Americana Rhythm Music Magazine issue #78

January 2019

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Americana Rhythm is published six times a year. All correspondence should be sent to PO Box 45, Bridgewater VA, 22812 or CONTRIBUTORS email to greg@americanarhythm.com. Copies of Americana Ed Tutwiler Rhythm are made available free at various pick up locations within Wayne Erbsen the publication’s region. Subscriptions are available inside the United Donna Ulisse States (only) for $24 US currency made payable by check or Mike Aiken money order sent to, Subscriptions at PO Box 45, Bridgewater, Andrew McKnight VA, 22812. Foreign subscription requests should be sent to Emily Kresky greg@americanarhythm.com. Copyright 2018. All rights reDon Brown served. Reproduction of any content, artwork or photographs DISTRIBUTION is strictly prohibited without permission of the publisher or origi- North River Publishing Integrated Music Media nal owner. All advertising material subject to approval.

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January 2019

A Promoters “Jurney” In Berryville

By Edward Tutwiler During the summer festival season, we find it difficult to attend more than a few of the fine Americana music performances that the great promoters of this genre of music make available.

The solution of course is to locate a source of this music that does not end when the leaves begin to change color.

One really great fall/winter source for music has been the Berryville Bluegrass Concert Series promoted by the legendary Mr. Frank Jurney. Mr. Jurney has promoted this fine concert series for the past 18 or so years with the proceeds supporting the Clarke County High School Eagles Athletic Association. Over the years, this successful concert series has raised more than $300,000 since the series began in 2000. The association has used this money over the years to pay for uniforms and scholarships for the athletes.

By Edward Tutwiler

The concert series is produced entirely with volunteer labor and sponsorships. The volunteers even fix a hot meal for the bands.

Frank says he has always had ample help and good cooperation from everyone involved. The concert series sells out a 500-seat auditorium with season tickets and advance single-performance ticket sales making up the main block of concert goers.

Hard Work and Dedication Frank Jurney along with his wife, Cyndy, over the years have drawn upon Frank’s many years as a bluegrass music promoter and their year-around attention

and work to make this winter concert series a reality. Alas, we recently learned that this up coming 2018/19 season is to be the last for the Berryville Bluegrass Concert Series with Mr. Jurney’s advancing age and declining health being cited as the main reason for the series coming to a close.

With this announcement of the series coming to a close, it is fitting that we give you a bit of insight into the life and times of Mr. Frank Jurney, music promoter extraordinaire.

Frank Jurney has been in the bluegrass promotion business since the 1980s. He got his start

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raising funds for a local fire department and other local venues in his home area. Some years ago, a close friend, who was the athletic director for Clark County Virginia High School, asked if he would put together a concert to benefit the school’s athletic department, and Frank agreed to do it. He once told us, “We hired IIIrd Tyme Out whom I’d worked with previously and an overflow crowd showed up for the concert; so that encouraged us. The next year, we did three concerts and did very well with them. So, the next year we extended it to five and we are now at six per year. It’s a labor of love, really. We both have a passion for bluegrass and a desire to help a worthy cause so it fits very well.”

During his earlier years, Frank’s day job was serving as a professional firefighter for continued

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January 2019

Washington, DC but his avocation was always bluegrass music. During the 1950’s and 60’s, Washington, DC and the surrounding northern Virginia area was a hotbed of bluegrass and country music (most likely due to the influx of southerners who migrated to the area for work during the war years). As a young man, Frank discovered The Country Gentlemen. From that introduction, he developed a real love for that genre of music and began following his favorite acts from place to place. Frank told us, “There were a lot of clubs in DC where you could catch bluegrass music; however, in 1972 along came Seldom Seen, and I’d never heard anything like them in my life.”

This developing love of the music drew Jurney to the Birchmere (a wellknown bluegrass club in Arlington VA where Seldom Seen was the house band at one time). When Birchmere closed, the bluegrass community raised enough money to keep it alive. During this time, Jurney became involved in the business end of things at the club; which led him to become acquainted with many of the performers of the day; which, in turn, led Frank to become involved in the booking business.

It Just Happened Here is Mr. Jurney’s take on how he got involved in the promotion business, “I had no intention of becoming a promoter. It just happened. Someone mentioned that I promote a little show down at my firehouse to raise a couple bucks. That was our very first show, and as they say ‘the rest is history’”. Along with the Berryville Bluegrass Concert Series, Mr. Jurney was at one time also associated with both the Graves Mountain Festival and events at Watermelon Park.

When asked if he was ever a

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performer, he quickly admitted to being a failure at both picking and singing but claimed to having a knack for organization and a passion for music and the ability to combine the two attributes into promoting music events for the enjoyment of others.

when those proceeds were a lesser amount than what Frank thought was fair. McLaughlin went on to tell Bruce that he knew this fact because he had been the benefactor of such generosity more than once. Carpenter also mentioned to us that John Bowers and Joyce, his wife, who produces the Pickin’ In Parsons festival, each summer, called Frank Jurney a true southern gentleman of promoters.

Bruce Carpenter is a very close friend to Frank Jurney and has taken on the role as his assistant to help in any capacity as needed to help Frank shepherd this final season of the concert series to its April, 2019 conclusion. He mentioned that with the last concert next April, it would be the end of the series in its current format (although there has been some discussion that someone might step forward and keep the concerts going because they are popular fund raisers; however, any such effort probably would be on a smaller scale).

The Show Will Go On

There are many successful event promoters in the business but many people consider Frank Jurney also a performer ’s promoter. While he is responsible for booking the acts for an event stage, he personally cares for them and their welfare as well. A close friend of Mr. Jurney, Bruce Carpenter, recently related a comment to us that was made to him by Mr. David McLaughlin of Johnson Mountain Boys fame and currently with Linda Lay and Springfield Exit.

David maintained that Frank Jurney has done more to keep bluegrass music alive in the Shenandoah Valley than any other person. He went on to say that he knew for a fact that Frank had used personal funds to pay bands that were playing for the gate proceeds

As far as the future of winter season live music series in the rural northern Virginia area, Bruce told us that Mr. Jurney encouraged him to promote a venture similar to the Berryville series but near his home in Frederick, County, VA. He said that he has recently put that plan in motion; and that Frank Jurney has promised his expertise as a

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consultant if his health permits him to do so. Therefore, beginning with the 2019/2020 season, Bruce Carpenter is promoting the Top of Virginia Bluegrass music series in conjunction with the Fredrick County Education Foundation.

