Americana Rhythm Issue 46

#46

G RATIN CELEB RS !

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THRU CONTENT VALID

AUGUST 2013

Bluegrass, New Grass, Old Time, Mountain Blues, Folk, Roots, String, and all groovy things music in between!

INSIDE THIS ISSUE: New Festivals Musical Diner Banjo Jokes Up And Coming ... and more!

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Table Of Contents:

5 8 Shenandoah Music Trail 9 Regional Roots Fest 10 12 Mando Man 14 Cowboy Church 16 18 Preservationists 20 21 Old Country Diner/

It doesn’t seem like it should already be summer ... But June is upon us and that means we’re in full swing for the 2013 festival season. Many have already happened, but there are many, many more on tap.

We’re really excited about the new one scheduled for July 12-14 in Mt. Solon, VA, called the Red Wing Roots Festival - it will showcase regional favorites The Steel Wheels Band, and feature headliner Sam Bush. I got the chance to chat with Sam while he was on a short vacation in SC a few qweeks ago.

See the cover story (pg. 12-13) for that interview.

Thanks again to Reverb Nation for hooking us up with yet another facinating group in the Carper Family Band (pg. 16).

If you like a little religion with your gospel/grass, check out our story on the growing Cowboy Church movement too (pg. 14). And of course we’ve got a ton of summer festival tips in the fest guide (pg. 20), and more CDs for you to check out in the latest SPINS (pg. 22).

Questions, comments, suggestions: greg@americanarhythm.com

Pioneers Of Bluegrass

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See page 19 or visit www.americanarhythm.com

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Americana Rhythm is published six times a year. All correspon- Business office 540-433-0360 CONTRIBUTORS dence should be sent to PO Box 45, Bridgewater VA, 22812 or Ed Tutwiler email to greg@americanarhythm.com. Copies of Americana Kaye D. Hill Rhythm are made available free at various pick up locations within Wayne Erbsen the publication’s region. Subscriptions are available inside the United Ryan Babarsky States for $16 US currency made payable by check or money UNC Ashville Students Andrew McKnight order sent to Subscriptions at PO Box 45, Bridgewater, VA, 22812.

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Don DePoy Reproduction of copy, artwork or photographs is strictly prohibited DISTRIBUTION without permission of the publisher. All advertising material subEd Tutwiler ject to approval.

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August 2013

By Edward Tutwiler

The Times, They Are Changing There is a changing of the guard

going on right now in Americana string music, and this change is being lead by young talented musicians and singers. These hard charging string bands are neither my mother’s old-time string music nor my generation’s progressive new-grass. No, what these new performers are doing is taking the old sounds and styles into a whole new direction. Just as entertainers such as Seldom Scene and The Country Gentleman lead a wave of change away from the traditional string music sounds of Monroe and the Stanley’s, these enthusiastic new comers are leading a brand new wave of change into a whole new world of sound and style. They are still playing the old tried and true string music instruments and often keeping the old Appalachian songs; however, they are playing them in new and interesting ways—and young listeners everywhere are grabbing onto this old/new sound and making it their music. For instance, the Rockingham County, VA county fair has booked the band Old Crow Medicine Show for an August 2013 appearance and had almost sold out the house by May. I know some of these ticket holders, and they not middle-age bluegrass fans—they are collage age folks.

Not To Be Overlooked

We here at AR magazine get the chance from time to time to hear and see in concert some great regional and even national touring acts. Given this opportunity, causes us to sometimes overlook some of the young local talent that is in the vanguard of this new wave of string music, which is not a good thing for any of us lovers of Americana music to do. Recently, I had the good fortune to hear such a group; the experience was memorable, and I want to tell you about them.

One recent Saturday night, the Gateway Theater in Waynesboro, VA advertised a bluegrass night and I decided to check it out. What I discovered when the first act took the stage was that I was not at a typical bluegrass fest. Bounding up on the stage was a group of fresh looking young adults carrying guitars, fiddle, standup base, mandolin, and of all things a harmonica. Trailing the group was a young lady who obviously was the singer. Ok, I thought, a new generation of bluegrass players— maybe going to do some Ronda Vincent stuff. Then, they tore into their first number. Two bars into the first song, I’m at the edge of my chair. The sound was not like anything I’d heard recently. Yes, the lead guitarist was finger picking like Doc Watson, the fiddle was singing, the base line was country solid, and the washboard (yes, washboard) was rattling the rhythm. Then, the harp man began wailing out some blue riffs, and the singer launched into a zone that reminded me of Janis Joplin doing Me and Bobbie McGee. Yet, the song still had an Appalachian feel. Dear readers, the sound was brand new yet old at the same

sation to answer some of my questions. Many Nights Ahead consists of: Drake Cary-mandoli n / was h b o ar d, C ar lt o n G r e e n a wa l t - g u i t a r, R o s s Gulliver-vocals/bass, Amy Haloskey-vocals, Austin Shifflettharmonica/vocals, Celia Turnerfiddle, Walker Turner-banjo, guitar, slide guitar.

time. This group calls themselves Many Nights Ahead.

Going A Little Deeper

I contacted the band recently to learn a bit about this group.

Walker Turner gathered his bandmates around for a group conver-

All of these young people are in their early twenties and are currently attending collage. Do not let that make you think they are newcomers to the music scene.

These folks all grew up in the Rockingham County area of the Shenandoah Valley of Virginia even attending high school together.

Every one of them has been honing their craft since childhood and they have been playing in various bands most of their high school

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years. For example, the fiddler, Celia Turner, began taking violin lessons at the age of three through the Suzuki program at Eastern Mennonite University. After 15 years of study, she became a Suzuki teacher with the same program.

Throughout high school she played bluegrass shows with her brother Walker Turner.

Speaking of recordings, the band has released one EP of material and is currently recording a second one.

They also have hopes for a full CD but do not yet have an official date for it.

Our website contains songs from our EP that are all originals whereas our YouTube channel does contain a few covers and standards that we have made our own along

Just Out Of The Gate

They told me that configured together as the band Many Nights Ahead they have been performing professionally a little over a year and that their show opportunities have really picked up in the last six months. That statement lead me to ask how often they performed and how they got their gigs. Here is what they said, “We’ve been performing at least one show every weekend and we are continuing to book shows for this summer through next fall.

Lately, many venues have been contacting us via social media and email. In addition, we have an electronic press kit that includes a biography, photos, music, videos, a resume, and a review of our EP.”

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I mentioned to them that I had watched some of their YouTube videos on my computer and had also listened to some songs from their web site; so I asked them if this selection was original material or old BG standards that they had made their own. They replied, “They are a combination of both.

with videos and recordings of our originals.” They went on to tell me that the live performance that I attended was all original material. I can tell you readers that those live songs and instrumentals were solid with complex rhythms, lyrics and delivery. I thought the twelvestring guitar solo was very special; and did I mention how much I like

to hear some mouth harp wailing along with my string music?

Who Writes The Songs

Since they told me that much of their material was original, I wondered who the song writers of the group were. Here is how they answered that, “We like to call ourselves collaborators. Carlton Greenwalt and Walker Turner often bring a chord progression or lyrics to the table and from there the band collaborates and decides the layout of the song, how it will be sung, and finalizes the lyrics.”

