Minnesotabluegrass oct2014

October 2014

Sawtooth Bluegrass: just playing around p. 5 In this issue: Ivory Bridge’s Traveller p. 6 Up to the competition p. 11 | Roots of bluegrass p. 15 | Phil Nusbaum p. 17 | Coming Up p. 18 | Y’All Come p. 24 | Meet the makers: Mike Kemnitzer p. 26 | Member bands p. 30

MBOTMA Hot Line

October 2014 Vol. 40 No. 10 Newsstand: $2.50 Subscription: $30

(to subscribe and for other information) 612-285-9133 or 800-635-3037 info@minnesotabluegrass.org P.O. Box 16408, Mpls, MN 55416 www.minnesotabluegrass.org Twitter: @mnbluegrass Facebook: minnesotabluegrass

MBOTMA Board of Directors

President: Gary Cobus, 763-428-2394, garycobi@charter.net Vice President: Jana Metge, 952-996-6490, singdancesavetheworld@gmail.com Treasurer: Peter Albrecht Secretary: Mary DuShane Board Members: Term expires 2014: Alan Jesperson, Philip Nusbaum, David Smith Term expires 2015: Marilyn Bergum, Gary Germond, Greg Landkamer, Sandi Pidel Youth Representatives: Sarah Cagley, Catie Jo Pidel For meeting minutes and other Board business, go to: minnesotabluegrass.org/as_Board

MBOTMA Staff

Executive Director: Jed Malischke, 715-635-2479 Administrative Assistant: Bea Flaming, 612-285-9133

Minnesota Bluegrass

Editor: JoAnne Makela, editor@minnesotabluegrass.org Contributors: Sophie Galep, Adam Granger, Jed Malischke, Phil Nusbaum Coming Up: Loretta Simonet, Rick Swanson Y’All Come: Bill Lindroos Wordmark: Katryn Conlin Photography: Martin Chvatal, Doug Duncan, Doug Lohman Cover photo: Martin Chvatal Submit content or request advertising guidelines at: editor@minnesotabluegrass.org.

Minnesota Bluegrass is published monthly by The Minnesota Bluegrass & Old-Time Music Association™, a Minnesota nonprofit corporation, P.O. Box 16408, Mpls, MN 55416. No part of this publication may be reproduced in any form without written permission from the publisher. The publisher is not responsible for the loss or return of unsolicited photos, recordings, or manuscripts. ©2013 Minnesota Bluegrass. All rights reserved.

ISBN 0891-0537.

Thank you, MBOTMA members Patrons: Tony & Barbie Andreason Lenny & Colleen Baltus Art & Teresa Blackburn Ron & Kathy Blade Kenneth Bloch Doug Chasar Paul Christianson Laura Cooper Bob & Marilyn Dodd William Fancher Jerry Frank Daniel & Maggie Freese Darrell & Marilyn Fuhr Jon & Sharon Garon Gary & Jae Germond Michael & Paula Hildebrandt

Howie & Maggie Jorgenson Linda Kjerland Maxine Larson Richard Luckeroth Rolf & Lisa Lund Rodger McBride &

Mabel Houle David Rogers Tom & Cathy Schaefer Thomas & Barbara Schommer Penelope Scialla Carri Scott & Bryan Trappe Jane & Dobson West Jim Whitney John Wilcox

Sustaining: Rod & Barb Anderson Mary Arntson Lee Bjorndal Ann Crawford Brooks &

Barry Brooks Bill & Ann Bushnell Dan & Marilyn Cook Brian Cornell Bob & Vicki Dalager Hal Davis Mary DuShane Garry & Linda Elfstrand Jim Franczyk Art Geffen Warren Gumeson Timothy & Ginger Haaland James Helig Dick & Sue Hopperstad

Ann Iijima & Myles Bakke Alan & Geriann Kagan Jim Lally Lloyd & Beverly LaPlant Jim Miller Ben Monk James Natwick Dominic Orrico /

Rhapsody Design Bob Ostlund Leo & Ann Rosenstein Marty & Carol Schirber Wendy Schoen Tom & Margaret Schuveiller Howell Smith Roger Sweet David & Bonnie Warner Mark & Danelle Wolf

Membership as of December 1, 2013: 962 Funding provided in part by a grant from the Minnesota State Arts Board, through an appropriation by the Minnesota State Legislature, a grant from the National Endowment for the Arts, and private donors.

MBOTMA Calendar of Events

Concerts and events presented or supported by the Minnesota Bluegrass & Old-Time Music Association The following events are presented by the Minnesota Bluegrass & Old-Time Music Association (MBOTMA) or supported in part by MBOTMA, and made possible in part by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.

9th Annual Harvest Jam Acoustic Music Experience, November 21–23, Marriott Minneapolis West Hotel, 9960 Wayzata Blvd, St. Louis Park, MN. Call 800-635-3037 or visit minnesotabluegrass.org. This 9th annual event will feature stage shows Friday night, all day Saturday, and Sunday morning featuring The Darrell Webb Band, Sawtooth Bluegrass, Ivory Bridge, Hey Lonesome, Bob Bovee & Pop Wagner, and The Fish Heads. Plus the Race For A Place Band Contest on Saturday from 10 a.m. to 5 p.m., the Saturday Banquet Dinner (get the best seats for the evening concert), Kip’s Live Open Mic in Kip’s Irish Pub throughout the weekend, workshops, musical exhibitors, a Sunday morning gospel show, and lots of jam sessions. For more information: 800-635-3037, www.MinnesotaBluegrass. org. To book lodging contact the Marriott at 952-544-4400 and ask for the special Minnesota Bluegrass rate. Presented by the Minnesota Bluegrass & Old-Time Music Association (MBOTMA).

2015 MBOTMA Festivals Winter Bluegrass Weekend, March 6–8, 2015, Crowne Plaza Minneapolis West Hotel Cabin Fever Festival, March 20–22, 2015, Duluth, MN Minnesota Homegrown Kickoff Music Festival, May 29–31, 2015, El Rancho Mañana, Richmond, MN Minnesota Bluegrass & Old-Time Music Festival, August 6–9, 2015, El Rancho Mañana, Richmond, MN

King Wilkie’s Dream at Laughing Waters Bluegrass Festival.

Photo: Doug Lohman

PHOTO CONTEST!

If you took some great photos at the 2014 festival, enter your best shot in the MBOTMA Harvest Jam photo contest and win two 4-day tickets to the 2015 Minnesota Bluegrass & Old-Time Music Festival.

Anyone can enter. Submit your photo JPG to photos@

Photo: Martin Chvatal

Look through your festival photos and enter your best!

October 2014

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MinnesotaBluegrass.org

minnesotabluegrass.org by November 1, 2014. Photos can be of any aspect of the 2014 Minnesota Bluegrass & Old-Time Music Festival, from acts on the main stage to random pictures of jams at campsites.

Only one photo accepted per person. Photos need to be high resolution JPGs (it needs to look great in print), and all submissions will become property of MBOTMA. The MBOTMA Festival Staff will review all entries and nominate the best to be contest finalists. Finalist photos will be displayed at the Harvest Jam during the Saturday banquet (Nov. 22) and dinner participants will vote on a winner.

HARVEST JAM ACOUSTIC MUSIC EXPERIENCE

November 21-23 2014 Marriott Minneapolis West Hotel

Time to Pick!

9960 Wayzata Blvd, Golden Valley MN

SAT NIGHT BALLROOM CONCERT Sat from 7PM to 10PM Featuring The

Race For A Place Champions

and

THE DARRELL WEBB BAND THE FISH HEADS

Plus

RACE FOR A PLACE BAND CONTEST Saturday from 10AM to 5PM with guest host band BOB BOVEE & POP WAGNER. Ten other groups compete for a host of new prizes. Music all day!

FRIDAY NIGHT BALLROOM CONCERT Friday night from 7:00 PM to 11:00 PM with

IVORY BRIDGE, HEY LONESOME & SAWTOOTH BLUEGRASS SATURDAY BANQUET DINNER at 6:00 PM with dinner program and a performance by the Race For A Place Champions. Get the best seat in the house for the after-dinner concert.

Plus

WORKSHOPS

KIP’S LIVE

MUSIC VENDORS

SUNDAY GOSPEL SHOW

JAM SESSIONS

EVEN MORE HAYLOFT JAM ROOMS

For Tickets & Information: 1-800-635-3037 www.MinnesotaBluegrass.org For Marriott Room Reservations: Call 952-544-4400

Cover

Sawtooth Bluegrass: just playing around

By JoAnne Makela

The Laughing Waters Bluegrass Festival this past Labor Day served up a fine slate of locally grown and known performers on the Minnehaha Park stage. Headliners Bill Emerson and Sweet Dixie did not disappoint. The newly formed King Wilkie’s Dream, with John Niemann on guitar, Robbi Podrug on fiddle, Shane Zack on mandolin, Mike Hedding on banjo, and Vaughn Asselstine on bass played a rousing set of old and new grass, with some nice bluegrass takes on contemporary music. And the Middle Spunk Creek Boys had everyone up and dancing. Though I love the old standards of The Platte Valley Boys and was charmed by Pride of the Prairie, I was most captivated by the close harmonies and fine instrumental licks of on-therise young folks, Sawtooth Bluegrass Band.

The Moravecs and Birtzers raised some fine boys. They play together nicely, with some good-natured ribbing, and well-honed audience-pleasing antics­—mostly regarding the stature of lead singer Jesse Moravec, the oldest and, well, shortest. Jesse shows up his taller brethren with some of the most refined mandolin playing to be found here or anywhere.

Their close harmonies and obvious admiration of each other’s instrumental skills delighted even the most harried of parents in the rolling sea

of the crowd at Minnehaha Park.

Bearded 30-something dads swung the arms of their little girls in twirling dresses to the band’s hearty and joyful music. They played a mostly original set, as the band prepares to release a new CD entirely of original music next year.

Brothers Clint (guitar), Luke, (fiddle), and Shane (banjo) Birtzer met the Moravec brothers in 2005 when the Birtzer’s step-dad, Matt Thompson of Monroe Crossing, arranged a jam between his step-sons and his mandolin student, Jesse. The Birtzers and Jesse continued to play music together, and it wasn’t long before Jesse’s brother, Ethan (bass), joined in.

All in their 20s, and full of energy, the band has produced four CDs in the past six years.

Katryn Conlin reviewed the 2012 Gunflint Trail: “With the release of Gunflint Trail, Sawtooth brings the band’s original songwriting to the foreground more than any of their previous three albums ... Throughout the CD the band maintains an easy drive even as they pull off intricate instrumental

Photos this page: Doug Lohman

parts and flawless harmonies. The exciting thing about hearing them tackle so much original material is that they aren’t re-inventing someone else’s arangements—they are creating the music from scratch.”

Clint Birtzer is a three-time Minnesota Flatpicking Contest winner.

And he and Jesse Moravec also took home the Duet Singing Championship in 2011. Jesse, Clint, and Luke take on most of the songwriting responsibilities. Luke’s song “Sawtooth” is the genesis of the band’s name.

With veterans such as Matt Thompson behind them and the stamp of approval from the likes of Garrison Keillor, these boys are sure to go far.

Catch them on the Harvest Festival stage, Friday, November 21.

