Americana Rhythm Music Magazine Issue #69

July 2017

“Let life be like music.” ~ Langston Hughes ~ I came across this quote recently that Author Terry Pratchatt wrote; “Do you not know that a man is not dead while his name is still spoken?” It struck me how true that statement is as well with the songwriter/musician. A musician is not dead as long as his songs are still played. Songwriters live on as long as their songs are still sung.

With the recent passing of so many notable musicians already in 2017 including Chuck Berry, Al Jarreau, Clyde Stubblefield, Larry Coryell and now Gregg Alman; it’s hard to imagine a world where these greats aren’t making music anymore. Last year we lost Leon Russell, Sharon Jones, Merle Haggard, Prince, Joey Feek, and Glenn Frey, just to name a few more greats.

The perspective though, I think should be this, as creators and performers of this craft we call “our” music, whether it’s from the stage, the pickin’ circle, the campfire, your den, or your shower; the legacy of those who came before us and have passed from us, live on every time we play and sing their songs, or write about them with our words. They live on even when their influence inspires another to create in their own unique way. So we celebrate, not mourn.

We celebrate through the thing they loved most - the music.

Questions, comments, suggestions: greg@americanarhythm.com PUBLISHER Americana Rhythm is published six times a year. All corresponCONTRIBUTORS dence should be sent to PO Box 45, Bridgewater VA, 22812 or Ed Tutwiler email to greg@americanarhythm.com. Copies of Americana Wayne Erbsen Rhythm are made available free at various pick up locations within Donna Ulisse the publication’s region. Subscriptions are available inside the United Shelby Gold States (only) for $18 US currency made payable by check or money Andrew McKnight order sent to, Subscriptions at PO Box 45, Bridgewater, VA, 22812.

Mark Whetzel Foreig n su bscrip tion req u ests shou l d b e sen t to Scott Perry greg@americanarhythm.com. Copyright 2017. All rights reserved.

DISTRIBUTION Reproduction of any content, artwork or photographs is strictly Ed Tutwiler prohibited without permission of the publisher or original owner. All Zebra Media advertising material subject to approval.

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PUBLISHER/EDITOR IN CHIEF Greg E. Tutwiler Associate Editor Ed Tutwiler MARKETING & PROMOTION Mark Barreres (GrassRootsNetworking.com) ADVERTISING Letters, Comments, Suggestions Business office 540-433-0360 greg@americanarhythm.com advertising@americanarhythm.com www.americanarhythm.com

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July 2017

State Of Music “When you think of the Blue Ridge Mountains, your first thought is probably not of stringed musical instruments playing authentic and unique American roots music; however, this rural backdrop is the raw source of much of the sounds we hear today and consider our American musical legacy; including rockand-roll and jazz,” writes Ross Moonie, spokesperson and head of media relations for David Holt’s PBS series “State of Music.” Now in its second season, “David Holt’s State of Music” is his latest foray into his lifelong passion of preserving the rich history and culture of the Blue Ridge Mountains. PBS describes “David Holt’s State of Music” as a program in which Holt “shares tunes and stories with modern masters of this historic music that has a growing legion of contemporary fans.”

And the number of fans is indeed growing to the point that in 2009 the Grammy Foundation created an award for Best Americana Album. The term Americana has come to embrace a unique style of traditiona based music which is influenced by an eclectic collection of American roots music.

This includes folk, bluegrass, alternative country, blues, and old time music as well as other acoustic styles. “State of Music” reflects this diversity in its line up. Bluegrass veteran Doyle Lawson has been featured as well as “Swiss born masters of American Bluegrass,” the Kruger Brothers. Master guitar builder and picker Wayne Henderson has made an appearance as has self described “Southern Gothic, alt-country blues singer/songwriter ” Amythst Kiah. David sees

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Rhythm Bones

By Mark Whetzel

cultural gems are now part of the permanent collection of the Library of Congress. A Texas native who found himself living in California as a teenager, graduated with degrees in biology and art from the University of California before heading east to study the culture of the Blue Ridge. Immersed in the regional songs and folklore, his interest grew to the point that in 1975 he founded the Appalachian Music Program at Warren Wilson College in Swannanoa, North Carolina. His prolific career has found him traveling internationally to share the music and tales of the rural South as well as playing to sold out crowds at the Ryman Auditorium.

Americana as “modern music derived from American roots music influences.”

David Holt is no stranger to fans of all types of traditional American music and folklore. The four time Grammy Award winner has collaborated with many musical legends including Doc Watson, Chet Atkins, and Earl Scruggs. In addition his collections of rural

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Holt’s own interest in music developed from rather humble beginnings. He explains, “I grew up near Dallas, Texas. My family was not particularly musical, but we had one quirky piece of musical tradition handed down from generation to generation. My great, great grandfather, John O. Holt moved f rom Alamance County NC to Texas in 1858. He played a pair of wooden rhythm bones and each generation of men was required to learn how to play them. So, I learned from my father and grandfather. I think bones playing gave me an ear for unusual instruments and rhythm.

When I was 14 I started taking drum lessons and fell in love with the banjo in my early 20s.”

In addition to becoming a proficient musician, David also developed an appreciation for the stories and tales of rural America.

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David with Will McIntyre

He continues,”I grew up in a family of informal storytellers, and there was plenty to tell about our wild and wooly Texas forefathers.

Storytelling was just a natural part of family life for me. I never thought about telling stories in public until I began to collect mountain music and came across interesting and unusual anecdotes from mountain folks. I began to

use these stories in concerts and realized the power storytelling holds.”

