Monthly Archives: February 2023

Greensky Bluegrass in Grand Rapids, MI (2/22/23) – photo © Bryan Bolea

With a slow moving ice storm closing schools, knocking out power, and making driving treacherous (and walking worse), the boys of Greensky Bluegrass and the management of The Intersection surely considered cancelling Wednesday’s show. But a badass Michigan band can’t let a little winter weather stop them, and you don’t cancel “Casual Wednesday,” so they plowed on and, from the looks of things, nearly everyone who had purchased a ticket to the sold out show showed up.

Whether because of the storm, because it was a midweek show,  or because there was not an opener, it seemed like it took a bit to get everyone’s heart rate up, but after a few songs, the band and the crowd began to feed off each other, and for a few hours, it was Spring and we were at a festival. 

The East Tennessee State University Bluegrass, Old-Time, and Roots Music Studies program, which is included in the school’s Appalachian Studies department, has announced a number of new faculty members in the program.

Seven teachers are joining as adjunct instructors, who Program Director Dan Boner says will offer a variety of skills and experiences to their students.

“These talented instructors support our new concentrations in Bluegrass Music Profession, Audio Production, Old-Time Music, and Scottish and Irish Traditional Music. This combination of successful alumni, industry professionals, and bluegrass business leaders will help ETSU students stay one step ahead in the ever-changing musical landscape we are experiencing.”

New faculty include:

• Andrew Small is teaching acoustic bass and leading band classes. His performance background includes time with Mandolin Orange, Sierra Hull, and the North Carolina Symphony, as well as his current gig on bass with Bill and The Belles.

• Paul Schiminger, former Executive Director of the IBMA, is offering a course on finance and legal issues in the bluegrass profession. Prior to leading IBMA he had a long career in financial services and non-profit management.

• Troy Boone is teaching mandolin and audio production. The current mandolinist with Amanda Cook, he had also spent time touring with Sideline.

• Angelica Branum teaches vocal lessons and offers band coaching. She has been singing bluegrass all her life, and has performed with many top artists, Rhonda Vincent, Marty Raybon, Frank Solivan, The Stringdusters, and Country Current among them.

• Katherine Forbes offers courses on marketing, identity, and creative strategy in the bluegrass industry. She is the founder of Designing the Row in Nashville, and has worked with people across many creative disciplines.

• Jacob Metz teaches lessons in banjo and reso-guitar, the instruments he plays in his current gig with Darin & Brooke Aldridge.

• Aynsley Porchak will both offer fiddle lessons and serve as a lecturer in American Roots Music. An accomplished fiddler, she is the first to win the Grand Master Championship in both the US and her native Canada. She currently performs with the Tennessee Bluegrass Band.

ETSU Bluegrass, Old-Time, and Roots Music Studies confers a bachelor’s degree in its discipline, as well as minors. Full details can be found online.

The department is also accepting applications now for an Artist in Residence for the next academic year. This is a full time position for one year, though it can be renewed. The successful candidate will have experience in some or all of these areas: a performance residency at a local venue; workshops or masterclasses within the program and community; band leadership and mentorship; private instruction; public lectures, performances, or collaborative presentations; written or musical publications; course development and instruction in the candidate’s area of expertise.

They are also expected to have:

• Professional-level musical ability and experience.
• Excellent oral, written, and interpersonal communication skills.
• Up-to-date and experiential knowledge of the bluegrass and roots music industry.
• Ability to promote the program to a wide range of audiences.
• Ability to collaborate with students to create musical work.
• Ability to help prepare students for careers as bluegrass or roots music professionals.
• Commitment to fostering a collegial learning environment in which equity, inclusion, and innovation are encouraged.

The position offers a $65,000 salary, with benefits.

Prior Artists in Residence at ETSU have included Brittany Haas and Mike Compton.

Anyone interested in applying will find all relevant details on the ETSU jobs site. Specific questions or concerns can be addressed to Dr. Ted Olson by email.

Bill Evans — he of banjo and bluegrass fame as opposed to the jazz musician of the same name — spent the last three years working with an array of notable collaborators in order to deliver Things Are Simple, this mostly instrumental offering. As a result, Evans — who happens to be the most recent winner of the Steve Martin Banjo Prize — is clearly in good company. Instrumental support comes courtesy of Chad Manning and Darol Anger providing support on fiddles, John Reischman contributing mandolin, Jim Nunally playing guitar, and bassist Sharon Gilchrist locking in the rhythm that underscore it all.

The result is a series of mostly rousing and robust offerings, with songs such as Sierra Blanco, Along Came Sonny, Gertie & Jake, and the traditional standard, Chinquapin Hunting, all performed with a full frenzy. On the other hand, there’s another side to the proceedings as well, courtesy of various selections that are, by contrast, decidedly subdued. Black Range Waltz, for example, allows for what’s best described as a soothing serenade. True He’s Gone comes across like a solemn lament, while Midnight at Rosine combines fiddle with the pluck of strings, providing some meditative musings and a more tender tone that’s infused in the album overall. 

Still, it’s the title track itself that brings true messaging to the music. It marks Evans’ vocal debut as part of a duet sung with his wife, Babi. A subdued yet spiritual offering, it’s well in keeping with the calming theme the name implies. Indeed, in a turbulent and topsy-turvy world, the words are well worth remembering. Likewise, as one of two vocal tracks that feature prominently on the album, it underscores a certain spiritual sensibility as well.

In that regard, Things Are Simple serves as a reminder that, despite even the most tedious and tiresome set of circumstances faced on a daily basis, there are other alternatives when it comes to achieving a contented state of mind. Credit Evans with providing some creative counseling. 

The Gibson Brothers with Mike Barber at The Analog – photo © Allen Clark

On February 18, The Gibson Brothers appeared at The Analog, a unique and intimate listening room situated in The Hutton Hotel in Nashville. They brought along longtime bass player, Mike Barber, and were joined on stage during their show by a couple of old friends.

Eric Gibson recalls how much of a blast he and Leigh had that night.

“What a fun night that was. At one point I had Jerry Douglas in my right ear, and Del McCoury in my left. How do you beat that? We were so honored to share the stage with those legends.”

Photographer Allen Clark was on hand for their set, and shared these terrific images from the show.