Proceeds of this new music series will fund grants that will support Frederick County schools as follows: in excess of 50 percent to aid in the advancement of agriculture and technology education; and the remainder percentage directed to the general education fund.

In conclusion, know that while the stage lights on the Berryville Bluegrass Concert Series are going dark at the end of this current concert series, the legacy of Mr. Jurney, the performer ’s promoter, is assured for all time and his promotion efforts over the years are well appreciated by the performers, venue managers, and benefit recipients.

You have one last season to enjoy the fruits of Mr. Frank Jurney’s labors, and get your ears around some live Americana music promoted and produced by a seasoned veteran who knows what he is doing. For this 2018/ 2019 and final year for the Berryville Bluegrass Concert Series, Frank Jurney has produced seven shows instead of the usual six.

For more information, check out www.berryvillebluegrass.com.

January 2019

Original Martin Guitar Plant Named To National Register Everyone knows Martin guitars are some of most beloved musical instruments in American history by many, many musicians. Just recently, the earliest manufacturing plant in Nazareth, PA for Martin Guitars was named to the National Register of Historic Places.

C.F. Martin Sr. brought his family from Germany to New York in 1833. He opened up a shop at 196 Hudson Street on the Lower West Side, where the first Martin guitars were built in his modest store. Not long after, his wife visited the countryside of Eastern PA where she was reminded of her home in Germany. In 1839 she persuaded C.F. to close the shop and make the big move to Cherry Hill, PA, not far from Nazareth.

In 1857, Martin purchased a block of land at North and Main

Streets and began building what would become the historic Martin landmark. That location would remain operational until 1964. To keep up with rising

demand, the company moved to a new facility at 510 Sycamore Street, Nazareth, Pa., where it still operates today.

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“I am very proud that my family’s original factory in Nazareth has been selected for National Historic Landmark status,” said Chris Martin, Chairman and CEO. “For well over 100 years, this facility produced many of the guitars, ukuleles, and mandolins used by professionals and amateur musicians across the U.S. and around the world. The music made on Martin instruments was and is a very significant part of musical culture for generations.”

According to the park service criteria, National Historic Landmarks are the highest level of recognition. “The quality of national significance is ascribed to districts, sites, buildings, structures, and objects that possess exceptional value or quality in illustrating or interpreting the heritage of the United States in history, architecture, archeology, engineering, and culture and that possess a high degree of integrity of location, design, setting, materials, workmanship, feeling, and association.”

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January 2019

2018 Outlaw Music Festival Tour

By Jennifer Grant

The stage was chock-full of guitars, keyboards, drums & percussion, bass guitar, flute, saxophone, trumpet, trombone and an array of vocalists. Besides playing some of their top songs like “Midnight in Harlem” and “Don’t Know What It Means”, they also performed “Shame”, which will be featured on their upcoming album still in the works!

As more and more music fans become frustrated by the main stream (so called) country music outlets, genre’s of music rebelling against the corporate driven formats are growing in both notoriety and popularity. One such format is called Outlaw Country – it even has it’s own Sirius/XM radio channel.

AR Freelance writer Jennifer Grant takes a look at the format by way of the 2018 Outlaw Music Festival tour. – editor The Outlaw Music Festival Tour made a stop in the sweetest city on earth, Hershey, PA Saturday, September 8 th . The lineup included top names in music such as: Willie Nelson, Tedeschi Trucks Band, Van Morrison, Sturgill Simpson, Lukas Nelson + The Promise of the Real and The Particle Kid.

The final two acts; Van Morrison and Willie Nelson have been topping the music charts for kicked off the festival, performing his original music that identifies its own new unique genre, which he describes as, “Folk-a-delic Forest-Funk Space-Punk AvantPop Psych-Rock Dope-Scapes”.

He concluded his set with his hit, “Everything Is Bullshit” featuring

be released in the USA on October 5th, 2018.

Everybody Loves Sturgil

A One Day Event This star-studded music festival is a one-day event that creates a classic multi-day festival vibe by including several art and food vendors along with a full day of soulful and eclectic interpretations of blues and country music.

The Particle Kid, AKA Micha Nelson, son of Willie Nelson,

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his brother, and son of Willie, Lukas Nelson. This collaboration gave way to a flawless transition into the second set of the day featuring Lukas + The Promise of the Real. Songs included one of my personal favorites, “Turn Off the News” and “Forget About Georgia” from their new EP released September 7 th , 2018.

Lukas is also part of the new movie, “A Star Is Born” with Lady Gaga and Bradley Cooper, set to

Next to take the stage was the famed musician, Sturgill Simpson. The audience was filled with fans awaiting his performance as cheering erupted from all sides of the stadium. His performance featured several songs from his three-time Grammy Award Winning 2016 album “A Sailor’s Guide to Earth” and 2014 album “Metamodern Sounds in Country Music”. Fan favorites such as “In Bloom”, “Turtles All the Way Down”, and “Call to Arms” left listeners mesmerized.

In addition to this already impressive line-up, 12-piece ensemble, Tedeschi Trucks Band was the next band to perform.

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decades! Morrison played his classic hits “Days Like This”, “Moondance” and “Brown-Eyed Girl” The evening closed out with a performance by country legend Willie Nelson. His two sons Lukas and Mika Nelson came back to the stage to accompany Willie for the final performance on this leg of the Outlaw Music Festival 2018 Summer Tour. Fans sang along to all the favorites like “Mama Don’t Let Your Babies Grow Up to Be Cowboys”, “Roll Me Up and Smoke Me When I Die” and “On the Road Again” and beloved covers like “Always on My Mind” and “Hey Good Looking”. Susan Tedeschi and Derek Trucks joined Willie and the others closing the night with beloved gospel songs “Will the Circle Be Unbroken” and “I’ll Fly Away”.

Photos By: Nate Payne of Jester Graphics & Photography

January 2019

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January 2019

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

THIS MONTH’S FEATURE:

By Greg Tutwiler

The Quixote Project

FEATURE ARTISTS The Quixote Project, while steeped in traditional genres, looks to blur the lines of modern music from a roots music foundation. The New Jersey based collaboration was started by Jeff Selby and fueled by a revolving cast of musicians. “They have distilled multi-genre sounds of a beachfront music festival into a remarkably cohesive live set,” said Dave Fox of Music Without Labels. “It’s filled with hints of bluegrass, folk, and rock in a style that would be pigeonholed as jam if the songwriting wasn’t so explicitly pop-oriented.”

