Volume 53 – Issue 2 www.huntsvillefolk.org Spring/Summer 2019

The second quarter HTMA Membership meetings will be held at 1:30-4:30:  April 14th (Moved up due to Easter)  May 19th  June 16th Please check the HTMA website to verify meeting locations, as they may vary HTMA President’s Notes HTMA Coffeehouses are scheduled for March 2019 7:00 at Burritt Museum’s Old Church. Dear Friends, Tuesday April 23rd As a non-profit organization, our purpose and Jason Bailey Band objective is to preserve and perpetuate Tuesday May 28th traditional music, instruments, and styles of rendition. This includes, but is not necessarily Harmony Sound Pickers limited to, what is commonly referred to as Tuesday June 25th folk, traditional, and old-time music. We emphasize live performance of music (not- Milltowne recorded or assisted by recordings) using CONTENTS natural, acoustic instruments and unaltered Page 1 – President’s Notes human voices. We strive to provide wholesome Page 2 – Upcoming Events and informative family entertainment in each Page 3 – April 23rd Coffeehouse and every event we sponsor or participate in. Page 4 – May 28th Coffeehouse We have a year of diverse and both regionally Page 5 – June 25 Coffeehouse and nationally respected performers booked into the Coffeehouse. Monthly Coffeehouses Page 5 – Whoever Was Maud Irving? are the 4th Tuesday of the month, opening Page 6 – A Remembrance of Dan Charles with a performance by HTMA members, Page 11 – New Verse and Chorus for “Vacant followed by the headliner act. Venue location Chair” is the Old Church at Burritt on the Mountain. Page 12 –Easy 2-Chord Songs for Page 13 – Upcoming Coffeehouse Openers Page 14 - Why Are There So Many Jokes? (Continued on Page 3) Page 17 - Classifieds

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Schedule of Upcoming Events HTMA Executive Board Please see following pages for more details on upcoming meeting, coffeehouse, and retirement President - home gig dates. LYNNE EDMONDSON [email protected]

The second quarter HTMA Membership Vice President & Public Service Chairman meetings will be held at 1:30-4:30: JIM ENGLAND

256-852-5740 [email protected]  th April 14 Main Huntsville Library (One week early to avoid Secretary/Treasurer PAT LONG conflicts with Easter) [email protected]  256-539-7211 May 19th Main Huntsville Library  June 16th LOCATION TBD Publicity Chairman BOB HICKS (Check the website for the latest meeting locations) 256-683-9807 [email protected] Second Quarter Coffeehouses will be at the Burritt Museum Old Church, 7:00-9:00 Performance Chairwoman KAREN NEWSUM  Tuesday April 23th [email protected]

Operations Chairmen th  Tuesday May 28 GEORGE WILLIAMS [email protected] LARRY HALTERMAN (co-chair)  Tuesday June 25th [email protected]

Webmaster/ Please contact Jim England if you would like to CHRIS KIDD be notified of upcoming retirement home gigs. [email protected]

Acting Newsletter Editor Jerry LeCroy (Position open!)

The leadership of HTMA invites YOU to be an active part of our great organization, whether you play an instrument, or want to share in any other way, we welcome you and thank you for your support!

For more information about HTMA or current events, you can visit our website at www.huntsvillefolk.org 1 Wade Mountain Wanderers with Wayne Taylor at last September Gazebo You can join up or renew membership using PayPal concert at Photo courtesy J. LeCroy) http://www.huntsvillefolk.org/paypal.htm

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[President’s Notes, Continued from Page 1] Another fun aspect of HTMA is we provide several opportunities for you to rehearse and even perform with other musicians. Once a month on 3rd Sunday, we have an HTMA Monthly Meeting- Jam: usually at Huntsville Public Library. Retirement Home Performances are scheduled once a week, rotating between 3 different locations. The first Wednesday of each month, you have an opportunity to participate in a Traditional & Folk Acoustic Jam onstage at the Lone Goose

Saloon. 3 Jason Bailey For more specifics on these and other (photo courtesy Jason Bailey) activities go to the newsletter, the website h www.huntsvillefolk.org and/or become a The April 23 HTMA Coffeehouse will member and get on the email list. feature Jason Bailey Song…is time (C. Rovelli, The Order of HTMA is very pleased to to present The Time, pg 212). Jason Bailey Band. The band performs a Lynne Edmondson wide variety of musical styles—all with the common ground of American roots music. Bluegrass and Jazz are strong influences in the JBB in addition to their musical predecessors: , Celtic and Classical. Leading the band on mandolin, Jason Bailey brings his original compositions of jazz- celto-grass to the forefront while also presenting re-arranged versions of both modern pop/rock covers and traditional American roots standards. Bailey has

2 James Smith at the January 2012 HTMA Coffeehouse (Photo courtesy J. LeCroy)

Page | 3 currently released five albums featuring his original music which have been featured in Music Hall), and online magazines (mandolincafe.com).

