Monthly Archives: May 2022

Lori King & Junction 63 have released a new single to bluegrass radio this month, from their home in Drakesville, Iowa.

For years the group has been a popular fixture at midwestern bluegrass festivals, where they have won multiple awards for their music and their showmanship. Now they are taking their sound to the wider national market.

This latest is one called It’s Been Raining Since You’ve Gone, written by Edgar Loudermilk and Kelli Kingrey, which describes how a lost love can affect the way you feel. Lori plays bass and sings lead, supported by her husband, Joe King, on guitar, with producer Darin Aldridge on mandolin, Sammy Shelor on banjo, and Samantha Snyder on fiddle. Darin and his wife, Brooke, provide the harmony vocals.

King says that he feels fortunate to have worked with some of her favorite artists in the studio.

“We can’t wait for y’all to hear it! Be sure to contact your radio DJs and ask them to spin it for you.

I’m so blessed to have worked with some of the best in the bluegrass business on this latest single, and I hope our fans enjoy it as much as we loved recording it! We will be featuring it live during our summer tour.”

Here’s a taste of the track…

Radio programmers can get the single now via AirPlay Direct. Pre-saves are enabled on Spotify.

Mega Mando Jam at DelFest 2022 – photo by J Srausser Visuals

Here are few DELights from DelFest 2022 Day 3 to give you a flavor of this fabulous fest in Cumberland, Maryland. Of course, there is oh-so much more happening at this DELightful festival. This only captures a few snippets to provide you a tiny window into life in DELland.

Steve Poltz Stories and Songs

Cheery long blond hair. Cheery bright yellow shirt. Cheery enormous smile. Cheery picking, strumming, and bopping around the room. Steve Poltz had all in the DelFest Music Hall, wildly grinning, doubling over with laughter, singing along, and then jumping to our feet to beg for more early Saturday. What a way to set the foundation for a fabulous DelFest Day 3!

Steve regaled us with tales of Elvis on the tarmac, taking John Prine on a ride, surfing in Mexico with Jewel, and baseball. He sang us a wonderfully intense Lake Marie, his co-authored song You Were Meant for Me, and his Quarantine Blues. He brought fellow magical funster Joe Craven up to play with him. Craven ended up singing one set of lyrics as a chicken. People practically hit the floor they were laughing so hard. Steve’s set was straight-up entertainment from start to finish. Fun, moving, oh-so memorable.

Catch Steve Poltz anytime you can. He is a walking ray of sunshine.

The Travelin’ McCourys Closing Out the Mainstage

It is always a treat to see the McCoury boys thrown down. And, man did they on Saturday night. They absolutely killed it. Throngs were on the field dancing and singing along. They slayed the barn burner, White-Wheeled Limousine, and got the masses shouting along with a fun rendition of Fifty Ways to Leave Your Lover. Ronnie and Robbie’s picking was off the charts (of course). Jason Carter’s fiddling recharged everyone’s batteries, and his spectacular low voice grabbed the depth of our souls. Alan Bartram’s onward pulse kept our blood flowing fast. And, when he sang Whole of the Moon, we gasped with delight. What a fabulous night! 

California HoneyDrops Dropping Some Deep Funk on Us

And, now for something completely different — fantastically, ecstatically different. Two saxophones, trumpet, trombone, keyboard, washboard, guitar, cowbell. I could go on. Myriad fun instruments. Unbelievable, celebratory energy. The California HoneyDrops crushed it on Saturday eve. All in earshot were boogying their muddy feet off. Smiles everywhere. A little bit of funk, a little bit of soul, a little bit of R&B, a little bit of New Orleans. A whole lotta love.  

The California HoneyDrops are playing the smaller, party Potomac Stage later today. If you’re not already limbering up to bust some more wild dance moves, I suggest you start stat. See you there!

On May 28, Summer Brooke McMahan, vocalist with Mountain Faith Band and Summer & Bray, was married to Chace Morgan in North Carolina.

The ceremony was held at the Old Mater Farm in Sylva, NC where Summer’s family offers revivals and prayer services on a regular basis.

They were married to the song Each Passing Day, written by Michael Ramsey, which Mountain Faith recorded for their 2014 album, Blue. Ramsey wrote it for his wife some years ago.

Following the wedding, Mountain Faith reunited for a jam during the reception. Summer participated wearing her gown.

Chace is not a musician, offering Summer some respite from the chaos of that life. He works at Western Carolina University.

She tells us, “You would love Chace. Everybody does!”

The bride and groom are currently honeymooning at Glacier National Park in Montana, and will reside in Sylva upon their return.

Many congratulations Chace and Summer!

Sometimes you can look at the name of an artist or a producer and be pretty sure what’s coming. Song after song in the same style, often at similar tempos and mostly in one or two keys. Needless to say, working through such projects and trying to come up with something constructive to say in a review can be a slog.

Now imagine the polar opposite of those things and you’ll have Tray Wellington’s Mountain Home Music Co. debut, Black Banjo. Wellington and producer Jon Weisberger will keep you on your toes throughout this 11-song set, mixing up genres, tempos, and playing styles in a seemingly random order. Some listeners might find that jarring – it’s certainly not what we’re accustomed to being served in bluegrass. But I found it refreshing and surprising, like a tasting menu that offers a broad selection of creations from a fun kitchen.

Wellington, a recent IBMA Momentum Award instrumentalist, samples bluegrass, old time, blues, and jazz here, obviously using his banjo as the centerpiece. But in a stroke of brilliance, he and Weisberger also enlisted Avery Merritt, Lyndsay Pruett, and Carley Arrowood to bring a breathtaking range of single fiddle styles to the music. John Stickley (guitar), Wayne Benson (mandolin), and Kevin Kehrberg (bass) make up the solid rhythm section. The end result is 44 minutes of eclectic, mostly instrumental music that keeps you guessing and engaged.

The best songs here are the grass-tinged Crooked Mind, Georgia Turnaround and Pond Mountain Breakaway, and the bluesy Port of Manzanita, all instrumentals composed by Wellington. They hint at the magic that might be in store if and when he decides to anchor an entire project in the bluegrass realm.