“The band had a very organic start with a few buddys just getting together to pick and share tunes,” front man Jeff Selby said. ”More people started to join our jams and eventually The Quixote Project was born. There have been many members in the band as I have an open door policy in the band, but once you’re in you’re in for life.”

The band plays a lot of traditional genres like Americana, roots, rockabilly and bluegrass, “which I feel are some of the country’s greatest achievements in the arts,” Jeff added. “I feel it’s our duty to continue on these genres in a traditional sense and pushing them forward by intertwining modern instrumentation and recording processes”

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The Quixote Project leans heavy on it’s songwriting for much of their performed and recorded music. “Typically, I tend to wait for the ever elusive muse to descend and fill my heart and head with the perfect song,” Jeff said.

“I think honest writing is the best and connects with the listeners. I’ve taken this approach with most of our previous albums.

However, with Namesake , our upcoming album, which is more of a concept album, I took a more mechanical approach in the songwriting process.”

“We were very fortunate to have that extremely successful kickstater. It allowed us to take the band into Cambridge Sound Studio, a top notch studio in Philadelphia, and really delve into different sounds and instrumentations on the songs.”

Namesake was born out of the band’s previous album, Land of Plenty, kickstarter project. ”One

After a sold out album release show at World Cafe Live in Philadelphia, the album earned the band, “top band of the year,” and “top album of the year,” at the 2018 WSTW 93.7FM Homey awards, as well as, “top Americana act,” “top musicians,” and “top instrumentalist,” at the 2018 Elephant Indie music awards.

of the reward levels was, “give us a name and we’ll write a jingle to it,” Jeff explained. ”We ended up selling six “name songs” which left me with a lot of writing to get down in only two months. I actually had to force myself to sit down and write a song which was something I rarely did, but in the end I have to admit, it was a fantastic and liberating process.”

When asked if he could recall a defining moment in the band, Jeff said this; “As much as I want to tell you my defining moment was when we got to open for the country band Little Big Town, meeting the band, feeling the energy of a packed house and getting the notoriety of it all; it wasn’t. To be honest, it wasn’t a

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moment at all, it was a process. I’ve known since I was a kid that music was the only thing that made me feel like I had a sense of purpose. I’m proud and grateful that I chose a path less traveled.”

Jeff says he has a philosophy with music. “Use it or lose it. We as a band, or myself, have multiple shows a week, we’ve been at 200+ shows a year for a few years now.

And while we normally tour regionally, we will usually pack up the van and hit the road once or twice a year, mainly focusing on the eastern seaboard. We’ve toured from GA to VT. When I die, I want my great grandkids to have a time line and an understanding of my life and generation via my music. People often ask us if we’re trying to “make it.” While making it might mean different things to many different people, my reply usually is, “I play music for a living, I’ve already made it.”

For the six jingle songs the band created for there Namesake album’s kickstarter program, Jeff said, “I quickly found out the songs were not going to be little jingles.”

“Some were about their writer’s wife, who saved their life, others were about their daughter, all of which made me quickly realize I needed to put some serious time and effort into these songs as these people have entrusted me to write a song about a loved one. After putting a lot of time and TLC into the songs, we decided they were good enough to release as an album. We re-cut some of the songs in the studio and added a single called “Namesake,” which we released recently, along with a video and free download for our fans.”

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January 2019

Seedlings and Soundlings I’ve grown up around music. It was my second language spoken in my household as a child. And I learned it much as native-born children of immigrant families do - orally and aurally. I heard the sounds and the relationships.

Sure, I learned to interpret pictures of chord shapes on the guitar, and scribbled out song lyrics and place the chord changes over them, but I never learned to transact in the written language of music. After a few years of playing guitar as a teenager, my ears told my fingers where to go faster than I could process the information visually.

I’ve gradually learned to read a bit, primarily through the tablature generating software I use with my guitar students. It’s cumbersome and slow, but I manage well enough for what I need to do. Truthfully, the written language is secondary support to the primary mission. My students generally come to me wanting to learn something in particular. If I am to help them unlock the many layers of mysteries in the six-string encyclopedia, it boils down to “inspiration leads to perspiration, and nothing else does”. If they aren’t excited about what they are working on, they simply won’t put in the practice time.

Being a music parent is not part of my job description in music, but it is in my 24/7 role as a parent. And what a different role that is! My daughter started the violin in group lessons after school in 1st grade, and by the end of the year she could play “Twinkle, Twinkle.” In my family, with so many musicians, I thought that violin was a great choice because frankly, “Daddy doesn’t play that” - and thus she might be a bit freer to develop her own relationship with music.

Over the past couple of years, she has quite clearly developed some skill as a fiddler rather than a classical violinist. She is learning

to read, though most of the time already her ear is a far faster tool.

And her musicianship is already evident in other ways, like not lingering over mistakes while performing or jamming with others.

So, these past couple of weeks have been pretty joyful. The young musician was lucky enough to sing in our county’s 180-member 5th grade chorus one weekend. I took her and her classmate to the monthly all ages old-time and bluegrass jam where they play their batch of tunes with a bunch of adult musicians. And finally this past Friday, I just watched as the two of them played a traditional Irish tune together in the school talent show.

I want to say that I had nothing to do with it. Even more than that, I want to say that I did and

By Andrew McKnight

won’t do anything to discourage it. It’s amazing to watch them learning this language together, becoming musicians in how they play together and perform for an audience. It is so different than my journey. I was a year or two older than they are now when I started playing guitar, and making the effort to practice and learn things.

They are both so much farther along than I was at that age.

I was right about one thing. Her experience and relationship with music are far different than mine.

And for that, I am grateful mission accomplished

.

Andrew McKnight is an award winning, touring musician, both solo and with his band Beyond Borders. Andrew has been writing for AR almost since the beginning and we always welcome his insightful literary contributions to our magazine. Visit Andrew at www.andrewmcknight.com

What’s also evident is that she is a typical 5th grader speeding towards the teenage years. For a long while now, I’ve struggled to maintain the balance between encouragement and opportunity with keeping enough commitment to at least maintain her hard work, until she gets to a maturity where one might more enjoy practicing for practice sake.

It’s a fine line to be sure - and above all it is essential that I not create a negative association with music that will linger for a lifetime.