Top Priority

Although maintaining an active concert schedule and promoting his latest CD “Good Medicine” occupies much of his time, his current PBS show is a top priority.

The idea for the show came about

when his long time friends, photographers and film makers Will and Deni McIntyre, were looking for a new project. David knew both of them from U.S. State department musical tours of South America and Africa. Having always wanted to do a PBS show together, they came up with the concept of on-location performances and interviews with Americana acts. He describes the show as an “ongoing project. The promoters have to raise money for each season. PBS supplies the outlet but no money. It is a huge undertaking. We are also constantly thinking about who to feature on the show and organizing the next season.”

Perhaps part of the attraction of Americana music is that it also uniquely connects us to our cultural past. The stories the songs tell as well as the harmonic devices, musical forms and rhythmic variety continue to inspire artists today. David believes that American roots music “affects most of the music we have in this

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country.” Hopef ully “David Holt’s State of Music” connects the musical past and present in way that acknowledges where we have been while looking to how the music continues to evolve.

Check out the link below to see where you can see “David Holt’s State of Music” in your area: http://www. davidholttv.org/ broadcast-schedule.html

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July 2017

The Whole Festival Experience

By Edward Tutwiler

Being part of the writing effort for a magazine that focuses upon Americana music means we are blessed with the chance to attend some exceptional music festivals throughout the year. Even when the official editorial call to attend is not there, my wife and I often find ourselves heading off for a whole weekend here or a single day there just for the personal enjoyment of the festival experience. Friends and family members say to us, “Do you just sit and listen to music all day?” It is difficult to answer such a question posed by a person with less interest or passion or need to hear the artistic effort of the performers than ourselves; however, the real answer is, “No, but . . .”

A music festival is so much more than just the listening experience.

While the focus is upon the performers and their performances, the down-time between those performances is filled with experiences both diverse and interesting. Of

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course, all festivals are different but in many ways they are all the same. We just returned from one of the larger gathering of Americana goodness in Wilksboro, NC known as Merlefest; and while it may be a large music festival, the experience we had there is duplicated more or less at every festival we attend. So, with a few pictures and some words, let me answer those inquisitors and share with you that which is more than just the music.

That is Sand Art No matter where the festival, there is usually an associated themed art display—sometimes just a modest display and sometimes an elaborate edifice. Merlefest is held on the campus of a community collage and the path to the main stage leads past a huge sand sculpture.

For the past 20 years, Mr. Ed

steady hands to create a fragile masterpiece that will weather away in three or four months.

Needless to say, many festival goers make many trips by that location to view the project in production and to photograph the final piece.

Got to Have That Shirt

Moore’s production company, Sandy Feat, has over the course of the four-day festival, created an original, music-themed sand sculpture. Mr. Moore (who is a retired architect from Raleigh, NC) and his two assistant sculptors, use nothing more than 20 tons of mortar sand dipped from a pit along the Pee Dee River, artistic eyes, and

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No matter what festival we attend, or who the performing artists may be, nor even where it might be held, commemorative tee-shirts abound. If it is a festival with a long history, attendees strive to record that longevity with multiyear collections. Tee shirts are merely the tip of the ice burg. A small festival might support only a vendor or three while at a major one such as Merlefest attendees have ample choice to slack the thirst. With rows and rows of vendor tents touting every type of collectable from whimsical yard hogs

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to hand-crafted items that will serve their function for years to come. It is very easy to spend way too much time (and money) pursuing the vendor tents and thus make yourself late for the start of the next act on stage. In fact, the story has been told of shoppers who never make it to the music and spend the majority of their festival time in pursuit of bargains.

Going to the Jam Speaking of missing a performance; many festival attendees never plan on sitting through many of the performances as a passive observer.

It is the rare festival, that does not feature groups of fellow attendees sitting around in a campground or in some sheltered area on the grounds

festival near you. If you are a camper, this activity goes hand in glove with the outdoor music festival. Actually, some say the best music is

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that music is heard in the campground after the staged acts have finished

1,000s waiting to see The Avett Brothers Saturday performance on the Hillside Stage.

playing and singing their own versions of what is going on up on the main stage. The festival promoters at Merlefest officially encourage this effort with tents set aside and labeled for oldtime, bluegrass, beginners and old-timers. This all serves as more entertainment for other festival goers such as me. Even if picking and singing is not the activity that calls, attendees usually can find some like-minded souls with which they can spend some time clogging and flat-footing right next to the jam tents.

I’m Hungry Every festival large or small makes a valiant effort to feed the attendees. Granted, the effort at a small gathering might not compare to that of the major ones; nevertheless, food is essential— whether it be a modest food truck or a 100-yard long by 50-foot wide tent staffed by every nonprofit group in the area as it was at Merlefest.

Festival food is a large part of the festival experience.

I hope this explanation of what is more that just the music at a music festival has in some small way whetted your interest and answered the question of does one just sit and listen to music all day. If you have never attended an outdoor music festival, let us urge you to change that fact this summer. There are many opportunities in your own backyard that do not require a lot of travel. Check the ads that the promoters have placed in the pages of this publication for a

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July 2017

Red Wing Celebrates 5th There’s a quaint, unassuming, little park and campground nestled in the heart of the Shenandoah Valley (Mt. Solon, VA) surrounded by one of nature’s natural pheromones; Natural Chimneys. For three days in July, however, this tucked away space in Virginia comes alive with a gathering of some of the best Americana music in the country.

