Monthly Archives: June 2022

It’s a mark of a great album when you can listen to it straight through without wanting to skip any songs. But what about when you find yourself keeping it in the CD player for hours on end, pressing rewind over and over to hear your favorites, to listen once more to a note-perfect musical break, or to just better appreciate a cleverly written line? Because that’s what I did after receiving a copy of Fast Track’s latest album, Heartache and Trouble, filling a four-hour drive with well-written originals, fine traditional instrumentation, and fresh cuts of a few classic favorite songs. The album – the band’s third effort in as many years from Engelhardt Music Group – has quickly been added to my list of favorites for 2022.

Kicking things off is the title track, which was written by Gerald Evans, Jr. Released as an early single back in April, it features guitarist Duane Sparks on lead vocals singing from the perspective of a man who’s had it rough his whole life. It’s a fine example of a bluegrass hard luck story, ending in a quickly regretted murder. Tuned-down banjo from Dale Perry helps add to the mean, angry feel. Sparks also takes the lead on another track from Evans, Plain Old Country Boy, filling the lyrics with plenty of swagger. The song features the singer bragging about his independent ways, including some of my favorite lines from the album: “That girl wanted me to settle down with a house and a picket fence. I kissed her cheek and got in the car, and I ain’t seen her since.”

Spears, the group’s bass player and ace songwriter, has contributed several original numbers here, including Jenny Lynn, a love song that will tug at even the coldest heartstrings. Guided by cheery fiddle from Steve Day, it tells of a man whose sweetheart passed on while he was gone to war, but whose love for her never died. Spears also penned one of my favorite tracks here, The Sweetest Place on Earth. “Old home place” songs are rampant in bluegrass music, often basically carbon copies of each other, but this one is a step – or two – above. Spears sings lead with a tear in his voice, the harmonies on the chorus are beautiful, and Day’s fiddle perfectly underscores the melancholy lyrics. Rounding out Spears’s songwriting contributions is an enjoyable mid-tempo waltz that closes out the album, You No Longer Believe In Me. It’s a heartbreak number, made even more lonesome by the revelation that the singer’s wife has left after 35 years together.

I was excited to see that the band included one of my favorites from their live shows, Steve Day’s rendition of Mary Jane Won’t You Be Mine. Day is an excellent fiddler, but also a fine singer, and he gives it his all here. Fans who aren’t familiar with the song may think he’s just rewritten the Stanleys’ Say Won’t You Be Mine, but this is actually Bill Monroe’s version of that song. Speaking of the Stanley Brothers, Day also offers a strong cut of their Sweetest Love here. Both songs feature nice mandolin breaks from Shayne Bartley, a new addition to the band as of 2022.

Fast Track is packed with talent. With multiple strong lead vocalists, musicianship from some of the genre’s best, and Ron Spears’s songwriting talent, they’re not just some upstart band. Heartache and Trouble is on the brief side (just ten songs), but it’s a strong, tight collection without a boring moment. Fans of new traditional music should certainly pick up a copy.

For more information on Fast Track, visit them online. Their new album is available from several online music retailers.

As for many events around the globe, 2022 marks a return for the bluegrass music festival in La Roche-sur-Foron, in the Auvergne-Rhône-Alpes region in south-eastern France. 

After two years of COVID restrictions the festival organizing committee met in early October 2021 to review the festival organization and consider changes to keep the festival a major event on the bluegrass music calendar.

After 15 years as La Roche Bluegrass Festival, the event that will take place during the weekend August 3-7, 2022, has been re-branded as Bluegrass In La Roche.  

Christopher Howard-Williams provides a brief reminder of what happened in the recent past …. 

“In 2020 we cancelled the festival and did a virtual festival with two components; videos of shows from past performances at the festival and Zoom interviews with the bands about their life during lockdown and their memories of La Roche.

These are still online at our YouTube channel (La Roche Bluegrass).

In 2021, there was a reduced festival with only 12 bands – nine from France, two from neighbouring Switzerland, and one from Italy (Red Wine).

COVID rules kept changing and it was quite complicated to stay up to date. We stared out all ticketed, but in the end, there was no limit on numbers so it was open to all-comers.

Not many came, probably because of the COVID situation and the weather was awful that weekend, although every concert was able to go ahead on time between the rain showers – maybe 500 at the highest point.”

A new attraction included in the 2022 Bluegrass in La Roche festival program will be the first Kids On Bluegrass Europe Bluegrass Camp, open to youngsters aged from six to 16 who can hold an acoustic instrument and play three chords. More information can be found online.

30 bands from 15 different countries will be featured during the weekend, with Missy Raines & Allegheny being the head-line act.

Others scheduled to appear are Compton & Newberry (USA); Rapidgrass (USA); Level Best (USA); Crying Uncle Bluegrass Band (USA); Country Gongbang (Korea); Zenkl & Kozak Band (Czech Republic); Radim Zenkl & Ondra Kozak (Czech Republic); The Fountaineers (GB); Flamengrass (Spain); Silene & the Dreamcatchers (France); Roger Mason & Strings Fellows (France/USA); Long John Bros. (Switzerland); Emmy & Bluegrass Pals (The Netherlands); Flat Top Brothers (France); Good Guy Hank (GB); Johnny & the Yooahoos (Germany); Just as Blue (Sweden); Long Way Home (Ireland); Milkeaters (Czech Republic); Rookie Riot (Sweden); Saelkie Folk (GB/France); Stacja Folk (Poland); Stereo Naked (Germany); Table for Two (Belgium/Denmark); Two of Us (France); Infeltrio (Italy); and Hills of Belgium (Belgium). 

Raines enthuses … 

“Having the opportunity to bring my new bluegrass band, Allegheny, to the La Roche Bluegrass festival feels a bit like completing a full-circle long-time goal for me. My first time to play in France was with the Virginia-based band, Cloud Valley. That was the first professional gig I ever had and we did a six week, seven country tour in the spring of 1984. It was my first time ever abroad. I’ve been back to France and many places in Europe numerous times since that first trip, but this will be the first time I will be taking my own band. I’m delighted that it’s this particular band and that we will be debuting in France. With Allegheny, named for the Allegheny highlands of West Virginia, where I am from, I am embracing my bluegrass roots and paying tribute to the influences that have impacted my musical life. I am very fortunate to be touring with such amazing musicians.” 

