IB - International Bluegrass Music Association

IB
International
Happy
Holida
ys
from I
BMA!
Bluegrass
Vol 28, No 1 2 , D e c . 2 0 1 3
Country Family
Reunion films
Simply Bluegrass
1
with your heroes
International Bluegrass
Also in this issue
■■ Ricky Skaggs Artist-in-Residence
■■ Welcome new members
■■ Bluegrass without Borders
International Bluegrass
International Bluegrass Music Association
Vol. 28 | No. 12 | December 2013
Cover Feature
Country Family Reunion films Simply
Bluegrass with your heroes
10
News
4 | Seminary Professor “Picks for Pickers”
6 |Ricky Skaggs Artist-in-Residence
8 | Tom Kopp named Foundation for Bluegrass
Executive Director
14 | The Grascals exemplify “American Pickers”
16| Della Mae’s American Voices experience;
deadline approaching
18 |Acoustic Stories Review
20 | Fresh Sounds
Departments
3 | Editorial from Joe Lurgio
21| Heard ‘round the world
22 | Bluegrass Music Industry News
25| Membership List
IBMA Staff
Nancy Cardwell Erdos
Executive Director
Joe Lurgio
Member/Convention Services Director
Taylor Coughlin
Special Projects Director/Publications Editor
Eddie Huffman
Technology & Office Systems Manager
IB | International Bluegrass
Editor: Taylor Coughlin
[email protected]
Designer: Erin Erdos Humann
[email protected]
International Bluegrass
(ISSN #1095-0605)
IBMA: IBMA is the trade association
that connects and educates bluegrass
professionals, empowers the bluegrass
community, and encourages worldwide
appreciation of bluegrass music of
yesterday, today and tomorrow.
The monthly emailed publication of the
International Bluegrass Music Association
608 W. Iris Drive, Nashville, TN 37204 USA
615-256-3222 | 888-GET-IBMA | Fax: 615-256-0450
Email: [email protected] | Website: www.ibma.
org.
Statement of fact and opinion are made
on the responsibility of the writers alone and
do not imply an opinion on the part of the
officers, directors, staff or members of IBMA.
Portions of International Bluegrass may be
reprinted provided that explicit citation
of the source is made: “Reprinted with
permission from International Bluegrass, the
publication of the International Bluegrass
Music Association, www.ibma.org.”
Editor’s note: Thanks to the International Bluegrass Music Museum for co-sponsoring the 2013
IBMA Awards Show! Our apologies for the omission in the November Issue. Also in November’s issue, the
story “Flood Devastates Lyons; Lyons Jam organizes to raise funds for musicians,” by Garian Vigil, was reprinted courtesy of Pow’r Pickin’, the publication for the Colorado Bluegrass Music Society, which was
not acknowledged. We regret the error.
Sombreros and Ten Gallons: How I wear two hats for IBMA’s membership services
by Joe Lurgio
What is does the term “IBMA” mean to you?
To many people the “IBMA” is an annual convention produced by the organization of the same acronym. I’m sure
you’ve overheard or said something similar to this yourself: “I’ve been to every IBMA since 2001” or “Did you hear
Noam’s speech at IBMA?” Of course, most of us know the week often referred to as “IBMA” is actually called the
World of Bluegrass, or “WOB,” produced by the International Bluegrass Music Association (IBMA).
Wait! Don’t turn the page yet. I’m not going to waste your time dealing with semantics.
As a recent transplant to Nashville from New England, I’m excited to be a part of an energetic, diverse, new staff
under the direction of a new Executive Director and Chair of the Board of Directors. There is an exciting energy
here at the IBMA office, and I am very excited to be serving the bluegrass community.
I was hired to wear two hats: Director of the annual convention and Director of the organization’s membership
services. If these were real hats they would probably be a tall ten-gallon, and a wide brimmed sombrero. Each of
these roles is at the heart of the organization.
After going through my first World of Bluegrass as a staff member, I realized what I already knew as an attendee:
It’s a huge undertaking for such a small staff. Producing a week of quality networking, learning, honoring achievements, acknowledging our heroes and hosting amazing live music (there were over 300 official performances by 161 bands during WOB ‘13) is
nothing to scoff at.
The membership services sombrero is still hanging on the hook, just worn less than the tall ten gallon. This is not entirely negative, because WOB
is a great achievement each year. The events act as bedrock for our community to stand on throughout the year. With the move to Raleigh, WOB
has grown into what some have coined “the South by Southwest (SXSW) of acoustic music.” WOB has evolved into the major visible “service” we
provide to our members. The Foundation for Bluegrass Music (started by IBMA to administer the Bluegrass in the Schools program and beyond—
now with their own separate board, executive director and 501 (c ) 3 tax status) and the Bluegrass Trust Fund—IBMA’s charitable arm, also provide
important services to the bluegrass community and the general public.
I come to the IBMA with over a decade of project management experience in the engineering field. I grew up steeped in bluegrass music (yes, the
Northeast is and has been abounding with bluegrass, too), and I have worked within the industry as a bandleader, graphic designer, workshop organizer and teacher. I’m motivated to work with the Board of Directors, the staff and our committees to manage the annual conference, to strengthen
existing value and generate new value to membership services that support you throughout the year.
One of my major goals is to expand the services we provide members. You are probably already aware of our Sound Healthcare group health insurance plan, the extremely affordable event liability insurance through SteelBridge Insurance, group instrument insurance through Clarion, WOB
event discounts for members, free access to email databases for members, the rental car discounts, and the variety of leadership, professional
development, showcase and networking opportunities currently offered to IBMA members.
Since WOB, I began evaluating the services we are providing members and ways to improve. Here are just a few examples of initiatives we have
been looking into:
•
Empowering members with an easy-to-use online database with the ability to gather specific information to meet your personal industry
goals (i.e. generate a list of all festival promoter contacts in a specific region, look for bands touring through your area, search for a bass
player or instrument repair person in a certain region/zip code, or create a members-based “couch surfing” network to foster easier, more
economical travel for members).
•
Revisiting the terms of all IBMA-endorsed insurance plans, ensuring that they are current, and providing members with high quality, cost
effective benefits.
•
Adding additional membership-based content to all our publications, including a new monthly article in International Bluegrass focused
on current benefits, getting the most value from the services, and keeping you current with new initiatives.
•
Researching additional ways to gain value-added discounts for additional services (i.e. airline and travel discounts).
•
Working closer with our regional associations and educational organizations to create a web of connected services around the globe.
•
Scheduled use of the IBMA office by members. Many of you travel to the Nashville area to conduct business and as members, the IBMA
office is your space too. For example, you could use the IBMA conference room for meetings, interviews or a songwriting session, or use
the office wi-fi andr phones for business purposes while traveling.
•
Developing year-round mentor programs to encourage and enrich both mentors and those who are being mentored.