Organizers of the fifth annual Red Wing Roots Music Festival, scheduled for July 14 – 16, 2017, say the three day event will likely be a complete sell out before the weekend is over. (A limited number of single day tickets go on sale June 1, 2017.)

It began in 2013 as the home festival for the Steel Wheels band, and has blossomed into what was called recently, “the best version of a mini-Merlefest you could attend.” The intimate, family-

friendly event takes place about a 100 yards from the campground in the shadows of these magnificent natural rock structures. Tents, campers, and hammocks play resting place for the several thousand attendees.

40 bands grace three separate stages and feature this year Grammy winner, Steve Earle and the Dukes, Tim O’Brian, twotime Grammy winner Sarah Jarosz, Lake Street Drive, and several performances from host band, The Steel Wheels.

Aside from the community feel camping, the festival offers miles of hiking and biking trails, swimming, yoga, craft beer and food, artisan vendors, and a free climbing wall and gaming area for the kids. This year’s on-site camping has sold out at the festival, however there are a variety of local campgrounds, including the nearby George Washington National Forest.

Visit www.redwingroots.com for the complete line-up and more festival information.

International Songwriting Competition Winners Canadians Matt Epp and Faouzia

Ouihya are this year’s International Songwriting Contest grand prize winner(s). The winning duet, “The Sound” is the perfect synergy between the seasoned Canadian troubador Matt Epp and the Morocco-born Manitoba-raised 16year old phenom Faouzia. A great duet can be magical, and “The Sound” is just that. It showcases the talents of each songwriter and singer, interweaving the yin and yang of Epp’s stark, tender vocals with Faouzia’s soaring delivery.

Their contrasting styles and interpretation of the soulful lyrics and melody express the song’s sentiment, conveying a yearning and vulnerability.

The collaboration came about when Epp was on tour in Germany and received an email from his infant daughter, who he had been writing to since she was a newborn. The unexpected email from her read “What sound does a longing heart make?” In a hotel bathroom, he tearfully wrote the chorus of this song.

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Fast forward a few months to when Epp was assigned to mentor a group of talented young performers; among the participants in the program was Faouzia.

Perhaps unlikely kindred spirits, Epp and Faouzia formed a quick friendship, and they finished the song together. The song went to #1 on the Top 20 CBC radio chart in Canada, and it recently earned the SOCAN No. 1 Song Award in Canada based on its radio success.

To enter this year go to www.songwritingcompetition.com.

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These days I would describe myself as an amateur farm/country girl because I have moved to the country.

Oh yes, it is definitely different out here, gentle and charming if you are not focused on all of the new breed of bugs and wildlife I can hear in the distance that I must use my imagination to get a glimpse of because I’m not going anywhere near them. I am undaunted here with my new country girl bravery. I have learned to scream inside myself at the sight of wasps and bees of all sizes so that I do not disturb the peace that blankets this land. I have learned to run like an Olympic athlete within my mind at the thought of snakes and other slithery things that dwell in this Paradise I have purchased. I have even acquired authentic “muck” boots in case I should happen upon muck in these fields of dreams. In truth, I will tell you what this lovely

farm has done for me in these past ten months; it has set my writers spirit on fire trying to capture my feelings about this place. I love it so and want to share all these new experiences through a story put to melody.

One song I am currently working on is something that happened two days ago and struck me profoundly. While sitting outside and enjoying the springtime air with my husband we noticed that our neighbors two horses appeared to be out of the gate. I think horses are gorgeous but they are BIG and I’m just a wee bit nervous around them.

So, imagine my panic as I see them trotting my way, into our yard. Rick and I looked a little like a Three Stooges episode as we bolted out of our wicker chairs and start running.

Our dogs went on a rampage and were circling the horses, promptly spook-

ing them into action. They galloped into our front yard as we chased the dogs that were chasing the horses. Rick ran to our neighbor’s house to let him know what was happening. Our neighbor came out and fired up his fourwheeler, trying to corral the horses back towards the fence but the horses were not having any of that. I caught my noisiest dog and got him in the house and ran back out just in time to see our neighbor take a sharp turn on the four-wheeler turning it over on himself. My heart just about flew out of my chest as my husband and I got to Mr. Hubert. He is all of 85 years old and I thought it was going to be bad but thankfully it was not. He was laughing as we turned that rig back over. Our neighbors from across the road came to the rescue and between the four-wheeler, two of our dogs, me, Rick and the three from over yonder

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we drove the beasts back into the pasture in which they live. Never once did I think about snakes or wasps. We were just all working together to help out a neighbor and it felt marvelous. When the horses were snorting behind their fence there was a lot of hand shaking and backslapping and I realized how important community and brotherhood is. Now my challenge is to work this experience into two verses and a chorus. The subject is not unique so I will have to figure out an angle that will make it interesting. The funny thing is, I probably will not talk about horses, four-wheelers or dogs. To me it is all about giving a hand to someone in need. If I get it all written before the next AmericanaRhythm issue I will include the lyric just to let you see what my experience turned out to sound like. Until then, write on!

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July 2017

The Kruger Brothers

By Greg Tutwiler

Brothers Jens and Uwe Kruger,

originally from Switzerland, began singing and playing instruments at a very young age. “I always wanted to be a musician and a composer,” Jenz told me recently.

“I had great encouragement when I was growing up. Although I never had formal training, I always had the opportunity to play with really good people.”