The Country Gentlemen Tribute Band, which is exactly what the name describes, will include some new faces when they hit the road in 2023.

Band leader Mike Phipps tells us that their reso-guitarist Geoff Gay and bass player Eric Troutman have decided to leave the band.

“For many of us in bluegrass, it is a difficult job balancing work, family, and travel on the road. So is the case with both Geoff and Eric.

Since COVID has settled down, we’ve started getting more and more bookings, and it is becoming more difficult for the two of them to commit to our schedule. Their last show with us will be Saturday, March 11, at the Court Square Theater in Harrisonburg, VA.

We hope to give them both a good send off with the great folks from the Shenandoah Valley there.

Geoff joined the band in the spring of 2018, replacing long-time member, Mark Clifton. Eric came back to the band in the summer of 2018, replacing Mike Conner. He had previously been a member of the band from 2011 through 2013, after which he joined Danny Paisley and the Southern Grass.

It’s been a great privilege to have traveled and performed with Geoff and Eric. They will be missed. They are both class acts and have offered to help fill in if we need a substitute for a gig in the future, and are also featured on the new recording we have coming out this year on the Patuxent Music label.”

The Country Gentlemen Tribute Band was formed by former Gent, Bill Yates, in 2005, who led the group until his passing in 2015. Phipps has continued the band going forward, and his spot-on impression of Charlie Waller’s voice has left many an audience spellbound with the classic Gentlemen sound.

Remaining with the band going forward are Dave Propst on mandolin and Lynwood Lunsford on banjo.

An announcement about new members will be forthcoming.

The Grascals at the 2023 Florida Classic – photo © Bill Warren

The 2023 Florida Classic has concluded. Ernie and Debi Evans can feel really good about this show. Great entertainment, perfect weather, and a big crowd always makes promoters smile.

Every band that graced the Classic stage had praise for MC Sherry Boyd. Words like “best on the planet” were used!

Justin Mason and Blue Night did their second set of the weekend. How many people do you know that live in Christmas? Blue Night fiddler Lester Canada and EMS Artist Relations Director Clarence Canada live in Christmas, Florida. Blue Night is steeped in traditional bluegrass music. Mary Kate Brennan can belt out some of the best old time country music to round out the sound.

Swinging Bridge is another Florida band that plays both traditional country music and bluegrass. They are popular at many Florida festivals.

Don Rigsby and the Fly-By-Nights is one of the good bluegrass bands that we don’t see enough. Don is a singing machine. He always delivers full measure. He was joined by Elmer Burchett, Chris Davis, and Calib Smith.

Dennis Lee and Stephanie Ann completed their two day stint at the Classic with their combination of humor and music.

The Atlantic City Boys closed out the Friday show. They are a tribute band to the late ’50s and early ’60s music in the style of Frankie Valli.

Saturday opened with the annual car show. There were vintage cars and trucks on site.

Catching the EMS sound crew all in one place at one time is a daunting task. I finally caught up to them Saturday morning. They are Rob Karaitis, Steve Holdeman, Gabe Bauman, Josh Griffin, Larry Payton, and Clarence Canada. They kept things on track in the midst of a lot of major equipment changes. Good job guys.

Florida band Remedy Tree opened the stage show. Husband and wife team of Gabriel and Abigail Acevedo anchor the band. They play a lot of old time mountain music.

Swinging Bridge played their second set of the weekend. They can be seen in a lot of Florida venues.

The Grascals put on two top notch sets of music. The band is celebrating its 19th year. Danny Roberts, Terry Smith, and Jamie Johnson are founding members. Jamie Harper held down the fiddle spot with the departure of Adam Haynes. The Grascals Trio of Jamie Johnson, Terry Smith, and Kristin Scott Benson wowed the audience.

Adam is appearing for his first trip out with Rhonda Vincent and the Rage. Many words have been written about the “Queen of Bluegrass.” Please allow me to add “consummate professional.” She had a medical procedure earlier in the week that made playing her mandolin difficult. She soldiered on with a smile on her face.

Grand Ole Opry member Gene Watson closed out the festival with a show of his hits. He has been one of the best country singers since the mid-’60s. Rhonda joined him for a couple duets. Gene will celebrate his 80th birthday at the Opry in October of this year.

Evans Media Source will welcome fans to the Spring Bluegrass Fest, March 23-25, at the former Sertoma Youth Ranch.

Support your local music venues.

Pinecastle Records has released a first single from their next album with bluegrass music’s beloved Danny Paisley, and his Southern Grass. There have been few artists in our music as deeply admired and cherished as Danny has been throughout his career, and with this new track, he also features a rising talent from Wyoming, Sage Palser.

This is our first recorded taste of Danny’s voice since beating throat cancer last year, and it hasn’t lost a drop of the passion and emotive quality we have loved for so many years.

What Crosses Your Mind is a new waltz tempo tearjerker, written by David Stewart and Sage Palser, who duets with Paisley on the track. Sage is a member of Prairie Wildfire, along with two other talented young grasser girls from the great plains. She does a fine job stacked next to such an iconic and highly-recognized singer as Danny Paisley.

The two are supported by the members of Southern Grass, Ryan Paisley on mandolin, T.J. Lundy on fiddle, and Bobby Lundy on bass.

Have a listen…

What Crosses Your Mind is available now from popular download and streaming services online. Radio programmers can get the track via AirPlay Direct.

Sideline at the 2023 Florida Classic Music Fest & Car Show – photo © Bill Warren

There have been years at the Florida Classic where mittens, boots, and heavy coats were in order. Not this year. The temperature was close to 90 on day one, and promises more of the same for the rest of the festival. This puts a smile on promoters Ernie and Debi Evans’ faces.

The sunshine even put a hat on MC Sherry Boyd’s head!

Justin Mason and Blue Night kicked off the weekend. They are a highly sought-after Florida band. Justin is the face and voice of Florida bluegrass. He keeps everyone abreast of statewide happenings, and is joined by EMS sound tech, Josh Griffin, on banjo, Mary Kate Brennan on lead vocals, Lester Canada on fiddle, and Nico on bass.

Sideline made their next to last Florida appearance. Matt Flake filled in on fiddle. Steve Dilling announced that Jamie Harper is auditioning with the Grascals this weekend, so we will see him Saturday.