•
Expanding our “Backyard Bluegrass” YouTube video series (which includes promotion of member bands and artist videos filmed in IBMA’s
backyard—with a copy to the artist to use too), into more educational or mentor info-based short videos for member use.
•
Renewed (and new) International and Youth Council support and opportunities
•
And more we’re still working on!
Please feel free to call the IBMA office with any questions or ideas you have. Better yet, stop by the office the next time you’re in Nashville and say
hello!
-Joe Lurgio
Seminary Professor “Picks for Pickers”
by Wayne Rice
D
About the Trust Fund
r. Rick Stern is professor of
homiletics at St. Meinrad
Seminary and School of Theology in
southern Indiana. He is also a banjo
player. He took up the instrument
12 years ago as a way to meet
new people outside his seminary
community. Apparently he hadn’t
heard those jokes about the social
lives of banjo players.
After joining a bluegrass band
and volunteering at several IBMA
events, Rick heard about the
Bluegrass Music Trust Fund, a
charitable organization that was set
up by the IBMA to help bluegrass
music professionals during times
of emergency financial need.
Having been inspired and mentored
by numerous bluegrass music
professionals himself, Rick decided
that he wanted to get involved, to
perhaps make a donation himself.
But how should he do it? It would
certainly be easy enough to write
a check and mail it in, but Rick
came up with a better idea that he
calls “Pickin’ for Pickers.” To draw
attention to the work of the Trust
Fund and also to have a bit of fun
in the process, he contacted several
bluegrass artists and made them an
offer. “Let me play my banjo with
you on one song—either on stage
or off—I will make a contribution
to the Trust Fund.”
To his surprise, his offer was
accepted, first by the Grascals
and then by Doyle Lawson and
Quicksilver. As chairman of the
Trust Fund board of directors,
Doyle was more than happy to
play along (literally) with Rick. At
a 2013 concert, Doyle invited Rick
onstage (unrehearsed) to play
banjo on “Sing Me a Song About
Jesus,” one of Doyle’s standards.
Rick has also played his banjo
with Barry and Holly Tashian, Art
Stevenson and High Water and
4
International Bluegrass
Dr. Richard Stern | Photo from
St. Meinrad faculty website
the 2013 NashCamp staff band
including Bill Evans, Tim Stafford,
Matt Flinner, Missy Raines and
Fletcher Bright. And each time, the
Bluegrass Trust Fund has benefited
from Rick’s generosity and his
desire to express gratitude to the
musicians who have enriched his
life.
The Bluegrass Music Trust Fund
was established by the IBMA in
1987 as a non-profit charitable
organization, separate from the
IBMA but accountable to it. It
qualifies under Section 501(c)(3)
of the Internal Revenue Service
Code as a tax-deductible charitable
organization. It is governed by a
five-person board of directors who
are appointed by the IBMA board
of directors. Currently the Trust
Fund board includes Doyle Lawson
(chairperson), H. Conway Gandy, J.
D. Crowe, Del McCoury and Wayne
Rice. This board is responsible for
managing the fund, which includes
accepting donations, investing the
money wisely and making decisions
on grant disbursements. Each of the
board members serves at his own
expense.
The mission statement of the Trust
is to provide assistance to bluegrass
music professionals in times of
emergency financial need. Any
individual, anywhere in the world,
who is or has been at some point in
their career involved in bluegrass
music professionally—whether
or not they are IBMA members—
qualifies for assistance from the
Trust during times of emergency
need. This includes musicians,
composers, broadcasters, event
producers, agents, luthiers,
educators, managers and
employees of record companies.
Families of such individuals may
also be eligible for help from the
Trust.
An emergency need is any financial
hardship that is unexpected or
unavoidable, such as a medical
emergency, an accident or natural
Fund has been able to do and will
continue to do in the future. If
you or someone you know needs
assistance from the Trust Fund,
applications for assistance are
available from the IBMA office.
Once the application is filled out
and returned to the IBMA office,
it is reviewed by the Trust Fund
board to determine the applicant’s
eligibility for assistance. All
applications are held in the
strictest of confidence. No one has
access to this information except
the Trust Fund board and the
executive director of the IBMA.
to do some good work.
The IBMA Trust Fund welcomes
your support as well. If you would
like to get involved, here are some
ways you can contribute:
• Attend the Wide Open
Bluegrass Festival! Not only
will you have a great time,
but you will be supporting
the Trust Fund. Each
year the IBMA donates a
significant amount of the
proceeds directly to the
Trust Fund.
• Consider sponsoring a
fundraiser on behalf of
the Trust Fund. You’ll be
extending a helping hand
to numerous bluegrass
music professionals you
know and love. It’s a very
worthy cause.
• If you or someone you
know would like to make a
tax-deductible contribution
to the Trust Fund, please
contact the IBMA office for
more information.
disaster, a death in the family or
circumstances when all other
forms of financial assistance have
been exhausted. Every application
for assistance is evaluated on a
case-by-case basis.
So far, more than a half million
dollars in various amounts have
been given to dozens of bluegrass
music professionals who have
needed our help. We can all be
very proud of what the Trust
Thank You for Your Support!
Thank you, Dr. Richard Stern for
your unusual and creative way of
supporting the Bluegrass Trust
Fund! And on behalf of all those
who have received financial help
from the Trust Fund, we want to
thank the hundreds of people who
have given their time, talent and
financial gifts to keep the Trust
Fund going for the past 25 years.
Thanks to you we have been able
• If you or someone you
know would like to
include the Trust Fund in
a will, such bequests are
gratefully received and
acknowledged.
One of the foundational objectives
of the IBMA when it first began
was to establish and maintain a
Trust Fund that would extend a
helping hand to bluegrass artists
and industry folks in time of need.
Thanks to you, the Bluegrass Trust
Fund has been able to do that very
effectively.
International Bluegrass
5
Ricky Skaggs Artist-in-Residence
by Taylor Coughlin, photos by Donn Jones
I
t was bound to happen; that Ricky Skaggs
would eventually be selected as an Artist-inResidence for the hallowed Country Music Hall
of Fame and Museum in Nashville, Tennessee.
For the legendary multi-instrumentalist,
2013 has been quite the year. To list his
schedule and accolades from this year alone
would take up quite a bit of text, but they
are individually important and noteworthy, nonetheless. Among these are an
autobiography and new live album being
released; multiple acclaimed performances; earning an award with his wife,
Sharon; and having a scholarship established in his
name at a Tennessee university. Oh, and yes, this year he
was named the 11th Artist-in-Residence at the Hall.
As explained by the Country Music Hall of Fame and Museum, “the program annually honors a musical master who
can be credited with contributing a large and significant
body of work to the canon of American popular music.”
Previous artists have been Earl Scruggs, Vince Gill, Jerry
Douglas, and Tom T. Hall, just to name a few. As part of
the program, the artist is given free reign over two nights
of music to showcase his or her own creative craft which
make for an intimate, up-close-and-personal musical experience.