One of my students is a classmate of hers since kindergarten. And in this past nine months since she started, her goal has been simply to play whatever songs Madeleine is fiddling so they can play together. When she comes for her lesson she often nags her “Madi get out your fiddle!”. It’s the best peer pressure for which a music parent might hope.

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January 2019

The Magic Of Sister Sadie

It’s probably not evident here in the article, but the ladies clearly enjoy each others company, picking on and laughing with each other constantly. You can listen to the full interview on our podcast, Americana Music Profiles. I was fortunate to have all five together on the phone at the same time, and it was quite hilarious and lot of fun to speak with them all together. – editor

It

was a nearly unrehearsed performance about six years ago at the Station Inn in Nashville, TN, that brought six of Bluegrass music’s top female musicians together for what was to be a oneoff performance. Little did they know it would lead to an ongoing stint in what has become a parttime super-group. Consisting of five-time IBMA Female Vocalist of the Year and Grammy Nominated, Dale Ann Bradley, along with veteran Nashville powerhouse singer, Tina Adair, fiddle player; Deanie Richardson (who’s worked with all kinds of artists like Patty Loveless, Vince Gill, and Bob Seger); hard-driving banjo player, Gena Britt (who’s played with Lou Reid and Carolina, Alan Bibey & Grasstowne and more); and Beth Lawrence who is a widely known and sought after free-lance acoustic bass player in Nashville.

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Thanks Tony They call themselves Sister Sadie, inspired by the Tony Rice song, “Little Sadie,” and the fact that they feel as though they are sisters. The chemistry was evident immediately and carried over on stage right away. The audience and the industry also thought so.

It wasn’t long after the sold out show that they began getting calls for gigs. So they made it official.

The ladies credit Ann Sawyers, who worked at the Station Inn before passing away recently, for having the idea of putting something like this together for a long time. “She contacted Gena initially to get it set up, and it went from there,” Dale Ann told us recently.

“We really weren’t planning anything further beyond this one appearance.” Gena said. “We just thought it would be fun, but didn’t have any deeper expectations. We all met at the Station Inn about five o’clock that evening to work up some

songs because we really didn’t even know what we were going to do. From the first note we hit together we just looked around at each other – like okay, this is gonna be good.”

It Was Just Magical “It was quite magical,” Dale Ann added. “It really was.” “And we

still do that, every show. When we start to warm up, that first note, we all just look around at each other and agree, that’s good!”

Although they decided that each member would remain in their own band, they have managed to tour quite often, and just recently

By Greg Tutwiler

released their second CD together.

Whenever time allows, they meet up and perform, which is currently about a dozen or so times a year, and now a little more heavily while they promote the new recording project, simply called, Sister Sadie II, out on Pinecastle Records.

Making It Work Navigating the busy schedules of each of the members of the group does offer its challenges. While each has other musical endeavors, several of them also have professional careers outside of music too. But as the group gained popularity they have upped their performance schedule to about 25 dates a year – a lot more than they originally anticipated. “We’ve been really fortunate and blessed,” Deanie said. “That people have been reaching out to us and wanting to hire us. We knew we’d never be able to go much over those 25 dates a year but we wanted to try to reach all the different regions in the US, and we were able to do that last year.”

When I asked them how they worked out connecting for rehearsals and band meetings, and the like, after the brief silence, I was met with a chorus of

January 2019

written several songs for the band,” Dale Ann commented.

“Deanie and Gena have too, so I guess me and Beth need to get started and write one also,” she quipped.

laughter. “Usually right before we go on stage or the record button is pushed … this last record we did, most of the songs we worked the day of,” Tina said. “We’re all running different directions, so when we do get together we try to accomplish as much as we can.”

But they are writing of course.

Dale Ann has a new CD releasing in February with her own band.

Deanie just released a new project, and Gena has a new CD coming out in April. It’s truly like an all-star event when the ladies get together, it just happens 25 times a year.

Of course the reality is, the ladies are not strangers to each other. “We’ve all picked together for 25 years on and off,” Dale Ann said. “We’ve all played together in some capacity through the years, so we’re kind of locked in to knowing what the other person is going to do (musically) – I feel that from the other girls.”

“It’s unlike any band I’ve played with. It feels great. We all anticipate what’s happening or what’s gonna happen on stage most of the time. It’s just one of those things that we don’t have to be together all the time, which makes it even more special when

At press time, we learned Sister Sadie has been nominated for a Grammy award for Bluegrass Album of the Year: CONGRATULATIONS ladies!

we do. A band is like any kind of relationship – if there’s chemistry there, it works. And there’s some serious chemistry amongst the five of us girls, and it just works.

It just happens. We love it. We grin from the time we start playing to the time we stop, and

that’s what keeps us coming back each time.”

Bringing The Music The ladies rely on the songwriting skills of different members of the band to supply them with music for their CDs and shows. “Tina’s

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Connect with the band: www.sistersadieband.com Dale Ann Bradley www.daleann.com Tina Adair www.tinaadair.net Deanie Richardson www.deanierichardson.com Gena Britt www.grasstowne.com Beth Laurence www.sistersadieband.com

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January 2019

By Wayne Erbsen

The Truth About the Lester Flatt “G Run”

appearances and on most Saturday nights on WSM’s Grand Ole Opry. Of course, Lester continued to play his G run over the course of his long career with Earl Scruggs and the Foggy Mountain Boys and later with the Nashville Grass.

Back To Riley Puckett We can trace the origins of Lester’s G run back at least as far as the mid

Bluegrass hero Lester

Flatt had a lot to be proud of. One of his most lasting achievements was the G run that bears his name. You can hear this distinctive guitar run in practically every traditional bluegrass song that can be played on the guitar using a G shape chord.

In its original form, it is basically a two note run that is played at the end of a verse or chorus. It consists of playing the D string of the guitar at the second fret followed by the G string open. It more or less punctuates the song and serves the same purpose as an exclamation point at the end of a paragraph.

Play It At The End In comparing these early versions of the G run, the thing they all have in common is that the run is commonly played at the end of a verse or a chorus and it culminates with the open G string of the guitar.

What Lester apparently did was streamline it down just to the two notes, an E and a G which he was able to hit when the band was going 90 miles an hour. As Brian Sutton once said, “It was Lester Flatt who put it on the map.” And for that, we are grateful. Thanks, Lester!