But Wellington brings an inventive and imaginative approach to a handful of jazz numbers, too, especially John Coltrane’s Namia. His banjo and Merritt’s fiddle play off each other expertly. My only complaint here is that at nearly six minutes, listeners who don’t stream the song or buy the CD aren’t likely to get a chance to hear the magic. (Ditto Wellington’s Unknown Days Waltz, which clocks in at nearly seven minutes).

Wellington, of course, is not the first black banjo player in bluegrass, or the first bluegrasser to dip a toe into jazz. As he acknowledges in the liner notes, “A big thank you to the black artists in roots music and beyond that have laid the groundwork so people like me can know that the possibilities are endless; I can achieve my dreams in any music I perceive and push my boundaries to where I want to be.”

After settling in with Black Banjo, I, for one, am excited to see where those possibilities lead Wellington, and how far he pushes his boundaries. This is a splendid start.

Béla Fleck at DelFest 2022 – photo by Marc Shapiro Media

Here are few DELights from DelFest 2022, Day 2, to give you a flavor of this fabulous fest in Cumberland, Maryland:

The Man, the Myth, the One and Only Del McCoury.

No one else compares. He is why we are all here. His magnetic personality. His place in bluegrass history. His patriarchal seat in the genre we all love so much. His grin. His fabulous white tuft. His fun-loving nature. His meticulous guitar playing. His unique, beckoning voice. Del McCoury and his uber-talented band showed us how it is done and what it is all about on Day 2 of his namesake festival.  

Del and the boys’ crisp, clean playing matched their crisp, clean suits. What a refreshing sight to see them dressed so fancy; the rest of us still damp and speckled in mud from the earlier showers. The Del McCoury Band threw down some soul-shivering Gospel and some straight up bluegrass. One of the most fun parts of their one and half hours of good, clean, fun show was Del taking requests from the audience. It doesn’t get much cooler than that!

Take a gander at the pics. Sure looks like they know how to have fun on stage! And, we all sure did listening to them!

My Wonderfully Drenched Bluegrass Heart

Béla and his gang of greatness graced the stage and our hearts with rousing renditions of tunes from his Grammy-winning My Bluegrass Heart album. This iteration of his band brought us Michael Cleveland, Cody Kilby, Jacob Joliff, Justin Moses, and Mark Schatz. And, as if that wasn’t enough bluegrass energy to power the valley, Béla’s bluegrass brother, Jerry Douglas, joined in for the power surge. Enough electricity then, in fact, that the clouds burst and the rains streamed down. It was magnificent. No one flinched. All eyes remained affixed to the master and his talented troupe on stage.  Cool to see banjo players from other DelFest bands among the glued.

Béla’s new My Bluegrass Heart numbers, such as Vertigo, Baptist Pumpkin Farm, and Slippery Eel, got the masses dancing in the downpour. Béla’s classic, moving masterpiece, Big Country, which he played on John Hartford’s banjo, marked a monumental moment where we in the crowd turned our faces towards the heavens, received the rain on the face, felt our bluegrass hearts swell, and thanked the good Lord above for bluegrass, itself.

Landslide in Laurel Canyon

Whosever idea it was, it was brilliant. Mid-afternoon in the DelFest Music Hall, there was a Return to Laurel Canyon with Eric and Leigh Gibson, and Dre Anders and Friends (who included Frank Solivan, Cody Kilby, Justin Moses, and more). Wow. Just wow. What a collaboration!

These pros took us on a lovely journey through Laurel Canyon, performing classics from the gems of that enchanting time. They provided unbelievable grassified renditions of Close Your Eyes by James Taylor and These Days by Jackson Browne. Dre’s voice is so soulful and exquisite and the Gibson Brothers’ vocals are always spot-on. A highlight talked about long after the show subsided was Dre’s daughter joining her on stage to sing Fleetwood Mac’s Landslide. Not a dry eye in the house for that one. Come to find out after, even some of the performers were tearing up onstage! That show was just downright heartwarming. Thanks for it!

Photos by Marc Shapiro Media and J Strausser Visuals.

Ronnie and Del McCoury ‘sound checking’ at DelFest 2022 – photo by Casey Vock

DelFest 2022 is now well underway, and what a time it is already! Here are few DELights from Delfest 2022, Day 1, to give you a flavor of this fabulous fest in Cumberland, Maryland:

Back in the Groove and Arriving at that Wonderful, Heartwarming Home

It is so much more than that incredibly organized arrival process at DelFest — though that, in and of itself, is delightful. It really is that absolutely freeing feeling to have a happy, smiley volunteer lasso your wrist with that beautiful cloth wristband, and looking around at your fellow gleeful festivarians to share knowing smiles, acknowledging that we all have just crossed the starting line to what will inevitably be an epic adventure over the next four days. It is always an electric sensation, but even more so now after the pandemic canceled DelFest and so many other festivals over the past couple years.

It is also the super-sized inflatable Del McCoury grinning ear to ear with that wonderful hair greeting you at the festival entrance. Thanks, Del! And, then the fast-made friendships with your camping neighbors who hopped to without an ounce of hesitation to help with the pop-up set-up and an extension cord. Coffee, ice, and a couple of beers as tokens of gratitude. Soon after, no protocols needed at all. We are neighbors and friends, and hanging out sharing laughs. One camping neighbor even surprised us with fresh- picked flowers to spruce up our camp table.  

Del is a kind man for putting the festival on for us, and the people that come here for it are fun-loving, generous, and kind. It is that simple. It is nice to be back in the festival groove and part of this wonderful, heartwarming DelFest home.

Sun Goes Down, Lights Come on: There is One that Shines the Brightest

Sunsets in the western Maryland mountains this time of year are spectacular. Sunsets at DelFest are even more special because that is when all the festive, decorative camp lights start twinkling and sparking that next stage of festival joy: hustling as close as possible to the stage for the headlining bands, and dancing amidst those jubilant lights to the best music on Planet Earth. One light catches everyone’s attention and affixes a perma-grin on all who gaze upon the wonderful site. It is a bold, all-caps DEL YEAH! lit up on the rock face of the mountain that guards the right side of the festival grounds. How can you not smile, smile, smile at that?

