SCOTTISH BLUEGRASS NEWSLETTER

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CONTENTS: click on the item to take you there

• Peter Rowan SBA Showcase

• MerleFest Travel Package

• Ralph Stanley Master Of Bluegrass Music

• EWOB Update

• Scottish Arts Council Grant for SBA

• Annual Steve Kaufman Acoustic Kamp Series

• Jam Session Etiquette

• Bluegrass Instrument Set-up and Adjustment

• The Frank Wakefield Band

• The Smith O'Reilly Band

• Chris Stuart & Back Country

• SBA Bluegrass Academy

• A letter to SBA from Blades Of Blue

Peter Rowan – SBA Showcase

 - Tprinted with kind permission  from Mrick Magazine

 

 

No veteran of this standing is polished with such a warm burnish. The credentials are rarely any finer than those which come with Peter Rowan. Here, there were fans in the audience for a whole range of reasons: Twenty somethings who’d only recently discovered Grateful Dead had come along keen to catch a few moments in the company of the man who once was sidekick of Jerry Garcia in Old & In The Way; bluegrass diehards piled in to rub shoulders with the musician who was handpicked to sing and play rhythm guitar with Bill Monroe & His Bluegrass Boys; and the rest were either just fans of Peter Rowan in all of his merry guises or folks who simply appreciate a rare talent that is so roundly mature. The bluegrass brotherhood appeared to be outnumbering the other competing interests fairly heavily so the worry was that he’d maybe pander to them instead of just being himself. No fear.

 

Although the opening set was a veritable homage to the masters - Monroe, Jimmie Rodgers and Woody Guthrie among them - as he told us he was starting off with some of the songs he first heard when he was a kid, things were soon cruising sweetly as he covered a tasty spread of influences. Rowan had packed a half-size vintage Martin to enable him to carry the instrument on the plane as hand luggage. And, some of the time he seemed uncomfortable with its size and didn’t turn in the slickest finger-picking performance of his illustrious career. Who cares! It’s that voice, one minute stopping your heart with its lonesome tone, the next making it soar with a soft and comforting tremolo like no other, that steals the show.

 

It is heard at its most succulent best when he is dusting down his own quite brilliant material. Pulling The Devil By The Tail from his mellow REGGAEBILLY! album was an early contender for best in the set but the more he settled in to his musical flow, the more extraordinary it became. There was a sample of the purest essence of the man when he gave the same Trinidadian treatment to The Cuckoo Bird. He slid a thumb pick on for the first time to give Tumbleweed a chunkier accompaniment which helped the playing to become noticeably smoother.

 

One of Rowan’s greatest gifts is to work far beyond the usual boundaries laid out by those who would rather seem him constrained. The clever Free Mexican Air force was so entertaining, we were all singing along and laughing while the sorrowful spirit-invoking Land Of The Navajo provided a powerful counter-balance. A follower of Tibetan Buddhism, Rowan has a presence that is so calm and relaxed it spills out and trickles off to affect those around him. I watched him, riveted as he seemed to glow, such was the warmth that was being exchanged twixt performer and audience.

 

He was brought back for an encore or two and went right back to basics with High Lonesome Sound, filling in the missing Vassar Clements fiddle parts with note-perfect vocal acrobatics. Afterwards he was basking in the glory again as everyone formed an orderly queue to steal a few magical moments exchanging thoughts. “What did you think of that?” someone asked. “Uplifting” was what came out even before I had a chance to think about it. He’s tuned in to wavelengths that pass others by. Methinks if we all let a little bit of Peter Rowan into our lives, we’ll all be happier hobbits.

 

Loudon Temple - Maverick Magazine - check out the Maverick Website - www.maverick-country.com

 

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 MerleFest

By Loudon Temple.

  

It’s more than a music festival - much, much more. It’s more than the chance to marvel at the magic of Doc Watson’s flat picking. It’s the friendships that are forged, the memories that are savoured months - and years - after; and that impossible to define feel-good factor that comes with the package that is Merlefest.  Started back in 1988 as a tribute to Doc’s son, Merle after his untimely death in a tractor accident, the mix of roots music, bluegrass, Celtic, blues, folk, old- time, Cajun, jazz, singer-songwriter, dance, food, and crafts is now among the top events of its kind in America.

 

Close on 80,000 happy souls left with smiles on their faces as the curtain came down on last year’s big jamboree.It seems that this nothing’s-quite-like-it four-day celebration of life itself, has just got better and better. There’s only three months to go before the 2004 festival gets underway, at the campus of Wilkes Community College, Wilkesboro, North Carolina, where the spiritual re-charging takes place.

This year’s programme reads like a veritable Who’s Who of Good Stuff, an endless menu rich in character and reflecting Doc’s own eclectic musical interests. I think it might come close to being as hot a line-up as has ever been assembled in one single spot on the planet.

 

Those joining Doc and Merle’s son Richard over the four days will include Roseanne Cash, Gillian Welch, The Gourds, Nickel Creek, Lucinda Williams, The Waifs, Donna The Buffalo, Dry Branch Fire Squad, Hot Tuna, Vince Gill, Earl Scruggs with Family & Friends, The Derailers, Sam Bush Band, The Kruger Brothers, Mark O’Connor’s Hot Swing Trio, Tim O’Brien, Patty Loveless, The Alison Brown Quartet, The Jerry Douglas Band, Jim Lauderdale, The Nashville Bluegrass Band, Peter Rowan & Crucial Reggae, The Savoy Doucet Cajun Band and The Tony Rice Unit.

 

And, if that wasn’t impressive enough, there’s more… among other names so far confirmed are The John Cowan Band, Béla Fleck & Edgar Meyer, The David Grisman Quintet, Jeannie Kendall, Natalie MacMaster, Old Crow Medicine Show, Reeltime Travellers, Kelly Willis & Bruce Robison, Etta Baker, Laura Boosinger & Timmy Abell, Roy Book Binder, Pine Mountain Railroad, The Two High String Band and The Avett Brothers.…and the list goes on.

 

One of the great joys of the festival is the chance to see many of the performers appear on several of the stages, and with different combinations of players and contemporaries over the weekend. Back at the start, the strong line-up that turned out to support Doc, performing on a makeshift stage of two flatbed trucks, was top drawer and drew four thousand people along for the day. The show could have been billed as ‘New Grass Revival & Friends’ as Sam Bush, Mark O’Connor, Tony Rice, Bela Fleck, John Cowan, Jerry Douglas, Earl Scruggs, Chet Atkins, David Holt, Peter Rowan, Grandpa Jones, Mac Wiseman, George Hamilton lV, John Hartford, Mike Cross, Marty Stuart and Jim Shumate, gave folks an early taste of things to come. Many of those names return again and again to continue to be part of the celebration.

 

But each year, alongside the great masters and big draws, new faces appear and some of the jams that happen become highlights. This year, there will be a lot of interest in the hotly-tipped (Stateside, at least) Old Crow Medicine Show who will soon release the album that has just been produced by David Rawlings. There are always plenty local bands included too, to make sure the traditional players from the area get a chance to impress as much as the better-established names.

