Winter 2012 Bluegrass Beacon - Pacific Bluegrass and Heritage

1st Annual Bill
Monroe birthday
concert review
Page 9
New PBHS attire
now available for
purchase Page 6
WINTER
2012
THE
SWEET LOWDOWN
IN CONCERT AT THE ANZA NOV 19TH, more info page 5.
2
• WINTER 2012
Pacific Bluegrass
& Heritage Society
c/o #2002- 1077 Marinaside
Crec. Vancouver, B.C. V6Z-2Z5
www.pacificbluegrass.ca
BOARD OF DIRECTORS
President:
Fran Schiffner
[email protected]
604-943-0522
Vice President:
Rick Ford
[email protected]
604-873-3438
Secretary:
David Zaruba
[email protected]
778-888-1530
Treasurer:
Jeff McKay
[email protected]
Directors:
Fred Schiffner
[email protected]
604-943-0522
Jeremy Freeman
[email protected]
778-858-7245
Ed Wallace
[email protected]
604-868-8842
BLUEGRASS BEACON
PRESIDENT’S MESSAGE
Winter, what winter?
Welcome back to the ANZA for some great times in Bluegrass! It is hard
to believe that winter will soon be here with the beautiful, warm fall we
have had.
The Chilliwack festival was once again
well attended by many of our members,
with lots of jamming and good
entertainment. We were saddened to
hear that this is the last year of the festival
as we know it. Thanks to everyone who
emailed their concerns to the Chilliwack
Arts Council. Rumour has it that it will
go in another location, so let’s keep our
ears and eyes peeled for any more news.
By the time of this reading, we will have enjoyed our first concert with
the Downtown Mountain Boys, one of our favourite Washington Bands.
We look forward to hearing the Sweet Lowdown from Victoria perform
at the ANZA Club on Nov. 19th.
We were pleased to hear that the Gibson Brothers, who entertained us in
July, received the top award, ENTERTAINER OF THE YEAR at IBMA this
year. We have been very fortunate to have this calibre of entertainment. I
was sorry that I was not able to attend the last IBMA Awards show held
in Nashville. Next year the annual event will be held in Raleigh, North
Carolina. For those of you who have never attended, it is the number one
Bluegrass event of the year. I encourage you to look at attending next
year if you are able. It is a festival well worth the trip. Visit the IBMA
website for up to date information at IBMA.org.
We have news that the Valley Bluegrass, who normally meet Monday
evenings, will be changing their jam night to Fridays as of November
2nd. This will allow their members to attend our Monday night jams and
other events. They meet in at the Langley United Church, and are always
looking for more jammers. This is a “win, win” situation for both of our
clubs. We look forward to seeing more Langley folks out our way!
Our Facebook, manned by Jeffrey Freeman, has proven to be a great source
to share information. We encourage you all to become our “facebook”
friend. David Zaruba has been diligently updating information of our
website, with a “gallery” section soon to be added.
Thanks to all our volunteers, who help us out not only on special occasions,
but also on our Monday jam nights. Keep on picking!
The Bluegrass Beacon is the official newsletter of the Pacific Bluegrass and Heritage Society. PBHS meets
every Monday night at 7:30 p.m. at the ANZA Club, 3 W. 8th Ave., Vancouver, B.C. (corner of 8th and Ontario).
Entry fee on regular jam nights is $4 for members and $6 for non-members; on slow pitch jam nights it’s $6 for
members and $8 for non-members. Contact Beacon editor Gordie Sadler email: [email protected]
BLUEGRASS BEACON
WINTER 2012 • 3
Good-bye Doc, Earl, and Doug - by Dan Crary
“Give sorrow words” the poet
advised; not an easy thing to do
when we have seen the passing of
some of the greats of our music.
And it always comes as a shock;
you “know not the hour” as the
Bible says. 2012 has been the year
of the passing of some of our music’s
greatest monumental figures,
especially for me, Doc Watson,
Earl Scruggs, and Doug Dillard, as
well as other greats of our music,
including Everett Lilly. Sic transit
gloria mundi, “thus passes away
the glory of the world.” And so we
grieve for these giant figures in
our lives and music, we feel their
absence, make speeches, write
memorials, and as the characters
in the play said, gathered around
the deathbed of Richard II, “For
God’s sake let us sit down upon
the ground and tell sad tales of the
death of kings.”