German Folk

Although Jens and Uwe grew up in Switzerland, their parents were German immigrants, so they brought with them their German folk music. “Both of my parents could make music,” he recalled.

“They had guitars and an Accordion, and we would sing as a family every night. Music for them represented a connectedness to their home. But when we were out on the playground with the other kids from Switzerland we really couldn’t sing those songs. So, American folk music became a neutral ground for us.”

The brothers were exposed to American folk music because their father was a fan of Jazz, and Country as well. “We would listen to the American radio network often,” Jens recalled. “They would feature the country music programs and the bluegrass shows with artists like Bill Monroe. When we were kids we listened to those shows just like kids from Arkansas. Looking back, I think we had more country music in our home than people from New York.”

A Common Instrument

“The guitar was very common where I grew up. Everybody played. And we loved listening to artists like D oc Watson. We couldn’t imagine that all of that sound could come out of a guitar from just one person. His songs were very similar to our Northern German folk songs, so we fell in love with his music. And I fell in love with the sound of the banjo too. I thought it had a very beautiful, clean sound.”

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Jens and Uwe naturally began playing music together and quickly found an audience for their songs.

“We had our first paying show in 1974,” Jens told me. “By 1979 we had left home and became street musicians. We played on the streets everyday and traveled around Europe.” Six months later, Jens at 17, brother Uwe 18, were offered their first record deal when CBS Records saw them playing on the street.

Bill Changes Everything

It was a unique and unplanned opportunity in 1982 that changed the course of music for Jens. “I traveled to New York with my wife (girlfriend at the time) and rented a car to drive to Indiana (Bean Blossom) so I could personally thank Bill Monroe for his influence on my music. I walked up to the stage after one of his shows just to thank him, and he looked at me and said, ‘can you play with me tomorrow?’

I had no idea if he even knew I could play,” Jens said.

The next day Bill invited Jens up on stage to play with him. “Then

he told where he was going to play next and invited me to play with him again. And I ended up playing with him all summer.

Then, he invited us to stay on his farm. He gave me a house to stay in, and we lived right across the creek from where his house was.

We stayed there the whole summer.”

“I was a street musician, and I had been playing since I was a kid, so I knew I could really play, wild, and different, and when you’re young, you’re fearless, and I think it was that combination that struck a chord with Bill. He enjoyed my playing. We instantly became friends and played a lot of music together. More importantly though, I think, is that I learned very, very much from him. He was the first musician I had met in my life, to that point, that was not just a great musician. He was also a great visionary. He would talk about ancient tones and all kinds of sounds that he heard in his head. He had these mysterious ideas about music heritage

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that gave birth to these sounds he was creating. I had never met anybody with that amount of visionary power.”

Jens had already written a lot of music when he met Bill. “He was very interested in what I was writing. He would say, ‘play me something,’ and then he would tell me, ‘that sounds like me, or that sounds like Earl Scruggs, now play me something of yours,’ and he told me one day, ‘that’s you, whether you like it or not.’ I never forgot that. He really encouraged me to be me, and not to pretend to be like someone else. ”

Coming To America

In 1997, The Kruger Brothers’ formally introduced their unique style of folk/Americana to American audiences. Their remarkable ability to infuse classical music into folk music was an instant attraction and has resulted in a unique sound that has made them a highly respected fixture within the world of acoustic mu-

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sic. With the more recent addition of New York City native, Joel Landsberg, the trio has been performing together since 1995, and is now based in Wilkesboro, NC where they have become a familiar act to audiences at the annual Merlefest hosted there on the campus of Wilkes Community College.

Jens was awarded the Steve Martin Prize for Excellence in Banjo and Bluegrass Music in 2013, the fourth recipient of this prestigious honor. He also was inducted into the Blue Ridge Music Hall of Fame in 2011, and was nominated for the International Bluegrass Music Association (IBMA) Banjo Player of the Year Award for 2016.

A Classical Approach

Roan needed a wonderful piece of music to pay tribute to it, to honor it. When I heard the Kruger Brothers and works that Jens had composed, I knew I’d found my composer and my musicians.”

The Academy

Another aspect of the Kruger Brothers contribution to the music community is the Kruger Brothers Music Academy, held annually in their hometown of Wilkesboro. It is a workshop style event that includes small group sessions for banjo, guitar, and bass, working directly with Jens, Uwe and Joel. All skill levels are invited to participate too, it’s not just for seasoned musicians.

Large group jams are included, as well as a showcase evening. “We not only teach students on different instruments, we try to teach them how they all work together,” Jens said, “and how music is constructed and composed as well, and how you can tell a story with your music too. It’s a very beautiful weekend.”

In 2006, Jens was commissioned to write Music from the Spring for banjo, guitar, bass and full symphonic orchestra. It was his official venture into the themes and forms of classical, and has since been commissioned to compose five such projects, with Presley Barker and Uwe Kruger the latest beat the Academy this past May. ing a chamber music piece written specifically for and commissioned by the Kontras Quartet; called the Roan Mountain Suite.

The piece is in honor of the region, history and legacy of Tennessee’s Roan Mountain.

Judy Murray founder of The Stanley A. Murray Roan Mountain Suite Memorial Fund said, “Roan can be perceived in many ways through all of our senses.