Over the years artists have often told us here at AR that this person or that person in the business had a great influence on their work so I asked these folks what bands they liked to listen to and did they model themselves after any particular group. Here is how they tackled that question, “The seven of us come from different musical backgrounds and enjoy all kinds of music genres. As a band, we are fans of groups such as: Old Crow Medicine Show, The Steel Drivers, Devil Makes T hree, Johnny Cash, Doc Watson and

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many other traditional bluegrass artists; but, no, the members of Many Nights Ahead bring a very unique sound.”

have an upcoming show scheduled at The Camel in Richmond.

They’ve recently engaged a booking agent that is helping them expand out of state. If the performance that I heard live that recent Saturday night is any indication, these folks have a good chance to see the sky as their only limit.

Don’t Get Left Out

In closing, I asked if they were having fun and where do they see this ride taking them. They told me, “We’ve had the time of our lives!

The sky’s the limit to us and we are committed to continue to pursue music after college.” They really are having a good time. They are currently hitting all the local venues here in the Valley, and they have played at venues such as the 9:30 Club in Washington, DC and have opened for the Grammy nominee group, Yarn. Plus, they

You owe it to yourselves to catch a live performance of Many Nights Ahead soon. They sound great on recording but this is a group that you need to see and feel as well as hear. They are very much a 21st Century musical group. You can contact them in your computer’s virtual world several ways: m anynight sahe ad.com ; facebook.com/manynightsahead; mmanynightsahead; and re ver bn at i on. co m/ manynightsahead. By all means check out their web site at www.manynightsahead.com and click on their schedule. Of course, if you must, you can contact: Walker Turner the old way at (540) 820-0378

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Along

the Shenandoah Music Trail

By Don DePoy PhD

R ebirth

abounds in the Shenandoah Valley this time of year and it’s time to visit some exciting music rebirths. One of the popular music park venues of the 1950s and 60s is heading back to the top as a major music festival in 2013. The inaugural Red Wing Roots Music Festival at Natural Chimneys Park in Mt Solon, Virginia will garner the lime-light as it makes history as the largest multi-day music event of its kind in the state.

Fast rewind - Back in the late 1940s to the late 60s, Natural Chimneys Park was a major Valley music venue along with Oak Leaf Park (Luray), Ed’s Park (Rawley Springs), Orange Blossom Park (Waynesboro), Uncle Tom’s Park (Woodstock), and Watermelon Park (Berryville). These parks were the community music centers with local bands performing and many loyal supporters at every event. According to long-time festival promoter and octogenarian, Vallie May Stroop of Harrisonburg, VA, “The first musical event at the Natural Chimneys Park was either 1947 or ’49". There was Zeke Johnson on bass, Herb Stroop on Fiddle, “Spike” Stroop on guitar.

They were all well respected local musicians from the Harrisonburg area and often played at the Shenandoah Valley Barn Dance, Old Dominion Barn Dance and the Wheeling Jamboree. They were the opening act for Jim Raines and his band from Shenandoah, Iowa. As far as I can remember this was the first music event at the Chimneys.”

Afterwards, Vallie May and her husband “Spike” were the promoters of regular music events held at Natural Chimneys for many years to come. The Stroops, also known as the Valley Sweethearts, were regular performers on WSVA’s Don Reno and Red Smiley television shows. Along with Don Reno, “Spike” wrote the banjoist favorite Follow the Leader. During this time, the Stroops knew every Nashville

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and Wheeling musician and all the music groups touring the Valley. This was a time when there was little distinction between country music and bluegrass, and it was not uncommon to have George Jones on the same bill with Bill Monroe. So in many ways, the Red Wing Roots Music Festival returns to the celebrated format of past musical events at the Chimneys. This festival promises to be the 2013 festival which should not be missed. For more information visit www.redwingroots.com.

CST Returns

Another rebirth is happening at the Court Square Theater in Harrisonburg, Virginia. Bluegrass is back by popular demand.

Michael Weaver, the Manager of Court Square Theater is assembling what is going to be a great sampling of Americana Roots Music. When asked about bluegrass returning to Court Square, he quipped, “When I mentioned bringing live music back to Court Square Theater, the over whelming chorus resounded ‘Bring back Bluegrass!’ I am doing just that.” And that he is, continuing with the 2013 twelve show series on June 21 at 8pm with the Seldom Scene and on October 12 at 8pm Blue Highway will take the stage. There are more performances scheduled and to see what’s being added the calendar is on-line at www.valleyarts.org/calendar/ or you can call the Arts Council of the Valley for the latest Court Square music listings at 540-801-8779.

As part of our mission to preserve the histories of past music events and people of the Shenandoah Valley, the Shenandoah Music Tra il is working on a project/exhibit with a Valley Historical Society to showcase the numerous Music Parks of the region. If you or someone you know would like to tell us your experiences and recollections of your knowledge of any of the parks please contact us at 540-209-3540 or email depoyd@hotmail.com

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New Festival Hits Valley Perhaps you enjoy the festival

scene? (We hope so!) We sure do – I can’t think of a better way to get to see a bunch of my favorite acts all in one place. It’s a major anticipated part of my summer. So, as you can imagine, when we hear about a new festival coming together, we’re all ears. And man, do we hear a good one comin’!

Americana Rhythm has featured a couple times throughout our history a band called The Steel Wheels, fronted by Shenandoah Valley resident Trent Wagler. It’s been a treat to watch them progress through the ranks on the way to becoming one of the region’s top heralded acts.

Turns out, they’re hosting a festival this summer – a new one – right here in the Shenandoah Valley.

For a little insight, I got in touch with Jeremiah Jenkins who is sitting in the producers chair for this one. “The idea had been there for a couple years, and The Steel Wheels and Blue Mountain Brewery had some early conversations about working together on a festival,” he told me. “Sometime around the launch of the brewery’s Steel Wheels ESB, we all finally put our heads together and decided to move forward with some preliminary planning. We’re really grateful that WNRN was also on board pretty much from the start. We couldn’t be happier working with them.”

Why Roots?

For an area rich in Bluegrass, one might wonder, ‘why a roots festival?’ While The Steel Wheels have been very well received at straightahead bluegrass festivals, their music draws from a deep well of Americana music; and for this festival, the folks felt it was important to draw from many aspects of the roots of Americana music. “We wanted to feature the best of American roots music, from bluegrass and old-time to blues, folk, Cajun and western swing; especially those bands that are reshaping these traditional forms for the modern listener. There’s a rich musical tradition to draw from and we’re excited to have some of the nation’s most inspired bands and songwriters performing here in the Shenandoah Valley.”

This is not designed as a one time event. Some are calling this the “largest in-state three day festival,”

and the producers hope to build on the cornerstone they are laying this year. “While this is a great music festival with 40 bands on 4 stages,” Jeremiah said, “we’re also featuring some superb outdoor recreation. We have group bike rides led by the Shenandoah Valley Bicycle Coalition, Shenandoah Mountain Touring and the Greenway Project. The Shenandoah Group of the Sierra Club will lead a Hiker’s Delight Trail Challenge up to Little Bald Knob, and we’re encouraging other hikes in the area since we’re right on the edge of the national forest.”