The tales of Doc and Earl and
Doug will be many to tell, in fact
they already have been: happily
these great players did actually
receive some of their flowers while
they were living, as the old Stanley
Brothers song has it. Earl Scruggs
seemed to come out of nowhere in
the 1940’s playing a style of banjo
that was, by the time the world
heard it, so complete, so powerful,
all banjo playing since has been
judged by its standard. The old
tapes of the Bluegrass Boys on
the 1940’s Grand Ol’ Opry record
how audiences went beserk for
Earl’s banjo, demanding so many
encores, it almost stopped the Opry
rest of the show.
When Doc Watson burst on the
national scene in those early ‘60s
Newport Folk Festivals, he blew
the New England folkies away with
the power of his gravel-pure voice,
and the greatest guitar flatpicking
that had ever been heard. And
when Doc and son Merle toured the
world starting in the late sixties,
they began the biggest migration
of a single musical instrument in
history. The steel-string guitar
went from deep obscurity in the
mid-20th Century to become the
most ubiquitous instrument on
earth.
Out of all the sincere and wellintentioned attempts of politics,
diplomacy, philosophy, religion,
and education to get people to
be peaceable together, ironically
today, the last thing on earth that
all seven billion of us agree on is
that we like the steel string guitar.
If you could get into Tehran,
Bejing, or Mogadishu there would
be a peaceable jam session, and
someone there would know the
“Wildwood Flower.” Having thus
swept the world, Guitar music
may, just maybe, someday save
humanity; If it does, Doc and Merle
started the trend.
Doug
Dillard
was
another
tremendous
personality
and
player, very influential, and with
The Dillards band, came roaring
4
• WINTER 2012
cont from p.4
out of the California music scene
in the late 60’s and early seventies.
The Dillards showed the world
that Bluegrass music, acoustic
instruments, and entertaining
stories and repartee could make
it on a major label and stand on
its own surrounded by electrified
country and rock music.
So it’s shocking to think of our
world without them; for me Earl
was the blazing banjo sound that
hooked me as a little kid in 1951;
in my world, Doc was the fifth face
on the Mt. Rushmore of music; and
Doug was sassy, smart old time
music walking unapologetically
up and down Santa Monica Blvd.
Now, without them, the world feels
very strange, and we wonder what
more to say about their absence.
Books will be written, memorials
created, and most of all, we will tell
stories of Doc and Earl and Doug
for a long time.
So what more is there to say?
Just one thing more: to remind
ourselves how their music and their
example ought to influence us. In
history the great funeral orations
were aimed not at the departed,
but at the living. Pericles after the
Peloponnesian War and Lincoln at
BLUEGRASS BEACON
Gettysburg, for example, reminded
the living to carry on the vision of
those being memorialized.
And that’s what we can do as we
celebrate and feel the loss of Doc
and Earl and Doug. We can go back
to the source, listen again to the
recordings, hear in Doc’s singing
and playing what Utah Phillips
called “the power of an authorless
folksong.” Listen to the beautiful
inside stuff of Earl’s banjo, the
irony, the tone, the drive. And
revisit those sessions from over
three decades ago when Doug and
the Dillards took Bluegrass to town
and made it dance in the city streets.
And there is another important
tradition that these heroes of our
music all taught us: the tradition
of, it’s OK to do something different.
Realize that the passing greats of
2012 are immortal and revered by
us both because they were true to
their roots and traditions, and also
because the music they actually
performed changed everything
that went before. Doc, Earl, Doug:
all innovators who warped and
altered the music drastically while
somehow never letting you forget
where they (and it) came from.
That’s a difficult line to walk: their
legacy of rooted-but-different
is a challenging course for us to
navigate, and it can get divisive.
jammers at the Bill Monroe birthday party Sept. 15
If you don’t think so, just sit in on
some of our beer-and-opinions
arguments that range everywhere
from “bluegrasser-than-thou” to
“it’s my guitar and I’ll play what
I want to.” It’s a dialogue as old
as western civilization: will it
be permanence or change? The
answer to that one, my friends,
had better be: “Yes!”