Robert Earl Keen

Robert Earl Keen on his Farewell Tour. What more can be said? It was Robert Earl Keen, and he gave DelFest Nation a fantastic show!

Yonder Mountain String Band at The Deck in Muskegon, MI (5/25/22) – photo © Bryan Bolea

West Michigan’s outdoor concert season got off to a raucous start with Yonder Mountain String Band shredding The Deck’s tented stage on the beach in Muskegon. The band came out hot and was in midseason shape as they played a full two and a half hours before closing things down just before the rain and lightning returned.

The crowd took a little longer to get warmed up, but by midway through, most had left their tables and pushed towards the stage, and by the fourth quarter, the poor security guard tasked with keeping dancers away from the stage was fairing no better than the kids on the beach trying to carry mounds of sand in their hands.

James Price with Ralph Stanley & The Clinch Mountain Boys (Tucson, AZ, 2003) – photo by Jeromie Stephens

The unexpected death of bluegrass fiddler James Price earlier this week caught all of us unawares. The talented and well-loved musician was only 57 years old, and had shown no signs of illness prior to his passing.

His two adult children, Mason and Amanda, were likewise unprepared, and have launched a GoFundMe campaign to help cover their father’s funeral expenses, and any others that may arise in dealing with his estate. Their ask is quite modest, only $2,000, which it seems should be a simple thing for bluegrass lovers and Ralph Stanley fans to raise.

In the online appeal, Amanda (Barton), thanked everyone for their kindness so far.

“As many of you may already know, my brother Mason and I are dealing with the loss of our dad, James Price. We are starting this GoFundMe to help raise some money to cover dad’s arrangement expenses. Any further donations would be greatly appreciated just to help out our families with any unexpected costs that might come. We just want to thank everyone for all the love and support that has been shown for our dad and our family as we have to go through this tragic time.

James played as a Clinch Mountain Boy for nearly nine years, and appeared on multiple Ralph Stanley projects, along with three solo albums of his own. He also recorded in support of many other bluegrass artists among his friends.

GoFundMe allows for simple and secure online donations using major credit cards or PayPal.

You can find the Price family campaign on the GoFundMe site. Please give as you are able.

Today’s the day! One of the most anticipated new bluegrass groups in years, Authentic Unlimited, is releasing not just one debut album, but two on the same day.

Billy Blue Records has both a self-titled secular project for the group, composed of several members of the final edition of Doyle Lawson & Quicksilver, and a Gospel record, The Gospel Sessions, Vol 1, available May 27.

At the heart of Authentic Unlimited are three of Doyle’s former bandmates, Eli Johnston on banjo, Jerry Cole on bass, and Stephen Burwell on fiddle, joined by tenor singing sensation John Meador on guitar, and mandolin veteran Jesse Brock. Cole is a prolific songwriter as well, with many Quicksilver cuts under his belt, and he has written the first single from The Gospel Sessions, a largely a cappella number called Hold On, sung in a call-and-response format.

Jerry say that all the guys are stoked to finally have the new music they’ve spent the past year recording available to bluegrass fans.

“We are working very hard to provide quality music to our audience with a professionalism they deserve! The entire AU crew, along with our friends at Billy Blue, are excited about both the bluegrass albums and the Gospel album releasing at the same time, and hope listeners will lend an ear!”

Have a listen to Hold On in this performance video.

Both Authentic Unlimited and The Gospel Sessions, Vol 1 are available today from popular download and streaming services online. Audio CDs can be ordered directly from the band.

Mr. Sun is home to three generations of extraordinarily talented musicians, each bringing their own gifts to the band. Although the band can be categorized as American String Music or bluegrass or jazz, as a group, Mr. Sun continues to innovate the possibilities of all these genres.

Perhaps by virtue of his long career as an innovator in contemporary string music, fiddler extraordinaire, Darol Anger, is the spiritual leader of Mr. Sun. Anger has played with Republic of Strings, the Turtle Island String Quartet, the David Grisman Quintet, Montreux, Psychograss, The Duo, and other ensembles. He is also an associate professor at Berklee College of Music. Anger is joined by mandolinist Joe K. Walsh, who spent four award-winning years in the Gibson Brothers. Like Anger, Walsh has also held a Berklee professorship. Guitar genius Grant Gordy, a former member of David Grisman’s unit, is a master of various styles from bluegrass to R&B, to rock and jazz. New to the group is veteran jazz musician, Aidan O’Donnell. 

On March 17, 2022, I went with my twenty-six-year-old son, Thelonious, to see Mr. Sun debut their newly released album, Extrovert, at Rockwood Music Hall in Manhattan. I had been given access to the pre-released album a few weeks prior, and along with Extrovert, I had been listening to Mr. Sun’s first album, The People Need Light, obsessively. 

That night the group opened with Danny Barnes, written by Gordy (an homage to the composer and banjo player, Danny Barnes). Despite the complexity level of the song and the musical firepower on that Rockwell stage, the players bobbed their heads and tapped their feet like they were audience members too. Anger drummed his violin with his bow, smiling. Once the band fully came in together, I was immediately struck by the dialog between musicians, like they were passing solos back and forth to each other, sometimes finishing each other’s licks. I could hear the musicians grunting and chortling, as if they were on a soccer field, trying to impress each other with acrobatics and impossible plays. It wasn’t that they were competing against each other. They were enthusiastically trying to dazzle each other, as if to say, “hey, that was cool, check this out.” Meanwhile the audience was the beneficiary of their playful virtuosity. As Danny Barnes appeared sometimes to come to an end, band members took turns continuing the instrumental sections, crushing the audience’s expectations, and laughing all the while.

Mr. Sun is a band that will satisfy the musical nerds, but doesn’t forget about its audience. By entertaining each other, they entertain the audience. Gordy provided a preamble to the next song, saying that the members of Mr. Sun are, “benevolent stewards of the next generation, playing obscure bands’ music.” I was waiting to hear something I’d never heard before, and truly respected Mr. Sun’s devotion to lesser-known bands. This fantasy was smashed to bits when I heard the first three notes played by Gordy, and realized they’d launched into a cover of Blackbird, by the Beatles. People in the room chuckled when they understood the ruse that had been played on them. 