 

Enthusiastic amateurs (around here, most are hot) can be found busking with the best in the pickers’ tent or participating in the now legendary contests. Happy Traum hosts workshops and master classes in guitar, banjo, mandolin, fiddle and dobro where all manner of playing styles are covered in the company of some mighty fine accomplices who share their tips.

 

But, there are tons of things to do and see besides checking out all thirteen stages on which the music happens from morning ‘til night. There’s the tent with the instruments and their makers; tents the size of shopping malls with country crafts and working displays; there’s a vendors’ village selling everything from kazoos and exotic kites to one-string fiddles, tie-dye tee shirts and fantastic prints and posters such as those made by Yeehaw Industries at their old-style print works in Knoxeville, Tennessee.

 

Then there’s the dance tent. As soon as you step in you feel that this is good for the soul, even if you resist the temptation to try some flat-footing, square dance or clogging. I can’t wait to see the marvelous Savoy Doucet Cajun Band from Lafayette, perform in this space. There are some sideshows you wouldn’t want to miss such as the Sunday morning gospel session down by the creek, the chance of an audience with Eustace R.Conway, known as The Last American Man, who will set you thinking if you pay attention to his wisdom; and Pete Wernick’s Bluegrass Jam camp.

 

In the main arena with its big Watson Stage for the headliners, even if you opt to go without taking reserved seating that’s available, there are big screens in place to make sure those at the back get in nice and tight to the action.

 

The fantastic food tent is staffed by volunteer fund-raisers from dozens of local organisations all after your dollar, and as a result keeping standards remarkably high in the bid to win the business. Along with the food, they all make sure we sample good old Southern hospitality that always comes with a smile. The entire event is alcohol free to attract family groups and avoid the risk of disruption from troublemakers. A lot of common sense prevails. It is all very civilised.  The public toilets, for instance, are pristine and because they are, people respect that and keep it that way; reserved seating all comes fitted with plastic bag for rubbish, thus doing away with the need for a big post-bash clean-up; there’s an overnight check-in store to leave your folding chairs and anything else you might not wish to cart back and forward; there’s a crèche for toddlers and all manner of other attractions for ages up to teens, including storytelling that’s good enough to keep adults content. There are cashline points, public phones, a convenience store for campers and a free, and very regular, bus shuttle service from outlying car parks to the main gates, again staffed by volunteers from Scouting groups (they are happy if you stick a dollar in the collecting tin).

 

So, ticket bought what else should you take along? Well it’s not quite summer and although it can be hot during the day (pack some sunscreen) if skies are clear, there will still be a nip in the air. So, take a coat or heavy sweater for the after dark sessions, a lightweight raincoat just in case, comfortable shoes for walking, enough money to buy a couple of dozen CDs and a pen to get them autographed.

 

 For full festival line-up details, check out the website www.merlefest.org

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BED & BREAKFAST AT MERLFEST

Merefest only 7 minutes down the road! Anglo/American family offer bed and breakfast, in 2 double rooms, ensuite,with optional transport to the festival, in jolly nice house on  the Kerr Scott lake.$75 per night per person.

Apply to Randy and Angela Gambill at ecottage@charter.com  or call 01144.336.921.7001

 

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Scottish Arts Council Grant Aid for the Scottish Bluegrass Association; Awarded on 7th August 2002

The Scottish Arts Council made perfect timing in its announcement of significant financial assistance to the Scottish Bluegrass Association. The letter confirming the grant offer arrived just in time for the 16th Annual Guildtown Bluegrass Festival. This historic announcement was a welcome addition to the agenda of the Scottish Bluegrass Association's Annual General Meeting held at the sell out event.

The award package covers funding for festivals, workshops, concerts, library material, research and recording. The package includes a Bluegrass in the Schools Programme; fundamentally important for the future of Bluegrass.

The Scottish Bluegrass Association is currently negotiating and confirming sponsorship deals to ensure consolidation and development. This rapid growth, along with the recent appointment of a full time Association secretary, represent a milestone for the Association, formed in response to  the historic resurrection of the Scottish Parliament.

The Scottish Bluegrass Association will be pioneering the radio marketing of European Bluegrass bands by the worldwide release of compilation CD's featuring top European talent. The Scottish Bluegrass Association also plans to network with the European and International Bluegrass Associations to foster and develop the European fan base and market for Bluegrass. We will contribute to opportunities for bands from both Europe and America to tour in Europe.

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Be a part of the
Annual Steve Kaufman Acoustic Kamp Series

 www.flatpik.com

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The Parking Lot Picker - Jam Etiquette
By Yvonne Walbroehl

Thanks to the High Lonesome String organization for permission to post this article.

It is with a certain amount of trepidation that I approach this topic. The peculiarities of interpersonal interactions in a jam session are sometimes enough to send a sociologist to see a psychiatrist. And if you also attend folk or old-time jams, you will notice that the unwritten "rules" are somewhat different than for bluegrass jams. For the purpose of brevity, I will stick to bluegrass jams. I must also begin with a disclaimer: The DOs and DON'Ts of jam etiquette which I give here are really only suggestions. There are no hard and fast rules and each situation is a little different.

Joining a jam: The first step is deciding whether or not to join a particular jam. If you already know most of the people in the jam, this should no be a big deal. But if you are walking up to a jam where you don't really know the people, this becomes more of an issue. How you approach a jam with strangers will depend somewhat upon your personality. An extrovert may just join right in, while an introvert may play quietly in the background for the first few tunes while deciding whether he or she wants to join in. Once you have joined a jam, the following DOs and DON'Ts should help make it a more pleasant experience for everybody.

DO:  Give everyone in the jam a chance to pick a song or tune. Although it is not strictly followed, in general, people take turns selecting a tune to play by "going around the circle". If someone wants to just play backup or quietly in the background, respect their wishes. They may be shy or they may be trying to learn without being obtrusive.

DON'T:  Dominate the jam. Most people want the chance to pick a tune that they know. Usually there is no faster way to break up a jam than to come in and take it over. In fact, if you do take over a jam, you usually won't be jamming for very long, because the others will become annoyed and find excuses to leave!

DO:  Give all of the pickers a chance to take a break, if possible. Sometimes in larger jams this is not practical, but I recall a jam where at least 12 pickers took breaks between the two verses of the song! It may have been the longest version of that song ever.

DON'T:  Feel compelled to take a break if you don't want to. If someone motions for you to take a break and you don't feel up to the task, just shake your head or offer the break to the picker next to you.

DO:  Stick to reasonably familiar tunes or tunes which are easy to learn by ear. Of course, a familiar tune in one jam may be a "jam-buster" in another. If most of the players are beginner/intermediates, it is probably a good idea to go with a three-chord classic. However, in a group of mostly advanced players, almost anything will work. If you do decide to go with an unfamiliar tune, you might want to review the chord progression briefly before you start playing the tune.