“Country Boy at Heart”
On November 18 in Nashville, Skaggs began night one of
his performance with the theme “Country Boy at Heart,”
inciting lively images of Bill Monroe dancing on a subway
in New York, from his video of the same name (If you’re
lost, just watch the video here).
Inside the new CMA Theater, Skaggs made a dedication
and proclamation for the future of the venue since it was
the first public performance to take place (it opened with
the Country Music Hall of Fame induction ceremony a
week earlier). With his band Kentucky Thunder prepped
behind him, Skaggs flew into an electrifying version of
“Heartbroke” from his 1982 album Highways and Heartaches.
With rich tones, and an at once humbled and commanding
presence, Skaggs played through his most beloved country
songs. His first guest was wife Sharon White; they sang the
duet they sang at their wedding, “If I Needed You.” Then,
The Whites joined Skaggs for “Honey, Won’t You Open That
Door,” with Buck White wailing on the piano keys.
While Skaggs took out his mandolin and began tuning, he
6
International Bluegrass
told the story of his first time meeting and playing
with his mentor, Bill Monroe, imitating the
Father of Bluegrass to a “T.”
Country singer and guitar
slinger Brad Paisley took the
stage with Skaggs for “Highway
40 Blues,” giving everyone assembled in the new concert hall
the chills with electrifying guitar
solos and impressive, impeccable
style.
After a brief intermission, Skaggs
welcomed longtime friend Emmylou
Harris and guitarist Brian Ahern for
“Darkest Hour.” Harris expressed her
appreciation
for Skaggs, saying, “I’ve learned a lot of
bluegrass from him.”
From then, it turned into a family affair: The Whites joined
Skaggs onstage again, this time with his daughter Molly
playing clawhammer banjo on The Carter Family’s “Gold
Watch and Chain.” Then, with the stage dimly lit, Skaggs
and Molly stood alone to sing “Single Girl, Married Girl.”
Skaggs told the audience how important family is, and how
it’s important to teach the young ones about the ones who
came before them, citing The Carter Family as the first
family band who started it all.
Taking a turn for the gospel, Gordon Kennedy joined
Skaggs onstage for the Mosaic hit “You Can’t Shake Jesus.”
Adding another legendary guitarist to the stage, Peter
Frampton came on for “My Cup Runneth Over.” With Kennedy, Skaggs, and Frampton all on guitar, the night was
placed into the “once-in-a-lifetime” category. The prolific
trio from such diverse backgrounds blended so well together, there was no doubt that music is a unifier.
The Whites kicked off the second
portion of the night with “Children Go Where I Send Thee,”
and a new favorite, thanks to O
Brother, Where Art Thou? “Keep
On the Sunny Side.”
For the closing number, Paisley came back out to join on
Skaggs’ first single, “I’ll Be the One to Blame,” with Kennedy and Frampton. “I’ve played this since I was seven,” Paisley deadpanned, sharing the disbelief with the audience
that the collaboration of musicians onstage was indeed
happening. With night one over, it was hard to imagine
how night two would be topped.
“Bluegrass Rules”
It was his first and true love: bluegrass, and Ricky Skaggs
was going to save the best for last.
On night two of his artist-in-residence, Skaggs began the
evening not with himself, but with Irish fiddler Martin
Hayes, and guitarist Dennis Cahill. “I wanted to play the
music that was the cornerstone of bluegrass with ancient tones from ‘way, way back there,’” Skaggs explained,
launching into a Bill Monroe imitation. Skaggs left the
stage as Hayes and Cahill began with a soft, melodic Irish
tune. Then, the tempo climbed and Hayes and Cahill
launched into a controlled chaos of invigorating Celtic
tones. A humbled Harris said he was “delighted” to have
been invited to play, as he elicited a standing ovation from
the crowd.
Skaggs joined the duo for the traditional tune “Billy and
the Low Ground” with such incredible fervor and life. “It’s
music rooted in joy,” Skaggs smiled before launching into
the well known song.
Skaggs’ longtime friend and bluegrass legend Del McCoury
came onstage for the Monroe Brothers’ tune “Sinners You
Better Get Ready.” On the wings of twin tenor vocals, the
CMA Theater was lifted up and taken back in time.
Kentucky Thunder came onstage for a string of traditional
songs by Bill Monroe, Flatt & Scruggs, and The Stanley
Brothers. A powerful cover of Monroe’s “Bluegrass Breakdown” took the show into intermission.
Skaggs invited longtime friend
Alison Krauss to the stage, who
looked joyful and humbled to
sing with Skaggs. As Skaggs
began singing “Vision of Mother,”
it was unmistakable how Krauss
felt watching Skaggs sing before
joining in harmony. With The
Whites, Krauss, Paul Brewster, Eddie Faris, and Skaggs,
Krauss led “Down in the River to Pray” a cappella, rocking
the house.
It’s been no secret that Skaggs likes unexpected collaborations. His recent live album with Bruce Hornsby has
garnered national attention, with the duo performing on
late night television in October. That being said, Skaggs
wasn’t about to let Hornsby off the hook without a collaboration that evening, so Hornsby took the stage with Skaggs,
beaming with gratitude. The two took it away with “Dig
a Hole in the Meadow,” and straight into “Whiskey Before
Breakfast.” Hornsby’s musical imagination spilled onto
the keys as Skaggs’ masterful mandolin playing took the
performance to another level. Without skipping a beat, the
two heartily dove into Hornsby’s hit “The Way It Is” and a
lengthy, entrancing jam ensued.
With nothing left to be desired (or so it was imagined),
the encore came with even more surprises. Del McCoury,
Martin Hayes and Dennis Cahill came back onstage with
Skaggs, Kentucky Thunder, and Hornsby. Skaggs explained
they’d start off with the first song played on the Grand Ole
Opry in 1925, “Tennessee Wagoner” and it would take off
from there – and it did. From another effervescent Celtic
segment, to “The Storms are on the Ocean” featuring The
Whites and Krauss, to “Cluck Ol’ Hen” with Alison Krauss
on the fiddle, and Buck White taking it away on the keys
with Hornsby on “Alabama Jubilee” the theater experienced a rollicking, incredible time that could never be
recaptured in words.
Skaggs’ curation of the two evenings proved his intuition
and intelligence as a musician, and his passion for country,
bluegrass, and music without labels was infectious. Skaggs
solidified his place as one of America’s greatest examples
in working at a passion, expanding boundaries, and exploring by all means possible. With respect and reverence of
the past, Skaggs took his skill and vision to the future.
International Bluegrass
7
Tom Kopp named Foundation for Bluegrass Executive Director
by Kitsy K uykendall & Taylor Coughlin
Tom Kopp of Asheville, NC, has been
selected to be the first Executive
Director of the Foundation for
Bluegrass, as announced by Kitsy
Kuykendall, Board Chair. He will
begin serving on January 1, 2014. Kopp, who retired as a college
professor of education at Miami
(Ohio) University after 30 years,
has been immersed in the bluegrass
community for many years, serving
as a dedicated leader in bluegrass
education, and bluegrass culture
and appreciation. He has served
on the Foundation’s board, and has
taught “Utilizing Bluegrass Music
in the Classroom” workshops in 17
states during his tenure as IBMA’s
Bluegrass in the Schools committee
chairperson.