And while Mr. Sun is drawing from the bluegrass jazz fusion traditions forged by David Grisman and Anger, they are also extending the tradition to something new and vibrant. The high-wire musical dialog passed between Walsh, Anger, and Gordy thread a needle through musical universes yet unexplored or unknown. Walsh played a solo part that could be described as a sophisticated mathematical design. He then tossed his multi-sided polyhedron to Gordy who transformed it – on the spot – into some other complex polyhedron. The game continued as Anger took the queue from Gordy and developed his own on-the-spot transformation. And this was all backed by O’Donnell’s thumping bass lines, keeping the bop rhythm driving and exciting. The musicians maintained eye contact at all times, as if volleying with their gazes. When they were not looking at each other, they were looking at each other’s instruments.

As Gordy told me in a conversation I had with him prior to that night, these guys love playing together. Their main goal is to have fun. Even the name Mr. Sun is intended to express joy. The audience was showered in that effulgent light and good feeling. 

The band followed up Blackbird with Dry & Dusty, a song from their first album. Despite being an old Texas fiddle tune, Mr. Sun gives it a new feel, perhaps even a bit of a Celtic lilt. Dry & Dusty is very lush and emotive, showing us that Mr. Sun has many tricks in their bag. 

I had asked Gordy what genre of music Mr. Sun played, knowing this would be unanswerable.

“Categories are really for the music labels,” said Gordy. “They need to know how to sell us.”

But the truth is Mr. Sun is more than just a composite of the styles that have influenced them and which they are interested in. In addition to influences previously mentioned, Gordy told me that members of Mr. Sun recognize their debt to African American music: R&B, funk, and jazz. There is no question that they’ve put a funky twist on their version of American String music. There is plenty of fizzle and pop in their delivery. 

Anger introduced the next song Breakers Bakedown from Extrovert which he wrote as an homage to Bill Monroe’s fiddle player, Kenny Baker. Breakers Bakedown is the tie that brings us back into the fold of the tradition, reminding us that everything comes from something. 

Next up was one of my favorite songs on Extrovert, The Fiddler of Dooney, which, as Walsh described, was a collaboration between him and William B. Yeats (although Yeats would not live to know this). This song really moved me. It was played at the right time in the set. Now that the band had whipped the audience up, our hearts and minds were open to hear something pensive. The Fiddler of Dooney also has a Celtic feel to it and, rightfully so, pays homage to the lyrics of Yeats.

Anger introduced the next song, Hunters Permit [from The People Need Light], written by Walsh and co-written by guitarist Scott Law, as a gypsy jazz tune. Although Anger is the elder of the group, perhaps its mentor, the performance Mr. Sun delivered was very democratic. Everyone seemed to both lead and follow at the same time. For the most part, Walsh and Gordy took front stage, as Anger humbly laid back, stepping to the front at times to deliver a demon possessed solo. 

Being a guitar player myself, I watched Gordy very closely. He never looked down at his guitar. ‘How does he know where the frets are?’ Admittedly nowhere near the guitar player Gordy is, I have no idea how he’s doing what he’s doing. Grant said to me that he’s not always sure. But his playing always sounds precise, evocative, and incredibly inventive. His soul knows exactly what to do. It’s like he plays upside down and backwards simultaneously. 

Darol then invited other players to join the stage for his song, Key Signator, also on The People Need Light. I hadn’t noticed Tony Trischka sitting covertly in the audience. Trischka ran up to the stage, banjo in hand, asking, “where do we stand?” The audience noticed their predicament. In addition to Trischka, Alex Hargreaves on fiddle, and Jacob Jolliff on mandolin also joined the stage. Although they were tightly packed in, the song erupted into action as the players negotiated access to the microphones, trying not to collide instruments or bump into each other. Key Signator, written in 1979, was on Anger’s first record, Fiddlistics, and was also performed often by the David Grisman Quintet

The song selection on Extrovert is very eclectic. In addition to tunes written by the players, there’s Mingus’s Better Git It in Your Soul, Lennon/McCartney’s Blackbird, and a railroad chant song titled Tamp ‘Em Up Solid, which was recorded by Ry Cooder. 

The band ended the night’s performance with Eddy Arnold’s Just A Little Lovin’ which has famously been recorded by Ray Charles, among others. And while Mr. Sun is an amazing instrumental unit, I love their vocal songs like After You’ve Gone, which is on The People Need Light, and Just A Little Lovin’, a jumping and popping tune. Walsh sings like he’s having fun, making it all look easy. What a great way to send the audience home, whistling and humming a great song melody. 

My son Thelonious, who doesn’t really listen to American String music, or bluegrass, or jazz fusion, said that seeing Mr. Sun perform helped him to better understand the music. He very much enjoyed the show. 

I’m looking forward to seeing Mr. Sun play at the Grey Fox Bluegrass Festival in July 2022. I’m glad to live in a world where there is promise of more music from Mr. Sun. 

Extrovert is available on most streaming platforms, or you can pre-order CD or Vinyl online.

For more information on Mr. Sun, you can visit them online.

Corey Zink, leader of bluegrass band Zink & Company, has welcomed mandolinist Chris Long into the group.

A native of east Tennessee, Chris grew up in Oliver Springs surrounded by bluegrass and traditional country music. He started playing as a youngster and quickly became proficient on guitar, mandolin, and banjo, and in his teens he was performing with family members as The New River Boys.

Zink sees a little of himself in his newest bandmate.

“Chris reminds me of myself at twenty years old. He has a passion for playing and honoring the music that he was brought up listening to and playing. After spending a little time with Chris I felt confident that he would not only be an asset to the band, but also be a joy to be around. He has a great, happy, and positive attitude and an uplifting spirit. I would describe him as an old soul, a gentleman, and one heck of a picker. I know we have only scratched the surface of the talent that Chris has to share. I’m happy and excited to welcome Chris as a member of Zink and Company and can’t wait for everyone to meet and hear him perform. I’m quite confident you’ll see his dream of someday playing on the Grand Ole Opry, come true.”