7 Orrin Star playing at an HTMA house concert in 2011. Orrin passed away November 29, 2017. (photo courtesy J. LeCroy)

4 Former HTMA Treasurer Jim Holland with Jim Wood at a 2011 coffeehouse (photo courtesy J. LeCroy) Our May 28th HTMA

Coffeehouse will feature Harmony Sound Pickers Bill Gravitt opened the Harmony Sound Music Store in 2003. Over the years, Bill has provided a venue for local musicians to gather and play on a weekly basis. Harmony Sound Pickers is 5 Jim and Inge Woods with their band at the same coffeehouse a group of those musicians, and its (photo courtesy J. LeCroy) members perform regularly throughout the local community. Their music appeals to a variety of listeners and spans many styles, from Bob Wills to Hank Williams to Bob Dylan. The band’s members include Sylvia Dean (vocals and ), Johnny Lee (), John Keller (guitar), Mike Perry (vocals and guitar), John Barran (vocals and mandolin) and Rick Holcomb (vocals and bass and whatever else he wants to 6 Curtis & Loretta playing a 2015 Coffeehouse play) (Photo courtesy B. Cassels)

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Our June 25th HTMA performance without fiddler Danny Charles, who was principally Coffeehouse will feature responsible for hooking up the band with HTMA events. Milltowne Whoever was Maud Irving? by Eric M Bram Maud Irving is the name usually given as the author of the lyrics to the 19th century ballad I'll Twine ’Mid the

Ringlets, originally published by Joseph Philbrick Webster but most famously 8 Milltowne playing an HTMA Coffeehouse in 2017. Greg Staggs, Dan Charles, Charelle Hudgins, and Keating Johns. recorded in 1928 by the Carter family as (photo courtesy J. LeCroy) the familiar folksong Wildwood Flower. Milltowne is an Americana band that For many decades, country music lovers acoustically blends the musical genres have wondered who she was, this of folk, bluegrass, gospel, rock, blues, “wildwood flower” who penned the and country. poignant words to this haunting song. Their varied influences include Bill No one has been able find a published Monroe, The Grateful Dead, Union copy of the original poem by Maud Station, Bob Dylan, The Beatles, and so Irving to which composer J.P. Webster is many more. Milltowne’s interpretation said to have put the music for I'll Twine of traditional songs, classics, and ’Mid the Ringlets, and until now there original music create a timeless sound didn't seem to be any information that appeals to listeners of all ages and available at all about Maud Irving the musical backgrounds. person. Was that even the lyricist's real name, or was the name “Maud Irving” a Milltowne has been an active HTMA pseudonym? supporter for over five years, playing in HTMA fundraisers, coffeehouses Eric Bram has extensively researched performances, and Gazebo concerts. the history and possible origination of the Wildwood Flower song. To see the Long time Milltowne members are lead remarkable history and connections vocalist Charelle Hudgins, Greg Staggs behind this tune, please visit: on mandolin and banjo, Keating Johns http://www.ergo- on guitar, and Nick Walker on bass. sum.net/music/MaudIrving.html This will be Milltowne’s first HTMA Page | 5