MinnesotaBluegrass.org

October 2014

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Review

Ivory Bridge: Traveller

MinnesotaBluegrass.org

by Adam Granger

First off, my usual disclaimer: the people in this band are friends of mine.

But don’t worry about dissimulation, I only write the truth.

Ivory Bridge is a really cool name for a band. It’s not cute, it’s easy to say and to spell, and it implies veneration befitting a group whose members have racked up 200 years of musicianship among them: bassist/vocalist Kathe Liners and her guitar-playing hubby Bill formed IB 28 years ago; Jim Tordoff is banjoist; and John Bodle, the pup of the group, plays mandolin. The quartet is joined by guest fiddler Peter Ostroushko on their new CD. Traveller carries three tunes and nine songs, seven of which were penned by Kathe. These are not songs one would hear Ralph Stanley singing.

Right out of the chute, in “What If What You Want,” Liners employs a fetching existentialism when she sings, “I have always tried to give you what you want from me; But what if what you want isn’t what I need?” “Pig in a Pen” this ain’t. Ms. Liners may or may not be “a girl my lord in a flatbed Ford,” but she’s not slowing down to take a look at anyone, so hold on.

These are a thinking person’s songs, written from a thinking woman’s point of view, and one has to pay attention or risk getting bounced off the back of the truck.

“Bill and Kathe” is a Bodlecomposed instrumental encomium to the Liners, into which all of the band’s soloists throw their two bits. John is the band’s Future of Bluegrass representative who plays too many instruments too well. Although he’s mainly mandolinist in Ivory Bridge, he also is an award-winning flatpick guitarist.

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The next two songs are of adventure and exploration. “Fortune” describes a Klondike Kate-type character who is in far greater charge than the men surrounding her. Then, the singer of “Jaded” hits the road where “The signs tell me where I’m going; Some tell me where I’ve been.” These are songs of empowerment and—for better or worse—self-determination.

“Darkness Hollow” is the first of several spiritual offerings. I’m not a religious man, but I’ve been in bluegrass for 50 years, and I understand and respect that religiosity is a bulwark of the genre. “Darkness Hollow” is a potent cautionary tale, admonishing the listener not to “drink what you can’t swallow.” Great advice, whatever your faith. Later, Kathe’s “Not a Man of Stature” tells the story of Jesus with a passion that lets one know that she believes with all her heart and soul.

“Handsome Molly” is the first traditional number on Traveller. This 87-year-old Grayson-Whitter composition is a great song with some bad geography in it: the singer wishes he “was in London, or some other seaport town,” but London is not a seaport town. Oh well. Ivory Bridge does not correct this, either in homage to tradition or because it would mess up the lyrical cadence to say, “I wish I was in London, or some other town on the River Thames. . .” Good call, folks. One doesn’t want to come off too snooty when singing a GraysonWhitter song.

Ivory Bridge. Photo: Zimmers

Next is “Cattle in the Cane,” a traditional southern tune called to order and chaired by Tordoff. One gets a generous serving of Jim’s banjo style here, which is a skillful repudiation of the traditional brittle, tight-head, picks-close-to-the-bridge bluegrass banjo approach favored by 99.9% of practitioners. Jim plays a pre-war perforated (“40-hole”) tone-ring Gibson Mastertone banjo with a skin head, and picks a ways from the bridge—a very unusual setup for bluegrass banjo, but one that a player of Tordoff’s credentials, gravitas, and talent pulls off with equipoise and aplomb.

“You Can’t Be Serious” is my favorite cut on Traveller. Viewing the title as an idiomatic phrase, I expected a hopefully-clever hook song along the lines of “I Can’t Believe I Ate the Whole Thing,” or some such. Imagine my delight, then, in hearing a truly beautiful presentation of a truly beautiful song. “You can’t be serious; you can’t be so unkind. If I can’t be your true love, then I’ll leave love behind, just watching the world unwind.”

October 2014

“Safe Harbor” surprises again.

I expected a gospel tune, and was instead offered a jazzy love song.

Snappy, confident, and catchy, this song gives everyone a chance to stretch and swing.

The album concludes with a strong quartet reading of the old fave “Three Men on a Mountain” and the dandy, eponymous Tordoff composition, “Traveller.”

And what a pleasure to hear Mr Ostroushko playing bluegrass. In case anyone—including him!—had forgotten about his abilities in this genre, given the galaxy of his other musical endeavors, his long- and shortbow bluegrass fiddling shine from beginning to end. I just returned from two weeks with Mr. O on the Prairie Home Companion Baltic cruise, and had to remind myself constantly that the

beautiful, cerebral, hypercreative music I was listening to him play with Dean Magraw (another monster: don’t get me started) came from the same guy who kicks the stuffing out of the cuts on Traveller. That’s versatility, folks.

And he told me that his original takes were better, but that they disappeared and he had to redo them. Better? Scary.

This was an easy review to write.

All good stuff, and nothing to tiptoe around or sugarcoat. Ivory Bridge walked the righteous road in recording Traveller, and you won’t go wrong spending your cash on it. End of discussion.

See Ivory Bridge at the MBOTMA Harvest Jam, Friday, November 21.

Traveller is available at ivorybridge. com.

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October 2014

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Sign up now to Race for a Place

Duets and Flatpicking champions

The 9th annual Race For A Place Band Contest will take place from 10 a.m. to 5 p.m. on Saturday, November 22, during the Harvest Jam Acoustic Music Experience at the Marriot Minneapolis West Hotel. Ten groups will have a chance to compete for a spot on the Saturday Main Stage of the 2015 Minnesota Bluegrass & Old-Time Music Festival in August. The next two runners-up will receive contracts for the 2015 Minnesota Homegrown Kickoff and the 2015 Harvest Jam Acoustic Music Experience. This year, the Race For A Place will be hosted by Bob Bovee & Pop Wagner.

Echoing the Harvest Jam theme of helping good bands become better bands, the purpose of the contest is to provide an alternative method by which member groups can pursue a place at the August MBOTMA Festival. The contest also helps educate bands and the general public about what characteristics and talents are needed for prospective bands to perform well and get more and better engagements of any kind.

Find a registration form and details about entering your group for the contest on the Harvest Jam pages at minnesotabluegrass.org. Contact info@minnesotabluegrass or 800635-3037 to have a form mailed to you. Send in the registration form and payment to lock in your stage time.

The 2014 Minnesota Duets competition was held on August 30 at the Minnesota State Fair. This year’s First Place winners, Gavin Haskin & Eli Bentley of Golden Valley, received a pair of Breedlove Guitars from The Podium plus a cash prize. Runners up were: Matt Edwards & Sarina Yespin, 2nd prize; Ellen Stanley & Dan Gaardner, 3rd prize; Gordon Bratt & Christopher Hollister, 4th prize; and Steve & Annie Borgstrom, 5th prize.

The winner of the Minnesota Guitar Flatpicking Championship and a hand-built guitar by David Vincent Guitars & Mandolins was Roy Curry of Chattanooga, Tennesee. Mike Cramer took second place; Kyle Baker, third; Carl Sones, fourth; and Mark Hoornbeek, fifth.

In the preliminary flatpicking rounds, Senior Category: Roy Curry, first; Steve Howard, second; Christan Lindgren, third. Adult Category: Mike Cramer, first; Kyle Baker, second; Mark Hoornbeek, third. Youth Category: Carl Sones, first and Sophie Galep, second.

MinnesotaBluegrass.org

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October 2014

Up to the competition

By Sophie Galep

October 2014

competitors and volunteers. By the time the first round was over and the final contestants were called, I was packing up my guitar for the day. When my letter was called to come onstage as a finalist, I let out a small Flatpicking contest winners. Photo: Doug Duncan shriek, climbed the steps to the stage drawing the first spot of the day), pracand was joined by the four other finalticing my tunes, when another conists (all male), receiving warm smiles testant came over to give a “Sounding and hand shakes. good! Best of luck!” my way before I The 2014 contest was no different, was wrangled to the stage. It wasn’t aside from the amped up competition. until then that I felt those familiar Arriving early Friday afternoon for the flutterings in my stomach, walking duet contests, I set to making nametags past and receiving encouraging smiles for the competitors, judges, and volunfrom various pickers. While my songs teers, and folding and sorting T-shirts. could have gone a bit more smoothly The volunteers for the weekend were in (though can’t they always?), going first, high spirits as always, taking photos, especially in a field of such high-calsharing laughs, and working hard iber musicians as we had this year, is to finalize preparations for the day’s TOUGH! Going onstage to play with events. Contestants would arrive in the band is no problem, but competpairs, signing in and greeting each ing and knowing someone is judging other cheerfully. Jokes were told during your every note is completely different. the drawing for order and there was Maybe I’ll never get over those flurries joyful camaraderie throughout the day. of excitement and jitters before playing Two pairs of duet contestants who had in front of the West End Market audisigned up only the night before ended ence, but the feeling of encouragement up advancing to the final round, one of coming off of the competitors was one which used an empty garbage can and I didn’t expect. cups as their “acoustic instruments.”

All in all, the experiences I’ve had The executive decision was since it competing the last couple years has wasn’t plugged in, it was acceptable! been worth the nominal entry fees.

Not to have something to tune your Competition can be fierce, but never in voice to and come out in fourth place? terms of attitude. I’ve come to realize Talk about talent! that musicians (at least those of the Saturday was much the same. bluegrass and related genres and in Guitarists gathered in small groups, the community we have in Minnesota) playing rhythm for each other and are some of the friendliest, fun-loving swapping licks. I was on my own (after 11

MinnesotaBluegrass.org

Year after year, I attended the Minnesota Duet Singing and Guitar Flatpicking Championships as a spectator, seeing the best of the best show their talents, take home shiny trophies and gain titles. Truth be told, the Minnesota State Fair’s other attractions held more interest for me in my earlier years. But after seeing some familiar faces get up on stage and become award winning musicians, I was more and more intrigued by the contests. By the time the trophies were given out on the Saturday of the 2012 Flatpicking Competition, I made the decision that the following year, there would be at least one female to make it in the program.

Honestly, I had no idea what I was doing. I signed up for the guitar contest when registration opened in 2013 and worked my two instrumentals into my music practice for the following couple of months. I had no expectations (really, none at all) of placing in any category, and had “I’m doing this for fun and the experience” coming out of my mouth whenever it came up. The day of the contest came and I was stoked. I didn’t know the concept of being nervous until we arrived, and I realized what was going on. This was the contest that was won by some of the people I look up to most! Roy Curry, Allen Shadd, Clint Birtzer, Chris Silver, Mike Cramer, Bill Liners-just to name a few that have topped the standings in the last few years.

My shaky fingers were winding up a brand new G-string when Clint walked through the backstage gate and greeted me with an energetic “Hey! How’re you doing?” and was shortly followed by my bandmate Carl Sones. Soon, I was surrounded by other friendly

folks around. The stigma revolving around such events are never present with ours! Competitors are amiable, volunteers hard working, audiences boisterous, and the winners humble.

Chattanooga’s Roy Curry, this year’s champion, was nothing but encouraging and generous in his photo-taking with us young’uns. If anyone out there is hesitant about signing up, take it from a first-hand source that waiting until your licks or harmonies are absolutely perfect is more of a hindrance than anything. The experience gained from an afternoon such as this is invaluable, and you’re sure to have a spectacular time!