Long is set to start with Corey June 9 at the Cherokee Bluegrass Festival, and says that he is rarin’ to go.

“I’m looking forward to traveling and playing with Zink and Company. I’ve learned quite, along with a few things about this band and the people involved. The enjoyment that these fine musicians bring to an audience is unmatched. This band has shown me that they have courtesy, professionalism, respect, and integrity for each other and their fans. I’m excited to see what the future brings for us, as we travel together and become closer as friends and band mates.”

Corey Zink records for Sound Biscuit Productions. You can see his full tour schedule online.

It’s not typical for a dobro player to sing lead, especially when the musician in question is a soloist. However, that is exactly what Abbie Gardner of the Americana trio Red Molly has done on her latest solo effort, DobroSinger. The end result is extraordinarily good.

One of the advantages of having such sparse instrumentation is that it allows the listener to connect with the material on an even deeper level. Gardner’s delivery on each of these songs is spectacular. You can’t help but be drawn to her voice. It forces you to pay attention to what the lyrics are conveying. The interplay between Abbie’s vocals and her dobro makes for a captivating listen, particularly on Honky Tonk Song.

All of the material on DobroSinger, save for Those Memories of You by Alan O’Bryant and You Belong To Me by Pee Wee King, were either written or co-authored by Abbie Gardner. Each of the songs on this project explore different life themes. The opening track Down The Mountain tells the story of a hard life being lived by a Kentucky coal miner and his family, while Only All The Time (written with Molly Venter) and Three Quarter Time, dive into the whirlwind feelings that can result from romance.

Cypress Tree and When We Were Kids both approach the subject of mortality from different angles. The former alludes to one’s final wishes as they are nearing the end of their journey, while the latter tells the story of someone’s life coming to a tragic end due to continual poor decisions. Born In The City (written with Will Kimbrough) is a more positive piece with the message that there’s room for everyone at the table, no matter where you come from or what your circumstances may hold.

It’s always fun to see what direction a musician will take with their instrument. What Abbie Gardner has done on DobroSinger is really unique and innovative. Gardner herself classifies this release as an Americana recording, but it’s more outside the box than that. There’s elements of country, blues, and bluegrass among other styles.

DobroSinger should not be pigeonholed into any one category. It’s simply great music with depth and originality.

Bluegrass songwriters and performers Justin Hiltner and Jon Weisberger have hooked up again following their 2018 duo project, Let It Burn, this time for an album of original and traditional Gospel music.

These two are good friends, though they each work in different aspects of the music industry. Weisberger, a generation ahead of his counterpart, is an A&R man and producer for Mountain Home Music in Asheville, NC, and Hilter is currently playing banjo in the touring company of a new, modernized production of Oklahoma!

The full EP, Room At The Table, is set for release on Friday, and they have offered a sneak preview to our readers today. It’s the track, Send Me Lord, Send Me, written by Justin, Jon, and Ashleigh Caudill.

Justin says that he loves the way it came out.

“When Ashleigh, Jon, and I sat down to write this song, I hadn’t written a true Gospel number in such a long time. But, it came out so simply and authentically Gospel — I love the call and response and the feeling that it could be sung by a quartet, a bluegrass band, or a congregation. Plus, the message resonates with my own story with the church. One of my favorites I’ve written and recorded with Jon, for sure.”

Jon agrees, bragging a bit on his contribution to the arrangement.

“This song was written especially for the project, based on an idea that Justin brought to the session. I love the way the lyric contrasts the narrator’s desire to be called into the Lord’s service with the ways that various Biblical figures resisted that call, and the classic simplicity of the melody and chord structure. I’m also proud to say that I was the one who suggested that Justin use his tuners for the kickoff and banjo solo! We hope it brings to mind echoes of great bluegrass Gospel recordings by artists like Larry Sparks, The Marshall Family, and The Isaacs.”

Weisberger plays bass and Hiltner banjo, supported by Laura Ray on guitar, Darren Nicholson on mandolin, and Corrina Rose Logston Stephens on fiddle. Ashleigh Caudill and Wendy Hickman sing harmony vocals.

Check it out…

Room At The Table will be available on May 27 from popular download and streaming services online. Audio CDs can be ordered from bandcamp.

Over more than a decade of reviewing bluegrass music, I’ve concluded that the songs that speak to me most directly tend to offer some mix of desire, desperation, and hope.

So it shouldn’t come as a surprise that Something You Didn’t Count On, the Mountain Home Music Co. debut from Jaelee Roberts, doesn’t just speak to me. It practically shouts. Two of the songs are in-the-pocket bluegrass Gospel – I Owe Him Everything and Still Waters – that offer hope to those of us toiling in an uncertain and unsettling world. The other 10 provide sobering, heart-piercing takes on faded or lost love (from both sides of the story). There’s a haunting beauty in the words, whether from Roberts and her co-writers, other wordsmiths on Music Row, or from classics borrowed from country and rock archives.

Desperation, I realize, is a strong word. But how else to label a song that pretty much begs the singer’s used-to-be-special-someone to Lie To Me, as Roberts does in the outstanding song she co-wrote with Jerry Salley and Kelli Kingery. Or the lot assigned to the never-be in the Kelsi Harrigill-penned The Best of Me. It’s easy to imagine the pain someone is feeling as Roberts sings:

The Best of Me
Ain’t yours for the takin’
The Best of Me
To you it won’t come free

All the glitter and gold
Won’t keep you warm out in the cold
Oh you can beg and you can plead
But you won’t get The Best of Me

Ouch!

Those two songs are the best of the bunch, according to this very subjective opinion, but that’s not to say the others are mere fillers. Roberts writes and sings with authority on the title cut, written with Theo MacMillan, and on The Beginning Was the End, penned with Mallory Eagle. And with the help of producer Tim Surrett, she picked some others that fit the emotional arc of the project perfectly. 

I was especially eager to hear her take on Landslide. First of all, it’s a terrific song from Stevie Nicks, who knows a thing or two about desperate longing and desire, in life and in song (which for her may be interchangeable). And second, I’ll never knowingly pass up the chance to hear Vince Gill sing, even if it’s a harmony part.