Countless beautiful words have been written about the Roan, and glorious photographs have been taken, but I’ve always felt that

The Kruger brothers are headed into the studio this summer to record their latest, “all singing songs,” Jens said. The Kontras Quartet will be featured again on this project. “We wanted to feature Uwe’s voice more too, and just really tell some stories again ”

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July 2017

Thanks to our partnership with ReverbNation (www.reverbnation.com) we are honored to give you a peak at a few of the nation’s hardest working indie artists. Each month we select one entry to showcase for you here. Enjoy!

THIS MONTH’S FEATURE:

By Greg Tutwiler

National Park Radio

FEATURE ARTISTS At 30 years old, some say Stefan Szabo is an old soul going on 60. He is the singer/songwriter and acoustic guitarist for his band, National Park Radio. Their’s is a fresh but familiar sound reminiscent of Mumford & Sons and The Avett Brothers, National Park Radio delivers a unique blend of folk, country, bluegrass, and rock. Their music embodies themes about life, love, and difficult choices, all while echoing the enduring beauty of the band’s deep-seated roots in the Ozark Mountains.

“As long as I can remember I was drawn to music, and singing in particular,” Stefan recalled recently.

I remember as a young child, I would belt out random tunes around the house with no shame or embarrassment. I remember thinking to myself that someday I wanted to sing for people and be a rock star or something like that.”

Getting a Late Start

Stefan never truly embraced those feelings though. As a young teenager, he did regular kid things, never really getting involved in any sort of music scene. He was also extremely timid and withdrawn from most any social interaction, especially if it meant addressing a group of people in any way. “I was about 13 when my brother began playing the drums,” Stefan remem-

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bered. “We were all kind of involved with our local church’s youth group, and it was there where I began to learn the guitar.”

He eventually joined the youth worship band playing electric guitar, but he never sang. “I was still just too timid.”

After a few years of playing in that setting,, he moved on (left the church) and at playing music was put on the back burner for about 10 years. Stefan went on with life, went to school, and started a family. Time passed, and playing music was mostly just a hobby that he messed with every so often.

In his late 20’s something clicked. “I just decided to give music a serious try. It was one of those things I knew I’d regret later in life if I never actually tried to do it for real,” he said. “I began writing, and jamming with a couple of my friends, and eventually came up with some songs that I recorded in my garage. Once people heard the music, we got such an amazing response. It made me feel like this might actually be a possibility. So

from there, I started playing shows, and 4 years later, Here I am.”

Taking Shape

National Park Radio was officially formed in Harrison, Arkansas in 2012, and their unique brand of indie folk music has been turning heads all over the region there. “I never had anyone in my life who was really into music, so I had nothing to influence me,” Stefan said, “except what was on one of the two radio stations in my area (one was country, and i never really enjoyed that), the other was a rock station, that played hits from the “70’s, 80’s, and current. Finally, in my late teens I discovered some other genres, and it was indie music that really started to open up a whole new world for me. I remember watching a music video channel that we had called “IMF”, and “The District Sleeps Alone Tonight” by The Postal Service came on. I was so intrigued because I’d never heard a voice like Ben Gibbard’s, and the melodies drew me in.”

Enter The Banjo

“I had never listened to banjo music,” Stefan recalled. “I never listened to bluegrass. Don’t ask me to play any traditional tunes because I’ve never heard them. I happened upon the banjo one day, when I was trying to sell an old Fender Strat. A guy was interested, but he wanted to trade for something instead of buying it outright. I asked what he had, and one of the things he offered was an old 6-string banjo, which I later found out was made in the early 1900’s. I thought it was cool, but didn’t really think I would have a use for it. I went ahead and traded for it, thinking I might be able to sell it and make some money. It was that banjo that started me into this type of music.

Since it was a 6-string, I could pick it up and play it like a guitar, and eventually I really liked some of the sounds I was getting from it. This all was happening at the exact time when I decided I wanted to try and make some music, and so it worked itself into the songs I was writing.

And that’s why I play the type of music I play today.”

Stefan says he’s not exactly sure what led him to want to play music.

“I think it might have been just one of those dreams that everyone has when they’re a kid, like being and astronaut or a rock star. I had that dream of being a rock star as a child, but never had the encouragement from anyone around me to pursue it. So, yeah, it was a struggle later in life, when I decided that I actually wanted to pursue this. Some of the songs I’ve written do relate it to climbing a mountain.

It’s been a strenuous, uphill climb.

And now that I’ve already begun, my choice is to either keep on pushing through the pain until I reach the peak, or climb back down and give up. I don’t want to give up, so I’m choosing to keep on climbing, and eventually I might reach the top.”

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July 2017

2017 Award Nominees

Winners will be announced in late September, 2017

Album of the Year American Band

Listen to the expanded interviews at www.spreaker.com/show/ americana-music-profiles, or search Americana Music Profiles in iTunes!

Matthew Fox Minneapolis, MN is home for Americana singer/ songwriter Matthew Fox for about the last 17 years.

Originally from Georgia, Matt grew up in Texas where he discovered his musical chops.

Matt says his parents were huge music fans. “Mom was always singing around the house, and dad was like the quintessential listener. He’s the reason people like me have jobs,” he quipped. “He would bring me and my friends in from outside and put the needle back on the record he had been listening to and play fifteen seconds of a song and say, ‘now that’s cool music.’ They were always taking me to concerts when I was growing up too.”

That influence led Matt to pluck around on his mom’s guitar solidifying even more his interest in playing music. At 14, he got his very own guitar, and as Matt puts it, “things took off from there.”

