IIIrd TYME OUT - International Bluegrass Music Association

Transcription

IB
International Bluegrass
Vol. 28, No. 1
January 2013
RUSSELL MOORE
& IIIrd
TYME OUT
RALEIGH
PREVIEW
APRIL 13 2013
Bluegrass &
the GRAMMYS
Apply to
SHOWCASE
at WOB 2013
*
WELCOME
Elizabeth Wightman
International Bluegrass Music Assocation
Vol. 28 | No. 1 | January 2013
6
Cover Story
Russell Moore &
IIIrd Tyme Out
Reaches Out With
Cracker Barrel Album
by Vernell Hackett
Features
10 | Raleigh Preview Scheduled for April 13
12 | Showcase Artists Sought for World of Bluegrass 2013
15 | GRAMMY Nominees Announced
17 | IBMA Welcomes Elizabeth Wightman to Board of Directors
Departments
4 | Behind the Scenes at International Bluegrass
with Nancy Cardwell: Bluegrass Music, your 3rd place?
11 | New Developments at Spotify: Your Music is Everywhere! by Katherine Coe
14 | Foundation for Bluegrass Music Announces Grants to Honor Doug Dillard and Doc Watson,
by Tim Stafford
16 | Score Cleaner, Plug and Play Notation System Introduced, by Tony Trischka
16 | Seminar Suggestions Requested
18 | Remembering Mike Auldridge
19 | Fresh Sounds in the World of Bluegrass - New Recordings
20 | Bluegrass Music Industry News
26 | Webinars, Anyone?
27 | Heard ‘Round the World
31 | Bluegrass Magic Moments: Jerry Shereshewsky, Flatt & Scruggs,
a girl named “Martha White” and December 8, 1962
36 | IBMA Office to Move to Berry Hill District in Nashville
2
Welcome to the digital edition of IB: International Bluegrass!
The newsletter that brings you the freshest, ripest bluegrass industry news on the planet
has now gone digital, with a beautiful full-color interactive magazine that looks and
behaves like a print magazine! For those of you who prefer to read this issue of International
Bluegrass in the traditional way, click here for the current table of contents on the IBMA
website. But please give our new digital edition a try, and don’t forget to turn up your speakers!
How to read the new digital International Bluegrass
Check out the toolbar at the top of the "page." The slider bar on the left zooms in and out
of the pageview. The single page/double page icons? Click back and forth between them
for a one-page or two-page view. The little arrows facing away from each other will open to
a full-page view; simply click on the X to get out of it. Use the arrows in the center of the
toolbar to navigate back and forth between pages. In a two-page view, click on the thumbnail
pages at the bottom of your screen. You can use your arrow keys to navigate, too.
IBMA Staff
Nancy Cardwell, Executive Director
Jill Crabtree, Member/Convention Services Director
Katherine Coe, Administrative/Media Assistant
IB | International Bluegrass
Editor: Nancy Cardwell, [email protected]
Designer: Katherine Coe, [email protected]
Audio: “John & Mary” by Russell Moore & IIIrd Tyme Out, used with permission
Cover photo: Russell Moore and IIIrd Tyme Out by Alane Anno
INTERNATIONAL BLUEGRASS (ISSN #1095-0605)
IBMA: Working together for high standards of professionalism, a greater appreciation for our
music, and the success of the worldwide bluegrass community.
The monthly emailed publication of the International Bluegrass Music Association;
2 Music Circle South, Ste. 100; Nashville, TN 37203; USA; Phone: 615-256-3222,
888-GET-IBMA; FAX: 615-256-0450; E-mail: [email protected]; Website: www.ibma.org
Statements 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.”
International Bluegrass 3
Behind the Scenes at International Bluegrass,
with Nancy Cardwell
Bluegrass Music - your third place?
A couple of weeks ago I was listening to “The Ted Radio Hour” on
National Public Radio, and the speaker was talking about the
importance of finding “a third place” in our lives. Home is your first
place, she explained. Work is the second. A third place is where you
go to hang out with friends and enjoy yourself, a community where
you fit in. For some it’s a church group, a civic organization, or maybe
a neighborhood pub.
For many of us reading this publication, bluegrass music is our “third
place.” It’s a community of industry friends and fans who spend a
great deal of our time playing, supporting and enjoying bluegrass
Nancy Cardwell
music. The worldwide bluegrass family is one of the best third
places I know of—where we can find a place to learn, grow, do business, hear some
amazing music, meet some fascinating characters of all ages and cultures that we
absolutely never would have met otherwise, to laugh and have some fun. To belong. It’s like
walking into that bar on the Cheers television show, where everyone knows your name.
This is a part of our mission at IBMA: to bring more people into the bluegrass circle, so that
those out on the road performing the music and working in other behind-the-scenes roles
can be successful and keep doing what they do so well. But in helping new fans discover
some of the best music on the planet, we also give them a place to make new friends—at
dozens of festivals, concerts, local bluegrass association events, and (of course) at World
of Bluegrass every fall.
In this issue of International Bluegrass there’s an article about the great band IIIrd Tyme
Out, who in conjunction with Cracker Barrel Old Country Store will reach out to thousands
of potential new bluegrass fans as they’re enjoying some biscuits and gravy and a hot cup
of coffee at restaurants across the country. There’s an article about how Flatt & Scruggs
touched and connected the lives of Jerry Shereshewsky, Pete Wernick and Saburo
Watanabe Inoue 50 years ago. This month—the beginning of a new year—is a great time to
think about how you will share bluegrass music with someone. It could be the gift of a great
CD, a concert ticket, taking the time to teach someone a few chords on the guitar, visiting a
school with your band, or maybe you need to talk to someone about joining IBMA and
getting more actively involved in supporting the business that keeps the banjos rolling.
Bluegrass is a great “third place,” and I hope to see many of you there with some new
friends, sometime soon in the coming year!
- Nancy Cardwell
IBMA Executive Director/ International Bluegrass Editor for January
4
Holiday greetings from our friends in
Raleigh, NC, looking forward to a wonderful
World of Bluegrass 2013!
Russell Moore & IIIrd Tyme Out
Reaches Out With
Cracker Barrel Album
By Vernell Hackett
Russell Moore & IIIrd Tyme Out is
one of bluegrass music’s most
beloved bands, so it should come as
no surprise that Cracker Barrel
tapped them to be a part of its CB
Records series. The album, Timeless
Hits From the Past Bluegrassed, is a
collection of songs from several
genres of music, including bluegrass,
country and pop that will be released
in January.
“We always look for a bluegrass
album to include in releases for our
exclusive music program, and as we
evaluated our options, IIIrd Tyme Out
stood out due to their quality and
authenticity,” says Julie Craig, who
manages the music program at
Cracker Barrel. “It was kind of mutual,
because as we reached out to their
folks they were in contact with us.”
6
“The song selection came out of a collective effort
from the band members, as well as Josh Trivett
and Peter Keiser from Moonstruck Management
and representatives from Cracker Barrel,” explains
Russell Moore, lead singer for IIIrd Tyme Out. “We
discussed a theme for the recording, and what we
settled on and what we felt would work best for us
was songs that influenced us as we were growing
up in music and helped shape us later in our
careers. Of course every one of us have listened
to country music, so when you start talking about
that, at our age and what our influences were, you
go back to George Jones and Merle Haggard,
singers from that era. So we started looking at that
era of music and then came forward.”
As group members looked back on music they
listened to after Jones and Haggard, they began
to talk about entertainers like Gene Watson, John
Denver and Travis Tritt, as well as some of bluegrass tunes that influenced them in later years.
The resulting play list went from Travis
Tritt’s “Modern Day Bonnie and Clyde” to
Gene Watson’s “Farewell Party.” It
included “The Old Home Place” by J.D.
Crowe & The New South, “Tulsa Time” by
Don Williams and “Only You” by The Platters, along with “Golden Ring” by George
Jones and Tammy Wynette and “Mama
Tried” by Merle Haggard, plus five more
classics.
Russell says that one of the songs that
made them push the envelope a little bit,
as far as what the band has done previously, was the Travis Tritt song “Modern
Day Bonnie and Clyde.” “It was a song that
all of us knew from hearing it on the radio,
and we knew that Travis is a big bluegrass
fan and plays the banjo. Plus there was the
tie with Lester Flatt and Earl Scruggs doing
the theme song for the movie Bonnie and
Clyde, which took the banjo to places it had
never been before. This song didn’t have a
banjo on the original recording, but we
thought it would sound great on it. We tried
to stay with the arrangement as close as
we could but add a bluegrass flair to it.”
“There was a lot of picking and choosing,
weighing out one song against another and
the values that it would have for the recording,” Russell admitted. “Not only did we
look at the influence of songs on us as
musicians and a band, but we also wanted
to make it appealing for the people who
would purchase the CD. If you look at the
lineup, most people will recognize the
majority of songs on the project. You have
to have something that is familiar to the
audience that you are promoting to.”
Craig said Cracker Barrel was very pleased
with the finished product that Russell
Moore & IIIrd Tyme Out brought to them.
“We look to the artist, and especially with
them, because they have had success over
the years due to their talent and the quality
they put into their projects, to bring us an
album they think will work for what we
discussed going into the project. We work
with them, think about the opportunities
and options for each project, and brainstorm with the band. If it is cover songs,
we then look to them for some of their
favorite tracks; and if it’s a brand new
album, we look to them to find great new
songs to record. Once we discuss the
concept we ask the artist to bring their top
favorites to the table and then we narrow
that down
“We let them go with their artistic and
expertise, work with their producer, and
bring to us the best product. At the end of
the day, that is what they have been
successful doing over the years. Of
course we review it, and 100 per cent of
the time they bring us the product we
need to have.”
