SCOTTISH BLUEGRASS NEWS
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January /February 2004 - LAURA BOOSINGER TRIO sell out SBA tour of the UK
Here is what Dee Hallett of British Bluegrass News said of her performance "... a superb show at the Heart of England Bluegrass Venue in Kenilworth. Considered one of the most outstanding interpreters of the old-time and bluegrass music, Laura, playing guitar, banjo and autoharp, introduced the near capacity crowd to traditional ballads, folk songs and mountain music representative of the Appalachian and Blue Ridge Mountains areas.
Superbly accompanied by Amanda Luther, whose chosen instrument is the upright bass but, for this tour, ably finding her way around an acoustic bass guitar – and Kirk Sutphin who, as well as excelling on banjo and guitar, is an old time fiddle player (and protégé of the famous Surrey County fiddler, Tommy Jarrell) widely regarded as one of the finest of the genre – Laura rapidly won the hearts and ears of the predominately ‘grass’ orientated crowd. "
Laura Boosinger is recognised as one
of the most outstanding interpreters of the old-time mountain music of
the Southern Appalachians. She plays clawhammer banjo, autoharp and
dulcimer and is in constant demand at prestigious events such as The
Louisiana Hayride, Smithsonian Folklife Festival and The Tennesse
e
Homecoming.
Leading Americana magazine, Maverick described her as one of the outstanding artistes of Doc Watson's MerleFest in North Carolina, attended by 80,000 music lovers, in 2003. The review said: "She has the gift (like Tim O’Brien) to recapture the pure essence and spirituality of fine old-time tunes and songs".
Boosinger is bringing the accomplished fiddler, Kirk Sutphin on tour with her. He was a protégé of the famous Surrey County fiddler, Tommy Jarrell, and is widely regarded as one of the finest players of the genre in the USA. The band's line-up is completed by Amanda Luther on double bass, whose playing has time and time again been described as outstanding for its sensitivity. When the three of them performed together this summer at the Gig on The Green Festival in Asheville, they won widespread critical acclaim.
Boosinger records for the Virginia-based Copper Creek Records and has recently toured with the legendary George Shuffler, whom she coaxed out of premature retirement. Shuffler, who was with The Stanley Brothers for thirty years recently paid tribute to her own achievements as a musician, saying: "I have played with many, many fine banjo players down the years, but like Laura's style best of all."
- The Bein Inn, Glenfarg - November 26, 2003
Reprinted with kind permission from Maverick 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
Your Chance to Attend MerleFest 2004 in North Carolina As UK Travel Experts Line Up Package
for European Bluegrass Fans
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.
Getting There: American Independence are offering Scots the chance to attend the Appalachian music festival that is rated the best in the USA. The package includes flights from various UK airports, fabulous accommodation at Blowing Rock’s Chetola Resort, all transfers and transportation to and from Doc Watson’s MerleFest in Wilkesboro, where top musicians on thirteen different stages entertained 80,000 ecstatic music lovers in 2003. The special seven-day package departs from the UK on April 28, returning on May 4 and costs £1189 per person. For details on the package, (which includes reserved seating concert tickets), contact Osprey Holidays on 0870-241 4217. For full festival line-up details, check out the website www.merlefest.org
RALPH
STANLEY, MASTER OF BLUEGRASS MUSIC, RECEIVES HONORARY MEMBERSHIP OF THE
SCOTTISH BLUEGRASS ASSOCIATION, November 5th 2003
Dr Ralph Stanley was presented with honorary SBA membership at a sell out concert in the Henry Wood Hall, Glasgow on the 5th of November. Ralph & The Clinch Mountain Boys received a standing ovation.
Ralph Stanley was born in 1927. His voice has a stark emotional urgency rooted in the culture of remote Appalachia. His terse, forlorn tenor singing and distinctive banjo picking is the heartbeat of his band, The Clinch Mountain Boys. He was featured in a recent detailed write up in this column.
As "The Stanley Brothers," Ralph, with his brother Carter, were
major stars in country music, constantly touring and making radio a
ppearances and innumerable recordings for Columbia and other labels.