Allegheny features Tristan Scroggins (mandolin), Ellie Hakanson (fiddle), Ben Garnett (guitar), and Eli Gilbert (banjo).

Here are a few samples of what’s in store for festival-goers. 

Country Gongbang were the subjects of a Bluegrass Beyond Borders feature early last year

This extended video, presented by the International Bluegrass Music Association’s Leadership Bluegrass Online: Navigating the Digital Jungle initiative, showcases some of what the five-piece group has to offer fans in La Roche…. 

Multi-instrumentalists Radim Zenkl and Ondra Kozak got together in 2020 to form the Zenkl & Kozák Band, offering original tunes and songs in the bluegrass style, as well as traditional pieces in special arrangements. 

The band with Jiri Valek playing bass is supported by world banjo champion David Benda for this rendition of El Cumbanchero.

The Crying Uncle Bluegrass Band, consisting of brothers Miles (vocals and fiddle) and Teo Quale (vocals and mandolin), Andrew Osborn (vocals and bass), and John Gooding (vocals and guitar) – all outstanding young musicians on the vibrant California bluegrass scene, is widely recognized as one of the most exciting young bands in acoustic music. They play a unique mix of bluegrass, Dawg, Jazz and original modern acoustic music. 

Little Willie – CBA Father’s Day Festival, June 2022

The Rheinstetten-based band, 4-Star Grass, epitomizes what it means to hold international stature. Founded ten years ago, its members hail not only from Germany, but France and Switzerland as well. That’s evidenced in the group’s current line-up, which consists of Joel Espesset (bass, mandolin, vocals), Daniel Frey (fiddle), Arne Maier, (guitar, mandolin, vocals), and Soenke Maier (banjo, guitar, vocals).

In fact, the band’s origins can be traced to earlier outfits that found the Maier brothers performing together in earlier incarnations. After they enlisted Espesset, who they had met at various jam sessions, and long-time friend and fellow bluegrass enthusiast Wolfgang Striebinger, who played mandolin and vocals, the original incarnation of the 4-Star Grass band was born. That was in 2012. 

“The love for traditional — or what we call classic bluegrass of the ’50s and ’60s — kept the guys together,” Arne says. “After Wolfgang left the band, fiddler Daniel Frey, who is well known and in high demand in the Swiss and German bluegrass scene, was more than happy to join the band.”

The common thread that binds the band together is a shared inspiration drawn from the seminal sounds of early bluegrass, in this case the Stanley Brothers in particular, but also Flatt & Scruggs, Bill Monroe, and other icons of that era. The sound is driven by Soenke Maier’s archtop 5-String banjo, Frey’s relentless fiddling, Espesset’s rock solid bass, and Arne Maier’s tendency to occasionally toss in some classic George Shuffler-style cross-picking guitar licks. In addition, the band draws on classic old school harmonies.

In recent years, 4-Star Grass has had the opportunity to perform in southern Germany, France, and Switzerland. They’ve also made a name for themselves on the European festival circuit, where the band found themselves sharing stages with several other top bluegrass acts.

“We have also performed a few times as the opening act for the Bluegrass Jamboree, an annual festival presenting up to three US bands,” Arne recalls. “We were part of the closing stage jam with Jeff Scroggins & Colorado and the Lonely Heartstring Band, amongst others.”

Nevertheless, even though the band has been around for ten years, they’ve yet to tour extensively outside their own realms. In addition, they’ve yet to release their initial album.

On the other hand, Arne notes that the group has recorded some “kitchen tapes,” which they intend to use for promotional purposes. Those can currently be viewed on YouTube.

There’s also a live recording of the initial line-up of the band.

Asked his opinion of the current European bluegrass scene, Arne sums matters up succinctly. “It consists of bands mainly playing contemporary or progressive bluegrass,” he suggests. “That makes the audience appreciative, even if only one band in a festival line-up plays down-to-earth classic bluegrass. 4-Star Grass tries to fulfill that role.”

He also has a decided opinion as to why bluegrass enjoys such widespread popularity, well beyond any pre-conceived borders. 

“Both audiences and musicians outside the US have a desire to promote and protect a form of traditional acoustic music which is direct, harmonious and honest,” he says. “At the same time, it’s also demanding as far as the instrumental acumen and vocal techniques are concerned.”

4-Star Grass serves those sentiments well.

Virginia’s Caleb Bailey has a new single to finish up June with his band, Paine’s Run. It’s a song he wrote about one of the most devastating storms ever to hit the United States, Hurricane Camille.

Camille first struck in the Caribbean, hitting Cuba on August 15, 1969 as a Cat 2 storm, but intensified dramatically when it got into the Gulf of Mexico. When she came across in Mississippi two days later, it was a full-strength Cat 5, and caused tremendous damage along the Gulf coast and a good ways inward. What inspired Caleb to write about Camille is that in an unusual result for a hurricane, the storm did tremendous flooding damage in the Appalachian region around the Virginia/West Virginia Border, leading to more than 150 deaths.

Bailey tells the story of the destruction like he was there, as I’m sure he has heard many descriptions from older folks about how quickly the flood waters charged through the area, with normally small streams and creeks jumping way over their banks and taking out structures and bridges as they went.

Caleb sings lead, supported by Paine’s Run: Rob Slusser on banjo, Brandon Kyle on bass, Joe Showalter on fiddle, Chandler Beavers on mandolin, and Wyatt wood on guitar.

Have a listen…

Camille is available now from popular download and streaming services online. Radio programmers can find the track at AirPlay Direct.

Del McCoury Band at ROMP 2022 – photo by Alex Morgan Imaging

Thanks to the folks at ROMP, the River of Music Party held each year in Owensboro, KY, we have some photos from last weekend to share, taken by Alex Morgan.

ROMP is held as a fundraiser for the Bluegrass Music Hall of Fame & Museum, who also manage and promote the event. The river in the name comes from the Ohio river, which separates Owensboro from the state of Indiana.

Ohio native Mark Whitt specializes in the sounds of traditional bluegrass music. It’s reflected in all of his studio projects, especially his latest, Tennessee Moon.

Though all the material on Tennessee Moon utilizes full band arrangements, there are only three musicians on the project, Whitt of course is featured on lead vocals, while producer Clay Hess is featured prominently on guitar, mandolin, bass, and banjo on every track. Hess’ musicianship and use of multi-tracking really shows the depth of his talent on each instrument.