DON'T:  Try to radically change the "flavor" or "style" of the jam. In other words, if you should happen upon a group of folks playing intense newgrass instrumentals, you probably don't want to join in with a basic version of "Boil 'Em Cabbage Down". Likewise, if you are an advanced player who joins a group of beginners who are playing simple fiddle tunes, don't lose everybody with your rendition of "Manzanita".

DO:  Try to join in with people you don't know once in a while. You will probably learn something and so will they. And it's a great way to make new friends!

DON'T:  Stick around if the other jammers in the circle ignore you. If you are snubbed, it is likely for one of four reasons:

1)  You have inadvertently joined someone's band rehearsal. This happens from time to time at festivals, since some of the bands also stay in the campground. If you discover that you have done this, just quietly leave and find another jam. (A note to bands: if some accidentally mistakes your rehearsal for a jam, please politely inform them that you are practicing.)

2)  The jammers you are trying to join are not particularly friendly. From time to time you will run into groups of people who only jam with people they know. In rare cases, their reason for ignoring your may be more insidious (race or gender prejudice, for example). My advice is to leave and find another jam. The campground is full of pickers, most of whom are friendly. There is no sense in wasting time trying to force your way into an unfriendly jam, it is not worth the aggravation.

3)  You play accordion, harmonica, or percussion (or some other instrument not usually associated with bluegrass). If you are playing one of these instruments and try to join a jam where people are playing hard-core bluegrass, you are taking a bit of a risk. By doing so, you may be changing the "flavor" of the jam too much for the tastes of the other players. The good news is that there is probably another, more eclectic jam somewhere else in the campground, where your talents will be appreciated. Find this jam and join it.

4)  You have a reputation for dominating jams and the others are acting in self-defense. If this is the case, go back to the beginning of the article, reread it, and this time PAY ATTENTION!

Jams are also great opportunities for budding musicians to learn from others in an informal atmosphere. Here are some final DO's to help you learn as much as possible while having fun:

DO:  Ask for the chord progression if you aren't getting it. It's OK to do this even after the song is over. The next time you hear that song in a jam you'll have a better chance at getting it right.

DO:  If you hear a particularly nifty lick during a jam, ask the picker to show it to you later. Chance are they'll be flattered you asked and you'll have something new in your repertoire.

DO:  Share what you know with others. If someone is not quite getting the chord progression and you know it, discretely give it to them. Most people will appreciate it as long as you are not condescending. 

So, as you dash off to that first late-night parking lot jam of the festival season, remember that proper bluegrass jam etiquette involves being considerate of others, not wasting too much time worrying about those who have been inconsiderate of you, and most of all having a good time!

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BLUEGRASS INSTRUMENT SET-UP AND ADJUSTMENT

Part 1  - Neck Relief, String Gauge, Nut and Bridge Action

The purpose of this series of articles is to give the beginning musician a checklist for improving the playability and tone of a Bluegrass instrument. Much of the information will also act as a guide in the purchase of a new or second hand instrument. This guidance is not therefore a professional repair guide or adjustment manual however it should provide the novice with insights into the key issues concerning correct adjustment of an instrument for best tone and playability.

 

My remit covers banjo, guitar, mandolin, fiddle, dobro and both electric bass and double bass. With this purpose in mind I would firstly like to set out some basic ground rules and disclaimers before getting more deeply into the first set of factors affecting playability and tone.

 

1/ There is no substitute for finding a competent and experienced repair person to carry out adjustments that might be indicated in this series. Excessive and incorrect adjustments to instruments e.g. to neck reinforcement (truss) rods or to banjo co-ordinator rods can cause expensive or even irreversible damage. Don’t tinker or take risks - get professional advice!

 

2/ If a problem is obvious or suspected in a recently purchased instrument, return it to the shop for adjustment - remember your statutory rights and don’t void your warranty by tinkering. 

 

3/ If on the other hand you have developed beyond the beginner stage and you no longer like the tone of your instrument irrespective of the setup, then perhaps it is time to visit a custom instrument builder or quality instrument retailer, to discuss your requirements in depth and to try a wider selection of quality instruments.

 

4/ To embark on radical adjustments such as re-graduation of internal braces, tone ring refits or neck reshaping requires expert skill. Such radical upgrades may produce unexpected results, even in the hands of a professional instrument repairer. It may be a better or more predictable solution to find the desired qualities in a new or second hand instrument requiring minimal adjustment rather than attempt or pay for expensive radical alterations to one that you are very dissatisfied with.

 

5/ Do not compromise the status of a collectible or vintage instrument. Why machine your 1924 ball bearing Gibson banjo rim to fit a replacement flathead tone ring - butchery of a classic historic old banjo! Be careful that a makeshift instrument repair does not have other damaging or devaluing consequences. Check out all the options by getting professional advice as it may save money in the long run.

 

Having stated these disclaimers there does appear to be a category of musician, especially banjo players who have a mind set on adjusting instruments in radical ways in an effort to improve tone and volume. There is a whole market that has developed for upgrading instruments with new and improved parts. It has been argued that time spent pursuing such upgrades is often to the detriment of the practice time and definite results from the constant adjustments are not as guaranteed as time and energy spent practicing. 

 

On the other hand there are instances where some insightful and skilled minor or inexpensive adjustment may be all that is required to get the best out of the instrument in question and to effect a quite radical improvement in playability or tone - this is primarily what we are interested in here -and in giving the novice insight into the fundamentals of setup.

 

 Fingerboard Relief. 

Banjos, guitars, fiddles, double basses and mandolins all require a slight concave curvature over the length of the fingerboard. This is either built into the fingerboard at the time of manufacture, as in fiddles and double basses, or is set with an adjustment of an adjustable truss rod fitted on most other instruments. String tension, which varies with the gauge of the set of strings, also works to curve the neck and fingerboard in a concave manner lengthwise. Whilst an unstrung neck may be flat or even have a slight convex arch in its length; when strung up and brought up to standard pitch, the necessary concave curvature should be quite evident when the neck is sighted from the nut towards the bridge. 

 

Be clear that we are not referring here to the curvature across a neck which is evident in all the violin family instruments and is often present on guitars. Nor are we referring to the correct and intended neck angle in relation to the body which is a fundamental factor in the action and playability of an instrument. Neck angle is part of the design, and usually not readily adjustable. If for any reason the neck to body angle is wrong there will either be no clearance for the strings or far too much clearance to the point in either case that the instrument is unplayable. It should also be noted that a broken or very badly adjusted truss rod can give quite similar effects and again if things are so clearly out of adjustment then a professional opinion is required.

 

Returning to fingerboard relief - why should we need to have this lengthwise, concave fingerboard curve rather than a flat fingerboard when the instrument is strung up? Simply put, the vibrating string vibrates in an arc between the fixed points of the nut and the bridge. (Figure 1) The fingerboard relief as illustrated gives an exaggerated and simplified view of the plucked string with the relief providing clearance to vibrate. This is essential in helping to prevent buzzes and rattles particularly in the lower positions. Too much relief on the other hand may in fact make the middle positions harder to hold down and cause intonation problems by stretching the strings out of tune. So fingerboard relief is an important and essential adjustment for optimum comfort of action, rattle free playability and good intonation for a given gauge of strings.