The examples of Doc and Earl and
Doug are a perfect guide into our
future. They’re a compass to keep
the music on course in some sense,
but also to point to the next Earl,
Doc, or Doug, the next inspired
young player waiting in the wings
to knock your socks off.
Think about it: somewhere out
there, today, walking around, are
the players who will be the heroes
of 2062. So our job is twofold: we
need to be the old curmudgeons
nagging the young players to
remember the tradition, and then
we need the wisdom to get out of
their way as they change things,
become Doc II, or the kid-who-willbecome-Earl, or a Doug-for-thenext-generation. Because as Lee
Hayes of the Weavers famously
said: “The future isn’t what it was
cracked up to be; and what’s more,
it never was.”
Copyright
2012, Thunderation, Inc.
BLUEGRASS BEACON
WINTER 2012 - 5
PBHS Fall/EVENTS CALENDAR
Monday, Oct 1: Slow Pitch with Sue Malcolm and Friends at the ANZA; 7:30 -9:00 PM
Cost: $6 for members, and $8 for non-members. Get that instrument out from under the
bed and get on down.
Monday, Oct 8: Closed for Thanksgiving!
October 2012
1-29
Monday, Oct 15 : The Downtown Mountain Boys! Seattle best and we don’t mean the
coffee. Doors at 7:30 , Showtime 8:00 p.m.
Tickets in advance; call 604 943 0522
PBHS members $20.00, non members $25.00
Wednesday,Oct 17 at 7 p.m. Guitar/
Mandolin Workshops by Tim May and
Dan Miller will be held at these homes:
Guitar: 3836 Cambridge St. Burnaby.
Mandolin: 1343 14th Ave. E. Vancouver
Cost is $40. per person. Advance registration
is required, call Fred @ 604-943-0522
Monday, Oct 22: Intermediate Jam led by
Dave and Jeremy. Step up and take a break!
Monday, Oct 29: Its the ever popular Open
Stage. Practice up, Sign up and You’re up
next!
November 2012
Monday, Nov. 5: Slow Pitch with Sue Malcolm and Friends at the ANZA; 7:30 -9:00 PM
Cost: $6 for members, and $8 for non-members. Get that instrument out from under the
bed and get on down. Jam to follow.
5-26
Monday, Nov. 12: ANZA closed for Rememberance Day.
Monday, Nov. 19: The Sweet Lowdown in
concert. Amanda Blied, Shanti Bremer, and
Miriam Sonstenes are a spectacular trio. Tickets are $15 for members and $20 for non-members. Doors at 7:00 pm, Showtime is 8:00 pm
Monday, Nov 26: Intermediate Jam led
by Bob Underhill, it’ll be a fine night for pickin
along with some of the best traditional bluegrass tunes you can imagine.
6
• WINTER 2012
December
3 -17
BLUEGRASS BEACON
Monday, Dec. 3: Slow Pitch Jam, with Sue
Malcolm & Friends; 7:30 p.m., followed by open
jam, 9 p.m., ANZA Club. Admission is $6 for
members, $8 for non-members.
Monday, Dec. 10 : Intermediate Jam at the
ANZA with Bob Underhill leading from 7:30 PM
$4 for members, and $6 for non-members.
Monday, Dec . 17: Open Stage & Christmas
Baking Potluck followed by jamming at the
ANZA from 7:30 PM. Ho! Ho! Ho!
Merry Christmas to all from your PBHS board and volunteers!
PBHS Clothing is now available!
T-SHIRTS: $15.00
available in Black, Burgundy, yellow, light blue, light green,and brown
GOLF SHIRTS: $20.00
available in white, light yellow,royal blue, black, red
SHIRTS: $42.00 available in light denim and blue denim
SWEAT SHIRTS: $30.00
CAPS: $12.00
Check out the selection at the ANZA while all sizes still available!
Bluegrass Radio by local radio stations:
In the Pines on CFRO 100.5 FM at 2:30 to 4:00 pm on Sunday afternoons
Pacific Pickin on CITR 101.9 FM at 6:30 to 8:00 am on Tuesday mornings
Catfish Gumbo on CIVL 101.7 FM at 4:00 pm to 5:00 pm Tuesday afternoons
BLUEGRASS BEACON
Bill’s
Mandolin
the interesting saga of the
world’s most famous
mandolin-
In 1941, two years after Bill Monroe started The Blue Grass Boys,
he came across a Gibson F-5 mandolin in the window of a barbershop in Miami, Florida. Bill went
in and fell in love with the instrument’s small neck and big sound.