In the mid seventies I was lucky enough to become friends with the legendary fiddler Jim Shumate, who joined in Bill Monroe’s Blue Grass Boys in 1945 just weeks after Lester Flatt joined the band.

If you’d like to try the Lester Flatt run on the guitar, take a peek at the guitar tab, below. The tab is written in the style I use in my book, Flatpicking Guitar for the Complete Ignoramus. The letters on the strings represent the name of the note on that string. The arrow represents a strum down.

The feet give you an idea of the timing. Of course, Lester played with a thumbpick, but you can certainly do it with a flatpick if you wish.

In a 1976 interview here is how Jim Shumate explained it: “Lester had just started working with Bill when I joined the band.

He’d been with Bill two or three weeks. He’d been singing tenor with Charlie Monroe. So he left Charlie and went with Bill at the Grand Ole Opry. I had met Lester when he was working with Charlie, so I was glad he was with Bill. We were both rookies. I remember that Lester always had a funny run on the guitar, and we used to kid about that run. I accused him of doing it just to let people know that he was still there.

That’s about the truth, because we’d be going so fast, he’d just hit one string here and there and then every chance he’d get, why he’d run something in there.”

That “something” was Lester’s signature guitar run. The Blue Grass Boys may have kidded Lester about

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Monroe Brothers’ October 12, 1936 recording of “Roll in My Sweet Baby’s Arms,” you can hear Charlie Monroe playing something that approaches the Lester Flatt G Run. On November 25, 1939 in Bill Monroe’s very first appearance on the Grand Ole Opry, Bill amazed the audience with his performance of Jimmie Rodgers’ song “Mule Skinner Blues.” For this number, Bluegrass Boy Cleo Davis chorded Monroe’s mandolin and Bill played guitar and used a run very similar to the Lester Flatt G Run. Bill also played the run when he recorded this song with the Blue Grass Boys on October 7, 1940 for RCA Victor Records.

his little run, but Lester’s G run is no laughing matter to died-in-the-wool fans of traditional bluegrass. In this article I may question whether or not Lester actually invented that run, but no one can argue with the fact that he gave it its biggest audience when he played it week after week on live

1930s when Riley Puckett played a version of it on the August 8, 1935 recording of “Blue Ridge Mountain Blues.” On June 15, 1936 Zeke Morris played his version of the guitar run when he and Wade Mainer recorded “If I Can Hear My Mother Pray Again.” If you listen close to

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Wayne Erbsen is a musician, author, publisher, teacher and radio host. Check out his instruction books and songbooks for banjo, fiddle, guitar, mandolin plus books of songs and lore of cowboys, railroads, cowboys, outlaws, gospel, plus historic cookbooks by visiting http:// www.nativeground.com/

January 2019

The People You Meet; Music To Wolves Score! This too, was unexpected and will prove fruitful for my future.

S tepping

away from musicindustry nuts and bolts this time, I plan to share some of the interesting characters we met on my recent tour in Europe. Each gig brought note-worthy characters as well as good connections for future bookings.

We began in Nancy, France, near where my cousins live, and about 1.5 hours from where my mother was born and raised. This was a small venue that hosts music once a month. It turned out to be very meaningful because not only were all of my cousins there, but a gentleman, unknown to me but from my mother ’s hometown, presented me with a printout of

my family tree dating back to the 1600s. That was very thoughtful of him and completely unexpected.

We were also very lucky, in an accidental way. The gentleman doing sound came well prepared with equipment but a little unfamiliar with his gear. We were ready to roll with it but held some reservations that proved unfounded. It turns out that he doesn’t usually do sound but owns the agency that books artists like me. By the end of the night, he said he could definitely book me in at least one festival, get four to six gigs to go with, and introduce me to agents in other countries.

Next were gigs in the Netherlands. One is a great venue in the north where we have played before and where the fans are rabid for the music and are like family. Before we left the States I got a Facebook message from a guy who said he was coming but had a 2.5 hour drive to get there. Cool! Thank you, come on out. It turns out he is a truck driver who spends his work-days listening to Spotify, carefully dissecting harmony tracks and guitar parts. He knew all the words and asked good questions about instrumentation. He loves American music and has a telecaster tattooed over his whole forearm set in a scene of the American west, an anniversary present from his wife and children.

www.AmericanaRhythm.com

Next was a small venue in the south, near the German and Belgium borders. A very unique place decorated for wolves, music and the American west. This particular Sunday afternoon brought a very enthusiastic crowd, each with a very interesting story. In addition to our creative hosts, the Dutch Country sanger, the woman fighting cancer with her adoring husband, the folks who book a festival in Germany, and the folks who have a Dutch Country music magazine, there was a wolf-man and another veiled soundman.

The gentleman doing sound for us was possibly the most attentive soundman we have ever had. He was mindful of what we were after and paid very close attention throughout the performance. We hit it off immediately, talking about guitars and songwriting. continued on page 16

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January 2019

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

Los Goutos

Juliet Simmons Dinallo

Boston, MA is home base for the Americana band, Los Goutos. Five multi-instrumentalists made up the original core of the band, three of them being singersongwriters. Over the years the group has morphed and expanded to now include a fourth singersongwriter (Emily Grogan), a two-piece horn section, and sometimes a fiddle.

Although born in North Carolina, Juliet Simmons Dinallo grew up in Maine, but came of age as a musician in Boston. She now resides east of Nashville, TN, where all her life experiences influence her songwriting, singing and performance style, giving everything she does a unique expression.

Mark Wayne Glasmire Mark Wayne Glasmire was just 10 years old when his parents gave him a guitar as a Christmas present.

Although now residing in Arlington, TX, Mark was born and raised in Bethlehem, PA. “I want to be a rock star,” he told me. A child of the 60’s, Mark grew up listening to the singersongwriters of the day like James Taylor and Cat Stevens.

“I took on the guitar at a young age, but didn’t really take it seriously right away,” he said. “My parents provided me with guitar lessons for a couple months, but realized I wasn’t practicing, I ended up losing interest. I just walked away from it for a while.”

But Mark had picked up enough of the basics that when he did pick it back up in high school and later on in college the ability to play came pretty quickly.

“I figured out that girls love guys with guitars, and I was a pretty shy kid, so my guitar became my outlet.”

Mark went on to play open mic nights and then to small clubs and coffee houses. “That’s eventually how I ended up paying my way through college,” he said. After earning his degree, Mark went to work for his father’s construction company during the day, and commuting an hour and a half one way into the Village in New York to play music in the evenings. “I’d come home at 2:30 or 3:00 in the morning, get up at 6:30 and go back to work,” he recalled.