MinnesotaBluegrass.org

Nominations open for MBOTMA board The Minnesota Bluegrass & Old-Time Music Association (MBOTMA) will hold its annual election for its Board of Directors during the month of November. We will be electing a president, vice-president, and three directors-at-large positions for two-year terms.

Are you interested in serving your community as a director? Do you know someone who would be a good candidate? Nominations for candidates will be accepted by Election Nomination Chair Martha Galep at 715-233-0181 or election@minnesotabluegrass.org until October 1, 2014.

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Questions about the election or the duties of directors should be should be directed to MBOTMA Executive Director Jed Malischke, jed@minnesotabluegrass.org.

Election ballots will be printed in the November issue of Minnesota Bluegrass. To vote, members must either mail a completed ballot to election judge Ken Bloch by November 20, or hand cast their vote using their

printed ballot at the Harvest Jam on November 22 before 3 p.m. Results will be tallied at the Harvest Jam and announced during the Saturday Banquet dinner.

October 2014

Songwriter’s round-robin roundup Are we creating something new, or tapping into an existing talent pool within our music community? That question was answered at the August festival’s songwriter’s round-robin event. Fourteen songwriters within our music community and over 20 listeners showed up for MBOTMA’s first songwriter’s round-robin. Some of those listeners were also songwriters and multiple people stated that they were sorry that they missed the session.

Our music community has lots of talent and the roundrobin format provided an opportunity to share original music and network with other songwriters. The songs

included a wide variety of topics such as haunted houses, the Civil War, farmer’s markets, eating red meat, love, and, in true bluegrass tradition, some songs were about death and murder.

What can you expect in the future? We hope to include songwriter round-robin sessions at future festivals. So sharpen your pencils, keep your instrument in tune and keep writing great songs. You never know who will be in the audience at our next songwriter’s round-robin.

—Paul Schulte, August Festival round-robin facilitator

Grass Clippings JoAnne Lorenz won first prize at the Minnesota State Fair for her seed art entry of the MBOTMA logo art. Her partner, the original logo artist Brian Stewart, posted on Facebook: “I’m so proud. Here’s JoAnne’s entry into the Minnesota State’s Fair seed art competition. It’s 14x24”, made of 5 Minnesota seeds. Mustard, Micro Clover, Clover Berseem, Amaranth and Poppy seed. She kept it in the family by doing a design of a logo I did years ago for the Minnesota Bluegrass and Old Time Music Association.” Well, Brian, we’re proud too! Thanks, JoAnne, for the terrific tribute and congratulations on your prize!

October 2014

Give to the Max Day is November 13. We hope you will consider a donation to MBOTMA on this national day of philanthropy.

MBOTMA’s programming and promotion of live music through its festivals and community concerts helps maintain the tradition and history of bluegrass and old-time music.

We also support and promote local bands who work in these and related acoustic genres, and new and upcoming musicians who seek to expand and evolve the music we all love.

Please go to minnesotabluegrass.org for a link to make your donation.

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MinnesotaBluegrass.org

The Minnesota History Center and Red House Records will present Dave Ray, A Legacy: CD Release Concert & Celebration on Sunday, November 9, 2014 at 6 p.m.

This musical celebration and tribute to the late Dave Ray will include performances by acclaimed artists who performed with Dave during his four-decade career, as well as admirers who were deeply influenced by him. The concert also celebrates the Red House Records release, Dave Ray / Legacy, a 3-CD, 55-track box set, produced, compiled and annotated by his colleague, Tony Glover. Comprised of unreleased or long out-of-print recordings, the historic collection spans from his early era with the seminal trio, Koerner, Ray & Glover to mid-career collaborations and solo work, to his valiant last days at the peak of his artistic powers.

The City of Minneapolis has declared Sunday, November 9 as Dave Ray Day and the City of St. Paul has the proclamation in process.

Announcing our 2014 / 2015 Concert Season Free Season Opener September 18 | Minneapolis

Help us kick off our season at this celebratory concert highlighting the many sounds of The Rose Ensemble.

It’s something for everyone, whether you’re attending a Rose concert for the first or fiftieth time!

The Roots of Bluegrass October 2-14 | 8 Minnesota Cities

We’re thrilled to hit the road this fall for our 9th annual Greater Minnesota Tour, this popular program to Morris, Willmar, St. Cloud, Rochester, Marshall, Redwood Falls, Mankato, and . . . Minneapolis!

Bow Down, Good Cherry Tree: A Garden of Medieval Music for the Nativity December 18-20 | Duluth, St. Paul, Minneapolis

Amidst the familiar stories of Christmas, our program explores legends describing a midnight blooming of plants, trees and flowers – a celebration of this miracle of new life amid the cold of winter.

The Requiem Mass of Pedro de Escobar February 26-28 | Duluth, St. Paul, Minneapolis

Escobar weaves the elegant movements of the mass with ancient liturgy’s plainchant. In this historical musical recreation, The Rose Ensemble is supported by the sonorous sounds of the wind ensemble, Dark Horse Consort.

Singing for Freedom: The Anti-Slavery Campaign of The Hutchinson Family Singers April 29-May 3 | St. Paul

To commemorate the 150th anniversary of the end of the Civil War, this fully staged and costumed production will enjoy a week-long run at the Minnesota History Center, with guest musician Dan Chouinard.

MinnesotaBluegrass.org

Visit RoseEnsemble.org for full details and to purchase tickets.

Questions? Phone 651.225.4340 or Send an email to info@RoseEnsemble.org.

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October 2014

The Roots of Bluegrass: A journey through America’s folk, old-time, and gospel traditions The Rose Ensemble is proud to embark on its 9th annual Greater Minnesota Tour with The Roots of Bluegrass: A Journey through America’s Folk, Old-time, and Gospel Traditions.

Through rousing hymns, Appalachian foot-stomping songs, Southern Harmony shape-note singing, and Shaker spirituals, The Rose Ensemble will showcase the music that gave birth to bluegrass. The Roots of Bluegrass explores our country’s musical heritage with close vocal harmonies, banjo, guitar, mandolin, fiddle, and bass.

The statewide tour will feature stops in eight cities—including a special Minneapolis performance at Ted Mann Concert Hall on October 4— and will include outreach programs in schools, veterans’ homes, and assisted living facilities. This tour marks the first of three years of community outreach in select Minnesota cities, funded by a recent major grant from the Otto Bremer Foundation.

Unless otherwise noted, tickets for all shows are $15 adults, $10 seniors/ students, and available at the door or through The Rose Ensemble’s box office at 651.225.4340 and online at www.RoseEnsemble.org.

October 2014

•

•

•

•

About the Rose Ensemble: Founded in 1996

by Artistic Director Jordan Sramek, The Rose Ensemble has been called “the Twin Cities’ most daring and imaginative vocal ensemble” (St. Paul Pioneer Press). With ten critically acclaimed recordings and a diverse selection of concert programs, The Rose Ensemble has thrilled audiences across the United States and Europe with repertoire spanning 1,000 years and over 25 languages. The Rose Ensemble is the recipient of the 2005 Chorus America Margaret Hillis Award for Choral Excellence and are the

winners of first prize in the sacred and secular music categories at the 2012 Tolosa Choral Contest in Spain (part of the European Choral Grand Prix). The Rose Ensemble’s ten recordings have earned international praise and receive regular international airplay.

The group’s live performances can be heard regularly on American Public Media and the European Broadcasting Union (most notably with annual Christmas broadcasts) and were recently featured in special broadcasts on Radio France, Chicago Public Radio, Vermont Public Radio, and APM’s Performance Today.

Season and ticket information: www.roseensemble.org | 651-225-4340

MinnesotaBluegrass.org

Concert Performance Schedule: • Thursday, October 2, 2014 | 7pm Assumption Catholic Church, 207 East Third Street, Morris, MN • Friday, October 3, 2014 | 7pm Bethel Lutheran Church, 411 West Becker Avenue, Willmar, MN • Saturday, October 4, 2014 | 8pm Ted Mann Concert Hall, 2128 Fourth Street South, Minneapolis, MN. $20 in advance, $22 at the door, $10 students (with ID)

•

*For tickets: Ted Mann box office, 612.624.2345 or www.tickets.umn. edu Sunday, October 5, 2014 | 7pm Bethlehem Lutheran Church, 4310 County Road 137, St. Cloud, MN Friday, October 10, 2014 | 7pm Rochester Civic Theatre, 20 Civic Center Drive SE, Rochester, MN *For tickets: Rochester Civic Theatre box office, 507.282.8481 or www.RochesterCivicTheatre.org Sunday, October 12, 2014 | 2pm First Lutheran Church, 100 Church Street, Marshall, MN Sunday, October 12, 2014 | 7:30pm Redwood Valley High School, 100 George Ramseth Drive, Redwood Falls, MN Tuesday, October 14, 2011 | 7pm Our Lady of Good Counsel Chapel, 170 Good Counsel Drive, Mankato, MN

Michael Haug Photography 15

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October 2014

MinnesotaBluegrass.org

Bluegrass Saturday Morning

By Phil Nusbaum

The Barrage of Bluegrass Festivals The barrage of bluegrass festivals in our town is a most pleasant one. Mosquito Jam in Roseville is the prelude to the MBOTMA August festival. Then there is Laughing Waters on Labor Day, followed the next weekend by the Washington County Bluegrass Festival at Lake Elmo. This year, the Caponi Art Park added to the fun with an additional festival the week after the Washington County event. This level of bluegrass fun was unheard of a generation ago. Let’s tip our caps in the directions of those having enough confidence in the music to put it on stages, and in the directions of those who go to the shows.

Bluegrass and Americana

October 2014

Fund Raising This magazine often arrives in the mail a few days before the month of publication. So, a heads-up to readers of this column and supporters of Bluegrass Review that you can show your support during September and into October by pledging on KBEM-FM. The station is offering attractive premiums for those who pledge their support of the station’s efforts—all great incentives to contribute. But the main idea is to support the station. I’m hoping that with all of the interest in bluegrass these days that Bluegrass Saturday Morning and the Bluegrass Review make fine showings during our funding efforts.

Bluegrass Review supporters • Hoffman Guitars, www.hoffmanguitars.com, sells handcrafted Hoffman guitars and authorized Martin repairs.

• John Waddle Violins, www.waddleviolins.com, is a dealer of international and domestic, new and old violins, bows, and cases.

• Minnesota Bluegrass and Old Time Music Association, www.minnesotabluegrass.org The Bluegrass Review is made possible in part by a grant from the National Endowment for the Arts.

Bluegrass Review playlists: www.bluegrassreview.com.

Bluegrass Saturday Morning playlists: www.jazz88fm.com.

The Bluegrass Review in Minnesota Station

Day

Time

KLQP-FM, 92.1 Madison

Monday

8 PM

KMSU-FM, 89.7 Mankato; 91.3 Austin

Sunday

10 AM

KBEM-FM, 88.5 Mpls

Saturday

11 AM

KSRQ-FM, 90.1 Thief River Falls

Sunday

11 AM

KQAL-FM, 89.5 Winona

Saturday

9 AM

KDDG-FM, 105.5 Albany

Saturday

9 PM

WTIP-FM, 90.7 Grand Marais

Thursday

10 PM

KUMD-FM, 103.3 Duluth

Saturday

4 PM

KRWC-AM, 1360 Buffalo

Sunday

5 PM

KOJB-FM, 90.1 Cass Lake

Sunday

6 PM

KSCR-FM, 93.5 – Benson

Sunday

6 AM 17

MinnesotaBluegrass.org

Bluegrass fans feel a need to define bluegrass, and the definitions almost always have to do with the instrumentation of a bluegrass band and how the instruments are used. Adam Granger adds that in bluegrass, voices are used forcefully, and that there are a few standard ways for combining voices.

