IB bluegrass INTERNATIONAL
Vol. 32 No. 3 March 2017
“Rocky Top” Turns 50
MORE INSIDE: • How Do I Do That (and Not Get in Trouble), • Top Tips for Artists & Agents
International Bluegrass Editor: Kelly Kessler kelly@ibma.org
Vol. 32 | No. 3 | March 2017
Designer: Erin Faith Erdos erinfaitherdos@gmail.com
STAFF
Paul Schiminger Executive Director
Kelly Kessler Director of Communications and Professional Development
Amy Beth Hale Director of Member Services
Eddie Huffman Director of Convention Services
BOARD EXECUTIVE COMMITTEE
MEMBERS OF THE BOARD
Joe Mullins, Chair Ben Surratt, Vice Chair Denise Jarvinen, Treasurer Regina Derzon, Secretary Alan Tompkins, Executive Committee member
Becky Buller-Artist/Composer/Publisher Jeremy Darrow-Artist/Composer/Publisher Jamie Deering-Merchandisers/Luthiers Mike Drudge-Agents/Managers/Publicists Silvio Ferretti- International John Goad-Print Media/Education Marian Leighton Levy-Recording/ Distribution/Marketing
William Lewis-At Large Steve Martin-At Large Stephen Mougin-At Large Mike Simpson-At Large Wayne Taylor-Artists/Composers/Publishers Bree Tucker-Myers- Event Production Bob Webster-Broadcast Media
INFO CONTACT US
INTERNATIONAL BLUEGRASS
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Statement of fact and opinion are made on the responsibility of the writers alone and do not imply an opinion on the part of the officers, directors, staff or members of IBMA. Portions of International Bluegrass may be reprinted provided that explicit citation of the source is made: “Reprinted with permission from International Bluegrass, the publication of the International Bluegrass Music Association, www.ibma.org.�
TA B LE O F C ON T E N T S MARCH 2017
INTERNATIONAL BLUEGRASS
TOC Photos: Maria Camillo, Doc Hamilton
4 in the works ( a note from IBMA’s executive director)
world of bluegrass 2017 6 CLE Track: How Do I Do That (and Not Get in Trouble) 8 WOB News
Cover article
10 “rocky top” turns 50
plus more 16 17 18 19 20 22
Leadership Bluegrass 2017 Top Tips for Artists and Agents Becky Cantrell: Cookin’ with Grass Remembering Danny Jones New Releases Industry News/Fresh Takes
We value our members. This newsletter is our primary conduit for sharing news across our trade organization. Our goal is to carry news each month from all constituencies of IBMA’s membership. Deadline info: news items and press releases are due at the IBMA office via snail mail or email by the 12th of the month. Submitting before the deadline is encouraged. Email all materials to Kelly here, or mail to 4206 Gallatin Pike, Nashville, TN 37216.
MEDIA GUIDELINES: • Word .doc or .docx files preferred. • Images welcome. Please send images saved as jpegs at 72 dpi, and not larger than 5 Mb. • Links to video, audio and downloads are all welcome.
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IN THE WORKS @ IBMA
Time is sure flying by now that we are past the holidays and have turned the calendar page to 2017. As this month’s IB announces, so many preparations are being made for this year’s World of Bluegrass in Raleigh on September 2630. Conference registration and tickets sales begin April 4th, and we know there will be the mad dash to get those passes, tickets and preferred hotel reservations. The good news is the new Residence Inn hotel next to the Convention Center will be open to help with the always heavy demand for rooms. For those who were fortunate to attend last year’s conference, you saw the highest attendance in six years and a sense of energy that many attendees said they had never experienced at a prior World of Bluegrass. Everyone is busily working to build even further on the success of 2016.
a note from our Executive Director
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The number of Official Showcase Band applications was even greater this year, following the excitement coming from last year’s conference and Ramble showcasing. And on March 10th we open the application window for Songwriter Showcasing. The Education Committee has the perfect theme for this year’s conference (to be announced next month), and they are working closely with the already popular Songwriter, Talent Buyer and CLE Track committees to continue strengthening what has been stellar conference content over the past few years. We are preparing for the Awards nomination and balloting process that will begin shortly. Another amazing Red Hat Amphitheater lineup is coming together. We look forward to telling you all about it.
photo credit: candidpix.info
In addition to all of the World of Bluegrass preparation, we have been busy on other fronts. Here are a few:
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Amy Beth Hale joined our staff in January as our Member Services Director. Her addition has already triggered new memberships from those who know her from her extensive career at SESAC working with songwriters.
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We are in the process of adding a new Membership Database that will offer a much needed improvement in technology to track and communicate with members.
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Eddie Huffman and I attended Folk Alliance International in Kansas City during February. The IBMA hosted an Official Showcase stage with six outstanding bands across the broad bluegrass spectrum (The Surly Gentlemen, Front Country, 10 String Symphony, Trout Steak Revival, The Steel Wheels, and The Lonely Heartstring Band). We also had a booth encouraging people to attend World of Bluegrass to perform, hire bands, and/or learn.
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We held an important roundtable meeting in Nashville with various label and event producer executives to address pressing issues facing the industry with the recording of live performances. You will hear more about that as we work to educate the broader membership.
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Leadership Bluegrass Class of 2017 will be in Nashville this month for three intensive days of sharing, learning, collaborating and fun. It is a career-changing experience to most who attend.
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In the coming two months, office staff will be attending NSAI Tin Pan South, the DC Bluegrass Festival, MerleFest, and Charm City Bluegrass Festival to help support them and spread the word about World of Bluegrass.