Kuykendall expressed that Kopp will
be a fine asset to the Foundation.
“We are very proud to be able to
have such a dedicated person as
Tom Kopp agree to serve as our first
Executive Director,” she said. “The
board firmly believes that this is the
next big step for the Foundation.”
In his teaching experience, Kopp
has developed programs that teach
American culture appreciation, and
Appalachian history and culture
appreciation through bluegrass
music and its community. “Bluegrass
is a cultural bridge,” Kopp explained.
“In teaching, you want to create
bridges without barging in, and
bluegrass is perfect for building
bridges.”
Further confirming the boards’
decision, Kuykendall said, “He has
a passion for bluegrass music and
the desire to help people all over
the world learn about it so they
can share that love of the music with
him. We look forward to working
with him in our efforts to achieve
our mission and financial goals. The
Board of Directors is very grateful
for all the hard work the staff of
the International Bluegrass Music
Association has done over the last
few years for the Foundation and
plans to continue its strong working
relationship with that office through
Mr. Kopp.” Kopp says he is ready to give all the
gifts he has to the position.“I look
forward to being at the base of an
organization that spreads joy, and is
such a positive thing,” he said.
Fun fact: Kopp’s favorite bluegrass
tune is “’52 Vincent Black
Lightening” by The Del McCoury
Band. “The lyrics, with Del’s voice,
and the tone…it totally re-defined
bluegrass for me,” he smiled.
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Created in 2007, the Foundation for Bluegrass Music is a non-profit charitable organization (501c3) created to serve as an “umbrella” under which funds can be placed and disbursed to support educational, literary, artistic and historic preservation activities of public
benefit.
Some examples of programs that can grow under this
umbrella:
• Bluegrass in the Schools (grants, workshops, other
resources)
Donations may be designated to create or sustain a particular program or may be unrestricted. And by combining it with the gifts of others, the legacy of the music and your
contribution grows and takes on even greater importance.
• Academic conferences
All gifts – no matter the size – are acknowledged and are tax deductible as a charitable
donation.*
• Public artistic presentations of an educational nature
Make a donation today. Visit the Foundation website or call 615-256-3222 for information.
8
International Bluegrass
• Literary work and related efforts
• Historic preservation
• and other works of a charitable nature
Happy Holidays
From all of your friends at IBMA
Click on the wreath to visit
IBMA’s YouTube channel
for a bluegrass holiday
playlist. Add your favorites
to IBMA’s Facebook and
Twitter pages too!
“Country Family Reunion” films bluegrass special
by Taylor Coughlin
The Gibson Brothers,
and Donna Ulisse.
SiriusXM’s Bluegrass
Junction program
director Kyle Cantrell
was also part of the
event.
The House Band consisted of Barry Bales
(bass), Bryan Sutton
(guitar), Adam Steffey
(mandolin), Stuart
Duncan (fiddle) and
Ron Stewart (banjo).
It was simply an acoustic music
lover’s fantasy: a gaggle of highly
esteemed bluegrass musicians in one
place, at one time, relaxing in rocking
chairs, swapping stories, and playing
bluegrass music. With warm laughter
and rich beguilement, some of the
genre’s top performers and pioneers
gathered to share their stories and
play music in front of their peers, and
lucky for anyone not there, it was
all caught on camera for a special
episode of “Country Family Reunion:
Simply Bluegrass.”
Each of the featured
musicians sang and played with
the house band. The artists, who
all seemed comfortable like family,
engaged in in-depth discussions on
their backgrounds, influences, and
funny stories, making this a truly
once-in-a-lifetime event.
Since 1996, RFD-TV has been broadcasting the “Country Family Reunion”
series, produced by long-time disc
jockey Larry Black. The show’s intention is to bring America’s most treasured artists together in one place
to reunite, reminisce, and perform
while the cameras roll.
Between segments, Bill Anderson,
Ricky Skaggs, and Larry Black sat
down to talk about the thrilling day,
and the state of bluegrass.
This special episode was the second
bluegrass-themed show to be filmed.
It was hosted by Bill Anderson and
Ricky Skaggs and featured: Mac
Wiseman, Bobby Osborne, Jesse
McReynolds, Doyle Lawson, Dierks
Bentley, Rhonda Vincent, Dailey &
Vincent, The Whites, Del McCoury,
Sam Bush, The Roys , Jerry Douglas,
The Grascals (Jamie Johnson, Terry
Eldredge, Terry Smith), Ramona
Jones, Paul Brewster, Ronnie Reno,
Sierra Hull, Larry Cordle, Carl Jackson,
“I come from a time
where country wasn’t
very separate from
bluegrass. When I
was a disc jockey in
the late ‘50s, I would
play an Eddy Arnold
record and follow it
up with a Flatt and
Scruggs record, play a
record by The Browns,
then play a record by
Don Reno and Red
10
International Bluegrass
Bluegrass is on the cusp
of being bigger than ever,
and bluegrass is becoming
the new country.
Bill Anderson, on hosting “Simply
Bluegrass” and his connection to
bluegrass music:
Smiley, that’s just the way that it was.
I grew up with a great appreciation
for acoustical music. When I was four
or five years old, I was listening to
[banjoist] Snuffy Jenkins on the radio
every morning. I had him for breakfast, along with my Corn Flakes! This
music is very deeply embedded in
me. Ricky [Skaggs] is an expert on the
bluegrass, I’m just trying to drive the
train and make sure we don’t have
train wrecks along the way.”
On the Americana movement and its
relation to bluegrass
Ricky Skaggs “I think it’s helpful. But,
it’s a lot of singer-songwriters, strummers – not a lot of pickers in Americana. You find more people that are
trying to get a song cut, or be known
as a singer-songwriter artist. That’s
what differentiates bluegrass from
anything: It is picker driven, performance driven all the time. It’s built
around a band, not around a lead
singer… In a bluegrass band, everyone is important.”
Larry Black: “In ‘99 we did a bluegrass reunion with Mac Wiseman.
Mac hosted it and invited a bunch of
the older guys who have passed on
now. I was thinking about that this
morning looking around the room;
Dailey and Vincent were not together, playing with other bands. So many
people in that room were not indi-
Bobby Osborne
Ricky Skaggs, Larry Black, and Bill Anderson speak on the experience
vidual artists then, so it has young-ed up. So what it does,
in my opinion, is bring a whole new audience in. Bluegrass
is on the cusp of being bigger than ever, and bluegrass is
becoming the new country.”
On the process for making “Simply Bluegrass” happen
LB: “It took us two years to get Ricky’s schedule in line. We
started trying to plug in bands and people and availabilities.”