Tim Crouch’s fiddling is featured on all of the tracks as well. Of note is the use of twin fiddling on I Wonder Where You Are Tonight, Loving You Too Well, and Tennessee Blues. The technique proved to be effective on each of these songs with Crouch delivering strong performances on both the lead and harmony parts.

The track listing on Tennessee Moon is largely made up of bluegrass standards such as Somehow Tonight, I’m Blue I’m Lonesome, and Ridin’ The Midnight Train among others. The arrangements are fairly standard as well, similarly patterned after the original recordings.

Two of the tracks on Tennessee Moon are original songs. The album’s title song and Country Girl were both written by Mark Whitt. These are both solid tracks deeply rooted in traditional stylings.

Kings Harbor Shore by Emma Smith is a lesser known Gospel song with a great message about rescue and redemption. Mark’s vocals on this track fit the piece really well.

Tennessee Moon is a nice effort. While it is lacking in originality, the performances given by Whitt, Hess, and Crouch are enjoyable and make this recording worth a listen. Mark Whitt is a great songwriter. The two songs he wrote on this project are Tennessee Moon’s strong points. It left me as a listener wanting more. At any rate, Mark Whitt has a deep respect for traditional bluegrass which comes through on this recording.

We live in a world full of superstition. Perhaps this is the time to cue the drums to kick off that Stevie Wonder song, unless you object to drums, in which case cue the drum mounted on the bass and played by the bass player, who is definitely not a drummer and who is not playing a drum, as much as it may appear and sound that way. Come to think of it, believing that a drum mounted on a bass isn’t a drum at all is itself a kind of superstition.

Superstition is everywhere, especially in gambling and professional sports, and sometimes in gambling on professional sports (“Don’t bet on the Cubs” isn’t superstition, by the way, just sound statistics-based advice). Baseball players are famous for it: Willie Mays would always touch third base when coming in from center field at the end of an inning. Turk Wendell was known for brushing his teeth and chewing licorice (probably best to do that in reverse order) in between every inning.

Then of course you have the “playoff beard” in hockey. You’re also supposed to avoid touching the conference cup for fear that it might somehow prevent you from winning the Stanley Cup. 

Gamblers don’t like to walk in the front door of a casino (that can get awkward if there’s no side or back door). They also don’t like counting money at the table (Kenny Rogers has warned about this time and time again), but that may just be a wise security measure.

Do we have superstitions in bluegrass music? Oh we have plenty of them, but like a lot of things related to our music, they don’t get a lot of mass media attention. Here are a few that I’m aware of; I’m sure you know of others:

• Never play three Flatt & Scruggs songs in a row (unless you’re The Earls of Leicester).

• It’s okay to play three Bill Monroe songs in a row, but after doing it, the mandolin player in your band must turn around three times and say, “I miss you King Wilkie.” Failure to do this may result in a band vehicle breakdown later that night.

• If a bridge pin pops out of your guitar it means that somewhere a guitar player is blowing a g-run.

• If an MC messes up your band name, you’re going to have poor CD sales that day.

• If you perform Down in the Willow Garden at a bluegrass festival after dark, it needs to be followed by a song with the word “supernal” in it, or a serious accident involving a golf cart will take place on the festival grounds within 24 hours.

• You should always change strings where no one can see you.

• When singing Matterhorn, it’s good luck to use a different “A” name for “Albert the Australian” every time, like “Alvin the Australian,” “Alan the Australian,” “Aaron,” “Andy,” “Ambrose,” “Akbar,” “Alfonse,” “Arvid,” etc.

• Taking a band photo will lead directly to personnel changes within three months.

• Don’t wear socks on the day of an album or single release.

• Never let a bass cart or dolly cross your path.

• Never play a song in Bb on the night of a full moon.

These are thought of as superstitions, but like the counting money at the table mentioned above, these may just be bits of practical advice:

• Never carry twin fiddles in a band if you travel in a van.

• Never sing a quartet with only three singers.

• After eating garlic, don’t sing harmony on one mic.

• Underpaying band members leads directly to personnel changes within three months.

• When being paid in cash, don’t count your money after you’ve already left the building  (i.e. do count your money when you’re sitting at the table).

Old Crow Medicine Show at Meijer Garden in Grand Rapids, MI – photo © Bryan Bolea

Old Crow Medicine Show high-stepped their way into Meijer Gardens’ amphitheater from stage left and quickly let the sold out crowd know it was time to party. While the band’s characteristic banter and hijinks can sometimes make it seem that the lug nuts are about to come off, its musicianship, song selections, and willingness to address serious and potentially controversial matters always brings order to the chaos. It was notable that, aside from Wagon Wheel, the crowd’s biggest response came after a solemn song written and performed in support of the citizens of Ukraine.

Jaime Wyatt opened the night with a very strong and engaging performance which included many songs off her recent Neon Cross album.

Charlotte, NC will be the home for a new music festival this summer, with plenty of bluegrass and jamgrass in the mix. The Queen City Jam Session joins the ranks of the fastest growing live music phenomenon, the urban festival scene, when it debuts August 19-21 later this year.

Headliners include Greensky Bluegrass and The Infamous Stringdusters, along with Della Mae, Fireside Collective, Bill and The Belles, and a sizable contingent of Americana and alternative music acts.

Queen City Jam Session is a joint venture between Charlotte music promoters MaxxMusic and the NoDa Brewing Company, a popular regional beer with three brew pubs in the area. All of the music will be performed at their pub located at 2921 N. Tryon Street in Charlotte, close to the light rail line so attendees can safely enjoy the fare without having to worry about driving home. Food trucks will be on site all weekend with a variety of quick dining options.

Justin Fedor with MaxxMusic explained a bit about how the event is scaled at NoDa Brewing.

“We’ve had fun in years past holding day events at their Northend location with Steep Canyon Rangers as well as JJ Grey. Recently, NoDa Brewing has expanded that location which will allow for us to place two stages outside for our main event, and a more intimate taproom stage indoors. We will also host late night parties at the nearby Neighborhood Theatre on both Friday 8/19 and Saturday 8/21.”

These urban festivals are becoming more and popular around the country, as they offer facilities at the ready for promoters without having to set up out in the country, and music lovers can attend without any of the worries of travel or camping outdoors.

Tickets can be purchased now for the Queen City Jam Session online. A limited number of VIP passes will be available for $299 each, which entitle the bearer to a special seating area with a dedicated bar, 2 complimentary beers each day, plus complimentary water and express entry. Standard general admission tickets are $189 for all three days, or $89 for a single day.

