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Tag Archives: IBMA

IBMA 365: The Banjo Legacy of J.D. Crowe

Posted on February 18, 2022 by Azlyrics

The International Bluegrass Music Association will be hosting a live, interactive panel discussion on Facebook March 5 about the lasting influence the late J.D. Crowe has had on the five string banjo and bluegrass music. This presentation begins at 3:00 p.m. (EST) and is offered free of charge, though donations will be encouraged with all proceeds going to the IBMA Trust Fund.

Getting together to talk about Crowe for this program, billed as IBMA 365: The Banjo Legacy of J.D. Crowe, will be three of the most prominent banjo pickers on the scene today, Ron Block, Bill Evans, and Ron Stewart. They will be talking about the massive impact Crowe has left on the music, while also demonstrating some of the tunes, licks, and techniques that have set his banjo playing on a pedestal.

Evans has made a name for himself both as a player and composer of banjo music, and an in-demand instructor noted for his ability to make crucial concepts of banjo playing clear to students of the instrument. Block is, of course, known for his many years as banjo and guitarist with Alison Krauss & Union Station, and for his own thoughtful commentary on bluegrass music. Stewart is perhaps the best exemplar and curator of the Crowe style alive today, who played fiddle in The New South for many years before J.D. retired. I have often said that Ron Stewart knows more about J.D. Crowe’s banjo playing than the man himself.

The program being hosted on Facebook Live will allow commenters to pose questions to the three hosts, who will be appearing by video from separate locations. It will be available for all to enjoy on March 5 at 3:00 on the IBMA Facebook page.

Donations to the IBMA Trust Fund are tax deductible, as the Fund is a 501 (c)(3) non-profit charitable institution. Its function is to provide financial assistance to those in the bluegrass industry for emergency needs. All distributions from the Trust Fund are made anonymously and many people have been helped in tough times by this organization since its founding in 1987.

Posted in Lyrics | Tags: IBMA | Leave a comment |

California Report: Snap Jackson

Posted on January 28, 2022 by Azlyrics

Snap Jackson and his band, the Knock on Wood Players, are an award-winning acoustic quartet hailing from Stockton, California. They blend Americana, bluegrass, soul, and old-time music and have been featured on the same bill with notable acts such as Alison Krauss, Old Crow Medicine Show, the Carolina Chocolate Drops, Punch Brothers, Della Mae, Steep Canyon Rangers, and Vince Gil. Snap plays banjo, ukulele, and mountain dulcimer and received both the 2018 Northern California Banjo Player and Male Vocalist of the Year awards. Snap is also an instructor, and has endorsement deals with the Deering Banjo Company and Kala Brand Ukuleles. 

Hi Snap. Tell us how you first got hooked on bluegrass.

For me, it was hearing the Old & in the Way album at my best friend’s house one day. Jerry Garcia’s playing banjo on Pig in a Pen—man, I had never heard anything quite like it! Growing up listening to mostly soul, funk, hip-hop, and R&B, it blew my mind! In a weird way, it’s always reminded me very much of the mariachi music my grams would play when I was growing up. The harmonies, the interplay of the instruments, and even the content and lyrics of a lot of songs paralleled mariachi music to me. Love, loss, family, longing, hard work—same energy and message. Blue-collar working man’s music. Earthy and authentic. I really took to it. It wouldn’t be until years later, after hearing the album Mark Twang by John Hartford, that I would decide to purchase a banjo and give it a go for myself. I fell deeply in love with the banjo and there was no turning back. It’s truly changed my life.

Snap Jackson – Lonesome Road Blues

What all instruments do you play?

I play both Scruggs style and old-time banjo, the mountain dulcimer, the ukulele, and a little blues harp.

Was your family musical growing up?

Musical in the sense of music appreciation and exposure to a wide array of musical genres. Music was huge in the house and there was seldom a time when my parents and grandparents weren’t playing their favorite records. Everything from Motown to mariachi music and everything in between. My siblings and I were very much supported and encouraged in the arts.

Tell us about some other influences.

Wow, so many! A few early influences that instantly come to mind would be John Hartford, Ray Charles, Townes Van Zandt, Nina Simone, Earl Scruggs, Marvin Gaye, the Grateful Dead, J.D. Crowe, Miles Davis, A Tribe Called Quest, Doc Watson, Sam Cooke, Souls of Mischief, Fiona Apple, Paul Simon, the Pharcyde, Ralph Stanley, OutKast, my friend and teacher Bill Evans, and Ben Harper. I could go on and on and on.

Do you do any composing? What’s your process?

I do. I wouldn’t say that I have one fixed process. Sometimes I’ll have the lyrics first and slowly build music around the words. Other times a melody will come to me and I’ll either write lyrics to cater to the feel of the tune, or I might flip through my notebook where I keep ideas, rhymes, and phrases in and piece it all together. With original instrumental tunes, I’ll oftentimes have a melody stuck in my head for some time, so I’ll eventually have to sit down and get it out the best I can. I’ve also found when putting my instruments in alternate tunings, certain melodies will rear their head that otherwise wouldn’t have in standard tuning. Some songs have come to me on the spot and others have taken weeks, if not months. It’s kind of all over the place.

What’s your go-to instrument for learning a new song or tune?

I would say banjo first, followed closely by uke and dulcimer. I consider myself somewhat of a slow learner, so I tend to learn and approach most things through repetition. Slow and steady. Section by section. This method seems to work best for me. I often time record myself to track my progress.

Tell us about the Knock on Wood Players.

I’m so lucky to play with such a great group of talented musicians. Each one of the fellas brings so much to the table, not only musically, but also in terms of personality. Above all, we’re friends first. It’s almost hard to believe that Snap Jackson & the Knock on Wood Players has been performing and recording music for over a decade now! Tons of tunes and many miles on the road with these boys! Shane Kalbach on fiddle, Eric Antrim on guitar, and Brian Clark on stand-up bass. Shane and I went to high school together and have known each other for years. I love and respect them dearly.

Snap Jackson & the Knock on Wood Players at the 2011 IBMA, World of Bluegrass, Emerging Artist series showcase

How did you come up with that band name?

Our name came about because one of the first songs that I wrote that we learned and worked on as a band was a tune called Knock on Wood. When it came time to think of a name, I didn’t want to use “boys” or anything region-related, or hill, or mountain, valley. The word “players” had a cool ring to it. To me, it had a non-genre-specific ring to it. So Snap Jackson & the Knock on Wood Players was born!

What other musical genres interests/artists do you love?

Again, I can go on forever. Aside from bluegrass, I love the old blues cats—Mississippi John Hurt, Lighting Hopkins, Blind Willie Johnson, Howlin’ Wolf, Little Walter, Robert Johnson, and John Lee Hooker. I love classic jazz—Miles, Coltrane, Dexter Gordon, Sonny Stitt, Charlie Parker, Vince Guaraldi, Mingus, Monk, Art Blakey. I love soul and R&B—Otis Redding, Marvin Gaye, Aretha Franklin, Sam Cooke, Al Green, Switch, Nina Simone, and Ray Charles. And so many others, geez—Joni Mitchell, James Taylor, Cat Stevens, Ben Folds, The Beatles, Justin Townes Earle, Gillian Welch, Emmylou Harris, Vicente Fernandez, Dolly Parton, Willie Nelson, Linda Ronstadt, Billy Joel, and Elton John. Sorry for the long-winded answer. I truly love so many artists. We would be here all day! 

What recordings, new or old, do you all have?

We have some brand new tunes we’ve been foolin’ around with. Excited to see how they unfold! Our first three albums are available everywhere music is sold and we have about a half dozen new tunes that we’re currently working on. The first two albums are all original tunes and our Live in Parkfield album is a mixture of originals and covers. 

How did you come to be a bandleader?

I think it initially came down to being the one who put the band together, booked the gigs, and wrote the majority of the songs. I actually really enjoy those sorts of things—handling the social media stuff and the website, talking to promoters, graphics, photos, etc. The little details. Maybe I’m just a control freak. Haha!

How much touring have you done? Any weird or inspirational stories? 

We’ve been very fortunate to tour all around our beautiful state and beyond. I remember being extremely nervous going to places like Kentucky and Tennessee. I had my preconceived notions of how we would be perceived, and I’m happy to say I was pleasantly surprised and proven wrong when we were received with positive vibes, words of encouragement, and open arms. For the most part, it seems like a lot of these places outside of California are genuinely happy to see the respect and reverence we have for bluegrass music and acoustic roots music in general. Obviously, the gigs have thinned out over the past two years during COVID, but I know I speak for all of us when I say we’re very excited to get back out there and share our music with live audiences.

What interests you when you’re not playing music?

I love just hanging out with my son Milo, being out in nature, spending quiet time at home, cooking, working on my artwork, taking care of my plants, reading, watching documentaries, listening to old records, being outside with my boy, throwing the football around, and backyard bonfires. Honestly just a pretty quiet and simple life.

How would you compare the musical versus photographic creative process?

Even though I shoot a lot of portraits, photography can be somewhat singular and lonesome—an isolated craft. Lots of hours editing, studying, printing, alone. I have complete control from beginning to end as far as how the work is captured and presented to the public. Whereas music for me is very collaborative. There are a lot of variables outside of myself that dictate the experience. Abandoning the control that I have with photography for the unknown aspects of a jam, recording, or performance is very liberating to me. With music I’m just one finger on a hand versus with my photography and illustration work I’m often the entire hand.

I’m guessing the nickname Snap has something to with photography.

Yea, my birth name is Tony. I’m named after my father and grandfather. Snap came about because of me being a photographer. That’s what most people call me these days.

How many students do you have and what’s something you teach that might not be common?

Being an instructor is one of my favorite aspects of being a musician. Whether it’s private one-on-one lessons, leading a workshop, or teaching at a music camp, I find so much joy in the process. Before COVID, I had about a dozen students on and off. I’ve also been fortunate to assist and teach banjo and ukulele at various music camps and festivals. I taught online for a short time and realized it just wasn’t for me. Some are great at it, like Bill Evans, Megan Lynch, Evie Ladin, Sharon Gilchrist, and many more. My favorite aspect of teaching has always been the hands-on in-person stuff. The real-time interplay is what excites me. As far as teaching something not commonly taught, I’m an instructor at RiverTunes, a camp put on by the unfairly talented Joe Craven, and one of my most highly attended workshops year after year has been my “Clawhammer and Three-Finger Style Techniques for the Ukulele.” For whatever reason people really dig that one!

You‘ve played a bunch of CBA events. Tell us about a memorable gig.

One that stands out to me would be our performance on the Vern’s Stage (named after the late great Vern Williams) at the annual CBA Grass Valley Father’s Day Bluegrass Festival. Vern’s is the smallest of the three stages at the festival but is famous for oftentimes having the most passionate and lively crowds—real hardcore bluegrass and old-time fans. I just remember looking out in the packed crowd and seeing the faces of so many people that we love and respect deeply. Fellow musicians, family, friends, bluegrass luminaries. It was just a really great set. One of those magical moments where everything goes right. We were extremely prepared and practiced up for that one. Bill Evans even sat in with us. A day and set I’ll never forget. The cherry on top was after our performance, I was approached by the Janet Deering of Deering Banjos and I was offered an endorsement deal. What a day!

How do you describe your music to someone not familiar with bluegrass or old-time?

I sometimes say, acoustic string band music rooted in bluegrass with hints of blues, jazz, pop, and soul. But honestly in this day and age, instead of trying to describe it to them, I usually just refer them to one of the many places that they can take a quick listen. One of the beauties of technology!

Snap Jackson & the Knock on Wood Players play Minor Setback for NPR’s Tiny Desk Concerts

Are there any particular eras of bluegrass/old-time that you favor?

I truly enjoy so many groups and sounds spanning the entire bluegrass spectrum. From the traditional sounds of Bill Monroe, the Stanley Brothers, Jimmy Martin, and Flatt & Scruggs to the progressive virtuosic groups like the Punch Brothers, Sierra Hull, Béla Fleck, Billy Strings, and Molly Tuttle. I dig great ’70s stuff like John Hartford, J.D. Crowe, the Seldom Scene, and the Osborne Brothers. It just depends on what mood I’m in on any particular day. It all informs my songwriting and banjo playing in one way or another.

How do you get over musical hurdles?

For me the “trick” is consistency. Try and create a routine and stick with it. Put in the time. There’s nothing better than hard work. That being said, go easy on yourself. It’s often difficult to see our progress from an outsider’s perspective. Also, the best thing sometimes is to just step away and clear your mind, get some rest, and come back with a fresh mind. It’s easy to become frustrated and discouraged, but as we all know, negativity blocks creativity. I used to get in the bad habit of comparing myself to other players, which can be a very slippery slope. My focus these days is incremental and consistent self-improvement, brick-by-brick. I just try to be a little bit better than I was the day before. 

What’s the first thing you do when you pick your instrument?

Tune!

For the geeks out there, what instruments do you have, play, and love?

Oh yes, I love the geeky questions. Haha! I’m beyond blessed to be endorsed by the kind folks over at Deering Banjos. They’re a family-owned and operated company out of Southern California making beautiful banjos. I play their Calico maple model and their John Hartford model with the wooden granadillo tone ring. The Calico has such a clean clear punch to it. I have that one set up with a G# head, a custom Silvio Ferretti Scorpion bridge that he made for me, and GHS J.D Crowe Studio Strings. The Hartford is such a cool banjo with such a unique tone. The wooden tone ring gives it a cool dry pop. It’s much lighter than your average bluegrass banjo but surprisingly doesn’t seem to suffer on the volume or power side of things. I sometimes tune the Hartford down to open E, or sometimes F. It sounds great in the lower keys. I have that set up with a Nechville bridge, Deering light gauge strings, and G# head. Both Deering banjos are so responsive and easy to play, with their unique characteristics. 

My clawhammer banjos are a Bob Carlin model with a 12-inch renaissance head and scooped neck, and a no-name late 1800s fretless banjo with a calfskin head. I use Dean Hoffmeyer fingerpicks and some old Nationals from the 1940s that Bill Evans passed down to me, Bluechip thumb picks, and Paige capos. I’m also endorsed by the Kala Ukulele Co.

Are you Stones or Beatles?

Even though I tend to lean towards a little rough around the edges, I would still have to say the Beatles. I mean, c’mon. Their intricate, ever-changing, prolific body of work is unmatched in music. Such a luscious sound.

Any final thoughts or things you want to share with the readers?

I just want to say thank you to all of you who continue to nurture and support this music we all care so deeply about. I know it’s been a tough couple of years for most people out there. Especially those in the creative world. I hope everyone is finding some peace of mind and solace in the things that bring them joy. Hang in there, y’all, and for those of you looking for up to date daily band content, feel free to follow us on Instagram (@knockonwoodplayers). Thanks!

Thanks so much, Snap.

No, thank you, Dave! I really appreciate your time and interest.