The Whites
RS: “We had to have a top-notch, 100% validated house
band in order to get people to come. How often are you
going to get to play with Bryan Sutton and Stuart Duncan
at the same time?... This is a great show and I can see
another show coming out of this.”
On what makes “Simply Bluegrass” different from other
“Country Family Reunion” episodes:
LB: “The people [make the difference]. They eat, sleep and
breathe bluegrass. They make the room come to life. The
first 10 minutes of any of these things you go, is it gonna
kick in? and you heard the laughter, they are lovin’ each
other. They’re loving being there, they’re loving telling
these stories, and all of a sudden at the end of the day,
they’re gonna go: good grief, can we do more of this? So
that’s the real distinction for me. It’s them loving each
other and loving bluegrass.”
Dierks Bentley
Paul Brewster
DVDs are available for order on the Country Family
Reunion website or by calling 1-800-931-5723, and
are slated for release in January. Photos courtesy of
Gabriel Communications and Phil Johnson.
Doyle Lawson
Jerry Douglas
International Bluegrass
11
Country Family Reunion
Ramona Jones
Del McCoury
Sierra Hull
Sam Bush
Gallery continued
Rhonda Vincent
Gibson
Brothers
Larry Cordle & Carl Jackson
The Grascals exemplify “American Pickers,” release new album
By Taylor Coughlin
Progressive, hot
pickin’ favorites.
The Grascals have always
had a knack for finding
ways to stand out. This time
around, they teamed up with
their good friend, country
superstar and bluegrass
diehard Dierks Bentley, and
The History Channel’s hit TV
show “American Pickers” to
produce a hit theme song and
music video with the show’s
host Mike Wolfe.
The song is a favorite on their
brand new studio album
When I Get My Pay from
Mountain Home Records.
The album has made a
splash with its original songs,
Kristin Scott Benson’s vocal
debut, and a music video for
“American Pickers” featuring
footage from the show and in
the studio. Read more about
the album in Fresh Sounds on
page 20
On November 12, Jamie
Johnson, Terry Eldredge,
Danny Roberts, Terry Smith,
and Kristin Scott Benson
celebrated with “American
Pickers” host and friend
Mike Wolfe at the Antique
Archaeology store (retail
home of the goods bargained
for on the show) in Nashville.
Watch t
he new
video fo
r “Ameri
can
Pickers”
here
14
International Bluegrass
Things We Can’t Forget: Della Mae’s experience with American Music Abroad
By Courtney Hartman, reprinted with permission from Berklee Today
Last winter I spent six weeks on
tour in South and Central Asia with
my bluegrass band Della Mae.
Our American Music Abroad tour
was sponsored by the U.S. State
Department. Our purpose: diplomacy through music, sharing our
American culture through personal
interactions in foreign places. In 44
days, we traveled through Pakistan,
Uzbekistan, Turkmenistan, Kazakhstan, Kyrgyzstan, and Tajikistan. We
collaborated with local musicians,
performed public concerts and
workshops, and spent time with
children in schools and orphanages.
The “stans” are so different from
one another, and each has a
unique and rich musical heritage.
Every place offered hospitality and
generosity. We jammed and collaborated with local musicians in
every city. Most musicians played
their own traditional music. Despite the inability to speak a single
word of a common language, we
shared music for hours. It was fascinating to see how easily American music traditions blended with
theirs. Bluegrass has been passed
on orally through the generations
and is based in songs and fiddle
tunes, and the music of these
regions is passed down in the same
way. Folk songs often focused on
topics similar to ours, and they had
a strong foundation of instrumentals similar to fiddle tunes.
Cultural Milestones
In Pakistan we collaborated with
the talented Natasha Ejaz, in
16
International Bluegrass
has become a dear friend of Della
Mae’s.
whose culture female musicians
are rare. It was inspiring to learn
what she has endured so she can
share her voice. She and Pakistani
bands joined us for concerts in
Islamabad and Lahore. In Pakistan,
as rare as it is for young women
to play music, it is just as uncommon for young women to see live
music. We played at two women’s
colleges in Pakistan and have never
before been received with so much
excitement and anticipation. Ejaz
is applying to study at Berklee and
We spent Thanksgiving week in
Turkmenistan, celebrating the first
ever cultural collaboration between the United States and that
country. As we walked into the
performance venue, we witnessed
them raising two massive portraits:
one of President Obama and one
of Turkmen President Gurbanguly
Berdimuhamedow. This was the
first time that the Turkmen government had allowed another president’s portrait to hang alongside
its president’s. It was an honor to
witness that moment in the country’s history.
In each country we toured, we
visited schools and orphanages.
The children would usually perform a few songs for us and then
we would play for them. In these
remote areas, it was amazing to
see the lasting influence of the
State Department Jazz Ambassadors program that ran between the
1950s and the 1970s. During that
period, one of the touring musicians was Louis Armstrong. On the
album that he coproduced with
Dave Brubeck, Real Ambassadors,
he sings:
out her sparkly purple hair barrette and pressed it into my hand.
She gave me her single earthly
treasure, something that made her
feel beautiful, to show gratitude
for the small thing that we had
given her. There was silence in the
van as we drove back to Dushanbe.
The State Department has discovered jazz/
It reaches folks like nothing ever
has. /
After 40 days of traveling and
sharing our music we had gained
a lifetime of memories and a new
perspective. That precious little girl
gave me a gift I’ll always remember.
Like when they felt that jazzy
rhythm, /
They know we’re really with ’me. /
That’s what we call cultural exchange.
On the other end of the spectrum
were the orphans and refugee
children that we played for. We
visited orphanages in nearly every
country and spent time with Afghan refugee women and children
in Pakistan and Tajikistan. We let
the children play our instruments.
To see joy and light come into their
eyes as they strummed a guitar
string or held a fiddle for the first
time was beautiful. For most of
them, it was the first musical instrument they had touched in their
lives.
There was one moment in Tajikistan that I will never forget. It was
our last program and we drove
out of the capitol of Dushanbe to
an orphanage in the countryside.
We arrived and watched as a few
five year olds gathered snow in
teapots to take to the kitchen for
water. It was a bitter cold Sunday
afternoon, and the orphanage was
quiet. As we walked through the
cold cement halls to the meeting
hall, a horrific odor came wafting
from the bathroom areas and filled
the entire building. The children’s
Della Mae’s poster from Kazakhstan.
Photo courtesy Della Mae
rooms were heated with coal and
the few hours of electricity that
the government allowed them
each day were confined to the
kitchen. As we set up our instruments children began to trickle
into the room, helping one another in wheelchairs, little ones on
their laps, a few using adult walkers to support their polio-crippled
bodies. The only thing we had to
share with them was a glimpse of
joy, our hope was to help them
forget the cold, hunger, and physical pain, even if just for a brief
moment. It was difficult to watch
these children without tearing up.
As we began to play and sing, a
few children came to the front of
the room and began twirling and
dancing around with one another.