Then there is the field of music called Americana. Look at some Americana websites and I challenge you to come up with a definition of the field. It seems to be a combination of many elements, including all kinds of country music and blues, pop and rock, and played on acoustic instruments except when it is played on electric instruments. In this era of combining musical ideas, there are quite a few Americana groups that sound a lot like bluegrass groups. I Draw Slow for example, a group from Ireland, uses clawhammer banjo and effects a pronounced backbeat, making it sound very close to bluegrass. A group from Australia, Mustered Courage uses the bluegrass instrumentation and sings forcefully. However, something about their songs themselves and the way they sing them seem so much like pop. One gets the same impression when listening to U.S. groups such as the Deadly Gentlemen, Mipso, and the Underhills.

You might think that there is a close convergence between Americana and bluegrass taking place, and the vehicle is a pop music sensibility. Or you might think that pop, the music with the widest distribution, is working its way into bluegrass. And it gets there because members of bluegrass bands enjoy combining the bluegrass instrumentation with pop-flavored songs and vocals. Pop bluegrass? It could happen! But one doubts that pop will conquer bluegrass.

Unlike the music world of a half-century ago, there are many approaches to bluegrass music other than the one that

combines bluegrass with pop. In my view, the current interest in combining bluegrass and pop is evidence of an active musical ferment.

Coming Up Venue abbreviations 331C: 331 Club, 331 13th Ave NE, Mpls, 612-331-1746, www.331.mn 3Cr: Three Crows Cafe, 225 N River St, Delano, 763-972-3399, www.thethreecrows.com ACA: Acadia Cafe, 329 Cedar Ave, Mpls, 612-874-8702, www. acadiacafe.com AGr: Amazing Grace Bakery & Cafe, 394 S Lake Ave, Duluth, 218-723-0075, www.amazinggraceduluth.com APHC: “A Prairie Home Companion,” Minnesota Public Radio AST: Aster Cafe, 125 SE Main St, Mpls, 612-379-3138, www. astercafe.com BTC: Lake Superior Big Top Chautauqua, Bayfield, WI, 888-244-8368, www.bigtop.org CED: Cedar Cultural Center, 415 Cedar Ave S, Mpls, 612-3382674, www.thecedar.org CJ: Celtic Junction, 836 Prior Ave, St Paul, 651-330-4685, www. thecelticjunction.com CrH: Creek House Concerts, New Brighton, 651-633-5353, www. creekhouseconcerts.com DAK: Dakota Jazz Club, 1010 Mall, Mpls, 612-332-1010, www. dakotacooks.com DUL: 607 W Lake St, Mpls, 612-827-1726, www.dulonos.com DuG: Dunn Brothers on Grand, 1569 Grand Ave, St. Paul EAG: Eagles Club, 2507 E 25th St, Mpls, 612-729-4469, www.

Mplseagles34.org FITZ: Fitzgerald Theater, 10 E Exchange St, St Paul, 651-2901200, www.fitzgeraldtheater.publicradio.org

GINK: Ginkgo Coffeehouse, 721 N Snelling Ave, St Paul, 651-645-2647, www.ginkgocoffee.com GKb: Grand Kabaret, 210 N Minnesota St, New Ulm, 507-3599222, www.thegrandnewulm.com

HB: Harriet Brewing, 3036 Minnehaha Ave, Minneapolis HOB: The Loft at Hobgoblin Music, 920 State Hwy 19, Red Wing, 877-866-3936, www.stoneyend.com HON: Honey, 205 E Hennepin Ave, Mpls, 612-746-0306, www. honeympls.com HOPK: Hopkins Center for the Arts, 1111 Mainstreet, Hopkins, 952-979-1111, www.hopkinsartscenter.com KIP: Kieran’s Irish Pub, 85 6th St N, Mpls, 612-339-4499, www. kierans.com KRAM: Kramarczuk’s Deli, 215 E Hennepin Ave, Mpls, 612-379-3018, www.kramarczuks.com OAK: Oak Center General Store, 67011 Hwy 63, Lake City, 507-753-2080, www.oakcentergeneralstore.com ROCK: Rockwoods, 9100 Quaday Ave NE, Elk River, 763-2224353, www.nograsslimit.com/RockwoodsCalendar.html SHL: Sheldon Theatre, 443 W 3rd St, Red Wing, 800-899-5759, www.sheldontheatre.org TAP: Tapestry Folkdance Center, 3748 Minnehaha Ave S, Mpls, 612-722-2914, www.tapestryfolkdance.org UMC: Underground Music Café, 1579 Hamline Ave N, Falcon Hts, 651-644-9959, undergroundmusiccafe.com ZUM: Crossings at Carnegie, 320 East Ave, Zumbrota, 507-7327616, www.crossingsatcarnegie.com

To post gigs and events to this calendar, request the link to our online submission form to editor@minnesotabluegrass.org

MinnesotaBluegrass.org

SPECIAL ATTRACTIONS October 5

October 18

October 26

2014 Caravan du Nord Family day with The Okee Dokee Brothers.

Historic Holmes Theatre, Detroit Lakes

Mad Jack + Biscuits, EAG, Reunion Concert: Mad Jack and the Black Label Boys and the original Powdermilk Biscuit Band. Tickets at the door.

7:30pm

The Blue Groove, Minnetonka Orchards, 6530 CR 26, Mound, MN. Halloween Trick-or-Treat Weekend.

Admission $6, call 763-479-6530, for details, 12-4pm

October 1—Wednesday

• Four Mile Portage, $5 suggested, www.fourmileportage.com, AGr, 6pm • John Evans and Dan Perry, Manitou Station, 7:30pm

• Monroe Crossing, IBMA Business Conference & Bluegrass Ramble, Raleigh, NC • Nordic Bees, Norsk Hostfest, Minot, ND, 701-852-2368. Norsk Hostfest has grown into North America’s largest Scandinavian festival

• Dedric Clark and the Social Animals, AST, 8pm • Dick Kimmel, Public Library, Wildlife/Music Program, Waterville, MN, 4pm 18

October 2014

with tens of thousands of people attending from all over the world.

September 30–October 4, 1pm

October 2—Thursday

• Bob Bovee, GINK, 7:30pm • Monroe Crossing, IBMA Business Conference & Bluegrass Ramble, Raleigh, NC • Old Crow Medicine Show, State Theatre, 805 Hennepin Ave, Mpls, 800-982-2787, 7:30pm • Swamp Poppas, EAG, 7:30pm

October 3—Friday

• Bob Bovee & Pop Wagner, GKb, 8pm • Curtis & Loretta, Grande Ronde Cellars, Spokane, WA • Dick Kimmel, Public Library, Wildlife/Music Program, Henderson, MN, 4pm • Ordinary Folk, BDD

October 4—Saturday

October 5—Sunday

• Clover Valley Hoedown, Greenwood Tree, and more, Big Island Rendezvous & Festival, Albert Lea October 2014

October 6—Monday

• Dick Kimmel, Public Library, History of Bluegrass Music, St Peter, 6pm • Pocahontas County, 331C, 6:30pm • Roe Family Singers, 331C, 9pm

October 7—Tuesday

• Fat Chance Jug Band Jam, Driftwood Char Bar, 4415 Nicollet Ave. S, Mpls, 7:30pm • Roots Music Jam with Bill Cagley, UMC, 7pm

October 8—Wednesday

• John Evans and Dan Perry, Manitou Station, 7:30pm

October 9—Thursday

• Southside Aces, EAG, 8pm

October 10—Friday

• April Verch Band, ZUM, 7:30pm • Ben Weaver with Brian Laidlaw and the Family Trade, CED, 8pm • Bob Bovee & Tim Foss, Hoot on the Root, Smokey River Barbeque, Lanesboro, MN, 5pm, A three-day festival with many musical acts; free-will offering • Chris Silver Band, Junior’s Bar, River Falls, WI, 8pm • Curtis & Loretta, Pacific Northwest Folklore Society, Seattle, WA • Monroe Crossing, River Falls Hospital Foundation Fall Fling, Mystical Rose Garden, W5415 890th Ave, Baldwin, WI, 6pm • Pieta Brown, DAK

October 11—Saturday • Blue Groove, Deer Lake Orchard, 1903 10th St SW, Buffalo, MN, 763-682-4284, Come enjoy the fall and pick some apples and listen to bluegrass music, 12pm • Curtis & Loretta, Artichoke Music, Portland, OR • David Bromberg Quintet with Tom Feldmann, CED, 8pm • Eepout Stringers, Chatfield Performing Center for the Arts, Chatfield, MN, www.chosenbeanconcerts.com • Marty Marrone & Tangled Roots, St Croix Art Barn, 1040 Oak Ridge Dr, Osceola, WI, $10 students, $12 seniors, $15 adults, 7pm • Monroe Crossing, Phipps Center for the Arts, 109 Locust St, Hudson, WI, 7pm • Pieta Brown, The Root Note, La Crosse, WI • Prairie Grass, Milner Heritage Winery, 32045 State Hwy 15, Kimball, 2pm • The Back Porch Band, Stillwater American Legion Post 48, 103 3rd St S, Stillwater, 651-439-1435, Annual Pig Roast, 4pm

October 12—Sunday

• Curtis & Loretta, Nancy’s Farm Concert Series, Bellingham, WA • David Bromberg, Pioneer Place on Fifth, 22 5th Ave S, St. Cloud, 320-203-0331, Presented by Granite City Folk Society, 7:30pm • Don D. Harvey, Elmaro Winery, N14756 Delaney Rd, Trempealeau, WI, 608-534-6456, 4pm • Prairie Grass, Milner Heritage Winery, 32045 State Hwy 15, Kimball, 2pm

October 13—Monday

• Dance with Millie & the Mill City Heavyweights, EAG, 7:30pm • Joe Fingers (Pat Donohue), DuG, 7:30pm 19

MinnesotaBluegrass.org

• Bob Bovee & Pop Wagner, Dick Kimmel & Co, Greenwood Tree, and more, Big Island Rendezvous, Albert Lea, MN, 9am • Curtis & Loretta, Just Folk House Concert, Kennewick, WA • Lonesome Dan Kase, DuG, 7:30pm • Monroe Crossing, Community Bluegrass and Gospel Concert, Birmingham, MI, 7:30pm • Moonlight Duo (Mary DuShane & Nick Jordan), Mill City Farmers Market, Mpls, 11am • New Riverside Ramblers, Morris, MN • The Okee Dokee Brothers, SHL, 2pm • The Ultrasonic Duo, Red Pines Bar & Grill, W7305 County Rd. Z, Onalaska, WI, 608-779-2800, 7:30pm

• Monroe Crossing, Bluegrass Mass with the Chancel Choir, Birmingham, MI • Moonlight Duo (Mary DuShane & Nick Jordan), Sogn Valley Craft Fair, 35200 Cty 24 Blvd, Cannon Falls, MN. Fine art and crafts, free admission, outdoors at a beautiful farm. 12pm • The Okee Dokee Brothers, 2014 Caravan du Nord family day at Historic Holmes Theatre, Detroit Lakes

October 13—Monday • Roe Family Singers, 331C, 9pm

October 15—Wednesday

•

• Dan Rumsey, DuG, 7:30pm • John Evans and Dan Perry, Manitou Station, 7:30pm

•

MinnesotaBluegrass.org

October 16—Thursday

Mary DuShane). Tickets at the door.