Snap Jackson and the Knock on Wood Players live at Bowers Mansion Bluegrass Festival 2017

Copy Editing by Jeanie Polling

Posted in Lyrics | Tags: CBA, IBMA | Leave a comment |

IBMA to postpone Leadership Bluegrass until 2023

Posted on January 25, 2022 by Azlyrics

The International Bluegrass Music Association in Nashville has announced the postponement of their 2022 Leadership Bluegrass program until March 6-8, 2023. No class was held during 2021 owing to COVID restrictions in place at the time.

IBMA Executive Director Pat Morris said that a number of ambiguities suggested that they wait another year.

“There were a variety of factors that went into this decision, including the availability of venues, uncertainty around travel and safety measures available or required in early March, and general concerns about putting forth a robust program given the ever-changing health landscape. However, we look forward to welcoming the Leadership Bluegrass 2023 class next year for our normal, full-scale program.”

There will be no need to apply, as the already accepted participants for the 2022 class will be admitted next year. Those class members will be announced in the coming months.

Dustin Boyd, chair of the IBMA Leadership Bluegrass Planning Committee, says that they will take the postponement in stride, and make sure the 2023 class has a strong and positive experience.

“While we are disappointed to not be able to provide a Leadership Bluegrass program this year, we are excited to take this time to further develop and enhance our existing program. We are determined to put on a 2023 event where participants can confidently learn and network in an environment that is safe and accessible for everyone involved.”

The program is designed to help build future leaders in the bluegrass community. IBMA describes Leadership Bluegrass as follows:

Leadership Bluegrass is an intensive three-day program of advanced-level interactive learning experiences designed to build commitment, motivate talents, and instill enthusiasm for addressing the future of the bluegrass music industry. Each year, 25 applicants from around the world are selected to participate in the class, which is held in Nashville and has boasted more than 500 graduates since its inception in 2000

Attendees cover their own expenses to travel to Nashville for the program, along with a fee to attend. Graduates have developed a community of their own, and get together for special events several times each year.

Posted in Lyrics | Tags: IBMA | Leave a comment |

IBMA seeking new Communications Director

Posted on December 29, 2021 by Azlyrics

The International Bluegrass Music Association has announced their search for a new Communications Director in their Nashville office. Casey Campbell, who has served in this position since December of 2019, is stepping down as of Friday to focus on his musical career.

In announcing his departure, Casey shared his gratitude to the organization, as well as his continuing support for IBMA and its mission.

“I am extremely thankful to have had the opportunity to work alongside Pat, Paul, Amy Beth, Ethan, and the passionate community of IBMA Board Members, partners, and volunteers for the past two years as Communications Director. Looking back on the experience gained—and, of course, the challenges overcome—I feel proud of our work and excited for the future of our organization. Though I am stepping down from this particular role to spend more time and creative energy on the road and in the studio, I will remain an advisor to this year’s Leadership Bluegrass program and an engaged and devoted Lifetime Member of IBMA for years to come. I look forward to seeing and jamming with you all at IBMA World of Bluegrass 2022!” 

Campbell will have a busy 2022 away from the day job. He will be joining the Reba McEntire tour as an instrument tech for her utility musicians and singers, Carmella Ramsey Vaughan and Jimmy Stewart. He plans to complete a cross-tuned mandolin recording, help out at Bryan Sutton’s Blue Ridge Guitar Camp, and teach at a number of mandolin camps. He will also be available for free lance graphic design and promotion work.

The IBMA says that they prefer Communications Director candidates who will be available to work on site in Nashville, but are willing to consider hybrid/remote situations. The position offers a salary in the $40-$50K range, with a benefits package including vacation, health, vision, dental insurance, and 401k matching.

The following are the posted responsibilities and requirements from the job opening announcement.

JOB RESPONSIBILITIES:

  • Establish and implement a multi-channel communications strategy
  • Prepare and manage all communications material
  • Help develop IBMA’s voice and visibility and maintain brand integrity across all platforms
  • Create, schedule, and manage all social media activities
  • Manage the IBMA websites and their content
  • Track engagement across various platforms and make data-driven decisions
  • Manage media relations, develop contacts with media, influencers, and community leaders
  • Assist in leading a diverse team of professional consultants that specialize in media, communication, marketing, and design
  • Assist in the creation of digital, video, audio, and print content
  • Manage presence at industry events, trade shows, and conferences.
  • Develop and manage budget for communications team and ensure compliance
  • Communicate with members on a regular basis to announce and promote all IBMA activities; create and distribute IBMA news (e.g., website, newsletter)
  • Develop and market association campaigns; maintain industry and association partnerships
  • Manage program, publications, photography, and layout for IBMA events
  • Generate graphics for communications
  • Act as IBMA staff liaison for assigned member committees and task forces
  • Other duties as assigned

QUALIFICATIONS/SKILLS:

  • Demonstrated proficiency with communication technologies
  • Understanding of copywriting, graphic design, layout, and publishing
  • Working knowledge of content management systems, HTML coding, and digital graphics production
  • Familiarity with social media platforms and social media marketing
  • Experience with search engine marketing, and Google Analytics, impeccable copywriting, and copy-editing abilities
  • Excellent verbal communication and presentation skills
  • Familiarity with Adobe Creative Cloud (Photoshop, InDesign, Premiere Pro)
  • Experience working with deadlines in a fast-paced environment
  • Creative, flexible, and adaptable

EDUCATION/EXPERIENCE:

  • Bachelor’s degree preferred, or equivalent combination of education, training, and experience
  • 3+ years of communications, marketing or public relations or related experience
  • Experience managing digital content
  • Proficiency with Microsoft Office (Excel, PowerPoint, Word)
  • Experience in media relations a plus
  • Working knowledge of bluegrass music and stakeholders, as well as an overall understanding of the broader music industry a plus

To  be considered for this position, simply submit a cover letter and resume to IBMA Executive Director Pat Morris by email.

Posted in Lyrics | Tags: IBMA | Leave a comment |

IBMA and IBMA Trust Fund pass resolution honoring Sonny Osborne

Posted on December 16, 2021 by Azlyrics

Sonny Osborne at the Darrington Bluegrass Festival in 1987 – photo by Barry Bower

The Boards of Directors of both the International Bluegrass Music Association and the IBMA Trust Fund have adopted a joint resolution honoring the late Sonny Osborne. A giant in bluegrass music, Sonny was instrumental in the establishment of the Association in the 1980s, as well as the Trust Fund to benefit bluegrass music professionals in time of need in 1987.

Professionalism in all things was a hallmark of Sonny’s many contributions to our music, which he demonstrated during his years performing with his brother, Bobby, as The Osborne Brothers, something he aggressively urged the bluegrass community at large to adopt. His insistence on the highest standards were often voiced emphatically, and even at times in very direct terms, but no one ever doubted his sincerity, his love of the music, or his wish to see bluegrass survive and thrive.

On December 8, the two Boards unanimously voted to pass the following resolution:

The Board of Directors of the International Bluegrass Music Association and the IBMA Trust Fund Board of Trustees hereby jointly adopt the following resolution:

WHEREAS:

1. Sonny Osborne, who passed away in 2021, participated in the envisioning and founding of the International Bluegrass Music Association in 1985, and;

2. Mr. Osborne espoused the need for such an organization even before IBMA began, and;

3. Mr. Osborne spearheaded the idea of a Bluegrass Trust Fund to help members of the bluegrass community in emergency need, and;

4. Mr. Osborne’s efforts produced the establishment of The IBMA Trust Fund in 1987 as a 501(c)(3) non-profit charitable institution governed by an autonomous five-person board of trustees appointed by the IBMA to offer financial assistance to bluegrass music professionals in time of emergency need. The IBMA Trust Fund has given nearly $1 million in direct aid to professionals in emergency need, and;

5. Mr. Osborne’s contributions greatly strengthened the IBMA Trust Fund and worked to promote charitable giving in bluegrass music worldwide, and;

6. Mr. Osborne advocated for high standards in bluegrass and respect for the founding pioneers, who struggled with little reward to create an art form and industry with worldwide impact

7. Mr. Osborne, along with his brother, Bobby, was inducted into the Bluegrass Music Hall of Fame in 1994, for their many musical contributions which included starting the evolution of modern bluegrass with their pathbreaking vocal arrangements and use of new song compositions, and;

8. Mr. Osborne was the youngest member of Bill Monroe and The Blue Grass Boys, and served as a bridge among all the generations of bluegrass artists;

9. Mr. Osborne worked to promote bluegrass music, helped assist artists in need, exposed the music to mainstream audiences, and expanded the repertoire which increased the awareness of the music and IBMA globally, and;

10. The Board of Directors of the IBMA and the IBMA Trust Fund, staff, and members of IBMA wish to recognize Mr. Osborne for his foresight, dedication, and willingness to contribute;

11. THEREFORE, BE IT RESOLVED, that Sonny Osborne be jointly recognized for making a huge difference in the lives of bluegrass musicians through the IBMA Trust Fund, contributing all that he had to further the popularity of bluegrass music and that he will be greatly missed and long remembered by those that knew and worked with him in these pursuits.

Adopted Unanimously on December 8, 2021.

Posted in Lyrics | Tags: IBMA, Sonny Osborne | Leave a comment |

IBMA reports numbers for the 2021 World of Bluegrass

Posted on November 18, 2021 by Azlyrics

The International Bluegrass Music Association has issued their followup report for the 2021 World of Bluegrass week, which ran from September 28 through October 2 in Raleigh, NC. This year’s events, which included the World of Bluegrass Business Conference, IBMA Bluegrass Awards show, and the twin Wide Open Bluegrass festivals in downtown Raleigh, were heavily affected by uncertainty over COVID spread and regulations, but there was some good news amidst the gloom.

Both sides of the great COVID debates had reasons to stay away. Those quite fearful of viral spread avoided WOB entirely, and many others were offended by the vaccine requirement to attend, so IBMA staff went in expecting a lower than normal attendance. Which was borne out in the final numbers.

Even though registered attendance was off by almost 50% over 2019, the last time the event was held in person, the Greater Raleigh Convention and Visitors Bureau still issued a conservative estimate of $5.7 million in direct economic impact in Raleigh and Wake County from World of Bluegrass. This includes hotel stays, restaurants, airline traffic, and the like over the five day period. This estimate is in straight dollars, absent any of the multipliers often added to these figures.

Pat Morris, IBMA Executive Director, who was overseeing the first convention in his new position, says that their first priority was to be back, live in person after holding World of Bluegrass virtually in 2020.

“It was vitally important to get back to live bluegrass music, as both musicians and fans were impacted by the events of the last two years. The IBMA was able to accomplish holding a great weeklong event in a safe environment, and we are so grateful for the lead support of PNC Bank and all of our partners in Raleigh who helped make the event possible, and to the fans that returned, again, to make this the best week of bluegrass in the world. It was a tremendous event, and we can’t wait to be back in Raleigh in 2022!”

Prior to the start of this year’s events, the IBMA, the city of Raleigh, Pinecone, and the Convention and Visitor’s Bureau had announced a three-year extension to their contract, which means that World of Bluegrass events will remain there through 2024.

David Brower, Executive Director of PineCone – the Piedmont Council of Traditional Music – echoed Pat’s sentiment about the need to return to a live, in person status.

“Given all that’s happened over the last two years it was hard to know what to expect from the festival. No matter how you measure it, we are pleased with the 100% increase in attendance over 2020. Virtual was fun—but there’s no comparison to seeing the streets of downtown Raleigh filled with banjos, fiddles, and smiling faces. We’re definitely back and are already looking forward to next year.”

Dates for the 2022 World of Bluegrass are September 27 through October 1. More details will be available online next year.

Posted in Lyrics | Tags: IBMA | Leave a comment |

IBMA announces full performance schedule for Bluegrass Live!

Posted on September 9, 2021 by Azlyrics

The International Bluegrass Music Association has announced the full performance schedules for weekend events following World of Bluegrass in Raleigh, NC. The Business Conference, which normally draws industry professionals from all over the world, occurs September 28-30, followed by a massive outdoor event billed as IBMA Bluegrass Live! International attendance may be off this year as many travel restrictions still remain from COVID shutdowns.

Bluegrass Live! consists of two separate events – a big stage show at the Red Hat Ampitheater, adjacent to the Raleigh Convention Center, and StreetFest, held along Fayetteville Street, which runs from the Duke Energy Center for the Performing Arts down by the Convention Center, and the state capitol, a total of five blocks downtown. The city closes the streets and positions four stages where free bluegrass entertainment is offered all day Friday and Saturday (October 1-2). Food trucks and other vendors will also be set up along Fayetteville, which is the location of many prominent Raleigh eateries. This provides an excellent opportunity for residents of the Triangle region to sample the best of what bluegrass music has to offer, as it does for anyone interested in traveling to town for the weekend.

The Red Hat shows offer a mix of ticketed and non-ticketed admission. The “good seats” up close to the stage are offered for sale in a range between $15-$70 per day, or $30-$140 for two days. The grassy area behind the reserved seats are available at no charge on a first come, first served basis. Capacity limits have been revised with safety in mind, and all seeking admission must show proof of vaccination, though masks are not expected to be worn outdoors.

Proof of vaccination is not required to visit the StreetFest along Fayetteville Street.