More Than Just Music

“There’s great fishing in nearby Elkhorn Lake and the North River, and swimming at Todd Lake, so we really want folks to take advantage of the area’s stellar recreation opportunities. We’ve also invited some local non-profits to join us, like Project Grows and Friends of Shenandoah Mountain. While our aim is to slightly grow the capacity of the festival, a major goal is to give money back to local nonprofits serving our community, from music and art programs to the Blue Ridge Area Food Bank. I noticed a banner at DelFest up in Cumberland, MD this year proclaiming that they had given over $100,000 to Allegany County in the last 5 years. We would be proud to do the same for Augusta and Rockingham.”

This corner of the Shenandoah Valley is about as beautiful as it comes, and Natural Chimneys Park (festival location) is a wonder of its own. “I’d say we share a bit with some other festivals and are trying to provide a good slice of fests like MerleFest, DelFest, FloydFest and others, but obviously with our own spin and a modest scale,” Jeremiah said. “Our programming for families is definitely not an afterthought. We’ve got incredible kids programs including Making Music Workshops; performances by The Steel Wheels, The Wiyos and others; Appalachian Stories; a birds of prey wildlife show by the Wildlife Center of Virginia; and family dances each evening. We want everyone to feel welcome here, from the regular “festivarian” to the vacationing family to those that just drive in for the day.”

For tickets and complete line-up visit www.RedWingRoots.com.

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By Wayne Erbsen

What’s With The Banjo Jokes M aybe you’ve heard the one about the banjo player who always sits in a level spot so the tobacco juice will run out of both sides of his mouth.

Or the guy who makes a perfect score by throwing a banjo in a dumpster without hitting the sides.

He earned extra points for landing on top of an accordion.

Or what has 16 legs and 3 teeth?

The front row of a banjo concert.

Or what do you call a banjo player in a three-piece suit? A defendant.

The fact is, people love making jokes about banjos and the people who play them. These banjo jokes have taken over where the moron, blond, lawyer and Polack jokes left off. For the heck of it, let’s try to figure out why people get such a kick out of picking on banjo players. What is it about the banjo that

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minstrel shows were done in blackface with the performers wearing loosely fitting ragamuffin garments, oversized shoes, and slouch hats. With the banjos’ prominent place in minstrel music, it’s no wonder that the banjo was forever linked to the comic character depicted in the minstrel show.

makes it the brunt of so many jokes?

To answer this question we need to take a little trip back to 1843. At that time, minstrel music was just taking root, and it soon surged in popularity to became America’s first national musical obsession. Minstrel bands performed everywhere from concert stages in the north, to the gold fields of California, on the decks of Mississippi River boats, and in the camps of Civil War soldiers. At the core of minstrel music was the 5string banjo. In time, the instrument itself came to symbolize an entire era of minstrel music.

To understand minstrel music and the banjo’s place in it, we must remember that minstrels were not just performing music. Instead, they were part of an entire stage show consisting of rowdy dancing, boisterous singing and playing, biting humor and outrageous skits. Of course,

When the movie “Deliverance” hit the big screen in 1972, it became an instant classic. Almost overnight, the faded image of the blackfaced minstrel banjo player was replaced with the stereotype of the banjo being the favorite instrument of lowintellect hillbillies. With its sordid past, it’s no wonder that the poor banjo continues to be America’s whipping boy.

Banjo jokes, although told in the spirit of fun, do reveal remnants of America’s ambivalent attitudes toward the banjo and those who play it.

For example, a large number of banjo jokes paint the banjo player as stupid, or worse.

How do you get a banjo player’s eyes to sparkle? Shine a light in his

ears.

Why did the banjo player cross the road? It was the chicken’s day off.

There’s not much difference between you an a fool, is there?

“Just this here banjo.”

What did the banjo player get on his IQ test? “Drool.”

What is this? x x x Three banjo players cosigning a loan.

Why was the banjo player staring at the bottle of orange juice?

Because it said “Concentrate.”

A man went to a brain store to get some brain for dinner. He asked the butcher, “how much for fiddle player brain.” “Two dollars an ounce.” How much for guitar player brain?” Four dollars an ounce.”

What about banjo player brain?”

“One hundred dollars an ounce.”

“Why are the banjo player brains so high?” “Do you know how many banjo players it takes to get one ounce of brain?”

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Many of the attributes of the banjo itself have helped to make it the brunt of jokes. For example, the banjo is a rather loud instrument, especially when played with picks, which are used by most bluegrass banjo players.

What’s the difference between a banjo and a chain saw? You can turn a chain saw off.

Banjo played in bluegrass style is seen by many people to be highly repetitious.

What’s the difference between a banjo and an uzi? An uzi only repeats forty times.

Bluegrass music is typically rather sentimental, with themes of dead mothers, dying orphans and widows waiting for their lost sons to come home. Unfortunately for banjo players, the sentimentality of bluegrass music has splashed on them, making them seem overly sentimental too.

Bluegrass banjo owes its existence to one man, Earl Scruggs.

How many banjo players does it take to screw in a light bulb?

Five. One to screw it in, and four to complain that Earl wouldn’t have done it that way.

Banjo players are often lambasted because they don’t earn much money playing the banjo.

What’s the difference between a run over skunk and a run over banjo player? The skunk was on his way to a gig.

What will you never say about a banjo player? “That’s a nice Porsche.”

What’s the difference between a banjo and a pizza? At least a pizza can feed a family of four.

How can you make a million dollars as a banjo player? Start with two million.

How many banjo players does it take to screw in a light bulb?

Five. One to screw it in and four to lament about how much they miss the old one.

What’s the difference between a certificate of deposit and a banjo player? The CD eventually matures and earns some money.

Banjo players are also considered purists who shun electric instruments.

How do you get a banjo player off your porch? By paying for the pizza.

How many banjo players does it take to screw in a light bulb?

Five. One to screw it in and four to complain that it’s electric.

Many people think that all banjo tunes sound the same.

Continued on page 14

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New Grass Pioneer Bluegrass and string music fans,

especially fans and players of the mandolin, know the name Sam Bush. He’s highly noted for his mandolin licks and notorious extended jam style stage shows with his first band, The New Grass Revival, and now The Sam Bush Band.

Throughout his career Sam has worked with many of the top names in the field including former band mates John Cowan, Bela Fleck, Pat Flyn, and later Jerry Douglas; and performed often with Emmylou Harris, and Lyle Lovett. His many achievements include the IBMA Mandolin Player Of The Year four times, and three Grammy awards.

Often times when someone is fond of a particular artist or group they will recommend that you “go see” them. With Sam, I recommend that you go experience his show. It’s truly unique. Sam and his band approach bluegrass music more differently than any other band I’ve watched. And rather than try to explain it to you any further, I thought it would be helpful to get Sam to give us some insight into the foundation of his music.

Sam told me that his dad, Charlie, was a lover of the fiddle and the mandolin, so both were in the house when he was growing up.

“Dad would throw these fiddle jams, so I’d listen to people play before I ever even started,” he said. He got his first mandolin at 11, and started playing the fiddle around 13. “Once I started playing fiddle I really concentrated on that a lot, and entered a lot of fiddle contests as a kid.”

He recalled there was a National Fiddle Contest held in Weiser, Idaho. Three times in his teens Sam entered the junior division, and won the national title three times, at age 15, 16, and 17.