If your habit is to play hard and you are suffering form consistent string rattle then you will perhaps require more height at the bridge or perhaps more relief on the neck. These adjustments need to be made carefully because there is a point at which intonation is impaired. One option for hard players may be to simply move to a heavier gauge of strings.  A heavier gauge will however change the tone and may for some players make the strings feel stiff and difficult to play as well as increasing fingerboard relief on most instruments. Ask your jamming partners if you are playing too loud!

 

From the beginners’ viewpoint, if you are getting buzzes in the lower positions and the overall clearance (action) of your strings appears normal when compared to instruments of your friends and fellow pickers, then a sighting down the neck might reveal the problem to be a lack of neck relief. A professional opinion should then be sought to confirm this as you may have buzzes caused by other factors such as a loose, or high frets or a variety of nut problems. Do not therefore experiment with truss rod adjustments where an adjustable truss rod is available - get professional advice. 

 

It is worth noting that dobro players are quite unlikely to have problems concerning playability resulting from neck relief issues. Square necks dobros are usually built with very solid necks and flat fingerboards. Round neck dobros used for Bluegrass slide style can happily be set with truss rod adjustment to give flat necks when strung up to tension, with the proviso that your overall setup gives ample clearance between fingerboard and strings. Dobro set up is a very specialised area and will be discussed again in a later part of the series.

 

String Gauge.

You may decide to try out different string gauges in search of an alteration in tone, volume and playability. Change of string gauge is not always a simple adjustment. Bear in mind that radical changes in string gauge can lead to problems. Note that instrument nuts are cut to suit the selected gauge of strings and a change to lighter gauge can cause nut buzzes as the string rattles in the oversize nut groove. A move up to a heavier gauge can cause the string to pinch and attendant tuning problems emerge as the string tension behind and in front of the nut (or saddle) alters as you play! Buzzes and rattles can also occur due to friction wear in nut grooves over time. When changing strings it is  recommended to lubricate nut and bridge grooves with graphite from a lead pencil as this cuts down wear quite radically. Just rub a fine pencil point in the grooves until black dust fills them.

 

Pinching or rattling can also occur at nuts and bridges due to changes in gauge, or creation of  oversize grooves over time. If you decide you wish to make a radical change in string gauges you may be well advised to visit your local professional instrument repairer and have him make any necessary nut, bridge and fingerboard relief adjustments to meet your requirements. Get the professional’s opinion on whether your instrument can cope with the extra tension if you are wanting to use heavy gauges. With pre-war flat top guitars and finer guitars with scalloped braces, as well as dobros with finely spun cones, a move up to those heavy gauges could cause serious structural problems if the instrument is designed for medium gauge tensions.

 

Gauge for gauge string replacement, is one way simple way to renew tone, changing strings one at a time to avoid moving bridges on fiddles, mandolins and banjos or spider/cones assemblies on dobros. Learning how to avoid twists and kinks in strings and acquiring the simple skills to change them are essential for all beginners - get your teacher to show you how. Cleaning strings with proprietary cleaners will enhance string life if done consistently and a popular product which I use all the time is ‘Fast Fret’.  I am wary of alcohol-based cleaners as they can lift stain from fingerboards and mar spirit based finishes

 

Nuts & Bridges.

The correct height and grooving of the nut in relation to fingerboard is critical to both good intonation and ease of play on both fretted and unfretted stringed instruments. Particularly so in the lower positions of all the instruments, with the exception of a dobro which would normally be set up with a special custom high nut for Bluegrass slide style. The dobro’s nut and bridge and setup really are a special case to be considered at a later date in their own right.

 

The type of material that the nut is made of is quite critical and affects tone on the open notes. Bone is often used and can be an improvement over the softer plastics found on cheaper instruments. Violins and double basses use ebony nuts.  If the grooves are not cut with a slope away from the fingerboard (Figure 2) then intonation can be poor and if the nut provides a rough bearing point strings can be broken prematurely at that point. Normal wear and tear would dictate that strings break at the bridge and not the nut especially after being on the instrument for a reasonable period. Light gauge first or perhaps second strings might break more frequently when played particularly by a hard player, but only at the bridge. So if you have frequent breakage at the nut get this checked out and if new strings break frequently at the bridge, get this checked.

Instrument nuts can be readily replaced and upgraded by an experienced repairer who can also check and adjust nut action sometimes by recutting or reshaping grooves or inserting a veneer shim under the nut. Special files are used and quite a lot of experience and skill are needed to adjust nuts properly. Some Stelling banjo nuts are specially compensated and in which case cannot be simply replaced by an uncompensated nut. Nut compensation is a complex subject and a Stelling compensated nut cannot be simply fitted to a standard Gibson banjo fingerboard.

 

Bridges, the point where the strings are connected to the soundboard at the picking or bowing end of the instrument, and bridge position (where it is adjustable) have a quite fundamental effect on tone, intonation and playability. Material could be bone or plastic bridges as commonly found on guitars, or the myriad of bridges in various materials, thicknesses and heights produced for the five string banjo. One of the most radical changes that you can make to your instrument concerns the bridge. Indeed on the violin family instruments there is a tremendous choice of maple bridge variants and grades. With all of the instrument types, a properly fitted and placed bridge is quite fundamental to the tonal outcome, as well as the action, playability and the intonation.

 

Where bridges are moveable they must be placed with pinpoint accuracy to ensure proper intonation. On my banjo, with fresh strings fitted, I use a chromatic tuning meter to ensure that the intonation is ‘spot on’ comparing fretted notes and harmonics at the half way point with the open note - get your teacher or your friendly music shop to show you how to place your moveable bridge in the right place. If the bridge is in the wrong place your action and intonation could be far out of adjustment and impairing your progress as a learner.

 

When I complete the construction of a violin, the bridge is given very special and particular attention. I use only the highest quality aged hard maple blank and trim this and thin this in a very careful and calculated manner using a template and calipers to make specific contours to the bridge itself. I use templates and measuring calipers to obtain differential clearance of the bass to treble strings over the lateral curve of the fingerboard. I carve the underside of the feet to give the optimum fit between the feet and the violin top. This is to optimise the efficiency of the transmission of soundwaves and produce the tone and playability required. Many ‘off the shelf’ factory made beginners violins have very soft, poor quality, bridges which are poorly fitted and these violins can often be improved dramatically by attention to this aspect of setup.

 

All experienced banjo players are acutely aware of the potential for intonation and tuning problems with their instruments and there are a very wide range of fully and partially compensated bridges commercially available in different heights and to different designs; all of which can help solve intonation problems or alter volume and tonal balance. An increased height should increase volume however an increase in overall mass may filter certain tones or mute sound so there are all kinds of favourite ways to thin and adjust bridges on fiddles, banjos, double basses and mandolins to produce different tonal results. 

 

Experienced dobro players opt for various custom materials to top wooden bridges set into a slot on top of the spider cone. Maple on its own is the most popular however I have also seen boxwood and various other woods with toppings of ebony and also bone inserts which I have also seen on banjo bridges. All of these variants can have radical influence on tone.