This is YOUR association. Invest in your own career and the entire bluegrass community by being a member of the IBMA, getting involved, and attending World of Bluegrass. It is vital for the music and careers of so many. Thank you to the many professionals who understand the importance of this and contribute in such a big way! -Paul Schiminger
International Bluegrass | March 2017
2017 PREVIEW
WOB 2017 NEWS
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WOB 2017 TRACK: CLE
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How Do I Do That (and Not Get in Trouble) The 2017 CLE SESSIONS
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by Ron Raxter
With our Spring World of Bluegrass issue right around the corner in April, we begin to feature content on our Business Conference, the Awards Show, the Bluegrass Ramble and Wide Open Bluegrass Main Stage at the Red Hat. This month we shine the light on a singular opportunity to get up-to-date on matters where music and income streams intersect: the Continuing Legal (CLE) Track at the Business Conference. This track is for music and legal professionals alike. -Ed
Today’s pressures on the music industry have spawned a number of creative strategies for alternate sources of revenue. This is IBMA’s third year of offering sessions open to all World of Bluegrass attendees which also qualify as legal education for attorneys. Developed by a panel of volunteer attorneys, these sessions highlight the issues that should be addressed, and the pitfalls to be avoided when developing new (or resurrecting old) alternative sources of revenue. This year, we welcome the Campbell University School of Law as our CLE (Continuing Legal Education) sponsor! There will be four one-hour sessions. We are blessed to be able to attract national expert speakers who have appeared at other conferences that have far higher price tags than IBMA’s Business Conference. Among the presenters are:
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Entertainment law bloggers David Oxenford and Coe Ramsey, who will identify the legal obligations that must be addressed when broadcasting live performances on the internet or other media;
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David Oxenford, the author of the Broadcast Law Blog. David is a partner at the law firm of Wilkinson Barker Knauer LLP, in its DC office. His regulatory expertise includes all areas of broadcast law, including appearing regularly before the Federal Communications Commission. Coe Ramsey is a partner at the Raleigh law firm, Brooks Pierce, and an Adjunct Professor at Wake Forest University School of Law, where he teaches Entertainment Law;
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Campbell University’s Professor Kevin Lee, who will discuss Blockchain, the technology behind bitcoin. Major music industry players like Spotify have adopted Blockchain for their operations, but what does it mean for the individual artist?
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Professor Lee teaches legal technology and writes about how information is changing the basic understanding of the nature of law. He is cofounder of the North Carolina Legal Hackers, and works with startups in North Carolina’s world-renowned Research Triangle region.
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WOB TRACK: CLE •
Beni Jones, who will review the new rules for crowdfunding campaigns. Kickstarter, Indiegogo and PledgeMusic have used donation- and rewards-based platforms for years. But now, instead of just offering a hearty “thanks” to your supporters, you can offer them a chance to actually make a profit when you make it big. Learn how this new type of investment crowdfunding works and how it can impact the music industry. Ms. Jones is a partner with the Raleigh law firm, Smith Anderson, where she focuses on crowdfunding and fin-tech financings. Ms. Jones played a critical role in the passage of North Carolina’s intrastate crowdfunding exemption.
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Julia Archer, who will guide you through the rules on how you can operate sweepstakes and contests in social media, and the issues associated with the use of event tickets as prizes. She will identify strategies to avoid common pitfalls. Ms. Archer is a partner at Enns & Archer LLP in Winston-Salem, NC, where she regularly counsels a variety of brand owners on issues related to trademark clearance and prosecution, advertising, and sweepstakes and promotions.
If any of these alternative sources of revenue interest you, plan to spend some time in beautiful downtown Raleigh, NC, to attend the 2017 edition of the CLE sessions at the WOB Business Conference. Hopefully, our national experts will help you identify ways to exploit these alternative strategies to enhance your career.
Author Ron Raxter is a retired attorney and a 2015 graduate of Leadership Bluegrass. He is chair of the CLE Subcommittee of IBMA’s Education Committee.
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WOB 2017 NEWS ON-SALE DATE ON THE HORIZON MEMBERS ONLY: ALL WOB REGISTRATIONS A NOTE ABOUT HOTEL RESERVATIONS AND TICKETS GO ON SALE 4/4/17 Upon purchasing a Business Conference registration, ExRegistration and tickets for ALL Events, Exhibit Booths, and Hotel Rooms go on sale for members only on April 4 at 10 AM Central. PLEASE NOTE: Members will use a special access code that will be emailed to them a few days ahead of the on-sale date. (New members joining around and after the on-sale date will find their code in their membership confirmation email). IBMA encourages you to join or renew your membership now. The best hotel rooms and the best seats at the Red Hat Main Stage sell out extremely quickly. Registration and tickets go on sale for non-members April 18 at 10 AM Central.
HELPFUL LINKS
Join today for members’ priority access. Find an overview of World of Bluegrass 2017.
OFFICIAL IBMA SHOWCASES APPLICATIONS NOW CLOSED The IBMA Showcase Selection Committee will now begin evaluating submissions from new bands and established acts going in new directions. As of this writing, the number of submissions is well ahead of last year’s, and we’re excited about the quality and range of acts who are applying.
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hibit Booth registration, Red Hat Main Stage Festival Tickets, or Awards Show tickets, you will be provided an access link to hotel rooms. Our ticket and registration sales are handled by Etix. Once you’ve made your purchase, direct links and phone information for reservations in the Raleigh Marriott City Center and Sheraton Raleigh Hotel will be found both on the Etix website confirmation page AND in the confirmation email sent by Etix.com. Etix, not IBMA, handles ticket and conference purchess and hotel reservation access links We will be sharing information on more options for lodging beyond the Marriott and Sheraton in the coming months. Please be aware that stand-alone purchases of Ramble passes do not include the access link to the Marriott and Sheraton hotel rooms.
AWARDS BALLOTS (FIRST ROUND) GO OUT SOON REFERENCE LIST STARTS THIS MONTH
The first round of balloting for the 2017 IBMA Awards begins on Friday, April 14th. All professional members – lifetime, organizational, individual, student and youth - may vote on these awards. The first round is a write-in ballot, where you may make up to five nominations per category or sub-category. IBMA offers a reference list online to aid in this round of voting. Anyone may contribute to this list. We provide this service solely for the informational needs of IBMA members when nominating recorded projects for any of the related awards in the first round of balloting. This list is
WOB 2017 NEWS
not comprehensive, nor have all the recordings listed been checked to see that they were actually released during the eligibility window for 2017’s IBMA Awards. Members are by no means restricted to the entries on this list when making their first ballot write-in nominations. Albums re-issued and/or special compilations of previously released material are not listed here, but may contain individual songs eligible for certain awards. Look for 2017’s IBMA Awards Reference List for Eligibility to go live on the IBMA website in the next few weeks.