Cracker Barrel has carried music in their
stores since 1969. In 2005 the company
started its exclusive music program and
have since released more than 30 titles.
“We release four to six albums per calendar year, and each project is only available at Cracker Barrel. “We provide something people who frequent Cracker Barrel
can’t find anywhere else,” Craig says.
“From a bluegrass perspective, bluegrass
fans are Cracker Barrel guests, so it
makes sense to continue releasing those
projects.”
“I guess for our side of the coin, we are
looking at not only representing IIIrd Tyme
Out and bluegrass in a positive way, but
it’s an opportunity for us as a band to be
exposed to people who have never heard
of us or heard our music,” Russell says of
the project. “This gives us a jumping
board into different demographics. To be
associated with Cracker Barrel and its
brand is a positive situation. They are a
to focus on a duet situation,” Russell
explains. “Sonya had the perfect voice for
this song and she was gracious to do
Tammy’s part on the song. She is a wonderful talent, a great singer and a wonderful person.
wholesome, family-oriented type company
and it’s a good thing to be associated with.
These are positive things for us. Plus, we
love to eat.
“We do frequent Cracker Barrel’s when we
are touring. Steve and I are the biggest
breakfast eaters on the bus; we are up and
going before the other people are. You’re
not going to get anything better than a
Cracker Barrel breakfast, because you can
get as down in the trenches as you want to
get, or you can eat healthy as well.”
Russell said that it is definitely a win/win
situation for the band. The group will be
representing Cracker Barrel during the time
that they have exclusive rights to the
album, and they will be making appearances to promote the recording. “It’s a
great thing for us. We’re proud to be a part
of the mix.”
The band invited a couple special guests to
join them on the recording. Pam Tillis,
daughter of Country Music Hall of Famer
Mel Tillis, and Sonya Isaacs, join them on a
couple songs.
“We were looking at the songs that we had,
and “Golden Ring” gave us the opportunity
8
“Then we had the song ‘John and Mary,’
which has been one of our most popular
songs over the years. We were looking for
a way to remake the song, because it is
still one of our most requested numbers in
live performances. Pam agreed to be a
part of this song, and she ended up not
only doing harmony but doing a few lead
lines the second verse. It is a creative
expressive way that works well; she
knocked it out of the park. She is a very
gracious lady, a wonderful talent, and her
history and career are a testament to that.
It was an honor to have her on the recording as well.”
One of the differences in this recording
than previous ones by IIIrd Tyme Out is
they had a producer work with them. “We
have always produced our own records,”
Russell says. “With our other recordings,
we were doing new songs; but because
we were doing songs we were all familiar
with on this one, we felt like it would benefit us as a band to bring in an outside
producer to have fresh ears for the songs,
and who had a little more background into
the type of material that we were going to
record for the project.
“When Barry Bales found out we were
doing this he approached us and we felt
comfortable with Barry and his knowledge
and talent as a member of Alison Krauss’s
band and the other bands he’s been in.
When we made the decision to work with
him it took a lot of stuff off of our shoulders, so we could concentrate more about
the music and let him call the shots as
producer, working with us. One of the
things he said before we got started
was he was not there to reinvent
the wheel; he just wanted to listen
to us and listen to our ideas, and
get the best out of us for the recording. It worked really great.”
The group recorded 12 songs in
five days, which Russell says is not
the norm for them. He said them
being able to do that was a testament to Bales and his producing
abilities—to make things happen, to
get the best out of them and to work
to get the songs knocked out and
move on. He described their first
recordings with a producer as a
“really great experience.” Russell
went on to say that it would not be
uncommon for them to spend a
couple weeks just doing the tracks
and the vocals, depending on how
well things go as they record.
The band will have the full support
of Cracker Barrel for the release of
the album in January. Not only are stories being
placed in various media outlets, but Cracker Barrel
will promote the album in-store as well as integrate
the band’s tour with signage, banners and tour
support. They also use social media and each of
their respective websites to inform fans about the
album release. This project is also available digitally on iTunes and on amazon.com.
Russell Moore & IIIrd Tyme Out will celebrate the
release of Timeless Hits From The Past Bluegrassed on January 7 with several appearances in
Nashville throughout the week. They’ll appear on
Fox 17’s Tennessee Mornings on Tuesday, January
8 at 9:00 a.m., WSM 650 AM with Bill Cody on
Wednesday, January 9th at 9:00 a.m. and at Music
City Roots later that evening at 7:00 p.m. Cracker
Barrel will present a special CD Release Broadcast
event on Thursday, January 10 from 5:00 p.m. 7:00 p.m. on WSM 650 AM when the band interviews with DJ Mike Terry and then will perform an
hour long concert including several songs from the
new CD. They’ll also perform at The Station Inn
later that night beginning at 9:00 p.m. They’ll
conclude their media tour with a performance at the
Grand Ole Opry on Saturday, January 12.
Raleigh Preview Set for April 13
Are you curious about World of Bluegrass in Raleigh, North Carolina? Want to get a peek at
the facilities before arriving in September? Or are you maybe just looking for an excuse just
to get away for a weekend? Well here’s your chance!
You’re invited to join the IBMA Board of Directors, IBMA staff, and all our Raleigh hosts on
April 13, 2013 for some hospitality, North Carolina style.
Take a tour of the World of Bluegrass facilities, the Raleigh Convention Center, Red Hat
Amphitheatre, and The Progress Energy Center for the Performing Arts. Check out the host
hotel properties, nearby restaurants and clubs, and all this green city will offer our attendees.
Join in for some group hospitality and we are sure…some picking!
Saturday, April 13, facility staff will be on hand to provide several guided tours or folks are
welcomed to check out the campus on their own. Everyone is invited to gather for some
hospitality and music in the evening.
Make a weekend out of it! A group hotel block is available at the downtown Sheraton
Raleigh Hotel for $139.00, which puts you right in the center of the downtown campus.
Click through to make reservations at this hotel property:
https://www.starwoodmeeting.com/StarGroupsWeb/res?id=1212194111&key=27934
Please let us know at the IBMA office if you are coming so we can anticipate how many
tours to hold, space for our gathering, and finalize the schedule for the day. Please RSVP to
[email protected] or call 615-256-3222 to let us know if you plan to join us!
We look forward to seeing you in Raleigh!
10 International Bluegrass
New Developments at Spotify:
Your Music is Everywhere!
by Katherine Coe
Spotify is a Swedish music service that can stream songs to most any device on an Internet
connection. Recently releasing a new Discovery engine, Spotify is becoming even more
popular on the list of mainstream music platforms. Announcing the big milestone of 5 million
paying subscribers, Spotify continues to impress the masses.
Since Spotify links to Facebook, sharing music now becomes even easier than sharing
pictures. Just click and drag a song, album or playlist to a friend’s name (no uploading
included). For those of you who follow the IBMA Facebook page, you’ll know that I share a
playlist each Thursday called “IBMA Weekly.” The playlist changes up each week and has
featured themes like: song requests from our Facebook followers, tracks of winners from the
IBMA Awards Show, and on National Philanthropy Day I featured the Life Goes On album
recorded by the Musicians Against Childhood Cancer.
Spotify is also the way to share music on BluegrassNation.org , with video posts coming from
YouTube.com.
Spotify gives a new experience to the music world. Sharing and listening to any song
wherever you are! It also gives a new insight to the teams behind the music. Now not only
are there SoundScan selling reports, but there are the specific statistics Spotify can gather.
What age group, male or female, which regions of the world, exact time in peaks from
listeners... This information will greatly help artists in their marketing! If you haven’t checked
out this new streaming music program yet, make sure you give it a chance. And don’t miss
out on the apps, Spotify Radio, and sharing your favorites with friends!
Magnificent Sevens at World of Bluegrass, photo by Alane Anno
SHOWCASE ARTISTS SOUGHT FOR
World of bluegrass 2013
Deadline to Apply: February 15, 2013
The premiere opportunity to introduce
talent and new music at IBMA’s annual
World of Bluegrass comes in the form of
“official” showcase performances which
help the music industry assembled
discover emerging new bands, as well as
established bands with new music or new.
In Raleigh, N.C. this year each showcase
band will perform two or three times during
World of Bluegrass week. The showcase
fee after being invited has been lowered to
$500/group—which still includes full
attendee registration for band members
and a complimentary booth in the exhibit
hall.
Up to 50 showcase artists will be invited
for World of Bluegrass 2013, depending on
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the number of applicants and the qualifications of groups that apply. Each official
showcase act will perform twice, and
possibly three times during World of Bluegrass Week in some combination of
following areas: the Raleigh Convention
Center, evening showcase rooms at the
Marriott or Sheraton hotels, evening showcases at six in-town venues, or as a part
of the weekend street fair. There will also
be opportunities for merchandise sales
and, potentially, a share in showcasegenerated revenues after off-site venue
expenses are covered. (More info on this
as details are firmed up.)
IBMA showcase bands are chosen in a
juried selection process that takes into
consideration every applicant’s entertainment value, level of professionalism,
potential appeal and quality of work.
There are generally more than 100 acts
who apply every year.
The showcases are designed to introduce any one or all of the following to
the bluegrass industry:
In addition to the two or three showcase
opportunities mentioned above, official
IBMA showcase bands receive a number
of benefits and complimentary services,
including:
• Emerging talent capable and willing to
broaden their market
• Established bands who have significant
changes in their act
• Artists who have significant, new recorded
product.