Dennis Lee is a comedian/country singer who is doing the Florida winter circuit. He was joined by fiddler, Stephanie Ann. Ron Cornett had the opportunity to interview them on his radio show.

The Malpass Brothers closed out the day’s stage show. One of their show highlights is keeping the memories of the Louvin Brothers alive. Chris has Charlie’s guitar and Taylor has Ira’s mandolin. They do several Louvin songs using those instruments.

Friday sees the return of Blue Night and Dennis Lee, along with Don Rigsby, Swinging Bridge, and the Atlantic City Boys.

Saturday features Remedy Tree, Swinging Bridge, The Grascals, Rhonda Vincent & the Rage, and country legend Gene Watson. Gene is doing his farewell tour, so get out to see him if you can.

Support your local music venues.

The union of guitarist and harmony singer Big John Talley and lead singer and bassist Starlett Boswell has provided some fortuitous possibilities ever since the two met a mere three years ago. That was initially borne out with the release of their well received single, Straight 58, and the duo’s debut, Till The End Of The Road. Now the promise comes to full fruition with the release of their latest effort, the expressively detailed Living in the South.

Joined by guests Ron Stewart on fiddle, dobro, and harmonies, David Carroll on banjo, and Johnathan Dillon on mandolin, the duo share a mix of bluegrass, country, gospel, and Americana, courtesy of a set of songs that runs a stylistic gamut in equal proportion. Not surprisingly then, the music is generally upbeat, as typified by such songs as the effusive opener, Makin’ Tracks to Macon, the able and affable Quit Quittin’ You, and the rollicking Makeup and Faded Blue Jeans.

On the other hand, certain songs — The Ties That Bind, Slowly Let Me Down, and the tender and touching twosome consisting of Deepening Snow, and the title track — are all graced with a subtler sheen, one that allows for both beautiful balladry, a lilting pace, and an immediate engagement. Given the tight-knit blend of fiddle, banjo, mandolin, guitar, and Starlett & Big John’s down home harmonies, the results are manifest in a sound that’s exceedingly affecting from start to finish, stirred through sentiment and the clear commitment of all those involved. 

So too, the pair have plucked inspiration from a diverse and distinctive palette, courtesy of a selection of songs that includes an equal number of their own originals alongside classic tracks from Fred Rose, Merle Haggard, Harlan Howard, and Sonny Throckmorton. Taste and talent obviously go hand in glove as far as this dynamic duo is concerned. 

Although both artists can claim credible careers each on their own, Living in the South finds them as a formidable pair, clearly capable of drawing from the strengths each is able to bring to the fore. As the title implies, southern living has its charms. Thanks to Starlett & Big John for making that attitude so apparent.

Olivia Jo is a rising bluegrass artist with a sweet singing voice and a deep love for the traditions of the music, both in evidence on her second single, a recut of Mighty Mississippi, which many grassers will recall from the very first Doyle Lawson & Quicksilver album in 1980.

Though she recorded a pair of bluegrass records as a pre-teen, the country scene eventually called when Olivia Jo was 16, and she made a number of recordings in that style. Still a young woman, she is finally back to her first love, singing the bluegrass that enamored her as a child. Olivia recalls that the first song her mother ever taught her to sing was Blue Moon of Kentucky.

She tells us that it was her fascination with the history of the music that led her to find the origins on the song chosen for this second single.

“I had never heard the original version of Mighty Mississippi until I did some digging, and found that it was originally recorded and released by The New Christy Minstrels back in 1963, and written by one of the group’s members, Randy Sparks. I had only listened to Doyle Lawson and Quicksilver’s cut from the original band album, which I love. I was immediately hit by the contrast of the two versions and could appreciate both for their individuality. Truthfully, I think that’s the beauty of doing a cover song. You can create something new and fresh while still keeping the integrity of the original song alive; and that’s what I strived to accomplish with my take of Mighty Mississippi.”

Olivia Jo gets support from a stout band that includes Ron Stewart on banjo and fiddle, Shawn Lane on mandolin, Barry Bales on bass, and Lou Reid, who performed on the 1980 Quicksilver recording, adding guitar and harmony vocals.

Have a listen…

Mighty Mississippi from Olivia Jo is available now from popular download and streaming services online, Radio programmers can get the track via AirPlay Direct.

Steep Canyon Rangers at the Bijou Theatre in Knoxville (2/17/23) – photo by Alissa Cherry

To describe the Steep Canyon Rangers as one of the best bands in bluegrass simply misses the point. After witnessing them live in concert, it becomes clear that they’ve clearly transcended any single genre, and even though they remain true to their bluegrass roots, while singing in sync around a single microphone and playing all acoustic instruments, the fact remains that they aren’t confined to any particular parameters. 

The band’s remarkable performance at the Bijou Theatre this past Friday night (2/17/23) offered a perfect case in point. Their first return to Knoxville in nearly a year — a city they refer to as one of their prime stomping grounds, and one that lies a relatively short hop across the mountains from their home in Brevard, North Carolina — it also marked the introduction of singer/songwriter/guitarist Aaron Burdett, who joined the band after the amenable departure of founding member Woody Platt last year. 

“We had a song on the bluegrass charts, but then we noticed the song above us was by this guy Aaron Burdett,” singer, songwriter, banjo player, guitarist, and Steep Canyon stalwart Graham Sharp noted. “We said, ‘Who is this guy? I don’t think I like him.’ But you know what they say, if you can’t beat them…”

Indeed, Burdett has integrated well into the Steep Canyon fold, sharing his songs through a seemingly seamless transition. In truth however, this is one of the most durable groups of musicians one might ever encounter, given the fact that the majority of its members share lead vocals, and most are adept at any number of instruments. Mike Ashworth, who plays a prime role as the band’s drummer — admittedly a rarity in bluegrass realms — is especially versatile given the fact that he also takes turns on bass, dobro, guitar, and banjo at various intervals throughout the performance. “There’s only one instrument on the stage he hasn’t played,” Sharp noted at one point, alluding to the stand-up bass. “And he gets grumpy if he doesn’t get to play it.”