He was also playing locally in Pennsylvania where he got to know Sonny Ochs, sister of the late folk legend Phil Ochs. Sonny hired Mark and his friend Pat Troiani to perform at the historic Greenwich Village venue Gerde’s Folk City. Mark eventually found himself in Nashville working on his songwriting chops. He’s since received numerous awards for his efforts.

Mark’s latest CD, Can’t Be Denied, chocked full of his original songs, was released mid-October to early praises.

To find out more, visit www.markwayneglasmire.com

They’ve described themselves as an off-kilter and infectious concoction of folk, roots, rock, country, blues, Cajun, New Orleans jazz, Latin grooves, and more. “Every song tells a story,” one band member said. “Sometimes it’s a tragedy, sometimes a comedy, and sometimes hard to tell the difference.”

In 2006, Chris Gleason and Mike Eigen became friends through a mutual acquaintance. “We used to hang out at all hours of the morning,” Chris said, “Covering songs, and writing songs for a number of years.” Eventually another friend, Paul Stewart, joined in. Then Chris’s brother-inlaw, Shamus Feeney, and Paul’s co-worker, Bruce Bartone, all joined in the basement jam sessions.

“Eventually we decided to take it out into the public, so-to-speak,” Chris recalled.

“I think the main thing for us, even back in the early days, is that the real fire was writing original music,” Mike added. “It’s really what propelled the band forward.” Chris added, “There’s a lot of story telling going on that’s for sure.”

“Music Connection magazine said one time, that we’re a veritable Grand Ole Opry with a sense of humor. We like that description because we are a bit if a circus on stage at times – we switch singers every couple songs and we even switch around instruments too. We have a lot of shared influences, but I would also say that each of us also has some unique influences too that adds to the electiveness of the band.”

When the band went in to record their latest album, Mighty, they actually tracked over thirty songs before deciding on the final 13. “There’s no shortage of material, which is a good thing.”

She was introduced to the arts and music from the beginning of her life as both her parents were English literature scholars. Her name even reflects her father’s studies of Shakespeare. Her mother was a folk music DJ while at college. ”I’ve been singing as far back as I can remember,” Juliette told us. “I recall driving my brother crazy singing the songs of Jesus Christ Superstar – I knew the whole album.”

Juliet went on after high school to study music at the Berklee College of Music in Boston, where she landed a spot on the world-renowned Berklee Gospel Choir. ”I had never been in a choir before, and it was really just the coolest thing to be a part of that.”

After college, she immersed herself in the eclectic Boston music scene but eventually took a sabbatical from music. A 10 year journey through life brought her back to the threshold of music and the springboard for her first endeavor into songwriting and recording. It would become the material for her debut record, No Regrets, which gained her some critical acclaim, being compared by some to Lucinda Williams, and making the CMA CloseUp Magazine’s “Who New To Watch in 2013” list.

While on tour in support of No Regrets, Juliet was enamored by the influences of culture and musical history. Her many trips, especially through the South, brought her in close contact with sounds, ideas, visuals, and everyday life – both around her and experiences of her own - that would inform and inspire the songwriting on her latest project, Dream Girl.

To find out more, visit www.losgoutos.com Check out

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on iTunes www.AmericanaRhythm.com

To find out more, visit www.julietsimmonsdinallo.com

January 2019

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

Tellico

Cary Morin

Anya Hinkle’s distinctive vocals set the tone for Asheville-based Appalachian roots-music band, Tellico. A native of Southwest Virginia, Anya’s native influences coupled with her worldly travels makes for a seasoned musical flavor full of honesty and heart.

Cary Morin is a Crow tribal member born in Billings, Montana. Cary spent the bulk of his youth in Great Falls, where he honed his musical skills picking guitar standards at neighborhood get-togethers. He eventually moved to Northern Colorado in 1989 where his professional musical career hit the ground running.

Both of Anya’s parents were musicians, and she grew up playing violin, singing in the church choir and playing guitar during her high school years, where she really started getting in bluegrass/Americana music. “My first love was Norman Blake and Tony Rice,” she said. Anya went off to college and didn’t really pursue music intentionally until one day while in California she wandered into a guitar and fiddle shop in Berkley, CA called the Fifth String.

Cary’s first big break came with the internationally acclaimed band, The Pura Fé Trio. Their single, “Ole Midlife Crisis,” written by Morin, placed number 17 on France’s iTunes blues chart. As a solo artist, Cary has played celebrated venues across the globe, including Paris Jazz Festival, Winter Park Jazz Festival, Folk Alliance International, River People Festival, Shakori Hill Festival, the 2010 Vancouver Olympics, and most recently Rochefort En Accords festival in France and The Copenhagen Blues Festival.

“I just started picking with those guys and got really into it, and thought to myself, ‘what am I doing out here; I’m going home. I’m still real close to those California folks, and really appreciate them supporting me as I was getting started,” she said.

The band’s latest CD, Woven Waters, blends the group’s bluegrass sensibilities with British Isles influences, creating an eclectic collection of poignant folk songs. Fellow band mate, Greg Stiglets (song-writer, vocalist, bass, harmonica player) songs are inspired from the stories and events of daily life, while his attention to melody and groove help to further showcase the instrumental prowess of the band.

Central North Carolina’s Aaron Ballance (dobro, lap steel, pedal steel) and Jed Willis (mandolin, clawhammer banjo, electric guitar) round out the Tellico quartet. Their more than a decade of collaboration has helped shape their sound into well known and sought after band in the string band genre. Relics and Roses, their first CD, was wellreceived, and won many accolades. It even earned them stage appearances at the some of the country’s most prestigious festivals, MerleFest, Bristol Rhythm & Roots, Gettysburg Bluegrass Festival.

Artie Tobia

Cary has also won numerous awards for his work, particularly for his 2017 release, Cradle to the Grave. He is the recipient of the 2018 Independent Music Awards for Best Blues CD (Cradle to the Grave), a 2018 International Songwriting Competition Honorable Mention for Cradle to the Grave, a 2018 Native Arts and Cultures Fellowship, a 2017 First Peoples Fund Artist in Business Leadership Fellowship, the 2017 Indigenous Music Awards for Best Blues CD (Cradle to the Grave), 2015 Indigenous Music Awards Nominee for Best Folk Album (Tiny Town), 2014 Indigenous Music Awards Nominee for Aboriginal Entertainer of the Year, 2013 & 2014 Colorado Blues Challenge Solo Championship, and a 2013 Lifetime Achievement Award from the Fort Collins Music Association (FoCoMA) and won the Colorado Fan Favorite Poll in the blues category for his second solo release, Streamline.