More information and the complete lineup can be found online.

Ralph Stanley II at the 2022 Jenny Brook Bluegrass Festival – photo by Ted Lehmann

This report, with photos, is a contribution from Ted Lehmann, one of the more prolific writers and photographers in bluegrass music for many years. Now retired, he still attends festivals when he is able, and contributes commentary on occasion on his web site. We thank him for these thoughts and images.

Jenny Brook Bluegrass Festival, held annually in Tunbridge, VT at the Tunbridge Fairgrounds, has become an important staple, kicking off the New England bluegrass season in late June every year. Begun some years ago, the early festival outgrew its site and moved to the current one, which is highly flexible, able to contain large crowds with plenty of indoor space for special purposes. Promoter Candi Sawyer has amply fulfilled her vision with the strong support of her husband Seth, as well as two sons who have grown up with the festival.

Jenny Brook always highlights major national bands as well as focusing on the strong regional bands the region has a long history of nurturing. After a two year hiatus due the pandemic, fans were eager to get back to normal at a festival that has always presented plenty of jamming, a solid kids academy, varied food vendors, and a great sense of fellowship. This year, despite prior predictions, the weather was better than could be wished for, with not a single drop of rain.

As anyone even vaguely familiar with the instrument will tell you, the banjo had its origins in Africa long before it became synonymous with bluegrass and other forms of folk music. Nevertheless, the indelible imprint it’s made on esoteric American music has made it an instrument of choice among the practitioners of those seminal sounds.

Consequently, it’s little surprise to find a folk purist like Michael Johnathan devoting an entire album to celebrating the banjo in all its varied forms. That said, Cosmic Banjo isn’t a scholarly exercise by any means. His reverence for tradition notwithstanding, he takes its sound to several extremes, from the obvious (the age-old folk standards In the Evening and East Virginia Blues, a banjo-based remake of the evergreen classics Summertime and Blue Skies, an instrumental of his own entitled Moonfire, and a reworked version of Mr. Bojangles entitled Ballad of Bojangles, featuring John McEuen on mandolin), to the unexpected (a live How Can I Keep from Singing with the Niles String Quartet and the traditional tune, Darlin’ Corey, recorded alongside a 21 piece string section, Rob Ickes on mandolin, and McEuen featured once again on mandolin). 

From there, Johnathan veers into the unorthodox, courtesy of the decidedly psychedelic title track and The Baghdad Breakdown, a mesh of middle eastern sounds applied to a bluegrass template, with support from Sam Bush, Ronnie McCoury, and John Cowan, among others. However, in terms of sheer entertainment, Ban-Jokes, Johnathon’s live monologue detailing practically every banjo joke known to men — examples: “What do you call a beautiful woman on the arms of a banjo player? A tattoo,” or “What’s the best way to tune a banjo? Wire cutters”  — adds more than a hint of humor to the proceedings.

That said, Johnathon’s reverence for the instrument is undeniable, and while Cosmic Banjo may represent a decided detour from his previous 17 albums, it underscores his affection in full. Anyone that considers themself a banjo enthusiast ought not ignore it.

Authentic Unlimited at the 50th annual Charlotte Bluegrass Festival – photo © Bill Warren

The 50th Charlotte Bluegrass Festival is in the books. No tornado, and only one very light rain shower for part of the final act. It was a beautiful, sunny weekend. Charlotte is nearly always a festival of dodging raindrops and walking around in mud. Wes Pettinger and his crew always run things smoothly.

Dave and Traci Chichester with GBS handled the sound, and did a terrific job. Terri Grannis did the MC work for the afternoon shows, and Duffy Brown did the evening. Both are the bubbly personalities that keep a festival fun.

Friday morning kicked off with a songwriting workshop with Jennifer Strickland Zapolnik. It was followed by a mandolin workshop put on by Brian Oberlin of award-winning Full Cord.

The Amanda Cook Band kicked off the stage show. She has created a distinct sound that audiences completely enjoy. She can sing a really happy bluegrass murdering song! See her band if she is in your area.

The Po’ Ramblin’ Boys were up next. They continue to get better and better. They have given traditional bluegrass music a tremendous shot in the arm. I have watched Jereme Brown and Josh Rinkel grow from 13 year olds playing one song with Tommy Brown and the County Line Grass to well-seasoned musicians and entertainers. Tommy Brown joined the band for a couple tunes in the evening set. He sang A Robin Built a Nest on Daddy’s Grave bringing back memories of his fine band.

The new guys on the block, Authentic Unlimited, were up next. I am sure many people expected to hear Doyle Lawson-like sounds. These guys have taken Doyle’s discipline and influence and created their own sound. We have all spent years watching Stephen Burwell quietly hold down his end of the stage with DLQ. He can and does talk! He adds his personality to the mix. You will not be disappointed when you see this band.

Volume Five closed out the day’s stage show. This is a solid group of veterans who put on a great show. Troy Boone helped out in the afternoon set as a band member was broke down on the road and didn’t arrive until late afternoon. I did catch Aaron Ramsey, Troy Boone, and Jacob Burleson holding down a bench prior to the Volume Five evening set.

The “Old Hippie,” Jerry Eicher, and Uncle Elmo did a number of interviews in the motor home studio for the Old Hippie Radio Show.

Saturday had morning activities beginning with the Kid’s Corner hosted by Fiddlin’ Dixie. The kids played games, made shoe box guitars, wrote music, and got to pick on real instruments in a petting zoo provided by the Southeast Michigan Bluegrass Music Association.

Kevin Prater and Gary Isenhour hosted a guitar workshop, and Jake Burrows hosted a banjo workshop.

The Schlitz Creek Bluegrass Band led off the stage show, celebrating their 20th year. They “hail from the mountains of Kalamazoo, Michigan.” If any of you know Kalamazoo, you know just how – well you know the mountains of Kalamazoo?? They bring a high energy show to any stage.

Kevin Prater has been in bluegrass music for many years and is one of its premier lead singers. He has surrounded himself with a group of very talented musicians. Once in a while we get to see a performance that stands out. Kevin and his band had that kind of performance Saturday evening. Every song built on the previous one until the encore left the audience breathless. It was one of “those” shows!