• Featured profile in conference program
• Priority access to “Gig Fair”
appointments (new & improved in
2013—more info coming soon!)
• Scheduled consultation in advance of
events on maximizing showcase
opportunities
• Complimentary booth space during
business conference (value $600+)
• Full conference registration package for
performing members of group (value
$1000+)
• One organizational membership for
group (value $205)
• And other exclusive services available
to official showcase performers.
The value of booth space, conference
registrations and IBMA membership
alone adds up to more than $1,800 for a
band.
Application Process
IBMA’s Business Conference is scheduled for Sept. 24-28, 2013 in Raleigh,
N.C.
Artists are not required to be IBMA members to apply for the showcase opportunity, but are required to submit a $25 fee
to help defray selection process costs.
If invited as one of the official showcase artists, there is a showcase fee
of $500 to offset costs of services and
showcase production.
The board-appointed Talent Committee’s
selection process involves a fair, but
subjective evaluation based on the
information presented by each applicant.
Depending on the number of acts which
apply, the selection process takes approximately three months. IBMA makes the full
selection criteria available upon request.
Any act wishing to apply for an official
showcase should submit the following
by February 15, 2013:
• Five complete promotional packages for
each act making application, including five
copies of a representative recording of the
act’s work. Recording can be a full CD,
demo of new cuts not yet released, demo
of highlighted material, or other, but should
be representative of the acts most recent
work. (Please remove any shrink wrapping)
• Complete contact information for the
group
• A $25 application fee, payable to IBMA.
Send all submission packages to: IBMA
Showcase Committee, 2 Music Circle
South, Ste. 100, Nashville, TN 37203.
NOTE: IBMA is moving its office to another
address in Nashville in late February, but
we will still be at the address above
through the showcase deadline of Feb. 15.
Foundation for Bluegrass Music Announces
Grants to Honor Doug Dillard and Doc Watson
Doug Dillard
Doc Watson
by Tim Stafford
The world of bluegrass music lost two very
important musicians in 2012, Mr. Doug
Dillard and Mr. Arthel "Doc" Watson. The
Foundation for Bluegrass Music will be
funding grants in their honor this year and
has set June 30, 2013 as the deadline to
apply for these resources.
Along with his brother Rodney, Mitch Jayne
and Dean Webb, Salem, Missouri native
Doug Dillard was a founding member of
The Dillards, an iconic bluegrass group who
introduced the music to millions of listeners
as "The Darlings" on The Andy Griffith
Show. His driving banjo style influenced
countless fledgling pickers, including Alan
Munde, John McEuen and Steve Martin.
He later became a pioneer of the country
rock genre as well through his collaboration
with ex-Byrds frontman Gene Clark before
leading his own band.
More than any other person, Arthel "Doc"
Watson is responsible for the creation of
the style of lead guitar playing known as
flatpicking, an integral part of contemporary
bluegrass, although Doc never regarded
himself as a bluegrass musician and made
incalculable contributions to many forms of
traditional American music. Watson first
burst on the folk music revival scene in the
1960s, and his impact on modern
flatpickers such as Clarence White, Tony
Rice, Dan Crary, Bryan Sutton and so many
more is indelible. Blind since infancy, Doc
refused to let his lack of sight become a
hindrance. When President Bill Clinton
presented Watson with the National Medal of
Arts in 1997, he said, “There may not be a
serious, committed baby boomer alive who
didn’t at some point in his or her youth try to
spend a few minutes at least trying to learn to
pick a guitar like Doc Watson.”
A fund of $10,000 has been earmarked to
support public projects in memory of Doug
Dillard and Arthel "Doc" Watson. Of special
interest are bluegrass music-related projects
and programs that involve education or youth.
This is a competitive application process and
candidates must meet the Foundation’s Grant
Application Guidelines. Grants awarded will
be announced during IBMA World of Bluegrass week, September 24-28, 2013, with
funds available after January 1, 2014.
Donations to the Foundation for these and
related efforts are welcomed in any denomination, and these grants will be funded
regardless of donations received.
The Foundation for Bluegrass Music is a nonprofit (501c3) organization created to serve as
an “umbrella” under which funds may be placed
and disbursed to support educational, literary
and artistic activities related to bluegrass music,
of public benefit. Examples of programs that can
grow under this umbrella include Bluegrass in
the Schools (grants, workshops, programs);
academic conferences; literary works and
related efforts; public artistic presentation of an
educational nature; historic preservation; and
other works of a charitable nature. For more
info, please go to bluegrassfoundation.org/grants
or write to The Foundation for Bluegrass Music;
2 Music Circle South, Ste. 100; Nashville, TN
37203.
Grammy nominations announced
Nominations for the 55th Annual GRAMMY Awards® ( www.grammy.com ) were announced December 5 by The Recording Academy® and reflected an eclectic mix of the best and brightest in music
over the past year, as determined by the voting members of The Academy. The 55th Annual
GRAMMY Awards will be held February 10, 2013, at STAPLES Center in Los Angeles and once
again will be broadcast live on CBS from 8 – 11:30 p.m. (ET/PT). For a complete nominations list,
please visit www.grammy.com.
Congratulations to the following bluegrass-related artists, producers, labels and labels nominated in
the following categories.
Best Bluegrass Album
The Gospel Side Of Dailey & Vincent, Dailey & Vincent [Rounder/Cracker Barrel]
Life Finds A Way, The Grascals [Mountain Home Music Company]
Beat The Devil And Carry A Rail, Noam Pikelny [Compass Records]
Scratch Gravel Road, Special Consensus [Compass Records]
Nobody Knows You, Steep Canyon Rangers [Rounder]
Best Country/Duo Performance
“On The Outskirts Of Town,” The Time Jumpers, Track from: The Time Jumpers [Rounder]
“I Just Come Here For The Music,” Don Williams Featuring Alison Krauss [Sugar Hill Records]
Best Country Album
The Time Jumpers, The Time Jumpers [Rounder]
Best Americana Album
The Carpenter, The Avett Brothers [Universal Republic]
Mumford & Sons, Mumford & Sons [Glassnote]
Best Folk Album
Leaving Eden, Carolina Chocolate Drops [Nonesuch]
The Goat Rodeo Sessions; Yo-Yo Ma, Stuart Duncan, Edgar Meyer & Chris Thile [Sony Classical]
This One's For Him: A Tribute To Guy Clark; Various Artists; Shawn Camp & Tamara Saviano,
producers [Icehouse Music]
Best Album Notes
Banjo Diary: Lessons From Tradition, Stephen Wade, album notes writer (Stephen Wade),
[Smithsonian Folkways]
Best Historical Album
Old-Time Smoky Mountain Music: 34 Historic Songs, Ballads, And Instrumentals Recorded In The
Great Smoky Mountains By "Song Catcher" Joseph S. Hall; Kent Cave, Michael Montgomery &
Ted Olson, compilation producers; John Fleenor & Steve Kemp, mastering engineers; Various
Artists; [Great Smoky Mountains Association]
Best Engineered Album, Non-Classical
The Goat Rodeo Sessions; Richard King, engineer; Richard King, mastering engineer; Yo-Yo Ma,
Stuart Duncan, Edgar Meyer & Chris Thile; [Sony Classical]
Score Cleaner, Plug and Play Notation
System Introduced
By Tony Trischka
I went to a small gathering in New York
City, early in December, to see a demonstration of the Score Cleaner, Plug and
Play Notation system. It was held under
the auspices of the VH1 Save the Children Foundation. The score cleaner
program notates your music automatically
by MIDI-recording. You don't have to set
tempo, key, time signature, note values,
etc. in advance.
Tony Trischka
The creator of Score Cleaner, Sven Ohlback, gave the demonstration and it is, indeed, quite
handy if you have a keyboard hooked up to your computer and want to create things like
lead sheets for your songs, or compose music on a keyboard. I asked Sven if it can create
tablature and he said it's something that they're working on right now. In other words, it
would be handy to play a tune into a microphone and have everything come out in tablature,
for instant transcription.
In the end, it seems like a wonderful labor saving program, but of limited use to those of us
in the bluegrass community. This program may be of particular interest to songwriters interested in creating lead sheets for new songs. More info: www.doremir.com
Seminar Suggestions Requested
The 2013 World of Bluegrass Education Committee will be appointed and begin work on a
slate of seminars and professional development opportunities later this month, in January
2013. Do you have a suggestion for a seminar topic? If so, please call or email Nancy
Cardwell at the IBMA office: 888-428-4262, [email protected]
Here’s what we’re looking for:
Seminar topic name
• A brief description of information to be covered
• Potential presenter or moderator names
• Which IBMA member constituencies will be principally interested in this topic?
We’re also interested in hearing suggestions that members might have for additional World of
Bluegrass educational events, including the Keynote Address, Song Demo Listening Sessions, and a special new educational track for emerging bands.
16
IBMA Welcomes Elizabeth Wightman
to Board of Directors
The IBMA Board of Directors welcomed Elizabeth
Wightman in a board-appointed, At Large seat during their
September 2012 meetings in Nashville.
“As a longtime fan of bluegrass music, I am really looking
forward to using my business experience and music
industry experience to help the IBMA grow its membership
base as well as to continue to achieve its mission,” Wightman says.