When he turned 18, he moved to Louisville, KY, went back to the mandolin, and started playing in

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By Greg Tutwiler

bluegrass bands five, six, seven nights a week. “It comes and goes for me,” he said. “Later when I started playing with Emmylou Harris I started playing the fiddle a lot more again because she wanted me to play fiddle on quite a few things. Then I went back to the mandolin.

And now recently I’ve been adding it back into my shows more.”

Big Impressions

As you may recall, history buffs tell of a “first” bluegrass festival that was held in Roanoke, VA in 1965. At 13, an enthusiastic Sam Bush was in that audience. “I remember seeing in the folk music magazine Sing Out! an ad for this bluegrass festival in Roanoke, VA. They had all these bands listed like the Stanley Brothers, Jimmy Martin, Bill Monroe, Doc Watson, Jim & Jesse, Don Reno, Red Smiley – The cream of the crop. As the mandolin freak that I was, I realized that all these great mandolin players were going to be in one place. So I begged my parents, and they let me go. Even though I was only 13, I was aware that I was seeing something historic. I was seeing some of these people totally in the hey-day of their playing career. Of course at my age, they all looked like old men to me, but they all were probably in their 30s and 40s.

But it was truly an experience, and it was the first time that I had ever seen workshop demonstrations that way.

Not only did I become life long fans of all those musicians that I saw, I also made some life long musical friends. It was the first time I’d ever experienced the fact that however long you want to jam, someone will jam with you.

It was a pretty amazing thing for me. And I came away from there so jazzed and turned on about bluegrass music.”

Something A Little Different

Sam said he grew up being influenced by people like the Country Gentlemen, the Osborne Brothers, Jim & Jesse, and the Dillards.

Even then they were already playing a newer kind of bluegrass in a more progressive way. So by the time Sam got out of high school in 1970, the mold had been set. As a young man watching those groups play, he knew that this new kind of bluegrass was what excited him. So when he started his first band, New Grass Revival, he noted that it was almost what the name meant; that

they were kind of carrying on a style of a new kind of bluegrass.

“When we first started, our claim to fame was taking rock songs and redoing them with bluegrass instruments,” he said. “But as we continued to have a band we learned to write our own tunes, and we truly started getting our own voice. Now here it is 2013 and we have bluegrass channels on radio and satellite broadcasts.

That’s always interesting to listen to those channels because they play everything. You can hear the roots of bluegrass, and now the word new grass, which was kind

August 2013

of named after our band; and now it has become a generic term for a form of bluegrass music. But even when you hear these new grass groups perform, you can still hear the roots of bluegrass in there. And that’s what I love about it, that we all respect the traditions of bluegrass while trying to make our own voice. And I don’t think it’s really a big plan.

It’s just how each person feels the music differently.”

Find Your Own Voice

Sam told me a story about a person he knew that wrote a tune on the mandolin, and wanted to make it sound like a tune that Bill Monroe would write. “I saw him play this tune for Mr. Monroe one day,” he said. “Bill listened to it, and at the end he said, ‘that’s real good. Now what can you do on your own?’ So I took that to mean that Bill liked it, but I think he expected the rest of us to get our own style. Don’t just play like him. That’s what I took away from that. It had a profound effect on me and how I play my music. Of course it’s great to show your influences and to honor your elders, but get your own voice. It was and is a powerful message.”

Rock Covers

“Well, maybe people think we were the first ones, but you know, we weren’t,” Sam said. “Somewhere in the mid-sixties Jim & Jesse did a whole album of all Chuck Berry songs called Berry Pickin’ Time In The Country. I dug that record so much. I used to get to see them play some of that material live. I was just a young kid but it really got me excited. Also there was a lesser known record on the Electra label called Beatle Country by a band called the Charles River Valley Boys. It was really an interesting fusion of bluegrass with these Beatle’s tunes. I was really influenced by people like that who had already tried covering these early rock tunes with bluegrass instruments. And of course the Country Gentlemen certainly did that as well.”

Sam talked about a song on their first album; “We did a version of Jerry Lee Lewis’s “Great Balls Of

Fire.” And we were directly influenced to play that tune when I saw John Hartford and Glen Campbell play that on Glen Campbell’s television show in a bluegrass style.”

Just A Jammin’

One of the signature things Sam adapted into his music was to take tunes and make longer jams out of them like the Alman Brothers and the Grateful Dead. “We just had fun jamming these long jams. And now when I look back and realize where I first started playing these long tunes is when I was a kid playing fiddle in a square dance band. Square dances like to dance for a good tem minutes and you get used to playing these fiddle tunes for a really long time – it actually builds up your muscles. So it’s a combination of being a guitar player in a rock band, but realizing that the fiddle and mandolin are my first love, and combining that.”

“I am a tremendous fan of traditional bluegrass, and as I get older I find myself going back to the old records that I’ve always loved. I love listening to Flatts and Scruggs, and Bill Monroe, and the Country Gentlemen. And see, right there, I mention them in that group, but they were one of the first groups that started varying the style of bluegrass.”

For our readers in Virginia, West Virginia, Carolina, there’s a new festival coming in July, and potentially the only opportunity to see The Sam Bush Band this year in this area. He’ll perform at the Red Wing Roots Festival at 10:30 PM on Saturday, July 13th.

It’s the kind of festival Sam likes to be a part of. “The most interesting festivals to me as an artist or an audience member is when there is variety in the day of styles within the music line up,” he said.

“I’m not as interested as a listener in a show where everyone sounds alike.” A variety is exactly what you expect here, and a highlight for sure will be a heck of a show from Sam Bush

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August 2013

Cowboy Church

I’m sure that you from time to

time have seen little signs posted along side the roads and byways in small towns through out the region announcing the meeting of a Cowboy Church on an early Sunday morning somewhere close by.

I’ve often wondered what that announcement was for but never took the time to find out. So, as serendipity often causes unrelated things to come together, a recent press release that AR received from Mr. Bob Phillips who is a correspondent for the National Traditional Country Music Association, Inc. solved the questions about the Cowboy Church.

He was announcing to us the second and third 2013 inductees into that organization’s Old Time Country Music Hall of Fame.

These inductees are: Dr. Harry Yates, and his wife Joanne Cash Yates (she is Johnny Cash’s younger sister). It turns out that these folks are the founders of the Cowboy Church. They were chosen because the NTCMA believes

14

were organized across the country and internationally as well. CurBy Edward Tutwiler rently, Dr. Yate’s Cowboy Church is broadcast into more than 110 that gospel music is a big part of countries through WSM Radio; early country music. The NTCMA Serius/XM; and WWCR. Estimates information went on to tell this story of the Yates’ Cowboy Church.

is typically rural/western in character with short and simple sermons. Music is usually bluegrass gospel sometimes provided by a musical group or attendee singing.

Rooted In Culture

Some years ago, in the city of Nashville, TN, Dr. Harry Yates, and his wife Joanne Cash Yates decided to start a ministry that would fit the needs of the many tourists that flocked to the Nashville every year.