Greg Cahill is leading the Special Consensus in its 47th year, and is a master at banjo styling. He can play anything from hardcore bluegrass to big band melodies. Special C is always a crowd favorite. In an unusual twist, Greg did not celebrate a birthday Saturday.

The Cleverlys closed out the 50th Charlotte Bluegrass Festival as only they can. Their unique music and humor were at hit with the Michigan audience.

Support your local music venues.

Don Hunt with one of his grandsons in the shop; Scott Hunt with his blue fiddle

While perusing social media, I came across a tribute to a fiddle maker, Don Hunt. I was intrigued by the story of a luthier who battled through injury and illness to maintain his craft, so I sent a message to Scott Hunt, Don’s son, who had written a song about his dad, and posted it on YouTube.

Scott refers to himself as a musical nerd, and while he resides in Florida, his roots have always been wrapped in true bluegrass. In 1982, somewhere in the middle of Missouri, Scott would have been seen on stage with Sundown, consisting of himself on fiddle, Steve Bode on banjo, Randy Kleindienst on guitar, Daniel Kleindienst on mandolin, and Eric Kleindienst on bass. He has worked as a musician ever since, playing bluegrass, country, and original acoustic music.

Scott’s father was a lifelong woodworker, and gained interest in the fiddle as his son was playing it. Never having luthier training, Don’s skill was completely self taught, something he handled with pride.

After Don’s passing, Scott reminisced on his social media page:

“Dad passed away in 2015 after a fall in the parking lot of his church. Kind of ironic after walking away from motorcycle accidents, car wrecks, plane crashes (yep), cancer, diabetes, and Parkinson’s, though in the end the cancer took its toll and he could barely speak above a whisper. While it definitely pissed him off, he never complained about any of the challenges.

On Mother’s Day weekend that year, dad, my brother Steve (“Fuzz”), my son, Andrew, my grandson (the “J” Dude), and I started a multi-generational project building a 5 string electric Mando; there are a handful of pictures of the mando in the video.

A lifelong woodworker and carver, dad learned to build fiddles while I was learning to play them. It was a unique team effort, since we both learned from each other. Dad supported and encouraged all of us kids to follow whatever path we chose. While he didn’t play an instrument, he always supported me musically…and in spite of having 5 kids, I never heard, ‘get a real job.’”

Seeing his father with diminished capacity prompted Scott to remember him in song. One day while Scott and Don were visiting about the making of a fiddle, Don made the comment that Parkinson’s was a hassle when it came to making his projects. Instantly, Scott had the first line. “That visual just stuck in my head. His hands are shaking as he winds the strings.”

“Dad built me a couple of fiddles and was on #3, which hung in his shop until just recently. There is a picture of the second one (blue, at my request) in the video, and you can hear it throughout the video.”

The Fiddler Maker was recorded in Edmond, OK at White Rose Studio. At the helm was Craig White. Producers were Scott Hunt, David Greene, and Gary Wert. Purposefully, Hunt stacked vocals and harmonies throughout the recording using 3 generations of family talent: Joey Panozzo, Brittney Hunt-Jassey, AJ Hunt, Shane Elizabeth McKinley, Sara Hunt, Andrew Hunt, and David Greene.

It took quite a while to create the project, but Don finally heard his son’s creation, with the blue fiddle, and his family harmony on Christmas Eve 2014.

Recently, Scott took the recording of The Fiddle Maker and made it into a video, set against a gallery of family photos.

What a lovely tribute, and one that will last forever.

Southbound at The Birchmere circa 1979 – photo © Akira Otsuka

Akira Otsuka, noted bluegrass mandolinist and photographer, has shared another of his archival photo galleries with us. This time we have his images taken in 1978 of Southbound recording at Track Recorders in Silver Spring, MD.

These two sessions (03/04/78 and 5/20/78) were to have led to the band’s second album, but they broke up before it could be released.

Southbound was a popular young bluegrass group on the rise in ’78, with two members, guitarist Jimmy Haley and banjo player Lou Reid, who became part of the original version of Doyle Lawson & Quicksilver in 1979. In fact, these sessions facilitated Lawson’s introduction to the group, and their abilities, when he co-produced this ill-fated project.

In addition to Reid and Haley, Southbound included Dennis Severt on mandolin and Doug Campbell on bass. The group had been active since 1973.

Akira shared a number of memories from this time.

When my Bluegrass 45 band from Japan toured the States in 1971, we met Lou Reid and Jimmy Haley. I believe they were 17 years old and they had an excellent band called Bluegrass Buddies in North Carolina. Lou really liked us (of course we liked him also), and he was hanging out in our bus all the time. He was like a big sponge absorbing everything and learning banjo, guitar, and mandolin, even though he was an upright bass player in Bluegrass Buddies.

When Southbound was recording their first album, every time somebody screwed up, the producer, Dick Freeland, would say, “If you don’t do it right, I’ll call Mike Auldridge and I know he would do it right!” – just to scare these young boys. Well, he actually called Mike without telling them, so you can imagine how surprised they were when they saw Mike walking in. Dick was teasing but after all, the band appreciated that Dick hired Mike to be on their album. Lou really liked the sound of reso-guitar, and he bought one and started practicing. A year later (I think) when they came back to record their second album, he had mastered enough to put down a reso-guitar track. An amazing musician.

A few years prior to that, recording engineer, Ronnie Freeland, and I went to see Jackson Browne at the Meriweather Post Pavilion in Columbia, MD. The opening act was the Section, four members of Jackson’s band. Their drummer, Russ Kunkel, made a very strange sound and Ronnie and I immediately stood up (we were way in the back) to find out what it was. Later we found out it was called Pollard Syndrum. The most popular song that features that Syndrum is Linda Ronstadt’s Poor Poor Pitiful Me – it is very distinctive. By the time Southbound came to record their second album, Ronnie had found out you could rent a Syndrum so we decided to put it on the Southbound album. 

One night I was in the studio when Doyle Lawson and Dick and Ronnie Freeland were wrapping up a Country Gentlemen mixing session. Dick asked, “Hey Ronnie, put that Southbound tape,” to seek Doyle’s opinion. Ronnie put the tape on and this listening session lead Doyle to producing the half of the album – Eddie Adcock produced the other half. Doyle said, “Obviously our approach to producing was a bit different. I thought it turned out to be a good record.”

