR VERY SADDENED TO SHARE ALBUM OF THE YEAR, SONG OF THAT THE HALL OF FAME BANJO THE YEAR, RECORDED EVENT OF VIRTUOSO BILL EMERSON

QUICKLY AND IS STILL A SHOCK TO THE EMERSON FAMILY. WE ASK THAT YOU PRAY FOR BILL’S WIFE, LOLA, AND THE REST OF THE FAMILY.” WILLIAM HUNDLEY “BILL” EMERSON, JR. WAS PRECEDED IN DEATH BY HIS SON JOHN SCOTT EMERSON. HE LEAVES BEHIND HIS WIFE, LOLA, AND TWO SONS, MIKE EMERSON (AND HIS WIFE, SHERRY), AND BILLY EMERSON (AND HIS WIFE, LISA).

33

Meghan Holmes

On a recent Monday night in New Orleans, around half a dozen masked musicians sit in a circle inside the Hi-Ho Lounge. “Do y’all know ‘Take this Hammer?’” asks a banjo player, already plucking his strings. A short run-through later, and another banjo, guitar, and accordion have joined in, with an increasingly steady harmony rising over the hum of a food truck outside.

It’s the Bluegrass Pickin’ Party - a weekly gathering of local and often also traveling musicians that’s been held at the Hi-Ho since 2007, though its origins go back further, according to current organizer Tucker Baker. “I’ve been involved for the past seven years or so, after finding 34

the jam while I was studying at Tulane and doing a music culture project on the banjo.

Before Katrina, there was a bluegrass jam at Liuzza’s by the Track on Thursday nights that started in the late 90s,” Baker said.

Monroe of the Hi-Ho” Flory, and many others.

“We want a variety while also aiming to have traditional bluegrass vibes, as well as old-time country that is jammable,” Baker said. “Hank Williams, Sr. is all right by us, like ‘Louisiana Hayride’ type of country music. Pat (Flory) will do Jimmy Martin’s ‘One Woman Man,’ and things like that. We have people that bring dobroes, lap steels, and harmonicas, and before COVID turned things upside down, part of my job was calling people and figuring out who was bringing what and working out the instruments.”

Most Hi-Ho jam sessions feature at least one bass, mandolin, fiddle, and banjo, though the pandemic has impacted how many performers can participate.

For a while, the group was live streaming the jam from inside the venue, which “felt sort of like being with my friends in a speakeasy,” Baker said. Regular group members include jam founder Geoff Coates, Mark Andrews, The pickin’ party at the HiVictoria Coy, Pat “The Bill Ho forms part of a larger

bluegrass scene in New Orleans that might initially seem incongruous given the city’s reputation as the birthplace of blues and jazz.

Baker also performs with the Monday Night String Band (with John Noble, Julie Pfeffer, Ben Russell, Gene Smith, and Scott Stobbe), while other local groups The Tanglers (Dylan Williams, Graham Robinson, Harry Hardin, Jacob Tanner, Matt Rota, and Craig Alexander) and Sweet Olive String Band (Pat Flory, Mike Kerwin, Rob Schafer, and Tina Forsyth) also have ties to the Hi-Ho jam.

One of the city’s longestrunning bluegrass groups is Hazel and the Delta Ramblers, fronted by New Orleans

bluegrass legend Hazel Schlueter (with Scott Kropog, Russ Vandyke, and Larry Schlueter). The group boasts a 35-year run at Jazz Fest, and Hazel has hosted an old-time country and bluegrass show on New Orleans’ local musiconly public radio station WWOZ since the station’s inception in 1980, which is currently aired on Sundays.

“Yeah, there are definitely a good number of bluegrass musicians down here,” Baker said. “There’s a history that goes back, and it’s not really that surprising, because for all intents and purposes bluegrass is rural white jazz.

Somebody takes the lead, and you sing a verse, then sing a chorus. They aren’t that

disparate in my mind.”

Older styles of country music don’t feature breaks as prominently as bluegrass - something integral to the genre that arises from jazz and blues influences. Solos are an important part of the bluegrass sound, and early pioneers in the genre like Bill Monroe heard jazz in cities and integrated elements into rural white music. Church songs and phrasing are also commonly heard in country, bluegrass, jazz, and the blues - something clearly on display at a recent Hi-Ho jam when “I Saw the Light,” “This Train is Bound for Glory,” and “Will the Circle Be Unbroken” all made an appearance.

35

“We know it was widely accepted that Bill Monroe took a lot of elements of jazz structure and integrated them into bluegrass after spending time in Chicago,” Baker said. “We haven’t found the footnote yet, but Pat (Flory) and I are convinced he also made a trip to New Orleans and listened to the horn players.”