After his brother’s death, Ralph continued to define a unique and distinctive
bluegrass sound. Ralph is particularly respected for his innovations in
pioneering a cappella quartet arrangements in bluegrass gospel. He has written
many songs that have become bluegrass standards. His a cappella rendition of
"Oh Death" for the movie ‘Oh Brother, Where Art Thou’, witnessed new
mainstream audiences flocking to hear this master of traditional bluegrass
music.
A member of the Grand Ole Opry, Ralph has received many awards, including two
Grammys and a Country Music Association award, and was inducted into the
International Bluegrass Music Association’s Bluegrass Hall of Honour. He
received an honorary doctorate from Tennessee's Lincoln Memorial University.
Stanley is also a recipient of a Library of Congress’ "Living Legend" medal
and the first recipient of the National Endowment for the Humanities
"Traditional American Music Award." A comprehensive study of his work and
career was written by John Wright: ‘Traveling the High Way Home: Ralph
Stanley and the World of Traditional Bluegrass Music’ (University of Illinois)
Ralph’s music is so authentic that its raw power moves and inspires performers from all musical genres. Bob Dylan, Joan Baez, Vince Gill, Jerry Garcia, Ricky Skaggs and Patty Loveless all credit him as a major inspiration. Ralph Stanley continues to live in and draw strength from the remote region of Clinch Mountain south western Virginia.
Although Ralph Stanley’s career has spanned over 50 years, never has it been hotter than now! Fresh from the success of his appearance on the ‘O Brother, Where Art Thou’, soundtrack and his own best-selling compilation ‘Man Of Constant Sorrow’, Stanley brought us a second instalment to his landmark 1998 recording ‘Clinch Mountain Country’, titled ‘Clinch Mountain Sweethearts’.
This brilliant and highly commended collaboration pairs the old master with 15 of the top female performers from Country, Folk, Blues, and Bluegrass, including Dolly Parton, Joan Baez, Gillian Welch, Iris DeMent, Pam Tillis, Sara Evans and Lucinda Williams. A new Stanley classic! The tracks are: 1) Ridin’ On That Midnight Train, 2) Will You Miss Me, 3) Little Willie, 4) Oh, Death, 5) Loving You Too Well, 6) The Memory Of Your Smile, 7) Are You Tired Of Me, Darling, 8) Weeping Willow, 9) I’ll Never Grow Tired Of You, 10) Rank Stranger, 11) Trust Each Other, 12) Angel Band, 13) You Win Again, 14) I’m Ready To Go, 15) Farther Along, 16) I’ll Remember You Love In My Prayers. To top this remarkable collaboration he now tops it all with a stunning Grammy winner – what a remarkable ambassador for traditional bluegrass,
A brief recommended discography featuring Ralph Stanley, for those of you who
want an overview of his recent recordings, includes: "Short Life Of Trouble" -
Rebel-1735; "My All And All" - Rebel-1740; "Clinch Mountain Country" -
Rebel-5001; "I Feel Like Singin' Today" - (with Jim Lauderdale) - Rebel
1755; "While The Ages Roll On" - Rebel-1765; "A Gospel Gathering"
Freeland-642; "Clinch Mountain Sweethearts" - Rebel-1770 and of course the new
Grammy winning
album.
European World of Bluegrass Association. September 2003
The last weekend of August, the 6th EWOB European World of Bluegrass Festival and Tradeshow was held in a beautiful open air venue just outside of Radec nad Moravici. This 6th annual EWOB event was extremely well organised by Pavel Jurena and Karel Soukop of the Czech Bluegrass Band Bluegrass Comeback in co-ordination with the EWOB Association.