SONGWRITER SHOWCASE The Songwriter Showcase is a coveted opportunity during the IBMA’s World of Bluegrass to have your song in the spotlight. Ten selected songwriters (or songwriting teams) will each perform one original bluegrass song for an audience of top bluegrass artists and producers. The 2017 IBMA Songwriter Showcase will be open for submissions on Friday, March 10. The deadline is Friday, March 31. Starting this year, submissions will be limited to two entries per songwriter (including any and all co-writes). Find out the guidelines to apply here, and look for the application form to go live on the IBMA website on March 10.
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ROCKY
TOP
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TURNS
50 The story behind the Osborne Brothers’ “Rocky Top” by Michael Bub
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“This song was released on Christmas Day, 1967….if you know it, do whatever you feel like and if you don’t, just do whatever everyone else is doing…and it goes exactly like this!” -Bobby Osborne, introducing “Rocky Top” on the stage of The Grand Ole Opry. In December of this year, the original recording of “Rocky Top” will celebrate its 50-year anniversary. As a long-time fan of the Osborne Brothers, I set out to find the story behind “Rocky Top”: its origin, the making of the record, and the success, fame and legacy it brought to the Osborne Brothers and to the ongoing career of Bobby Osborne and the Rocky Top Xpress. The story of “Rocky Top” makes a good case study in identifying all the elements needed for a successful shot at the music business. It is a definitive example of a song taking an act to a lot of places, especially when that song becomes a true standard in the great American Country Music Songbook. To set the table, the story begins with The Osborne Brothers. It was no fluke that they had become members of the Grand Ole Opry and been signed to Decca Records by Owen Bradley. They were determined. They toured non-stop, pushing themselves hard to bring their brand of music to as many people as possible. They searched for and began creating a way to bring their “bluegrass” vocal sound and instrumentation to a wider, more mainstream country listening audience. In 1963 they began an association with the Wilburn Brothers in Nashville. Doyle & Teddy Wilburn were members of the Opry, had a large publishing house loaded with writers and songs, and a booking agency to promote their brand of country music. Between their weekly TV show, Opry appearances and widespread touring, the Wilburn Brothers were a multifaceted powerhouse, and Bobby and Sonny took full advantage of
Bobby and Sonny Osborne, Dale Sledd, and Ronnie Reno
teaming with them. The number one goal, as it is today, was radio success. Being heard on the radio extended your touring reach and the results were increased revenue both in ticket and record sales. With a modicum of chart success, Bob and Sonny were always in search of the best songs they could find. Part of their arrangement, working with the Wilburn Brothers in Nashville, was that they would only record songs from the Wilburn’s Sure Fire Music publishing house. This arrangement paid dividends for the Wilburns; sometimes two or three artists recorded the same songs, giving them maximum exposure and several revenue streams. In the fall of 1967, three years into their move to Nashville, the Osborne Brothers were looking specifically for a song to release to radio. Sonny had observed that uptempo songs tended rise and fall on the charts quickly, whereas slow songs tended to have longer runs on the charts. He says of that time, “We were desperately looking for a good ballad that was well-written. We thought we’d found it in ‘My Favorite Memory.’” With a November 16th studio date scheduled, Sonny put a call in to his close friend and neighbor Boudleaux Bryant to see if he had written anything new that they might include as well on the upcoming session. Boudleaux and Felice Bryant had written many hits, recorded by the likes of the Everly Brothers and Buddy Holly, among others. At this point, the Bryants had started writing “Rocky Top” but it was an unfinished work in progress. The song itself was started at the now-famous Gatlinburg Inn in the Smoky Mountains. The Bryants had ventured there to write an album of material for Archie Campbell. During one particular spell of writers’ block, Felice suggested a change of direction, and offered the idea of “Wish I was on old Rocky Top”. That led to the story
of an imaginary mountain peak in the Smokies. The song made its way back to Nashville and was sent in that form to Sonny and Bobby as a possible cut for the upcoming session. They decided they could double the time signature, making it a strong uptempo number to round out the session. The song was completed, rehearsed and ready for the studio within a day or two. The Osbornes arrived for their 2 PM session at Bradley’s Barn Recording Studio in Mt. Juliet, Tennessee on that November day with a short list of songs to cut. The personnel they brought were their touring band: Bobby and Sonny Osborne on mandolin, banjo and vocals, Dale Sledd on guitar and vocal, and Ronnie Blackwell on electric bass. Filling out the session were A-Team session players.
Grady Martin and Ray Edenton were on electric and acoustic guitars, Hal Rugg played steel guitar, Pig Robbins was on piano and Jerry Carrigan was on drums. Typical of nearly all of the Osborne Brothers recordings, the bluegrass instruments were always up front and handled the solos, while the more commercially viable country instrumentation filled in the background, lending their sound a decidedly country flavor. Three songs were cut that day: “My Favorite Memory”, “Rocky Top” and “When You Wind Down”. “My Favorite Memory” was cut first, since it had been in their repertoire the longest. As was usual at an Osborne Brothers session, either Doyle or Teddy Wilburn, or both, were present. They sat in, not so much in a producer’s role, but as
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ROCKY TOP TURNS 50
At WSM in Nashville: Benny Birchfield, Sonny Osborne, Ott Devine, Bobby Osborne
an assurance that Sure Fire Publishing was being represented at the session. As Sonny recalled, “At that time, everything we had done since ’63 had gone through Sure Fire Music, which was owned by the Wilburn Brothers. They had publishing on everything we recorded…. that was part of the deal.”
enabled Bobby and Sonny to eventually step out from under of the Wilburns’ control and from their arrangement to exclusively record Sure Fire songs. Beyond a doubt, the Wilburn Brothers did more than anyone in elevating the level of Bobby and Sonny’s career up to this point. But it was following this juncture that they started their own publishing company, and were free to search for songs in the ever-growing Nashville writing and publishing scene. It could even be said that this moment of tense interaction in the studio may have sparked a little something extra to get the right energy on the master take of “Rocky Top”.