In keeping with the country and western music theme of that city, the Yates’ started a cowboy style service in the Silverwater Lounge of the Holiday Inn. The worship was simple with a come as you are style of dress accepted. Show business folks as well as the many tourists found this to be a comfortable, non-threating style of worship, and attendance increased. Cowboy Church soon outgrew their first meeting place and moved to a larger venue (today it is held at the Texas Troubadour Theater every Sunday at 10am). From that beginning, more Cowboy Churches

are that several million listeners tune in to worship at this Cowboy Church.

Some estimates place the current Cowboy Church gatherings at 750 nationwide.

Catching Holy Fire

While, Dr. Yates is by profession an Evangelist, who has ministered in all 50 states and in 34 countries he is also known for his musical talents—he has produced more

The Cowboy Church movement has spread and local gatherings typically meet in rural settings such as barns, livestock sales arenas, and old buildings. The theme

See Cowboy, page 15

August 2013

Banjo, Continued from page 11 How can you tell the difference between all the different banjo songs? By their names.

Banjo players have frequently been accused of being less than stellar musicians.

How can you tell if there’s a banjo player at your door? They can’t find the key, the knocking speeds up, and they don’t know when to come in.

Because the banjo is a loud instrument, and bluegrass music demands a certain aggressiveness or attack, banjos players have been seen as show offs.

How is playing the banjo a lot like throwing a javelin blindfolded: You don’t have to be very good to get people’s attention.

Wayne Erbsen makes his living joking with students as well as those who read his banjo, fiddle, guitar and mandolin instruction books.

Cowboy continued

When he’s not measuring elevation, Wayne teaches old-time and bluegrass instruments and singing and writes books for his company, Native Ground Books & Music.

than 50 albums for singing artists and groups.

Dr. Harry Yates married Joanne Cash in 1971; very soon thereafter the couple dedicated themselves to full time music ministry. Being the younger sister of the legendary Johnny Cash, has helped Joanne make her way in the music industry. She has recorded 26 albums of music and written an acclaimed autobiography Both Joanne and her husband Harry perform on Nashville’s Cowboy Church, and both have repeatedly performed on the Grand Ole Opry, and many other venues around the world.

Contact him for a free catalog: (828) 299-7031, banjo@nativeground.com, or go on-line at www.nativeground.com.

The NTCMA will induct Dr. Harry Yates, and Joanne Cash Yates into their hall of fame this August

He was born in Los Angeles, California, elivation 105’. In 1977 he moved to Asheville, NC, elevation 2134'. In 1999 he purchased a get-away log cabin near Big Pine, NC, with an elevation of 3800'.

.

By their nature, banjos easily get out of tune, so there’s lots of banjo tuning jokes.

What’s the best way to tun a banjo? With wire cutters.

Most banjo players learn either by ear or by tab, which is a shortcut way of writing down banjo music. Very few banjo players use standard musical notation.

Can you read music? Not enough to hurt my playing.

How do you get a banjo player to slow down? Put some music in front of him.

Because banjo are such notey instruments, it’s generally best for there to be only one banjo in a band or jam session.

How do you get two banjo players to play in unison? Shoot one.

The banjo has been perceived by some as a difficult instrument to play.

What’s the difference between a good banjo player and Bigfoot. There have been sightings of Bigfoot.

Despite the fact that banjos can be quite expensive, some people don’t consider that they have much value.

Joe: Yesterday my car was broken into. And I had my banjo in the back. Jack: Did they take it?

Joe: No, but they left me two more banjos.

In some jokes, banjo players are depicted as being less than human.

How do you tell where all the pink flamingos live? There’s a banjo player on the front lawn!

Banjo players are like sharks. They think they have to keep playing or they’ll sink.

And finally, after all this research, I have firmly decided that there is really only one banjo joke.

The rest are true stories.

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August 2013

Welcome to our new feature! Thanks to a new 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’ll select one entry to showcase for you here. Enjoy!

THIS MONTH’S FEATURE:

By Greg Tutwiler

The Carper Family Band FEATURE ARTISTS

music, especially the older more traditional country. “We’re an acoustic trio, and so much of the country music from the 30s and 40s was stripped down to the same elements we have, fiddle, guitar, bass, and lots of harmony singing.” With that being said, their sound that pushes them beyond just the “old” sound.

Not Exactly The Same “We really do feel like a family, even though we aren’t biologically related, so I think we will keep on playing music together as long as we can. We just released our newest record, Old-Fashioned Gal, on May 28th, and recently signed to a great booking agency, so we will be touring the country and in Europe

Austin-based The Carper Family is a “family band like no other.”

Melissa Carper [upright bass], Beth Chrisman [fiddle], and Jenn Miori [guitar] have crafted this simple gathering of like spirited gals into a unique musical trio gaining attention all over the great state of Texas.

While each band mate is an established singer in their own rite, when they combine for their signature three-part harmonies, their take on bluegrass, old-time, country and swing tunes generates a sound that is completely original.

We caught up with Beth (fiddle) for a little more insight into this must see ensemble. Although the ladies already knew each other through the prolific Austin music scene, she told me that they didn’t start playing gigs until late 2009. “We were asked to put together an acoustic trio for a wedding, and the first time we sang together, we knew it had to happen again,” Beth said. “We then started playing a residency at the Hole in the Wall in January 2010, and that led to more gigs, CDs, tours, and eventually a full-time band.” Their debut studio album, Back When, was named Best Country Album for the 2012 Independent Music Awards.

What Is It? Beth described the band as “Oldtime Country,” but it wouldn’t be fair to just pigeon-hole them there.

She said that they all love country

16

Being obvious that the girls all seem to have different last names, I asked Beth about the origins of the band name. “We had gigs going before we had a real band name, so we had to think quickly.

Melissa (Carper), our bass player, had told us that she grew up playing in a band with her family, and it was called the Carper Family. We decided to borrow the name, and it stuck. Also, there’s an instant association people make with the Carter Family, the first family of country music, and we thought it would be a cool way to pay respect to them too, since we love their music so much,” Beth said.

more, and will continue to write songs and play around our home state of Texas.”

Out on the road, the band plays a mix of their own songs and more obscure covers from the country/

bluegrass/swing library. Melissa is the most prolific songwriter of the group, but all of them contribute to filling out the songs with harmonies and musical lines. Beth said they tend to combine older sounding melodies and progressions with more modern themes.

When I asked her where they draw inspiration, she said, “We are definitely inspired by the veterans and legends of the country/bluegrass/old-time scene. So many of the great musicians we love have already passed on, some long before we even began playing music. Over the last several years, we’ve been lucky enough to meet and play with some of our heroes like Hazel Dickens, Alice Gerrard, and Ginny Hawker. Being based in Austin, we are surrounded by many great country musicians like Earl Poole Ball, Redd Volkaert, Cindy Cashdollar, and Bill Kirchen, and we go see them whenever we can. It’s great learning so much from these friendships with them and from listening to them play.”

Beth told me that they play many different types of venues, and their audience is very widespread. “We play everything from tiny rowdy honkytonks to quiet listening rooms, private parties/weddings, folk festivals and country music festivals in Europe.” Their fans range from older folks who grew up listening to traditional country, little kids who love to dance to bluegrass, and people who say they’ve never liked country music before. www.CarperFamilyBand.com Listen for The Group on our radio station ...