The Hi-Lo jam continues, with recently implemented city-wide guidelines requiring masking as well as proof of vaccination or a recent negative test result to enter venues ensuring safety, and Baker remains committed to the event’s future on the other side of the pandemic. “We’ve just been trying to find some way to slog through this since bars closed a year and a half ago. This event has been happening for decades and it’s tough to imagine it ending. We went through a period where we didn’t have it when things first shut down, and after being able to see everyone

36

37

I had the pleasure to make the acquaintance of Jake Vaadeland (pronounced VOD-luhn) at the 2019 Monroe Mandolin Camp in Monteagle, Tennessee.

He had the ‘50s country look, from the clothes he wore, the string tie, the Lester Flatt thumb pick guitar strum, to the pomaded pompadour haircut. He cut a foppish figure and seemed to have stepped 38

right off of a Greyhound Scenic Cruiser double-decker bus, fresh from the fertile plains of Saskatchewan, bound for Music City with a pocket full of songs, a guitar, and the dog-eared stub of a one-way ticket. Jake had just enough attitude to let you know that he wasn’t kidding, not that there was any disrespect or brashness; instead, he seemed to have a healthy dose of bravado

and svelte, and a double dose of knowing who he was and where he wanted to go while working out for himself how to get there.

These are all admirable traits.

Whether Jake’s persona is a puton invention for show business, or the real him, he wears it well and makes it credible. I admire that.

requires effort. Effort may not be what the crowd has in mind.

When I heard that Jake had an EP CD, Retro Man, which has six original songs, I knew I had to have it. I expected a lot, and I was rewarded with more than expected, which is what I long for in any music.

How does one describe this music? It definitely falls in the rock-a-billy category, old (50’s) country, and Jake’s strong steeping in Bluegrass finds itself just below the surface. One could call this Americana, but in this case, Canadiana might be more appropriate. I hear Carl Perkins, Johnny Cash, echoes of Earl Scruggs in Jake’s guitar playing, Johnny Horton, and, of course, Tommy Hunter; but the look is all Faron Young. At the Mandolin Camp, I dubbed him “Young Faron.” He liked that.

The six songs are: 1.

House and Pool 2.

Every Night I Have a Dream 3.

I’m in a Rush 4.

Be a Farmer or a Preacher 5.

Father’s Son 6.

Retro Man

Jake risked a lot with Retro Man, but risk carries with it the promise of the great reward that can never be achieved playing it safe. Congratulations, Jake.

Rewards are inbound with their own one-way ticket.

My favorites are “Retro Man,” Original music is far less safe “Father’s Son,” “Every Night I than performing covers of songs Have a Dream,” and the haunting everyone knows and loves. In “Be a Farmer or a Preacher,” any venue, while the band may which gave me goosebumps. have some objections to playing Jake gives us a vision of growing any one of a dozen well-worn up in rural Saskatchewan with but much-loved covers, “Rocky “Father’s Son,” which no doubt Top,” “Brown Eyed Girl,” “Wagon makes his father, Gord, even Wheel,” “Free Bird,” et. al., an prouder of him. The acorn, they animated crowd is liable to erupt say, falls not far from the tree. in applause at the sound of the “Every Night I Have a Dream” first chord of any of these songs. would have been a perfect duet Original music, music the crowd for Phil and Don, or Ira and has never heard before, is much Charlie. riskier. The crowd has nothing to compare it to, and they have “Retro Man” sums up Jake. It is to listen. Sometimes listening his theme song, telling us a lot

about himself, far more than I can relate with my words. He’s a Retro Man with a Retro Plan.

Justin Bloudoff ’s steel guitar on “Be a Farmer or a Preacher” is riveting. The rest of the band lays the music in there, unadorned and uncomplicated, to compliment Jake’s songs and singing. Percussionist Ian Dickson manages to give us some great drums without beating on them: Salute!

Jake also has another CD called The Cabin in the Valley, recorded with his friend and music partner, Ira Amundson, whom I also met at the Mandolin Camp. That CD is straight ahead Bluegrass, and I am proud to have an autographed copy.

Retro Man is available on Spotify and through all major music outlets. You can find Jake and his band, The Sturgeon River Boys, on Facebook, where previews of his music can be heard, or at his website, jakevaadeland.com.

There is a lot of talent here, major talent. The future is bright for Jake Vaadeland, who just graduated from high school and turned eighteen this past spring.

I wish all eighteen-year-olds could know their own mind.