7:30pm Monroe Crossing, Everett Brothers Music Barn with The Everett’s Family Band, Suwanee, GA Nordic Bees, Hosmer Library, Hosmer Library World Music Series 347 East 36th St, Mpls, A free music series with wide musical shoulders, Hosmer Library World Music Series showcases traditional music from around the world highlighting local musicians, 2pm Sawtooth Bluegrass Band, DUL, 8pm Timbre Junction, AGr, $5, 8pm

• Monroe Crossing, Bluegrass Mass with Griffin Choral Arts, Griffin, GA • Sweet Honey in the Rock, O’Shaughnessy Auditorium, St. Catherine University, 2004 Randolph Ave, St. Paul, 651-6906700, 7:30pm

•

October 17—Friday

•

• Curtis & Loretta, Dayaalu Yoga Center, Bainbridge Island, WA • Marienne Kreitlow with Mike Miller, BDD • Monroe Crossing, The Crimson Moon Cafe, Dahlonega, GA • Pieta Brown, Stoughton Opera House, Stoughton, WI • Communist Daughter, 2014 Caravan du Nord, SHL

October 19—Sunday

• Accordian Showcase with Dan Newton, UMC, 7pm • BeauSoleil avec Michael Doucet with Caravan of Thieves, CED, 7:30pm • Monroe Crossing, Allied Arts, Inc Concert, Milledgeville, GA • Joe Fingers (Pat Donohue), DuG, 7:30pm

October 18—Saturday

October 20—Monday

• Ani DiFranco with Jenny Schienman, First Avenue, Mpls, Co-sponsored by CED, 8pm • Curtis & Loretta, Concerts in the Woods, Coyle, WA • Greenwood Tree, Pine Tree Apple Orchard, 450 Apple Orchard Rd, White Bear Lake, 651-429-7202, 1pm • Joel Grostephan and Jim Kraus, Bluegrass Swing, DuG, 7:30pm • Karen Savoca and Pete Heitzman, CrH • Mad Jack + Biscuits, EAG, Reunion Concert: Mad Jack and the Black Label Boys (Pop Wagner, Bob Bovee, Mary DuShane, Bob Douglas) plus the original Powdermilk Biscuit Band (Bob Douglas, Adam Granger,

• Mad Jack & Black Label Boys, EAG, Old time square dance with live music and caller; $8, 35th Anniversary Dance, 7:30pm • Roe Family Singers, 331C, 9pm

20

•

October 21—Tuesday

• Roots Music Jam with Bill Cagley, UMC, 7pm

October 22—Wednesday

• Bill Cagley, DuG, 7:30pm • Four Mile Portage, Bent Paddle Taproom, 1912 W Michigan St, Duluth, 218-279-2722, 6pm • John Evans and Dan Perry, Manitou Station, 7:30pm

October 23—Thursday

• Monroe Crossing, The Museum of Russian Art, 5500 Stevens Ave So, Mpls, 7pm • Willie Watson with Mikaela Davis, CED, 7:30pm

October 24—Friday • Barley Jacks, Harriet Brewing, 3036 Minnehaha Ave, Mpls, 8pm • Julie Fowls: Music of Scottish Isles, CED, 8pm • Karen Savoca and Pete Heitzman, BDD, Presented by Granite City Folk Society, 7:30pm • Marauders Reunion Concert with Dick Kimmel, Richmond, IN • Monroe Crossing, Route 20 Outhouse, 14001 Washington Ave, Sturtevant WI, 8:30pm • Pert Near Sandstone, 10th Anniversary Celebration • Romantica, 2014 Caravan du Nord, Newhall Auditorium, Faribault

October 25—Saturday

• Eliza Gilkyson, CED, 8pm • Mark Brinkman Songwriting Workshop, Schmitt Music Recital Hall, 2906 W 66th St, Edina, http:// mnsongwriters.org, 1pm • Monroe Crossing, Cup O Joy, 232 So Broadway, Green Bay, WI, 7:30pm • Mustard’s Retreat, CrH, 7:30pm • Ploughboys, Agr, $5, 8pm • Sawtooth Bluegrass Band, Olde Pine Theatre, Pine Island, 7pm

October 26—Sunday

• The Blue Groove, Minnetonka Orchards, 6530 County Road 26, Mound, MN, 763-479-6530, Halloween Trick-or-Treat Weekend.

Kids and adults come in costume and trick-or-treat at the Orchard.

Admission $6, call orchard for details, 12-4pm

October 27—Monday

• Roe Family Singers, 331C, 9pm

October 28—Tuesday

• Bluegrass Showcase with Sarah Cagley, UMC, 7pm • Mary Black, FITZ, 7:30pm

October 2014

October 29—Wednesday • John Evans and Dan Perry, Manitou Station, 7:30pm • Lenz and Frenz, 331C, 9:30pm

October 30—Thursday

• Roots Music Showcase with Bill Cagley, UMC, 7pm • Savoy Family Band, EAG

• Mother Banjo, OAK, 8pm • Sarah Jarosz and The Milk Carton Kids, FITZ, 8pm

November 2—Sunday

• Chris Smither, CED, 8pm • Monroe Crossing, The Encore Performing Arts Center, 2035 Hwy 33 S, Cloquet, MN, 3:30pm

October 31—Friday

November 3—Monday

• Four Mile Portage, Fitger’s Brewhouse, 600 E Superior St, Duluth, MN, 218-279-2739, www. fourmileportage.com, 10pm

• Dick Kimmel, Public Library, Wild Turkey/Music Program, New Richland, MN, 6:30pm

November 1—Saturday

• Curtis & Loretta, Tin Bins Coffeehouse, 413 E Nelson St, Stillwater, 651-342-0799, 6pm • Dick Kimmel and Company, DUL, 8pm • Monroe Crossing, Kaleva Hall with special guest The Hutter Bunch, 125 Third St N, Virginia, MN, 7pm

November 4—Tuesday

• Bob Dylan, Orpheum Theatre, 910 Hennepin Ave, Mpls. 800-982-2787, 8pm • Roots Music Jam with Bill Cagley, UMC, 7pm

November 5—Wednesday

November 6—Thursday • Bob Dylan, Orpheum Theatre, 910 Hennepin Ave, Mpls. 800-982-2787, 8pm • Dick Kimmel, Public Library, Wild Turkey/Music Program, Blue Earth, MN, 3:30pm • Peter Bradley Adams + Callaghan, AST, 9pm • Swamp Poppas, EAG, 7:30pm

November 8—Saturday

• Dick Kimmel, Public Library, Wild Turkey/Music Program, Montgomery, MN, 10:30am • Marty Marrone & Tangled Roots, OAK. Tickets: sliding fee, 651-2951376, www.tangledrootsbluegrass. com, 8pm

• Bob Dylan, Orpheum Theatre, 910 Hennepin Ave, Mpls. 800-982-2787, 8pm

Friends of Minnesota Bluegrass Music Stores

October 2014

Homestead Pickin’ Parlor, Richfield, MN, 612-861-3308 Kenny’s Music, Grand Forks, ND, 701-772-8670 Kezar Music Company, Thief River Falls, MN, 218-681-2148 Main Street Music, Elk River, MN, 763-441-1753 Marguerite’s Music, Moorhead, MN, 218-233-7546 Mr. Mark Music, Anoka, MN, 763-421-5455 Musicmaker’s Kits Inc., Stillwater, MN, 651-439-9120 My Favorite Guitars, Naples, FL, 239-530-7425 Nelson Music, Erhard, MN, 409-939-3062 Piano Circle, Bloomington, MN, 952-881-6165 The Podium, Minneapolis, MN, 612-767-2800 Rhapsody Music, Mankato, MN, 507-387-2562 Rocktown Music, Waite Park, MN, 320-257-7676 Scheitel’s Music, Mankato, MN, 507-387-3881 Simply Violins, New Hope, MN, 763-535-7055 Tone Music, Owatonna, MN, 507-451-5196 Waseca Music Co., Waseca, MN, 507-835-2980 21

MinnesotaBluegrass.org

A to G Music, Osseo, MN, 763-420-5500 All Strings Attached, Minneapolis, MN, 763-542-9542 Blackbirds Music, Minneapolis, MN, 612-326-5745 Cadenza Music, St. Paul, MN, 651-644-3611 Castle Accordion, Minneapolis, MN, 612-823-5848 Christian Eggert Violins Duluth, Duluth, MN, 218-726-1970 Christian Eggert Violins Fargo, Fargo, ND, 701-280-7017 Classical Guitars Etc., Apple Valley, MN, 952-322-1310 Dave’s Guitar Shop, La Crosse, WI, 608-785-7704 Eclipse Music, West St. Paul, MN, 651-451-8878 Evans Music, White Bear Lake, MN, 651-429-0236 Fein Stringed Instruments, St. Paul, MN, 651-228-0783 The Guitar Shop, Rosemount, MN, 651-344-8177 Haas Musical Instrument Repair, Arden Hills, MN, 651-631-8820 Ham’s Music, Saint Cloud, MN, 320-257-7011 Hobgoblin Music, Red Wing, MN, 651-388-8400 Hoffman Guitars, Minneapolis, MN, 612-338-1079

MinnesotaBluegrass.org

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October 2014

Y’All Come Looking for a place to play with others?

Jams are open to the public, but musical tastes and etiquette vary from place to place. A call is recommended before your first visit.

Try to attend a jam that was no longer happening? or one that wasn’t what it let on to be? Let us know. And update your own jam or send us details about new ones at editor@minnesotabluegrass.org.

MINNESOTA Blaine: Culvers, 10550 Baltimore St NE, 763-784-7881. Barb: 763-784-7881.

Sponsored by MBOTMA; all levels welcome. Bluegrass. Sat. 1:30–4pm Brainerd: Coco Moon Coffee Bar, 601 Laurel St, 218-825-7955. Bluegrass.

1st, 3rd & 5th Thu. 6:30–8pm Clear Lake: Travelers on the Mississippi, 11290 80th Ave SE, 320-743-3133. Dick Pickens: 406-868-9205. Bluegrass, Gospel; amps permitted. May–Sep, 3rd Sat. 6–9:30pm Duluth: Sir Benedict’s Tavern on the Lake, 805 Superior St, 218-728-1192, sirbens.com ◆◆ Bluegrass. Wed. 7–9pm ◆◆ Celtic. Thu. 7–9pm Fergus Falls: The Spot, 220 W Lincoln Ave, 218-9982551, thespotpaniniandwine.com, Bob Johnson: 218-736-6198, redblug@yahoo. com. Celtic. 3rd Thu. 7–9pm

MinnesotaBluegrass.org

Westridge Mall, 2001 W Lincoln Ave, 218-739-4439, Bob Johnson: 218-7366198, redblug@yahoo.com. Acoustic; “1st Sunday Mall Jam”. 1st Sun. 1–5pm Ham Lake: Glen Cary Lutheran Church, 155531 Central Ave NE (Hwy 65), 612-366-1359, WhenWillitSnow@mac.com. Bluegrass, Country, Gospel; community dinner at 6pm. 2nd Fri. 6:30–9pm Ham Lake Senior Center, 15544 Central Ave NE (Hwy 65). Maxine Larson: 763-434-6750 24

◆◆ Country, Bluegrass, Old-Time & Horns. 2nd Thu. 7–10pm ◆◆ Acoustic & amplified. 3rd Tue. 1–4pm

Oakdale: Silver Lake Methodist, 5399 Geneva Ave N (Century Ave), 651-7772920, MNrover@juno.com. Acoustic.