He was joking, of course, but there’s no denying the verve and versatility each of the musicians possesses. Fiddler Nicky Sanders shares a certain energy and exuberance, and when he takes his solos, he becomes a whirling dervish at the center of the spotlight. Mike Guggino provides tones and textures on mandolin while taking a fair share of the backing vocals. Since his own arrival in 2018, Barrett Smith has also proven to be an able front man, frequently taking lead vocals while propping up his bass, or taking a turn on acoustic guitar. Sharp, who along with Guggino, has been with the band since the beginning, and could be considered one of the group’s de-facto leaders, graciously gives the other members ample opportunity to share center stage.

As a result, Steep Canyon Rangers are a remarkably seamless ensemble, one that finds each musician playing an equal role in their shared serendipity. The band was so cohesive in fact, that certain songs seemed somewhat subdued at first. It owed nothing to do with a lack of enthusiasm, but instead to the confidence and credence put forth as a solid and seasoned unit. Likewise, several songs would start quietly and build to a heightened crescendo, another example of the fluidity and finesse the Steep Canyon Rangers have at their command. 

Consequently, the set list offered a mix of familiar fare and new offerings culled from a recently recorded upcoming album, as well as a few of Burdett’s own originals. As Sharp later told this reporter, because of the fact that the band performs so frequently in Knoxville, they wanted to offer something new. So while songs such as Call the Captain, Stand and Deliver, Honey On My Tongue, and Afterglow were naturally well received, so were the new entries as well, particularly Carolina Gals which opened the second set.

The band’s allegiance and affection for Carolina is, of course, a matter of deep devotion. Consequently when Barrett took the microphone for a tender and touching rendition of James Taylor’s Sweet Baby James — a track that appears on the band’s album, North Carolina Songbook, as recorded live at MerleFest in 2019 — it made for one of the most emotionally resilient moments of the entire performance.

Another cover, that of the Traveling Wilburys’ End of the Line, proved equally emphatic.

Then again, the fact that the Steep Canyon Rangers continually hold their audience in a steady sway makes it difficult to single out one particular moment over all else. This is a singular outfit after all, one that never fails to put on the best performance possible, while reaping the appreciation of a grateful audience in return. Friday offered yet another ideal example. 

Outgoing CBMS President Kevin Slick welcomes his successor, John Pierce

Speaking of the Colorado Bluegrass Music Society, which we were earlier this week, it turns out that the organization has seen a change of leadership.

After serving as President of the Society for six years, Kevin Slick has stepped down to focus his attention on his other CBMS chores, specifically managing the large historical archives of Colorado bluegrass history, and working on photography and graphic design for the organization.

He tells us the he made the decision himself, saying, “There was never any mention in the by-laws about how long a President was to serve, but six years seems like a good round number to me.”

Accepting the role of President is John Pierce, who has been serving on the Society’s Board of Directors. He is a previous Treasurer and webmaster for CBMS, and is familiar to Colorado grassers as a performer with a number of regional groups, including Reckless Folk. He has been sharing his photography with the organization for some time as well.

When he first agreed to serve as President, John joked that maybe he would get a Presidential sash, so one was created for his installation.

CBMS is an all volunteer, 501(c)(3) organization, so membership and other donations are tax deductible.

Bluegrass associations like this play a vital role in helping to preserve and promote the music, especially outside the areas where it first developed. In fact, their hard work is part of what has helped make bluegrass endemic now around the world.

Congratulations to John Pierce and CMBS.

Rick Faris – photo by Scott Simontacchi

OK all you ’80s pop and rock radio fans…

Tomorrow is the release date for the new Dark Shadow Recording single from Rick Faris, a grassed up arrangement of The Power of Love, a monster hit for Huey Lewis & The News in 1985, which was featured in the blockbuster film, Back To The Future.

It was the first #1 song for Lewis, and started a string of hits for the group that lasted several years. Those of us who recall 1985 know that the song was nearly inescapable back then, and the movie made it recognizable worldwide.

Faris has assembled a strong supporting cast for this track, the first from his next project, Uncommon Sky. With Rick on guitar and vocal, we also have Luke Munday on banjo, Laura Orshaw on fiddle, Harry Clark on mandolin, and Zak McLamb on bass. Faris and Stephen Mougin add vocal harmonies.

Rick tells us that he had a blast cutting this one.

“This is a song of my childhood from one of my favorite movies. This song was so much fun to reimagine with Stephen Mougin producing the plot, and the amazing cast of friends acting out with their talents and personalities. Grab your shades and ’80s-anthem-out with us.”

It’s as much of a good time bluegrass as it was as a movie theme. Check out the video of them in the studio.

The Power of Love from Rick Faris will be available February 24 from popular download and streaming services online.

The full Uncommon Sky project is expected in June.

Two of the artists who participated in the landmark recording, The John Hartford Fiddle Tune Project, have collaborated with another respected player to take the music from the Project on tour next month.

The album was produced by John’s daughter, Katie Hartford Hogue, along with Matt Combs, to honor the great man’s musical legacy. Tunes were selected from Hartford’s voluminous collection of fiddle tunes, saved in his dozens of handwritten journals.

Now fiddler Megan Lynch Chowning and mandolinist Tristan Scroggins, both of whom appeared on the album, will be touring with banjoist Adam Hurt to share the tunes live on stage. Billed as The John Hartford Fiddle Tune Project: The Tour, this trio of string musicians have booked a number of shows in Virginia and North Carolina in March.

They will also be offering workshops at selected locations, talking about the importance of Hartford’s music, and teaching tunes from the album to attendees.

Here’s video of Adam, Tristan, and Megan performing Tennessee Politics.

All the tour dates are listed online, including additional dates in May and November of this year when they take the show to Colorado and California.

After more than four decades as a sideman, bluegrass electric bass player and vocalist Curtis Vestal has released his second original song in three months.

If you don’t recognize the first name, you certainly know the last. Curtis is younger brother to banjo legend Scott Vestal, and the two played together with a young Russell Moore on mandolin as members of Southern Connection in Texas for three years in the early 1980s, before Russell and Scott left to join Doyle Lawson & Quicksilver in ’85.

Time is both the name and the subject of Curtis’ new song. As he explains…

“It’s one I wrote one afternoon as I was sitting on the back porch, reflecting on a couple of memories from my childhood, and these words came to me. I had it penned in just a few minutes. I knew I wanted a blues type feel for the music, and that part took a little longer to come up with what I was looking for.