Here is the music lineup for the weekend:

Red Hat Amphitheater – Friday, October 1

  • 4:00 – Tray Wellington Band 
  • 4:55 – Mile Twelve 
  • 6:00 – Sister Sadie
  • 7:30 – Béla Fleck’s My Bluegrass Heart featuring Michael Cleveland, Sierra Hull, Justin Moses, Mark Schatz, and Bryan Sutton   
  • 9:30 – The Del McCoury Band

Red Hat Amphitheater – Saturday, October 2

  • 4:00 – The Gina Furtado Project 
  • 4:55 – The Po’ Ramblin’ Boys
  • 6:00 – Jerry Douglas, Odessa Settles, and Edgar Meyer
  • 7:30 – Steep Canyon Rangers
  • 9:30 – Yonder Mountain String Band

 

StreetFest Schedule – Friday, October 1

Come Hear NC Stage (Duke Energy Center for the Performing Arts parking lot)

  • 11:30 a.m. – Welcoming remarks from City of Raleigh, PNC, and IBMA
  • 12:00 – Chatham Rabbits
  • 1:15 – Sister Sadie 
  • 2:30 – Rick Faris
  • 3:45 – Jake Blount
  • 5:15 – Jim Lauderdale
  • 6:45 – Fireside Collective
  • 8:15 – Bowregard
  • 9:45 – The Po’ Ramblin’ Boys

Davie Street Stage

  • 12:00 – Crying Uncle
  • 1:15 – Fair Black Rose
  • 2:30 – Joe Mullins & The Radio Ramblers
  • 3:45 – Jesse Brock & Streamliner
  • 5:00 – Missy Raines & Allegheny
  • 6:30 – The Wildmans
  • 8:00 – Special Consensus
  • 9:30 – Darin & Brooke Aldridge

 Capitol Stage

  • 12:00 noon – Bill and the Belles
  • 1:15 – Songs From The Road Band
  • 2:30 – Hubby Jenkins 
  • 3:45 – Cathy Fink & Marcy Marxer
  • 5:15 – Buffalo Commons
  • 6:45 – Henhouse Prowlers
  • 8:15 – Anya Hinkle
  • 9:45 – Mile Twelve

Youth Stage (located by the Marriott)

  • 12:30 – Square Deal
  • 1:45 – Eliza Meyer
  • 3:00 – Crying Uncle
  • 4:15 – Mountain Highway
  • 5:30 – Berea College Bluegrass Ensemble (Berea, KY)
  • 7:00 – East Tennessee State University Bluegrass Pride Band (Johnson City, TN)
  • 8:30 – The Mountain Music Ambassadors from Morehead State University (Morehead, KY)
  • 10:00 – The Tigertown Roots – Clemson University Bluegrass Band (Clemson, SC)

StreetFest Schedule – Saturday, October 2 

Come Hear NC Stage

  • 12:00 noon – The Burnett Sisters 
  • 1:15 – Danny Paisley and the Southern Grass
  • 2:30 – Nixon, Blevins & Gage
  • 3:45 – The Jakob’s Ferry Stragglers  
  • 5:00 – Darin & Brooke Aldridge
  • 6:30 – Hank, Pattie & The Current
  • 8:00 – The Steel Wheels
  • 9:45 – Frank Solivan and Dirty Kitchen

Davie Street Stage

  • 12:00 – Sinner Friends
  • 1:15 – Kristy Cox
  • 2:30 – Diamond Creek
  • 3:45 – Hubby Jenkins
  • 5:00 – The Ruta Beggars
  • 6:30 – Lorraine Jordan & Carolina Road
  • 8:00 – Tray Wellington Band
  • 9:30 – Barbaro

Capitol Stage

  • 12:00 – Terry Baucom’s Dukes of Drive
  • 1:15 – Allison de Groot & Tatiana Hargreaves
  • 2:30 – The Price Sisters
  • 3:45 – Frank Solivan and Dirty Kitchen
  • 5:00 – Joe Newberry & April Verch
  • 6:30 – Liam Purcell & Cane Mill Road
  • 8:00 – Chris Jones & The Night Drivers
  • 9:45 – The Gina Furtado Project

Youth Stage

  • 12:00 noon – Mountain Highway
  • 1:10 – Crying Uncle
  • 2:20 – Fair Black Rose
  • 3:30 – Square Deal
  • 4:30 – The Carolina Bluegrass Band from the University of North Carolina (Chapel Hill, NC)
  • 5:30 – The Denison University Bluegrass Ensemble (Granville, OH)
  • 7:00 – The Warren Wilson College Bluegrass Band (Swannanoa, NC)
  • 8:30 – The Colorado College Bluegrass Band (Colorado Springs, CO)
  • 10:00 – The Lawrence University Bluegrass Band (Appleton, WI)

Information on tickets for Bluegrass Live! can be found online, as can tickets for other World of Bluegrass functions.

Posted in Lyrics | Tags: IBMA | Leave a comment |

An appeal to the IBMA concerning World of Bluegrass vaccination rule

Posted on August 21, 2021 by Azlyrics

Coming up with rules for holding in-person events in the era of COVID isn’t easy, and no matter what organizers settle on, there is no way to please everyone.

IBMAs board of directors certainly learned that in the wake of its unanimous decision to require World of Bluegrass attendees to show proof of vaccination to gain entrance to the fall extravaganza, and to require masks for all indoor events.

Kudos to the board for trying to make the best of an impossible situation. Board members had to know that whatever they decided, some segment of the membership would protest and some cancellations would result. Certainly, based on social media comments, those offended enough to stay away outnumber those who say they now feel safe enough to attend. But we won’t know the overall impact until the business conference kicks off in late September, in part because a number of folks who are loudly on the I-won’t-attend bandwagon include IBMA critics who wouldn’t attend anyway.

That said, there is one change IBMA’s board can – dare I suggest should – consider before it’s too late for bluegrass fans and artists alike to change their minds. That change is to require a record of being fully vaccinated OR written proof of a negative COVID test performed within 72 hours of entering the convention center in Raleigh.

The change won’t appease some of the critics, but it will clear the way for those who aren’t vaccinated, for whatever reason, to attend what lives up to its billing as the year’s most important week in bluegrass, if they choose. I’m thinking especially of those who have legitimate physician-endorsed reasons for not being vaccinated, and for kids who are just becoming eligible for vaccines or aren’t yet eligible (under 12 years old). 

IBMA is the only major bluegrass gathering I’m aware of to require proof of vaccination with no exceptions. MerleFest recently announced its policy of vaccination or negative test, joining DelFest, FreshGrass, and others. 

I’m especially concerned about the negative impact the vaccine requirement could have on kids, whether they are part of the structured youth programs or are just there to jam and learn and absorb all they can. They are our future, and it’s pretty easy to imagine many of them finding something else to focus on instead of bluegrass if they can’t attend this year’s event after already missing out last year.

If the onus is on potential attendees to prove a negative test, it shouldn’t add much work, if any, to the jobs of the volunteers who have to check vaccine records anyway. IBMA doesn’t have to, and shouldn’t, be responsible for testing.

Is it a perfect solution? Absolutely not. There will still be loud objectors. But it seems a reasonable compromise to the all-or-nothing approach that the board unanimously approved. As for the mask requirement, IBMA’s hands are tied on that one unless the city of Raleigh changes its indoor mandate.

I look forward to the day when we can all gather again safely, enjoy live music and revel in all that is good about bluegrass in general, and World of Bluegrass specifically. And to a day when the toughest disagreement other than style of barbeque is the age-old (or at least decades old) question: Is that bluegrass? 

I look forward to your civil comments.

Posted in Lyrics | Tags: IBMA | Leave a comment |

Ask Sonny Anything… who was Krako?

Posted on August 20, 2021 by Azlyrics

Sonny was not able to answer new questions this week, so we are running a classic edition of his column. We hope to have a new set of responses from him next Friday.

Sonny, years ago you said that there was a team of tiny men who lived in your banjo and were responsible for broken strings, going out of tune, etc., and that the guy in charge of them was named Krayco. What ever happened to Krayco and his team? Are they still around? Have they moved to someone else’s banjo? I notice that Ron Block tunes a lot… maybe they’re with him now?

Ned L.

Ned…due to the fact that I only know one person named Ned, I feel rather safe in assuming that he be thee! (That’s a little CHURCH Talk) Anyhow, You are one of the most talented musicians I have ever known. I wanted you to know that now, for fear that I hadn’t told you that before. So now let’s talk about Krako. He lived in my banjo resonator and every so often I would hear this voice that would say, “Not Tonight. You will play out of tune or not play.” He accounted for broken strings, bridges, tuning problems, just anything that could go wrong would go wrong. I never saw him… not once… but I had long conversations with him after a particularly bad tuning show. I have always detested seeing someone, anyone playing any instrument, stand up on the stage before a paying audience, TUNE…TUNE…Tune… after every song. We just never did that much. We had a Peterson strobe tuner installed on our bus, and everyone would tune with it before going on stage. You asked what happened to him KRAKO…. I had to stop playing the banjo in 2003 because of rotator surgery so I lost contact with The Kraco Team. They were with me so long, though, I had to honor them somehow so I realized, several months ago, that I had enough parts in my garage to build a banjo… so I did. It came out sounding so good, I thought someone should be playing it. Lincoln Hensley has agreed to play it, so Lincoln now plays the only KRAKO banjo in existence. Ronnie Block does not deserve a group like Krako … BUT, Come to think of it, Ron does tune a lot…HMMMMMM!

—–

Sonny, In one of the videos with Mac Wiseman from 1999, you talked about being in some small town in Quebec, Canada in the wintertime and playing a show where the promoter never showed up. Do you remember where in Quebec this show took place and who was playing guitar for you at the time?

Peter D.

During that time, 1955, Bobby and I worked with Charlie Bailey in Wheeling, WV. So he would be the guitar player. It was snowing so hard you could hardly see the building. Kids were playing hockey in the street. So, showtime came and the promoter was not there to open the door, and the building was locked. We were all broke too with a half tank of gas. Tough times. I saw a few people gathering at the door so I started looking or some way to get in… I found an unlocked window and crawled through. Found a light switch and opened the front door. By then a pretty decent crowd had appeared so I got a chair and collected admission… When they stopped coming I had amassed a total of $490… and I started hoping the guy wouldn’t show up because that was enough to get us back to Wheeling, and have some left over. He didn’t show, we kept it all, did a decent show, the folks were pleased, we loaded our equipment up, I locked the front door, turned out the lights, crawled back out and shut the unlocked window and we had a pretty good trip back to Wheeling.

—–

Sonny, How did you guys come to tour with Haggard? What is one experience that stands out most while touring with him? I’m glad to see you’re doing well, I miss seeing you out on the road.

Thanks, Wes V.

We worked a show in Pennsylvania with Merle and I guess he liked what he heard. In 1971 we won The CMA VOCAL GROUP OF THE YEAR and our presenters were Roy Clark and MERLE HAGGARD…maybe that had something to do with it, I really don’t know that as fact, but I can’ think of any other reasons that he would request us to be his opening act…whatever, we did it for 4 (four) years (1971-1975) and it was a dream to see him every night. We, of course went on first and before Merle went on I would find a chair and place it behind the curtain close to Roy Nichols. I literally loved his Guitar playing, and to see Haggard bringing it every night. He could work a Mic as good as Marty Robins, and Marty was the best I ever saw. One thing that happened…we played The White House with Merle. Nixon, his family, members of Congress, and a whole room full of dignitaries were there and we were all nervous, to say the least…My goodness, two 10th grade dropouts from Thousand Sticks Kentucky being allowed to play in the White House. Well, after we struggled through our 20 minutes we watched Merle sing…On Fighting Side Of Me. He dropped his Guitar pick and I think he changed the last words to: WHEN YOU’RE RUNNING DOWN OUR COUNTRY MAN YOU’RE FIGHTING ON THE WALKING SIDE OF ME. The great ones get scared too. We talked with Nixon some…about 10 minutes, and I found out he had pretty good knowledge of common profanity!

_____

Sonny, There has been much discussion about what is and isn’t bluegrass music. People claim that Sirius/XM’s Bluegrass Station plays music that is not bluegrass and currently on this site there is discussion about the IBMA nominating people/groups for awards that are not bluegrass. Many are afraid that if bluegrass is not properly defined, any music or anybody looking for a home will be thrown into it and bluegrass will end up being diluted/polluted like country music. With that said, would you care to give us your definition of bluegrass or how you determine if something is bluegrass? And keeping that in mind, would you care to give us your opinion of the state of bluegrass today? Thanks.

STLIL

Man, I don’t know how to define bluegrass style music. To begin with it consists of the five main instruments… guitar, bass, fiddle, banjo, and mandolin. Of course you can add to that… Dobro being one, another fiddle or two, lead guitar too is acceptable now… Tony Rice made that a possibility. I tend to agree that more and more pop singers are easing their way into country music and country singers are doing the same with bluegrass. My own preference would go back to the ’40s with Bill, Lester, Earl, Chubby, and Cedric. That’s what I call true bluegrass music… but, then look what we did in the ’60s-’80s strictly to make more money and draw more people. I honestly believe we did a lot to put bluegrass music into different venues, which I believe made it possible, and easier for others to make a better living playing a form of bluegrass music. So, I guess you can’t actually define what is or what isn’t any style music. It’s just whatever a certain individual wants to spend his money to hear. For me it’s ’46 – ’48 Bill Monroe and 1950 – 1954 Lester and Earl. Now that’s not to say I don’t like other groups and different styles music, that’s just what I would prefer my BLUEGRASS to sound like. I don’t personally like the state of bluegrass right now, but we have better players, better singers, all for the most part. So once again we come back to the fact that there really is not a true answer to your statements. Boils down to what YOU prefer.

—–

Sonny, the first time I remember seeing the Osborne Brothers was in 1974 at the Camp Springs, NC bluegrass festival. Somehow it seems to me that y’all were riding in matching white Ford LTD station wagons. I remember buying a promo picture from you for $1, that you were selling out of the back of one of those station wagons. I still have the photo! Did I imagine the station wagons, or did y’all actually travel that way in the early ’70s?

Lynwood L.

Lynwood. That certainly was our means of travel. We had a deal with the Ford dealer in Gallatin where we could get two new station wagons every 20,000 miles. We did this for about 3 years. On my car we had an instrument trailer which hauled our equipment, which included a pretty good sound system. It was built by Bobby’s son Robby, who was a genius at such things. He could do anything. 1974 was our last time we used the Ford wagons. We went from that to a beautiful 1975 Cadillac limo. We put 175,000 miles on that car.

s

If you have something you would like to ask Sonny, be sure to post it in the comments below, or send it to us directly.

Posted in Lyrics | Tags: Ask Sonny Anything, IBMA, Mac Wiseman, NC | Leave a comment |

IBMA announces proof of vaccination and indoor masking for World of Bluegrass ’21

Posted on August 17, 2021 by Azlyrics

The International Bluegrass Music Association has announced updated health and safety protocols this afternoon for the 2021 World of Bluegrass Convention and associated events next month in Raleigh, NC. These are in response to heightened concerns about COVID spread, and a recent proclamation from the Mayor of Raleigh mandating the use of face masks in all indoor spaces.

The new protocol for all artists, volunteers, and attendees are:

  • Proof of vaccination (without exceptions) will be required for attendance at any IBMA World of Bluegrass activity requiring registration and ticketing: the IBMA Business Conference, the IBMA Bluegrass Ramble showcase series, the 32nd Annual IBMA Bluegrass Music Awards presented by Yamaha, and the main stage at the Red Hat Amphitheater for IBMA Bluegrass Live! powered by PNC. As in years past, IBMA World of Bluegrass indoor events will take place at the Raleigh Convention Center, the Duke Energy Center for the Performing Arts, and at various venues downtown.
  • Masks will also be required at all indoor activities during IBMA/WOB.
  • Attendees will be required to show proof of vaccination upon check-in to the event and issued a wristband that must be worn at all IBMA/WOB events.
  • Anyone who has already purchased registration or tickets but prefers not to participate in the updated health protocols for the 2021 event will be given a choice with our updated refund policy, which will be available online at worldofbluegrass.org.

Mike Simpson, IBMA Board Chair, says that they were unanimous in this decision.

“As live bluegrass music begins to re-emerge, our emphasis on a safe return cannot be understated. We have been closely monitoring safety guidelines, and in the interest of everyone’s safety, our Board of Directors has taken the unanimous position that participation in this year’s World of Bluegrass begins and ends with safety – requiring proof of vaccination and indoor mask wearing. I am pleased to say that our discussions were strikingly non-political and focused purely on the best safety measures that we could take for all involved.”

And new IBMA Executive Director, Pat Morris, says that he doesn’t expect this to be a burden to many attendees.