 

On the guitar bridge, aside from replacing plastic with bone, there are options for increasing or reducing height and some slight compensation for intonation problems. Mandolin bridges are usually fully adjustable for height and position; are usually intonated; require a close fit between the underside of the legs and the top and are commonly available in rosewood or ebony. Again I should stress that adjustments to bridges should only be undertaken after an over all appraisal of the state and possible shortcomings of the instrument. Be clear that there may be limited value in substituting expensive parts if there are fundamental problems and shortcomings elsewhere with the instrument.

My main conclusion is that I have witnessed quite radical improvements on beginner and intermediate instruments achieved by correct adjustments. These improvements are usually brought about by adjusting for string relief for the chosen string gauge, coupled with well adjusted quality nuts, and properly placed and adjusted quality bridges. One approach which might avoid the need for further setup work when as a beginner you buy a new or second hand instrument, is to ask your teacher or an accomplished player for help in selecting an instrument of reasonable quality and in good setup and adjustment.

JOHN SHELDON

Further Reading:

Burgan, Arthur - Basic String Repairs - Oxford University Press

Kamimoto, Hideo - Complete Guitar Repair  - New York, Oak

King, Bev - Dobroists Scrapbook – Available from Stewart-MacDonald

Sandberg, Larry - Complete Banjo Repair - New York, Oak

Strobel, Henry A - Violin Making Step By Step - Aumsville, Oregon, Strobel

 

Part 2 – Banjo tone and maintenance

In the last issue I gave a basic checklist of guidance applicable to all the stringed instruments.

This time round I want to focus on the specifics of the setup, tonal adjustment and maintenance of banjos. As a novice what you need to know is that aside from the basic checks outlined last time; all that you need to do to maintain your banjo, is to have the head tight enough to produce that bright Bluegrass sound. The string action needs to be just high enough to help keep the tone clean when you eventually learn to play hard and fast. 

To achieve the correct head tension and action, novice players should initially seek help from more experienced teachers, retailers or repairmen. Most intermediate players eventually purchase banjo setup videos and books which demonstrate how to change banjo heads, how to tighten them, as well as how to adjust co-ordinator rods. The video by banjo guru Steve Huber covers every aspect of banjo adjustment even as far as changing the tone ring.

Novices should not assume the banjo bridge on a new instrument to be in the correct position. Neither should they assume the head to be tight enough for a Bluegrass sound. There is a distinct advantage in buying a banjo from a retailer who is into Bluegrass. If the vendor can actually play the banjo it is far more likely that he will ensure that it is setup correctly and can offer meaningful after sales advice and support.

 

Once a good initial setup is confirmed and you are happy with tone and playability of your new instrument you need to set about acquiring basic maintenance skills. These include how to tune and change strings, and knowing how to tighten the head sufficiently without breaking the head or distorting the stretcher band that holds the head. My advice here again is to get a knowledgeable person to give you a tutorial and consider reading up on the subject.  A great text is the book by Roger Siminoff.

At this point I will now make the significant assumption that you have acquired from your teacher, retailer or banjo mentor these basic skills including tightening the head to unyielding firmness by cautious quarter turns of the the brackets following an even progression around and across the rim.

When you have mastered some playing skills you will eventually wish to consider the fuller tonal picture and your own personal preferences for setup of your next acquisition – an intermediate or professional level banjo.

 

The setup on the banjo which I use on stage is: walnut neck and resonator; pre-war one piece flange and rim with vintage flathead Huber tonering; no tension on co-ordinator rods; Presto tailpiece parallel to the head; Snuffy Smith head with extra frosting tuned to G#; stock Snuffy Smith bridge; JD Crowe light gauge strings; showcase 41 picks. This gives me a bright sound with good sustain and a strong bass. If you check with other players you will find that each person has his own setup preference and that everyone has an opinion on what they thing is a good banjo sound and what factors dictate this.

 

You will find that each banjo has its own basic tonal response by virtue of its construction style, materials and initial setup, giving it brightness or 'plunkiness' and more or less sustain. The banjo, more than most instruments, can be adjusted to brighten or darken the tone and it is this adjustability that appeals to the tinkerer or the dissatisfied banjo owner. It is now time to review in detail these elements of tonal adjustment.

 

1/ Strings. New strings sound brighter and have more sustain as well as playing in tune. Change of gauge will affect tone, sustain, feel and may alter neck relief. String cleaner will extend life and brightness. Frequent string breakage may be a function of nut or bridge problems. Tuning problems may also result from poor quality machine heads, pinching at the nut or bridge or perhaps too high an action.

 

2/ Picks and right hand attack. Picks have a great influence on tone. They are available in brass, nickel and stainless steel and can be bent to shape. Both material and shape of the picks can make a vast difference. Where you pick between the neck and the bridge, and how you pick will give a quite significant tonal difference.

 

3/ Bridges. Bridges have a significant effect on tone. Some people experiment with different types, height and thickness. The thicker and heavier have a more plunky tone and the opposite will favour brightness and volume up to a point. There are dozens of bridges to choose from each claiming superior qualities.

 

4/ Tailpiece. The length, weight, and height and angle from the head can be altered on some tailpieces - all having a radical effect on tone and possibly volume. For Bluegrass most players favour an adjustable tailpiece which can be set to exert pressure on the bridge giving a bright and loud sound.

 

5/ Head. The material and tension of the head have a quite radical influence on tone. A thick head gives a plunky tone and a thin head favours brightness. A loose head gives a hollow plunky sound and a tight head gives a brighter more treble tone – up to the point where it is overtightened and breaks! Some heads have thicker plastic or more layers of frosting and some heads mimic vellum. The old fashioned heads were vellum and are still available. Bluegrass tone is associated with the plastic head which can be tightened and tuned up to specific note such as G# or A.

 

6/ Changes of major components. It is possible to adjust the fit of tone rings, substitute tone rings, exchange resonators, adjust or replace the necks or rims of banjos in ways that will have a radical impact on the tone. Some of these changes would be costly and may produce dramatic or unpredictable effects. A new instrument should be considered as an alternative.

 

7/ Co-ordinator Rods. A slight change in action can be achieved by cautious and slight adjustment of the lower rod. However many experts discourage this and prefer to re-cut the banjo neck heel or use different bridge heights for significant action adjustments. If you want to use very tall bridges or need a radical adjustment in action I suggest you get expert advice and leave the co-ordinator rods alone.

 

8/ Refret. Eventually frets wear, particularly in the lower positions where repeated slides are made and buzzes can develop. Frets may need to be dressed and eventually a partial refret or even a total refret will be needed. The type and condition of the frets will affect tone, playability and sustain. An experienced repair person will advise. Big frets will contribute to more sustain.

 

As you can see it is possible to fit a thin, tight head, light strings, a thin bridge and a cranked down tailpiece – if you then use stiff steel picks near to the bridge you will have a very bright sound indeed.