2006 as I became increasingly interested in playing traditional music, and became familiar with HTMA. After Marylee and I moved to Huntsville and I fully retired, for some reason I was drawn to wanting to play traditional music. I joined HTMA in late 2005, and by 2006, I had heard Dan Charles’ beautiful fiddling at many meetings. That, plus my desire to learn to play Ashokan Farewell, influenced me to take up the fiddle, though I had never touched one. So I ordered myself a fiddle online and started attending: 9 Dan Charles, June 15, 1950- March 12, 12019 • HTMA meetings -- sitting in back (photo courtesy J. LeCroy) listening and writing down the names of Thank You, Dan songs played. E.g., at the November 2006 HTMA meeting jam, I noted that By Bill Cassels Dan played Year of Jubilo, Maiden’s This is a small personal tribute to Dan Prayer, and St Anne’s Reel, Charles, an incredibly gifted and • Pre-meeting workshops (the April talented musician, who delighted in 2006 workshop by Vice President Jim sharing his extraordinary talent and Holland was just what I needed – “String interest with others. Instrument Adjustments for Dummies”), Dan had many facets other than music. • HTMA Coffeehouses -- my first He lived an interesting life, helped many Coffeehouse, in April 2006, featured people in many ways, and had an Sandy River Ramblers (Don Evans, Pat encyclopedic knowledge of many things Long, Paul Turner, Howard Bozeman). including old movies, John Wayne, And NASCAR racing, the Civil War, and the Dillards on the Andy Griffith Show. But • HTMA members’ concert at the my admiration and appreciation for Dan Burritt gazebo in July 2006, in which stemmed primarily from his generosity in Dan appeared twice – once with Three helping me to learn to play the fiddle Forks of the Flint (with Sue Huffman and over the last 12 years, and these Jack Ellis), and later with Jerry LeCroy. recollections are related to that. I remember being motivated to someday be able to play like Dan. Although I don’t recall the moment I met Dan, I’m sure it must have occurred in

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By this time in 2006 I must have meant that my effort would be better introduced myself to Dan at an HTMA spent learning to play the fiddle better. meeting or event, and told him how I At the close of every phone call I had admired his fiddling. We gradually with him, Dan would sign off saying “Say began playing fiddle together (Dan Hey to Marylee!” Which I always did. played, I practiced), usually at his house One would not have known it from his in his music room -- the first room to the gruff voicemail greeting (“Nah, leave a left after entering his front door (and message”), but he loved being with getting past his adoring dog Murphy others, and was passionate about who greeted visitors enthusiastically). encouraging others to develop their As I struggled over the years to improve music skills. I could never understand my tone and technique, I frequently why someone with his ability would care begged Dan to “tell me some secrets” of about beginners like me. fiddling. He never actually revealed a Dan was extremely supportive of my “secret” – which I think was his way of playing. He encouraged me to play with telling me that there is no substitute for others, and gave me opportunities to do practice. Dan had practiced a lot, and so by including me in some of his gigs. from a young age. At some point in his He was my fiddle guru. I outfitted youth he was taking lessons and myself with fiddle accessories just like practicing hours daily. He once told me his, hoping that would somehow make a story about how a violin teacher, in me sound more like him. I bought the order to force him to shape his left hand same left hand finger exerciser; the correctly, would hold a burning cigarette same fiddle stand, the same shoulder just above the back of his left hand while rest, the same rosin (although I did not Dan played so that Dan would get buy the Liebenzeller rosin with meteorite burned if his hand shape changed. iron that Dan was enthusiastic about for A few of the things Dan told me over the a while), the same mutes and the same years come to mind. – “B sharp or B strings. Regarding strings, Dan said he flat”, by which he meant to tune each used, “Dominants all the way, Bill. string just a tiny bit sharp so that when Silver-wrapped perlon A’s and D’s, and the string was stretched due to bow a wrapped aluminum over steel E - for a pressure, the tone would be accurate. warmer sound.” I even bought a violin Dan claimed that Red Wing was John from Dan in 2009. Dan told me this had Wayne’s favorite song, which is been an extra violin that he bought in a probably true since Wayne sang it in 3 Joplin (Missouri) pawn shop in 1978 different movies. I once told Dan that I while he was a student at Tulsa was thinking about learning to play the University. Dan kept it at his parents’ mandolin as a second instrument. His home in Neosho, MO, to accompany his reply was simply, “Why?” Which to me Page | 7 mother on the when he visited Dan loved to play music. In addition to them. his beloved Milltowne band, Dan was in many other music groups: I was aware Dan had gentle ways of teaching while of a few: Bob and Bartie Scott’s Blue we were playing together at a jam or Velvet; Piedmont Strings/Chase Creek practice. When a vocalist was singing, Strings (with Marcia Chesebro, Sue he would sometimes start “chucking”, Huffman, and Jack Ellis among others; which I understood to be a suggestion to which, since 2010, played old English me that I stop whatever I was playing carols and seasonal songs for the and “chuck” along with him, at which annual Twickenham Christmas home point he would return to beautiful fills tour); Jeriann Payne’s Trillium; Rebecca and harmonies. If he felt my timing was Holbrook’s Hot Rock Hollow Band; off, I would see his foot begin tapping in Tangled String Band, Phil Riddick’s an exaggerated manner, drawing my Sweetwater, and The Garden Strings. attention to the proper timing. With his talent, Dan was in high At jams and practices I liked to sit near demand. At the annual HTMA gazebo Dan in hopes of learning from him. At concert, he would often perform with two least once each session he would play or more groups. This seemed to an amazing note that sounded embarrass him, and he preferred to limit remarkably good against the melody. I the number of times he performed at a would ask him about how he chose that concert, probably to ensure everyone specific note to play. His answers would had an opportunity to play. He attended sometimes involve music theory -- lots of jams –at Chuck & Lizze Arnold’s augmented chords and leading tones -- home, Jerry Hinkle’s home, Rebecca’s and other times just a shrug. porch, Straight to Ale, Lone Goose, Whenever I’d become frustrated at my Greg Staggs’ Meridian Crossing open lack of progress in sounding more like mikes, and HTMA sponsored jams; Dan (which occurred often), I would sharing his ability and encouragement to need to reinforce to myself that the fault all, at all levels. was not in my fiddle, bow or strings. So He was serious about his fiddle playing. every few months I’d ask him to play I believe he always wanted to sound as something on my fiddle, and, of course, good as he could, regardless whether he made it sound awesome. I could he was at a paying gig, or just an never understand how he could drag my informal jam. He always gave his best bow over an open string on my fiddle effort. In April 2018 he was a member and it would sound beautiful and of the orchestra for the Randolph High mellow. Yet, when I did it, the sound School musical “Wizard of Oz”. The was screechy and raspy. music was very difficult – probably much like orchestral music he played in high