Bill bought the F-5 that day for one
hundred and fifty dollars. Over the
years Bill’s career as a bluegrass
musician had many ups and downs
but he was always faithful to his
beloved F-5. Bill and the F-5 were
inseparable until the day he died,
and by then the F-5 had taken on a
life if its own, becoming the symbol
of bluegrass.
At one point Bill dropped the
mandolin and broke off the carved
scroll on the top of the peghead. He
meant to have it fixed but eventually
lost the piece. When the mandolin’s
neck broke off after another fall
Bill was forced to part with it while
Gibson did the repairs. He asked
them to replace the frets, the tuning
pegs and refinish it as well. Gibson
took their time with the repairs and
four months later when Bill got his
beloved F-5 back he was infuriated
with what they had done. Legend
has it Bill took his pocketknife out
and scraped off the finish the repair
shop had applied, and then gouged
out “The Gibson” from the already
battered peghead.
No doubt the repair shop had interfered with the instruments tuning when they applied the finish.
Lloyd Loar, who designed the
F-5 for Gibson used a sophisticated
tuning system when voicing each
mandolin bearing his name and
signature. Loar used a tortoise
shell shape for the backboard and
soundboard, carving the wood so
that there was a considerable difference between the thickness of the
centre and the edges. The thinner
edges combined with the Stradivarius arching and thicker wood
at the bridge resulted in a top and
WINTER 2012 • 7
back that pumped like a speaker
cone. Another Loar invention was
the use of tone bars inside the instrument that could be carved so
that when interacting with the
top the wood could be tuned exactly. Bass and treble sides of the
top were voiced independently by
carving the tone bars separately
and tuning to different frequencies.
Fine tuning of the mandolins was
achieved by increasing the size of
the f-holes until perfect pitch was
established. By the way they were
tuned to a lower pitch than what
we consider concert today, (some
were between A430 and A431) and
this lower pitch is said to help create the magic that is a Lloyd Loar
mandolin.
Bill loved his mandolin because
he said it separated the notes and
rang so beautifully. He never used
a pick guard because he felt it impeded the tone. As a result the top
was badly worn by the late seventies when he finally made up with
Gibson, allowing them to repair
the F-5 for the second time. This
time they got it right, fixing the
broken peghead and reinstating
their name on it. Bill just loved
that mandolin and when he got it
back for the second time from Gibson he immediately put on a little
concert for those in attendance.
Bill claimed nothing rang like his
F-5, and he once said he wouldn’t
sell it even if someone offered him
$500,000. Bill would probably be
the only one not shocked by the
price tag of a Lloyd Loar mandolin
today.
story by Timothy Bemister
8
• WINTER 2012
PLAYING IN BILL’S BAND
Not only was Bill Monroe the
founder of bluegrass, he was the
genre’s greatest teacher. Playing in Bill’s band, The Blue Grass
Boys, was like going to school for
the bevy of musicians that passed
through his ranks. He often worked
with young musicians on their way
up, and many formed rival bands
after completing their apprenticeships. A six year old Ricky Skaggs
mustered the courage to get on
stage with the silver haired master
and when Bill bellowed, “What do
you want?”, the little tyke held up
his mandolin and said “I want to
pick.” Skaggs went on to become a
huge star and years later he headlined the Vancouver Folk Festival
with what could only be described
as a bluegrass orchestra. Other
graduates of Bill’s school include
the great Earl Scruggs, Vassar Clements, Jimmy Martin, Peter Rowan and Del McCoury.
Playing in The Blue Grass Boys
could be difficult as Monroe held
the band to high moral standards.
Where as commercial country songs
at times seem to sink to the lowest
common denominator, relishing in
the swamp of domestic disorder,
sexual shenanigans and lame love,
Monroe kept to the high road, singing about courage, honour, spirituality, and ideal romance. Indeed,
in his white hat and suit Monroe
was always the gentleman. He
was also a taskmaster who ran a
tight ship, and , as a result, playing in The Bluegrass Boys could be
a tension filled experience. Perhaps
this is why Bill burned through so
many players.