Gill, it turns out, is just one of many marquee names appearing in the credits. Amanda and Kenny Smith add sublime harmonies elsewhere on the record, as do Paul and Kelsi Harrigill. And the pickers, including Alan Bibey on mandolin, Kristin Scott Benson on banjo, and Jimmy Mattingly on fiddle, are top notch. Mattingly might not be a household name in bluegrass, but you’ve heard his work backing Dolly Parton and Garth Brooks, and what he does here is worth focusing on.

So when you add it all up, this isn’t a typical major-label debut. But that’s no surprise. Roberts comes from a music family – dad Danny Roberts is a founding member of The Grascals, and mom Andrea Mullins Roberts was a respected and in-demand performer in her own right before focusing on the business side of bluegrass. You’ve heard of some of her other relatives, too. The apple, as they say, didn’t fall far from the tree.

I’m not suggesting Roberts has had her career handed to her on a silver platter. Despite still being in college, she’s been working her music for years. Seriously, you don’t get chosen to replace Dale Ann Bradley in Sister Sadie solely because of the branches on your family tree. You have to earn it, and Roberts surely has.

I’m confident that if you give Something You Didn’t Count On an honest listen, you’ll soon be singing her praises. That is, if you aren’t already.

Life is full of twists and turns, and nobody knows what tomorrow will bring. But this project sounds and feels like it’s just the beginning of a long and successful journey as a solo artist for Jaelee Roberts.

Kurt and Jo Hickman, promoters of the annual Norwalk Music Fest in Norwalk, OH, have regrettably announced the cancellation of their 2022 event. The July festival is a fundraiser for the Alzheimer’s Association, and functions as a 501(c)(3) non-profit organization.

In a note to supporters they shared this news:

Unfortunately, we have a medical issue within our family that doesn’t allow us to go forward with the festival.

In addition, we realize the cost of attending and participating in an event is expensive for families at this time. While we have done some great things in the past for the Alzheimer’s Association, we are cognizant of the fact that asking for additional dollars from our patients would prove difficult. We sincerely appreciate the thousands of dollars our attendees have donated in the past – your hearts have been very generous and we are extremely grateful.

Cancellation of the festival was by no means an easy decision and we apologize for any inconvenience. For those who have purchased tickets, you’ll receive a full refund.

No further details have been announced at this time.

Last night, Punch Brothers were the musical guests on The Late Show with Stephen Colbert on CBS television.

They performed Any Old Time from their current project, Hell On Church Street, a Punchy reimagining and tribute to Tony Rice’s landmark album, Church Street Blues. The song comes from the great Jimmie Rodgers, and has been recut by artists in almost every imaginable genre.

Here’s theirs…

Punch Brothers are gearing up now for a summer tour, starting in June and running through August. Show and ticket information can be found online.

I’ve noticed within the entertainment industry a growing interest in the back stories of the villains of some of our legends, fairy tales, and classic superhero stories. Having milked most of the superhero and Grimm’s fairy tale-based franchises dry, all that’s left is to retell these tales from the point of view of the antagonists. The result is that we’re now treated to in-depth examinations of characters like Jabba the Hut, Lex Luthor, or that cannibalistic witch from Hansel and Gretel, learning about their childhood trials and disappointments, and finding out just what made them turn the psychological corner and want to rule the world or eat children in the forest. This has given rise to movies like the The Joker, or the musical Wicked about the witches from the land of Oz. Disney has released two movies about the evil fairy Maleficent from the Sleeping Beauty story. This is Disney’s plot summary for their first one:

“A beautiful, pure-hearted young woman, Maleficent has an idyllic life growing up in a peaceable forest kingdom, until one day when an invading army threatens the harmony of the land. Maleficent rises to be the land’s fiercest protector, but she ultimately suffers a ruthless betrayal – an act that begins to turn her pure heart to stone. Bent on revenge, Maleficent faces a battle with the invading king’s successor and, as a result, places a curse upon his newborn infant Aurora. As the child grows, Maleficent realizes that Aurora holds the key to peace in the kingdom – and perhaps to Maleficent’s true happiness as well.”

Should we take this approach with some of the villains and antagonists of bluegrass songs? Probably not, but here’s what it might look like if we did:

Let’s start with Willie (aka “Little Willie”) who is likely responsible for the murders of Pretty Polly, the Knoxville Girl, and that unfortunate girl on the Banks of the Ohio, just to name a few:

Willie grew up the youngest of eight children in 19th century England, or possibly 20th century Tennessee. His father was kind at times but rarely home, his mother rejected and criticized him, and his brothers and sisters ignored him. He took an early interest in ballet and playing the harmonica. He was also fluent in Pig Latin, and his ping pong serve was devastating. None of this impressed the members of his family who only teased him, saying things like, “Harmonica? Well you’re no Charlie McCoy!” or “Ballet? Who do you think you are, Joe Namath?” It led Willie to become withdrawn and insecure. He had few friends in school, and he couldn’t seem to keep girlfriends past the first date or two. They were intrigued at first by the harmonica and dance skills, as well as his bilingual suavity, but they soon found him possessive and controlling. Those with any self-respect ran for the hills. Things really started to go wrong for Willie when he started running for the hills after them.”

How about the little-known back story of the snake of The Little Girl and the Dreadful Snake fame:

The snake came into this world the way most snakes do, from an egg or something. He had a mostly happy childhood. In adolescence he spent his days eating rodents or toads, occasionally sunbathing, and generally doing a lot of slithering. Only rarely did he feel the need to bite anybody. His first encounter with humans didn’t go well, however, and this is where his life took an unfortunate turn. A group of boys picked him up and were clearly planning to kill him, so in an act of desperation, he bit one of them on the arm. He managed to escape, but later that day, some adults seemed to be combing the woods for him, probably seeking revenge. After that, he was wary and fearful of humans, and he would avoid them whenever possible, but he would try to look intimidating and even hiss if he was discovered. Little girls had a tendency to scream when they saw him and he resented that. Shouldn’t he be the one screaming? After all it was her own kind, maybe even her own brothers, who tried to kill him. In time he just accepted that he should act scary around little girls wandering in the woods, but he still considers the labels “awful” and “dreadful” unfair.