August 2013

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August 2013

Preserving It For Future Generations

It seems to me that we folks here

in these eastern mountains called the Alleghenies sometimes think that this music that we grew up with and call our own is just that—our own. We fail to realize that what we call Appalachian string music or Old-Time or Bluegrass or Country or whatever term you use has become America’s music. Whether your favorite Americana music is old or progressive or new-edge, it has a following that goes far beyond its roots.

The other day, the publisher received a press release telling about the 2013 inductees for something called America’s Old-Time Country Hall of Fame. Now, with a title like that you just know this organization is located in a good old eastern mountain state like North Carolina or Tennessee—wrong!

America’s Old-Time Country Hall

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By Edward Tutwiler

grass music; folk music; Cajun music; honky-tonk; Americana music; rural music; gospel; shaped note singing; western music; country blues; train songs; cowboy music; and all of the elements there of.

of Fame is located in—wait for it— Iowa. Yep, Anita, Iowa, Zip Code 50020. That is a far step from the hills of home; and should give us all an indication of just how national in character “our” music has become.

Nearly 30 Years

Bob Everhart is the president of the National Traditional Country Music Association, and has been since 1976. This is a non-profit organization that works hard keeping traditional and classic country music alive. Everhart started the NTCMA in 1976 to honor significant contributors to America’s rural musical art-forms on a local basis; however, as the years passed NTCMA has evolved into a far-reaching forum to honor all those in the United States (and sometimes internationally) that have made significant contributions to what is

collectively known as old time country music. The NTCMA raises a huge umbrella that covers all the early old-time styles: mountain music; ragtime music; hillbilly music; rustic country music; blue-

Self Generating

Once established, the NTCMA’s hall of fame was made peer driven.

That means the only way into the

August 2013

Hall of Fame is to be nominated by someone already there. This procedure helped control the number of nominees and be a source of eligible participants who would have the most knowledge and ability to select the most deserving people.

The awards and inductions are done at the annual festival of the NTCMA, held at the Plymouth County Fairgrounds in LeMars, Iowa. Individuals or groups that come to be honored are not required to perform but stage time is made available if they do desire to showcase their talent. Nevertheless, the ceremony itself is the center of attention. Once the award is announced and presented, the large audience (which includes a huge number of NTCMA members) gives the recipient a standing ovation of appreciation. I have read the list of past nominees, and while the list is too long to reproduce here suffice to say it is a who’s who of this musical genre.

Collecting Memorabilia

Each recipient of the award provides photographs, bios, and an important item from their musical career. The NTCMA places these items on display in the Pioneer Music Museum located in Anita, Iowa and in America’s Old Time Country Music Hall of Fame.

Some examples of items now on display include: the suit Bill Monroe wore on his last performance on the Grand Ole Opry; the original Martin guitar that was used to create the Jimmie Rodgers model; the tape recorder on which Redd Stewart and Pee Wee King first recorded the Tennessee Waltz; a guitar that once belonged to Woody Guthrie; a guitar that Hank Williams Sr., once played; Terry Smith’s jacket, boots, pipe, and glasses; the lap steel guitar that Ernest Tubb’s player Billie Byrd used; Patsy Montana’s Fender guitar; Johnny Cash’s harmonicas and June Carter Cash’s autoharp fingerpicks. The list goes on but you get the idea that this is a repository of great depth that fills a huge building.

Home Grown Roots

the east, the north, the south, and the west and he has amassed a collection of artifacts and stories that support that contention. His desire to retain this history and preserve it for the future led to the formation of the NTCMA and the establishment of the museum and Halls of Fame in his small rural village of Anita, Iowa.

Everhart hopes to keep collecting items for the museum, and welcomes musical instrument additions to the overall collection. The museum is admission free but accepts donations. Funds for continued operation of the museum and hall of fame plus the adjacent Oak Tree Opry performance center come from an annual festival the NTCMA sponsors in conjunction with the Pioneer Ag Expo, a celebration of America’s rural lifestyle.

According to Everhart, “Commercial music today has no concern for music from the past. It seems ignorant to me to destroy the past to simply make money for the present, but that is what they do.”

Celebrating It

The festival that provides the financial support for all of the NTCMA missions is known as the National Old Time Country, Bluegrass, Folk Music Festival and Contest, and Pioneer Exposition of Arts, Crafts, and Rural Lifestyle. It is held in LeMars, Iowa, and is in its 37th year. The festival has 10 stages that showcase old-time acoustic music and is held for seven days the full week before Labor Day. The next time you kick back to some good string music at some local festival here in the mountains remember that you have many a kindred soul way out in the flat lands doing the very same thing.

For more information about the National Traditional Country Music Association, and the annual festival they host, please visit www.ntcma.net or e-mail Everhart at bobeverhart@yahoo.com or call him at 712-762-4363. Anita, Iowa is accessed from Interstate-80, off Exit 70

.

It is Everhart’s contention that oldtime music came into Iowa from

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August 2013

JUNE Blue Ridge Old Time Music Week June 9 - 15, 2013 Mars Hill, NC http://www.mhc.edu/oldtimemusic Shenandoah River Fest June 14 - 15, 2013 Berryville, VA www.shenandoahriversidefestival.com Clinch Mountain Music Festival June 2013 Gate City, VA www.clinchfest.net Peach Bottom Farm Fiddle & Strings June 10 - 14, 2013 Independence, VA www.peachbottomfarm.com Rockahock Bluegrass Festival June 13 - 15, 2013 Rockahock, VA www.rockahockbluegrass.com Bluegrass In Cherokee June 13 - 15, 2013 Cherokee, NC www.bluegrassincherokee.com Highland Co. Old Time Fiddlers June 13 - 16, 2013 Monterey VA www.highfiddle.com Virginia Blues & Jazz Festival June 14 - 15, 2013 Warm Springs, VA www.garthnewel.org Wayne C. Henderson Music Festival June 15, 2013 Mouth Of Wilson, VA www.waynehenderson.org Music In The Mountains Festival June 19 - 22, 2013 Summersville, WV www.adamsandandersonbluegrass.com Bluegrass In Sedalia June 20 - 22, 2013 Sedalia, VA www.sedaliacenter.org

www.AmericanaRhythm.com

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Grayson Co. Fiddlers Convention June 28 - 29, 2013 Elk Creek, VA http://www.ecvfd.net/home/grayson-countyfiddler-s-convention

Appalachian String Band Fest July 31 - August 4, 2014 Clifftop, WV www.wvculture.org/stringband

Int. Bluegrass Museum’s ROMP June 27 - 29, 2013 Owensboro, KY www.rompfest.com

Virginia Highlands Festival August 2 - 11, 2013 Abingdon, VA www.vahighlandsfestival.org

Mr. Bs Bluegrass Blowout August 27 - 29, 2013 Ladysmith, VA (804) 449-6350 www.mrbspark.com

Bluegrass In The Blue Ridge August 1 - 3, 2013 Luray, VA www.bluegrassinluray.com

JULY

Oak Grove Folk Music Festival August 9 - 11, 2013 Verona, VA www.oakgrovefestival.com

Wayside Bluegrass Festival July 10 - 13, 2013 Stuart, VA www.waysidepark.com Tazewell Old Time And Bluegrass July 12 - 14, 2013 Tazewell, VA www.craborchardmuseum.com Red Wing Roots Festival July 12 - 14, 2013 Mt. Solon, VA www.redwingroots.com Winchester Blues House Festival July 13, 2013 Winchester, VA www.winchesterblueshouse.com Shenandoah Valley Music Festival July 19, 2013 - September, 1 2013 Bayse, VA www.musicfest.org Mineral Bluegrass Festival July 18 - 20, 2013 Mineral, VA www.mineralbluegrass.com Old Time Banjo Festival July 20 - 21, 2013 Alexandria, VA www.oldtimebanjofestival.com Floyd Fest July 25 - 28, 2013 Floyd, VA www.floydfest.com

AUGUST

Old Fiddler’s Convention August 5 - 15, 2013 Galax, VA www.oldfiddlersconvention.com Blue Ridge Mountain Music Fest August 17, 2013 Wintergreen, VA (434) 325-8292 www.wintergreenperformingarts.org Central VA Family Bluegrass Fest.