I’d spent a lot of time in Meridian, Oklahoma with my grandparents every summer, and would also spend time in Hennepin, OK at a great aunt’s ranch where they had several stock tanks that my brother and I would fish.

Anyway, that afternoon the clouds were rolling, the birds were singing and the song came alive from there. Time is about reflection and how life and time really flies by.”

Seth Taylor provides guitar and mandolin, big brother Scott handles the banjo, Jeff Partin is on reso-guitar, and Curtis plays bass and sings. Jason Owen adds a tenor vocal.

Check it out…

Time from Curtis Vestal is available now from popular download and streaming services online. Radio programmers can get the track from AirPlay Direct.

In his own words, Dave Wright & The Midnight Ramblers are in pursuit of one thing primarily — a perfect four minute song. When he puts pen to paper and pick to guitar strings, the Australian singer, songwriter, and bandleader tackles an array of subjects within the realms of what he calls “Australiana” — a melting pot of bluegrass, folk, Celtic, country, and traditional Australian bush balladry. 

He says his subjects are about “ravers and boozers, girls, cars, Australia, mariticide (!), diggers, truckers, sadness, sickness, drunks, heartbroken mothers, angry fathers, desperate sons … and death. Lots of death.”

Wright and his band, The Midnight Ramblers — Wright (vocals, guitar), Rob Barber (mandolin, banjo, vocals), Tim Cavanagh (upright bass, vocals), and Connor Ross Hicks (fiddle, vocals) — have maintained that tack since the band was initiated in 2017, having evolved out of Dave Wright & The Midnight Electric, an outfit he formed in 2010. That band released four albums and two EPs that focused on roots rock, but Wright eventually decided to put his emphasis and efforts into The Midnight Ramblers, first as a side project that could satisfy his love of bluegrass, folk, country, and storytelling songs, and then as a full-time pursuit.

Nowadays, the Ramblers continue to delve deeply into Wright’s extensive catalogue while they reimagine many of his seminal songs in a decidedly down home style, one which intermingles a country croon with blazing bluegrass. They parlay their approach while sharing their close-knit harmonies, rolling runs on banjo, and a decided fiddle frenzy.

Again, in Wright’s words, the band specializes in a “rollicking, boot stomping, good ‘ol fashioned country hoedown.”

“My songwriting influences are wide and varied,” Wright says. “However with the Ramblers, I tend to be influenced by artists like Old Crow Medicine Show, Wood and Wire, Chatham County Line, Sturgill Simpson, and The Punch Brothers. The Steve Earle and Del McCoury Band album, The Mountain, was a key influence on me starting the band, as was Bruce Springsteen’s We Shall Overcome: The Seeger Sessions. Australian musicians Paul Kelly and Mick Thomas are integral to my writing style, as they taught me to maintain an Australian voice with local stories. Both have adapted their catalogues at one time or another to feature traditional styles of music. I greatly admire the songwriting of John Hiatt, John Mellencamp, Jason Isbell, Patterson Hood of Drive By Truckers, and Ben Nichols of Lucero. I am also a huge Cure and New Order/Joy Division fan, and I have Ryan Adams to thank for bringing a young lad to country music when Heartbreaker was released.

To date, the band has performed solely in Australia, having toured extensively throughout their home state of Victoria. They performed at the Americana/Roots festival Out On The Weekend in 2021 and are scheduled to play the Yackandandah Folk Festival 2023 next month.

“Bluegrass and traditional folk is very niche, even in Melbourne, despite its burgeoning Americana scene,” Wright explains. “However every time we play, we leave people smiling and happy. It’s a joyful thing! We have a dedicated and loyal fanbase, and have slowly built a following over the six years of the band.”

To date, the band have recorded three albums — 2019’s Turn Out The Lights, Live at Jimmy The Saint which was released the year after, and Darkness Calling, scheduled for release in June. Their music can be found on both Spotify and Bandcamp.

“The band is a vehicle for my original songs,” Wright notes. “However we have thrown the occasional cover into our set,  including Wagon Wheel by Old Crow Medicine Show, Graveyard Shift by Steve Earle and the Del McCoury Band, Friend Of The Devil by the Grateful Dead, Atlantic City by Bruce Springsteen, and Our Sunshine by Mick Thomas and Paul Kelly.”

Naturally then, Wright has a very specific opinion as to why bluegrass music is so popular worldwide. 

“I find bluegrass to be an infectious, uplifting style of music,” he says. “You can write and sing songs about dark subject matter, but when married to a rollicking, stomping beat, they don’t appear to be quite so dour. It’s the perfect sleight of hand. Plus, audiences love the way we perform, all gathered around a single microphone, weaving our instruments and voices together. It’s so pure. The tone of the instruments is unadulterated and natural, and the blend of fiddle and mandolin is magic. There is nothing better than seeing a top class bluegrass combo in full flight.”

We would have to agree.

Rendering of proposed convention center and amphitheater in downtown Raleigh

At a press conference yesterday, officials with the Raleigh Convention Center, current home for the IBMA’s annual World of Bluegrass convention, and the Greater Raleigh Convention and Visitors Bureau, announced plans for a major expansion of the convention center, and a new site for the Red Hat Amphitheater, where IBMA holds its Bluegrass Live! weekend festival following the conference.

Kerry Painter, general manager and director of the complex that includes both facilities, said that they want to relocate the Red Hat one block south from its current site on McDowell Street in downtown Raleigh, and build an extension of the convention center on the current Red Hat footprint.

Plans include connecting the convention center extension to the existing building by an elevated pedestrian walkway. The center already connects to the Marriott hotel by an underground corridor.

Approval of this $425 million upgrade must yet be given by the Board of Commissioners and Raleigh City Council, but Painter and Dennis Edwards with the Visitors Bureau expect the plan to be accepted. A vote is set for June 20 of this year.

Funding would come through a special hospitality tax, with monies set aside for projects such as this.

As envisioned, the convention center extension would add another 500,000 square feet of convention space, and an additional 30 breakout rooms.