3rd Sat. 10am–noon

MINNEAPOLIS:

Red Wing: Winter Farmer’s Market, Sargent’s Nursery, 3352 N Service Dr. Dave: 651-388-3847. Old-time.

Nov–Mar, Sat. 9am–noon

Blackbird’s Music, 3445 Cedar Ave S, 612-326-5745, blackbirdsmusicstore.com. ◆◆ Bluegrass. Thu. 7–9pm ◆◆ Adult learners; $5 fee. Tue. 6:30–8pm Driftwood Char Bar, 4415 Nicollet Ave S. Jug Band Jam hosted by Fat Chance.

1st Tue. 7:30pm Elliot Park Recreation Center, 1000 14th St E, tcuker@icloud.com, www.

TCUkeClub.com. Sponsored by MBOTMA; $5 suggested donation.

Ukulele, Blues, Jazz, Swing. 1st & 3rd Tue. 6–8pm Kenwood Park Community Center 2101 Franklin Ave. tcuker@icloud.com, www.TCUkeClub.com. Sponsored by MBOTMA; $5 suggested donation. ◆◆ Instruction provided 6pm. Ukulele, Bluegrass. 2nd & 4th Mon. 7–9pm ◆◆ Instruction provided 6:30pm.

Ukulele, Americana. 1st & 3rd Thu. 7–9pm Kieran’s Irish Pub, 330 2nd Ave S, 612-339-4499, kierans.com. Irish.

Sun. noon–2pm Walker Community United Methodist Church, 3104 16th Ave S, 612-2095311, revanster@gmail.com. Roy’s Jam, Bluegrass. Last Mon. 7–10pm West Bank School of Music, 1813 S 6th St, 612-333-6651, info@wbsm.org.

Bluegrass; led by Bill Cagley, $5 fee.

3rd Sun, 2–4pm Monticello: VFW, 713 Cedar St,, 763-807-6431, mardellolson@yahoo.com.

Acoustic & amplified. May–Nov, last Sun. 2–5pm Northfield: Contented Cow, 302B Division St, 507-663-1351, contentedcow. com ◆◆ Northern Roots. Mon. 7:30pm ◆◆ Acoustic. Tue. 7:30pm

Richfield: Homestead Pickin’ Parlor, 6625 Penn Ave S, 612-861-3308, homesteadpickinparlor.com ◆◆ Slow fiddle tunes; all bluegrass instruments welcome. 1st, 3rd, 5th Mon. 7–9pm ◆◆ Flatpicking Guitar. Thu. 7–9pm ◆◆ Beginning Bluegrass, $1 donation for leader. 2nd & 4th Tue. 7–9pm ◆◆ Advanced Bluegrass. Sat. 3–6pm ◆◆ Fiddle tunes, intermediate level; all Bluegrass Instruments welcome.

Wed. 7–9pm. ◆◆ Folk Jam. 1st, 3rd, 5th Tue. 7–9pm Rochester: Peace UCC, 1503 2nd Ave NE, peacechurchucc.org. Pat Lehey: 507-261-7128. Bluegrass. Fri. 6:30pm Rogers: Rogers Community Center, 21201 Memorial Dr. Dave Christen: 612-859-5847, quickieauct@hotmail.com.

Potluck at 4pm. Acoustic & amplified.

1st Sun. 1–6pm Roseville: Ken’s Market, 788 Cleveland Ave SW, Doug Chasar: 612-802-0833, dchasar@att.net. Acoustic.

Mon. 6:30–8:30pm Rushford: Good Shepard Home, 800 Home St. Roberta Albertson: 507-8648109, semba@acegroup.cc. Bluegrass.

Nov–Mar, 3rd Sun. noon–5pm Saint Cloud: Whitney Senior Center, 1527 Northway Dr. Ken Hoest: 320-2603348. Acoustic & amplified. 1st Tue. 6:30–9pm Sartell: The Legends at Heritage Place, 673 Brianna Dr. Gary Loomis: 320-2232537, garymusic@midco.net. Acoustic.

4th Tue. 6–9pm

October 2014

Spring Valley: Our Savior’s Lutheran Church, 805 S Broadway. Roberta Albertson: 507-864-8109, semba@ acegroup.cc. Bluegrass. Nov–Mar, 1st Sun. noon–5pm SAINT PAUL: Black Bear Crossings Cafe, 1360 N Lexington Pkwy. Pam: 651-488-4920.

Old-time (until December 2014).

Sat. 10–Noon Burn Ward Coffee Unit, 945 West 7th St. Doug Chasar: 612-802-0833, dchasar@att.net. Acoustic; call for space availability. Thu. 6:30–8:30pm Dubliner, 2162 University Ave, 651-6465551, thedublinerpub.com ◆◆ Sea Shanties. 2nd Mon. 7:30pm ◆◆ Traditional Irish (advanced).

Fri. 6–9pm Underground Music Cafe, 1579 Hamline Ave N, 651-644-9959, undergroundmusiccafe.com ◆◆ Roots Music (Bluegrass, Old-time, Country). 1st, 3rd Tue. 7–9pm ◆◆ Cajun. 1st, 3rd Sat. 11am–1pm

Menomonie: Christ Lutheran Church, Elm & Wilcox Streets. Donna Harschlip: 715-673-4885. Mountain Dulcimer; other acoustic instruments welcome.

Tue. 1–3pm

Taylors Falls: Memorial Community Center, 312 Government St. Brian Pigott: 651-465-5551, popspeejou@frontier.com.

Acoustic & amplified. Mon. 6–9pm Wyoming: Wyoming Methodist Church, 5459 E Viking Blvd, 651-4647442, whitingsranch@gmail.com.

Acoustic, Gospel. 2nd & 4th Thu. 7–9pm

Rice Lake: First Lutheran Church, 15 E Sawyer St, 715-458-0181, curlupndye@ mosaictelecom.net. Acoustic, Bluegrass, Gospel. Sep–May, 2nd Sat. 6–9pm River Falls: Farmers Market, 2nd & Locust. Ben Toppel: 715-688-3112, Benatoppel@ yahoo.com. Old-time; bring a chair. Tent is available, but may not occur if it rains.

Jun–Oct, Sat. 9am–noon

NORTH DAKOTA Fargo: Red Raven Expresso Parlor, 916 Main Ave. Bob Johnson: 701-478-7337, redblug@yahoo.com ◆◆ Celtic. 4th Thu. 7–9pm ◆◆ Old-Time. 2nd Thu. 7–9pm Valley City: Barnes County Historical Society, 315 Central Ave N. John Andrus: 701-721-8296. Bluegrass.

Sep–May, 2nd Sat. 1–5pm

WISCONSIN La Crosse: Southside Neighborhood Center, 1300 6th St S. Ron Sackett: 608-498-0020, ronaldsackettsr@yahoo. com. Bluegrass, Gospel. Sep–May, 2nd Sun. 12–4:30pm

Funktion Junction Antiques and Local Goods, 125 North Main St. Ben Toppel: 715-688-3112, Benatoppel@yahoo.com.

Old-time. Nov–May, Sat. 9am–noon Star Prairie: This Old Store, 301 Main St. Jerry: 751-248-4800. Acoustic.

Tue. 2–9pm

Special thanks to our 2014 Sponsors

GOLD LEVEL SPONSORS

SILVER LEVEL SPONSORS Hoffman Guitars Homestead Pickin’ Parlor

LaPlant Instruments Willie’s American Guitars

Congratulations to Gavin Haskin and Eli Bentley, winners of the Duet Championship, and Roy Curry, winner of the Flatpicking Guitar Championship.

October 2014

MinnesotaBluegrass.org

August 29 & 30, 2014 Schell’s Stage at Schilling Amphitheater West End Market, Minnesota State Fair

Special Thanks: Nate Dungan, the staff of the Minnesota State Fair, and all of the competitors, volunteers, staff, and sponsors who make this event possible.

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Series: Meet the Makers

Mike Kemnitzer: cracking the Nugget

MinnesotaBluegrass.org

By James Kent

Mike Kemnitzer makes mandolins that bear his nickname (Nugget), and is one of the most widely respected luthiers working today. He works alone from a 150-square-foot shop off the living room in his house in Central Lake, a farming community in northern Michigan. His instruments, recognized for their power, clarity and craftsmanship, are found on stage and in recording studios across the country.

Music shapes instruments and instruments shape music. How is today’s mandolin renaissance changing what people ask mandolins to do? How is it changing what you build?

Chris Thile, Tim O’Brien and many others have been serious inspiration to players and builders alike. When I first started, I probably had tunnel vision in thinking that it was all about building an instrument with volume and a good bottom-end. I also had a fondness for the occasional darker sounding mandolin. Over time, I gained an appreciation for more balanced sounding instruments, often referred to as instruments with a greater mid-range.

They often project better and can possess a more vintage sound.

Players are always pushing the envelope and we’ve all been enlightened when it comes to a mandolin’s tonal possibilities. But to this day, when discussing a new commission, it almost always boils down to a request for an instrument that sounds like a particular instrument that I’ve previously built. That makes it a lot easier for me because using words to describe an instrument’s tone and playability is difficult.

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The mythology says you need an F to play bluegrass (because that’s what Bill played) and an A for Celtic or Old Timey. Your thoughts?

I think wood quality and the builder’s execution have a greater influence on an instrument’s sound than body shape. I’ve long wondered how well any of us could do in a blind listening test to distinguish A5s from F5s.

It can’t be denied that the F5 looks the part when it comes to bluegrass, but folks like Tim O’Brien, Andy Statman and others have clearly shown there can be alternatives. Not only did Andy play an A-model for many years, but it was an oval hole and he could sound very bluegrassy on that instrument when he wanted to. Sam Bush played on the only known Loar-signed A-model, the“Griffith-Loar”, many years ago and perhaps still would if he owned it.

All things being equal (if they ever are!) what are acoustical differences between f-hole and oval-hole mandolins?

Structurally, the vintage oval-hole instruments are different. They typically have a single transverse brace and the top needs to be thicker towards the neck to compensate for the structural loss from the oval hole (although the fingerboard glued to this area helps). The bridge placement is in a less efficient location, not the center of the instrument’s interior like the F5 instruments (Lloyd Loar was an acoustic engineer). I often think of the vintage Gibson oval-hole instruments as sounding warm and tubby as well as sweet - very pleasing but perhaps more challenging to be heard with in a “crowd.”

Superior bluegrass mandolins are often said to have "dry, woody sound" or sometimes a "bark." How do you interpret the meaning of these terms?