One reason Bill was so demanding
was that he saw music as the measure of a man. “I think you can watch
people, any kind of work they do in
music, and tell pretty well in their
life what they’ve gone through, if
you watch it close enough.” This
quote of Bill’s comes from Robert
Cantwell’s book Bluegrass Breakdown. Cantwell explains Monroe’s
insistence on putting the “man” before the “music” this way- “I think
it is fair to say that in bluegrass
we listen to music, but for the man.
Thus in bluegrass an unsophisticated or even primitive musician
can conceivably do better than an
accomplished one. Until you grasp
this, you cannot appreciate bluegrass music.” (Cantwell,p.205)
On a more technical note Bill
taught his musicians to squeeze
as much tone as they could from
their acoustic instruments. “Sepa-
BLUEGRASS BEACON
rate your notes, keep your timing
right, and let your tones come out.”
(Cantwell, p.203) Bill’s vocals defined the high lonesome sound and
it is said he would practice singing
a half tone above the key he would
perform a song in to train his
voice to go ever higher. There was
a limit to this, though, and Monroe warned against unrealistic
key choices. “If you sing too high,
people’ll say, now that man’s used
bad judgement.” (Cantwell,p.209)
With so many players starting out
with Bill, only to eventually leave
and form competing bands, it’s no
wonder he felt such resentment in
his life. Bill’s long standing rivalries with ex-band members Earl
Scruggs and Ralph Stanley are
legendary, but pale compared to
the life long grudge he held against
his brother and early musical partner Charlie. Was it just Bill himself
who was so fiercely competitive, or
is there something bigger going on
in bluegrass music, something we
are all a part of? Would Bill have
had the impact he has had on popular music if he hadn’t had a soul
forged in steel? Could a less passionate and intense man have created such a legacy? Could Bill have
sung and played the way he did if
his own life had not been such an
epic struggle filled with high drama? With all these questions I’d
better get back into the classroom
myself.
story by Tim Bemister
BLUEGRASS BEACON
WINTER 2012 - 9
J. Reischman interview- by Tim Bemister
Jaybirds featured at Bill Monroe Birthday concert
John Reischman and the Jaybirds
played at the heritage community
hall in Pitt Meadows on Saturday
September 15 at the first annual
Bill Monroe birthday concert. The
event was organized by Robert
Hornsey of the Bergthorson Academy of Musical Arts. The academy
hosts bluegrass jams on the second
and fourth Thursdays of the month
in the living room of the heritage
house at 122nd and Harris Road in
Pitt Meadows. Hornsey is aware
that the future of the Chilliwack
Bluegrass Festival is up in the air
and he wanted to test the waters
as he sees the Pitt Meadows/ Maple Ridge communities as a possible new home. Hornsey’s vision
is more in line with the Vancouver
Jazz Festival, whereby a number
of venues would host events over
a couple of weeks. He sees the Pacific Northwest as becoming a real
hotbed of bluegrass in the future
and as a bluegrass lover he wants
to help make it happen. What better way to kick things off than with
John Reischman and the Jaybirds,
one of the regions top attractions
The event was well attended and
the Jaybirds put on a stellar show,
with Lee Watson filling in on guitar and singing some fine leads
and harmonies. Between sets I had
the opportunity to chat with John
backstage.
B.B.: Can you tell us about how
you got started in bluegrass John?
John Reischman and the Jaybirds perform at the first annual Bill Monroe
birthday concert in Pitt Meadows.
J.R.: I came across bluegrass
watching mainstream TV. I remember watching the Andy Griffiths show and they had the Dillards on and another episode
featured Clarence and Roland
White. I would see Flatt and
Scruggs on The Beverly Hillbillies
and I became intrigued be the music. And l’d also see on PBS a show
called Rainbow Quest hosted by
Pete Seeger and The Stanley Brothers were on there and The Green
Briar Boys, and The New Lost City
Ramblers. They also featured old
time music. At the time I was playing acoustic guitar and a family
friend loaned me a mandolin, and
I thought that’s the weird little instrument that those guys play in
that weird music called bluegrass.
I taught myself how to play it and
that was it.
B.B.: OK I might as well ask you
right now-how did you end up with
a Lloyd Loar Gibson mandolin?