Cary’s most recent CD, When I Rise, was produced

by Kim Stone. “I had the luxury of being home for longer than usual to work on this project,” Cary recalled. “I was able to spend time crafting the songs and recording them in pre-production, sometimes multiple versions of the same song. It was great to have the time to experiment.”

To find out more, visit www.tellicoband.com

Singer/songwriter Artie Tobia makes his home in New York, and comes from a deep pedigree of music.

“My great, great grandfather played with John Philip Sousa.

I had grandfathers and uncles and cousins who all had careers in music.

So I got the gene and/or that bug,” he told us.

Artie said he remembers writing his first song at around the age of 10, from an experience walking through a field of Dandelions on the way to a friend’s house. “Music is just in my DNA. It just became what I do,” Artie said. He’s now written over a hundred songs, and recorded five studio albums. His latest, Driven, is the first time Artie served as a producer. “I took a co-producer credit on Aberdeen, (his forth) but this project I feel like I really produced, taking my creative vision to the end with no compromise,” he said.

Aberdeen charted to number 13 on the AMA/ AAA APD Chart, as well as the Root 66 Chart, and number 15 on the FAR Chart. It also afforded him performing opportunities. He’s recently shared the stage with Tanya Tucker, Dr. John, Kansas, the band Starship. “I remember how cool it felt to be standing there with Kansas on stage – singing along with “Carry On My Wayward Son.” They were such nice guys too.”

As a full-time professional musician, Artie’s been averaging around 200 performing nights a year for the last 22 years. “I always joke that I perform more nights than Elvis Presley did,” he chuckled.

“Which is the truth, except his was obviously on a much grander scale. But he wasn’t carrying his equipment in and out 90% of the time either. The reality is, I’ve logged a lot of shows over the past 22 years – all different, and all fun in their own way.”

Artie wrote nine of the 13 songs in Driven over a three-week period in December 2017. “They had an instant cohesion,” he said. “I rounded the song selection out with a handful of other songs I had written previously that tie in thematically. We went in to the studio and recorded all the songs over two days.”

To find out more, visit www.carymorin.com

Check out

To find out more, visit www.tobiamusic.com on iTunes

www.AmericanaRhythm.com

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January 2019

On The Road Continued from page 13 During our break, folks in the audience were asking ‘Have you known Richard (soundman) long? Have you worked together before? Do you even know who he is?’ Uh, no, no and no. It turns out he fronts one of the most popular Country bands in Europe, the Music Road Pilots, the same band that backs wellknown American artists. AND he is the lead singer and songwriter for a progressive thrash-metal band, Sacrosanct. You would never have guessed any of this as he was so down-to-earth. At the after show hang, we agreed to start Skype co writing. Hats off to you Richard!

And finally, one of those characters who sticks with you for the alternative path they have chosen, who is a reminder to live passionately. Joe is a true wolf man. He has 12-15 wolves at any given time, rescues them, raises, them, studies them, films them

and then distills this knowledge to educate us about them. He opens his ‘preserve’, Wolves Unlimited, to the public for education and photo ops. He shared several photos and stories of his wolves, the differences between North American and European, as well as his hospital visits, complete with scars. He expressed how he has to fight bureaucracy to do what he does and has to get creative to afford feeding his pack. He has deals with local farmers to take their dead livestock, saving the farmer disposal fees and time. My favorite though is how he picks up road kill and puts it in his car, or better yet, his wife’s. His passion and devotion are exemplary.

ENTERTAINER OF THE YEAR:

2018

Balsam Range VOCAL GROUP OF THE YEAR:

Doyle Lawson and Quicksilver

WINNERS!

INSTRUMENTAL GROUP OF THE YEAR:

The Travelin’ McCourys SONG OF THE YEAR:

“If I’d Have Wrote That Song” – Joe Mullins & The Radio Ramblers ALBUM OF THE YEAR:

Rivers & Roads – Special Consensus EMERGING ARTIST OF THE YEAR:

The Po’ Ramblin’ Boys FEMALE VOCALIST OF THE YEAR:

Brooke Aldridge MALE VOCALIST OF THE YEAR:

Buddy Melton BANJO PLAYER OF THE YEAR:

Ned Luberecki BASS PLAYER OF THE YEAR:

Tim Surrett DOBRO PLAYER OF THE YEAR:

Justin Moses FIDDLE PLAYER OF THE YEAR:

That’s it. These are just a few of the characters we were happy to meet. Remember to keep your eyes and mind open, we all have a lot to learn from each other and there is so much to be gained from being “On The Road”. Just one more chapter in this Wayward Troubadours life.

Cheers!

Michael Cleveland GUITAR PLAYER OF THE YEAR:

Molly Tuttle MANDOLIN PLAYER OF THE YEAR:

Sierra Hull BLUEGRASS BROADCASTER OF THE YEAR:

Steve Martin BLUEGRASS SONGWRITER OF THE YEAR:

Jerry Salley

It’s Never Too Late!

Makes A Great New Years Gift!

Don’t forget someone this year ... Why not give them a gift that lasts all year - it’s never too late!

Mail with your check or money order for only $18 payable to Americana Rhythm, and send this to PO Box 45, Bridgewater, VA 22812. PLEASE PRINT CLEARLY! MAKE IT A DOUBLE! Two years for just $35! Why not ADD a T-shirt? Make it $50 and we’ll cover shipping!

Yes! I’ll take two years and a T-shirt! $50 No, But I’ll take a two year subscription! $35 Just sign me up for one year, please! $18

T-shirt Size _____

Questions? email us at AmericanaRhythm@aol.com

NAME:

CITY, STATE, ZIP: Happy New Year!

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1014

MAILING ADDRESS:

January 2019

Simple Truths In Music And Life Play Where You Are Comfortable “Play where you are comfortable. Where you are comfortable, the guitar will be comfortable; that’s the rule.” ~ Uwe Kruger Comfort: to soothe or bring cheer, a state of ease and satisfaction, freedom from pain and anxiety.