Elizabeth Wightman is a native of California and currently
resides in Santa Cruz, CA. She earned both her
Bachelors in Economics (1988) and Masters in Business Administration (1992) at Santa
Clara University and then went on to join the family insurance business. She has been in the
insurance business for over 20 years and is the co-founder of SteelBridge Insurance Services which specializes in providing insurance products for nonprofit entities and the entertainment industry (primarily music related accounts). SteelBridge administers the IBMA
Insurance Program for Event Producers as well as similar programs for other music associations. Elizabeth works with music festivals of all types, music-related nonprofits and touring
bands throughout the country on safety planning and risk management. She has been a
music advocate for many years in a variety of roles.
Elizabeth Wightman
New & Returning IBMA Members
Gus Arrendale
Jeanna Benoy
Michelle DiGiovanni
Dale Faunce
Scott Law
Bruce Lefenfield
Brooke Logan Packard
Richard Martin
Alyssa McLean
David Music
Harry Packard
Justin Roberts
Craig Watson
John Wright
Sam Babbitt
Morris Barnett
Darlene Bass
Darby Brandli
Ernest Brumage
Uncle Billy Dunbar
Bill Evans
Marco Ferretti
Sherri George
Janice Guthrie
Tony Guthrie
Henry Hipkens
Peter Huening
JW Hutchins
Erik Igelstrom
Hannah Johnson
Lance Kinney
Paul Kovac
Rick Lang
Charles Matthews
Francine Michaels
Blaise Nauyokas
Echo Propp
Harvey Reid
Cathy Rogier
Jerry Salley
Allan Sanders
Anne Saunders
Susie Seace
James Seitz
Okamura Takeshi
Wayne Taylor
Ron Thomason
Bert Van Linter
Donald Wallo
Joe Weed
Tom Wolf
Remembering
mike Auldridge
The bluegrass world was saddened to hear of the passing of
legendary Dobro artist Mike Auldridge on December 28, 2012,
Called by the Washington Post "one of maybe a handful of truly
innovative Dobro players in the history of country and bluegrass
music," Mike Auldridge's modern approach to the Dobro played
an integral role in the development of contemporary bluegrass and country music.
Born in 1938 and raised in Kensington, Maryland, Auldridge began playing guitar and banjo
at an early age before settling on the Dobro at age 17. While the Dobro was used by such
musicians as Josh Graves, who performed with Lester Flatt and Earl Scruggs, Auldridge is
credited with bringing the Dobro new recognition. In 2004 NEA National Heritage Fellow
Jerry Douglas said, "Mike changed everything. He phrased differently. He was the first guy
to use the Dobro in a more modern way, to phrase it more like a saxophone or some other
instrument."
“A lot of people talk about Mike Auldridge’s tone on the Dobro,” said WAMU Bluegrass
Country ’s Katy Daley, "I hope they'll also remember him for how much grace and elegance
there was in his music and stage movements. He was the perfect counterpoint to John
Duffey's powerful onstage presence.” Auldridge was also a gifted artist who worked as an
illustrator for the Washington Star. In fact, he designed three of the four logos used by
Bluegrass Unlimited magazine since the publication began.
After graduating in 1967 from the University of Maryland, Auldridge continued to play in local
clubs in the Washington, DC area. In 1969, he joined the band Emerson and Waldron, later
called Cliff Waldron and the New Shades of Grass, and in 1971 he co-founded the Seldom
Scene, a group he remained with until the mid-1990s. The Seldom Scene, which performed
weekly at the Birchmere in Virginia, incorporated elements of jazz, folk and rock into traditional bluegrass harmonies.
Auldridge's first two solo albums, Dobro and Blues & Bluegrass, demonstrated his versatility; he went on to record six more solo albums as well as doing session work on more than
200 recordings with a diverse array of artists including Emmylou Harris, Linda Ronstadt,
Patty Loveless, Lyle Lovett, Doc Watson, Ricky Skaggs, Hank Williams, Jr., and Bill Monroe.
In addition to the Seldom Scene, Auldridge has performed with a number of other bands,
including Chesapeake, the Good Deale Bluegrass Band, John Starling and Carolina Star,
and in a trio with Jimmy Gaudreau and Richard Bennett. He has also performed with the
touring bands of Lyle Lovett and Emmylou Harris.
In 2007, Auldridge was recognized for his contributions to the development of bluegrass with
International Bluegrass Music Association's Distinguished Achievement Award. He was
honored with the NEA National Heritage Award in 2012.
Sources: NEA, Katy Daley, Jerry Douglas, The Washington Post
18
Fresh sounds in the world of bluegrass
january 2013
Darin & Brooke Aldridge
Live at Red, White and Bluegrass!
Mountain Home Music Company
www.crossroadsmusic.com
Russell Moore & IIIrd Tyme Out
Timeless Hits from the Past BLUEGRASSED
Rural Rhythm/Cracker Barrel
www.crackerbarrel.com
Barcelona Bluegrass Band
Old Time Blues
www.barcelonabluegrassband.com
Swing 42
Deboucher!
[email protected]
Ray Edwards
Portrait of a Bluegrass Songwriter
Rural Rhythm Records
www.ruralrhythm.com
Wayne Taylor
Praise His Holy Name: A Christmas Celebration
Raincoe Music
www.waynetaylor.com
John Frazier
Frazier Band
www.frazierbandmusic.com
Various Artists
An East Nashville Christmas
PH Balance Recordings
www.phbalancerecordings.com
John Driskell Hopkins & Balsam Range
Daylight
www.johndriskellhopkins.com
John Lowell
I Am Going to the West
www.johnlowell.com
Darrell Webb Band
Breaking Down the Barriers
Rural Rhythm Records
www.crackerbarrel.com
Bluegrass Music Industry News
january 2013
AGENTS & MANAGERS
Bluegrass booking agent/manager Randy
Campbell passed away Nov. 2. Randy was
involved with promoting Ralph Stanley,
Jesse McReynolds and The Dillards,
among others. Our sympathy is extended
to the Campbell family.
To post a remembrance, please go to
www.memorialwebsites.legacy.com
ARTISTS & COMPOSERS
We extend heartfelt congratulations to
Claire Lynch and Tony Trischka, who
recently received USA (United States
Artists) Fellowships. The 50 annual fellowships, each with an unrestricted grant of
$50,000, recognize innovative and influential artists in their specific fields. Reflecting
the diversity of artistic practice in America,
they include cutting-edge thinkers and
traditional practitioners from the fields of
architecture and design, crafts and traditional arts, dance, literature, media, music,
theater arts, and visual arts. Dobro master
Rob Ickes is a previous recipient of this
grant.
Congratulations to the following artists
whose music is topping charts at press
time.
The Steep Canyon Rangers, “Nobody
Knows You,” written by Graham Sharp
(Rounder Records) – Bluegrass Unlimited
National Bluegrass Survey
20
Bill Evans
The Special Consensus, Scratch Gravel
Road, (Compass Records) – Bluegrass
Unlimited Top 15 Bluegrass Albums Chart
Kenny & Amanda Smith Band, “Catch
Me If I Try” (written by David Wilcox & Pat
Patrick), Bluegrass Today Monthly Airplay
Chart.
Banjo player/instructor Bill Evans has a
new Fretboard Journal video at
www.tinyurl.com/awtwxj9 in which he
explains the history of the banjo in 14
minutes.
Bluegrass Hall of Famer Doyle Lawson
has been in the studio with his band the
past two months, preparing a new album
to be released in March on the Mountain
Home Music label. Doyle was also asked
to be the official grand marshal of the 31st
Annual Bristol Christmas Parade in Bristol, TN/VA last month. The Grand Marshal
honor marked a series of firsts for Lawson
this year, as Doyle Lawson & Quicksilver
received their first Inspirational Country
Music Association Vocal Group of the
Year Award in October, on the heels of
Lawson being inducted into the International Bluegrass Music Hall of Fame at
the Ryman Auditorium in Nashville in
September. Info: www.doylelawson.com
The legendary Peter Rowan is currently in
the studio working on his upcoming Compass Records release The Old School. On
the new album, Rowan delves further into
his bluegrass history with an intergenerational cast of musicians that includes
some of the first generation musicians who
really know “the old school” as well as
younger players considered to be the torchbearers for bluegrass music. Working again
with producer Alison Brown, Rowan offers
a set of 11 new songs and a rework of
“Freedom Riders,” the Civil Rights anthem
made popular by Odetta. Featured guests
so far include Bobby Osborne on a stunning duet called “Stealing My Time,” Jesse
McReynolds on the soon-to-be-classic
“Mountain Man’s Dream” and Bryan Sutton
on “Doc Watson Morning,” a tribute Rowan
wrote to the late Doc Watson. Other guests
to date include the Traveling McCourys,
fiddler Michael Cleveland, Jeremy Garrett
(Infamous Stringdusters), Chris Henry and
the members of the Peter Rowan Bluegrass Band. The album is slated for
release in spring 2013. To give fans a sneak
peak of the project, Compass Records has
released a teaser video which features
Rowan with Bobby Osborne and Jesse
McReynolds on the album’s title track, as
well as members of the Traveling
McCourys, Michael Cleveland, Mike
Witcher, Chris Henry and members of the
Peter Rowan Bluegrass Band. Watch the
video here: http://bit.ly/SbBaZH
Have you heard about Sam Bush TV?
Click here www.sambush.com/index.php?cID=293
to check it out, and ask Sam a question for
his next online broadcast.