J.R.: I was always interested in
the old Gibsons. I’d see them on
album covers and they’d be at an
angle and you’d see the nice flame
on the bottom and those Florentine
mandolins were such cool things. I
was living in California and I had
heard through the grapevine that
one was for sale at Leo’s Music
in Oakland. I checked it out and
figured I had to try and get it. I
had a nice mandolin and guitar
so I figured I could sell my instruments and I still needed to raise
a significant amount more. Ultimately I got a loan from the friend
of my sister and made payments
for three years and bought the
10
• WINTER 2012
BLUEGRASS BEACON
John Reischman interview cont from P9:
mandolin. David Grissman was
interested in it as he had heard
about it and he said well if John can
get it together to get it then all the
more power to him and if not then
I will get it. So he kind of stepped
back and allowed me to buy it as he
had greater resources than I did at
the time.
B.B.: Do you guys see yourself as
a Vancouver band?
J.R.: We see ourselves as a Pacific time zone band. It’s a blended
band because I’m American but
have lived in Canada for twenty
years. Nick Hornbuckle (banjo) is
also American but he lives in Canada now. Trish Gagnon (bass, vocals) is Canadian but Jim and Greg
still live in the States. We are lower
mainland based with a strong fan
base in western Canada and the
western United States as well so
we are a west coast band.
B.B.: What about Bill MonroeDid you ever meet him?
J.R.: A couple of times. I used
to play in a band called The Good
Old Persons who were based in the
California Bay area and we were
hired to play at his Bean Blossom
Festival and Kathy Kallick was the
leader and her husband Butch was
a mandolin player and he got to be
friends with Bill so that was an inroad for me. We played the festival
and I knew he would do requests so
I asked him to play the tune Get Up
John, which is a mandolin number
but it is in a cross tuning. I said if I
tune my mandolin up will you perform it and he agreed. They were
playing their set that evening and
I put my mandolin up on stage and
he played the song with my Lloyd
Loar, which is really exciting. In-
Robert Hornsey, of Bergthorn
Academy of Musical Arts.
terestingly enough, Sam Bush, who
used to play with Emmy-lou Harris, did a version of Get Up John.
They sang it at Merlfest and we
were there and they couldn’t bring
all their instruments because you
need a second mandolin to play
that song. Sam asked if he could
play my mandolin for the song, so
it’s been played by Bill Monroe and
Sam Bush, who was a big hero of
mine in those days.
B.B.: What about Bill as a band
leader? Do you have any insights
into his interactions with other
musicians?
J.R.: I don’t know how verbal
he was as a leader. I think he just
tried to set an example and if you
overstepped on a certain tune he
just wouldn’t do the tune any more.
I think he was a great supporter of
musicians too. Certain players like
Bill Keith who came along with his
own melodic style and Bill really
liked that and saw it as a real shot
in the arm for his band. At the time
he felt this competition with Flatt
and Scruggs, who were playing
an innovative style of bluegrass,
so when Bill Keith came along and
he’s got an even more innovative
style Bill appreciated that. Plus the
fact that he’s playing fiddle tunes
note for note as opposed to just approximating the melody of a fiddle
tune with rolls, that melodic Keith
style nailed those tunes.
B.B.: Now you are the leader
of the band. How do you exercise
that? Is it ever my way or the highway?
J.R.: Not really, no never. I kind
of have final say on what happens and what material we do but
there’s lots of latitude for people
to introduce songs. The band saw
early on the kind of material I was
going for, the stuff that was traditional sounding but not just doing
Blue Moon of Kentucky, maybe
finding an original or a not so done
older song. Also getting tunes from
the old time world but presenting
them in a bluegrass style. And then
covering really good songs that are
maybe a little more folky. Nobody
introduced any newgrass or anything too modern because I wasn’t
really going for that. We got on the
same page early on and everybody
has creative input, there’s lots of
give and take and everyone is featured.
B.B.: Thanks for your time John.
J.R.: Thank-you and thanks for
all the support over the years from
the Pacific Bluegrass and Heritage
Society. by Tim Bemister
BLUEGRASS BEACON
grassifieds
BANDS FOR HIRE
FOR SALE
Five on a String
604-931-3765
[email protected]
http://home.lynx/net/foas/
Vintage 1945 Gibson Southern
Jumbo acoustic guitar for sale.