There were a number of important sponsors from the city to the Province government as from the private sector, such as Mediumsoft as well as others. Even Gibson USA did some sponsoring through sending a whole bunch of guitar, mandolin and banjo strings..........and we are very grateful for all their support. It was a pleasure to see the EWOB organised as an outdoor event which is very suitable to the atmosphere of this type of music: Mainly due to the extremely nice weather, the attendance was not overwhelming, although many enthusiasts came out. The program again was a good one with many good quality bands, 25 in all, to keep the costs down and to give more exposure to the bands than when they only had 25 minutes like before. The sound was excellent and many bands used the traditional 1 mike set-up like in the 40´s. We see that more and more this days; It is nice to for a band to perform this way with more possibilities to move freely while there is more action to see for the audience as well. The lighting was fantastic and there was even some smoke now and then - a little unusual for Bluegrass - , no tomatoes.
Between the show and especially
afterwards, there was a lot of jamming going on, mainly outside of the Belaria
where all musicians had a free 4 star hotel accommodation and in- and outside
swimming pool. Soon the pictures from the 6th EWOB Festival will be added to
the www.ewob.org official website. During the 6th EWOB - European World of
Bluegrass Festival and Tradeshow, the following EWOB Awards were given:
The EWOB European Band of the Year
awards were given to:
1. Blueland - Slovakia who did a fantastic show that got many people on their
feet and clapping and begging for more.
2. Blackjack - Czech Republic came out
second with only 1 point less, a fantastic band with a super performance
3. The Musselwhite Family - originally
from the USA, but now living in southern Germany. A father on bass (his was
absent and the bass was played by Christopher Schut from the Dutch band Spruce
Pine), a mother on vocals and guitar and three little kids from 6 to 11 on
banjo, fiddle, mandolin, spoons and singing) their family harmonies were
great to hear and it was a pleasure to see these kids at work with so much
enthusiasm. They are a welcome addition to any Bluegrass festival and they
stimulated quite a lot of kid' interests.
There was a band workshop held, giving
instruction on the Bluegrass instruments as well as touching on the aspects of
forming a band, repertoire and harmonies etc.
The EWOB European Bluegrass Pioneer
Awards were given to:
1. John Sheldon - Scotland,
formerly
BBMA and now SBA organiser for
or his great organisational and promotional work
through the years.
2. Oskar Zaglmayer - Austria for his
long contribution
to Bluegrass music in
Austria and initiating
and
organising the annual Bad Ischl International Bluegrass and Country Festival
and many more smaller events
and club nights in the Bad Ischle area in Austria. He died a few years ago.
3.Heinrich Novak - the well known Slovak
Bluegrass and especially Dobro
pioneer, teacher, promoter and musician.
The Awards were presented by Dennis Schut and translated into Czech by Ivo Drbohlav, the Czech EWOB rep., who also did all the MC work during the festival.
The freshly awarded European Bluegrass
Pioneer John Sheldon gave a speech upon receiving the Award and all agreed to
his nomination and applauded. The Czech national television was present and
did some interviews and shots from among others the band Mieke´s Buren from
The Netherlands. The report has been shown on Czech national television
already three times.
The event was officially opened by the
mayor of Radec nad Moravici and he promised to make an annual tradition of
this Bluegrass festival. Also officially presented and christened was the 2002
EWOB Live CD, contain well over 20 of the best tracks from the 5th EWOB
Festival that was held in Kolin. The CD was compiled in co-ordination with the
participating groups as well as paid for by the NBMA - Netherlands Bluegrass
Music Association, initiator and co-organiser of the EWOB since its start in
1998.
The CD was sent to all EWOB 2002 bands
for free. Also all EWOB reps will receive a free copy. The other copies will
either be sold or used for promotion of EWOB activities. All 2003 performances
were recorded again on disc as well as on video and a live CD will be issued,
such has been the tradition since the first EWOB held in 1998.
www.ewob.org/page67.html
The 7th annual EWOB - European World Of Bluegrass Festival and Tradeshow 2004
will be held in Southern Germany in Vöhringen. There is close co-operation
with many German Country Clubs. The dates will be 14. - 16.th of May 2004.