Smiles slowly emerged on their
faces and light returned to their
eyes.
As we finished and said goodbye,
a seven-year-old girl clung to me.
Looking me in the eyes she took
We can’t forget that music is a gift
in so many ways. Too often, we
rob music of its immense power
to communicate, getting caught
in the whirlwind of ego and selfpromotion. If we let it, music can
help heal us and others around
us. It can communicate love and
peace beyond language or borders
and become the common bond
between us. But, we have to let it.
I would encourage anyone interested in the State Department
program to apply. Applications for
the 2014–2015 season are due in
January. For more information,
visit the American Music Abroad
site at http://amvoices.org/ama/.
It could open the door to a life
experience you’ll never forget.
Colorado native Courtney Hartman is a guitarist, singer, and
writer, currently touring with the
bluegrass quintet Della Mae.
Applications for the 2014-2015
seasons must be submitted online
on January 6, 2014 by 5 p.m. PST.
For more information on American
Music Abroad including criteria for
consideration, and to print an application, visit AMVoices.org.
Acoustic Stories
Pickin’ for the Prez and Other Unamplified Tales By Bill Amatneek
By Taylor Coughlin
I
f a seasoned musician had
a dollar for every good
story he had, for every big
wig he played for or met,
and for every rundown
hotel room they’ve slept in,
well, seasoned musicians
would all have beachfront
homes in Florida. But to
remember those stories
and tell them with a
storyteller’s craft takes a
special seasoned musician,
like versatile bass and banjo
player Bill Amatneek.
great photos, some taken by
Amatneek himself.
Among the stars profiled
are Bill Monroe; Peter, Paul
& Mary; Frank Wakefield;
Pete Seeger; Peter Rowan;
Laurie Lewis; Bob Dylan;
Tony Rice; Lou Gottlieb; Bill
Keith; Stephane Grappelli;
and more. From bluegrass to
big band, and jazz to Middle
Eastern belly dancing music,
Amatneek takes us through
it all.
(we’ll list them in a second),
and as a journalist for Rolling
Stone, Bluegrass Unlimited,
and Down Beat.
From backstage run-ins
to 2a.m. airplane calls,
Amatneek takes us through
his life as a musician for
many well known artists
18
International Bluegrass
If readers had a dollar
every time they felt a little
envious of Amatneek’s life,
they wouldn’t quite have a
beachfront homes in Florida
(the book is 328 pages,
after all), but they’d sure
be able to go on vacation
somewhere.
With humility and humor,
we learn what it was like
to pick with Jerry Garcia,
be at a party with Dionne
Warwick, interview Aretha
Acoustic Stories is available
Franklin, and play for the
at Vinyard Press for $27.
President of the United
States. What’s special about
this book is Amatneek’s style
of writing: you feel as though
you are around a campfire,
instrument in hand between
jams, and he is telling the
story to you.
Pickin’ for the Prez and
Other Unamplified Tales
features 33 stories and 49
International Bluegrass 19
Fresh SOunds | December 2013
{
Chasing Blue, Low Valley: From the
Boston bluegrass scene comes Chasing
Blue, ripe with original songwriting, intriguing arrangements, and progressive
lyrical thought. On Low Valley, the next
generation does well to blend their
voices, tune their technical prowess
and deliver with forward-thinking tone.
The quintet offers different parts of
themselves that together makes them
a solid band and one that should earn
the attention of fans of acoustic string
music, young and old.
www.chasingblueband.com
James King Band, Three Chords and
the Truth: Taking classic country songs
and giving them his bluegrass makeover, revered vocalist and bandleader
James King sings straight to the heart
of the listener on Three Chords and
the Truth. In his usual impressive style,
King shares stories through song with
unmatched emotion and power. Guest
musicians on the album include Ron
20
International Bluegrass
{
The Grascals, When I Get My Pay: Perennial hit makers The
Grascals continue to score on When I Get My Pay, showcasing their versatility, expert songwriting, and infectious
sound. With some countrified bluegrass, to regular heartbreaking ballads and rollicking banjo rolls, When I Get My
Pay is a solid listen. The standout track has to be “American
Pickers” featuring Dierks Bentley; the theme song is based
on the popular reality show American Pickers, and the
show’s host is featured in the music video. Also noteworthy
is the powerful, harmony laden cover of “Bluegrass Melodies,” a tribute to band mentors, The Osborne Brothers.
www.thegrascals.com
Stewart on the banjo, Jesse Brock
(mandolin), Jason Moore (bass), Jimmy
Mattingly (fiddle), and Josh Williams
(guitar). Don Rigsby and Dudley Connell
sing harmony vocals.
www.jameskingband.com
Jean-Luc Leroux, Ma Mando et Moi:
This endearing Frenchman’s bluegrass
and country album reflects a unique
and inspiring interpretation of music,
full of fine mandolin picking, and sweet
harmonies. The foreign language barrier adds to the intrigue and novelty of
the album, making it a joy to listen to.
Notable guests on the album include
Mike Bub on bass, and Rob Ickes on
Dobro, Guthrie Trapp on electric guitar,
Matt Hooper on fiddle, and Butch Robins on banjo. Leroux is based in New
Caledonia.
Jean-Luc‘s website
Jonathan Warren & The Billy Goats, On
This Very Evening: From the get-go, this
album by trio Jonathan Warren (vocals,
guitar, bass, banjo, harmonica), David
Sather-Smith (vocals, cello, guitar), and
Andrew Smith (drums, percussion), is
a rollicking, genre-bending good time.
Warren’s creativity as a musician and
songwriter is played out with honesty
and humor as he mashes bluegrass,
new-time, folk, Appalachia, and rock.
Pay attention to the rascal you hear in
their voices.
www.jonathanwarrenmusic.com
Newtown, Time Machine: On their first
album with Pisgah Ridge, the bluegrass
band from Lexington, Kentucky crafts
their diverse musical influences into
something powerful. Time Machine
is chock full of clever and rich stories,
passionately told by Kati Penn-Williams
on fiddle and lead vocals, CJ Cain on
guitar, mandolinist Clint Hurd, banjo
picker Jr. Williams, and Terry Poirier on
bass.
www.katipenn.com
Unspoken Tradition, Simple Little Town:
You can tell a band is tight by the music
they produce together, and judging
by that, Unspoken Tradition has set a
standard. With a sound that is steeped
in tradition and cultivated by passion,
new ideas and life experiences, Simple
Little Town delivers something for
everyone. It’s the relatable stories and
lyrics that connect the listener to this
solid band the most, the sheer talent in
instrumentals is the icing on the cake.
www.unspokentradition.com
Heard Round the World
Heard ‘round the world
by Taylor Coughlin
■■ Friedrich Hog, president of the German Bluegrass Music Association, has
made his weekly ‘Americana’ radio show on Radio Free FM Ulm playlists
available through the link on the European Bluegrass Blog’s separate ‘Radio playlists’ post.