Mandolinist/songwriter/event
producer/association organizer Chris
Henry has finished part three of his “Formlessness into Form” music documentary,
posted at http://youtu.be/ZavJziLTnlM. The
latest segment focuses on the dynamics of
creative expectations, creating for an
audience, the psychic/telepathic connection between creators, the editing
process, Aboriginal songlines, impacts
of technology and urbanization on
creativity, parallels with ecology, environmental influences, the balance of art
and commerce, psychedelic and
medicinal modulations, birth and death,
using secondary or unfamiliar tools, Bill
Monroe, and much more. Featured:
Peter Rowan, Darrell Scott, Tim
O’Brien, Billy Smith, Mike Bub, David
Grier, Mike Compton, Matt Combs,
Shad Cobb, Julie Lee, Roni
Stoneman, Rob Ickes, Todd Phillips,
Marty Raybon and more.
The Grascals have a new website at
www.grascals.com . The Grammynominated group will appear on The
Jimmy Kimmel Show (ABC) Jan. 21,
and they will tape a show with The
Tonight Show with Jay Leno (NBC) on
Jan. 25, to be aired in February when
Jay is taking some vacation time.
A Skaggs Family Christmas, featuring
Ricky Skaggs & Kentucky Thunder,
The Whites, Rachel Leftwich,
Emmylou Harris, the Nashville String
Machine and Steven Curtis
Chapman, benefitted the John Hiatt
Fund for Adolescent Treatment at
Cumberland Heights this year in
Nashville. The concert took place Dec.
6 at The Ryman Auditorium.
Christmas time is over for another year,
but Dailey and Vincent fans will want
to be sure to view every one of their
entertaining “12 days of Christmas”
videos on YouTube. Here’s the first one:
www.youtube.com/watch?v=WmFCNkacOnA
Andy Statman
Mandolinist Andy Statman was profiled in a
Nov. 30 article in the New York Times titled,
“On Religion: A Search for God through
Bluegrass and Klezmer.” Read it here:
www.nytimes.com/2012/12/01/nyregion/andystatmans-search-forgod-in-music.html?_r=1&
Donna Ulisse guested on Kyle Cantrell on
Bluegrass Junction’s Track by Track show in
December, to play and comment on all the
tracks from her new, already criticallyacclaimed bluegrass Christmas album, All the
Way to Bethlehem.
The Roys appeared on Marie Osmond’s
program, Marie! on the Hallmark Channel
Dec. 13. Lee and Elaine Roy shared insights
unique to performing siblings with Marie and
discussed their new CD and career goals.
The duo performed their current single, "Still
Standing,” from their album, New Day
Dawning on Rural Rhythm Records. Fans
are invited to catch up with The Roys at
TheRoysOnline.com, Facebook and Twitter.
Marty Raybon, The Roys and Carrie
Hassler have joined the ranks of artists
supporting The Pink Arrow project, dedicated
to the fight against breast cancer. The “On
Target” campaign promotes a line of pink
archery products featuring the fictional
character, “Karing,” who has proven popular
with archery students, ranges, hunters, fans
of The Hunger Games, hit TV shows
Revolution and Arrow, and more.
Info: www.PinkArrowProject.com
22
Donna Ulisse and Kyle Cantrell
Reigning IBMA Emerging Artists of the
Year, Joe Mullins & the Radio Ramblers
had music topping two charts last month!
Their new CD on Rebel Records, They're
Playing My Song, was December’s #1 CD
on Sirius XM Bluegrass Junction's Most
Played Albums chart. Bluegrass Today's
Top 20 Songs chart for the week of
December 7 put the CD's first single,
"Bottom Of A Mountain" at #1.
James Reams & The Barnstormers have
just released a free digital version of
Barnstormin', their 2001 CD, as a thank
you to friends and supporters throughout
the 20 years that James Reams has been
a bandleader. Go to
www.noisetrade.com/jamesreams to get
your free album. Congratulations to James
on getting his documentary funded at
kickstarter.com. We look forward to seeing
the new DVD documentary, Making History
with Pioneers of Bluegrass: Tales of the
Early Days in Their Own Words.
We were saddened to hear about the death
of James King’s 18-year-old daughter,
Shelby Ann on Dec. 9, after an automobile
accident in Amelia County, Virginia. A note
may be sent to the family at this address:
James King Family, PL Box 10179, Danville, VA 24543.
Carl Franklin, age 59, died December 11,
2012. Carl was a well-known fiddler and
banjo player in the middle Tennessee
region. He was on the speed dial of every
local musician and could be seen at most
any festival, contest, jam or gathering that
involved some picking. He held many
contest titles and finished in the top 25 of
the Grand Master Fiddler Championship in
Nashville last fall. Carl was also a former
member of the Melvin Sloan Dancers on
the Grand Ole Opry. Friends will remember
his willingness to befriend young musicians he would meet at jams and festivals.
Attention, Songwriters:
IBMA member Louisa Branscomb writes:
Beyond Bones, 2013 Advanced Songwriter Series will begin Feb. 22-24 in
Cartersville, GA with our Woodsongs
Winter "Cave-In," a chance to re-connect,
re-treat, and tap into the magic and mystery of hibernation as a source of creativity
and nurturing the creative soul. There will
be a minimum of didactic presentation and
a maximum of time to write. Structural
issues (rhyme, meter, etc) will be covered
as we critique your work. There will also be
a special section on co-writing. There are
some scholarship spots at a reduced rate.
This workshop is geared toward songwriters, but is also appropriate for anyone
wishing to enjoy a retreat weekend that
fosters creativity in any medium. All
donations/fees go toward the Woodsong
Tornado Fund. We've neared the end of
our two year recovery, and I am excited for
you to revisit the farm. Out of pocket
expenses were approximately 70K. Our
first workshop raised approximately $2500
toward reconstruction efforts. Info:
[email protected], or Louisa
Branscomb on Facebook
Inn in College Park, MD. Cash prizes
totaling $1,300 will be awarded, plus a
performance slot at the 2013 DC Bluegrass
Festival for the winner. Contact the DC
Bluegrass Union at
[email protected] for registration
information. The Mid-Atlantic Band Contest
is presented by the DC Bluegrass Union as
part of the DC Bluegrass Festival, honoring
the 70-year tradition of bluegrass music in
the greater DC area. This family-friendly,
event offers a full day of bands, vendors,
instrument workshops and much more.
Bluegrass legend Larry Sparks & The
Lonesome Ramblers will be headlining the
Fourth Annual DC Bluegrass Festival,
along with Bill Emerson and Sweet Dixie,
Danny Paisley and the Southern Grass,
Frank Solivan and Dirty Kitchen, Jay Armsworthy & Eastern Tradition, Remington
Ryde, and Newgrass Effect with Tom Gray.
Info: www.dcbu.org
BROADCASTERS
Bluegrass Underground has scheduled
their season 3 taping for PBS for March
8-10, 2013. Featured bands include Leon
Russell, Andrew Bird, Old Crow Medicine
Show, Yonder Mountain String Band, The
SteelDrivers, Alison Brown, BouSoleil and
more to be announced. The concert series
is staged in the Volcano Room in Cumberland Caverns in McMinnville, TN. Ticket
info: www.bluegrassunderground.com
ASSOCIATION NEWS
The DC Bluegrass Union presents the
Mid-Atlantic Bluegrass Band Contest,
scheduled for Feb. 22, 203 at the Holiday
Bluegrass Underground
Campbell Mercer, bandleader of the
Cumberland Highlanders, reports that
RFD-TV recently purchased Family Net
TV. Beginning in January, Family Net will
carry the one-hour version of Mercer’s
show, Crossing the Cumberlands on
Saturday mornings and the 30-minute
version on Saturday nights, airing the
program to more than 61 million homes in
the U.S.
EVENT PRODUCER NEWS
The 5th Annual Great 48 Hour Jam will
take place at the Bakersfield Double Tree
Hotel Jan. 3-6. Rhonda Vincent & the Rage
will headline. Info: www.cbaontheweb.org
The International Bluegrass Music
Museum in Owensboro, Ky. announces
two fundraising concerts this month: Monroeville, on Jan. 11 and The Spinney Brothers on Jan. 17. Info:
www.bluegrassmuseum.org
The 20th Annual McReynolds Memorial
Concert will take place Thursday, Jan. 31
at the Texas Troubadour Theatre, 2416
Music Drive, in Nashville, TN, from 7-10
p.m. The line-up features Jesse McReynolds, The McReynolds Tradition, Doyle
Lawson & Quicksilver, Valerie Smith &
Liberty Pike, Audie Blaylock & Redline, The
Expedition and more to be announced.
Produced by Amanda McReynolds (Keith’s
daughter and Jesse’s granddaughter), the
event will benefit the Mid South Chapter of
the National Multiple Sclerosis Society.
Info: www.themcreynoldstradition.com ,
[email protected]
Michael Cleveland & Flamekeeper and
The Nathan Stanley Band closed out
2012 with a concert at a new bluegrass
venue in Pigeon Forge, TN, Musick’s
Mountain Theater.
24
The new theater is located at
140 Showplace Blvd
Pigeon Forge, TN
and the show starts at 7:00pm.
Info: www.MusicksMountainTheater.com
(865)774-2995.
LUTHIERS & MERCHANDISERS
Daley Instrument Co. is building
guitars! Daley Mandolins are already
instruments of legend and now Sim
Daley, partnered with Adam Chowning,
is bringing those standards to guitar
building. They're already taking orders
and these beautiful D18 and D28 models
are starting to go out all over the world.
Adam is most excited that "The Shredder" Brad Davis got his very own Daley
Guitar and is playing it in workshops and
concerts all over the place. For more
info, go to www.simdaley.com .