August 15 - 17, 2013 Amelia VA www.ameliafamilycampground.com Highland Jam August 15 - 18, 2013 Elkins, WV (304) 642-2351 www.highlandjam.com Vinton Old Time Bluegrass Fest.

August 16 - 18, 2013 Vinton, VA (540) 345-8548 Camp Barefoot Music Fest August 22 - 24, 2013 Bartow, WV www.campbarefoot.org

August 2013

The Old Country Diner

Pioneers Of Bluegrass

In case you haven’t noticed, the

In the last issue we featured a cover story with James Reams. Within that article he discussed a DVD project that has been in the works since 2002.

That DVD is finally finished and anticipated to be out early this summer.

The subject matter of this project is so important to the history of this music, I invited James to tell me (and you) the back story to this exciting and important new feature. ~ editor

By James Reams

By Greg Tutwiler

“tube” is full of crime, drama, and off color comedy. But I’m old enough to remember the days of three networks and (either first run or re-run) shows like The Andy Griffith Show/Mayberry RFD, The Brady Bunch, Beverly Hill Billies, and a host of musical variety shows from the likes of Glen Campbell, The Osmond’s, and Dean Martin dominated the air waves; So much for “family” programming.

In recent years though, it’s been a pleasant breath of fresh air to have some wholesome programming return to the mix. The advent of digital media and the access to a broader range of broadcast options has allowed entities like RFD-TV to emerge with entertainment options harkening back the good ‘ol days.

It’s On At Larry’s

One such show gaining popularity is Larry’s Country Diner. It’s billed as the “down-home variety program,” and draws over 1.4 million viewers each month. It’s one of RFD-TV’s most popular shows.

The show is filmed live, and is so popular that to get a seat for a live taping, the waiting list is over two years long. Filming takes place in a diner setting created specifically for the show, and in an effort to offer accessibility to it’s fans, the production crew packs up the set and films from a variety of locations across the country. Currently they are filming episodes for the 2013 season at the famed Starlite Theater in Branson, MO. Current shows air from June through Oc-

tober and feature a variety of traditional country and bluegrass acts.

The intent is to give the viewer an evening out feel in a small town diner complete with character/cast members including Larry Black, Keith Bilbrey, Sheriff Jimmy Capps, Waitress Renae, and avid church lady, Nadine. Since it’s initial airing in 2009, Larry’s Country Diner has produced over 100 episodes.

According to their press release, “Larry’s Country Diner is a product of Gabriel Communications.

Owned and operated by longtime disc jockey Larry Black, Gabriel Communications was created in 1996 and specialized in “Reunion” videos. The success of these videos spurred the creation of more than a dozen more projects featuring hundreds of songs and stories as well as Country’s Family Reunion News, a monthly newspaper which highlights the music of yesteryear. For more information on Country Family Reunion products, please visit: www.cfrvideos.com.

Larry’s Country Diner” airs Saturday nights on RFD-TV at 10 PM CT/11 PM ET and Sunday evenings at 6 PM CT / 7 PM ET. June artists to be featured include June 15 - Sweethearts of the Rodeo, June 22 - Roy Clark, and June 29 Dailey & Vincent. Upcoming artists include Wilson Fairchild, Gary Morris, Jimmy Fortune, Rhonda Vincent, Gene Watson, and Dailey & Vincent. For more up to date information on Larry’s Country Diner visit www.larryscountrydiner.com.

In early 2002, I was sitting in my office in Brooklyn and realized what a loss the bluegrass community had suffered recently with the deaths of so many legends like Benny Martin, Jim McReynolds, Ola Belle Reed, Pappy Sherrill, Jimmy Stoneman, John Hartford, and Bill Napier to name a few. I remember saying to my partner, Tina, “It’s a shame that all of these pioneers of bluegrass music are passing away and their stories may never be told.”

And we got to thinking about all the unsung heroes of bluegrass that have died, with barely a ripple in music circles. What stories would they have told about the early days, about the big name stars, about their love of this music? So we thought it would be amazing to be able to talk to these remaining pioneers and share their thoughts and insights with future generations.

When we received an invitation from the International Bluegrass Music Museum for their Grand Opening in April of 2002, we realized that was a perfect opportunity to kickoff the interview process with some of the first generation bluegrass greats. Since I had no filmmaking background, I contacted a friend in the film industry to help and off we went to make a splash in bluegrass history.

Stoneman Family. Few people realize that before the Carter family, there was Ernest “Pop” Stoneman, his wife Hattie, and their family. Their music spanned old time country music to what eventually became known as bluegrass. The Bristol, TN sessions from 1927 are often credited as the earliest country recordings. But starting back in 1924, Ernest Stoneman had already cut two unissued songs for Okeh Records followed by more than 100 other recordings over the next 3 years, including string band standards such as Old Joe Clark, John Hardy, Don’t Let Your Deal Go Down, The Long Eared Mule, and Going Up Cripple Creek — all prior to the Bristol recordings. Patsy and Donna were visibly upset because Poppa Stoneman wasn’t even in the Country Music Hall

of Fame [he was finally inducted in 2008]. They worried that the entire legacy of the Stoneman Family would be forgotten and were anxious to talk to me…to preserve their family history.

Getting Started

It’s All Important

We took a roadtrip down to Owensboro KY, and with a handheld video camera, started interviewing and filming legends that had gathered together to support the museum dedicated to the preservation and promotion of bluegrass music. Then we started contacting pioneers in Nashville and surrounding areas, going to their homes, riding on their buses, and talking to them backstage before performances. Everywhere we went, we were not only welcomed but embraced…they wanted to share their stories and their love of this music.

I remember sitting on the porch of a log cabin in PA with Kenny Baker talking about his music and realizing that his story and his association with Bill Monroe is just as important as Bill Monroe’s story. Kenny worked with Bill for over 25 years, playing longer than anyone else as a Blue Grass Boy, before moving on to release albums of his own. His insights into Bill Monroe’s music and the tunes that he helped Bill create, like Jerusalem Ridge, are some of the rare gems collected by this film.

One of the most important excerpts from this film is an interview with Patsy and Donna Stoneman from the

Driving down winding roads back into the hills and bouncing through creeks to interview some of these reclusive continued on page 23

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August 2013

Music From The National Scene

Music From Your Neighbors

Howdy folks, here’s the new

edition of SPINS! So much good music this go ‘round, I can hardly contain myself.