■■ IBMA Board Member Angelika Torrie of Switzerland will be teaching bluegrass jamming using the Wernick Method on a two day workshop on SatSun, Feb 8-9, 2014, 9:30AM - 4:30PM (with one hour lunch break), in Basel,
Switzerland. It’s the first bluegrass jamming workshop using the Wernick
Method in Switzerland. Angelika became a certified Wernick method
teacher back in April 2013 and her first teaching at Adiaha’s Bluegrass
Camp in Aschau, Germany, was very successful and well received. To find
out more, please visit www.bgjam.com to find out more or go directly to
Angelika’s registration page (information available in both German and
English) to hold your spot.
■■ Congratulations to former IBMA board member Rienk Janssen of the Netherlands who was recently appointed the new Chairperson for the European
Bluegrass Music Association! In November the EBMA had a board meeting
in La Roche, France where they planned the 6th European Bluegrass Summit
which will take place March 14-16 in Prague, Czech Republic.
■■ Tony Rice and The Manzanita Band performing at IBMA’s Award Show in
Raleigh this past September is the cover for the November 2013 issue of Japan Bluegrass Journal MoonShiner.
■■ Twisted Timber from Czech Republic won the Talent of Country Radio
Award recently, which is the only Czech radio that plays country, folk, and
bluegrass music.
■■ The 2013 Banjo and Bluegrass Conference of Australia takes place Thursday
December 12th through Sunday December 15th. The conference will feature
headliners Jens Kruger and Alan Munde, Ian Simpson, Hamish Davidson,
George Jackson and his band The Company. Others on the faculty include
popular conference regulars Gary Vann (fiddle, mandolin, banjo), Wendy
Holman (jam skills), Mark Nahuysen (guitar) and Peter Nahuysen (banjo).
The venue is Tranquil Park Resort, Sunshine Coast Hinterland, Australia. The
cost is $780 for the 3 days. For more information go to: bellbirdbanjos.com
International Bluegrass
21
Bluegrass Music Industry News | December 2013
On the Charts as reflected at press time
Billboard: The Bluegrass Album by Alan Jackson remains
at number one; Devil Makes Three’s I’m a Stranger Here
at number two, and The Living Years by The Isaacs at
number three.
Bluegrass Today Monthly Airplay: Lorraine Jordan &
Carolina Road, “That’s Kentucky,” at number one; Del
McCoury Band’s “Big Blue Raindrops” at number two,
and Spinney Brothers’ “I Wish That I Could Have Met
Carter” at number three
Bluegrass Unlimited songs: “Dixie Road” by Doyle
Lawson & Quicksilver at number one; “They Called It
The three members of
Nickel Creek reunited
onstage Wednesday, November 13 as part of CBS
Films’ celebration of the Coen brothers’ folk music tale “Inside Llewyn Davis.” Mandolinist Chris Thile, fiddler Sara
Watkins and guitarist Sean Watkins are recording an
album that Warner Music’s Nonesuch label is eyeing for a
spring release. No other details have been announced.
For the Record
Now through January 5th catch BlueHighways TV on
DISH Network, channel 102. Tune in every Sunday at
1:30pm EST, or set your Hopper DVR to record BlueHighways TV on Blockbuster Studio Ch. 102 on DISH Network,
and it is hoped, after this successful run, DISH will carry
BlueHighways TV full time. North Carolina-based string band Carolina Chocolate
Drops announced founding member Dom Flemons and
cellist Leyla McCalla (who joined the band in 2011) will
depart to begin their own solo careers. The Chocolate
Drops have added cellist Malcolm Parson and multiinstrumentalist Rowan Corbett to the stage.
Kentucky Thunder tenor vocalist Paul Brewster performed a showcase to celebrate the release of his solo
album 3 Minute Heartache in Nashville on November 11.
Guests included Vince Gill and Sonya Isaacs. The album
features 10 original songs and can be found at www.paulbrewstermusic.com.
Dave Adkins & Republik Steele have announced their
split to pursue personal projects. Since then, Dave Adkins
has released a single on Mountain Fever Records titled
“Pike County Jail.”
Within a week of each other, banjoist Steve Dilling and
bassist Edgar Loudermilk announced they were leaving
Russell Moore & IIIyrd Time Out.
Music” by Gibson Brothers at number two, and “The
Mountain Doctor” by Don Rigsby at number three..
Bluegrass Unlimited albums: They Called It Music by
Gibson Brothers at number one; Brothers of the Highway
by Dailey & Vincent at number two, and It’s Just a Road
by The Boxcars at number three.
Singing News songs: “When I Look Back Down on
the Road” by New River Bluegrass at number one;
“Revelation Song” by Chigger Hill Boys & Terri at
number two, and “He Included Me” by Primitive Quartet
at number three.
Guitarist and vocalist Rickey Wasson and banjoist Josh
Hymer have announced they are leaving American
Drive.
Jeff Carter, co-founder of cable ad company Viamedia,
has purchased a minority shareholder stake in Lonesome
Day Records. Carter will provide short term financing
which will allow Lonesome Day to double or triple their
annual releases, and offer marketing, distribution and
publicity services to their artists.
The FiddleStar Adult Camp registration opens January 1, 2014. Instructors include Justin Branum, Megan
Lynch Chowning, and Matt Combs. The camp runs Friday
through Sunday, May 16-18 in Ridgetop, TN. Visit FiddleStarAdultCamp.com for more information.
The Nashville Mandolin Camp has added a second
weekend by popular demand. On February 7-9, mandolinist will have the chance to learn from pros like Mike
Compton, Roland White, Ashby Frank, and more. Visit
Nashville Mandolin Camp online to register.
The Americana Music Association has announced it will
move its conference headquarters to Nashville’s boutique
hotel, the Hutton Hotel, for the 15th Annual Festival &
Conference to be held September 17-21, 2014.
The Ralph Stanley Museum Craft Show will take place
Dec. 7, 10 a.m. to 4 p.m. at the Community Center in
Clintwood, VA.
“Get Well!” cards may be sent to legendary bluegrass fiddler Tex Logan (and the songwriter of Bill Monroe’s classic “Christmas Time’s a-Comin’”) may be sent to:
Tex Logan
Room 423, Morris Hills Center
Morristown, NJ 07960
Association Assertions
Emma’s Gut Bucket Band is a bluegrass band in San
Diego who performs once a week for nursing homes,
veterans homes, residential care facilities, schools, and
other organizations, as a community outreach program
of the San Diego Bluegrass Society. Recently the band
increased their generosity by performing for three facilities in one weekend. Keep it up!
It was announced that John Camm was named the new
Treasurer for the Desert Bluegrass Association in Tucson, Arizona. Congratulations, John!
The Kansas Bluegrass Association will hold their 25th
Annual Winter Bluegrass Festival at the Marriott Hotel
in Wichita, Kansas on February 21 and 22. Chris Jones
& The Night Drivers, The SteelDrivers, and Junior Sisk
& Rambler’s Choice will headline, along with popular
regional acts Lonesome Road, Driven, and the KBA
Treblemakers. Visit www.kansasbluegrass.org for more
details.