Page | 8 school and college. He practiced very Dan, he would somehow listen to what I hard for that gig. He would talk about was playing – which was usually straight the difficult fingering in the upper melody – and he would improvise positions on the neck of the violin that beautiful harmonies, fills and he was working on for that gig. I was countermelodies. When I stumbled, he fortunate to see a performance and hear would return to the melody long enough his beautiful violin work. so that I could get back on track, and then he would fly off and resume his Dan liked to refer to himself as a beautiful improvisations. Dan could “sideman” or “second fiddle” when he listen to the lyrics while he was playing, and I played together. He preferred to and tailor his improvisation to match the not lead a song, but instead to be free to tone and rhythm of the lyrics. improvise at will to enhance the overall sound. At jams when it was his turn to It seemed to me that Dan experienced pick a song, he would usually defer to music on a different level than I did. someone else to lead a song that he Dan said he had chromesthesia, and I liked so that he could do his magic as a believe he did see colors when he heard sideman. At jams he insisted that and played music, based on the way he “singer picks the key”. He would stick would play beautiful harmonies and fills, by that mantra, even if the singer picked always consistent with a song’s chord Db or Ab. I think those were his two progression. I was always amazed at least favorite keys, but he seemed to how he improvised so beautifully. At play them effortlessly, and with perfect first I thought this ability might be based intonation, as always. He could on highly developed expertise in music improvise on any song that he had theory – anticipating the next likely heard before, without practice -- in 2009 chord and knowing which notes would the Walker Street Opry band played at be consistent with that chord. But I later Flying Monkey, and they requested Dan realized that he played how he felt. come on stage and join them for a few While he was playing a complicated songs. He sounded great. piece, he often did not realize the name of the chord. When asked what chord He had the ability, while playing, to went with a particular melody note, he listen to the performance as a whole, would figure it out by quickly playing an and do whatever was necessary to arpeggio of that melody note along with improve it, on the fly. Dan would often the other notes that sounded right to him tell me about Milltowne practice at that point in the song, and then I think sessions where he and Greg Staggs he would identify those notes, which had played interesting breaks -- playing would reveal the chord name. “off of each other”, improvising harmonies, and countermelodies that Dan may also have had a sense of synchronized well. When I played with perfect pitch. He would usually tune his Page | 9 fiddle by ear, without a tuner. And while whenever I play out -- at nursing homes playing, I would see him stop briefly to and jams. Dan will be in my mind tweak the fine tuner on one of his strings motivating me as I keep trying to play making a miniscule adjustment, before cleaner, faster and master that hokum resuming the tune. I could hear no bowing we both worked on. My memory difference, but he could. of Dan's pure sweet tones will be my goal, as I try to improve my own tone. Dan could play tunes by ear very well. I And I know Dan would be pleased if I recall he would oftentimes suggest a ever learn to properly count-in a song song at a jam and, if others didn’t with a 6/8 time signature. recognize it by name, he would play it through beautifully, error free, by ear. So Dan: -- Thank you for sharing your Dan could also read music notation as talents and love of music with me, and well as anyone I have ever known. If I with so many others. You are greatly wanted to introduce him to a new tune missed. And yes, I remember another that I was working on, I found it most one of your favorite songs – “We’ll Meet efficient to show him the sheet music, Again.” I sure hope so. rather than playing the tune for him (with my errors in timing and such). He would scan the sheet music and play the tune flawlessly. Dan loved to play many types of music - - traditional tunes, Civil War era songs, gospel music, Texas swing, rock, country, bluegrass and old standards. A few of his favorites he shared with me, many of which I still have on my “learn for Danny” list, include: Estrellita, Liebestraum, Waltz of the Ohio, Gypsy Waltz, Columbia Gem of the Ocean, Marching Through Georgia, Dixie, After You’ve Gone, Anytime, Limehouse Blues, Lonesome Moonlight Waltz, All of Me, and Autumn Leaves (which he had enjoyed playing with his Mom). One song that I loved to play with him and Sue is My Dear Childhood Home.