And what a mix? Traditional and contemporary bluegrass, strait-up Americana, folk, and even some roots.

Of course, soon you’ll be able to hear cuts from these groups featured on our Internet radio station, Americana House Party as well. You can turn us on from the home page of our web site at www.AmericanaRhythm.com.

Uncle Woody, The Spin Doctor

www.austinloungelizards.com

www.clairlynch.com

Frank Solivan And Dirty Kitchen On The Edge

If you’re looking for a good summer chuckle, check out the Austin Lounge Lizard’s latest, Home And Deranged.

Since 1976 these lyrical spoofers have been entertaining audiences with their brand of humor

Claire Lynch is one of bluegrass music’s top female vocalists, with two IBMA awards and two Grammy nominations. Her new CD, Dear Sister, has all the markings of a masterpiece. You’ll want to check her out on this one

www.dirthkitchenband.com One of the top emerging progressive grass bands today, Frank Solivan and his band knock it out of the park with their new project, On The Edge. Frank, a gourmet chef, serves it up hot

Austin Lounge Lizards Home And Deranged

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Banjo Babes Banjo Babes

The Roys Gypsy Runaway Train

www.wepecket.com A new CD collection from Wepecket Records, Banjo Babes, celebrates the history of women and banjos, with tradition dating back to the mid 19th century. Slightly celtic in sound, this collection is a must listen for banjo enthusiasts

Woody Guthrie at 100

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Claire Lynch Dear Sister

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Mike Aiken

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The Spinney Brothers No Borders

The Expedition Show Stormy Horizons www.theexpeditionshow.com Since their inception in 2002, the twice IBMA nominated The Expedition Show continues to build an audience.

These veteran performers of old-school grass serve it up fresh on their new release, Stormy Horizons

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Donna The Buffalo Tonight, Tomorrow, and Yesterday

www.theroysonline.com Brother and sister duo, The Roys, have been making a name for themselves the last few years as one of the up and coming contemporary grass bands. This new project sets the bar up a notch for the award winning pair

Captains & Cowboys www.mikeaikenmusic.com Virginia troubadour Mike Aiken hits the ground running with his sixth studio album, Captains & Cowboys. This is man’s music - filled with summer drivin’ tunes. If you’re looking for a new life anthem, you just might find it here.

Well worth a SPIN

www.spinneybrothers.com Nova Scotia, Canada is home for this duo. Since 1992. they have been gracing the bluegrass scene with their brand of southern-style grass. Their new, appropriately titled CD, No Borders, is a wonderful collection of traditional/contemporary tunes

www.donnathebuffalo.com Festival favorites, Donna The Buffalo, introduces their first studio album in five years.

With a 25 year span under their belts, Tonight, Tomorrow, and Yesterday is their 10th CD. It’s roots music at it’s finest

Peter Rowan The Old School

Big Country Bluegrass Memories Of The Past

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Live At The Kennedy Center www.legacyrecording.com

Ron Block Walking Song

Round Mountain The Goat

www.ronblock.com

www.roundmountainmusic.com

www.peter-rowan.com

www.bigcountrybluegrass.com

Woody Guthrie would be 100 this year; and to celebrate, a bunch of his fans gathered at the Kennedy Center to sing about it. This is the result.

Featuring Old Crow, Donovan, Rosanne Cash, Ry Cooder, Jackson Browne, and many more. Good stuff

Ron Block, while spending nearly 20 years with Alison Krauss, also has a little time for a solo career, and a new CD, his first since 2007. And it seems it’s been worth the wait. The singer/songwriter flavor of Walking Songs makes it go down smooth

Considered Alt-Folk, the duo called Round Mountain offers up it’s latest eclectic mix, The Goat. Hear hints of Appalachian, Celtic, West African, and even Middle-Eastern influences. It’s odd, but curiously catchy

For Peter Rown’s latest, he teams up with folks like Del McCourey, Mike Cleveland, Don Rigsby, and Bobby Osborne, just to name a few.

Bill Monroe’s former bus driver is now a living legend, and his latest, Old School, is top shelf entertainment

Southwestern Vitginia’s traditionalists, Big Country Bluegrass offer their latest, Memories Of The Past. Celebrating 26 years as a band is a noteworthy feat for any group, and even better when the music is as good as this

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You can send new Americana CD releases for consideration to PO Box 45, Bridgewater, VA, 22812

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August 2013

Pioneers Continued from page 21 musicians, I was struck by how many of them felt that nobody was interested in their story. To see their eyes light up as they talked about their contribution to music they love made it all so real to me. Time after time, they reiterated that one man didn’t create this genre, it was born from the dedication of many old time musicians that took their licks and gave them right back again in the form of their music.

Visit AmericanaRhythm.com

In post production, everything that could have gone wrong, has gone James and Jimmy Martin

wrong. The film industry went bust with the recession and advent of Internet based materials, so funds dried up. Technical difficulties mounted.

And then, in 2011, there was the death of my partner, Tina Aridas, who was a huge influence on and a major supporter of this film. One of her dying wishes was that this film would be completed. With the help of contributions resulting from a successful

St ill on ly $16 Fo r 6 iss ues!

Send us your name and address along with your check or money order for $16 made out to Americana Rhythm, to PO Box 45, Bridgewater, VA, 22812. (PLEASE PRINT CLEARLY)

Jerry’s

WeCanPublishYourBook.com

Beginning Production After gathering a number of interviews on film, we started thinking about how this should all come together. We found an editor and pieced together a 20 minute preview which was released in 2005 with our CD “Troubled Times”. That sneak peak generated a whole pile of cards and letters from all kinds of people, including Art Stamper’s widow, thanking us for the memories. The outpouring of love and encouragement from the bluegrass community was invigorating. In fact, the International Bluegrass Music Museum even contacted us about contributing to their Oral History Project, which shared many of the same goals that we had for our film. So, we agreed to conduct additional interviews with Frank Wakefield, Walter Hensley, Roger Sprung and Pete Seeger that can now be seen at the museum.

of her exciting issue Don’t miss anot yt hm M ag az in e!

Am er ic an a Rh

You can also subscribe Via PayPal on line at www.AmericanaRhythm.com

Name: Address: City:

State:

Zip:

“Little Joe” McAlister’s latest CD Determined To Make It Home Is available now at over 25 stores throughout the Shenandoah Valley.

“It’s down home, good hearted music.”

Pick up a copy today or call Joe to order direct or schedule a live appearence.

(540) 742-4129

Kickstarter campaign, her wish will come true this summer.

Celebrating The Music In 2013, I’m celebrating 20 years as a bandleader. My music career is going strong and I’m again collaborating with legendary musicians making the music I love. I want so much to be able to share these interviews with fans everywhere and thought that my 20th anniversary would be perfect timing for the film’s release.

Everyone who truly loves this music should want to hear the stories from not just the big names in our business but from the likes of Bill Yates, Art Stamper, Melvin Goins, and Kenny Baker…words preserved now in this documentary, honoring their legacy. “Making History with the Pioneers of Bluegrass Music” proves that their lives are no less important to how bluegrass got started than the major stars. If you want to hear tales from the heart, captured by a fan and fellow musician, this is a great place to begin

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