Both Painter and Edwards indicated that these facilities are maxed out, and that they have lost conventions because of the inability to provide adequate space. They also said that the downtown development plan that built the current convention center and amphitheater were always intended as stop gap, or temporary fixes.

2022 set all time records for hotel stays downtown, so the planners believe that the funding for this major expansion will be forthcoming.

It may mean construction for a couple of years during World of Bluegrass, with far better facilities on the other side.

Since 2012 The Gospel Plowboys have been dedicated to sharing the message of Jesus Christ through song. Based in Concord, North Carolina, the group’s fourth album, Still Standing, features mostly original material with a couple of traditional favorites sprinkled in.

The first two tracks, Dallas and Don’t You Want To Go, were both written by guitarist Michael Jenkins. The former is a story song that moves along at a smooth pace, while the latter is an upbeat number describing the anticipation of entering the gates of Heaven. 

Along with Jenkins on guitar and vocals, the Gospel Plowboys also consist of Andrew and David Brown on bass and mandolin respectively, Kris Miller on vocals, Alec McCallister on fiddle, and Peden Williams on banjo. Chris Burton is featured on banjo on Don’t You Want To Go as well as Why Not Now.

What Would You Do For Jesus Now was co-written by the group’s founder David Murph, along with Andy Murph. The vocal harmony on this particular track is first rate and really gets the message of Christ’s sacrifice across even more effectively.

As mentioned earlier, this recording does contain two Gospel standards. Just A Little Talk with Jesus is performed with a really great rhythmic groove and smooth vocal harmony. The group’s rendition of I’ll Fly Away is rendered very traditionally. It’s a well done rendition.

Let the Lord Fight Your Battles, written by Rick Lang, contains a hopeful message of calling on the Lord for help when times get challenging. The song’s melodic content has strength and confidence that fits well alongside Lang’s written words.

The title track, Still Standing, by Kris Miller is the most moving piece on the recording. With its lyrics detailing how to continue going forward in life after losing a loved one, this song hits home for a lot of listeners, and I’m sure for the Gospel Plowboys who have continued their mission after the passings of founding members David Murph in 2017 and John Goodson in 2019.

Like every working band, the Gospel Plowboys have experienced ups, downs, good times and bad times. Still Standing is more than a song and an album title. It’s a testimony of where the group is now. No matter what challenges they’ve faced, they’ve continued their work of ministering through picking and singing. This project exemplifies that calling.

The IBMA is in the midst of a membership drive which has been christened, “Catch the Bluegrass Wave.”

Before going any further I want to encourage you to become a member of this organization that continues to do great work advancing the cause of bluegrass music worldwide. I’m a former board member myself, and a great believer in the IBMA’s mission. Membership also includes extremely valuable professional services and discounts. And then there’s the IBMA World of Bluegrass, sometimes known as “the show.” Sure, you can attend without being a member, but it costs more and people will laugh at you.

Depending on your level of involvement in the industry, there are various levels of membership from the least expensive “Fan” level, all the way to “Lifetime individual,” and now the new “Bluegrass Fatcat” level ($200,000 a year, plus you agree to host the IBMA World of Bluegrass at your very large house or luxury airplane hangar). I made the last one up, needless to say (but I like to be sure). The point is, this is something you should really be a part of at whatever level of commitment works for you. You can get more information online.

Now I’ve heard a few people taking issue with the slogan, “Catch the Bluegrass Wave,” expressing the view that it sounds beachy, surfy even. I realize that bluegrass has always been an inland music. The Monroe Brothers had to move up to the Chicago area in the 1930s to get close to the nearest beach, and even by Lake Michigan there isn’t a lot of wave-catching going on.

I take the opposite view: the IBMA is all about the expansion of the reach of bluegrass music, so shouldn’t we embrace the coastal imagery? Besides, slogans like “Catch the Bluegrass Mountain,” “Catch the Bluegrass Valley,” or “Catch the Bluegrass Stick” (for when IBMA opens up a “Dog” level of membership) just don’t have a very natural ring to them. 

To reinforce this approach, though, at least while this membership drive is in progress, I think we need to rewrite a few of our standards to fit the seaside image. I have a memory of playing a southern California bluegrass festival and listening to a band from the area perform a gospel original called The Church on the Beach. I thought it was a great way to write a true California bluegrass gospel song.

In that spirit, here are some modified songs to get us in  the right frame of mind:

• Mother’s Only Surfing
• I’m a Man of Constant Sunscreen

Though I’ve used it before when proposing a bluegrass tribute to the Beach Boys:

• Will the Surfboard Be Unbroken

• Put My Little Flip-flops Away
• Girl in the Blue Velvet Bikini
• Ground Speedo
• You’ll Be a Lost Beach Ball
• I’ll Swim Around
• Footprints in the Sand (sounds familiar)
• Dark Harbor
• Jimmy Brown the Lifeguard
• He Went to Sleep and the Sharks Ate Him
• White Seagull
• The Little Girl and the Dreadful Stingray
• Sea Walls and Beach Bars
• More Pretty Shells Than One
• Don’t Sell Daddy Any More Mai Tais
• Wandering Buoy
• Little Cabana Home on the Hill

Gospel Category:

• I’ll Float Away
• Cry From the Coast
• Two Boats

Rhonda Vincent has announced that Adam Haynes has joined her touring band, The Rage, on fiddle. He steps into this role several months after Hunter Berry left the group late last year.

Until making this switch, Adam had been a member of The Grascals this past ten years and prior to that, fiddler with Alan Bibey & Grasstowne.

Over the past couple of months Rhonda has had a rotating cast of guest fiddlers, some simply filling in, and other hoping to be considered for the job.

Vincent says with this announcement, that she is ready too get back to her predictable road show.

“We haven’t rushed into anyone specific till now, and we’re so excited to welcome Adam Haynes into our Rage Family. We’ve enjoyed working with a variety of players, each who brought a new element to the band, and we thank each one of the musicians who have joined us in our quest to find the perfect fit.

Now we’re ready for the consistency that a new member brings. We will soon release new music that will include all the members of The Rage, including the amazing talents of fiddler extraordinaire, Adam Haynes, 20 year member Mickey Harris on bass, 13 year member Aaron McDaris on banjo, 3 year member Jeff Partin on dobro, and 2 year member Zack Arnold on guitar.”