Jake sure does.

And he’s willing to risk it being himself.

MISSISSIPPI CHRIS SHARP 39

CHART-TOPPING SONGS FROM THE ROAD KEEPS THE CREATIVE WHEELS TURNING

road that his band, formed back in 2004, was named after a collection of music he’d written while touring with another outfit. That new band Humphrey assembled -almost two decades ago now -- is called Songs From the Bass player and Grammy Road.

Award-winning songwriter Charles R. Humphrey III is On the day Humphrey spoke prolific in coming up with new to us, the group’s single, music. He once wrote so much “Amarillo Blue,” was sitting in stuff when he was out on the the number one spot on the

40

Bluegrass Today charts and had been there for five weeks.

These guys are no strangers to this type of chart-topping success...their “Outside of Omaha” also went to number one. Now, with a five-album catalog of music and another album in the hopper, this Newgrass ensemble had gotten to where they were performing over 200 shows a year before COVID-19 arrived to throw a monkey wrench

into the works for just about an appearance at IBMA on October 1 in Raleigh, wherein everyone working in the biz. they’ll be backing up Jim It only slowed down the Lauderdale. touring for Songs From the Road; it didn’t slow down the Humphrey said the COVID-19 shutdowns came at a time creativity. when the band was re“I personally turned to evaluating its performance songwriting,” Humphrey said, schedule; it had grown to be of the live performance hiatus. heavy. Going forward, Songs “I’ve written over 140 songs.” From the Road will cut back some on the number of dates.

One of those songs was Over 200 was just too much.

“Amarillo Blue,” which is expected to appear on “We’re just gonna take the the forthcoming album. bigger gigs and focus on Humphrey said it will be those,” Humphrey said,” available as a “limited edition so our touring model has vinyl record” that is designed changed. The goal is to keep to raise awareness for Can’d recording...and get rewarding Aid, a non-profit he’s been gigs.” involved with for a long time.

The band is serving as “Tunes Humphrey has been playing Ambassadors” for the charity professionally since 1999. He which, among its many goals, started Songs From the Road aims to provide access to around 2004 with guitarist music for underserved youth. Sam Wharton and mandolin player Mark Schimick.

In addition to the release of that full fifth studio album, “It started as a side project... the band is slated for several we always had a lot of guests events this coming year. Only on the record,” he said. a few currently on the roster are the Bristol Rhythm and Then, five or six years ago, Roots Reunion, on Sept. 10 he said Songs From the Road in Bristol, Tenn.; Stonefly Fall grew to include a full band.

Fest 2021, happening on Oct. James Schlender joined on 8 in Johnson City, Tenn.; and fiddle as well as the newest

member, Gabe Epstein (banjo), just last year.

There are lots of solid experience and performance chops amongst these musicians. In addition to Humphrey claiming a Grammy and IMBA Award, and a slot in the North Carolina Music Hall of Fame, bandmate Schimick has “championed his way” to the heights of the “jamgrass scene” and has shared the stage with Larry Keel, Vassar Clements and more. Wharton has performed with the likes of John Cowan, Jim Lauderdale, and Sierra Hull. Schlender is a two-time National Fiddle Champion and has appeared onstage with Chick Corea, Bobby McFerrin, and George Benson. The newest member, Epstein is a graduate of the East Tennessee State University Bluegrass program.

Humphrey had nice things to say about the new addition.

“Gabe is a fantastic player and a great fit,” he said. “We all get along...it’s like a family.

We’re just lucky to be able to do it.”

Kara Martinez Bachman

41

SHELBY C. BERRY

KEEPING THE ASS

SORTIN’ T

Imagine this—Lonesome Willie Jones and Bobby Batyko playing their first note together on The Beatles’ “I’ve Just Seen a Face.” Who knew that a shared love for The Beatles at an informal jam on State Street in Madison, Wisconsin during the Busking for Books music festival more than ten years ago would lead to one of today’s riskiest, most vibrant bluegrass bands?

“I learned to pick out harmonies from Beatles songs as a kid,” said Lonesome Willie, who formed the band Sortin’’ the Mail with pal Bobby Batyko at his side. The music of Willie’s other band, the Oak Street Ramblers, simply didn’t fit the spicy 42

spirit of Sortin’ the Mail. “I had some racier songs, and the Ramblers were a little more family-oriented,” said Lonesome Willie, who gets to show off his killer mandolin chops and songwriting skills as the bandleader of Sortin’ the Mail.