Matt was in and out of a few casual bands but says he really didn’t take music seriously until he was in college. “When I was in my early twenties I started doing shows for money. I would literally just take any job I could get. Anything that would get me on stage – it was a blast.”

Like many working musicians, Matt says he’s “worked a million jobs to keep doing this one full time,” he laughed. “I’ve been fortunate that the day jobs would let me off to play my music at night.”

Matt has just released his fourth CD, That Crooked Stage. It’s a culmination of several years of writing and traveling throughout the US, UK, and Scandinavia. The new music reflects the years of incubation and shows Matt’s songwriting in a new light with a full band performing behind him. The 11 unreleased tracks show the broad influences of blues, rock, classic country, and even the tradition of Texas story telling.

To find out more, visit www.matthewfoxmusic.com

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Curio Chris Pluska and his band Curio have been playing to crowds at juke joints, dives and clubs in and around Chicago, IL since 2009. Their music has been dubbed “hell-raisin’, soulshakin’ rock n’ roll,” It is steeped in southern gothic lore by way of the Midwest. “I feel like it’s very swampy,” Chris told me. You can hear the growl of Chicago blues, the low-down and dirty swamp rock of Louisiana and the twang of Tennessee country, in every lick.

Chris says his parents raised him around music his whole life and started him in guitar lessons pretty early, but the fever “didn’t really kick in until middle school,” he said. “I was in and out of a bunch of different bands until I got out of high school, and then Curio really got going.”

The band’s line-up has changed over the years, but the current gang has been together since 2012. Chris says his music is a full time venture “as much as it can be,” for him personally, although the other guys in the band still have daytime pursuits. “I’m always promoting and always booking, and we try to play out as much as we can. I did start doing some solo stuff last year to fill in the gaps though.”

Chris said he feels like their latest CD, Tall Tales, captures the band “as honestly as possible. This group has been together for over three years and I feel like we’ve really gotten to know each well, and that showed up in the studio and on the CD.” The approach to this CD was different too. “For this one, we just went into the studio and basically recorded it live. We didn’t overdub too much. It was just mostly hit record, and whatever was the best take, we used,” Chris said.

To find out more, visit http://curio.band/

www.AmericanaRhythm.com

Drive-By Truckers, Produced by David Barbe

Close Ties

Rodney Crowell, Produced by Kim Buie and Jordan Lehning

Freedom Highway

Rhiannon Giddens, Produced David Bither, Rhiannon Giddens and Dirk Powell

The Navigator

Hurray for the Riff Raff, Produced by Paul Butler

A Sailor’s Guide to Earth

Sturgill Simpson, Produced by Sturgill Simpson

Artist of the Year Jason Isbell John Prine Lori McKenna Margo Price Sturgill Simpson

Duo/Group of the Year Billy Bragg & Joe Henry Drive-By Truckers Marty Stuart & His Fabulous Superlatives The Lumineers

Emerging Artist of the Year Aaron Lee Tasjan Amanda Shires Brent Cobb Sam Outlaw

Song of the Year “All Around You”

Sturgill Simpson, Written by Sturgill Simpson

“It Ain’t Over Yet”

Rodney Crowell (feat. Rosanne Cash & John Paul White), Written by Rodney Crowell

“To Be Without You”

Ryan Adams, Written by Ryan Adams

“Wreck You”

Lori McKenna, Written by Lori McKenna and Felix McTeigue

Instrumentalist of the Year Spencer Cullum, Jr. Jen Gunderman Courtney Hartman Charlie Sexton

July 2017

By Wayne Erbsen

Shortenin’ Bread “Shortenin’ Bread” has certainly won a prize for longevity. After all, it has been around for over 150 years. This version of “Shortenin’ Bread” comes from my new book, Ukulele for the Complete Ignoramus!

sometimes called “cracklin’ bread.”

Pour your mixture into a hot greased skillet, and sit back while you wait for it to cook. In the meantime, pick a little bit of Shortenin’ Bread on the ukulele.

I can’t tell you why, but I find playing Shortenin’ Bread almost addictive.

When I start to play it, I can barely force myself to stop. I must not be alone because this song has been popular since the early to mid 1800’s.

Known as a “plantation song,” it is also likely that it was a favorite on the minstrel stage with blackfaced performers. The song was first collected and published in 1915. All this talk about shortenin’ bread is making me hungry! If you’re in the same fix, put your skillet on a hot fire. While it’s getting hot, mix up some corn meal and add some bacon gravy and bits of crisp bacon, which are called “cracklins.” No wonder it’s

Try not to get hungry while playing Shortnin’ Bread! I like the Cowboy Strum on this classic. It is mostly D, played with the middle finger to make shifting to the A in the split measures a little easier. From the D, roll your finger to the 4th string for the A. To play the melody, play all the notes on the 2nd fret with your first finger. That way, you can reach the 5th fret with your pinky without moving your hand.

For info rmation about this, or Wayne’s other instruction books for banjo, fiddle, guitar, mandolin, ukulele or dulcimer visit www.nativeground.com.

Mama’s little baby loves shortenin’, shortenin’, Mama’s little baby loves shortenin’ bread.

Mama’s little baby loves shortenin’, shortenin’, Mama’s little baby loves shortenin’ bread.

Put on the skillet, put on the lid, Mama’s gonna make a little shortenin’ bread.

That ain’t all she’s gonna do, Mama’s gonna make a little coffee too. (Chorus)

Three little boys, lying in bed, Two was sick, and the other most dead.