Perhaps the event may even start on the previous day, May 13th. In the week
leading up to the 7th EWOB a great number of possibilities for participating
bands are open already.. Many local restaurants with have special rates for
their dinners for the EWOB participating musicians and the city council will
provide the musicians with free accommodation. For guests there are special
hotel rates when visiting the EWOB. The number of sponsors is growing but more
will be very welcome. It is almost certain that Radio Bayern (Bavaria) 2 will
carry the EWOB live from the stage. There are contacts to grace the EWOB with
a well know US band.............
Registration forms can be found on the
www.ewob.org website and can be mailed or sent to the Netherlands Bluegrass
Music Association - NBMA. The registration for the 7th annual EWOB - European
World Of Bluegrass Festival and Tradeshow 2004 closes on December 31 st 2003.
Some other European Bluegrass news:
The Spruce Pine Bluegrass Band has
recorded a Country and Bluegrass tribute to Hank Williams, who would have
become 80 on September 17th, but died 50 years ago on January 1953, truly a
jubilee this year. The new CD will be presented during 2 concerts in the Old
Rebel Pub - home base of the well known band Bluegrass Cwrkot - in Sloupnice -
Czech Republic and Prievidza in Slovakia early 2004. Spruce Pine band member -
also member of the Czech band The Rolls Boys as well as the Slovakian European
Band of the Year 2004 Blueland, is currently working as a studio musician in
the Ron Rigsby studio in Franklin/ Nashville. he will record with Ralph
Stanley II among others. Also he will perform with the Ron Rigsby Band and
with the country band Homer Dever, with Ron Rigbsy on Guitar and banjo and
Hank Williams steel guitar playing legend Don Helms on the steel. Last weekend
they play the annual Hank Williams Day. Ralph will probably return to Europe
after the IBMA event in late October.
By the way, Ralph Schut, who is
originally from The Netherlands, but now makes his home in Jihlava in the
Czech Republic, was chosen the best Bluegrass Guitarist by the Czech Bluegrass
Music Association this year during the 31ST annual Banjo Jamboree in Caslav, the oldest European Bluegrass festival. For more news, new festival
photo´s, information on all European Bluegrass bands and information on the
annual EWOB - European World of Bluegrass Festival and Tradeshow, surf to
www.ewob.org Bands: you can have your band listed for free on the EWOB
website, just contact the webmaster through
nbma@worldonline.nl Organisers:
your festival and clubdates can be listed for free on the EWOB website, just
mail the details to the webmaster at nbm@worldonline.nl
EWOB and EWOB - European World of Bluegrass are the registered and legally
protected trademarks of the Netherlands Bluegrass Music Association - NBMA
and the EWOB Association
DENNIS SCHUT - EWOB
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.
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The Ryman thin-line
acoustic guitar
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Scottish
Arts Council Grant Aid for the Scottish
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
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
| From the desk of Steve Kaufman |
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www.flatpik.com Thank you for your interest in our Acoustic Kamp Series. We feel it is the best organized, educationally beneficial, camaraderie based Kamp available. People come from all over the world to share this experience. Everyone is nervous the first time at the Kamp - for about 15 minutes. Then they see all the love and joy and excitement around them. Everyone comes for one main purpose. To eat, sleep, dream and play music! We hope you too will join us to experience this joy in the foothills of the Great Smoky Mountains. |
| See you in June - Donna and Steve |
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Be a part of the
Annual Steve Kaufman Acoustic Kamp Series
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Fingerpicking Kamp - June 16-20, 2004 Old Time Banjo Kamp - June 16-20, 2004 Bluegrass Banjo Kamp - June 20-27, 2004 Mandolin Kamp - June 20-27, 2004 Flatpicking Kamp - June June 20-27, 2004 |
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Register online now for the 2004 Kamp! If you prefer to mail or fax in the registration, Steve Kaufman's Acoustic Kamp 24 hour fax line ~ 1-865-982-3808 |
| Our special Kamps are designed to gather musicians of all levels
from around the globe with common goals - learning, playing, eating and
sleeping music. Whether you are a beginner's beginner or a seasoned
professional, each Kamp's classes and activities will inspire and
challenge you. Our intent is to maintain a non-competitive, learning
atmosphere that will encourage you to grow musically and seek out new ways
of playing your instrument.