Next week: 

Dark as a Dungeon retold from the point of view of the coal mine.

Marcy Marxer, Tom Paxton, and Cathy Fink – photo by Michael G. Stewart

Legendary folksinger and songwriter Tom Paxton has seen several of his songs cut bluegrass style, but he hasn’t recorded much that way himself. A recipient of a Lifetime Achievement Award from the Grammys, Tom is still going strong at 84, and has a new project called All New set for a July release, accompanied by co-writers Cathy Fink and Marcy Marxer, recorded live with an all-star band.

Today we have a sneak peek in the form of a single, Since You, written by Tom and Cathy and recorded in a bluegrass style. It’s a story of true love, and good times on the horizon which Paxton says still occurs even in a topsy turvy world.

“It happens; don’t try to tell me it doesn’t. You’ll meet more than one person in a lifetime who will bring you up short and change your way of thinking – sometimes permanently. Usually, the change is for the better. Usually.”

Fink tells us that they set out to make this a grasser from the start.

“Tom and I write all kinds of songs and one of our goals in co-writing has been to write bluegrass songs. We may have crossed the line writing a happy bluegrass love song, but we did it! And with Kimber Ludiker on fiddle, Marcy Marxer on mandolin, and Alex Lacquement on bass, how could we lose? Love always wins.”

It’s a sprightly number that makes you feel good for listening.

Since You is available now from popular download and streaming services online.

Look for All New, a double album, from Tom, Cathy, and Marcy, on July 29

Many bluegrass lovers know Akira Otsuka as a brilliant mandolinist, something he has pursued from the time he was a young man in Japan, through his later life here in the United States. Fewer know that he is also a talented photographer whose images from his early days here in the 1970s are being archived online.

He has agreed to share some of those with our readers, starting with this gallery shot during a recording session at Track Recorders in Silver Spring, Maryland. It shows Bill Harrell & The Virginians in the studio for Dick Freeland and Rebel Records, engineered by Ronnie Freeland. The band included Bill on guitar and lead vocal, Darrel Sanders on banjo, Larry Stephenson on mandolin, Carl Nelson on fiddle, Ed Ferris on bass, and Mike Auldridge on reso-guitar.

Darrel and Larry are the only ones still with us from that session, which was released as I Can Hear Virginia Calling Me on Rebel Records in 1980.

We reached out to Larry Stephenson who shared a few memories from that day.

“I recall that time fairly well. It was in November of 1978. The thing I remember the most about that session was that I wasn’t a member of the band yet. I was playing with Leon Morris at the time, and Bill had just put The Virginians back together. I had seen him play a show with just four pieces, and I had gone up and told him that if I could ever help him out on mandolin, I would love to have a try at it.

He put me off several times before finally hiring me in January of ’79, but he did hire me for that session. I remember that in addition to Mike Auldridge from Seldom Scene being there, Phil Rosenthal was there as well since we were cutting his song, Something In The Wind is Calling Me.

I was just 22 years old and getting to record with guys like Ed Ferris, Mike Auldridge, and Bill Harrell was a pure joy.”

Thanks Larry, and Akira for the memories!

We will share some of Otsuka’s other images as the spring and summer roll along.

Deering Banjos is introducing three new models for their ProPik line of banjo accessories, just in time for the Summer NAMM Show in Nashville.

While ProPik has been known for years for innovative designs in banjo picks, these three new picks are meant for pickers who prefer the traditional look and feel of the old National brand finger and thumb picks. In fact, they are taking aim at some of the most popular picks currently in use among professional players and serious hobbyists.

The Heritage fingerpicks are for pickers who like them the old time way, modeled on an old set of Nationals used by Earl Scruggs when he recorded the Bill Monroe standard, Pike County Breakdown, back in 1950. After the session, Scruggs made a gift of those picks to Tut Taylor, who eventually passed them along to banjo master and Deering endorser Jens Kruger. ProPik matched the dimensions of Earl’s old Nats to create the Heritage picks, made from nickel, which are also beveled along the blade edge to avoid that frustrating break-in period.

ProPik Progressive fingerpicks are based on their existing Standard single wrap pick, but instead of using a wrap design with two dozen small holes in each wrap, six larger holes getting progressively larger are cut along the wrap, three on each side.

Also new is the Super-Tone Thumbpick, which feature a metal band riveted to a blade made of Peek, a super strong and smooth polymer material which is prized for use in picks. During R&D on this new product, ProPik testers found that the Peek blade offered a more balanced and nuanced tone than the Delrin they use in other ProPik thumbpicks. The metal bands are also carefully rolled and beveled for comfort.

All three new items will debut at the Summer NAMM show in early June. At that time they will also be available from dealers all over the world, our directly from Deering online.

The Heritage fingerpicks sell for $14/pair, and the Progressive for $7/pair. The Super-Tone thumbpick will sell for $35 in small, medium, and large sizes.

Noted bluegrass fiddler, and former Clinch Mountain Boy, Jame Price has died today at his home in West Virginia. He was 57 years of age.

According to his son, Mason, James went to sleep and never woke up. At this point no medical cause has been explored.

Though his eight years with Ralph Stanley gave James his greatest visibility, he has previously played fiddle with The Goins Brothers. He also recorded three albums under his own name.

Price toured with Dr. Ralph and the Clinch Mountain Boys from 1995 to 2003, and is remembered for being able to play the old time mountain style fiddle, but with a clarity and precision not always associated with this sound. He was the second in line after Curly Ray Cline retired in 1993, following Art Stamper who returned to the band for two years. Art had played with The Stanley Brothers back in the day.

Ralph Stanley II, who now leads The Clinch Mountain Boys, was taken aback by the news of James’ passing, and remembered him as a fine bandmate.

“I traveled many a mile with him. I had started singing lead when he took the job. James came in just a week or two after that. James’ fiddle style and fiddle playing, I thought it really suited Dad’s style well. He played a lot like Curly Ray Cline. He always did a good job, and he was a good comedian – great entertainer.

I really hate that he is gone so soon.”