Sent for the doctor, and the doctor said, Feed them babies on shortenin’ bread. (Chorus) Slipped in the kitchen, slipped on the lid, Slipped my pockets full of shortenin’ bread.

Stole the skillet, stole the lid, Stole the gal to make shortenin’ bread. (Chorus)

SPE send CIAL $32 Full Ye for 2 ars!

Send us your name and address along with your check or money order for $18 made out to Americana Rhythm, to PO Box 45, Bridgewater, VA, 22812. (PLEASE PRINT CLEARLY) You can also subscribe Via PayPal on line at www.AmericanaRhythm.com

Name: Address: City:

State:

Zip:

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July 2017

Chuck and Gregg The Americana music river has

many feeder streams and each stream has a source spring at its headwaters. Recently, due to age and illness two of these source springs flow no more. Chuck Berry and Gregg Allman, both considered pioneers and style setters of their respective musical genres, passed away. We share these, not so much as reports of their passing but more as acknowledgement of the fact many, many musician’s lives have been shaped and molded by artists like Chuck Berry and Gregg Allman. The essays that follow each pay tribute to these musicians.

Johnny B. Goode Has Left the Building

by Andrew McKnight

Editor’s note: Andrew McKnight is a traveling troubad our and songwriter who has been in the mu-

sic game full time since 1996 and knows and performs his craft well. He was one of Americana Rhythm’s early supporters and a worthy contributor over the years. Recently, Andrew penned some very personal thoughts on his web site blog concerning Chuck Berry. We think you might find his thoughts interesting.

Plain and simple, my life might have been a whole lot different without Chuck Berry.

Chuck Berry passed away last month. It is bittersweet for me to acknowledge both the influence of my childhood mentors decades later and the realization that they too have aged and will not live forever. Chuck Berry certainly didn’t get cheated by the vagaries of time at least, finally ending his final encore at age 90 and releasing a new recording too!

According to his bio at the Rock & Roll Hall of Fame, “After Elvis Presley, only Chuck Berry had more influence on the formation and development of rock & roll.”

John Lennon said, “If you tried to give rock and roll another name, you might call it ‘Chuck Berry’.”

Ro bin and Lin da W illi am s

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By Andrew Mcknight and Edward Tutwiler

www.AmericanaRhythm.com

It wouldn’t be an overstatement to say that Chuck Berry taught me how to play guitar.

When I was first starting out at age 12, I tried to make barre chords with little success. Instead of barring all 6 strings (the opening licks to Johnny B. Goode and School Days feature a “Give Me Your Attention Now” 2 string barre figure that helped me learn how to play my first bits of lead guitar ((and reach for the volume control too)).

I started playing guitar so I could play in a band. Everyone I knew was in bands, including my dad.

There were at least half-dozen bands at any given time in our small eastern Connecticut town -

July 2017

his own Greg Allman Band. Rolling Stone magazine placed Gregg Allman in 70th place on their list of the 100 Greatest Singers of All Time.

it was just what you do. So, with fellow 8th grade buddies, David Tarrant and Joe LaRoche, we started a band and gradually over a few months learned to play Johnny B. Goode. Our first performance was at an elementary school in the nearby hill town of Sterling at a Gong Show (editor, a show where unworthy performers are sent off the stage by the MC sounding a loud gong).

According to a recent statement by the Recording Academy, Gregg Allman helped give birth to the Southern Rock genre and blazed a trail for a generation of musicians to follow who were equally influenced by blues, Southern soul, and early rock and roll.

People came from all over and even out of the woods, and we were certainly all kinds of nervous. We managed to avoid the Gong, and in fact we came in second to an Elvis impersonator. Somebody has that trophy someplace. In the many years of playing in bar and wedding bands, putting myself through high school and college, I’ve lost track of how many times I have played Johnny B. Goode.

I was in my mid-teens when I had that revelatory Chuck Berry moment though. My dad’s guitarist, Peter Haselbacher, brought in Maybelline to one of their rehearsals, and I was hooked. It wasn’t just the tune—it was the way Pete played it by infusing both the vocal and the guitar part with his own style. In a way, it was my first real introduction to how one interprets a tune and brings it into his or her own voice. It’s a lesson that I have drawn upon many times in my own career as a guitarist and songwriter.

Chuck Barris died the same week as Chuck Berry. Chuck Barris created The Gong Show, and it ran for 13 years. This show was the 70s birthplace of America’s Got Talent. I suppose you could say he (Barris) created a genre too.

Gregg Allman recently passed away at his home in Savannah, GA at the age of 69.

Allman had been suffering from ill health in recent years, dealing with a respiratory infection, a hernia, a liver transplant and an irregular heartbeat.

Gregg as a keyboardist and lead singer, along with his brother, guitarist Duane Allman, cofounded The Allman Brothers Band in 1969.

Fans remember this Grammy Award-winning group for songs, such as Midnight Rider, Melissa, and Ramblin’ Man. The group was inducted into the Rock and Roll Hall of Fame in 1995 and earned a Grammy Award for Lifetime Achievement in 2012. Gregg fronted the band for a total of 45 years, even after Duane Allman died in a motorcycle accident in 1971.

Gregg Allman also had a successful career with

We all have our defining musical genres and when we live as many decades as I have lived, we may discover we have more that one genre of music that moves us. Today I usually favor the string music style of this musical mashup we call Americana but there was a time . . . there was a time. To this day, I will pause and listen whenever I hear Gregg Allman’s distinctive voice rendering an Allman Brothers song.