Congratulations to the Southeastern Bluegrass Association who is celebrating 29 years! They held a celebratory show and gathering in November with Fish and
Picks, The Night Travelers, and Foxfire Boys in Woodstock, Georgia.
The Intermountain Acoustic Music Association based
in Salt Lake City, Utah, saw nine new members and 26
renewing members in the month of November.
Tom Kopp of Asheville, NC, is the new executive director of the Foundation for Bluegrass Music. Tom will
begin officially on January 1, 2014. Visit www.bluegrassfoundation.org for more info.
Standing O!
The 5th Annual Bluegrass for Hospice event held in
Great Mills, MD in October raised over $29,000 for the
Hospice House of St. Mary’s County. Headliners included Larry Sparks and Junior Sisk and Ramblers Choice.
At the end of October, Del McCoury had a five-mile
stretch of North Carolina Highway 261 in Mitchell County named after him, the section of road from Bakersville
city limits north to old Glen Ayre school, remembering
a childhood connection that he has with the area. The
honor came from the Blue Ridge National Heritage
Area Partnership. A celebratory ceremony took place
with North Carolina Governor Pat McCrory making the
presentation, which was followed by a performance by
the Del McCoury Band. That same weekend, Del celebrated his 10-year anniversary of being a member of
the Grand Ole Opry. Del yeah!
Bristol Rhythm & Roots Reunion reported a 10%
increase in attendance from 2012. More than 55,000
visitors, artists, vendors, and volunteers converged onto
Historic Downtown Bristol, VA/TN for the annual, threeday festival this past September.
The Country Music Hall of Fame and Museum in Nashville, TN, will present an interview with music industry
veteran Kay Clary at the seventh annual Louise Scruggs
Memorial Forum on December 4 at 6:30 p.m. A reception will follow the program. The program is free and
open to the public, but reservations are requested.
Reservations can be made by emailing [email protected] or calling 615-416-2040.
In Remembrance
Myron Dillman, 79, of Peru, Indiana, the father of Dwight Dillman, owner and operator of the Bean Blossom
Bluegrass festivals, passed away on Sunday, November 3.
Zak McConnell, mandolinist and founder of The Fiddleheads from Georgia, passed away unexpectedly at the age of
26 from what is believed to have been a heart problem.
International Bluegrass
23
IBMA Membership
Lifetime Members New Members
LIFETIME MEMBERS
Murphy Henry
John Hopkins
Eddie Adcock
Carolyn Hotte
Clint Alphin
Sid
Huston
Jay
Armsworthy
Rienk Janssen
Nick Barr
Si
Kahn
Fred Bartenstein
John Kaparakis
Danny Bermel
Louis Kaplan
Larry Bomar
Dan Keen
GuidoBos
BillKeith
Dolly Mae Bradshaw
Bill
Knowlton
Alison Brown
Kitsy Kuykendall
Roland and Rita Clark
Peter Kuykendall
Albon Clevenger
J. Thomas Laing
Bill
Clifton
Barbara Laing
Virginia Correll
Doyle Lawson
J.D. Crowe
Lance LeRoy
DarwinDavidson
Travis Lewis
Henri Deschamps
MiggieLewis
Kevin Dew
Talmedge Lewis
Rodney
Dillard
Roy M.Lewis
Dan M.Domont
Polly Lewis Copsey
Marc Driskill
Janis Lewis Phillips
Susan Huston Drudge
David Mannheimer
Mike Drudge
Lindsay Mar
Kimberley Dumouchel-Cody ToddMayo
James T. Engle Jr.
GeorgeMcCeney
Silvio Ferretti
Del McCoury
Benji Flaming
Judith McCulloh
Dave Freeman
Jesse McReynolds
Erich-Dieter Friedli
David Morris
HiroshiFukuhara
David Nelson
DebbieGarrett
Sonny Osborne
Richard Gelardin
Bobby Osborne
Mark Geslison
Lewis Phillips
MelvinGoins
James Reams
Cathy Goode
Gary Robertson
TomGray
Neil Rosenberg
John Grimaldi
John Rossbach
MiltonHarkey
Chris Ruud
Emmylou Harris
Rod Schenk
Dan Hays
ThierrySchoysman
ReggieHelm
Curly Seckler
Christopher Henry
Marianne See
Casey Henry
GeorgeShuffler
24
International Bluegrass
Richard Spratt
Ralph Stanley
Chris Stuart
Alan Tompkins
Trisha Tubbs
Mack Turner
MilesWard
Dean Webb
Jon Weisberger
Gail Wiegner
Paul Williams
MacWiseman
DwightWorden
Adrienne Young
Stan Zdonik
NEW MEMBERS
Betsy Arledge
DennisAsberry
Mike Ashworth
Rick Baker
Curtis Barns
Thomas Barnwell
Aina Barnwell
Frank Bartolone
Gordon Bell
Courtney Black
GeorgeBooze
Edward Breeden
SandraBreedlove
Perry Brewer
Jackie Bridgers
Johnnie Brown
Richard Brown
Nicholas Buchanan
J.R. Burrington
David Chambers
Mark Clifford
John Coble
James Coleman
David Colvard
John Constance
Charlton Cox
Mark Dillon
Renewed Members
Larry Dodson
Royce Dunnivan
Simon Dunson
GeraldDurkop
Rick Early
David Elliott
Francois Favron
John Ford
Jan Franklin
Michael Franks
Icaro Gatti
Massimo Gatti
Geoffrey Gay
Jean Gevers
Marc Gilfillan
BillGladstone
BetsyGladstone
Lisa Glenn
James Glenn
ShelbyGold
ToriGold
JocelynGold
Tyler Griffith
HayleyHall
Joan Hallman
John Harwell
JoshuaHeston
Peter Hicks
DerwinHinson
Carol Holden
Suzy Holmes
Martha Howard
Anthony Howell
Erin Humann
Theo Hurter
Tyler Jackson
Bollie Jarratt Jr.
Kandis Johnson
RobertJordan
Janet Kenworthy
Rebecca Kenyon
Thomas Knoke
Chloe Lang
JessicaLang
SumanLankford
IBMA Membership
Lifetime Members New Members
Renewed Members
New Members Continued
Scott Lankford
JessicaLestitian
Peter Lindholm
Brian Lipman
Erich Lipphardt
Fred Lofton
Barry Long
StanleyLowery
Justin Mahanna
Amanda Maples Marr
ShelbyMartin
Andy Massengill
Phyllis McCraw
Thomas McGinty
Eliza Meyer
Matt Moore
Jeanette Moore
Jan Myren
Peter Nahuysen
Holly Norman
Heather Norman
SawyerOlsen
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International Bluegrass
25
IB
International Bluegrass
Vol.28 No.12 D e c . 2013