One of the songs Doyle produced was an old Gospel song, Jordan. By this time the bass player, Doug Campbell, had been replaced by Jimmy Smith, and Rick Allred (mandolin), replaced Dennis Severt. I was not in the studio for this song but this is what Ronnie told me later on. Doyle showed Rick how the mandolin break should be. Doyle was a tenor singer with the Country Gentlemen, but on this version of Jordan, he sang baritone to Jimmy Haley’s lead vocal, Lou’s tenor, and Jimmy Smith’s wonderful bass vocal.

Doyle said, “When I decided to step away from the ‘Gents’ I remembered Jimmy Haley and his strong rhythm guitar, gave him a call, and the rest is history.” Rick Allred joined the Gentlemen to take Doyle’s place, and with Jimmy Haley and Lou Reid gone to Quicksilver, Southbound broke up and this second album was never released.

Maybe someday this cut of Jordan will see the light of the day since that is where Doyle Lawson and Quicksilver started.

Everybody look what’s going down! Straight off the Telluride Bluegrass Festival, Béla Fleck grabbed his all-star My Bluegrass Heart band and teamed up with best buds, Sam Bush and Jerry Douglas, and their bands to create happenings at special spots around the country. Happenings? Bluegrass Happenings! What pray tell are those? 

Well, it is world-renowned, Grammy-laden banjo player Béla Fleck presenting music from his recently-released Grammy-winning double-album, My Bluegrass Heart: his first bluegrass record in 20 years after his acclaimed Tales From The Acoustic Planet, Vol. 2, The Bluegrass Sessions, which was the sequel to his hailed Drive album. But that is not it. It is Béla with bluegrass mavens, Bryan Sutton, Sierra Hull, Justin Moses, Michael Cleveland, and Mark Schatz, which comprise this iteration of Béla’s My Bluegrass Heart band. Each an irrefutable master who throws down Béla’s plethora of euphonic, original My Bluegrass Heart tunes with vim and style.

And, if that is not enough, Béla’s long-time musical cronies, Sam Bush and Jerry Douglas, are joining this tour. Both Sam and Jerry played on My Bluegrass Heart. In fact, they also played on Tales From The Acoustic Planet, Vol. 2 and, cue the goosebumps, also on Béla’s first album ever in 1979: Crossing the Tracks. 43 years ago! Bela, Sam and Jerry have been playing together in different collaborations for a long, wonderful time. But, nothing like the current Bluegrass Happenings.

Dubbed the King of Telluride for his perch atop the bluegrass peak, Sam Bush is a newgrass pioneer, a mandolin marvel, a spectacular singer, and a fiddling phenomenon. He has constantly pushed the boundaries of bluegrass, and inspired myriad musicians following in his tracks. Oh, those many years ago, Béla was encouraged to think about who he really wanted on his first album so, as he explained:

“I started listening to everyone out there really carefully and started thinking who would be the best fiddle player to get, and I just found that I just love Sam Bush’s fiddling. Most people talk about him as being an unbelievable mandolin player, but I always thought his fiddle playing had this special soul. Very bluesy. Lots of bluegrass trad in there but also a very creative mindset.”

While their musical relationship started way back then, Béla and Sam’s bond is long, rich, and solid as a rock still today. “Sam Bush is in my blood,” says Béla. “The way we play together after eight and a half years in New Grass Revival, and then all the different things we’ve done since, we play like one person a lot of the time. And, that is a very special thing. You can’t make new old friends, you know?”

Jerry Douglas, probably the grooviest dude to grace the bluegrass scene, will be taking the Bluegrass Happening stage as well with pals, Sam and Béla. Jerry, the world’s preeminent dobro master, has also been playing with Béla for ions. Béla explained that Jerry also played on a couple tunes on his first album:

“It was amazing. I got him to play on a tune called Spain, and he was obviously the cat of the dobro even at that age. He was in his early twenties maybe. He has been a star since he had been in his teens. 

And, on their relationship now and Jerry’s playing, Béla expounded:

“We have all these years of musical dialogue and interaction. There has always been an amazing warmth between us when we play music. He is such a soulful character and a warm person, and it comes out in his music. He is one of the great melody players to ever pick up any instrument, and he is such a soulful player and improviser.”

But get this — which explodes the whole event into an absolute Happening, not just a show: both Sam Bush and Jerry Douglas have their bands with them! Wait. What? That’s right, it is Sam Bush with his band, the Jerry Douglas Band, and the My Bluegrass Heart Band. Whoa! It is going to be out of control good.  

Sam and his band rock it like no other. Accompanied by Stephen Mougin, Todd Parks, Wes Corbett, and Chris Brown, Sam delivers traditional bluegrass, newgrass, funk, reggae, and everything in between and nearby with quick-fingered precise playing and sweet-sounding vocals. And, the Jerry Douglas Band is a fireball of jazz, blues, country, swing, and a boatload of soul. You have to catch them play; it is astounding.

So, a Bluegrass Happening is like a traveling bluegrass festival wrapped up into one unbelievable evening. Béla’s thoughts:

“For me, of course, it is candy because I am not only going to get to play with the band I have with me for My Bluegrass Heart, but I will have Sam and Jerry come out and sit in on a couple of tunes. I get an extended My Bluegrass Heart lineup and have these bigger groupings, which I love. The band starts to turn into almost an orchestra on some of the songs – with different people playing different parts and orchestrating different lines. I love that! 

But, also Sam has an incredible band, a legacy band, that is still fresh and contributing great music. And, Jerry’s group is so good. They are just kickass and unusual, and so very Jerry.

Sam and Jerry are both two of the greatest musicians that we have in our bluegrass world, or I would say the whole musical world period. For me, just to be around those guys is a really big piece of why I wanted to do this project: so I could be interacting with them, which I wasn’t doing very much in these years of Flecktones and my collaborations with Chick Corea and Abigail Washburn.”

So, hey! What’s that sound? There is, indeed, something happening here. A Bluegrass Happening! A unique joining of three epic bluegrass forces — which you are not going to want to miss. Check out Béla’s touring schedule online now.

The Kody Norris Show at the 2022 Charlotte Bluegrass Festival – photo © Bill Warren

The Charlotte Bluegrass Festival is celebrating its 50th year at the Eaton County Fairgrounds in Charlotte, Michigan. Wes Pettinger took over promoting the festival several years ago and is continuing the top flight entertainment on the stage.

Thursday was kicked off by a newer Michigan band called Bridge. The band is a group of seasoned musicians from the Flint area.