“Our internal surveys – conducted in both March and July – found that more than 90% of respondents planning to attend this year’s World of Bluegrass also planned to be fully vaccinated before getting to Raleigh. We have been working diligently with our partners in Raleigh to bring the community together for an unmatched bluegrass experience in a safe environment, and the health and safety of our attendees is our number one priority. Some of the changes we have already made include planning for less crowding in the Raleigh Convention Center and Red Hat Amphitheater; streamlined scheduling, larger conference session spaces, and careful consideration of bottleneck areas.”

For those not able to attend in person, we will be streaming select content throughout the week on Swapcard. Virtual attendees will have access to the virtual exhibit hall, conference sessions, music performances, and more.”

Expect more details on access to streaming from World of Bluegrass soon.

Morris also shared that IBMA will continue to analyze and adjust safety protocols in conjunction with the health officials in Raleigh as we approach the start of World of Bluegrass, the last week in September.

Posted in Lyrics | Tags: IBMA | Leave a comment |

IBMA names 2021 picks for Songwriter Showcase at World of Bluegrass

Posted on July 30, 2021 by Azlyrics

The International Bluegrass Music Association has announced the ten writers chosen to present at the 2021 Songwriters Showcase, held as part of the IBMA Business Conference during World of Bluegrass in September. It is one of many events specifically geared towards writers on the WOB Songwriters Track.

Each of the ten songwriters will have the opportunity to perform the original song chosen by an IBMA committee before an audience consisting of top bluegrass artists and producers. Everyone is always looking for songs during IBMA week in Raleigh, NC, so this is a great way for writers to connect with the people who need their material.

Presenting in the 2021 Songwriters Showcase are:

  • Aaron Burdett – Loser’s Bracket
  • Abbie Gardner – Down The Mountain
  • Brian Oberlin – Downtown
  • Buddy Guido and Paul Kelly – Everybody’s Best Friend
  • David Morris – Half-Passed You
  • John Lowell – I’m Going Home
  • Johnny Williams – A Change In Me
  • Kate Prascher – Roving Rounder
  • Heather Sarona – I’ll Be Lost
  • Boyd Timothy – Pines of Caroline

Congratulations to this year’s presenters!

Full details about registration for the 2021 World of Bluegrass, running September 28 through October 2, can be found online.

Posted in Lyrics | Tags: IBMA, Songwriter Showcase | Leave a comment |

From The Side of the Road… concerns about IBMA voting changes

Posted on July 28, 2021 by Azlyrics

Hello from North Carolina. This week I’m in the studio recording some Christmas songs with the Night Drivers. Between writing charts, and watching A Christmas Carol and Elfto get into the Christmas spirit in late July, I’m a little pressed for time, so I chose this column to rerun, and unlike Christmas music, it’s actually seasonally appropriate.<

Last week I said we’d spend some time discussing recent changes in the IBMA awards procedure, naming, and criteria, most of which have been covered here in Bluegrass Today.

It’s only natural there would be adjustments in this area through the years, either to adapt to changing times, or often just to correct problems that may have arisen in what is never a perfect process.

These are certainly not the first changes in the awards procedure. Many don’t remember that in the early Owensboro years, the “Entertainer of the Year” award was given to any artist or band that “demonstrated the greatest ability to entertain an audience, using any of the following methods: clogging while yodeling, fiddling while singing, playing Orange Blossom Special behind one’s back, playing spoons against one’s head, or having a bass player with enormous shoes.” Today, after an extensive rewriting of the criteria, the “Entertainer of the Year” award is understood to mean simply the “Artist of the Year.”

All members of the IBMA should appreciate the effort and hours that go into revisions like this. Many of this year’s changes addressed some of the redundancy in the award names: for example, “Bluegrass Broadcaster of the Year” is now simply called “Broadcaster of the Year.” Clearly, since it’s the International Bluegrass Music Awards, it’s going to be an award for a bluegrass broadcaster. When the CMA (Country Music Association) holds its awards show, they don’t feel the need to call their “Single of the Year” the “Country Single of the Year.” Obviously if it’s voted on by the Country Music Association, the music is going to be . . . Maybe that’s not a good example. 

In any case, it was worth fixing the redundancies in our awards. I’m especially glad the award “Bluegrass Banjo Player of the Year Who Plays Bluegrass-style 5-String Banjo” has been shortened to “Banjo Player of the Year.”

Meanwhile, the “Special Awards” are now called the “Industry Awards,” thus avoiding the possible stigma associated with the word “special.” “Oh, you won one of the special awards? How nice for you.”

Some other changes received less coverage, though (possibly because they don’t want you to know about them!), and I think they’re worth at least mentioning here. After all, I’m all about keeping people inaccurately informed.

Feeling that the final nominations had a tendency to go to the same people and groups over the years, leaving a number of trending artists, and even some veterans, under-recognized, an effort has been made to broaden the voting pool for the second round: some of the rigorous ID requirements introduced in the last 10 years have now been relaxed. It’s no longer necessary to show three pieces of government-issued photo ID, plus a photo of yourself playing one of the six acceptable bluegrass instruments, and looking like you can actually play the thing. The pre-voting exam, asking for answers to questions like, “Who were Molly and Tenbrooks?” and “Who was Lloyd Loar and why do we care?” has also been dispensed with.

Now, it’s possible to cast your IBMA nominations ballot vote when registering your car, with no questions asked (I mean, they won’t ask questions about your ballot; I make no promises about your car). McDonalds is also now making it possible to vote during the semi-final round when ordering a Happy Meal. Simply jot your choices down on your used hamburger wrapper, and give back two French fries as a service charge.

New categories were added in what are now called the “Music Awards,” given out during the Thursday night awards show. In addition to the new award you’ve already heard plenty about, “Bluegrass Drummer of the Year” (soon to be just “Drummer of the Year”), the IBMA has announced the following new awards:

Best Collaboration By People Who Can’t Stand Each Other

Best Gospel Hand Gestures While Still Trying to Play an Instrument

Openly-Pandering-For-Airplay Song of the Year

The awards show itself has also undergone some much-needed reform: an annual problem has been the show’s length, which has traditionally run between 45 minutes to a few days longer than its estimated time. Since no musical numbers are running particularly long, the primary culprit seemed to be the awards and Hall of Fame induction acceptance speeches. Beginning this year, all awards acceptance speeches will be limited to no more than three words in length.

For those who might not be able to handle that kind of brevity in this situation, some examples of effective three-word speeches might be:

“I finally won!”

“Man I’m good!”

“Well I’m speechless”

“Somebody pinch me”

“You’re surprised? Shhh.”

“Me again. Wow.”

“Like the dress?”

In honor of their age and contribution to the music, it was agreed to give Hall of Fame inductees a full five words. Here are a few ideas for ultra-brief induction speeches:

“Do you even know me?”

“Nice presentation. Who was that?”

“Now stop wrecking my music.”

“A word limit, huh? Tough!”

“I’m still alive, you know.”

Don’t forget to vote.

Posted in Lyrics | Tags: Bluegrass Today, IBMA | Leave a comment |

IBMA names second round of Showcase Artists for World of Bluegrass

Posted on July 2, 2021 by Azlyrics

The International Bluegrass Music Association has announced another ten artists invited to showcase as part of the Bluegrass Ramble during the 2021 World of Bluegrass convention in Raleigh, NC. At the same time, they identified ten additional acts that will participate as showcase artists, but via streaming performances from locations around the globe.

Each of these performers will have opportunities during the convention to showcase before the assembled industry people attending World of Bluegrass. These sets have resulted in record contracts, management opportunities, and touring or booking representation following the event.

Announced today as live performers are:

  • Barbaro
  • Cedar Hill
  • Crandall Creek
  • Fair Black Rose
  • Hillary Krug
  • Hubby Jenkins
  • Jake Blount
  • Never Come Down
  • Special Consensus
  • Valerie Smith & Liberty Pike

Those participating by video stream are:

  • Bluegrass Stuff
  • Hayde Bluegrass Orchestra
  • Hot Diggity
  • Jackson Hollow
  • Louis Gomez FlamencoGrass Quartet
  • Radim Zenkl  & Andra Kozák
  • Shane Hennessy
  • The Fountaineers
  • The Often Herd
  • Under The Rocks

You can see the acts announced last month in our previous post.

A complete schedule of World of Bluegrass events will be posted soon.

Posted in Lyrics | Tags: IBMA | Leave a comment |

From The Side of the Road… 2021 IBMA adjective removal announcement

Posted on June 16, 2021 by Azlyrics

Several years ago I wrote a column about the ceremonial retirement of adjectives at the IBMA World of Bluegrass. This is now an annual event, usually scheduled on Tuesday, right before the event producers’ craft fair and square dance, and every year three more heavily-used bluegrass adjectives are retired for good. After these emotional ceremonies, the adjectives can no longer be used in artist bios or publicists’ press releases. The loss of these adjectives has required an adjustment for bluegrass copy-writers, and for some it’s been downright traumatic.

The first three adjectives were “hard-driving,” “dynamic,” and “tight,” words that were present in virtually every bluegrass press release. Knowing the difficult position some of these writers were now in, I felt duty-bound to try to suggest alternatives to these descriptive terms, which included “captivating,” “distracting,” and “affordable.”

I try to keep up with press releases from various genres, partly for this very purpose: we need adjectives and we need them now. A recent arrival in my inbox contained the adjective “stadium-ready” (the context was the phrase “stadium-ready choruses” because, as everyone knows, no choruses can be sung in a stadium until they’re ready). The same press release used “impactful” twice in two sentences. “Impactful” is handy, because it can be applied to a number of things: you can have “impactful lead singing,” “impactful songwriting,” or “impactful stagewear.” Though now that I think about it, is “impactful” actually a word? Would “impacty” or “impactish” be better? Or maybe a compound version, like “impact-laden,” “impact-dredged,” or “impact-packed.”

No matter the form, they all need to go on the list because these are desperate adjective times, especially with IBMA’s announcement this week that “heartfelt,” “soulful,” and “powerful” will all be retired this year. This is going to make describing vocals especially challenging, so we need to be prepared for a lot of “soaring,” “haunting,” and “impact-saturated” vocals in future press releases.

I really wasn’t intending to revisit adjectives in this column. I was originally planning to turn to the issue of nouns, especially after reading in Bluegrass Today about Jack Tottle taking issue—and I believe he was justified—with a reference to Chris Thile as a “mandolin whiz.” This coincided with another IBMA announcement that in alternating years, one noun would also be retired during the usual adjective retirement ceremony. This is equivalent to the years when the Bluegrass Hall of Fame inductees includes an “early contribution” or “industry” person among its inductees. 

So this year we’ll be losing our first bluegrass noun. The announcement of which one it is is expected in the next few days, and we’ll discuss that next week. News has already leaked that it won’t be “whiz.”

Posted in Lyrics | Tags: IBMA | Leave a comment |

IBMA announces showcase acts, tickets, and registration for World of Bluegrass

Posted on June 8, 2021 by Azlyrics

The International Bluegrass Music Association has officially announced this morning the good news we discussed last week, that they are moving full-speed ahead to an in-person World of Bluegrass week in Raleigh at the end of September. There will also be a virtual component to the festivities, with more details about which events will be included to be detailed later this summer.

In addition to that good news, IBMA has extended their contract to host World of Bluegrass in Raleigh through 2024. At this point, it is difficult to imagine a better home for these annual signature events: the three-day IBMA Business Conference and the IBMA Bluegrass Ramble showcase, the gala IBMA Bluegrass Music Awards on Thursday evening, and the IBMA Bluegrass Live! festival over the weekend. The 2021 dates are September 28 through October 1.

The city of Raleigh also holds a free, two-day street festival over this same weekend, with bluegrass music played on a number of stages stretched over several blocks of the downtown area adjacent to the official IBMA action. All area residents are invited to join in the fun, with downtown streets blocked off for the occasion, with ample food and drink vendors on hand. This allows locals to enjoy much of the same entertainment that was offered to conference registrants during the week prior.

Incoming IBMA Executive Director, Pat Morris, says that he looks forward to engaging with everyone in Raleigh this year.

“As our community emerges from some of the most challenging times in modern memory, this year’s IBMA World of Bluegrass takes on added importance. We urge everyone who loves bluegrass to be at this fall’s event and re-engage with others, share fresh ideas, and learn innovations – some launched because of the pandemic. Most importantly, it’s the chance to get fully immersed in what we all sorely missed in 2020: live music.

We’re also excited that World of Bluegrass will continue to call Raleigh home through 2024. Raleigh is welcoming, flexible and creative, and has become the essential stop each year for those in the bluegrass community.”

His excitement is shared by Raleigh Mayor, Mary-Ann Baldwin, herself a bluegrass music lover.

“Raleigh is proud to once again host the IBMA World of Bluegrass. We’re especially thankful that we’ll be in person this year where we can experience the fabulous music, talent, art, and fellowship that this group brings to our city. IBMA is one of our signature events — and my favorite event of the year! It’s so great to see people playing their instruments on street corners throughout downtown, in the convention center, at Red Hat Amphitheater, and at restaurants and bars. It brings our downtown to life. We look forward to seeing you there.”

Also part of today’s announcements is the first round of invited showcase acts who will perform as part of the Bluegrass Ramble. These artists and bands were selected through a highly competitive process to choose acts who are poised to take advantage of the opportunity to shine before the movers and shakers in our industry. As has been their habit in recent years, these include bands from the bluegrass, old time, and Americana scenes.

  • Allison de Groot & Tatiana Hargreaves
  • Armchair Boogie
  • Bella White
  • Bowregard
  • East Nash Grass
  • Henhouse Prowlers
  • Liam Purcell & Cane Mill Road
  • Lindley Creek
  • MohaviSoul
  • Rock Hearts
  • Starlett & Big John
  • Stillhouse Junkies
  • The Amanda Cook Band
  • The Arcadian Wild
  • The Martin Gilmore Trio
  • The MilBillies
  • The New Acoustic Collective
  • The Sweet Lillies
  • The Wooks
  • Twisted Pine

Each invited showcase act will play a set in the Raleigh Convention Center, the headquarters for World of Bluegrass, and another in a downtown club or venue one evening during WOB week. Most will also be featured on one or more stages during the city’s free street festival on the weekend. A second round of Bluegrass Ramble artists will be announced over the summer.

The IBMA also provided a list of artists who will perform at the IBMA Bluegrass Live! festival, October 1-2, at the Red Hat Amphitheater, across the street from the Raleigh Convention Center. In order to ensure that safety protocols are followed, it will be a ticketed event, but the organization says that low cost tickets will be offered to make sure everyone can attend. Set to appear in 2021 are Béla Fleck’s My Bluegrass Heart, featuring Michael Cleveland, Sierra Hull, Justin Moses, Mark Schatz and Bryan Sutton; The Del McCoury Band; Steep Canyon Rangers; Yonder Mountain String Band; Jerry Douglas, Edgar Meyer & Odessa Settles; Sister Sadie; and The Po’ Ramblin’ Boys. Other acts will be announced later this summer.