Over the years, the band has evolved, but today’s lineup is just as impeccable. Bass player (and sometimes banjo player) Brad Astor joined Lonesome Willie and often surprises the crowd when he branches off into a funky banjo or bass jam.

Newest members are Matt Amati on banjo and Mason Aumanstal on guitar are, and current fiddle-player Rin Ribble recently stepped down

after having her first child.

Now a staple in Midwest music, Sortin’ the Mail is a two-time winner of the Country & Bluegrass Performer of the Year at the Madison Area Music Awards.

Enjoy this in-depth The Bluegrass Standard interview with Sortin’ the Mail banjo player, Matt Amati.

The Bluegrass Standard: How did you join Sortin’ the Mail?

Matt: I’ve been playing the banjo for about 20 years. I started as a teenager. The band was doing tryouts for a banjo player, and I didn’t get it! I went home and

S IN BLUEGRASS:

THE MAIL practiced a lot, and I became a substitute when they needed it. I joined the band full-time within a few months.

know what to do with it!

Tell us your background in music and what influenced you?

We have a sacred agreement within the band to leave it up to interpretation.

For me, I took guitar lessons as a teen. I had a guitar when I went to college, but everyone else could play it better. A crazy friend of mine encouraged me to buy a banjo from a local music store. At the time, I didn’t know anything about rural or country music. I was into punk rock, metal, and blues.

I had never even listened to bluegrass. I had bought this strange instrument and didn’t

How has Sortin’ the Mail changed over the last decade?

What inspired the name “Sortin’ the Mail”?

traditional bluegrass music and original songs. That’s just the genius of Lonesome Willie Jones.

Who have been your musical influences?

We have lots of influences in Sortin’ the Mail. I grew up with punk rock and loud music background. We all got into older music later though. I’d say I’m mostly inspired by Jim & Jessie & the Virginia Boys, Nanci Griffith, Johnny Cash, and the steady approach to the rhythm of the Lonesome River Band.

We’ve been steady in our approach to music over the years. We love the drive and rhythm of bluegrass music, but we focus on more unusual lyrics and arrangements than mainstream music. We are not a jam band. We keep our classic bluegrass elements, but Sortin’ the Mail performs great we like the risky songwriting. live shows. What’s your most memorable concert?

We do a good mix of

43

We’ve had a few! Once we were stranded in a cornfield on the way to a show, but we still made the gig! We always have a great time at our regular place at the Alchemy Pub in Madison. The craziest memories we have of playing haven’t even happened on the road, but at the Alchemy Pub after hours. Stuff gets nutty! We have word that our regular shows there may start again soon, and we are very excited.

us at our hottest and most together. We were able to record it mostly live on-stage at the Barrymore Theatre in Madison. It captures us, our wisecracks, and our great energy. We are very proud of that record!

The band has become known for its most recent album, Ringing the Doorbell. Tell us about it?

few parking lot gigs. A couple of members moved on after this time. Bobby moved on to another band, and Rin had a baby and can’t go play all the time anymore. So, we are auditioning fiddlers right now!

That one had a killer lineup.

Willie came through strong on the songwriting on that one. The album captures 44

What was the last song you listened to?

Nanci Griffith with Townes Van Zandt, only about an hour ago!

What was your first concert?

How has the pandemic The first show I ever saw was impacted the band and how did in 1989 in Chicago. It was The you all adapt?

Jesus and Mary Chain band, an alternative loud rock The pandemic was tough on band. a lot of bands. There was a year where we only played a Do you have a favorite movie

soundtrack?

Not really unless there are some great country songs, but everyone loves Oh Brother Where Art Thou.

What about a TV show theme song?

The Fall Guy! What song always puts you in a good mood?

in there. I think we will be able to do even more in the next record.

Anything else you want to Any fast bluegrass song with a share? lot of hot picking. New Grass Revival’s “Can’t Stop Now” is I hope people keeping coming a great one! out to shows! We encourage you to go see live music, Do you have a dream buy concert tickets, and buy collaborator? merch from all your favorite local bands. That goes far for I like the folks I play with! bands like us. Always make the effort.

Sometimes, even if you met your musical idol, you wouldn’t click right away, but you can put me down for Captain Beefheart if he were still alive!

What dreams do you have for the band’s future?

We’d like to be famous, adored by the world and reasonably wealthy, of course!

Honestly, we’d love to play for fans again doing a tour, but mostly we just look forward to playing. There’s nothing better! A record deal wouldn’t be amiss, though.

What can we see and hear from you in the future?

There were a few festivals that got canceled, but we are working on materials for a new album that we are excited about! We are throwing some jazz and newgrass influences 45

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