They were followed by what Wes dubbed the 50th Charlotte Bluegrass band. The band featured some of the region’s best known musicians. Fiddler Isaac Smith toured with Marty Raybon for a time. Banjo player Jeremie Cole leads the Harbourtown band and promotes the Marshall Bluegrass  Festival. The duo of Brad and Lori Lambert on guitar and bass front the New Outlook band and promote the Howlin’ at the Moon festival in Wapakoneta, Ohio. The duo on dobro and mandolin rounded a solid performance.

Host band Harbourtown was up next who later closed out the evening show. They have been a staple at many festivals in the region. They were joined by new members Jennifer Zapolnik on bass and Troy Cole on snare. Banjo player Dana Cupp was the final banjo picker for Bill Monroe, and went on to play with the Osborne Brothers.

The Kody Norris Show burst onto the Charlotte stage for the first time. This group is filled with top-notch musicians that are great entertainers. They put on one of the highest energy shows seen anywhere. This is one of the “must see” bands.

Friday and Saturday bring the Amanda Cook Band, The Po’ Ramblin’ Boys, Volume Five, Authentic Unlimited, Schlitz Creek, The Kevin Prater Band, Special C, and The Cleverlys to the stage. There will also be workshops both mornings. Fiddlin’ Dixie and Lil’ Friends host the Kid’s Corner on Saturday morning. The Southeast Michigan Bluegrass Music Association will provide its instrument petting zoo for kids of all ages.

The campground pickers keep the music going throughout the day and night, so join the fun!

Support your local music venues.

With a 14 year history that’s found them releasing six well-received recordings, Breaking Grass — currently consisting of Jody Elmore (banjo, harmony vocals), Cody Farrar (guitar, lead vocals, harmony vocals), Britt Sheffield (bass, harmony vocals), Tyler Wrote (fiddle), and Zach Wooten (mandolin, harmony vocals), along with guests Randy Kohrs (dobro), and Aaron Ramsey (lead guitar, gong) — has seen exceptional success on the bluegrass charts, including several top ten entries on our own Bluegrass Today chart. Their musical mix brings in a number of diverse influences, which, combined with their steadfast devotion to bluegrass basics, often includes Gospel, folk, and a particular penchant for pop.

Somewhere Beyond offers another outstanding example of the band’s ability to infuse a mix of styles and sounds without ever veering too far from their chosen template. While most of the songs retain a traditional mix of fiddle, banjo, bass, guitar, and high harmonies, Breaking Grass also adds a certain gravitas that deviates from any expected revelry or routine. The down-home designs of 100 Degrees in the Shade take a despairing view of some original environs, while a somber-sounding The Gift, the shared reflection of Money Can’t Buy You, and the earnest intents conveyed with It Ain’t Enough, and Outrun the Wolf, all offer a series of perspectives as applied to an array of scenarios. Even Let the Good Times Go — a song that might appear at the outset to offer more of an upbeat attitude due to its title — is anything but, given its plea from a still hopeful husband that his wife will quit her carousing ways and return home to the family she left behind. 

That’s not to say Breaking Grass negates the upbeat emotions that bluegrass generally beckon. Free is as celebratory as its name would seem to suggest, while the closing track, Down in the Darkness, belies its title while attesting to the power of faith and salvation. It’s an uplifting ending to an album flush with shared sentiment and intuitive insight. That’s what takes Breaking Glass well beyond the obvious and expected.

Pinecastle Records has released a music video for Kim Robins, based on the song Memories of an Angel from her current album, Leave the Porch Light On.

It’s a somber number, written by Daniel Salyer, which is perfectly encapsulated in the video which switches between subdued color and black and white imagery. The lyrics tell of an elderly man who doesn’t know what to do with himself since his wife passed on.

Have a look/listen…

Memories of an Angel and the full Leave the Porch Light On album are available from popular download and streaming services online, or directly from the artist on her web site.

Mike Compton leads a mandolin workshop at the 2022 CBA Music Camp

The California Bluegrass Association Music Camp that immediately proceeds the Fathers Day Festival calls Wednesday transition day, which is a very applicable theme for life and this short column. Change can be hard for many but if a person or organization identifies the goals and maps out a transition plan with the right leaders, it doesn’t have to be painful.

Of course, CBA is no stranger to change and transition having moved the organization to engage youth, diversity, old-time music, and now geography judging by the ever-increasing presence of southern California events and participants. So it is no surprise that transition day is smooth sailing as the Nevada County fairgrounds location in Grass Valley expands nearly tenfold from a mellow and highly engaging camp to a full-on world-class music festival. I’m not going to list a lot of names for fear of leaving someone out but I must say that under the stewardship of board member, Karen Celia Heil, the camp transitioned in two new coordinators this year, Janet Peterson and Adam “Rosco” Roszkiewicz who did a bang-up job. I had the privilege of supporting them in the office for the camp and transition, and even though the slotted transition coordinator was unable to attend, it couldn’t have been smoother. 

Campers registration kicks off Sunday with most people checked in before the first meal Sunday evening. The schedule for the three days of instruction starts with breakfast then intensive morning classes before gathering again for lunch. The afternoon is made up of a wide range of electives, hosted jams, and the like before the very popular ice cream break followed by more electives. After dinner, there are various events including meet the instructors, Contra and Square Dances, Bluegrass Karaoke, more hosted jams, plus a staff concert and of course camp jamming that generally doesn’t go too late before starting all over the next day. The last day of camp concludes with student concerts, volunteer bands on Vern’s Stage, and a finale show this year featuring the band Grasswood. Special thanks must go out to the sound crew of Paul Knight & Colleen Conley for these shows which gives students a chance to experience playing on stage with the best sound in the business.

This year’s stellar list of instructors included Brandon Godman, Cary Black, Celia Woodsmith, Greg Blake, Greg Cahill, Jack Tuttle, John Reischman, Kathleen Rushing, Laurie Lewis, Leo Shannon, Mike Compton, Patrick Sauber, Riley Calcagno, Sally Van Meter, Sami Braman, Steve Pottier, Vickie Vaughn, and Vivian Leva. Lastly, as reported here in 2019, the Director of the CBA Youth Academy and co-founder of Della Mae, Kimber Ludiker put together a parallel camp just for kids featuring classes, concerts, jamming, and other surprises.