Tickets are now available to IBMA members to register for World of Bluegrass, and for the IBMA Bluegrass Music Awards and IBMA Bluegrass Live!. Threes tickets will open to non-members one week from today, June 15. Hotel registrations are also open to IBMA members today, and to non-members on the 15th. Lower cost lawn tickets for IBMA Bluegrass Live! will be available later this summer.

Further details about all World of Bluegrass events can be found online.

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IBMA greenlights 2021 World of Bluegrass in Raleigh

Posted on June 4, 2021 by Azlyrics

Here’s some of the best news we’ve reported in a while: hotel rooms and tickets for IBMA’s World of Bluegrass go on sale next week, the surest sign yet that the event will return to in-person status in Raleigh this fall.

The news wasn’t entirely unexpected. The association announced earlier in the spring that some blend of in-person and virtual programming was likely if restrictions from COVID-19 continued to be lifted. But it sure was great to hear!

Tickets for events and registration for hotel rooms will open on Tuesday, June 8, at 11:00 a.m. (EDT). Returning vendors should have already received information for registering the previous day.

The way for the return of the bluegrass extravaganza after a virtual hiatus last year was cleared on May 14, when North Carolina lifted most statewide restrictions, including limits on crowd sizes for both indoor and outdoor events. 

In an email to previous vendors, operations specialist Ethan Charles said that, “IBMA will continue to monitor local guidelines and put safety precautions in place in accordance with state, local, and CDC (Centers for Disease Control) recommendations as those evolve.”

The first day of hotel and ticket availability for members will be a key litmus test for the popularity of the event. In normal years, blocks of rooms at the prime hotels sell out quickly, often on the first day. But with some folks still wary of flying and others perhaps feeling the economic sting of a year without steady income, nobody really knows what to expect.

I, for one, will be in line right at the start, as I always am. I’m fully vaccinated and fully ready to jam and write, see old friends and hear new music. I might be feeling differently if I had to fly in a middle seat, but it’s a reasonable drive for me, and I look forward to making it. Even the Beltway around Washington, DC, at morning rush hour will be a welcome change from the last 15 months.

Dates for this year’s business conference and music festival are September 28-October 2.

Hope to see many of you in Raleigh.

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IBMA webinar on streaming licenses May 18

Posted on May 13, 2021 by Azlyrics

The International Bluegrass Music Association is hosting another of its IBMA365 educational webinars next week on Facebook. This one is focused on the legal issues surrounding offering live streaming events online, and what sort of licenses are required to do so.

Titled Streaming Licensing for Venues, Presenters, and Festivals, the May 18 presentation will include information and comments from attorneys and experts in this burgeoning field, moderated by Patrice O’Neill, Wintergrass founder and Director.

This panel has been assembled to address matters of concern to event producers who would like to offer some or all of their live stage content online as well. While this has been a growing part of the live music business for some time, the COVID19 restrictions since 2020 have brought it front and center, and the legal concerns are ones that many attorneys are not up to date on.

Presenting will be:

  • Dr. Richard James Burgess – President and CEO of A2IM
  • Ashley Joyce – Senior Vice President, Legal & Business Affairs at National Music Publishers’ Association
  • Robert Meitus – Partner, Meitus Gelbert Rose LLP and Co-founder and VP of Industry Relations at Mandolin
  • Rusty Weiss – Partner, Sidley Austin LLP

The webinar is scheduled for noon (CDT) on Tuesday, May 18 using Facebook Live. There is no charge to attend, and you do not need to be an IBMA member.

The IBMA has provide these thumbnail bios of the participants.

CEO for the American Association of Independent Music (A2IM), Richard James Burgess Ph.D. has produced, recorded and performed on many gold, platinum, and multi-platinum albums. He was previously head of business at Smithsonian Folkways Recordings where he produced Jazz: The Smithsonian Anthology, chronicling the history of jazz. His career path includes: studio musician, recording artist, producer, manager, and label owner. He is known for his pioneering work with synthesizers, computers, sampling, EDM, New Romantics, early house music, as the inventor of the SDSV drum synthesizer, and for coining the music genre terms EDM and New Romantic. His current books are, The Art of Music Production: The Theory and Practice, 4th Edition and The History of Music Production (Oxford University Press). Burgess has received awards as a producer and musician from Music Week, the British Arts Council, the Greater London Arts Association, the Park Lane Group, and most recently he won the 2016 British Council’s Education UK Alumni Award for Professional Achievement.

Ashley Joyce joined the National Music Publishers Association in 2020 and manages NMPA’s Copyright Royalty Board proceedings, copyright infringement litigation, and all related enforcement efforts. Ashley also negotiates model industry settlement and license agreements, and supports NMPA’s overall legal, business, and policy objectives.

Before joining NMPA, Ashley was a senior associate at DLA Piper in Washington, DC, focusing on trademark and copyright litigation in federal courts throughout the country, as well as proceedings before the United States Trademark Trial and Appeal Board. For nearly a decade, she litigated cases for clients in the retail, media, and technology sectors, handling all aspects of litigation from pre-suit consultations through appeals. In addition to domestic enforcement matters, Ashley advised clients on international conflicts and Internet issues, as well as exploitation of intellectual property assets with strategic registration, licensing, and settlement efforts.

Prior to DLA Piper, Ashley clerked for U.S. District Judge Garland E. Burrell, Jr. in the Eastern District of California and was a corporate associate at King & Spalding LLP in New York City. Ashley graduated cum laude from Duke University and Washington University School of Law.

She is a member of the California, District of Columbia, and New York bars.

Robert Meitus is Co-founder and VP of Industry Development at Mandolin, a new concert livestreaming service. Meitus has practiced entertainment law since the early 2000’s, representing clients, including Cage the Elephant, Sufjan Stevens, John Prine, I’m With Her, Shawn Colvin, Joshua Bell, The Alan Parsons Project, and Third Eye Blind. Meitus is an adjunct professor of law at the IU Maurer School of Law and received his J.D. from Maurer, his masters of international affairs from Columbia University, and his B.A. from Wabash College. He is a GRAMMY voting member.

Rusty Weiss is a partner in Sidley’s Century City office and a member of the Technology and IP Transactions practice and Media and Entertainment industry group. Rusty represents clients in the media, entertainment, music, sports, and technology industries on complex transactions with a particular focus on transactions involving the convergence of entertainment and technology.

In the media and entertainment industries, Rusty represents motion picture, television, video game, cable, mobile, internet, telecommunications, music, toy, eSports, and multimedia companies. He structures, negotiates and drafts a broad range of agreements for these clients, involving the financing, acquisition, development, production, marketing, promotion, branding, distribution, publishing, sale, and other exploitation of motion pictures, television and internet programming, video games, eSports leagues and tournaments, music, and consumer products.

In the technology industry, Rusty represents consumer electronics, cleantech, fintech, software, wireless, and semiconductor companies on their most important matters, including strategic alliances and joint ventures, technology development, licensing and procurement agreements, big data analytics and transactions, outsourcing and services arrangements, mergers and acquisitions, manufacturing and supply arrangements, distribution and reseller relationships, co-marketing agreements and venture capital deals.

Frequently recognized in various legal publications for his achievements, Rusty was recommended in The Legal 500 US (2014, 2016 – 2017), The Best Lawyers in America (2010 – 2021) and Euromoney’s Expert Guides. He was named by Variety in its Legal Impact Report (2017 – 2018, 2020 – 2021) and also by Variety in its 2019 Dealmakers Impact Report. In 2014 the Los Angeles Business Journal named Rusty one of their “Most Influential Lawyers in Digital Media and Ecommerce Law.”

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IBMA opens Official Showcase applications for WOB ’21

Posted on April 6, 2021 by Azlyrics

The International Bluegrass Music Association is now accepting applications from artists interested in showcasing during the 2021 World of Bluegrass convention, scheduled for September 28 through October 2 in Raleigh, NC.

These applications are open to any bluegrass acts looking to expand their performance horizons, including emerging artists and established bands with new personnel or music. Selected showcase performers will have at least two chances to play before the WOB audience, once during an official conference event in the Raleigh Convention Center, and once as part of the late night Bluegrass Ramble, which takes place at assorted venues in downtown Raleigh.

Owing to the COVID-19 uncertainties, IBMA will not only choose 30 acts for in-person shows, they will also pick 10 for strictly virtual performances. Preference for the virtual slots will be given to non-US artists in regions where travel restrictions are still in place. Also this year, acts chosen as 2020 showcase artists are eligible to apply again this year, owing to 2020’s showcases being virtual only.

In addition to the live performance opportunities, each Official Showcase artist will receive the following:

  • Full conference registration package for performers (value $1000+)
  • Priority access to Gig Fair appointments
  • Complimentary Exhibit Hall booth space during IBMA Business Conference (value $700+)
  • Up to three (3) Individual Memberships (value $225+)
  • Featured promotion on IBMA social media channels throughout the summer, ahead of the events
  • Featured profile in conference program, WOB app, and printed IBMA Bluegrass Ramble schedules
  • Featured pre-event promotion to DJs and talent-buyers via our IBMA Bluegrass Ramble playlists on Noisetrade and Spotify

Food and accommodations during the conference are the responsibility of the artists. 

Applications can be completed online, and are open to all bluegrass acts whether or not they are members of the IBMA. An application fee of $25 is required, along with the following details:

  • Name, email, and role (i.e. banjo, fiddle) of each member of the applying act
  • One studio recorded song (mp3 format only), an optional second recording may be submitted as well)
  • One Hi-Res artist photo
  • An artist bio with artist location, names/roles of band members (if known at time of application), description of the artist’s sound, and note of any recently released recordings
  • A stage plot, indicating locations of instruments, instrument mics, vocal mics, and any other equipment (i.e. amp, pre-amp)
  • Credit card for application fee

These performance opportunities during the World of Bluegrass showcases have been game changers for many up and coming artists, and are highly prized.

The application period ends on April 30, and applicants will be notified by May 31 with the results of their submission.

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IBMA planning hybrid World of Bluegrass conference in Raleigh

Posted on March 20, 2021 by Azlyrics

The International Bluegrass Music Association has announced that they are moving forward with plans to hold their annual World of Bluegrass convention in Raleigh, NC at the end of September, with a mix of in-person and online events, depending on how COVID restrictions evolve over the spring and summer.

In a letter to its membership, the IBMA says that they are “cautiously optimistic” about holding the conference, awards show, and festival in Raleigh, but will make final judgements as federal and state recommendations are revised.

Executive Director Paul Schiminger says that discussions with the professional membership of the organization make clear that the in-person events are their preferred option.

“We’ve heard from many of our members in the past few months, and we share the strong desire to gather in person in Raleigh this year; we wish it were a straightforward decision based on that alone. We remain optimistic but also have to consider CDC, state, and local guidelines to hold an event like ours. We have a strong partnership with the City of Raleigh, and they want to hold the event every bit as much as we do since it benefits both of our communities enormously.”

That said, hotel reservations in Raleigh for the September 28 – October 2 block will be opened on June 1, along with ticket sales for World of Bluegrass and associated functions.

IBMA also stressed some important dates for those interested in submitting for the Bluegrass Ramble showcases, the weekend street festival stages, and other conference proceedings.

Here are the submission periods to keep in mind, falling this year outside the normal WOB entry schedule.

  • Official IBMA Artist Showcase: April 5 – April 30
  • IBMA Songwriter Showcase: May 3 – May 28
  • IBMA Business Conference Call for Proposals: May 3 – May 28
  • IBMA Bluegrass Live! Street Stages, Youth Stage, University Ensemble Showcase: June 7-June 30
  • Kids on Bluegrass: June 7-June 30

IBMA is in the process of updating the World of Bluegrass web site now, and has an FAQ page up that addresses many questions you may have about the 2021 event. One thing that seems clear is that regardless whether an in-person conference can be hosted, much of the content will be available for online viewing for those unable to attend.

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IBMA posts results of recent Board elections

Posted on March 19, 2021 by Azlyrics

The International Bluegrass Music Association has announced the results of the election held earlier this year for three seats on their Board of Directors. Board members are chosen by professional voting members of the organization, within their constituent category.

Up for consideration this year were representatives for the categories of Print Media and Education, Broadcast Media, and Artist, Composers, and Music Publishers. Only members who have chosen one of these as their membership category are eligible to vote in these elections.

Dan Boner, the current Board representative for Print Media and Education was re-elected. Dan is the director of the Bluegrass, Old Time, and Country Music Studies program at East Tennessee State University. Until recently, he was also a member of the Becky Buller Band, but has stepped down owing to the demands of his job at ETSU.

New Board members coming in are Brad Kolodner in the Broadcast Media category, and Tristan Scroggins for Artist, Composers, and Music Publishers. Brad is the host of The Brad Kolodner Show on Bluegrass Country, a 24/7 bluegrass streaming service online. He is also a performer, playing old time banjo in the Baltimore area with Charm City Junction.

Tristan is a free-land mandolinist in Nashville who became prominent working alsongside his dad in Jeff Scroggins & Colorado, and for his online presence teaching mandolin on Patreon, He performs with a number of bands and ensembles both in Nashville and on the west coast.

These three will begin serving their three year terms when they are seated at the Board meeting held during World of Bluegrass.

The IBMA expressed its gratitude to departing Directors for their hard work.

“The board and staff of the IBMA, along with its members, thank outgoing board members Kenny Smith and Bob Webster for their outstanding service and contributions to the association and the entire bluegrass music community. As volunteers, they gave considerable time and effort in their service, and did so at their own expense to attend meetings and gatherings.”

More information about the Board of Directors and staff of the organization can be found on the IBMA web site.

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IBMA to offer Leadership Bluegrass online in 2021

Posted on February 17, 2021 by Azlyrics

Following the plan the International Bluegrass Music Association adopted for their 2020 World of Bluegrass convention, the organization will host its acclaimed Leadership Bluegrass business sessions this year for free online. Missing will be the personal networking opportunities so prized by attendees, but the information shared in small group meetings and seminars will be offered to all virtually in March 2021.

In a typical year, Leadership Bluegrass invites a couple dozen bluegrass professionals from all corners of the business to Nashville for a week. These individuals are chosen through a highly selective process, and they pay their own way plus accommodations to spend time in discussions and information sessions with top industry pros. Of course very little has been typical about the past twelve months, and the organizers of Leadership Bluegrass decided that it wasn’t practical to ask people to travel and spend time in close proximity while COVID-19 restrictions are still in place.

So this year, each Thursday in March will see a live presentation offered online, along with a set of music from an up-and-coming bluegrass group from outside the US. These will be available to everyone at no cost on the IBMA Facebook page, starting March 4 at 1:00 p.m. (EST).

The 2021 program is entitled Leadership Bluegrass Online: Navigating the Digital Jungle, and will run on the following schedule.