Steve Kaufman has put together the strongest team of Guitar, Banjo and Mandolin instructors the world has to offer. The Mandolin Kamp Team consists of Carlo Aonzo, Butch Baldassari, Alan Bibey, John Moore, Roscoe Morgan, with Don Stiernberg and Sherry Marshall as the “New Pickers” instructors. The Old Time Banjo Team: Laura Boosinger, Wayne Erbsen, Cathy Fink. Dan Levenson will teach the “New Pickers” class. The Bluegrass Banjo instructors are Dennis Caplinger, Murphy Henry, Jens Krüger and Billy Ray Lathum. Special Guest Gary Davis. The Flatpicking Team consists of Pat Flynn, Beppe Gambetta, Adam Granger, Mike Kaufman, Steve Kaufman, Ewe Krüger, Marcy Marxer, Tony McManus, Chris Newman. Special guest Rob Bulkley. Cathy Fink will teach the “New Pickers” class. The Fingerpicking Team is Thom Bresh, Rolly Brown, Tony McManus and Eddie Pennington. All of these instructors are well-known for their individual and unique picking and teaching styles. They were carefully chosen for their talents - not only as musicians but also for their instructional expertise, easy going attitude, and approachability. Hundreds of topics will be discussed, thoroughly examined and instructed. COST: Our facilities are on the campus of the spacious, scenic and historic Maryville College in the foothills of the Great Smoky Mountains. The Campus facilities include dormitories, cafeteria, concert hall, classrooms, workout facilities, chapel, snack bar and "The Kamp General Store." The sleeping quarters will be in the College dormitories. There are two beds per room with shared baths. A few rooms have private baths. Pairing up of friends is possible, but limited so let us know early. Suites for families are available on a first come basis. Back by popular demand - First come basis - Quiet floors or Jam Floors. Choose whether you want to sleep or jam. Quiet Floors jamming curfew at 11:00 PM. All Picks Down - Self Monitored. No guards on the floors. Family members may attend for an additional fee. This family member fee covers the evening concerts and room and board only. In addition to the two two-hour long daily classes, we are offering focused afternoon sessions and/or slow jam sessions. These sessions will be led by a panel of instructors. They will lecture and take questions on specific topics. The evening Kamp concert series is open to all Kampers, spouses and the general public. The concert series is designed to really show off our instructors. They are mostly known for their concert performance so you will really see these stars shine. This is their evening to stretch out so your guess is as good as ours what to expect! Special note that the concert series are now becoming the grandest of it's kind in East Tennessee. The Contest: We have a very special contest for the Flatpicking, Banjo and Mandolin pickers. We will hold the Third Annual Band Scramble Contest. We started this event in 2002 and everyone loved it. It was fun. It was challenging but mostly it had great Kamp Spirit and again, friendships were developed. It was a blast so plan on being a part of the Band Scramble Contest hosted by Rob Bulkley. (See description Elsewhere)
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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!
Deering
Banjos are official sponsors of the Scottish
WHY A DEERING?
There are few possessions as deeply personal as a musical instrument. It beckons its owner to pick it up. It inspires new ideas. It is a comfort during difficult times and it enriches our lives in more ways than we are consciously aware. It does all this and more if it is the right instrument for you. Some banjo makers claim their sound is best, most powerful etc. Greg and Janet Deering believe there are beautiful voices from many banjo designs and have dedicated 23 years to tailoring banjos to the players, not telling players what sound or look they SHOULD like. Unlike classic makers who rely on reputations earned in the '20s and '30s, Deering has become one of the most popular banjo makers in the world by listening to players around the world and working from a belief that the banjo is a vibrant living instrument with an expressive musical capability; an endless creative frontier waiting to be explored.