Next they were getting ready to record “Rocky Top”. Sonny recalls, “Teddy Wilburn came out of the control room and asked, where did this song come from?” Sonny replied that it was from Boudleaux and Felice Bryant. Not only was it a brand new song, but it was not under Sure Fire Publishing. He said the Osborne Borthers were committed to recording “Rocky Top”. (They had even commissioned its completion by the Bryants.) A moment of contention flared up right then on the studio floor. It led to the Wilburns walking out of the session over the Osborne’s insistence on recording a song outside the Wilburns’ catalogue. It was this transformative moment that Rocky Top, recorded Nov. 16, 1967
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Even though Owen Bradley was the producer of the Osborne Brothers, Bob and Sonny were given free reign in the studio to produce their recordings. The most important and undeniable ingredient in their sound was Bobby’s ethereal high lead voice that gave them vocal consistency, regardless who was singing the third harmony part with them. Bobby has one of the great voices; that sets him apart from anyone in the bluegrass and country field. With the added harmony, there was truly nothing in the musical landscape to which you could compare the Osbornes at the time. The magic and music recorded to tape that day was made for the ages...and no one even saw it coming. It all came together on this session - the artists, the song and, most importantly, the performance. “Rocky Top” was issued as the B-side to the Decca single of “My Favorite Memory” a little over a month later, on Monday, December 25th, 1967. This was the song they thought was
FEATURE Original Recording of “Rocky Top” Released as B-Side to “My Favorite Memory”, Dec. 25, 1967
going to climb the charts…until Ralph Emery got his copy. Ralph Emery was the king of late night radio in those years, broadcasting through the night live on WSM’s powerful 50,000 watt clear channel station. He hosted many artists during his night shift, and introduced a lot of new releases on his show. Both Bobby and Sonny give Ralph credit for turning the single over and playing the B-Side, “Rocky Top”, and proclaiming, “That’s the record right there!” And so it began, and slowly “Rocky Top” caught fire on radio and climbed the charts. About two weeks into its release, Boudleaux let them know that they had a bonafide hit on their hands, having sold nearly 85,000 copies out of the chute. Pretty strong for a B-side cut! As it turns out, the Wilburn Brothers weren’t too disappointed by this turn of events, as the sale of “Rocky Top” also drove the sale of their song on the A-side.
“Rocky Top” Made an Official State Song of Tennessee, Feb. 15, 1982
lengthier solos. Another unique facet is the chord structure of the song, with its 6minor-to-5 chord change at the end of the verse lines, and the brilliant melody and chord structure of the chorus. It was made for the Osborne Brothers treatment, a perfect marriage of artistry and song. From the banjo kick off, to Bobby’s pure and powerful vocal performance, to the great instrumental playing, “Rocky Top” was destined to be a hit. The sound literally jumps off the grooves of the original vinyl LP and 45 rpm records. “Rocky Top” not only became the Osbornes’ new signature song (others being “Ruby” and “Once More”), but it secured their place in country music
history and catapulted them into the mainstream of contemporary country music. They were soon receiving airplay and touring as bluegrass artists right alongside George Jones, Buck Owens, Ernest Tubb, Loretta Lynn and Conway Twitty. They would eventually embark on tours overseas to England, Europe and Japan. They became part of Merle Haggard’s touring package show, and he presented the Osbornes at the White House in 1973, the first bluegrass group to perform there. This continued mainstream exposure helped them garner countless award nominations, and earned them a coveted CMA Vocal Group of the Year award in 1971. The success of “Rocky Top” is remark-
In analyzing the structure and recording of “Rocky Top”, there are some interesting characteristics that made it not just a good song, but a great song. For one, the arrangement included solos over both the verse and chorus - not a typical approach in country music at the time. For the most part, songs were kept to under three minutes. When Bobby and Sonny opted to play “Rocky Top” in double time, it suddenly gave them extra time for First Bluegrass Group to Perform at The White House - Osborne Brothers, Mar. 17, 1973 International Bluegrass
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ROCKY TOP TURNS 50 The Wilburn Brothers
able in many ways. It peaked at number 33 on the Country Chart in 1968 but for 50 years beyond, it has maintained its wide ranging popularity. Unlike most well-known bluegrass hits, the popularity of “Rocky Top” was never propelled by a movie or television soundtrack. “Foggy Mountain Breakdown”, “The Ballad of Jed Clampett”, “Petticoat Junction”, “Dueling Banjos” and “Man of Constant Sorrow” all had the luxury of mass media exposure. In 1972, “Rocky Top” was adapted for marching band by band director J.W. Julian at the University of Tennessee. It has since been played for every touchdown. As a result, it has been heard by millions of college sports fans. The Osborne Brothers have played the song at UT’s Neyland Stadium to crowds of more than 100,000, and the Bryants granted permission to UT for use of the song in perpetuity. Due to the popularity of the song in the Knoxville area, more than twenty years after Julian introduced it, a re-mix collection called “Rocky Top ’96” was released which included dance club re-mixes of the song along with a digitally re-mastered version of the original three-track master recording. The road from Knoxville led straight to the capitol city of Nashville and the Tennessee State Legislature, which designated “Rocky Top” as an official State Song of Tennessee in 1982. Again, the Osborne Brothers were present and honored to perform “Rocky Top” on the floor of the State Legislature.
The legacy of Bobby and Sonny Osborne and their association with “Rocky Top” can only be described as a divine moment of recorded country music artistry. To this day, “Rocky Top” remains one of the most requested songs in any and all places where country and bluegrass music is played. Bobby Osborne continues both performing at the Opry and touring since Sonny’s retirement from the road. With his band, the Rocky Top Xpress, they receive the same enthusiastic response to “Rocky Top” as any other current hit-maker that performs at the Grand Ole Opry. This year, Bobby and the Rocky Top Xpress will embark on a select number of dates under the banner of the “Rocky Top” 50th Anniversary Tour.