  • March 4 – The Show Must Go On: Producing Events in Uncertain Times
    Performance by Country Gongbang (South Korea)
  • March 11 – The Music Modernization Act: Where Are We Today?
    Performance by The Often Herd (UK)
  • March 18 – The Business of Education: 4 Tips to Becoming More Effective & Profitable
    Performance by Johnny & The Yooahoos (Germany)
  • March 25 – The Artist’s Perspective: Sarah Jarosz
    Performance by You, Me, Everybody (New Zealand)

All presentations will begin at 1:00 p.m. (EST).

Further details about Leadership Bluegrass can be found online.

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IBMA releases job description for next Executive Director

Posted on January 29, 2021 by Azlyrics

The International Bluegrass Music Association has published the job description for their ongoing job search for a new Executive Director.

Current ED Paul Schiminger notified the Board of Directors in December that he planned to retire at the end of his contract in May. Board Chair Ben Surratt has convened a search committee to find someone to take Paul’s spot, and is asking the membership and the wider bluegrass community to help them find suitable candidates.

Schiminger came to IBMA from a career in banking and finance. In fact, he learned of the opening when a headhunter contacted him for suggestions, knowing that he played bluegrass banjo. After thinking about it, he decided to throw his own hat into the ring. The Board is hoping that some other ideal candidate is out there, beyond the typical reach of executive search firms, and has written a letter to IBMA members asking that they help identify potential candidates soonest.

As we communicated in December, the IBMA’s Executive Director, Paul Schiminger, has decided to retire on or about May 31st of this year. As Board Chair, I have formed a search committee to initiate a search for Paul’s successor. We are fortunate to be doing this now since the IBMA is as strong as it has been in my time on the board, and we have an experienced and very capable staff to help make this transition as smooth as possible.

Before engaging a professional search firm, I am reaching out with this letter to encourage interested and qualified individuals to contact us directly. We are confident there are professionals who meet the qualifications of this position and who want to serve this association to help bluegrass music thrive for years to come. It is a dynamic, rewarding, and impactful role in which an ideal candidate generally has (but is not limited to):

      • Knowledge of, and passion for, bluegrass music
      • Strong business and financial skills to handle detailed budgets as well as strategic and operational plans
      • Strong communication skills
      • Experience working with a board of directors
      • Supervisory experience
      • Sponsorship, fundraising, and development experience
      • Working familiarity with diversity, equity, and inclusion priorities

By clicking this link you can review the full Executive Director job description. It is important our search include a diverse group of candidates so we can ultimately select someone we feel is best suited to lead future of our association.

If you have any questions, please send them to me at EDsearch@ibma.org. If you are interested in being considered, please include your résumé so I may share it with the committee. I look forward to hearing from anyone excited about this opportunity.

My sincere thanks,

Ben Surratt, Board Chair
International Bluegrass Music Association

The complete job description is available as a PDF file online.

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IBMA seeking candidates for Board of Directors

Posted on January 11, 2021 by Azlyrics

The International Bluegrass Music Association has put out a call this morning, seeking candidates interested in serving on its governing Board of Directors. They are looking for people with broad experience within the bluegrass industry, willing to make a three-year commitment to attend meetings and assist in setting both long and short term goals and priorities for the organization.

Candidates must be members of the IBMA, and be willing to provide references from two other professional members who can attest to your participation and expertise within the business of bluegrass.

At this time, three Board seats will be up for selection this year, chosen by a vote of the membership. They will be picked to represent the following IBMA constituencies:

  • Broadcast Media (1 seat)
  • Artists & Composers & Publishers (1 of 3 seats)
  • Print & Media & Education (1 seat)

An online application is available for candidates to be considered, where you will be asked to provide information about yourself, along with your two references. These submissions will then be reviewed by a selection committee who will choose two or more candidates for each open Board seat.

The Association will also choose a pair of Board-appointed seats this spring, and the online application can also be used to express interest in one of those at-large seats.

Seats on the IBMA Board of Directors are volunteer positions, and members are expected to cover their own expenses for traveling to in-person meetings and other IBMA events. Questions about these positions or the process can be posed by contacting Executive Director Paul Schiminger.

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Paul Schiminger to retire from IBMA

Posted on December 8, 2020 by Azlyrics

Paul Schiminger, Executive Director of the International Bluegrass Music Association, has announced his intention to retire from his position at the end of May 2021.

Schiminger has served as Executive Director since 2015, when he was chosen to lead the organization following the tenure of Nancy Cardwell. He came aboard on a six year contract, and navigated the IBMA’s successful move from Nashville to Raleigh;eigh, NC for its signature annual event, World of Bluegrass. His term has also seen sizable growth in membership, and in the international credibility of the association following a period of board upheaval and instability.

In announcing his imminent departure, which he tells us is a real retirement from all labors, Paul specified how much he values being able to lead IBMA this last six years.

“I was honored and humbled by my selection in early 2015, and I feel more so today knowing the true weight of the responsibilities in my role. It was impossible to foresee the incredible experiences and friendships I have gained throughout this time. I arrived embracing the challenges facing all of us to build upon the IBMA’s successes, and make impactful progress to strengthen and move the association forward for even greater future success. I could not be more proud of the achievements we have all made together.

This was a difficult decision, but one I feel is best for my family and me. I also feel this is excellent timing for the IBMA to make a transition to a new Executive Director. I want to make this process a smooth and successful one, so I am offering a six-month notice and will assist in any way possible with the coordination of the search and transition.”

IBMA Board Chairman Ben Surratt informed his fellow Directors yesterday of Schiminger’s intentions, and will head up efforts to find his replacement. He says that an Executive Search firm will be employed to assist in the transition.

“When Paul was selected to be our Executive Director in 2015, the organization was in a time of transition. He hit the ground running, and brought much-needed, systemic change to many areas of IBMA. There’s no doubt that the organization has flourished under Paul’s leadership; the list of the organization’s accomplishments during his tenure is long. Paul has been a steady hand at the helm for the last 5 ½ years.

Paul’s commitment to our music is strong; I know we will benefit from his expertise in many ways in the years to come. Though Paul will be retiring from our organization, I don’t expect to see him disappear from bluegrass. I hope you all will join me in thanking Paul for the tremendous work he has done for IBMA, the IBMA Trust Fund, and the IBMA Foundation.”

Other successes for IBMA during Schiminger’s tenure include converting the organization into 501(c)(3) status, overseeing their first all-virtual World of Bluegrass in 2020, and the disbursements of funds to industry members who lost any hope of income when all live performances were prohibited by COVID-19 restrictions this year.

Paul is also an avid bluegrass lover and banjo player, and he hopes that retirement will allow him to spend more time on those pursuits next year. At this time, he plans to continue living in Nashville, though traveling to see parts of the US that he and his wife cherish will also be on the docket.

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Giving thanks, bluegrass edition

Posted on November 26, 2020 by Azlyrics

I’ve never celebrated Thanksgiving in my own home. That means 64 holidays at my parents, my in-laws, a West Coast dinner out with an uncle, and a long weekend with my college girlfriends family in Pittsburgh.

That string will be broken tomorrow, when my wife and I dine alone, with the dog patrolling the perimeter of the table in case any food fumbles occur.

It would be easy, given the pandemic, to bemoan not being able to gather together with friends and loved ones, but what’s the use? Instead, we’ll celebrate the birth of a new tradition – Thanksgiving at OUR house. And we’ll look forward to continuing it next year, in the new place now being built in northeastern Pennsylvania, much closer to our families.

The same goes for bluegrass. I know that some bands, players, and venues didn’t survive the shutdown and the upending of an already shaky business model. I mourn those losses.

But 2020 also gave us much to be thankful for in the bluegrass world.

In no specific order, I’m especially grateful this year for:

IBMA. I was skeptical when the association announced plans for a virtual World of Bluegrass in place of the annual gathering in Raleigh. But Executive Director Paul Schiminger and his small but talented staff pulled it off, making it one of the best of the 11 annual gatherings I’ve been part of. 

With few technical glitches and lots of extra preparations, it would have been easy for an outsider to believe IBMA has been living in the digital space all along. The awards show was spectacular. An added bonus was being able to watch the workshops when I had the time. If there are two simultaneous sessions during an in-person World of Bluegrass, you’re out of luck for one of them.

That said, I’m eager to see a lot of old friends and make some new ones face-to-face next year in Raleigh.

MY FRIENDSHIP WITH STEVE GULLEY. During my second IBMA, in Nashville in 2011, Steve Gulley changed my life. As a panelist at a songwriting workshop, he scoffed at that notion that I was only a lyric writer, not a musician. He made me believe in myself and my limited guitar playing, to the point that I attended a song circle that night and wobbled through one of my creations. I met Dawn Kenney in that circle, and we’ve been writing together for years.

Steve and his wife Debbie demoed one of our songs. And Steve and I planned to write together. Those plans were cut short by Steve’s death this year, but he’ll always be in my heart for that little nudge he gave me.

THE PIONEERS. We owe so much to Bill Monroe, of course, but also to Lester Flatt, Earl Scruggs, Ralph and Carter Stanley, and so many others from the first generation of bluegrass. They paved the way for every note that’s played in bluegrass today, even those that can’t be shoehorned into the traditional definition of the genre.

THE INNOVATORS. Sam Bush, John Cowan, the Steep Canyon Rangers, Béla Fleck, Missy Raines, Molly Tuttle, the Infamous Stringdusters, and others sometimes think way outside the bluegrass box. The result is some of the most refreshing and inventive music I listen to these days. Bluegrass, to me, is just like Thanksgiving, a feast of many tasty dishes.

THE LEGENDS. I never met Bill Monroe or heard him play, but I’ve been lucky enough to be able to see and hear some incredible Hall of Famers, and others who will be, play the music I love: Doyle Lawson, Del McCoury, Larry Sparks, Lynn Morris, Tom Gray, Dudley Connell, Dale Ann Bradley, Ricky Skaggs, Joe Mullins, Hazel Dickens, and many more. 

THE BANDS YOU’VE NEVER HEARD OF. While the folks in the previous three categories get nearly all of the attention, bluegrass is home to dozens and dozens of local and regional bands waiting for their big break. For many, that break will never come. But they play on, for the love of the music. One reason I’m eager to get back on the festival circuit, hopefully some time next year, is to discover some of these bands in jam circles and during the non-peak performance hours on stage. Their devotion to the music always sends me away feeling optimistic about the future of the genre.

THE DJs. As a songwriter, I’m obviously indebted to the radio personalities who play the songs I’ve written for others to perform. But I’m also grateful for some of them being traveling companions for many hours on the road in years past (and years to come). Some of them make a living at it. Some of them do it for little or no money. But they’re all important in keeping bluegrass alive and well, especially this year.

YOU. If you’re still reading, you either love bluegrass or need a new hobby to get you through the rest of the pandemic. I’ve been fortunate to write about music since 2010, first for The Bluegrass Blog and, since 2011, for its successor, Bluegrass Today. We’ve shared a lot of highs and lows, laughter and tears, and some fantastic music over those years. I’m grateful to all of you (and to my editor, John Lawless), and look forward to sharing more thoughts and music with you down the road.

Be safe, everyone. Hope to see you soon.

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California Report: Jody Stecher discusses his new release and a lot more

Posted on November 23, 2020 by Azlyrics

Brooklyn born, San Francisco-based Jody Stecher is an old-time, bluegrass, traditional music artist like no other. He plays mandolin, banjo, fiddle, and guitar and has a long list of credentials, not the least of which is playing mandolin and singing in the Peter Rowan Bluegrass Band. Jody and spouse/duet partner Kate Brislin, who are twice Grammy-nominated, have recently stopped touring, but that hasn’t slowed Jody down one bit, as he still keeps a full-time teaching schedule and has a new release he talks about here. His voice is as mountain as mountain can be, and the new release Dreams From The Overlook can be purchased from he and Kate’s web store.

Hi Jody, congratulation on the new release. Tell us about Dreams From The Overlook.

It’s a double CD. I composed everything on it – let me qualify that, I co-wrote two songs and one instrumental –  and a good number of the pieces came to me in dreams. Does dreaming qualify as composing? Maybe I “arranged” the dream music. The title is Dreams From The Overlook. Near where I live there’s a path uphill about a mile to a spot that overlooks San Francisco Bay, Oakland, Berkeley, the Golden Gate Bridge, and an old cemetery. That’s the Overlook. I’ve been walking up there a lot since the pandemic arrived.

How far back do the songs go?

Some are 20 years old. Most were put together in the past five years.

Who are the players?

Kate Brislin and Keith Little play guitar and sing harmony. Banjo was Tony Trischka, and Keith played a bit too. Bass was Ethan Jodziewicz and Paul Knight. The fiddlers were Chad Manning, Tashina Clarridge, and Tristan Clarridge. Tristan also played tenor guitar and cello. I sang lead and played mostly mandolin, but also mandola, guitar, banjo, and even uke on one tune. From this giant pool there are solos, duets, and up to octets. In addition, two songs were previously released on Bill Martin’s album, Out On A Limb, which I co-wrote with Bill. On those songs Sharon Gilchrist plays bass, Scott Nygaard plays guitar, and Bill Martin is on mandolin.

What’s the mix of songs versus tunes, and which comes easier for you?

More tunes than songs, which is why I asked Bill Martin for permission to include Fast Track To Richmond and Ragtop Ford. I needed more songs to create a balanced playlist, and since I wrote the greater part of those two songs Bill readily agreed.

Songs and tunes come with equal ease or difficulty. My previous solo album, Wonders and Signs, was all songs except for one instrumental, so I’d already recorded a lot of songs, and I had these tunes that people liked and wanted to learn. So that was an impetus to get this recording done.

Where was Dreams From The Overlook recorded?

It was recorded in three sessions in July, August, and September of 2019 at 25th Street Recording in Oakland. Scott Bergstrom engineered it and did some editing. The rest of the editing and all of the mixing was done by Dave Luke at Opus in Berkeley, with my input of course. 

The mastering was done at Coast Mastering by Michael Romanowski. I was scheduled to master, and a few days before it was going to happen the COVID lockdown happened. Eventually, I asked Michael to do the mastering without me in the room – the first time I’ve allowed that in 30 years. No problem! Each engineer made a significant contribution to the final sound and Michael put on the finishing touches. I’m delighted and thrilled with how it sounds.

Why did you do a double CD? It seems like a wealth of material that could have been spread out over two releases.

I did a double CD because I thought I was going to die. I wanted to record and release all my compositions. I did record them all, but some did not come out well. And now I have enough new songs and tunes to make yet another album. Eventually I discovered that my demise is probably not imminent after  all.

Good to hear. I love that catchy tune, The Snoring Sassenach, which has an ambiguous chord progression.

Thank you. The chords are normal major chords and the progression is regular and repeated. It’s the key that is ambiguous. Kate thinks it’s in F. You hear it as in G. I composed it thinking it is in C. I still hear it that way.

How are you able to achieve that wonderful balance between old-time and bluegrass styles?