Woody sounding equals rich and resonant, in my mind. I think of “bark” as being percussive with a quick response. Bark also has no sustain, which the player can supply by quickly muting the strings after the pick hits the strings.

I tend to think of dry sounding as being clear and perhaps not bright.

Others may have different thoughts. I wish there was a universal vocabulary for describing tone color and instrument response but a back and forth discussion can often lead to a successful understanding.

Accordions are typically tuned either wet or dry. A dry-tuned accordion refers to the unison-reeds (multiple reeds for the same note) being tuned very accurately to pitch. A wettuned accordion’s unison-reeds are tuned slightly apart in pitch. When a note on a wet-tuned accordion is played, a slight beat can be heard.

Perhaps a dry-sounding mandolin could mean that each note’s overtones are all in tune with one another.

This might make for a warmer and clearer sounding instrument. Such an instrument might not project as well as a brasher or edgier (wet?) sounding instrument.

Of course, much of an instrument’s tone comes from the player’s choice of plectrum and his or her right and left hand technique. A great instrument is responsive to a player’s tonal inflections, but a great player may be able to get the job done on an average October 2014

October 2014

Mike Kemnitzer, maker of Nugget mandolins, scrapes the surface of a new F5. He works with a low-angle, raking light to better illuminate relief of the wood grain.

challenge the obsession over tone woods and prove that it's the craftsman, not material, that makes the most difference. Comments?

I’m a Bob Taylor fan. What he’s accomplished with Taylor Guitars is monumental and over the years, he’s been extremely generous in sharing knowledge with the luthier community. I enjoyed reading about the pallet guitar and enjoyed seeing it once. Bob makes a valid point about craftsmanship but I think I could have supplied “tone wood” for that instrument’s top and braces that would have resulted in a poorer sound. Just because

something looks a certain way or is of a certain species, doesn’t mean that it will sound good or bad. I think that’s part of the point he was making, but it’s a mistake to believe that technique and process can overcome tone-wood that is lacking in necessary qualities.

Some pieces of wood “have it” and others never will. Bob’s choice of pallet wood was pretty decent in terms of tonal quality, even though it was an aesthetic departure from what many find acceptable.

About the time I started building my first instruments I read the book Violin-Making: As It Was And Is 27

MinnesotaBluegrass.org

instrument. Mandolin acoustics is a complex subject, but wonderfully so.

What is your oldest instrument that has come back to you, and how would you describe the effect of age on its tone?

F5 #1 was built in 1974 and purchased by Ed Neff, who still owns it.

Like many older instruments, its tone has become more open and clearer.

Perhaps its tone has become a little less brash and less noisy. Age seems to be kind to mandolin family instruments and even just a few months of playing can sometimes make a pronounced difference.

What is your current production level these days, and wood choices?

A very productive year for me would be a dozen instruments. This year will include three L5 octave mandolins and some two-points but F5s remain the most requested model. Well over half of the three hundred-plus instruments that I’ve made are F5 mandolins.

Many customers have a preference for red spruce, but not all. My ears are good at discerning tonal qualities but I’m not sure I could do a great job of identifying the species of spruce in a blind listening test. The type of wood used in the instrument’s top is sometimes obvious to the player and/or listener but many times I’ve witnessed discriminating ears be fooled.

As for maple, I’m partial to the subtle clarity of tone that some quarter-sawn, or moderately bias-cut sugar maple can give an instrument. But like spruce, the quality of the individual piece of maple is of more interest to me than what species it is.

Talk about how you choose wood tone woods. Bob Taylor once built a limited run of “pallet guitars” out of shipping pallet oak, complete with nail holes and knots. His point was to

MinnesotaBluegrass.org

by Ed Heron-Allen. The book is not highly regarded today but for filling an aspiring luthier’s head with ideas and enthusiasm, it’s perhaps the greatest book ever written. It’s very broad in scope, richly illustrated and sprinkled with folklore and poetry. From the chapter titled “The Wood-the Model”: “Both the maple and pine…should be not only that of the trees growing on the south side of the forest, exposed to the sun, but also the wood of south side of the tree should be used. … and should be cut in the months of December or January. It is of the greatest importance that the wood used in fiddle-making should be thoroughly dry and well-seasoned, and for this purpose should be laid fully exposed to the sun and air (but not to rain) for some five or six years, at least, before it is used.”

I think much of this advice is very good.

Not many years later I was living in the Rocky Mountains and harvesting tone wood from spruce trees (in December). I always wait at least five years from harvesting before using spruce, and seven years for maple.

This curing time allows the wood to off-gas, lose moisture, begin its yearly cycle of responding to seasonal changes and whatever else takes place.

But, if it’s not good tone wood in the first place, the aging process won’t make it good. I’d greatly favor a fiveyear-old piece of high-quality spruce over a fifty-year-old piece that is merely decent. Like instruments themselves, age can be kind to them but age won’t turn average into great.

My favorite tone woods are the pieces that are responsive and have a good stiffness to weight ratio. These pieces can be identified by simply

28

holding and tapping. It’s also not too involved to compute density, speed of sound, and etc., which enables record keeping for comparisons.

You have talked about the advantage of building two or three instruments simultaneously because you can “compare the sound, [and] you’ve got a good chance of maybe learning something.” What do you learn?

Comparing wood and instruments to each other is easier than trying to compare something to things in your memory. My first two mandolins were both F5s and were built at the same time. One of the instrument’s tops had lower-pitched free-standing tap-tones and I assumed it would be the instrument with the better bottom-end. I was surprised when it didn’t. I was also surprised that subsequent instruments followed this same pattern. That was a great early-on discovery for me and it showed me the value of comparing wood characteristics of instruments being built at the same time. The same process showed me that top wood with a greater density can give an instrument more sustain and less volume.

Fletcher Brock commented, “everyone is trying to copy John Reischman’s Loar, yet a Kimble sounds like a Kimble, a Dudenbostel sounds like a Dude, etc.” How would you describe the sound you are after?

The sound I’m after is not always the sound I get (a very interesting topic in itself), but in general, I strive to build instruments that have clarity, focus, richness of tone, good projection, and also an evenness of tone across the instrument’s entire range.

When successful, it can make for a grateful customer and an instrument that works well for many types of music and playing situations.

Is your F5 an interpretation of what a Loar might have sounded like new, or is it a new instrument designed to sound old—or something else?

I want my new F5s to sound like an exceptional 90 year old Loar but that’s a tall order. From wood selection to final set-up, my focus is on achieving instruments with a vintage sound rather than sounding new. Once the instrument is built, lots of playing is that wonderful ingredient that is necessary for an instrument to realize its full potential.

Finishes seem to have a bottomless alchemy. If you have settled, describe what you’ve settled on and why.

It’s difficult to think of another word that can mean more things than the word varnish. I’ve explored many types of finishes since I started building: spirit varnish, oil varnish, lacquer, lacquer/spirit hybrid finishes and so on. I currently finish all my instruments with a spirit varnish that I believe to be similar to Gibson’s Loarera finish. Spirit varnish has unsurpassed clarity and I think it’s kinder to the instrument’s sound than any other finish.

My present finish is the most durable spirit varnish I’ve concocted, BUT, it’s still spirit varnish and it’s not as durable as many other types of finishes. Over time, body warmth and moisture will affect it. In moderation, this results in a certain patina that some of us are very fond of in vintage instruments. This process can be slowed, if you wish, by wiping the instrument after each playing with a clean dry cloth. No treated rags, polishes or cleaners on my instruments, please.

October 2014

Tap tuning is a big subject. How useful is it?

October 2014

Ninety degree heat in itself shouldn’t bring harm to a mandolin.

It’s the higher temperatures found inside a case that’s in the sun or in a closed-up car on a hot day that can be damaging. High temperatures can cause glue to fail, necks to warp, and tops to distort.

Mandolins are first and foremost tools for playing music. They need to be strong enough to withstand the considerable tension of the strings and robust enough to endure a few bumps and moderate temperature and humidity swings. But for a mandolin to sound good, it needs to be built light weight enough to respond to and amplify the strings’ very quiet vibrations.

I suppose if a person was after an instrument that sounded decent and also able to withstand greater extremes, they might consider graphite-composites constructed with high-temperature epoxy. But with reasonable care, a very responsive mandolin built with traditional techniques and materials can easily outlive generations of players.

After building for 40 years, do you run out of things you find constructively perplexing?

Countless perplexing things come to mind: How to make my finishes exactly match my test samples, how to adjust a new instrument’s truss rod and bridge height before shipping it to a much drier or damper climate than my workshop’s, how to define a player’s sometimes confusing tone-describing adjectives, how to build an instrument that sounds great to the player and also great to somebody listening from two campsites away… and the list goes on.

Things that perplex are just challenges, and I’ve never been concerned that I might run out of them!

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MinnesotaBluegrass.org

I tuned free plates to targeted frequencies for a period of time in the 1970s and early ’80s but I abandoned the process for the lack of predictable results. As well, I don’t tune my instrument’s plates to any particular frequencies after they are glued up. I put a great deal of importance in wood selection, the arching, and the way the wood is worked to final thickness.

Rather than frequency, I’m guided by the way the plates give when flexed and the sound my fingers get while rubbing, rapping and tapping in different places.

To CNC or not to CNC? that is the question.

There are several types of CNC machines but CNC-routers are the most common type used by luthiers and instrument manufactures. Routers, the CNC type and otherwise, can be very useful in mandolin building but a mandolin can certainly be built without them.

I use routers for binding channels, inlay pockets (Dremel tools are small routers), carving tops and more. The material being routed doesn’t know (or care) if the router is being held by an individual, fixed in a pantograph, attached to the frame of a CNC machine or whatever. Various methods of holding the router can get the job done.

To make an instrument without the use of any type of router, tasks would be accomplished with some combination of knives, chisels, gouges, files, and hand planes. There is a long tradition in luthiery of using these hand tools in very accurate and efficient ways. The Gibson factory in the 1920s would have had these hand tools but they would have also had various types of routers and wood-shapers.

Some dislike CNC-made instruments because they want to see the “hand of the maker”… and I’m one of those people! I prefer to cut the final shape of my f-holes by hand and I hand-cut my inlay designs from pure shell (not the laminated type).

Machine-cut pearl can certainly have an appealing look but you’re seeing the “design of the artist/programmer,” not the “hand of the maker.” Countless mandolin details can be more easily and eloquently sculpted with hand tools. CNC machines shine when it comes to things like cutting very accurate fret slots, creating precise top and back center-seams and hogging away wood for tops and backs while I’m in the next room saving my hearing.

I never dreamed that I would someday own a CNC machine but over time they became more common and a lot less expensive. The machine I acquired 20 years ago never resulted in increasing my yearly output but it’s spared my arthritic hands a lot of wear and tear. It also allowed me to collaborate with Collings on the Tim O’Brien Model. Numerous CAD drawings were emailed back and forth and in the end, parts made at each end fit together perfectly. As a bonus, my CNC machine accomplishes many jointing and shaping operations in ways that are a great deal safer than using conventional woodworking machinery.

Many owners of premium instruments treat them as objets d’art— and you can’t blame them, given what they paid and maybe how long they waited. Yet, I wonder about the thermal history of Bill Monroe’s F5.

Bean Blossom could be hot as blazes.