PRINT, MEDIA & EDUCATION
Thanks to Dr. Tom Adler and Frank
Godbey for making this video available
of Bluegrass Hall of Famer J.D. Crowe’s
honorary doctorate ceremony at the
University of Kentucky:
www.youtube.com/watch?v=i7dnMSQfZ
9E&feature=youtu.be. Congratulations,
Dr. Crowe!
Dr. J.D. Crowe
Kent Gustavson, author of the Doc Watson
biography, Blind But Now I See, would like
to make copies of his paperback books
available to schools or other non-profit
programs who would enjoy reading them.
Qualified non-profits and educational institutions are welcome to contact Kent at
[email protected] .
Dates for the Julian Family Fiddle Camp
have been set for April 10-14 in Julian, CA.
The camp is now affiliated with Fractured
Atlas.org , Camp info:
www.familyfiddlecamp.com
Jacob Panic
The Stelling Banjo Scholarship to Pete (“Dr.
Banjo”) Wernick’s Advanced Banjo
Camp has been awarded to 26 year-old
multi-instrumentalist Jacob Panic, of Baltimore, MD. Jacob aspires to a career in
bluegrass music and has recorded an
album of original songs on which he plays
all the instruments. Jacob said, "I'm
humbled and grateful to Pete and Stelling.
Pete Wernick is one of my banjo heroes."
The Advanced camp (January 21-26), for
players with band experience, still has
several spots left. Wernick's Basic Skills
Camp (January 7-12) has 3 spots, and the
Intermediate camp (January 14-19) is full
with a waiting list. Pete’s winter camps,
the “original” Banjo Camps, have been
held annually in Colorado since 1984.
www.drbanjo.com/camps.php for
information and registration.
And now, the moment we’ve all been
waiting for: IBMA member James Akenson announces that Lance McKinney of
the University of Alabama will make a
presentation titled “WIBA—What is Bluegrass Anyway,” at the International Country Music Conference at Belmont University in Nashville, TN May 23-25, 2013.
Kinney says he will be “analyzing what
many consider the real bedrock of bluegrass, Monroe’s recordings with his 1946
band,” and will “examine those recordings
structurally and aesthetically to start the
defining bluegrass conversation.” Former
IBMA staffer Dr. Katy Leonard, who now
teaches at Birmingham Southern, will also
be presenting a bluegrass-related paper.
Info: www.internationalcountrymusic.org
The Crooked Road: Virginia’s Heritage
Music Trail is one of 832 non-profit organizations nationwide to receive an NEA Art
Works grant. The Crooked Road (TCR) is
recommended for a $10,000 grant to
support traditional music education in
Southwest Virginia. TCR’s Traditional
Music Education Program Phase 2 builds
upon findings from the program rolloutgenerating more after-school programs,
school assembly programs, and performance opportunities for the region’s youth
while strengthening the educational foundation through curricular material distribution, teacher training workshops, and a
teacher re-certification course serving a
19-county region of rural Southwest
Virginia. “This award strengthens The
Crooked Road’s work in place-based
education by creating opportunities to
serve the region’s youth through our
traditional music,” said Jonathan Romeo,
Project Manager. “TCR’s Traditional Music
Education Program promotes learning that is
rooted in what is local—the unique music,
history, and culture of Southwest Virginia.”
NBCNews.com recently featured an online
article about a roots music program for
students in Mountain View, AR. Read about
it here: www.dailynightly.nbcnews.com
RECORD LABELS & Publishers
Good HomeGrown Music has released a
video for their new single, “Walking Through
Bethlehem,” featuring Sonya, Becky and Lilly
Isaacs. The song was written by Tom T. and
Dixie Hall with Billy Smith. View here:
www.youtube.com/watch?v=vrckbLL6NWU
Rural Rhythm Records is proud to announce
they have signed Dave Adkins & Republik
Steele to the label. A new single, "That's Just
The Way I Roll" written by Tim Stafford, Steve
Gulley and Terry Herd, will be released
to radio later this month. The song is
the title track of their upcoming new
album scheduled for release early
2013. The band has also signed with
Josh Trivett and Peter Keiser of Moonstruck Management for exclusive booking and management representation.
David Akins is joined by: mandolin
player and baritone singer, Kenny
O’Quinn; bass player Danny Ray
Stilner; sixteen year old Wesley Wolfe
on guitar; and banjo player and tenor
singer, Matt Cruby. The name Republik
Steele serves as a tribute to the hardworking coal miners of the area. The
fathers and grandfathers of three of the
members worked for the same large
mining company by the name of Republic Steel. For more information, please
visit www.republiksteele.com More info:
www.moonstruckmangement.com and
www.ruralrhythm.com
...Webinars, Anyone?
IBMA will be organizing a new slate of monthly webinar topics, presenters and dates for 2013,
to be announced in the February 2013 newsletter and online at www.ibma.org .
Do you have a particular bluegrass industry-related topic you’ve been wanting to learn more
about? Topics may include repeats or updates from previous topics, ideas based on World of
Bluegrass 2012 seminars and professional development sessions, or entirely new ideas.
Send your suggestions to [email protected]. Please include topic name and suggested
presenter if you have someone in mind.
26
heard ‘round the world
cabin or higher.
Info: www.travelrite.com.au/bluegrass_cruise.shtml
BLUEGRASS IN OZ
Australian bluegrass artist Karen
Lynne’s new gospel album, Shine
Your Light was finished up in
December and is available for order
now. Karen and her husband, banjo
player Martin Louis recorded the
album at the Good Home Grown
Music studio with producer Jerry
Salley, last fall when they were in
Nashville for IBMA’s World of Bluegrass. Val Story, Stella Parton and
Daryl Mosley guest on the project.
Karen also sang on Dixie Hall’s new
four-disc Daughters of Bluegrass set
entitled Pickin’ Like a Girl, set to be
released soon. Karen will appear on
the Feb. 19-23 Bluegrass Music
Cruise of New Zealand and Southern Australia on the Voyager of the
Seas, for the first Sydney to Auckland leg. Organizers are offering free
flights from Perth to major capital
cities if you book an ocean view
Karen and her band will be at the Tamworth
Country Music Festival in Tamworth, New South
Wales for her 28th consecutive year, Feb. 21-26.
She and Martin will be appearing on Sam
Smythe’s bush poetry show at the Tam City Bowlo,
and they’ll be guesting at Andrew Clermont’s
Supper Club (Tuesday night on “Girls Night” and
Saturday for “Bluegrass Night"). Karen will present
the Bluegrass Brunch show on Thursday-Friday,
Jan. 24-26 at the North Tamworth Bowling Club.
She will also perform at the Southside Uniting
Church Gospel Concert Jan. 21. Check
www.karenlynne.com for details. If you’re not
familiar with Karen Lynne, check out her “Blue
Mountain Rain” video here:
www.youtube.com/watch?v=0NdU_K8JPzg
Australian broadcaster Geoff Morris, host of
Wall-to-Wall Bluegrass on
www.worldwidebluegrass.com, presented his last
program for a few months Dec. 31. Morris has
re-located to Melbourne for cancer treatments for
the next six weeks, and hopes to be back on the
air with his 500th show the week of Easter. If you’d
like to send him a note of encouragement, he’s at
[email protected] .
News from Richard Hawkins at the
European Bluegrass Blog
www.blog.ebma.org
bluegrass in Germany
Oliver Waitze reports that his New Acoustic
Gallery ( www.n-a-g.net ) in Germany will be
moving from Solingen to new premises in
Wuppertal in mid-January. He will continue to
stock banjos, mandolins, and classical and
steel-string guitars by leading makers. New
stock includes instruments by Santa Cruz,
Furch, Collings, Bourgeois, Rozawood,
Kentucky, and Eastman, and a new 'Celtic
banjo' book by Oliver Waitze will be out
next month. New address: New Acoustic
Gallery, Schloss Lüntenbeck, Lüntenbeck
1, 42327 Wuppertal, Tel. +49
0202/94672730
Rainer Zellner of the Music Contact
Agency reports his 4th Bluegrass Jamboree! – Festival of Bluegrass and Americana Music which concluded Dec. 16 was
a success, after 18 shows in 20 days all
over Germany, including a trip to Prague.
Rainer writes, “We had a great time, an
amazing line-up, and extremely enthusiastic crowds... I notice a continuing growth in
audience and interest of media in the
project. As the 'bluegrass scene' is way too
small to keep this concept alive, I am very
happy that we do find and build true
music-loving audiences that enjoy good
live music of highest level without being
limited to one style. There was a huge
amount of media coverage before and
after the tour.” The two most important
German cultural radio stations (WDR and
DRadio Kultur) recorded performances and
interviews and will each do broadcasts of
sixty to ninety minutes in January.
Check the Jamboree!
www.bluegrassjamboree.de/ and on
Facebook, for tour videos and photos. The
fifth edition of Bluegrass Jamboree! will be
hitting the road in December 2013.