You know I grew up hearing early bluegrass back when it contained a lot of old time musical elements. Many years ago I was given a cassette of about 30 instrumentals, culled from live recordings of Flatt and Scruggs & and The Foggy Mountain Boys in the 1950s and early ’60s. The fiddle is central and it sounds very much like an old-time band. So the first bluegrass I heard already had that integration. A few years ago I read Lonesome Melodies. It’s a history of the Stanley Brothers. It’s got a lot of details I’ve never seen elsewhere, like the story of the pet alligator the Clinch Mountain Boys kept at the boarding house where they stayed in Bristol. And who do you suppose toured with the Stanleys, playing fiddle in the band? None other than the legendary Cowan Powers, who they admired. Apparently Cowan Powers died on stage while playing old-time fiddle with the Stanley Brothers. I could give you more examples. But my point is that early on, these were not quite separate musics as they are now. Old-time music and bluegrass are both inside me and they are integrated. I can separate them when appropriate.

Will this release be available on streaming services?

Not if I can help it. If it appears on streaming services it means it has been stolen. I’m trying an experiment with this release. The only way to get this recording is from me. Either directly when this pandemic is over, or through the website. I’ve put a bargain price on the double CD which has 31 tracks, several of which are medleys. MP3 downloads are also available at the website. Unfortunately, WAV downloads weren’t working right. Personally I recommend the CD as the sound quality is magnificent, thanks to the engineers.

Do you still have a lot of music students? I’m guessing you’ve had to move lessons online.

I have more students now than I’ve had in years. Yes, all online. That’s the simple answer. The compli-ma-cated answer is that I’d stopped taking new students except for people who live in my neighborhood, and I also kept old students. I wanted time to concentrate on some other projects that were not directly musical. Then last year three of my close friends died. I started thinking I might be next. This caused me to drop all inessential projects and get down to work on recording my songs and tunes, and concentrating on other musical things. This decision released energy. A lot of energy. I was relieved of a burden and I got right down to work. When lockdown arrived a lot of people were stuck at home and wanted to practice music. Old students and new students began to contact me for lessons. So now I’m teaching via Skype and FaceTime. There’s no impact on the household. I’m earning income, the students are happy, and, gosh, I don’t even have to wear pants! (I do though).

I’ve been enjoying your YouTube videos. What was the tipping point for you after all these years to start a YouTube channel?

I’ve had a semi-private YouTube channel for a long time. I decided to post some public videos because my old computer died. I got a new one and found I could make videos comfortably using it. Setting up a camera or a cell phone to make videos is a bit tedious for me. This new way is easy. I just sit down in the chair where I answer emails, and I push a red button play and talk, and then I push Stop. Easy! Also since the lockdown, I’ve been doing more online teaching, and I found that there were certain things I could tell all my students at once using YouTube. So it started that way. But then I got a new idea. Instead of teaching anything or telling anyone how I think they should play, I’ve made some videos where I show my learning process. I show the choices I make and play Not-Too-Terribly Wonderfully because this is repertoire I’m learning and people like to see that. Also, I’ve shown something of my process of creating a new tune or creating a new arrangement. 

When composing a tune, what is your approach to finding the chords?

If the tune is chord-based, I already know the chords. If it’s modal or some other kind of melody where chords are not obvious, I try different chords and see what I like best. Sometimes I chose chords for their harmonic function but sometimes their prime use is to move the tune along or to help define the shape, and I’ll use those chords even though there may be a bit of dissonance.

Can drone notes be used in most any fiddle tune or does it depend on the key, tempo, time signature, mode, etc.?

An unchanging pitch played at the same time as an ever-changing melody is used in all sorts of North American fiddle music, not just the archaic-sounding older music set in microtonal modes. For instance, look at the Texas contest version of Sally Goodin. The pinky holds down A on the D string while the melody moves up and down on the A string. When A natural is played on the open A string the pinky remains on A on the D string and you get a “rhyme” of the same two pitches. Some old-time fiddlers will avoid playing a single open D, A or E string. They play it in unison with the fingered note of the same pitch found one string below. You hear that a lot from old-style fiddlers in Cape Breton, Nova Scotia as well. 

Can drone notes can be used in vocals as well?

Kate and I use drones in our duet singing sometimes. I’ll sense that she’s about to sing something brilliant that’s just a little different from the obvious harmony note, so I simplify my melody part so that it stays more on one note. In effect, I’m providing a drone below her flight of fancy. And the same thing will happen when I’m singing harmony. I’ll hold out one pitch so that her melody has a sort of platform below it. And she does the same when I sing variations. A drone — which is to say an unchanging note sounded along with changing notes — is used in any kind of music. 

How do you decide on the arrangement?

Things suggest themselves.

Can you expand on that?

An “arrangement” usually means the setting of an existing piece of music. The word does not pertain to structure. Some arrangement elements are key, pace, chords, instrumentation, vocal vs. instrumental, what sort of harmony, if any, use or absence of instrumental solos, and overall style. So for instance take something like Jingle Bells. It could have an infinite number of arrangements in myriad styles, but that would not affect the structure. Jingle Bells will still be Jingle Bells whether it’s done in Calypso style, or as a military march, or a bluegrass tune, or whatever. 

So when I’m arranging a tune or song, either myself or together with Kate, we try different keys and different instrumentation and different phrasing and pacing until we think it’s starting to sound good. Then we sing it again. And again and again. But then sometimes we find some things don’t work as well as we imagined they would. Maybe it goes on too long, so we cut one instrumental break or make it half as long. Maybe it seemed good to us fast in our imaginations, but when we try singing it we stumble on the words, so we slow it down.

Is it a similar process with fiddle tunes?

When it comes to composing a fiddle tune and determining the structure (AA BB or otherwise), this is more fundamental than arrangement. In the 19th century, and maybe the late 18th century as well, the four strings of the fiddle (the violin) were called fine, course, counter, and bass. The E string is thin, so that is “fine.” The A string is thicker, so that is “coarse,” and so on. The high part of a fiddle tune always includes some notes on the E string, so that part was called “fine.” The low part was called the “coarse.” But some tunes have more than two parts. Highland bagpipe tunes often have four parts, especially (but not only) marches. When they get played on the fiddle, the four parts are retained. I’ve composed tunes with two parts and others with more parts. I put in more parts when I still have more to “say” musically, if the two parts don’t complete my musical idea. 

Here’s where arrangement and how many parts there are come together: Every now and then I’ve come across a traditional fiddle tune that has two versions I like. One of the parts (usually the low part) is the same in both versions. But the high parts are very different. If I like both of these high parts, I’ll play the piece as a three-part tune. 

Have you ever composed a tune that you don’t feel is suited to your playing? 

I’ve composed some tunes that are hard for me to play. I practice them until I can play them.

Talk about your relationship with Warren Hellman (founder of the Hardly Strictly Bluegrass festival in San Francisco).

He’d played five-string banjo several decades earlier and wanted to get back to it. So I took him as a student and we enjoyed each other’s company. He always had great jokes and true stories to tell. And I was able to help him out with his banjo technique and repertoire. We even wrote a song together. It was based on the disappearance and reappearance of a Fairbanks Whyte Laydie banjo. Warren’s wife Chris wanted to give him a Christmas present of a Whyte Laydie banjo. She remembered that he once had one and loved it. But he’d loaned it to a feller who’d married a member of his family. He had reservations about this person, and when the couple divorced Warren was so happy to be rid of him that he never asked for the banjo back. So Chris Hellman enlisted my help. I’m pretty good at finding instruments and assessing them from a distance. I did find a nice Whyte Laydie and the order was placed. Warren drove around for a while with that banjo (in its case) in the trunk of his car without him ever knowing it was there! 

While looking for a Whyte Laydie I came upon a reasonably priced Bacon FF Professional banjo that was exactly what I’d wanted for years. So I bought it. The two banjos were delivered to my home within days of each other. Now something amazing was apparent when I looked at the necks of these two banjos. They were both made in 1909 in the Vega shop from when David Day (of Bacon & Day fame) was shop foreman. These two necks were not only identical in shape (though the fingerboards and inlay differed), but they were clearly made from the same piece of wood. But that’s not all. Warren found his new Whyte Laydie to be very much like his old one. And then he discovered a few old dings and marks and so on that were exactly like his old one. We looked into how this banjo had gotten into the shop that sold it. The original banjo borrower had consigned it there. So Warren got back his old banjo and I got its fraternal twin. We had fun writing the song. 

Much has been made in recent years about the “International” in IBMA, but you were playing Indian and other international music as far back as the ’70s. How did that evolve?

I would have arrived at playing different kinds of music one way or the other because I had so many personal connections with musicians, fans, and connoisseurs of different music from around the world. One big door was the fiddle. There’s hardly a place in the world that hasn’t incorporated the violin into its music. So when I was a teenager and in my early 20s if I heard a fiddle, I listened and I got curious.

As much as we all love the traditional sound, most musicians of any genre wander from the path.

Most working bluegrass musicians I’ve met are at least curious about other music. Many are seriously interested in other kinds of music, and often are good players in other genres. It’s always been like that, as bluegrass itself is a confluence of many streams. Most keep their musical interests separate. Who wants to hear a fiddler that sounds like a violinist? A guitarist who plays jazz chords in a bluegrass band is going to ruin the music. Each music has its own special beauty and musical toolbox. In my case, I’ve mostly kept my interests apart. But occasionally I’ve found a few things from music from other lands that can beautify my American music. I’ve used some rhythm patterns from Greece, Rumania, India, and other places in my solos. Only a person well-schooled in those musics would even notice. I’ve sometimes used a pick grip that I observed Armenian and Nubian oud players use when I was a teenager. One thing I picked up from the Indian sarod player Ali Akbar Khan was drawing a wide variety of tone qualities from whatever instrument I’m playing in any genre. The most blatant borrowing I’ve done can be heard on two songs on disc 2 of Dreams from The Overlook –  Snowball Blues and If I Die In California. When a Greek guitar player accompanies a singer or instrumentalist playing a zeibekiko (which is in 9/8 time), he uses one of several common patterns. I use one of these patterns on one song and another on the other. Snowball Blues started out in the 1970s or ’80s when I was playing in a duet with Hank Bradley. We were mixing guitar riffs from rockabilly and blues music with Greek ones, and setting it to the zeibekiko framework. We were half joking but also half serious. If I Die In California, as the title suggests, is not meant to be funny. I recorded the two as a medley with the band, combining –  as I’ve done before, for better or worse –  tragic and comic elements in one musical performance. There are other small borrowings from other lands in my music. This is what musicians in all lands do and have always done. We’re always happily stealing from each other. This can be done well and it can be done badly.

What if anything do you do to avoid plagiarism when composing?

It’s been said that every possible melodic phrase has already been composed and played. That may be so, but some phrases are no longer remembered, so if you recompose ’em that’s ok. The problem with well-known or copyrighted music is that using more than a little is against the law, if you claim it as your own and get paid for what you stole instead of what you created. So if I compose something and then discover that, WHOOPS… it seems like I may have accidentally stolen it, I’ll change a note or two, or change the phrasing so that it becomes something else. Basically, I mess around and try different things until I get something that’s musically satisfying and not illegal.

Thank you Jody for your time and congratulations on the new release.

Copy editing by Jeanie Poling.

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Good news from IBMA following the 2020 Virtual World of Bluegrass

Posted on October 29, 2020 by Azlyrics

The staff and many volunteers with the International Bluegrass Music Association faced a lot of late nights and strained nerves in September, leading up to their first ever all virtual presentation of their annual World of Bluegrass convention. Not only is this event, in its multiple component parts, their major organizational effort each year, its also their primary funding mechanism for both their ongoing expenses and for the IBMA Trust Fund.

Could they get everything ready to take these events online for the first time, would they satisfy the membership who look forward to getting together in person for World of Bluegrass in the fall, and could they make the sort of positive impression that is their raison d’être to the much larger audience anticipated since anyone, anywhere would be able to watch?

With the information and numbers announced this morning, it turns out that the answers were yes, yes, and yes – with another big yes in that all the fundraising goals for 2020 were also achieved, thanks in part to a generous donation from naming sponsor PNC Bank, which has been a strong supporter since World of Bluegrass moved to Raleigh some years ago.

Attendance and registration were handled differently this year, with a much lower fee charged to industry professionals to attend the many seminars and sessions in career development and the like, with all of the live music (actually pre-recorded live), the awards show, and the weekend IBMA Bluegrass Live! festival free to the public.

But in the end, the numbers were tremendous, with a total of 101,636 individual participants over the week watching content online. Across the multiple channels – IBMA’s official event platform, IBMA social media (Facebook and YouTube), and outlets (web, app, Roku, and other OTT), 189,325 views were recorded for WOB streams.

IBMA Executive Director Paul Schiminger spoke for the entire organization in expressing gratitude for the support of the wider bluegrass community.

“We are grateful for the success of this year’s IBMA Virtual World of Bluegrass for many reasons. Delivering a week of education and entertainment was important to our bluegrass community in this tough year, and doing so in a brand new way was extremely daunting. And I have no words to adequately express our appreciation for the generosity of PNC and everyone who donated to help the IBMA and the IBMA Trust Fund. Our generous supporters have demonstrated how the bluegrass family sticks together with passion and resilience.”

At the same time as they announce the 2020 numbers, IBMA has also shared plans for World of Bluegrass 2021 to take place in person, September 29-October 2 in Raleigh, NC. The primary convention activities will be centered around the Raleigh Convention Center, with Bluegrass Ramble concerts occurring at a number of downtown venues, the IBMA Bluegrass Music Awards held at the Duke Energy Performing Arts Center, and the IBMA Bluegrass Live! Festival taking place at the Red Hat Amphitheater.

Which was received as great news by David Brower, Executive Director of PineCone and a Tri-Chair of the Local Organizing Committee.

“We were excited to see the City of Raleigh shine once again as the host city for IBMA’s World of Bluegrass and festival. Sure we wish the bluegrass world was here in person, but what happened online this year was still kind of magical in the way it brought people together. From the Mayor’s welcome to the bands performing on location in Raleigh, the partnership between IBMA and the Local Organizing Committee contributed to the success of this year’s virtual festival. Raleigh looks forward to welcoming the global bluegrass community back to North Carolina in 2021.”

Let’s all keep positive thoughts about assembling again in Raleigh next September. Bluegrass music is at its best when played by real musicians in front of real people.

See you all there in 2021!

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Big World of Bluegrass news – PNC to match all 2020 IBMA donations

Posted on September 24, 2020 by Azlyrics

The staff and volunteers at the International Bluegrass Music Association are burning the midnight oil, and then some, to get ready for next week’s World of Bluegrass convention, their first presented 100% online. The governor of North Carolina has not yet released COVID-19 restrictions that prevent the assembly of large groups in the state, so the usual WOB location in Raleigh was not available this month. Thus the decision to host a virtual convention.