That will certainly be something to look forward to.

UPDATE 2/22…. Rhonda shared this video of Adam with the band earlier this month.

This report on the 2023 Midwinter Bluegrass Festival is a contribution from Kevin Slick, President of the Colorado Bluegrass Music Society.

The Midwinter Bluegrass Festival, a Colorado tradition since 1986, returned this past weekend in Northglenn, CO.

Between COVID shut-downs and festival founder Ken Seaman’s passing, the last Midwinter festival was February 2020, so it’s fair to say that local fans were anxious for the return of this great festival. Midwinter has always been a special event in the long winter months when most of us are seriously missing the festival jamming scene.

Ryegrass Productions took over the festival and did a fantastic job of bringing together the big bluegrass family with bands like AJ Lee and Blue Summit, Special Consensus, Della Mae, Blue Canyon Boys, Jake Leg, Wood Belly, Jeremy Garrett, Orchard Creek Band, and many more.

Photos by Vicki Quarles and Kevin Slick.

The 12 Bar Blues Pickups company in Connecticut has announced their latest model, a banjo pickup endorsed by Todd Taylor.

12 Bar Blues Pickups is a small, family business run by father and son Marshall and Jon Hammett. Their speciality is thin, hand-wired, magnetic humbucking pickups for acoustic instruments. They make a number of models for guitar and resonator guitar, depending on whether the user prefers temporary or permanent placement, and sound hole versus surface mount.

The Todd Taylor signature banjo pickup is designed to mount inside the pot, just clearing the head, attached to the coordinator rods. It ships with its customized preamp/volume control, which mounts on the bracket hooks on the outside of the pot.

Taylor made his name not so much in bluegrass, but in bringing the banjo into the pop and rock music worlds, recording perhaps the earliest examples of rock banjo as a young man. He continues to tour and record, and had something of a hit with his recent cut of Johnny Be Goode last year.

Amplified banjo is his milieu, and he has been working with 12 Bar Blues for some time developing this new pickup.

Todd demonstrates how easily it installs in their short video.

The Todd Taylor signature banjo pickup sells for $225, with mounting hardware and preamp/volume control, and will available for online purchase soon from 12 Bar Blues Pickups and their eBay store.

How do we know that bluegrass music has matured into a fully-formed, commercial musical genre? When artists who have achieved success in the wider pop music world, and have the option to go in any direction they prefer, decide to record bluegrass by choice.

Such is the news this week that Billy Gilman, recent runner-up on The Voice, 10 million record seller, and two-time Grammy nominee, has just signed with Pinecastle Records to release his newly-completed bluegrass album.

Billy hit the music scene young, scoring his first hit, One Voice, on the country charts when he was 11 years old. Now a seasoned vet at 34, he says he wants to return to the music that forms the background for his childhood memories.

“I am more excited about this than anything I have ever done in music. I grew up around bluegrass music since my grandparents would play it all the time, and it just feels so natural to me.”

It was his grandmother that got him started with a voice teacher at nine years old, who not only taught Billy the basics of singing technique, but also got her young charge gigs singing near his home in Rhode Island. It was at one of these shows where he chanced to meet Ray Benson of Asleep At The Wheel, who arranged for the prodigy to cut his first professional demo in Austin, TX.

That led to a contract with SONY/Epic, and the One Voice phenomenon, its seven week number one run, and the album going double platinum. Two more projects followed inside of a year, cementing Billy Gilmer as a recording artist of stature.

From there, he recorded with superstars like Charlotte Church, Michael Jackson, Kenny Rogers, and many others. After achieving so much success in the music industry, and seeing things most artists only dream about, Billy responded to a request from The Voice asking that he consider auditioning. After the the tremendous attention it brought, and a resurgence of his popularity as an adult, he chooses bluegrass.

Ethan Burkhardt, president of Pinecastle Records, tells us that Gilman’s signing is not just a coup for the label, it’s a victory for the entire bluegrass world.

“We are so excited to have an incredible artist like Billy on our label. Billy has not released an album in almost 10 years, and coming off The Voice, he has had options to release an album in almost any genre that he wants. But it is a great win for bluegrass that this is where his heart genuinely is, and where he wants to release an album.”

And Gilman says that this isn’t some kind of gimmick to get attention.

“This record isn’t just a one-time thing. This is where my heart is right now. I plan to get to know everyone I can in the industry, to put the work in, and make many more bluegrass albums in the years to come.”

Burkhardt understands the sort of apprehension many bluegrass fans will feel at this news, but encourages everyone to wait and see.

“I think that the bluegrass world is going to be pleasantly surprised when it hears what Billy has done on this album. It’s some really great traditional bluegrass music. And he is definitely going to help promote and bring more attention to this industry.”

A debut single, Roller Coaster, is set to hit on March 15.

CBA Bluegrass Breakdown editor/graphic designer, Jason and Gina Dilg

Long-time readers of the California Bluegrass Association member’s monthly newsletter, the Bluegrass Breakdown, noticed big changes during the pandemic including a smaller footprint with fewer columns with a professional-looking glossy print finish, but as the familiar song lyric goes, “That’s all in the past dear, it didn’t seem to last.” I spoke to CBA chairman Pete Ludé, and new Breakdown editor/graphic designer, Jason and Gina Dilg, to hear what readers can look forward to.

It’s important to credit the late Mark Varner for his long-term, extensive work in putting together an amazing and award-winning newsletter. After Mark’s departure, CBA member Patrick Campbell stepped up as editor when resources were scarce, and kept things going. Now to the Q&A.

Hello Pete. Tell us about the changes and your vision for the CBA Bluegrass Breakdown.

At the start of the pandemic, CBA – like most organizations – faced some unexpected financial challenges and tough choices. Since in-person communication became so difficult, we decided to focus on digital communication. We scaled back the Bluegrass Breakdown and began producing regular webcasts, expanded social media, and an entirely new website and membership management system. When we emerged from the tough times in good shape, the CBA board decided it was time to beef up the Bluegrass Breakdown as a high-quality print publication. The Breakdown has been continuously published as a monthly publication since 1975, so it has a rich history and a lot of fans. Beginning this January, we went from the scaled-back 4-page format, to 12 to 16 pages to include more compelling long-form stories. We’ve received encouraging feedback from both our membership and advertisers.