Just as much of Uwe’s guidance around left-hand right-hand technique is targeted to avoiding or relieving strain, so too is his perspective on the rest of the total body experience. Literally, to play where you are comfortable. The right seat; the right room; the right time of day. There are a lot of physical success factors around comfort. Heck, I never eat within two hours or so before playing a game of soccer or any significant workout. I now do the same for

my music. But comfort is both physical and psychological. Play free from pain or anxiety. Anxiety goes hand in hand with music.

When we play, we disclose a lot about ourselves. We expose who we are. It’s part of the beauty of it. At one time, I would have had a couple of beers before playing for others, to reduce the anxiety.

Sound like anyone you know? It doesn’t work. When you selfmedicate the nerves with alcohol, you also give away a portion of your skills … the quality of your technique, even your presence with the instrument. Alcohol is a depressant. Granted, it can depress anxiety – it produces the opposite of anxiety - but it’s a counter-productive state. What brings comfort then? Rituals.

Rituals will help find your sweet spot; to play where you are comfortable. Uwe too has comfort rituals.

“I too have rules, or even better, rituals when I play.

I start with a good set of strings. I get dressed right (my guitar sounds terrible if I wear fuzzy clothes). I clean my guitar, and I wash my hands. Actually, I hardly every play without showering and getting everything ready.

It’s like any other person getting ready for work.”

Uwe Kruger

www.AmericanaRhythm.com

By Don Brown

While most of us earn our living in some way other than playing music, I’ve found that preparing in a more disciplined fashion – approaching it as I would my profession – provides the comfort. It frees me of pain and anxiety; my rituals soothe and cheer me. What are the comfort rituals that you associate with playing? How do you prepare to play? Take some time now to think. Reflect through writing.

What are the patterns or innocent actions that seem to bring you comfort when you play music?

Don Brown has spent the better part of his career doing what he calls, “helping people with people.” He’s written five books, including his latest, Simple Truths in Music and Life. This latest project is a collection of wisdom gathered from Don’s experiences and time spent with Uwe Kruger of the Kruger Brothers.

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January 2019

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www.AmericanaRhythm.com

January 2019

Music From The National Scene

Music From Your Neighbors

w elcome to the Winter

edition of SPINS! Check out all this wonderful ear candy (in no special order)! Plug in your ear buds and dial up some of these fine folks. Warm up with these cozy selection. They make great holiday gifts too, so snag a few and tell ‘em we sent you!

Got one you want us to listen to? send it to:

Uncle Woody, The Spin Doctor PO Box 45 Bridgewater, VA 22812

Whole New Life

Zoe Speaks Wings

Songs From The Blue Ridge

www.reverendhortonheat.com

www.blueyonderhonkytonk.com

www.cullensbridge.com

The Reverend Horton Heat has been referred to as the godfather of modern rockabilly and psychobilly. It’s rock and roll influenced by fifties rockabilly, punk, country, surf and jazz standards, and, it’s good

From musical colaboraters, to husband and wife duo - to break up and reunion, Zoe Speaks is back with what Carla Gover and Mitch Barrett say is, “the most mature music that both of us have made.”

Yeah, it’s that good

Jonathan Byrd & The Pickup Cowboys www.jonathanbyrd.com

The Earls of Leicester Live at the CMA Theater

Balsam Range Aeonic

Micky Galyean & Cullen’s Bridge

www.balsamrange.com

Fresh off their 2018 multiaward year from IBMA, including Entertainers of the year award, Balsam Range is back with a brand new CD, Aeonic. They sound way more seasoned than their 10 year tenure

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Frank Solivan & Dirty Kitchen

Steeped in the traditional sounds of bluegrass. Award winning songwriter Micky Galyean and his band, Cullen’s Bridge, will charm the traditionalists with some great new classics

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Reverend Horton Heat

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Doug Deming & The Jewel Tones Complicated Mess

If You Can’t Stand The Heat

Michael Martin Murphy Austinology Alleys Of Austin

www.dougdeming.com

www.franksolivananddirtykitchen.com

www.michaelmartinmurphy.com

Deming is the 2013 Blues Blast Music Award’s Sean Costello Rising Star Award.

His original music has a triditional flair in the T-Bone Walker style. His latest, Complicated Mess, would be a great addition to your blues

W ashington D.C. based Frank Solivan and his award winning band, Dirty Kitchen are not your average bluegrass band. With an emphasis on instrumentation, their latest CD expands the horizons for this hot string band

Murphy’s latest project is a tribute to the songs that laid the groundwork for what is today considered Americana music. Teaming up with music pals like Steve Earle, Willie Nelson, Lyle Lovett, etc., This

Considered a “songwriter’s songwriter,” Jonathan Byrd is facinated by wordcraft, passionate about unheralded artists, and driven to contribute to a national community of songs. His latest project is a treat to listen to

Four time IBMA Entertainers of the Year - The Earls of Leicester have been emulating Lester Flatt and Earl Scruggs since 2013. This latest live capture takes you back in time with a fresh spin on those classic sounds

John McCutcheon

Roland White And Friends

Misty Mountain String Band Kentucky Bound

Roy Schneider & Kim Mayfield Reckless Saints

Ynana Rose Tea Leaf Confessions California’s Ynana Rose is an award winning singer/ songwriter. Her new CD, Tea Leaf Confessions, contains 10 of her original compositions. It’s folky, honky-tonk, country, gypsy jazz, and a whole lot of Americana. Keep your eye on this one

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To Everyone In All The World A Tribute to Pete Seeger

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isafabulous collection

www.earlsofleicester.net

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www.folkmusic.com/seeger

A Tribute to the Kentucky Colonels www.rolandwhite.com

www.themistymountainstringband.com

www.recklesssaints.com

“This is an album I’ve been waiting over fifty years to make,” John said about this latest project. A music icon pays tribute to a music icon what’s not to like! For true folk music lovers, this is a must for your music collection

IBMA Hall of Fame master mandolin player Roland White joins with industry friends to pay tribute to one of bluegrass music’s pioneer bands - The Kentucky Colonels - the band White first formed in 1954. A great collection of classics

Formed as a pickup group at an old-time camp revival, The Misty Mountain String Band has become a professional band with a serious approach towards making authentic string music. Their latest is no exception. Good stuff

This husband and wife duo has been touring and performing together full time since 2008. Their latest project, Reckless Saints, is a whole bunch of fun to listen to - a bit folky, a bit mountain funky, and full of fresh stories

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www.ynanarose.com

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

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