With activities set to start next Monday (September 28), one of the biggest concerns for the organization has been how they will pay for the extra technical assistance required to pull this off, absent the registration fees that typically are associated with attendance. Given the need to proceed digitally, a wise decision was made to make the bulk of the content free to the public, and requesting a greatly reduced registration cost for the aspects of the convention not distributed at no charge.

Of course the plan has been to request donations during both the live and pre-recorded segments, with hopes that viewers, both members and non, would dig deep to assist IBMA in this time of need. And surely many will do just that.

But today, PNC Bank, the presenting sponsor for next weekend’s performance spectacular, IBMA Bluegrass Live!, has announced that they will match all donations received up to $50,000.

IBMA Executive Director, Paul Schiminger, thankfully acknowledges the backing of PNC, and asks everyone who loves the music to consider a donation.

“This has been a devastating year for every bluegrass professional and for the IBMA organization itself. PNC’s appreciation for the cultural significance of bluegrass music and its generous financial support are vital for our community to regain its collective footing and prepare to thrive again in the future. We ask fans of bluegrass music, as well as those who treasure the arts, to search their hearts and give so we can make the most of PNC’s crucial matching program.”

This generous offer from PNC will match donations made directly to the IBMA, and those received by the IBMA Trust Fund, which collects and distributes money for the benefit of professionals in the industry in need of financial assistance. In a normal year, a share of all earnings from IBMA Bluegrass Live! is given over  to the Trust Fund, one of its largest sources of annual income.

Jim Hansen, PNC Regional President for the Eastern Carolinas, shares how much World of Bluegrass has meant to the local community in Raleigh, and why they are happy to help.

“The talented artists who have performed during IBMA Bluegrass Live! powered by PNC over the years have brought so much joy and inspiration to the Raleigh community. In addition to continuing our support for this event in 2020, we want to give to the bluegrass professionals who may be struggling during this time.”

Donations can be made to IBMA at any time online, though special links will be provided during next week’s World of Bluegrass events. Donations are tax deductible as the association is a 501(c)(3) organization.

A full schedule for next week can be found online, opening with a Keynote Address from Sarah Jarosz at 11:00 a.m. on Monday.

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Ask Sonny Anything… what did you think of The Country Gentlemen?

Posted on September 18, 2020 by Azlyrics

Ask Sonny Anything is a recurring feature where our readers pose questions to the great Sonny Osborne, one half of the iconic Osborne Brothers who redefined bluegrass music in the 1960s, and noted banjo maven and collector of fine prewar instruments. Everyone is encouraged to pose queries of your own each week in the comments, about his history in the music, his wealth of banjo knowledge, or regarding any life advice you might be needing.

Given your mixed feelings (emotions) about Jimmy Martin, can you listen to the music you recorded together and hear how good it is? There are some current groups that been recording for years and have not recorded a single song as good as your work with Jimmy (in my opinion). Thanks as as always for answering these questions. By the way, if I lived near you, I would happily drive you and your better half anywhere you need to.

James P.

Thank you, James, for your time. I really appreciate it. And I also want to thank you for your offer to drive me and what’s-her-name anywhere we wanted to go. That’s really strong, and I know it, so thank you for that.

You asked about Jimmy Martin and whether or not I could listen to the records we made in 1954. They were on RCA and we did 6 sides. But before that, Bobby and Jimmy made some records for KING that go unheralded, and they shouldn’t. They were recorded in Cincinnati about 1950 or ’51 and had Curly Ray Cline playing fiddle, and Charlie Cline playing banjo… excuse me, playing AT banjo (sorry Charlie). And I don’t know who played bass. Those records were really good, especially the vocals. Bobby and Jimmy sang together as well as two people, who were not brothers.

Now back to Osborne Brothers and Jimmy Martin in 1954. When Jimmy was in the hospital, he sent for me to come and visit and, because of past history, originally I balked. But after I sat and thought about it, Jimmy was pretty sick and I realized that he might not come back. So I went. And it was kinda funny because when I got to the hospital, Jimmy was lying in bed and he immediately cleared the room.

I thought that it was so like Jimmy Martin to do just that. And after everyone left, he looked up and said, “Sonny, I love you and Bob. We made some of the best bluegrass music that was ever made,” and we laughed a little bit and we cried a little bit and we talked about 1954 and how it was. And we talked about the good times and the bad times and there was a lot of bad times.

And it was obvious that Jimmy didn’t want to talk about the bad times but they were still in my mind. About how relentless he was about telling me how to play the banjo as opposed to how I was going to play the banjo, and how our association ended one night in Pontiac, MI when before the show he told Bobby our names wouldn’t be on the next records.

Bobby came straight and told me. When Jimmy came into the dressing room, I confronted him with what he had said. And he said, that’s right, your name won’t be on the next records. And I told him that as far as we were concerned, then there wouldn’t be any more records. And 2 weeks from today, we won’t be in Detroit. That’s what happened. There were no more RCA records for Jimmy nor us, and we immediately went to work for Charlie Bailey at WWVA in Wheeling in August of 1955. We stayed there until Christmas, and in April 1956 our first MGM record of Ruby, Are You Man came out.

From that point, I know our history but it doesn’t keep me from thinking and wondering what would have happened had we stayed together with Jimmy, because … and not to sound conceited or big-headed … the Brothers and Jimmy were the best of the best.

Case closed.

S

—–

One of my most favorite groups of all time was the Country Gentlemen. Did the Brothers work with them much, and what were your thoughts on their progressive style?

Tim L.

Tim L. thank you for your participation. Without you guys, this wouldn’t work.

Speaking of the Country Gentlemen, one of my very best friends is Bill Emerson, and he was in the original group as one of the founders. I really liked what they did, but then when he left, they took on a ‘them against us’ attitude, which I didn’t understand at the time and I don’t now. It kinda remained that way and still I never understood why.

You mentioned their progressive style…well what was progressive about it? I never could figure that out. With their attitude change, it was more aggressive than progressive. I realize that what I’ve said here will hurt some feelings and create some resentment, but I’m just telling you how it was from my point of view.

I want to tell you a story. We were on Decca Records and I got them, the Country Gentlemen, an appointment with Owen Bradley hopefully to get them signed with Decca. So, in the meeting, which I attended, Charlie was the spokesman for the Gentlemen, and he mentioned their fan base. Owen asked him to explain what he had said about a fan base…. Like, how many?…Like, what number are we looking at? Like 350 or 15,000? Charlie didn’t have an answer and that was the end of the conversation.

So attitude, Nashville, Decca recording contract……..floated out the window on the air created when Owen stood up indicating the meeting was over.

One other thing to prove there was no anything on our part…. Once we were doing a date at the American Legion Park in Culpeper, VA and the Jets were also there that day. They were on and I couldn’t tell you who their members were at the time, other than Doyle Lawson. They sang a religious-type song and it was so good. I asked Doyle who sang the high part and he said it was him. I loved that song and, as of this day, I couldn’t tell you the title.

Doyle just got back to me and told me the whole thing. Thank you brother Doyle. … Song title was Lord Don’t Leave Me Here .. members were Bill Yates, lead .. Charlie Waller, bass .. Bill Holden, baritone .. and brother Doyle Lawson, tenor. That was as good as it gets. I stood out beside a tree and it hurt, it was so good.

S

—–

Sonny,

Lots of folks have mixed feelings about the IBMA. Some love it, others don’t. I’m curious what you think about it, and perhaps more importantly, is bluegrass music better off with such an organization or not? If you were 21 and touring, would you be a member, and what would you expect in return?

Carl P.

Carl. Good to hear from you. The IBMA (International Bluegrass Music Association)…

I can’t tell you much about the organization itself, except for the Trust Fund. I worked like you wouldn’t believe, almost to the begging stage, for the IBMA to have a Fund to help bluegrass people who were in need. I had been on a Country Music Trust Fund board for 11 years, and I saw it as a really good and necessary part of IBMA. I couldn’t understand, even to this day, why I had to convince them. They voted to do it and it is one of the really good parts of IBMA.

Now, I must be straight with you all…you asked me for an answer and I’ll give it to you as I see it. Whether IBMA is a good thing, I can’t tell you. I was doing pretty good before it existed, and I did pretty good after it became a reality. Money-wise I couldn’t see any more or less, before or after.

Dates? We worked about 200 a year before, and 200 a year after. Now don’t come at me with “you only worked 179 in this year and 193 in this….!” I’m talking in general, and those reading this who are smart enough will have already realized that. When IBMA has the get-together once a year and the awards show, etc etc .. well, that’s a good thing, isn’t it? It is.

Bobby and I were honored one year on the 50th anniversary of Rocky Top. They had all those banjo players, mandolin players, guitar players, bass men and women… I don’t know what her name was but one lady didn’t have any shoes on. Doyle Lawson stood beside me and played that great rhythm. I think I told him how much I missed that. That was a good thing. Right? Wasn’t it?

So, all things considered, I guess IBMA is a good thing.

S

—–

Sonny, this is going to be a hard question. I think. If you could only choose one song (okay, if you really insist make it two) to share with us, which summarizes the Osborne Brothers sound for someone who has never heard the band perform, what would it (they) be?

Bret W.

Bret. Thanks for taking the time. You all ask me questions…if you didn’t do that, I’d have to say Sayonara.

Rocky Top and Pathway of Teardrops. I choose them because in my mind, that is some of the best we can do. Notice I said ‘some of the best … not ‘the best’ … because there are so many of those I wouldn’t know what to say. (Now that’s strange within itself)

I would like to also add Never Grow Old, Ruby, Up This Hill and Down, Nearer My God, When the Grass Grows Over You …. see? It doesn’t end.

Then to pick just 2 or 3 out of about 1,000 songs we recorded…I just can’t do it. That’s the best I can do.

S

If you have something you would like to ask Sonny, be sure to post it in the comments below, or send it to us directly.

Posted in Lyrics | Tags: Ask Sonny Anything, Country Gentlemen, IBMA, Osborne Brothers | Leave a comment |

Time for IBMA to retire Sir Walter Raleigh as a symbol for World of Bluegrass?

Posted on August 27, 2020 by Azlyrics

These editorial comments are a contribution from Abby Lee Hood, former IBMA staffer and freelance writer in Nashville. Her opinions do not necessarily reflect those of Bluegrass Today or its sponsors.

If there was ever a time to quietly retire the use of a European colonizers image in World of Bluegrass marketing materials, 2020 would be it. As the IBMA’s annual bluegrass conference and festival moves online to accommodate ongoing COVID-19 safety measures, the organization has a chance to distance itself from the use of Sir Walter Raleigh’s image.

The 31st annual World of Bluegrass will be the first in more than five years not held in Raleigh, North Carolina. The city is, of course, named after Sir Walter himself, and they’re clearly proud; residents can buy a new car at Sir Walter Chevrolet, sip a cup of joe at Sir Walter Coffee, or rent a unit in Sir Walter Apartments. The city has also erected a statue in his honor.

Because of WOB’s location, the IBMA has used Sir Walter’s image in its marketing, like logos and graphic design, for at least a handful of years, including in 2019 and 2017. While it may seem logical and innocent at first blush, national conversations about removing colonial statues and images—like those of Christopher Columbus in Chicago or of Edward Colston in England—bear repeating in the bluegrass community. Bluegrass isn’t immune to critique, especially in the diversity and inclusion department, and Sir Walter Raleigh was no angel.

Before Raleigh came to what is now the United States, he gained the favor of Queen Elizabeth by throwing his cape over a puddle so the queen could cross without soiling her feet. She was enamored, and especially so after the young man returned from fighting at Smerwick. In the autumn of 1580, Irish rebels banded together with Spanish forces to oppose English rule. The English carried out the Siege of Smerwick to quash the rebellion.

After only three days, the English won, further cementing Ireland as the first English colony. Many sources report that every man, woman, and child in the Iron Age fort was beheaded, their bodies tossed into the sea. Several sources say Raleigh himself carried out the executions. While it is impossible to know if he swung the axe on men, on women, or on children, and on how many, we do know Raleigh supported English colonial efforts and likely acted as the Queen’s executioner at the battle.

Shortly after his victory in Ireland, Raleigh returned to the Queen’s court, a sort of swaggering golden boy and her right hand man. As the Queen’s favorite, Raleigh was given leave to colonize what he could in America, and he began planning what would become his first colony. In 1584, 1585, and 1587 Raleigh organized voyages to North America that led to his sponsorship of an English colony on Roanoke Island. Many readers will recognize Roanoke as “The Lost Colony” for its mysterious demise in 1590, so frequently theorized about. However, what happened before the colonizers disappeared is more important.

After receiving assistance in hunting and gathering from local indigenous tribes, the Roanoke colony attacked several of their Native American neighbors. At least one local chieftain was killed in 1586, beheaded in the woods, and other Native American women and children were attacked as tensions rose and relationships between the tribes and the colony eroded.

This interactive map shows a heartbreaking time lapse of indigenous land loss. “Land loss,” is a gentle term that doesn’t accurately depict the genocide of millions of Native Americans in North America. Since the arrival of Europeans, more than 90 percent of the Native population have been murdered or died from disease. Where North America was once 100% Native American, the United States is now only about 2% Native American by population. In his writings, Raleigh regularly referred to indigenous peoples as “savages,” and it is difficult to say just how many were killed under his watch at Roanoke.

After Roanoke failed, Raleigh lost the favor of the court and was imprisoned by Elizabeth’s successor, King James I, in 1603. However, he was freed in 1616 on the condition that he sail to South America and once again begin colonizing, searching for resources and gold. He invaded and pillaged territory under Spanish rule, defying a more pro-Spain King James. He was beheaded in 1618 after a third imprisonment in the Tower of London.

Sir Walter’s accomplishments, in the end, weren’t enough to save him from a new king’s wrath. But in the United States, especially in North Carolina, he enjoys a favor not afforded to him by the Crown. That doesn’t mean it’s right. The IBMA—while like many nonprofits is deserving of support—continues to use Raleigh’s image to market a multi-million-dollar event from which they receive hefty sponsorship dollars and sales revenues. To profit off Raleigh’s image is to profit from his actions, which include murder, colonization, piracy (he also captured and looted multiple Spanish ships), pillaging, and depending on which side of the Atlantic you live on, treason.

Many national conversations about the removal of statues and images are loud, drawing criticism and ire from either side. This year, the IBMA has the opportunity to calmly ditch Raleigh’s image from their marketing and set a precedent moving forward. So far, I have not seen any imagery of Sir Raleigh in this year’s virtual event marketing. And while the contract with the city of Raleigh was renewed for three more years in 2018 and runs until 2021, there’s no law forcing them to use Raleigh’s face on a logo next year. Excluding his face from a conference book or logo doesn’t require a loud press release or social media post, either. Sir Walter could simply fade away to where he belongs: the history books.

As the rest of the United States hotly debates which statues and idols to leave behind, the IBMA is in a particular place to choose who it moves forward with. Moving on without Sir Walter Raleigh is an easy, quiet way to decolonize bluegrass just a little.

Posted in Lyrics | Tags: IBMA | Leave a comment |
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