II also remembered that the comic character James played in their show was called Poogie Jude, and that Dr. Ralph used to call him Old Pooge out on the road.

After leaving Stanley, he formed a pair of bands to perform regionally in West Virginia, James Price & Kentucky Reign and James Price & Native Country. The first was a bluegrass group and the second country.

He also toured with Little Jimmy Dickens and Johnny Paycheck.

James released three solo fiddle albums: The Old Mountaineer (1994 Hay Holler Records), Southern Flavor (1998 Freeland Records), and Fiddlin’ the Old Time Way (2003 Rebel Records). He appeared on the Lost in the Lonesome Pines album by Jim Lauderdale and Ralph Stanley, which won the Best Bluegrass Album at the Grammys in 2002. Price was included on a number of Ralph Stanley records, including Short Life of Trouble (1996), My All And All (1997), Clinch Mountain Country (1998), While The Ages Roll On (2000), Clinch Mountain Sweethearts (2001), and Live At McCabe’s Guitar Shop (2002).

The family has not yet announced any information about funeral arrangements. We will update as those are known.

R.I.P., James Price.

Founded by Joe Macheret (vocals, guitar, big head banjo, fiddle, percussion), Joe’s Truck Stop is a decidedly homegrown affair. Yonderlings, the third album by the Cincinnati-based band — which also includes musicians Andrew McPheters (harmony vocals, 5-string banjo), June Youngblood (harmony vocals, upright bass), Stephen “Tebbs” Karney (dobro, pedal steel guitar), Scott Risner (harmony vocals, mandolin), John K Victor (harmonica), Joe Wunderle (harmony vocals, harmonica, piano), Sean Geil (banjo), and Chris Novy (drums) — was recorded in a mobile studio located inside a 50 year old barn. To ensure that ambience, the project was overseen by David Mayfield, known for his work with Cadillac Sky and open his own music. Not surprisingly then, the resulting sound reflects those rustic environs, thanks to songs that are frayed around the edges, yet still flush with both an honesty and emotion that reflects the album’s rural origins.

That’s apparent in the unhurried attitude that pervades the album overall, from the easy drift of the otherwise unassuming Gas Station Sushi, and the gentle sway which steers Midnight on the Ohio and Wishin’ on A Star, to the rambling and slightly unhinged instrumentals Grease Fire and Pappy Hondo, and the sprightly sounds of Winter Waltz.

Still and Silence takes that nonchalant approach several steps further. “I’ve been living on the road, this vehicle’s my home,” Macheret sings. “So put out your smoke and kick off your shoes.”

So too, Waltz for Lucille shares in that casual caress, a reflection of an attitude that’s devoid of pretense, and yet intended for enjoyment even in the most intimate environs.

In that regard, Yonderings reflects a singular style spun from down-home celebration — earnest, engaging and rooted in actual folk tradition. The musicians blend skill with subtlety, negating the flash while still retaining a flourish and finesse. Clarity and confidence shine through, without cause to grandstand or any attempt at outshining one another.

Ultimately, Yonderlings can’t be considered groundbreaking, or anything that even attempts to breach bluegrass boundaries. It is, however, an engaging album that evokes the spirt of a seminal sound. When, on the closing track, Thank You, Macheret expresses his gratitude for the joy he’s been blessed with, the emotions radiating as a result might just prompt listeners to pause and reflect on some good fortune of their own.

On Friday (May 20, 2022) we posted a report about Danny Paisley and his announcement that he is suffering with throat cancer. 

During the weekend, Darby Brandli and a few other California Bluegrass Association members have launched a fund-raising campaign to support Paisley as he undergoes a course of chemotherapy and gets back on his feet thereafter.

In Brandli’s appeal she observed …. 

The worldwide bluegrass community is defined not only by our love of the music and the tradition, but also our dedication to community. There are some members of our community who are known and revered by everyone. Danny Paisley, the reigning IBMA Male Vocalist of the Year, is one of that special class — and he needs our love and support now.

Diagnosed with throat cancer about a month ago, Danny and his family and medical team have decided on a treatment plan which begins June 1st. See Danny’s letter to his friends for details. Danny’s survival prognosis with this treatment is excellent. Still, there will be some risk to his singing — and, of course, the treatment is not easy and will significantly impact his livelihood.

Musicians have struggled to survive during the pandemic, and a situation like this has additional economic consequences. We needed to talk Danny into allowing us to create this fundraising campaign, but he does acknowledge that financial assistance will be welcome at this time.

We are all huge fans and longtime friends of the Southern Grass family, and hope you will join us in supporting Danny Paisley while he’s off the road receiving medical treatment.

We’re hoping to raise $47,000 — in honor of the California Bluegrass Association’s 47th Annual Father’s Day Festival in 2022 — all of which will be given to Danny and his family. Whether or not you’re able to make a donation, we appreciate you sharing this campaign on social media and offering some words of support to Danny.

Thanks very much for whatever you’re able to do –

Darby Brandli
Angelica Branum
Kathy Kallick
Laurie Lewis
Tristan Scroggins
Annie Staninec
Peter Thompson
Molly Tuttle

for the California Bluegrass Association on behalf of Danny Paisley

Brandli added … 

“Danny Paisley & the Southern Grass play powerful, unadorned, and intense traditional bluegrass. There is no hybrid or genre-bending music here. Their combination of instrumentation and vocals convey the energy and emotion of classic bluegrass and country music. Danny’s lead vocals will captivate your senses, so much so that many prominent musicians, including Alison Krauss, have considered Danny as one of their favorite singers. His voice combines powerful range and soulful blues with a sound like no one else in bluegrass today. Since Danny’s father, Bob Paisley (founder of Southern Grass), passed away in 2004, Danny Paisley & the Southern Grass have received more than a dozen International Bluegrass Music Association Award nominations, winning the Song of the Year in 2009.

In 2021, Danny Paisley joined an elite group of singers when he was awarded the IBMA Male Vocalist of the Year for the third time.

Donations can be made here.

We wish Danny Paisley all the very best as he deals with the challenges that he faces during the coming months, and hope that the medical treatment is successful so that he may soon return to a full working schedule.