Rest in peace, Gregg Allman. We listen to you still.

Learn more about Gregg Allman by referring to his web site: http://www.greggallman.com/

It’s been a long time since I’ve played Johnny B. Goode or Maybelline; however, it’s not a stretch of the barre chord finger or the truth to say that they were pivotal cornerstones to this crazy career in music with which I have been blessed.

Rest in peace Chuck, and thanks for the lessons, thanks for the life.

(Finally mastered those barre chords too).

Learn more about Mr. Andrew McKnight and his music at: http://www.andrewmcknight.net ************************************************************

The Midnight Rider

by Edward Tutwiler

Back in the 1970’s my son introduced me, an

old 50s R&R fan, to a new genre of music. It was an amalgam of country and blues music set to a rock and roll beat. The term used to describe this intriguing sound was Southern Rock and the most powerful performer of this music was Gregg Allman. I just fell in musical love with this sound and at the time favored listening to it over any other style of music.

www.AmericanaRhythm.com

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July 2017

Music From The National Scene

Music From Your Neighbors

welcome to this edition of

SPINS! Check out all this wonderful ear candy (in no special order)! This collection will keep you busy for hours. Grab your iPad or Smart Phone and dial up some of these fine folks.

And please let them know we sent you. We’ve got your summer jams right here!

Got one you want us to listen to? send it to: Uncle Woody, The Spin Doctor PO Box 45 Bridgewater, VA 22812

Bobby Osborne

The Drugstore Gypsies The Drugstore Gypsies

Original www.bobbyosborne.com

www.thedrugstoregypsies.com

www.nu-blu.com

www.theresonantrogues.com

Bobby Osborne has been making Bluegrass music professionally for nearly 60 years! When a guy like that makes a new CD - you take notice. By the way, it’s a darn good one too. And, he’s still on the road. Go Bobby!

Americana rock, groovin’ Southern soul - The Drugstore Gypsies have been cutting their own path since 2014. Their debut, full length CD is full of good summertime fun. We think they’ll go far with this one

Siler City, NC is home for this hot bluegrass band fronted by husband-and-wife duo Daniel and Carolyn Routh. Carolyn’s vocal chops sets this quartet apart from many, and their latest CD proves they somehow just keep getting better

This well traveled American folk band from Asheville, NC has crafted a blend of music influenced by brass bands, street jazz, old-time string, and middle-eastern rhythms.

Could be one of my faves this summer. Love it

Aaron Burdett

Eddy Raven All Grassed Up

Jimmy Fortune Sings The Classics

The Farm Hands Colors

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Amilia K Spicer Wow and Flutter

The Resonant Rogues Hands In The Dirt

Nu-Blu Vagabonds

Refuge

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www.amiliakspicer.com

www.aaronburdett.com

www.countrygrass.com

www.jimmyfortune.com

www.farmhandsquartet.com

This Pennsylvania native has been prefecting her brand of music for quite a while now.

Wow and Flutter, her third CD, could just be that full on, break out project every artist dreams of. Full of rich lyrics laid down in a way only Amilia could. This is one to watch

Aaron Burdett’s latest CD, Refuge, is full of stories working man’s life stories from the heart of the North Carolina mountains. Not quite folk, not quite country, his music is that perfect blend of insightful lyrics and comfortable melodies

Eddy Raven is probably best know for his long list of top10 country radio hits several years ago. Recently teamed up with Lorraine Jordan.

Here’s his first bluegrass CD, All Grassed Up. It offers up grassy versions of several of his hits. Great collection

One of the greatest traditional country music bands was the Statler Brothers. Jimmy Fortune was a huge part of that act. Since the band retired, Jimmy’s continued performing and recording. His latest serves up some great classics, including a Statler tune

Since forming in 2010, this bluegrass quartet has earned over 50 national awards including several IBMA nods.

Tim Graves, Daryl Mosley, Keith Tew, and Don Hill have created yet another almost certainly to be decorated CD with their latest: Colors

The Steel Wheels Wild As We Came Here

The Country Side Of

Scythian

Harmonica Sam

Dance. All. Night.

Volume Five Drifter

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Tim O’Brian

www.thesteelwheels.com

A Drink After Midnight

www.scythianmusic.com

www.volumefivebg.com

Where The River Meets The Road

The much anticipated latest from Virginia roots band, The Steel Wheels, finds them departing a bit from the straight up acoustic sound they’ve been know for. There are new layers and new explorations here for sure. Some say could be their best yet

www.thecountrysideofharmonicasam.com

I saw this band for the first time at Merlefest. One of the best bands I’ve never heard before this year, for sure.

This Irish tinged Virginia band is smokin’ hot on this “best of” collection. Catch them live if you can. Much fun. You won’t sit still

Drifter, Volume Five’s latest album made its debut on the Billboard Top 10 Bluegrass Album Chart and has achieved significant radio success this year with four tracks charting and two singles reaching #1 on the BGT Top 20 Chart.

It’s a solid performance

This is the 15th solo release from the Grammy winning West Virginia native. The prolific story teller, O’Brian hits a homerun with this latest collection. Listen closely you can hear Chris Stapleton on the cut “High Flying Bird”

.

It’s brand new, old-style, 50s era Honky-Tonk, country swing, and it’s really, really good. Originating from Europe, this quintet has that classic sound down pat. If you like hillbilly music, this is a must ad to your collection

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

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www.timobrian.net

.

July 2017

John Prine

www.AmericanaRhythm.com

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