Bluegrass in CZECH REPUBLIC
Click here
www.blog.ebma.org/2006/11/peter-rowanand-druha-trava-nov-2012.html to view
photos from Lilly Pavlak from the November Czech tour of Peter Rowan with
28
Druha Trava. Druha Trava has a new
English-version website at
www.druhatrava.us
Rosťa Čapek and Ivana Louková in the
Czech Republic are working hard on the
preparations of the Bluegrass Summit
(Prague, 15-17 March 2013). The same
couple organized the Czech concert of
Bluegrass Jamboree! on Dec. 4. The 17th
Workshop of Petr Brandejs and Jindra
Hylmar in Malé Svatoňovice (in October)
as well as Ralph Schut's workshop Dilna
s prasetem (in September) were successful events. The details of Pete Wernick's
Jam Camp in Prague (22-24 March
2013) are being negotiated. The event is
financially supported by the EBMA. Petr
Brandejs finished the first European Jam
Class on five subsequent Sundays in
October. Nine students were happy to
learn how to jam according to the Wernick
Method. Phenomenal multiinstrumentalist, Ondra Kozák wrote
Fiddle Breaks in Czech Country Hits. It
was released by the company G+W. The
trailer can be watched here:
www.youtube.com/watch?v=OKCJYC_IOK8
Robert Křesťan and Druhá Tráva
released another live CD, Live in Telci,
and recorded their new DVD featuring
Peter Rowan.
Rowan with Druha Trava, photo by Lilly Pavlak
bluegrass in SPAIN
Los Hermanos Cubero of Spain report that
their 7” vinyl EP released on Carajillo Records
launched in Barcelona Nov. 8 is completely
sold out and there will be no re-issue. However, the A side of the EP, “La Calle Abajo,” is
featured on a video clip produced for Primitive
Films here on Vimeo: www.vimeo.com/55110099
The U.K. association for old-time music,
FOAOTMAD, announces the next La Fuente
de Musica old-time music workshops will be
held in Andalucia, Spain May 11-18, 2013.
Instructors will include Dave Bing, Kate
Lissauer, John Whelan, Rose Ardrom and
more. Classes will be offered on fiddle, banjo,
guitar, harmony singing and beginners instrumental (all instruments). Info: Kate Lissauer,
[email protected] , (0)1373 474 110).
Luis Gomez reports that the 11th Al Ras
Bluegrass & Old Time Music Festival
( www.nuke.alras.es/ ), held at the Mercat Vell
de Mollet del Vallés, Pça Prat de la Riba 6,
Mollet del Vallés, Barcelona, on 10 November
2012, was a great success, attracting plenty
of people including new people interested in
bluegrass and old-time music. Lluís also
sends this link www.linuxvixion.es/al-ras-2012/
to an album with photos from the festival.
Next year's Al Ras Festival will be held on the
second or third Saturday of November 2013.
Details will be announced as soon as
possible.
bluegrass in THE NETHERLANDS
Peter Groenveld of Strictly Country
Records reports that one of the most productive bluegrass concert organizers in Holland,
Bé Holdtman, has passed away on Dec. 8
after a battle with cancer. Bé was a government worker for the council of Emmen, Netherlands. His department was in control of road
and water works. He retired from this job only
a few years ago. In the music scene
Holdtman was mostly known for his
many always-sold-out old-time country
and bluegrass shows at the Muzeval
Theater in Emmen, from 1985 to 1998.
Among U.S. bands that performed
there were the Good Ol’ Persons, White
Mountain Bluegrass, High Country,
Traver Hollow, Laurie Lewis & Grant
Street, Lynn Morris Band, Bill Clifton &
Pick of the Crop, Robin and Linda
Williams & Their Fine Group, Bob
Paisley & Southern Grass, Kate McKenzie Band, Liz Meyer & Midnight Flyer,
Chris Jones & the Night Drivers, Amy
Gallatin & Stillwaters, Charlie Louvin &
Charles Whitstein, and many others. Bé
worked closely together with Rienk
Janssen, who was largely responsible
for the many U.S. bands touring Europe
during that time. Peter says he was the
lucky sound guy during all these shows,
and some classic “Live in Holland” were
recorded at the Muzeval Theater, such
as Bob Paisley & the Southern Grass,
Robin and Linda Williams & Their Fine
Group, and Charlie Louvin & Charles
Whitstein. Bé’s Dutch (local) buddies,
the Alabama Country Boys, were
always part of the concerts. Bé will be
greatly missed by .his family and many
friends in the USA and Europe.
Bluegrass in BELGIUM
Thierry Schoysman, of the band
Rawhide, The Sons of Navarone and
editor of Bluegrass in Belgium
www.bluegrass.be/ reports, “some
strange developments in Belgium. Do
you know of many movies in which
people like Bill Monroe, J.D. Crowe or
Tony Rice are mentioned? Well, there
is one now. The Broken Circle Breakdown www.thebrokencirclebreakdown.be/
was launched in Belgian movie theaters
recently and has sold 270,000 tickets
so far. It’s probably going to be the year’s
best-selling movie. (Belgium counts only 11
million people.) Bluegrass music, only
known by a happy few over here, is suddenly mentioned in a national media
(news, radio, television, newspapers). The
movie is a dramatic love story in which the
main character is a banjo player in a bluegrass band. He meets a woman and she
joins the band as a singer. Their young
daughter becomes a victim of cancer”
Bluegrass in the United Kingdom
The Toy Hearts are planning to spend six
months in the U.S. in 2013, from May –
October. The family will be based out of
Austin, Texas. More info:
www.bluegrasstoday.com/toy-hearts-totexas-in-2013/
UKBluegrass.com announces that Farewell Blues is the new CD from the Leon
Hunt n-Tet band. The album is a celebration of the life and music of Earl Scruggs
and other first-generation bluegrass musicians. Info: www.leonhuntntet.com
Jamboree finale lineup
30
The Toy Hearts, photo by Lilly Pavlak
Bluegrass Magic Moments:
Jerry Shereshewsky, Flatt & Scruggs,
a girl named "Martha White" and December 8, 1962
by Nancy Cardwell
The beginning of a new year is a time
for reflection—thinking back over the
past 12 months and the past in general.
One of the best perks of working for
IBMA is getting to pull up a chair in
various circles of conversation and
listen to members tell stories. I lucked
into a recent email exchange between
Sab Watanabe Inoue in Japan, Pete
Wernick in Colorado, Jerry Shereshewsky in Connecticut, and Dave
Freeman in Virginia, on the topic of
December 8, 1962—the night Flatt &
Scruggs played Carnegie Hall.
Last month marked the 50th anniversary of the Flatt & Scruggs Carnegie
Hall Concert, recorded live in 1962
and released the following year on
Columbia Records. If the IBMA Award
for Recorded Event of the Year had
existed then, a cut from this legendary, influential album would surely
have been the winner.
Sab contacted IBMA to find individuals who were in the audience that
night, for an article in his bluegrass
magazine Moonshiner, published in
Japan. Freeman lived in New York
City at the time, but he was out of
town. A 16-year-old named Pete
Wernick (later one of the co-founders
of the band, Hot Rize) was there, and
so was Jerry Shereshewsky. In fact, if
you listen carefully you can hear
Jerry’s voice in the audience, calling out for
the band to play the Martha White theme
song.
Since my Japanese is not so good, I asked all
the gentlemen concerned in this conversation
for permission to reprint their stories in this
month’s issue of International Bluegrass.
As you read, stop and think about the magic,
life-changing moments bluegrass music has
brought to you during the past year and
series of years. We’d love to hear from you,
and continue this series of stories—past and
present.
Jerry Shereshewsky
Here, to the best of my knowledge (and after
a 50 year separation), is our story. I was a
wannabe musician who was friends with
some of the best younger generation of
bluegrass musicians in the City. The band
was called The Bluegrass Straphangerswith Karl Knobler on banjo, Jody Stecher on
mandolin, Ira Solomon on guitar and Bill
Friedman on bass. I had recently met another
Jersey Boy, Hank Miller (who played hot,
flatpicking guitar like no one I knew), who had
a band called the Orange Mountain Boys with
banjoist turned fiddler Gene Lowinger and
Peter Szego on Dobro. The Orange Mountain
Boys eventually merged with the Straphangers, and with additions and subtractions
included lots of others over time including
Peter Wernick and Winnie Winston.
In the summer of 1962 most of us were in our
last year of high school and I was working in
a record store in South Orange, NJ. That
Jerry Shereshewsky
summer Hank Miller, Gene
Lowinger and I, along with our
guitar playing friend Bill Kruvant,
drove to Nashville in Billy's father's
brand new yellow Pontiac Bonneville air-conditioned convertible.
Through my record sales connections, I got us tickets to the Opry
and invitations to recording studios
and the Ernest Tubb Record Store
"after Opry" show. We had a total
blast. The only misfortune was that
Flatt & Scruggs weren't there. But
we did get to see Jim and Jesse,
who sang the Martha White theme
song—they too, were sponsored by
the company—and we went
berserk.
Back in New Jersey we used to
drive to the top of the local highest
hill and spread out aluminum foil
wings for our car radio and listen to
(or try to) the Opry and the WWVA
32
Jamboree. So we'd heard the theme, but it didn't
sink in until we saw Jim and Jesse do it live on
stage, twice.
Cut to November (or October) when we heard the
Flatt & Scruggs were coming to Carnegie Hall. It
was absolutely mind blowing. The only other “real”
bluegrass we had seen was The Country Gentlemen who did a Sing Out! show with Pete Seeger.
That, actually, was my introduction to bluegrass,
but that's a story for another time. Again, I put the
arm on the record sales guy from Columbia, and
boy did he deliver! Ten seats, front and center! I
think we were in the third row, but wherever it was
it was close enough for sweat to hit us from the
stage. Karl Knobler, Jody Stecher, Bill Friedman,
Ira Solomon, Hank Miller, Peter Szego, Gene
Lowinger and two others I can no longer conjure
up…plus, naturally me, were there. After the very
first song and at every opportunity thereafter we
hollered for the Martha White theme song between
every song...during and after the applause. The
very idea that a commercial jingle could be a genuine bluegrass song with pretty cool banjo and fiddle
breaks plus a catchy chorus, was almost unimaginable.