On the other hand with a thick, loose head, heavy strings, a thick bridge and a tailpiece that simply holds the bridge in place and brass picks - you will have an extremely 'plunky', dark sound.

 

In between these extremes there are all kinds of possibilities for tonal adjustment. Bear in mind that whether the tone is bright or dark it won’t sound like Bluegrass unless those right hand rolls are perfected and as a novice your time and effort will be well rewarded if you practice rolls with a metronome rather than indulging in non stop banjo mechanics.

JOHN SHELDON

References:

How To Set Up The Best Sounding Banjo, R. H. Siminoff, Hal Leonard.

Killer Tone, S Huber, Acutab Video.

 

Part 3 – Dobro setup, tone and maintenance

In this article I wish to review the setup, tonal adjustment and maintenance of Dobros for playing Bluegrass style. Dobros from specialist Bluegrass builders will arrive perfectly set up for Bluegrass. However there are some excellent Korean and Japanese beginners’ instruments as well as vintage American instruments which are built as roundnecks and are set up with Spanish guitar playing action.  These require special setup to convert for playing Bluegrass. In addition it is not uncommon to find instruments that may be radically out of adjustment and may be suffering from buzzes and rattles, sunken cones or other defects of setup that will require skilled attention.

 

To play Bluegrass in open tunings in the style of Josh Graves and the second generation Bluegrass players you will need this special high action setup which differs radically from ‘Spanish guitar’ setup. These requirements are expertly described and illustrated in Paul Beard’s Dobro Setup video. There are a number of UK builders who may agree to carry out a custom setup for you along the lines described in this well produced video.

 

The essentials of Bluegrass setup are that any standard guitar nut needs to be replaced with a special tall bone nut that is flat across the top and gives a parallel string to fingerboard clearance along the entire length of the fingerboard of 1/4 to 3/8 of an inch above the frets. Some players prefer even greater string heights but this can only be achieved if there is sufficient clearance between the top of the saddle and the underside of the cover plate palm rest. On older Dobros the malleable alloy cone may have sunk, adversely affecting the geometry of the setup. The state of the cone needs to be carefully checked as described in detail by Paul Beard.  The saddle may also need to be replaced in this setup process in order to obtain the correct geometry. All in all the correct setup and adjustment of the Dobro is quite a tricky and skilled assignment.

 

In setting up for Bluegrass, the replacement higher nut and saddle inserts are crafted and fitted to suit the individual guitar. Particular attention needs to be paid to string spacing as well as the slotting, fitting and gluing of the new bone nut. The two halves of the maple saddle inserts need to be a friction fit into the full depth of the slot on the spider. Many makers actually glue the saddle in place with wood glue others do not recommend this. A clearance is needed between the top of the saddle and the underside of the cover plate palm rest.

 

The strings need to be evenly spaced and completely level with no one string lower or higher than the others. It is best if the strings are seated into nut and saddle slots so that they are not submerged in deep grooves below the level of the surrounding material. Ideally the wound strings should be halfway out of the grooves and the plain strings just into the groove and no more.  These grooves must be snug and neither pinching nor over wide.

 

On the nut the string spread should be between 1 and 9/16 of an inch up to 1 and 11/16 of an inch and should be in grooves that slope towards the machine heads. At the bridge end a string spread of 2 and 3/16 of an inch is desirable. Some players prefer particularly wide nut spacings feeling that this enhances tone. At the ‘tail piece’ end of the guitar, the strings should come off of the saddle to make a downward slope towards the tailpiece. If this geometry is incorrect it may be a sign that the cone has sunk or the saddle is not tall enough.

 

On some older Dobros the cones were glued or nailed in place. It is now considered that this has an adverse effect on tone. Paul Beard illustrated the somewhat complex process of stripping down a guitar, removing a glued in resonator, cleaning it up and readjusting the resonator edge to refit it onto a cleaned sound well ledge. He also takes the viewer step by step through the process of adjusting the spider legs so that they are completely level using a sheet of heavy glass or flat board to check and adjust the spider legs. Beard then illustrates the reassembly of the guitar and a perfect setup.

 

A key point in setup or reassembly concerns the risk of cone damage from over tightening the resonator tension screw, accessed through the hole in the palm rest of the cover plate. When correctly assembled the guitar should be strung up to pitch, the resonator tension screw should be tightened up to be  “snug” and then no more than one to two and half turns added. Within these parameters the guitar will produce different overtones. To apply more tension risks collapsing the cone. If the screw is too slack it may rattle.

 

Buzzes and rattles can be the bugbear of the budding Dobroist. Whilst this can result from poor bar technique and a lack of damping on the nut side of the bar, the cause can be one or several of variety of other sources: -

 

A/ Strings with broken windings or loose ball ends.

 

B/ Loose cover plate screws or a poorly seated cover plate.

 

C/ Any loose hardware including worn machine heads; machine head screws or a loose tension screw; tailpiece buzzing against cover plate; loose sound screens.

 

D/ Poor fitting or cracked bridge; body cracks or a loose fitting neck or neck pole. Poorly fitted resonator or spider – particularly spider legs that are uneven.

 

E/ Debris inside the guitar.

 

F/ Resonator tension screw loose or a loose anchor for the tension screw.

 

You will find that the Dobro has its own inherent tone by virtue of its construction and may favour brightness, mellowness, sustain or bassiness. Some alterations can be made.

 

1/ Strings, pick and bar type. Gauges, age and windings of the string as well as gauge and type of pick all affect tone as does the weight and material of the bar. Also check out different right hand position and attack as well as left hand pressure on the bar.

 

2/ Bridge Inserts. Maple bridge inserts of different densities will produce different tones. Maple bridge inserts topped with ebony or inserts of Birch or Cherry will all produce different sounds.

 

3/ Stamped or Spun Cone. Stamped cones make a clang when lightly tapped near the edge and spun cones ring. Cone types can be swapped and this will radically change the tone of the instrument. Modern builders tend to favour spun cones.

 

4/ Sympathetic resonators. Some Dobro gurus swear by the trick of adding a device called a sympathetic resonator inside the guitar sound well to enrich overtones. At the simplest this is an 8 inch coffee tin bottom complete with edge lip. This tin device then has three very short wooden legs fixed with short screws equidistant round the outer rim of the tin and the legs are then glued down on the inside back of the guitar body underneath but well clear of the resonator cone. The idea is that this device resonates in sympathy and enriches tone. Make sure any such device is well clear of the underside of the cone as cones generally settle down when under string tension.

 

As you can see there is a lot to consider in setting up and adjusting the Dobro for  Bluegrass. Be aware that the cone is fragile and can be easily dented and damaged. The spider is made of cast metal and can easily fracture.  Removal and replacement of a glued in cone is a quite a delicate and challenging operation and over tightening of the resonator screw can either strip out a vitally important thread or distort the cone. Buzzes and rattles can be very annoying but you should check things out systematically with great care. Get expert advice when considering radical action. My final piece of advice is to change strings one at a time and tune them up to pitch as you replace each one to avoid disturbing the cone on your instrument.