Author Michael Bub needs no introduction in the world of bluegrass, since nearly everyone who listens to bluegrass already counts him as a favorite musician. Fivetime IBMA Bass Player of the Year, Bub is known for his many years with the Weary Hearts, the Del McCoury Band, and the Sidemen, as well as his session and touring work with Vince Gill, Peter Rowan & Tony Rice Quartet, Tim O’Brien, Shawn Camp, Dale Ann Bradley, Chris Scruggs, John Oates, David Peterson & 1946 and country artist Ashley Monroe.
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CMA Vocal Group of the Year - Osborne Brothers, Oct. 10, 1971
We are reminded, once again, of the power of a great song coupled with an exceptional performance, and of how such a combination can blur the lines and transcend the boundaries in any genre of music. Happy 50th Birthday to “Rocky Top”, and thank you to Bobby and Sonny Osborne, and to Felice and Boudleaux Bryant for your artistry in creating a truly important piece of American Country and Bluegrass Music history.
Look for Bobby Osborne's "Rocky Top" 50th Anniversary Tour
HEADLINE HERE
MARCH 10-31 SONGWRITERS SHOWCSE APPLICATIONS MARCH 20-22 LEADERSHIP BLUEGRASS 2017 APRIL 4 IBMA MEMBERS ONSALE DATE APRIL 14 FIRST ROUND OF AWARDS BALLOTS APRIL 18 NONMEMBERS ONSALE DATE International Bluegrass
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Leadership Bluegrass 2017
We look forward this month to an all-new class of Leadership Bluegrass, convening in Nashville at BMI March 20-22. This intensive professional development and relationship-building experience brings together leaders in all walks of bluegrass and the music industry. Over the course of three days and two nights they engage in an immersive course of history, industry insights, leadership training and camaraderie. This setting fosters a lively exchange of ideas and a broader perspective which come from considering the opportunities and challenges facing all aspects of bluegrass. Among the eminent speakers and panelists are Claire Armbruster, Jason Barie, Dr. Andy Carlson, Nancy Cardwell, Liz Allen Fey, Dan Hays, Ken Irwin, Chris Joslin, Dan Keen, Randy Lanham, Marian Leighton Levy, Laura Mainer, Al McCree, Jesse McReynolds, Joe Mullins, Bill Nowlin, Ron Raxter, Dave Rose, Jerry Salley, Jean Spivey, Stephanie Taylor, Jesse Whitmire, Rachel Whitney, and Kimberly Williams.
IBMA thanks the Leadership Bluegrass committee members who devote a good deal of time and energy to making this professional development opportunity a reality. Nolan Lawrence & Jean Spivey are Leadership Bluegrass 2017 Co-Chairs. Members of the Planning Committee are Beth Fortune, Nate Lee, Ron Raxter, Nancy Cardwell and Alan Tompkins. The Leadership Bluegrass Alumni Committee are Phil Bankester (chair), Mary Burdette, George McCeney, Michael Hall, Darin Aldridge, Nick Barr, Lucy Weberling, Bill Foster and Laurie Greenberg. We also thank the hard-working members of the Leadership Bluegrass Selection Committee.
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Jim Lauderdale and Kyle Cantrell presenting at Leadership Bluegrass
TOP TIPS FOR ARTISTS & AGENTS IB will be asking leaders in their fields for the inside line on how to step up your game. As 2017’s touring season starts gearing up, it seems timely to ask Wintergrass’s Stephen Ruffo and MerleFest’s Steve Johnson what advice, as talent buyers, they would give to artists and agents.
STEPHEN RUFFO, WINTERGRASS 3 things that we love seeing in an Artist: 1.) Be part of the festival, before, during and after. We love artists who treat us as collaborators rather than simply talent buyers. Tell us what floats your creative boat so we can provide the right kind of opportunities for you. Workshops are a vital aspect of the festival and one of the best ways to connect directly with your fans. Tell us what you like to teach. Participate in the festival in workshops and jams. Be a part of the Wintergrass family. 2.) Treat our volunteers and fans well. Appreciate our volunteers and their support for your show. Be on time, available and gracious. The festival strives to grow a diverse audience every year. That audience is a source of new fans for your band, regardless of whether you’ve been around for 30 years or 3 days. 3.) Help us to showcase your performance. Treat us as your partners. Post your appearances on your social media outlets. Help us to publicize your shows and workshops at Wintergrass. Let your fans know you will be with us and work to create new fans in our area. Make sure we have the videos, photos and song files you want your fans to see. We’ll use what you send us on our social media outlets as well as our website. Wintergrass fans come from 30 different states and half a dozen foreign countries. Get the word out early about your Wintergrass appearances!
STEVE JOHNSON, MERLEFEST
3 things that we love seeing in an Agent: 1) Stay connected with us. Early info is much appreciated info. Who is in the band? What, if any, changes do you anticipate? Are you bringing extra personnel (FOH, road manager, spouses?) What else does the band need to feel happy and well-cared for? 2) Keep the band informed about our expectations of them. Let the band know what is in the contract, please. We oftentimes make necessary changes to the riders based on what we can and cannot do. For example, we are not allowed to provide hard alcohol to Artists. It is helpful for them to know that before they arrive back stage looking for their bottle of Tequila. 3) Please respond to our requests. If we send a request for information from you, please respond right away. Once again, early info is appreciated info. Ground transportation, parking and accommodations must be arranged well in advance of arrival date. Help us to be prepared to fully take care of your band. The only surprises we like are bouquets of flowers.
Here are three suggestions: 1) Build relationships as you build business together. Get to know each other in a professional working capacity to understand how each of you “tick” in your working relationship. 2) Be collaborative. Find unique and interesting ways to work together that support everyone involved from the artist, agent, management, event, and the fans. 3) Get to know the event before you suggest an artist to the buyer. I worked as an agent for a while and found I didn’t do this as well as I should have, and often suggested bands that just didn’t fit the event.