VARIETY FROM A SPECIALIST
Deering makes banjos exclusively. The great masters through out history spent their days working, thinking, and analyzing. Greg Deering has dedicated his life to understanding what makes various banjos unique in sound and playability and applying this knowledge to every Deering Banjo built. This knowledge is indispensable because Deering makes more styles of banjos than virtually any maker. A talented amateur can make a banjo that might sound good but then his or her next banjo doesn't have the magic of the first. Why not? The combination of tone metals and tone woods design the voice of the banjo but the magic can only be deliberately added by the master luthier whose skill and experience rise to the level of intuition. Greg Deering's life long specialization and intense dedication has given him insights into the banjo that are not only extremely rare but are easily heard and felt in the sound of a Deering Banjo.
THE STORY OF A FAMILY
Greg Deering's passion for building banjos was guided by his father's teaching him to be a craftsman. His father provided simple hand tools and instilled a sense of uncompromising excellence that taught the young luthier what could be done with analysis, practice, persistence and discipline. Though his father was not an instrument builder, Greg's skill developed with a love of folk music. When his first inexpensive banjo (made of plastic) no longer inspired his artistic nature, Greg built a banjo. When other folks tried it, they wanted one. Greg's years of craftsmanship training and repairing many banjos and other instruments combined to create an insight into the musical nature of the banjo that revealed itself in an instrument that was vibrant, responsive, rich and wonderfully comfortable to play. Only attention to the smallest details can consistently produce world class banjos. Greg Deering's unwavering love and persistent dedication to this timeless instrument has created some of the most sought after banjos in the world.
Janet
Deering has always been a tireless partner and
craftswoman, working beside Greg and raising two children. Janet would sand
banjo necks on their front step till her fingers were raw from the constant
abrasion. She would wrap her fingers and continue sanding. She soon mastered
the fine art of finishing. Her skill
with
Today Greg and Janet Deering come to work each day with a deeper love and commitment to the banjo than ever before. Janet ingeniously weaves promoting artists and their music, in Deering’s advertising as well as promoting the many music stores around the world that carry Deering Banjos. Greg is constantly evaluating all aspects of production for his eternal pursuit of excellence. Whether Greg is leading his Boy Scout troop or Janet is working through her many Church programs, or providing free banjo classes for any Deering employees, the Deerings put the best of themselves into everything they do.
THE HEART OF A COMPANY
The most perfect design will not succeed if it is not properly crafted. The Deering craftsmen are all carefully chosen and thoroughly trained by Greg Deering. But no amount of training can make up for a personal unrelenting commitment to quality. This is why the selection of the Deering craftsmen is so clearly evident in the elegant and precise work that is the hallmark of a Deering Banjo. When closely examining a Deering Banjo the workmanship represents the highest level of commitment in every aspect. This requires not only the freedom to reject the mediocre, but also the internal commitment on the part of every craftsman to follow the trail of excellence. Deering's craftsmen are the finest and most dedicated artists to build banjos in this or any other era of the banjo. With craftsmen who have been with the company for nearly 20 years, it is easy to see how these master luthiers have developed their art through a life long commitment and have produced some of the most beautifully crafted banjos ever made. When you buy a Deering banjo your banjo has been crafted and assembled by hands that reflect the spirit of excellence that is in the heart of every Deering craftsman.
WE WORK FOR YOU
Buying a banjo can be confusing because there is not much written information available about how banjos are made and why. There are certainly plenty of opinions. If you are thinking about buying a banjo send for our catalog and we will include a booklet written by Janet Deering called "How to Sell (or buy) Banjos." It will give you excellent insights about how banjos are made. There are many banjo makers around the country, just as there are many doctors or mechanics. If you need to have an appendix out, you wouldn't call a heart surgeon even though they are both doctors. Why ask a motorcycle mechanic to fix your washing machine? Why buy a banjo from a company that mainly makes electric guitars and pianos and motorcycles? When calling with questions about your new banjo, wouldn't you rather talk to someone who builds banjos exclusively (rather than a corporate answering computer offering you a catalog for guitar amplifiers)? When buying a Deering banjo, YOU are the recipient of 23 years of unrelenting excellence. YOU are the beneficiary of dedication and understanding to a single instrument. YOU will receive the same quality and care as the most famous musicians today.