 

References:

Paul Beard Dobro Set Up & Maintenance – Vantage Video

Beard Guitars, 14118 Marsh Pike, Hagerstown, MD 21742 USA

 

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 www.countysales.com

Thank you for your time and we hope that you enjoy what County Sales has to offer!

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SBA BLUEGRASS ACADEMY

The SBA is running this event as a regular class free of charge for SBA members. The classes are held in Bathgate and feature skills development for up & coming Bluegrass musicians - for a place on the course e-mail the SBA secretary

 

BLUEGRASS ACADEMY - CURRICULUM

 

·         What is Bluegrass ? 

 

Some good examples - Do you have the right background material?

Live concerts; Master classes; CD's; DVD's & Video; The internet; Teaching material.

Jam sessions. Forming a line-up and finding/choosing material (three numbers including no more than one instrumental).

 

·         What are the basics ?

 

Finding the key for the song; Lead singing; Harmony singing, Bluegrass timing; Bluegrass Backup.

 

·         How do we go beyond the basics?

 

More on arranging the songs.

Tempo; Kickoffs; breaks; Who plays what type of Backup i.e., Chops versus active versus stop playing; Endings; a capella.

 

·         How do we facilitate development and improvement?

 

Teamwork  and individual skills development in singing and playing.  

Improving the lead singing, instrumental soloing and the backup. Getting feedback.

 

·         Public address and sound systems - how do they fit into Bluegrass music?

 

The basic issues in sound reinforcement.

 Developing PA skills as a band?

 

·         Recording from the PA as a means of feedback and improvement.

 

·         How to present and market your band line-up.

 

Press kits; Demo Recordings; Reviews.

Getting Gigs.

 

·         The Experience of playing on stage in front of an audience.

 

 How to pull it all together and how to succeed as entertainers.

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BLADES OF BLUE

 

Hi there. I am happy to see a Scottish bluegrass music website. My name is Marc Baum and I am the Program Director and Host of the internationally syndicated program Independent Country Universe. I also hold those titles for our new program, "Blades Of Blue" which features acts from around the globe and starts in March.

Please encourage your Scottish artists to submit their CDs for airplay consideration on our programs. Also, please visit our website at http://www.greenmountainmusic.com/bluegrass for info, free links, bluegrass news, etc. also, we have added a link to your site on our STATES page. I also encourage you to join the international forum at http://www.bluegrassworks.com at the forums.

There is a category just for international bluegrass discussion and we would love to see you there to tell the world about Scottish Bluegrass! Lastly, If you know of any radio stations in your area that would be interested in picking up a syndicated

weekly bluegrass program at no charge, please have them contact me, or email me their information.

 

Thanks for the great site for Scottish Bluegrass

Music!

Marc Baum

General Manager / Program Director

Green Mountain Music Productions

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The Dick Smith - Mike O'Reilly Band 

Superb Traditional & Original Bluegrass From North America

 Thurs.  19th Feb. 8-00pm  Howden Park Centre, Livingston. This was a really great gig- look back for a report

"Congratulations to the SBA - the best bluegrass gig I've ever seen - quite stunning musicians and great all round entertainers "- Campbell Moffat

 

"The UK bluegrass fans have been hoping for this return visit - - here they come again a really hot and original band featuring stunning fiddle & banjo; great vocals and original material - not to be missed." - this is what the flyer said - and it was a packed house. Everyone agreed that this was one of the best gigs we have ever staged.

 

 Even though the members of the band come from diverse musical backgrounds they have found common ground with their love of traditional bluegrass. Two members of this four piece group come from the American south and two from Canada. The merging of the influences from these areas has produced a unique sound and style! Just check out the CV's of the two veteran band leaders.

 

Dick is well known in bluegrass circles as one of the finest musicians in the business! He has been a member of many top bands including: “The Country Gentlemen”, “The Del McCoury Band, and many others. He is an accomplished mandolin player, but it is his hard driving banjo that is justly famous. He has a deep understanding of harmony singing, and sings baritone in the band. Dick hails from Alexandria Virginia.

 

Mike comes from the Ontario/Quebec border region of Canada and grew up listening to WWVA Wheeling  West Virginia and the shanty songs of the area. His dad influenced him by singing all the old Jimmy Rogers and Hank Snow songs from years ago. Mike has won many awards in Canada and provides the band with a wealth of original material. His songs have been recorded by Del McCoury, Charlie Waller, The Lost and Found, Pete Goble and many others. Mike plays guitar in the band.

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THE FRANK WAKEFIELD BAND

 

 AT THE FAMOUS BEIN INN, PERTH               

A full house greeted Frank and the band as the first half was under way and the numbers were an excitement  we only get with visiting American pickers and players. Frank may be advanced in years but he also plays in his own inimitable style and power that has been his trade mark in the Mandolin field.

 

The UK tour of the legendary Frank Wakefield was my opportunity to see the man himself in person, having only listening to him on tapes and more recently hearing him play and speak on the "Bluegrass Extravaganza" Mandolin CD. He is a fascinating character. Listening to the No 2 CD and hearing him in conversation with David Grisman about the purchase of his Mandolin's. This conversation comes 3 minutes after the last track "Rawhide" and is very interesting. The 1923 Lloyd Loar may have seen better days but was till ringing like a bell despite the cracks and scuffs received over the years and was obviously still loved by Frank.

 

The 250 mile journey to Perth was really worth the effort, an afternoon picking session organised by the SBA gave me an opportunity to meet Frank, Fiddler Jim Moss and Guitarist Jim Lewin.

 

A long conversation with Frank gave me an insight into the life, thoughts and philosophy of this great character who has played for many years, written innumerable songs and has been in many band line ups. Frank  in his latter years 10 years older than me by the way, was enjoying his first trip to the UK but naturally a little tired from the exhausting tour schedule. A few cups of coffee and listening to the picking in the bar proved to be a relaxing  respite, as the concert was due to begin at 8 pm.

 

Jim Lewin was a guitarist of real talent with a style that blended perfectly whatever number was chosen, his rhythm style and lead breaks were really what bluegrass guitar is all about.

Jim Moss is a fiddler of high quality and his fills and lead breaks are just what the doctor ordered, right there to make you feel good. Frank may not be the strongest singer but with the two Jim's the Harmonies created were the making of the show.

 

To sum up The Frank Wakefield Band, if you have an opportunity to catch their performance at a venue near you, then take in the experience as Frank is a vintage performer.

 

Arthur Robinson April 2004

 

Frank Wakefield is a legendary mandolinist and among the foremost original stylists in Bluegrass.  His 47 year career has delighted millions of fans throughout the entire world.   He has composed over 40 songs and is heard on numerous recordings. 

Born in Emory Gap, Tennessee, Frank began playing the guitar at age 6.  At age 16 he switched to mandolin, and in partnership with his younger brother Ralph on guitar, he got his professional start.  Performing as The Wakefield Brothers on radio station WHIO in Dayton, Ohio, the duo specialized in old time and gospel music.