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BECKY CANTRELL’S “Cookin’ with Grass: Recipes from some of your favorite Bluegrass Artists” Most folks know Kyle Cantrell from his years spinning country for WSM, and then bluegrass for SiriusXM. Some may not know that his wife, Becky, is well-known in her own right. She has a true flair for entertaining and can work magic in a kitchen. Now, Becky has mixed those gifts with a heaping helping of bluegrass and come up with “Cookin’ With Grass”. The Amazon listing describes it as: …a compilation of 129 recipes from 69 of your favorite Bluegrass artists. Most recipes have stories accompanying them and pictures of the artists. Every recipe is tried and proven; guaranteed to please. There is also a section called “Tips for the Novice”. Perfect for new and “seasoned” cooks! This also makes a great book for collecting autographs!
IBMA is particularly thankful to Becky because her belief is so strong in the positive contribution our trade organization makes to our music, she went to the trouble to include an IBMA membership application in the back of her cookbook! Mighty fine. You can find “Cookin’ with Grass” at the Amazon link above, or you can order directly from Becky via PayPal or order by mail by sending a check to P.O. Box 1764, Mount Juliet, TN 37121. For PayPal and mail orders, send $20 + $4 shipping and handling. You can also get a peek at some of Becky’s recipes on the Cookin’ with Grass Facebook Page.
wwwwwwwww wwwwwwwww wwwwwwwww wwwwwwwww wwwwwwwww When Becky Cantrell whipped up the notion to create a cookbook, my taste buds and me could not have been more excited! She is a gentle, loving force that knows a thing or two about creating a mouthwatering meal and once the idea of constructing a book took hold, there was not a wasted minute gathering recipes from the warm community of bluegrass music. The bluegrass genre is rich in Americana living so the contributions made by this talented group represented here know delicious and down-home goodness. These troubadours will floor you with soul filling music when they are on the stages of America and soulful food within these pages packed with Becky’s dream of sharing wonderful recipes. Any choice within this book would surely enhance a meal so, bon appetit ya’ll, it’s gonna be gooooood! Donna Ulisse
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Remembering Danny Jones | Bluegrass Alliance co-founder and Blue Grass Boy Danny Jones passed away last month. He was a mainstay in the historic Louisville bluegrass scene. We thank writer Harry Bickel and the Pickin’ Post (the publication of Bluegrass Anonymous, the Louisville Bluegrass Music Association) for letting us share this excerpt. - Ed.
Danny had quite a career in bluegrass music. In the 1960’s he was a founding member of the Bluegrass Alliance, a signal band that changed the music forever. Not only was the Alliance different and more forward thinking than most other bands at the time, it was the band that ultimately spawned an entire branch of music known as Newgrass. A lot of careers were launched by the various versions Kenny Baker, Joe Stuart, Bill Monroe, Doug Hutchens, Danny Jones - photo courtesy Doug Hutchens of the Bluegrass Alliance, including those of Vince Gill, Sam Bush, Dan Crary, Tony Rice and others. Danny’s voice was an extremely important part of the Bluegrass Alliance’s sound. Danny was also a member of Bill Monroe’s Bluegrass Boys. Monroe had pretty much his choice of musicians and he picked Danny as his guitar player and lead singer. That was quite an honor for any musician at that time. Danny joined the band in June of 1971, but was only with them for a short period of time, leaving for personal reasons. Danny enjoyed his tenure with Monroe and often talked about riding on the bus and learning fiddle tunes from him. Danny played with the Goins Brothers for a number of years in the 1970’s and 1980’s. It roughly coincided with time when Art Stamper L-R Danny Jones, Dan Crary, Sam Bush, John Cowan, JD Crowe photo courtesy of Doc Hamilton was playing with them. He is on the original Bluegrass Alliance album, Dan Crary’s “Bluegrass Guitar” album and two of the Goins Brothers albums. He also chopped mandolin on two of Art Stamper instrumental albums. [Bickel concluded his article with several remembrances, including this one from Sam Bush.] “The first time I saw Danny was on WLTV in Bowling Green, Kentucky. This was around 1966. He was with the Grayson County Boys…The next time I saw him was when he was with the Bluegrass Alliance. His voice made them a real force in Bluegrass music. He was a great, smooth singer. His rhythm chop on mandolin gave the band a real backbeat. When I joined the Alliance, my chop wasn’t nearly as good as Danny’s. Lonnie and Courtney were quick to tell me I needed to “play it like Danny did.” So, I studied Danny’s chop. I still use it today, particularly on songs like “You Ain’t Goin’ Nowhere” and “One Tin Soldier”. I still play them exactly like Danny did. One of my fondest memories of Danny is when he and Tony Rice and I drove to Nashville to pick up a mandolin. The three of us sang trios all the way back to Louisville. It was great. Danny was a great musician and singer and we will all miss him very much.” You can find Bickel’s complete remembrance of Danny Jones in the latest issue of the Pickin’ Post here. IB thanks Pickin’ Post editor, Robin Thixton.
Ebo Walker, Buddy Spurlock, Danny Jones, Dan Crary - photo by Harry Bickel.