Remember, bluegrass fans in New York City were a
very small community. Roger Sprung was the
grand old man, and The Greenbriar Boys had a
real recording contract with Vanguard, a “real” folk
music label. There was Winnie Winston, and some
other kids from New Jersey including David Grisman and Fred Weisz…. I think I knew Peter Wernick by then, and that was about it. Lowinger took
up the fiddle because no one else played.
Imagine—in a city of several million eastern European Jews there were barely any fiddle players!
Anyway, the second set opened and we, again,
begged for Martha White, but this time Lester
stepped forward and gave the introduction you
hear on the record. He didn't think anyone in New
York had ever heard it. He didn't know about us
sitting in Hank's car with the aluminum foil car
antenna, smoking cigarettes (unfiltered Camels, of
course) and basking in the glow of Flatt & Scruggs,
Jimmy Martin (on WWVA), and the entire
panoply of country stars who were Opry
and WWVA regulars. And that was the end
of the story…almost.
expect to find anyone home, and I am
certain that we had no plan to do anything
more than gaze at the house, and fantasize about something grander.
Several years later, I think it was the spring
of 1966, I was a senior at the University of
Wisconsin and heard about a special
bluegrass festival in Roanoke, VA, where,
according to the grapevine, a Bill Monroe
bluegrass reunion was going to take place.
I had to be there. It was a different cast of
characters, but six of us piled into to someone's 1960-something Plymouth Barracuda
and drove from Madison, WI to Roanoke.
We had tents, sleeping bags, perhaps a
Coleman stove and not much else. Oh,
and instruments. I owned a very special
Gibson RB-6. Tom Morgan built the neck
on a tenor drum. It was beautiful—gold
plated & engraved, with sparkletone
purfling, curly maple neck and resonator. It
sounded great and was the single most
amazing banjo ever. How I got it is another
story all together, but I eventually sold it to
Mike Corcoran from Chicago and it now
resides with him at the University of Saskatchewan in Canada.
As we pulled up to the house the first
thing we saw was the Flatt & Scruggs tour
bus in the driveway. It stopped us in our
tracks. Now we had to figure out what to
do. It was perhaps 8 p.m., there were
plenty of lights on in the house, and my
buddies literally pushed me out the door,
banjo in hand, and I stutter-stepped up to
the front door. I stood there for a few
seconds (that felt like hours) and then
rang the bell. Louise Scruggs answered
the door and looked at a very unkempt,
bearded, rank smelling kid holding a gold
plated banjo, asking if Mr Scruggs, sir, his
excellency, might autograph it. Earl then
ambled over to the door. He was barefoot.
The wall-to-wall carpeting was, as I recall,
white. Without missing a beat, he invited
me in.
After several days and nights of playing,
listening and camping (but not showering)
we left, sated, and headed back to the
Midwest. For reasons I still don't understand we decided to take the long route
through Nashville. Perhaps we wanted
one more shot at the Ernest Tubb Show.
Anyhow, when we got to Nashville we
stopped for gas and I noted that we were
in Madison, TN. I had sent a fan letter to
Earl Scruggs and had gotten a reply from
his wife and it was in my banjo case. The
address: 44 Donna Dr. Madison, TN. I
asked the gas station attendant where
Donna Drive was, and it was basically
three minutes from where we were standing. We got directions and went there—a
pilgrimage, of sorts. We certainly didn’t
Earl did know, and he told us all to come
in. And he insisted that we bring all our
instruments in with us. Within minutes
Earl was playing my banjo. Richard
Faverty, a brilliant photographer was in
the car with his instruments...Nikons, and
took a ton of photos, all of which we
believe are lost to history. Louise ordered
pizzas. Earl’s sons Randy and Gary
Scruggs joined us, and pretty soon we
were picking and singing with (expletives
deleted) Earl Scruggs. It was absolutely
mind blowing. He was amused by my
note-for-note renditions of a few Scruggs
classics and amazed at our collective
knowledge of the entire genre song book.
We, in turn, were were amazed by the
hospitality...inviting this scruffy bunch to
“Oh, umm. I have some friends in the car,
sir, and, I mean, maybe, well, you
know…”
come into a white carpeted living
room, sit, eat pizza and play
music with a genuine god….
Wow!
I mentioned my note to Earl and
Louise’s reply to me, and I told
her about our amazing seats at
the Carnegie Hall concert and our
whooping and hollering for
Martha White. Louise cracked up
and told me the back story. The
Columbia Record guys were
royally [peeved] that night. They
were recording the show for an
album release and they certainly
didn't want it to devolve into a
Martha White thing. They were
convinced that the Martha White
Mills management had planted us
in the audience to hijack the
record. Today we'd call it guerilla
marketing. But of course Martha
White had nothing to do with us.
In 1962 none of us had ever
actually seen a package of
Martha White anything. The
record execs finally decided that
they had to include the song and
he rest is, as they say, history.
Except a few weeks after I
returned to Madison a huge box
arrived at my apartment from
Martha White Mills, filled with
flour and mixes, perhaps weighing 50 or even 100 pounds. There
was a thank-you note from the
CEO of Martha White Mills with
an invitation to come visit.
So that’s the entire story, as I
know it. Hope you enjoyed it. It
was sure fun remembering it and
the guys I hung out with, the
music we made and the fun we
had.
34
Sab Watanabe Inoue
Sab Watanabe Inoue
Thank you, Jerry! I’m sure you were one of the
guys who changed the course of my life. In March
of 1968 Flatt & Scruggs came to Japan as the first
bluegrass act from the U.S. At that time, I thought I
was a pretty good banjo player at age 18. But you
know how I felt when I saw Earl…. His fingers
changed my life and I remember very well that I
shouted “Martha White!” after every song—which I
learned from you! And when Paul kicked off the
theme, I felt a strong connection (in Japan we say a
“red string”) between bluegrass music and myself. I
believe they heard my shouts!
After I graduated college I went into the bluegrass
business, which was very rare (and is still rare) in
Japan. I married a beautiful fiddler and we raised
two kids. One is a professional mandolin player in
Tokyo and one is a promoter for bluegrass. My
bluegrass life started when I shouted "Martha
White" and Flatt & Scruggs played it. I felt like I was
in the band, and I still don’t want to leave that band.
Pete Wernick
I had seen Flatt & Scruggs twice before [the concert
at Carnegie Hall], so had already had the experience of "flipping out" over my heroes. To me,
Scruggs was too good to be true! He was like a god
to me, looking supremely confident and pleasant in
Pete Wernick in ‘64
his suit, string tie, and western
hat, and always delivering a
cascade of sparkling strong
notes.
The band was very polished and
professional. They had fun
putting on a show, and Paul
Warren would really get going
with his fiddle, sometimes kicking his leg high in excitement
while he fiddled. Everyone liked
the choreography, watching
them move around the stage,
gathering for trios and quartets.
New Yorkers were not used to
Southerners. Their Southern
accents seemed from another
world, musical and a little mysterious. Flatt would call us "neighbors,” and really seemed to
mean it. It was nice that he was
so friendly. The portion of the
show with Scruggs on guitar was
very special. He made a guitar
sing... differently from the banjo,
but just as magical in his hands.
Earl Scruggs playing
Jerry’s banjo
The thing I remember best from the Carnegie Hall
concert was when they first came out on stage. I don't
think anyone introduced them, they just walked out to
the center of a stage big enough to hold an orchestra,
all about the same height, wearing exactly the same
dark suits, string ties, and western hats. They seemed
like a tribe of men from another world, an exciting
world.
When they reached the two mics, Earl started “Salty
Dog Blues.” Lester sang the first line and then the
Foggy Mt. trio hit: "Honey let me be your salty dog."
Just at that exact moment was everyone's "fall on the
floor" moment. On the record, you can hear the audience almost erupt in glee right then. We knew we
would have a great night. It's interesting that that night
was the first time that I and other people in the North
heard them sing the Martha White song, with the
words “Hot Rize.” The song was just heard on the
Opry or their TV show, which was not seen in New
York, and never on a record. Then it was, of course,
on a record. Years later I realized that Hot Rize might
be a good name for a band... and sure enough, it is a
good name!
It is certainly fun to think back 50 years to the time of
this concert and all the excitement we had about our
heroes and bluegrass music!
Email [email protected] or call 888-GET-IBMA with your life-changing, bluegrass music moments.
IBMA Office to move to
Berry Hill District in Nashville
IBMA will be moving its business office the last week
of February 2013 to 608 W. Iris Drive, Nashville, TN
37204. Our telephone number and email addresses
will remain the same. The new office is located in the
Berry Hill business district, just less than four miles
south of our current location on Music Row.
“The new location is a bit smaller in square footage,
but it offers exactly the right amount of offices and
storage space our staff of four needs—while also
saving us quite a bit in rent,” IBMA Executive Director
Nancy Cardwell says. “The building is in great condition. There’s a front porch perfect for music, and a
kitchen and conference room that will work well for
small receptions. We’re planning on hosting an open
house for members in late February or early March, as
soon as we’re settled. We can’t wait to show you
IBMA’s new home base!”
Please update your files by March 1:
IBMA
608 W. Iris Drive
Nashville, TN 37204
(615) 256-3222, (888) GET-IBMA
[email protected], [email protected],
[email protected], [email protected]
www.ibma.org, www.bluegrassnation.org

IIIrd TYME OUT - International Bluegrass Music Association

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