In 1952, Frank met legendary Bluegrass singer-guitarist Red Allen and subsequently toured with Red Allen and The Blue Ridge Mountain Boys, performing at clubs and shows in Ohio and the upper Midwest over the next 3 years. From 1955 to 1957, Frank worked with the Detroit-based Chain Mountain Boys, and it was with this band that he cut his first 45 RPM recordings on the Wayside label, including the now-classic Bluegrass standard “New Camptown Races”.   Shortly thereafter, Frank joined Jimmy Martin and the Sunny Mountain Boys, touring nationally with Jimmy until 1958.

From 1958 to 1964, Frank reunited with Red Allen to form Red Allen, Frank Wakefield and The Kentuckians.   The Kentuckians were frequent guests on WWVA’s Wheeling Jamboree and also did a weekly radio program over radio station WDON in Wheaton, Maryland.  Following several popular 45 RPM recordings for the BMC and Starday  labels, The Kentuckians appeared at Carnegie Hall in September 1963.  The next year they recorded the seminal “Bluegrass” LP album on Folkways label.  In 1964, Frank became the mandolinist for the very popular Greenbriar Boys, lending his considerable instrumental and vocal abilities to their many successful albums and live performances.

During this period Frank began to compose classical sonatas for the mandolin and arrange classical pieces for traditional bluegrass instruments.   These efforts led him to guest appearances with New York Philharmonic conductor Leonard Bernstein in 1967, and a guest spot in 1968 with the Boston Pops Symphony Orchestra.   His success in the classical field notwithstanding, Frank continued to work with a host of Bluegrass artists throughout the late 1960’s, including a 1968 album and appearances with Ralph Stanley and recordings with gospel and Bluegrass artists Joe Isaacs and Richard Greene.

In 1972, Frank launched his solo career, using the up-and coming New York Bluegrass group Country Cookin’ to back him on his first album for Rounder Records.   Numerous live and television appearances followed, including an appearance on The David Frost Show, and guest spots with Joan Baez, Don McLean, Oliver, and Don Everly. Throughout 1973 and 1974, Frank toured widely with the country-rock band New Riders Of The Purple sage and multi-instrumentalist Jerry Garcia, and he also opened several shows for The Grateful Dead.

In 1975, Frank released his second solo album, “Pistol Packin’ Mama” featuring Bluegrass giants Don Reno and Chubby Wise as well as New Riders’ guitarist David Nelson.   From this highly successful album came the idea of a new band, Frank Wakefield and the Good Old Boys, which toured widely over the next 8 years and produced five albums on the Rounder, Flying Fish, Bay, Tacoma, and Relix labels.

Frank’s album, “The Kitchen Tapes” on the Acoustic Disk label, has sold over 90,000 copies to date.  It features Frank and Red Allen in a delightful 1963 practice session and has introduced an entire new generation of fans to Frank and his excellent music.  The response has been phenomenal.  1996 Frank recorded “That Was Then, This is Now”.   The Frank Wakefield Band has a series of performance videos out called "Adventures In Bluegrass".  They are available from www.candlewater.com along with other recordings made over the years.   Jim Moss and Frank Wakefield have collaborated on several CD's, the latest "Sleeping Lady" has received high praise for both its High Impact mix and its hard core Wakefield Bluegrass sound.

Frank has completed very successful tours of Japan, Australia, Canada and most cities in the United States.   Between live performances, song writing, recording, and now with Fiddler/Producer Jim Moss, Film-making.   Frank has a fine video instruction series that he markets from his official web site www.candlewater.com.   Frank has a workshop series that he holds in California where he works with a group of 5 mandolin students for 3 days straight.  Frank believes in passing on to young players the techniques he has acquired over a lifetime.

Frank Wakefield is a master musician whose incredible mandolin playing and unique vocals have graced the sound of many top bluegrass bands, from Jimmy Martin to The Stanley Brothers.  Frank's long partnership with Red Allen in their famous band The Kentuckians gave us some of the best-loved classic sounds from the early days of Bluegrass.  He has also appeared with a wide array of bluegrass, country, and popular artists, including Don Reno, Chubby Wise, David Grisman, Tony Trischka, Ricky Skaggs, Tony Rice, Peter Rowan, Don Stover, Bill Harrell, Del McCoury, J.D. Crowe, Bill Keith, Pete Wernick, Richard Greene, Joe Isaacs, Emmylou Harris, Joan Baez, Jerry Garcia, The New Riders Of The Purple Sage, Leonard Bernstein and The Boston Pops Orchestra to mention a few.

Frank is heard on numerous recordings and has eight solo albums to his credit.  His popular release, “The Kitchen Tapes” has introduced an entire new generation of fans to his music.   He has written over 40 songs, including the bluegrass classics, “New Camptown Races”, “Mexican Stomp”, “Catnip”, “Bluegrass Band #1” and “Leave Well Enough Alone”.  Frank Wakefield has twice performed his compositions at New York’s Carnegie Hall.  In 1999 Frank was nominated for a Grammy as part of the Mandolin Extravaganza Album.  Frank tours consistently with the Frank Wakefield Band and is managed by Jim Moss. On the UK  tour  the band will play as a five piece  and also features Jim Lewin on Guitar, Jackie Sheldon on Double Bass and John Sheldon on Banjo. The focus on traditional and original Bluegrass round a single mike.

“Audiences…love Frank’s shows.  His style projects well in large clubs and especially well in large outdoor shows.  He gives audiences, even those most unfamiliar with his work, or Bluegrass, something to watch and think about.  He pushes out his energy and warmth and gets a great deal of it back in the form of satisfied listeners and enthusiastic fans"
Dix Bruce, Bluegrass Unlimited

“He’s one of a very few performers who can grab an audience and wring them through everything from belly laughs to gasps of awed admiration.”   Vancouver Free Press 

“He split the Bluegrass mandolin atom.  Some of us, obviously, will never be the same again.”    Mandolin virtuoso David Grisman, Frets 

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 CHRIS STUART & BACK COUNTRY

 

Performing original and traditional bluegrass, Chris Stuart & Backcountry is a four piece band  which features vocals, guitar, banjo, resonator guitar (dobro), and acoustic bass. Chris is a former winner of the Merlefest Chris Austin Songwriting Contest in both bluegrass and gospel categories, and his songs have been recorded by Claire Lynch, Suzanne Thomas, Sally Jones, the Schankman Twins, and Tina Adair. Chris was also a showcase songwriter at the International Bluegrass Music Association conference in 2003.

On banjo, Janet Beazley, originally from Bakersfield, California, is a sought-after banjo teacher, songwriter, and performer and also teaches Early Music at several southern California universities. Ivan Rosenberg, on dobro, has recorded two well-received solo CDs of original dobro music and conducts dobro workshops around the country and in the U.K.

The new album Saints and Strangers has received wide airplay and critical acclaim. Dave Higgs of Nashville Public Radio wrote, "This is one of my favorite CD's of the year and you may rest assured I'll be playing the heck out of it here in Nashville and in our other syndicated locations."

More information can be found at www.chrisstuart.com .

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