Greg and Janet Deering are Masters of the Art of banjo making and would be honored to make one for you.
THE GOODTIME BANJO
THE POT:
-
Standard 11" diameter
-
Satin finish
-
Adjustable tailpiece
-
Multi ply birch/maple
-
Single coordinator rod
THE NECK:
-
Rock Maple
-
Satin finish
-
Slender profile
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All geared tuners
-
PLAYABILITY:
The Goodtime banjo has a slender low
profile nec
k that is easy to finger and comfortable for large and small hands. The
high quality rock maple wood contributes to the bright sparkling sound of the
Goodtime banjo. This hard, dense wood is also very strong and stable. The fret work is accurate and precise to
ensure accurate intonation over the entire fingerboard.
ADJUSTABILITY: The single coordinator rod in the pot easily and effectively adjusts the playability so that the strings are close to the fingerboard and are easy to press down. This allows the beginner and the professional to adjust the action (height of the strings) to their own particular style. All five tuners are geared and easy to tune.The tailpiece is extremely strong and easily adjustable to maximize tone by raising or lowering it.
LIGHT WEIGHT: The Goodtime banjo weighs about 4 pounds so it is light enough for children to hold and play and is ideal for traveling, camping, hiking, taking to the beach and provides a vibrant singing banjo tone in any situation. The Pot is 11 inch diameter and is the standard size. This means replacement heads are easy to find.
TONE: The multi-ply pot is made of birch and maple. Both woods are hard and dense and contribute to the bright crisp sound of the Goodtime banjo.
Professional musicians have told us that the Goodtime banjo has such clear and accurate intonation and the tone is so full, bright and clear, that they would not hesitate to perform with it on stage. Though it is a low priced banjo, the use of professional grade woods and the careful fitting and design of the parts give the Goodtime banjo a musical tone that has many of the qualities demanded by professional banjoists and entertainers. With its sparkling and sweet sound it is fun to learn and play and enjoyable for family members to listen to while the student is learning.
WARRANTY:
The Goodtime banjo is made in the
The Goodtime banjo is easy to play, handy, rugged, easy to adjust and has a sparkling tone comparable or superior to other brands of banjos costing three times as much.
THE GOODTIME BANJO QUIZ
1. Why is the Goodtime banjo easy to finger and comfortable for large and small hands?
Answer: The neck has a slender, low profile.
2. Besides being strong and stable, what is the acoustic benefit to the high quality hard rock maple neck?
Answer: The hard rock maple contributes to the bright sparkling sound of the Goodtime banjo.
3. What allows the beginner and the professional to adjust the action to their own particular style?
Answer: The single coordinator rod easily and effectively adjusts the playability.
4. Why is the Goodtime banjo easy to tune?
Answer: Because all five tuners are geared.
5. What is the benefit of accurate and precise fret work?
Answer: It ensures accurate intonation over the entire fingerboard.
6. What is the acoustic benefit of the pot being made of hard, dense birch and maple?
Answer: It contributes to a bright crisp sound.
7. What are the advantages of the light four pound weight of the Goodtime banjo?
Answer: It is light enough for children to learn to hold and play and is ideal for traveling, camping, hiking and taking to the beach.
8. What is the benefit of the 11 inch diameter pot?
Answer: It is the standard size so replacement heads are easy to find.
9. What are the benefits of the Goodtime banjo tailpiece?
Answer: It is extremely strong and easily adjustable to maximize tone by raising or lowering it.
10. What is the warranty on the Goodtime banjo?
Answer: One year
11. Is the Goodtime banjo imported or made overseas?
Answer: No. It is made by the Deering Banjo Company in
12. Is the Goodtime banjo somewhat delicate?
Answer: No. It is rugged and easy to adjust.
13. How does the Goodtime banjo compare to other brands of banjos?
Answer: It has a sparkling tone comparable or superior to other brands of banjos costing three times as much.
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