To accomplish this vision, CBA went on a search to find an editor and graphic designer to create a fresh, fun, and accessible publication. We were very fortunate to find Jason and Gina Dilg, who took over this role last October, and have brought a new and exciting perspective to the newsletter. In the process, it became clear that there are many untold stories about the people who pioneered bluegrass and old-time music here in California, and about the vibrant current scene of musicians, luthiers, songwriters, and so much more. It is important to tell these stories, and now with our new team and expanded publication, we have a platform to do it.

How can people get a physical copy or a link to read online?

The best way is to become a member of the California Bluegrass Association, and you’ll get the paper or digital version each month. Membership is still only $25 per year for individuals, or $30 for your whole family, plus many other benefits which you can find out about at www.CaliforniaBluegrass.org. For now, non-members can also access the digital (pdf) version of the Bluegrass Breakdown by looking for the orange Bluegrass Breakdown button on the web site home page.

Hey Jason. How did you get into BGOT music?

I was a recovering classical violin dropout when I saw a production of the play, A Lie Of The Mind, at James Madison University in Harrisonburg, VA, way back in 1991. The music, originally scored by the Red Clay Ramblers, was performed that night by local musicians on mandolin family instruments. I was entranced by the music — I don’t really remember the play!

Jason on Banjo at the Lyons, Colorado Old-Time Square Dance

What excites you about working on the CBA Breakdown?

So many things. 

It’s an exciting time to be here! We’re all shaking off a few years of social isolation from COVID. I think it’s interesting that the Bluegrass Breakdown’s founder — also CBA’s co-founder and first member, the recently passed Carl Pagter — knew this publication would be essential to bringing together bluegrass musicians across such a big state when he started the organization. So we’re using the Breakdown and the advantages that longer format stories than social media can easily accommodate to help us reconnect to each other and live music — jams and performances — which is an ethos that has run through CBA from its inception. It’s exciting to be a part of that, and I hope that’s reflected in the content and tone that we’re setting as we expand the publication from the four-page newsletter it became during the pandemic.

We’re also highlighting the trends and changes in the community and the broader bluegrass world, including a “big tent” view of the music in line with Carl’s vision, and our mission. We’ll be diving deep into old-time, gospel, and other forms of early American folk; shining the light on the role of nonwhite and female musicians past and present; and documenting the inspiration and love that pours from this community year after year from programs like the CBA Campouts, Youth Program, and the famous Father’s Day Festival in Grass Valley. I’m excited to be doing some of this writing and also working with other great writers from the industry in this work. 

Hi Gina. What is your musical connection to old-time/bluegrass music?

I’ve actually been involved with old-time and bluegrass music since I was little and living in Albuquerque NM. My folks were learning banjo and fiddle, and gave my sister and I fiddle lessons and drove to the East Coast for fiddlers conventions every summer, listening only to old-time string band music the whole time. They had square dance band practices in the house every week growing up. I went to college in Fredericksburg, Virginia, which was a music community heavily influenced by the Seldom Scene, and then moved to Colorado where I was quickly immersed in the music there. I loved that I could bounce between old-time and bluegrass music, and living in Lyons surrounded me with some of the best musicians in the business, and put me right at the heart of the Rockygrass festival. 

Here is Gina fiddling at the 2018 Floyd Get Together Square Dance with Tatiana Hargreaves and Allison DeGroot

Talk about your trad music art and how that might influence your work on the Breakdown.

The layout work for the Breakdown comes fairly easily after my work for the Floyd Country Store and County Sales, and I love to create appealing aesthetic pieces that help tell a story. I imagine though when you say “trad music art” you might be referencing the illustrative series I started during the pandemic that took off as a sticker and merch phenomenon. We got caught up in Casper, Wyoming for three weeks in midwinter of 2020, and without a whole lot to do, I created three illustrations of Benton Flippen, Ola Belle Reed, and Jean Ritchie, and ordered them as stickers. Since then I’ve added 14 other illustrations of traditional music artists and put them on everything from shirts to keychains and magnets. I’m not entirely sure how this will influence my work on the Breakdown, but I hope that it allows me to envision engaging ways to create and arrange content that works in harmony with the great articles from our writers and editor.

To conclude, Jason had this to say about upcoming issues of the Breakdown.

Each issue of the Breakdown is crafted around a central theme — in the spring we’ll preview the 2023 Father’s Day Festival in Grass Valley and spotlight CBA’s youth programs; this summer we’ll profile some of California’s amazing luthiers — with original articles and interviews giving the reader a fresh, well-rounded perspective on the many facets of this music and community.

Here’s a memory and preview of this years festival headliner, Molly Tuttle.

Like so many bluegrass artists during the recent pandemic shutdowns, Jake Workman, hot shot guitar slinger with Ricky Skaggs & Kentucky Thunder, turned his attention to offering online instruction when work was scarce.

Now that touring and live performance is back without restrictions, Jake has maintained his online presence as a teacher, giving lessons on guitar, mandolin, and banjo. He also does custom transcription, and has published a number of guitar tabs, available on his web site.

Last month Jake released a second volume of his 20 Flatpick Standards book, with highly melodic arrangements of tunes every bluegrass guitarist needs to know. Like the first, Vol. 2 includes 20 selections, mostly fiddle tunes, in a variety of keys.

We won’t promise that this digital tab book will give you the speed or dexterity that Workman displays on stage and in the studio, but anyone trying to build a flatpicking repertoire will surely gain some new ideas and techniques while adding to their catalog with Flatpicking Standards Vol. 2.

Included are guitar tabs and links to digital audio for the following:

• Alabama Jubilee
• Big Sandy River
• Bill Cheatham
• Cold Frosty Morning
• Denver Belle
• East Tennessee Blues
• Fisher’s Hornpipe
• Forked Deer
• Home Sweet Home
• June Apple
• Leather Britches
• Monroe’s Hornpipe
• New Camptown Races
• Over the Waterfall
• Paddy on the Turnpike
• Ragtime Annie 
• Reuben
• Temperance Reel
• Turkey in the Straw
• Wildwood Flower

Jake gives a brief description in this video.

Flatpicking Standards Vol.2 is available for sale on Jake’s web site for $60.