One of the traditions of the Fathers day Festival is for artists to sing or play the national anthem just before the music begins on the main stage at 10 AM. The following video with Brandon Godman and Miles Quale captures the Thursday morning beginning of the festival and ending of the camp transition.

Video by Dave Berry and Mariaelena Quale

Photos by Dave Berry, Alan Bond, and John Woodworth

The Analog club, located in the Hutton Hotel in midtown Nashville, has launched what they plan to be an ongoing commitment to host at least one bluegrass concert each month.

The venue differs from other Music City show spots for bluegrass in that it is set up as more of a living room than a lounge, with seating in comfy couches and around a curved bar. They specialize in local Tennessee craft beers on tap, fine wine, and specialty spirits in a comfortable and welcoming environment. You may not want to take someone to the Station Inn on a first date, even if you have a blugrass evening in mind, but Analog Nashville might be just the thing. It’s a very nice place with interesting decor and a listening room vibe.

Their first bluegrass concert is scheduled for June 28 when The Kruger Brothers bring their unique instrumental and vocal sound to town. Tickets are $30 in advance and $35 day of for a 7:00 p.m. start time. 

Uwe and Jens made this short video to invite everyone out.

Advance tickets can be purchased online.

Other bluegrass shows booked for this year at Analog Nashville include:

• August 23rd – Rob Ickes and Trey Hensley
• October 11 – Mr. Sun
• December 13 – Jake Blount

Meredith DiMenna, who is booking these shows at Analog, tells us that she has feelers out to several top acts and will be announcing more dates shortly.

You can stay on top of bluegrass at Analog in Nashville by joining their email list online.

Gary Saunders, a beloved western North Carolina musician who passed away in 2020, was remembered last Saturday at Whippoorwill Academy and Village in Ferguson, NC. The multi-instrumentalist was celebrated with picking, grinning, and storytelling,

“We had the most wonderful day for Gary Saunders’ celebration of Life. Over 100 folks came out for music, stories, an auction, and refreshments. The weather was perfect and the Whippoorwill Village views of the Blue Ridge Mountain were amazing,” said Sharon Underwood, a fan and music friend of Saunders.

“The best part of the day was when Gary’s five-year-old grandson, Hadley Saunders, played the little guitar that Gary had given him. He played with the Catawba Bluegrass band at the end of the program on a medley of I’ll Fly Away, Amazing Grace, and Will the Circle Be Unbroken.”

Saunders, 67, of Lenoir, NC, died on August 10, 2020. A versatile musician, Saunders performed in several local bands including the Neighbor’s Bluegrass Band, the YaYas, and the Catawba Bluegrass Band. Additionally, he was an active member of the Wilkes Folk Music Society and volunteered annually with MerleFest.

Attendee, Suzanne Williams, stated, “(It was a) beautiful afternoon celebrating the life of Gary Saunders with tributes, stories, and music. The perfect way to remember him. He will always be missed.”

Linzey Ham whose band, the Catawba Bluegrass Band, performed, agreed. “Great day!”

During his celebration of life, Gary’s wife, Marcie, told some ‘Garyisms’ on her late husband. The couple had many happy years together. Gary’s son, Zeb, also shared thoughts about his dad.  Additionally, Tony Deal presented some hilarious Gary stories.

Susan Rhodes, President of Wilkes Acoustic Folk Society, reflected on the man. “Gary Saunders exemplified true Christian values. He loved everyone, never met a stranger. Loved music and enjoyed helping others learn to love music too. He shared his gifts with anyone and everyone. After meeting him, you left with a smile, a hug or an invitation to play music or fish. If you were real lucky, all three.”

A Dr. Banjo Jam Camp Scholarship has been established in his memory. The annual scholarship will award one deserving recipient (for ages 10 and above) to attend The Pete Wernick-Dr. Banjo Camp, covering the three-day tuition. Held during the week of MerleFest, the camp is located at YMCA Camp Harrison in Boomer, NC. Rebecca Myers was the first recipient. Money for the scholarship was raised by friends and family of Gary and it is being managed by the Wilkes Acoustic and Folk Society. Donations are still being accepted.

Tax deductible donations can be mailed to:

Wilkes Acoustic Folk Society
Attention Treasurer: John Logsdon
PO Box 123
N. Wilkesboro, NC 28659-0123

Reference the check for Gary Saunders Memorial Scholarship.

Applications and details for the scholarship can be found online under scholarships.

Bonfire Music Group is trumpeting the imminent release of their self-titled project for Circus No. 9 with a bluegrass single, The Place That I Call Home.

The song was written by mandolinist and vocalist Thomas Cassell with Jon Weisberger, and the lyrics describe a garden, but might perhaps actually be recalling an inner dialogue. You can draw your own conclusion. Circus No. 9 is not always a straight ahead bluegrass outfit, but this one is right down the line, with a bit of a John Hartford vibe.

Cassell is supported by his bandmates, Ben Garnett on guitar and Vince Ilagan on bass, with banjo from five string wunderkind Matthew Davis, who has since left the group at attend seminary, and guest fiddle from John Mailander.

It’s a terrific track with some fiery instrumental exchanges. Have a listen…

The Place That I Call Home is available now from popular download and streaming services online. Radio programmers can get the track via AirPlay Direct.

The full Circus No. 9 album will be released on July 1.

After a six-year hiatus, the Doc and Rosa Lee Watson MusicFest ‘n Sugar Grove returns next month to the mountains of western North Carolina.

The July 16 festival includes a lineup featuring The Del McCoury Band, Kruger Brothers, and Terry Baucom and the Dukes of Drive. Also on the bill is Charles Welch, one of Doc’s close friends and a first-call collaborator. The event, sponsored by Cove Creek Preservation and Development, will take place on the grounds of the historic Cove Creek School in Sugar Grove, NC. The school, which is on the National Register of Historic Places, also houses the Doc and Merle Watson Folk Art Museum.

The festival began as a local celebration of Doc Watson Day, a smaller, shorter bookend to MerleFest, a world-famous event that Doc inspired in nearby North Wilkesboro, NC. Organizers suspended the event in 2016, so building repairs could be made. A reset was targeted for 2020, but COVID put those plans on the shelf. Now it’s back, 20 years after its founding.

Watson, who died in 2012, won seven Grammy awards and a National Medal of the Arts. He is a member of the International Bluegrass Music Hall of Fame. His wife, Rosa Lee, also died in 2012.

More information about the festival and a link to purchase tickets can be found at the festival web site.