As we go to press, we have learned of the passing of Ronnie Allen, a member of the Allen Brothers. Son of Red Allen and brother of Harley Allen, Ronnie and his family were part of the southern Ohio music scene whose influence spread far beyond the region. We send our condolences to the family and friends of Ronnie Allen. International Bluegrass
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NEW RELEASES
Reviews by Bob Webster, Shelby Williamson, and Kelly Kessler
Terry Baucom’s Dukes of Drive “Fourth and Goal” [John Boy & Billy Records]
Lluís Gómez “Dotze Contes” (“Twelve Tales”)
Chris Jones & the Night Drivers “Made to Move” [Mountain Home Records]
Terry Baucom, highly regarded in bluegrass through his work with Charlie Moore, Boone Creek, Doyle Lawson, and IIIrd Tyme Out, continues his career with his own band, the Dukes of Drive. Listeners can enjoy an instrumental written by Terry, a gospel number, and songs that stand up to the reputation of music with drive. This is the third release for Baucom on the John Boy & Billy label and is the first full length project for them. “Fourth and Goal” contains “Around the Corner”, which achieved significant chart success last year, plus the chart-topping, most played song of 2015 ‘The Rock’, featuring IBMA’s 2016 Momentum Award vocalist Joey Lemons. If you like your bluegrass with drive, this will satisfy your itch. Those looking for fine vocal harmony can find that here as well. There’s also the “Charlie Cotton” number for those wanting a salute to writers Sonny Osborne, Benny Birchfield, and Pete Goble as a connection to early bluegrass icons. Terry Baucom and the Dukes of Drive are Terry Baucom (banjo, vocals), Will Jones (guitar, vocals), Joey Lemons (mandolin, vocals), and Joe Hannabach (bass). [BW]
Lluís Gómez’s dynamic second solo album is lively and refreshing, full of honest recordings in various styles. “Virton 2014” starts it off with a catchy melody and interesting dynamic rhythm. “Pour Jean-Marie”, a tribute to JeanMarie Redon, Gómez’s first banjo hero, was recorded in one take, and “Salviac Waltz”, brings to mind a French harmonica waltz. With ability and feel, Gómez pays his respects to more heroes stateside with “Foggy Mountain Banjo”, “Pony Express”, and the playful “Nola”, a 1915 tune Bill Keith brought to bluegrass. “Nofuentes BB&B’s” building, anticipatory intro and caffeinated rhythm will shake off any afternoon slump. “Tree O House” is haunting and classical in nature with a breathtaking banjo-cello throughout. “Bel’s Reel” seems similar at the outset but quickly turns into an upbeat fiddle reel. The Keith-inspired “Devil’s Dream” is Gómez and Chris Luquette on banjo; their give-and-take sparkles with life. Alison Brown calls her “banjo brother” Lluís Gómez “the Spanish king of the fivestring banjo”; on listening to “Dotze Contes”, let us hope he has a long and fruitful reign. Personnel for this album: Lluís Gómez (banjo, banjo-cello), Jean Marie Redon, Fred Simon, Ron Cody, Josep Traver, Miguel Talavera, Chris Luquette, Bernard Minari, Jesse Brock, Oriol González, Oriol Saña, Henrich Novák, Joan Pau Cumellas, Maribel Rivero. [SW]
The latest release from Chris and band members Gina Clowes, Mark Stoffel, and Jon Weisberger draws on one of their strengths: they’ve written ten of the twelve numbers in the collection. Guest artists include Brooke Aldridge, Megan Lynch Chowning, Tony Creasman, Jeremy Garrett, Shawn Lane, Tim Surrett, and Darrin Vincent. The music carries Jones’ trademark laidback quality and relates to the title theme – travel and being on the move. The song, Range Road 53, stands apart and will get your blood flowing. Gina provides a fine banjo instrumental, as does Mark with his mandolin composition. With the mellow vocals, this project will appeal to those in the mood for some thoughtful, heartfelt bluegrass. One can also play along with band and keep those fingers in shape for jam sessions, while learning a thing or two from the subtle way the Night Drivers put their music together. [BW] Chris Jones and the Night Drivers are Chris Jones (guitar, vocals), Gina Clowes (banjo, vocals), Mark Stoffel (mandolin, vocals), and Jon Weisberger (bass, vocals). [BW]
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NEW RELEASES
Ned Luberecki “Take Five” [CLM]
New Kentucky Colonels “Live in Sweden 1973” [Roland White Music]
Darrell Webb “Lover’s Leap” [Mountain Fever Records]
With a title like Take Five, you’d think Ned Luberecki is encouraging us to kick back and relax. Instead, he takes his 5-string on a romp through a broad swath of styles, bringing his bandmates and other musical pals along for the ride. Ned gets it rolling with straight-ahead bluegrass – crisp, driving, fun -with Chris Jones and the Night Drivers and the Helen Highwater Stringband. Look for sparkling guest vocals from Dale Ann Bradley and Amanda Smith. He tours us through the age-old territory of fiddle and banjo with his current boss, IBMA Fiddle Player of the Year Becky Buller, then steers that tradition into unexpected territory with ‘Dusters fiddler Jeremy Garrett. We also visit Bakersfield with a Buck Owens medley from Nedski & Mojo, with Stephen Mougin channeling the Don Rich parts. Look for the standout jazz-inflected mini-set with Missy Raines & the New Hip firing up a very deep groove, including the title track, Dave Brubeck’s iconic “Take Five”. Journeying across times and genres on this disc, Luberecki’s impeccable playing, adventurous spirit and irrepressible good humor shine throughout. Personnel includes Ned Luberecki, Chris Jones, Mark Stoffel, Jon Weisberger, Jeremy Garrett, Dale Ann Bradley, Becky Buller, Shad Cobb, Mike Compton, David Grier, Missy Raines, Rob Ickes, Amanda Smith, Ethan Ballinger, Casey Campbell, Cody Martin, Stephen Mougin [KK]
This album spotlights the New Kentucky Colonels at their artistic peak, live recordings which were originally released as 14 songs on vinyl by Rounder Records (The White Brothers/New Kentucky Colonels Live in Sweden) three years later in 1976. Now, with the expanded capacity of CDs, we have 26 songs recorded live from two nights at the Mosebacke Club in Stockholm on May 28 & 29, 1973. The band for that tour was brothers Clarence, Roland, and Eric White, with Alan Munde holding down the banjo chair. The tracks have been reengineered and remastered by Ben Surratt and include the sounds of bluegrass, country, pop and folk. The emcee work is limited, and the audience noise is also subdued, leaving us with plenty of music to enjoy. Roland reports it was the best music he ever made and the best playing of Clarence’s on record. Those who missed the earlier LP release and want a piece of bluegrass history can find that here. Fans of Clarence White’s flat picking can also expand their music library collection with this important recording. New pickers who are delving into the evolution of bluegrass lead guitar work can find that here as well. The New Kentucky Colonels were Clarence White (guitar, vocals), Roland White (mandolin, vocals), Alan Munde (banjo, guitar) and Eric White (bass, vocals). [BW]
Darrell Webb Band’s sophomore album, Lover’s Leap, can be described with one word: strong. Webb’s sterling resume Lonesome River Band, Rhonda Vincent, Wildfire, J.D. Crowe, and Michael Cleveland - has more than prepared him to be the solid front man who drives this album. The opener, “Lost John”, has a playful rhythm layered onto a melancholy subject, setting the tone for the equally cheerful, forceful, and occasionally somber album to come. Webb’s voice is pure with rough edges, and the vocals and harmonies throughout the entire album are steady and beautifully piercing. Webb’s range is first showcased in “If You’re Thinking You Want a Stranger”, a hit for country stalwart George Strait. Listen to how Collins Miller’s foreboding banjo and intriguing chord choices add to the forbidden love/suicide tale that is the title track. “Daddy’s Drinking Shoes” is a more contemporary ballad from Harley Allen’s pen that tells a touching story through the eyes of a child, featuring a cool descending chord progression in the chorus. If you’re looking for energetic, unapologetic bluegrass, you can count on the Darrell Webb Band to deliver the goods. The Darrell Webb Band is Darrell Webb (mandolin, vocals), Tyler Collins (dobro), Jacob Shelton (bass), Jared Hensley (guitar), and Collins Miller (banjo). [SW]
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INDUSTRY NEWS ARTIST & COMPOSERS
March 2017
EDUCATION SOUTHERN OHIO BLUEGRASS MUSIC HERITAGE PROJECT LAUNCHES WITH LECTURE/CONCERT SERIES By Shelby Williamson
Colorado-based (and 2016 IBMA Official Showcase) bluegrass band Trout Steak Revival just announced their plans to release their fourth album in the fall of this year. Chris Pandolfi of The Infamous Stringdusters will produce the album. To learn more and hear from the group, visit troutsteak.com.