Excellent condition, no cracks,
greatsound,greatplayer.Asking
$7995 obo.
Contact Jobst at diane4music@
shaw.ca or call 604-728-1061
Highrise Lonesome
Sue Malcolm: 604-215-2760
[email protected]
www.suemalcolm.com
John Reischman & the Jaybirds
John: 604-251-7655
[email protected]
www.thejaybirds.com
Mountain Ridge
Fred Schiffner
[email protected]
Plough
Linda Bull
[email protected]
Redgrass
[email protected]
Still Blue
Colin Goldie
[email protected]
Viper Central
Mark Vaughan: 604-723-0164
[email protected]
Blu Hopkins and Silvercreek
250-833-4990
[email protected]
Violin, no name, recently appraised as probably German
circa 1960-70. Appraised at
$1,200. Will sell for $800.
Mandolin, hand made by Jake
Nuefeld in Arthur, Ont. Serial no.
039 built in 1982. A-style body.
$700 obo.
Call Cam at 604-935-9434 or
[email protected] for
photos
WINTER 2012 - 11
Mandolin, guitar and clawhammer/old-time banjo
lessons
Learn the music you love in a
friendly,supportiveenvironment.
Notheoryrequired,successwith
all ages.
Steve Quattrocchi at:
604-523-1739
[email protected]
ing lessons for children or
adults.
Mandolin, accordion and
theory lessons
Diane Bode at:
604-684-9479
[email protected]
Banjo instruction, Iain MacIntyre, bluegrass and old time
styles. 604 535 7984 email:
[email protected]
INSTRUCTION
Mandolin lessons (beg/int)
Learn tunes and techniques to
get the most out of your bluegrass experience!
Mark at:
604-723-0164
[email protected]
Beginner guitar, vocal coaching, jamming with Sue Malcolm, an experienced teacher,
performer, recording artist and
senior instructor at BC Bluegrass
Workshops(Sorrento).Individual
or small group lessons.
604-215-2760
[email protected]
www.suemalcolm.com
Banjo lessons
(beginner to advanced)
5-string bluegrass banjo, individual private lessons given at
my studio in Surrey.
Sheldon Friesen at
778-868-6837
http://banjoredhead.blogspot.
com
[email protected]
Mandolin: All levels
John Reischman at 604-2517655
[email protected]
Guitar, mandolin, dobro and
bass lessons (beg)
Taught at home
Bob Underhill at: 604-872-2452
Guitar, singing and songwrit-
Bluegrass, old-time, folk,
country, blues or rock and
roll! Contact new Vancouver
resident Lee Watson: 604-9434708, www.leewatsonmusic.
com, leegregorywatson@
gmail.com
INSTRUMENT REPAIRS
AND BUILDING
Instrument setup and repair of
your banjo, bass, mandolin or
guitat by the only authorized
SantaCruzGuitarCompanywarranty repairman in the area.
Contact Jake De Villiers at www.
crescentbeachguitar.comorcall
604-535-7271
For up to date acoustic music
information in the Lower Mainland, ask Garry Stevenson to put
you on his email list. Contact
Garryat:garrystevenson@shaw.
ca
If you are a PBHS member in
good standing, you can list for
free in the Grassifieds. Email
submissions to gsadler@telus.
net
REGISTER AS A PBHS MEMBER
Mail this form to: #2002 - 1077 Marinaside Crescent, Vancouver, B.C. V6Z-2Z5
Name:_________________________________ Email Address:_______________________________________________
Address:__________________________________________________________________ Phone No:________________
Street Name + No. City Province Postal Code
Membership (Please Check One):
One year Single membership (New) ____ $20 or Renewal of membership ____ $20
One year Family membership (New) ____ $30 or Renewal of membership ____ $30
____Please mail me a hard copy of the monthly newsletter. (The Beacon)
____Please sign me up for email service. (You will get the latest updates throughout the month, with reminders
last minute changes, notice of PHBS members’ gigs, and an email of the monthly newsletter, The Beacon).
12
• WINTER 2012
BLUEGRASS BEACON
Rufus’ Guitar Shop
2621 Alma St.
Vancouver,B.C.
V6R-3S1
604 222 1717
[email protected]
show your PBHS membership card
and get a discount on your purchase!