How do you square the need for reasonable care with Admiral Hopper’s observation that “a ship is safe in port but that’s not what ships are built for”?

MBOTMA Member Bands

MinnesotaBluegrass.org

BLUEGRASS BANDS Alzen Family, Brad Alzen, 715-749-3977, bwalzen@pressenter.com Art Stevenson & Highwater, Art Stevenson, 715-884-6996, artstevenson@ hotmail.com Assisted Picking, Jon Garon, 612-8392277, jon@myfavoriteguitars.com Barton’s Hollow, Ian Kimmel, 507-7663529, ickimmel@yahoo.com Benson Family Singers, Peter Benson,, bensonpd@yahoo.com Big Juke & The Last Resort, Mark Jukich, 218-390-7342, mjukich@msn.com Biscuit Boys, Daniel Fish, 763-434-2734, radiocty@skypoint.com Blue Groove, David Smith, 952-9745121, ds5string@gmail.com Blue Wolf, Shirley Mauch, 612-724-1482, samauch@worldnet.att.net Cabin Fever, Jeanie Wyttenbach, 507-635-5625, wyttenbach.lou@mayo. edu Carver Creek Bluegrass, Tom Monsen, 952-466-2089, carvercreekbluegrass@ gmail.com Def Lester, Lincoln Potter, 651-4830469, potter@umn.edu Dick Kimmel & Co, Dick Kimmel, 507-359-1163, kimmel@newulmtel.net The Fish Heads, Kim Curtis-Monson, 218-729-5326, KMonson802@aol.com Freshwater, Harvey Riekoff, 262-4973024, tjbanjo@wi.rr.com Froemming Family, Anna Froemming, 320-453-2393, pilgrims@meltel.net Halvorson Family Band, Loren Halvorson, 507-345-7431, loren@ birchcovesoftware.com Hand Picked Bluegrass, Joe Cronick, 715-966-6463, handpickedbluegrass@ charter.net Hey Lonesome, Art Blackburn, 763-213-1349, art@akbmusic.com The High 48s, Eric Christopher, 651-271-4392, eric@thehigh48s.com Ivory Bridge, Jim Tordoff, 612-759-5987, guitarrodeo@gmail.com JedFest, Jed Malischke, jmalisch@ centurytel.net

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Joe Mullins & The Radio Ramblers, Holly Underwood, 937-768-0911, hollybu@gmail.com King’s Countrymen, Lorn Schultz, 715-495-5275, schultzfam92@yahoo.com The King’s Highway, Eddy Van Pamhorst, 807-630-9914, gemvan@ tbaytel.net The Kingery Family, Christy Kingery, info@thekingeryfamily.com The Long Shots, Sophie Galep, 715-2330181, sophie.galep@gmail.com Long Time Gone, Ben Manning, 651-388-7383, mndawg@gmail.com Luke Warm and the Cool Hands, Michael Periolat, 303-638-3135, kastro1981@hotmail.com Mark Kreitzer Band, Mark Kreitzer, 612-724-7334, mark@markkreitzer.com Marty Marrone & Tangled Roots, Marty Marrone, 651-295-1376, marty@ tangledrootsbluegrass.com The Middle Spunk Creek Boys, Al Jesperson, 612-727-2489, alanjesp@ gmail.com Minnesota Blue, Kelton Parrish, 651-697-0209, kgparrish@gmail.com No Man’s String Band, Nic Hentges, 612-387-0196, nihentges@gmail.com Northern Lights Bluegrass, Mary Campbell, 320-679-3094, qbchurch@q. com Northern Posse, Arlette Solom, 218-463-0710, Bluegrass@ NorthernPosse.com Ophoven Family Band, Molli Ophoven, 218-327-2058, jmophoven@q.com Phil Nusbaum & Steven Earl Howard, Phil Nusbaum, 651-690-1508, pnusbaum@bitstream.net The Platte Valley Boys, Ron Colby, 651-458-0804, roncolby@comcast.net Pocahontas County, Justin Bruhn, 612-710-8213, jlsbruhn@gmail.com Porcupine Creek, Sarah Birkeland, 218-624-1781, arahsay328@gmail.com Prairiegrass, Bonnie Hallett, 320-4853310, bkhallett@yahoo.com Pride of the Prairie, Sarah Cagley, sdcagley@comcast.net Purdy River Band, Chuck Lahr, 563-927-2457, purdyriver@gmail.com

Riverside Bog Stompers, David Darnell, 218-260-6546, davestreetrod@ hotmail.com Sawtooth Bluegrass Band, MJ Moravec, 507-990-6456, sawtoothbluegrass@gmail.com The Seldom Herd, Gary Cobus, 612-859-9013, garycobi@charter.net Singleton Street, Sherri Leyda, 763-972-2341, singletonst@yahoo.com The Stringsmiths, Chris Landstrom, 715-671-3772, chris@stringsmiths.com Tim and Cindy, Tim Roggenkamp, 218-568-5559, rogge@uslink.net Timbre Junction, Karen Radford, 612-623-0261, KarenJRadford@eaton. com The Woodpicks, Joel Kezar, 218-6812148, kezarmusic@mncable.net

OLD-TIME STRINGBANDS The Blackburns, Art Blackburn, 763-213-1349, Art@AKBMusic.com Bob & Lynn Dixon, Lynn Dixon, 612-377-6819, dixon@visi.com Bob Bovee, 507-498-5452, bobbovee46@gmail.com Duck For The Oyster, Kevin McMullin, 715-635-7641, kevin@kevinmcmullin. com The Eelpout Stringers, Karl Burke, 651-784-7323, bltfolk@aol.com The Gritpickers, Rob Daves, 612-8220085, gritpickers@gmail.com Mike In The Wilderness, Michael Sawyer, 651-698-7520, minnesotafiddle@ yahoo.com Poor Benny, David Furniss, 651-6990557, david.w.furniss@uwrf.edu The Roe Family Singers, Quillan Roe, 612-599-0266, pappyroe@yahoo.com Rush River Ramblers, Eric Hatling, 715-772-4421, ehatling@gmail.com Tickwood String Band, Doug Wells, 218-736-4469, betsyanddougwells@ gmail.com The Tune Jerks, Bob Douglas, 651-7781395, rjdouglas@stthomas.edu Wild Goose Chase Cloggers, Jim Brooks, 612-419-4576, brooks@csp.edu

October 2014

RELATED GENRE BANDS

October 2014

Jack Klatt & The Cat Swingers, Jack Klatt, 612-270-9079, jackklatt@gmail. com John & Rose Band, John Vincent, 218-766-1925, fiddling@hotmail.com Karen Mueller & Friends, Karen Mueller, 612-270-4740, karen@ karenmueller.com Mad Jack & The Black Label Boys, Pop Wagner, popwagner@mac.com Mary Henderson & Geoff Shannon, Mary Henderson, 612-721-3550, hendersonshannon@goldengate.net Mikko Cowdery & Friends, Mikko Cowdery, 320-859-3536, mick@ midwestinfo.net Moonlight Duo, Mary DuShane, 612-724-5341, marydushane@gmail.com The Moss Piglets, Ian Gamble, 651-644-0810, themosspiglets@yahoo. com Mother Banjo, Ellen Stanley, 612-2811364, motherbanjo@gmail.com New Riverside Ramblers, Eric Mohring, 612-724-4687, info@ newriversideramblers.com New South Shore Mountain Boys, Tom Draughon, 715-682-9362, tom@heartistrymusic.com No Grass Limit, Sandi Millar, 763-4393515, sandi@lessonpros.com Nordic Bees, Renee Vaughan, 651-2954200, renee@nordicbees.com Now and Then, Daniel Fish, 763-7862524, radiocty@skypoint.com Ralph Bailey With Strings Attached, Ralph Bailey, 612-743-7439, flyingrabbitmusic@gmail.com Rev Matt, Matt Weiss, 314-800-6696, mateoblanco76@aol.com Ring of Kerry, Paul Cotton, 320-2510601, paulcot@iname.com Rosby Corner, Jeanne Marti, 763-5597552, romarti3@aol.com Sherry Minnick & Jackson Buxton, Sherry Minnick, 651-644-8682, minnicksherry@gmail.com Sloughgrass, Soren Olesen, 218-6342800, sorenjudith@centurytel.net Split-Shot Sinkers, Chris Boone, 651-274-3054, cboone@dezinnia.com String Beans, Chick Pea & Garbonzo, Roger Cuthbertson, 612-474-2476, rojo@visi.com

Switched At Birth, Rick Anderson, 651-230-2431, ricktune56@gmail.com T & L Schwartz & Family, Linda Schwartz, 701-659-3154, lspollanthra@ gmail.com Thirsty River, Evan Jungbauer, 952-2155244, thethirstyriver@gmail.com Tucker’d Out, John Trelstad, 701-2120015, jdtrelstad@aol.com Wayne Hamilton, 612-508-0768, wayne@waynehamilton.com The Weasels, George Rothenberger, 612724-6911, grothenberger@edilimited.com

Minnesota Bluegrass Deadline for December 2014

MinnesotaBluegrass.org

Alabaster Falls, Julie Kaiser, 218-3083131, tiedyechick40@yahoo.com Alchemical Banjo, Richard Swanson, 651-338-1349, rick@richardpswanson. com Ana & The Bel-tones, Anabel Wirt, 651-795-9561, anabelnjoes@gmail.com Awkward Sorrows, Robert Coleman, 612-801-4660, rob@awkwardsorrows. com The Back Porch Band, LaDonna Seely, 651-324-5990, ladonna_seely@yahoo. com The Barley Jacks with Brian Wicklund, Brian Wicklund, 651-4334564, brian@fiddlepal.com Benji Flaming, Benji Flaming, 612-3266521, mbotma@benjiflaming.com Bernie King & The Guilty Pleasures, Bernie King, 763-242-6943, bkandthegps@gmail.com Bill & Kate Isles, Bill Isles, 218-3404404, bill@billandkateisles.com Blessings Gospel Trio, Timothy Johnson, 763-464-3481, timkarin@ comcast.net Blue Yodel #9, John Whitehead, 651-641-0752, jfw@bitstream.net Cousin Dad, Ross Vaughan, 320-6853839, rvaughan@cloudnet.com Culver’s Jammers, Barb Carlson, 763-784-7881, Blinkbug@aol.com Curtis & Loretta, Loretta Simonet, 612-781-9537, curtisloretta@att.net DL Cajun Band, Doug Lohman, 612-306-3490, DougLohman@aol.com Don D Harvey & the Ultrasonic Duo, Donald Harvey, 608-781-3456, dondharvey@centurytel.net Due North, Louise Wiermaa, 218-5907654, lew3355@hotmail.com The Eddies, Phil Platt, 651-500-2279, platt@umn.edu The Flemming Fold, Sandra Flemming, 952-758-7522, troynsandra@hotmail.com Four Legg Fish, Mick Garrett, 320-2791868, mick_garrett@hotmail.com The Gated Community, Sumanth Gopinath, 612-332-2006, sumanth_gopinath@hotmail.com Greenwood Tree, Bill Cagley, 651-6369542, bcagley@comcast.net The Hacklewrappers, Mark Rubbert, 612-387-8189, mjrubbert@comcast.net

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There was plenty of delightful dancing at the 2014 Laughing Waters Bluegrass Festival on Labor Day. Photo: Martin Chvatal