EVENT PRODUCERS ALBINO SKUNK SPRINGSKUNK MUSIC FESTIVAL
Come on down to the Skunk Farm April 6-8 for the Albino Skunk SpringSkunk Music Festival in Greer, South Carolina. This eclectic semi-annual festival’s diverse lineup includes acts like Darrell Scott, Forlorn Strangers, Jon Stickley Trio, and many more. Visit albinoskunk. com for more info.
MERLEFEST
This year’s MerleFest will be taking place from April 27-30 in Wilkesboro, NC. The lineup includes the Del McCoury Band, Jerry Douglas, Peter Rowan, Steep Canyon Rangers, and so many more. Join in on this classic festival celebrating “traditional plus” music. Visit merlefest.org for more info.
OLD SETTLER’S MUSIC FESTIVAL
Come out to the Old Settler’s Music Festival April 20-23 in Driftwood, TX to see acts like The Del McCoury Band, Sam Bush, Sarah Jarosz, Billy Strings, and more. Visit oldsettlersmusicfest.org for more info.
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The southwestern region of Ohio has contributed greatly to the history of bluegrass music through its many artists, venues, and music business institutions. The Southern Ohio Bluegrass Music Heritage Project (SOBMHP), a multi-faceted undertaking launching this month, will document and share this rich history. A five-event lecture and concert series at Miami University-Hamilton kicks off March 7. Open to the public, this series will feature the following speakers: Daniel Mullins, “All the Way to the Fence: Moon Mullins and Bluegrass Broadcasting in the Miami Valley”; Jon Weisberger, “The Bluegrass Revival of the 1970s in Southwestern Ohio”; and Lily Isaacs, “Green to Bluegrass”. “The Miami Valley Bluegrass Heritage: A Live Performance and Discussion” will feature Joe Mullins & the Radio Ramblers and Bobby Osborne in a concert setting. SOBMHP is also launching a traveling exhibit, as well as the encyclopedic website, Cincinnati-Dayton Bluegrass Heritage. Also in the works are a permanent collection of bluegrass history, including sound recordings, photographs, documents, and oral histories, to be archived at the Smith Library of Regional History in Oxford, OH; and a book, tentatively titled: Industrial Strength Bluegrass: How a Musical Style Came of Age in Southwestern Ohio, 1947-1989, drawing on the papers presented during the Miami University lecture series. All of these endeavors will shine a light on this rich regional heritage - migration to the Miami Valley, bluegrass performance venues, media, recording stu-
EDUCATION (CONT.)
dios, record labels and stores, amateur bluegrass gatherings, gospel and sacred music, bluegrass in urban communities, and the 1970s bluegrass revival. The Southern Ohio Bluegrass Music Heritage Project is supported by the Appalachian Studies program at Miami University Regionals, the Public Library of Cincinnati and Hamilton County, Smith Library of Regional History of the Lane Libraries, and Greene County Public Library.
WOB DIRECTORY AVAILABLE FOR DOWNLOAD Were you at World of Bluegrass 2016? Do you need contact info for exhibitors, or for the booking agents for official showcase artists? Download a directory here that includes email addresses and websites. If you’re not familiar with Excel, please look for the tabs at the bottom left to switch between the exhibitors and agents lists. SEND US YOUR NEWS! We value our members. This newsletter is our primary conduit for sharing news across our trade organization. Our goal is to carry content each month from all constituencies of IBMA’s membership. Deadline info: news items and press releases are due at the IBMA office via snail mail or email by the 12th of the month. Submitting before the deadline is encouraged. Email all materials to Kelly here, or mail to 4206 Gallatin Pike, Nashville, TN 37216.
Dick’s Cafe, Lagonda Avenue, Springfield, Ohio, 1964 or 1965. L to R: Howard Aldridge, Frank Wakefield, Ralph James. Source: Brian Aldridge
CONSTITUENCIES: a. Agents, Managers & Publicists b. Artists, Composers, & Music Publishers c. Bluegrass Music Associations d. Broadcast Media e. Event Production f. International g. Recording, Distribution & Marketing h. Merchandisers & Luthiers i.Print, Media & Education j. Youth Council
Media guidelines: • Word .doc or .docx files preferred. • Images welcome. Please send images saved as jpegs at 72 dpi, and not larger than 5 Mb. • Links to video, audio and downloads are all welcome.
Fresh Takes Darin & Brooke Aldridge stopped by IBMA’s office in Nashville with their fiddler, Carley Arrowood. They were here to do an livestream interview with Camo of Access Nashville, and fortunately that involved a couple songs.
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2017
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International Bluegrass Music Association empowering the global bluegrass community RALEIGH, NC