Some of Dan will certainly live on in me. 10 Karen Newsum at the 2018 Burritt Gazebo concert Dan's influence will be heard by others (photo courtesy J. LeCroy)

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tradition of adding verses and choruses I don’t think he’d mind. Additional Verse: It’s blue O’clock Tuesday morning, The bird’s, “Seet, Dee, Dee”’ then silent fell, The Robin’s call sounding mourning, The world became Woodpecker still. Then a swell of chirp n chatter

A fiddle tune floats through the air,

11 HTMA Members enjoying Christmas songs and treats in the It’s blue O’clock in the morning, old church for the December jam session. (photo courtesy B. Cassels) There will be one vacant chair. “Additional Verse and Additional Chorus: When people joy n create music, Chorus for Vacant Chair An across strings is pulled a bow, By V L Halterman (HTMA operations co- chair) We’ll remember n we’ll miss him, For Dan Charles, based upon a lyric Dan His blue eyes and thoughtful soul. once suggested to me, (“Blue O’Clock in the morning”) and maybe he mentioned it to HTMA Membership some other people?? He thought it would Your membership dues serve an excellent make a good song. I agreed and wrote it purpose, and are much appreciated. You down thinking I might do something with it can renew on-line at: in the future. So this is inspired by some of http://www.huntsvillefolk.org/paypal.htm Dan’s own words, if it’s useful feel free to or by sending a check made out to “HTMA” use it. Dan seemed particular about original to Treasurer Pat Long, 414 McClung arrangements so I felt rewriting the whole Avenue, Huntsville, AL 35801. song would not honor him, but in the folk

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tricks. There was an introduction to the Easy 2-Chord Tunes for chop, which is a rhythmic action strum Mandolin by Wayne Erbsen without tone. Strumming the waltz rhythm can be on the 1, 2, 3 or just on the 2 and 3. A book review by Lynne Edmondson For those who have little or no experience reading and playing the melody line from sheet music on a mandolin, Wayne presents his own version of tablature. He states this version of musical notation will make it easier to begin reading sheet music. And indeed, his tablature includes the name of the note, unlike most other tablature.

Playing along with the CD is helpful to learn and improve notes, chords, and the suggested strum patterns. Time signature, rhythm, and intonation can all be improved by listening to and interacting with the CD.

This manual teaches both techniques for playing the melody line and chords. Each of the 39 songs is introduced with chords, strumming, sheet music and words. The book also includes 5 scales and a glossary.

The book and CD has a stronger focus on playing chords and the rhythmic motion used while strumming. I found learning 2-finger chord patterns for the 8 common chords, was easier than traditional 4-finger chords for me to both remember and physically play. It 12 Pat Long with her Sandy River Ramblers band made chording so much easier even for at an HTMA Coffeehouse in 2014 (photo courtesy J. LeCroy) old dogs who think they can’t learn new

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Upcoming HTMA

Coffeehouse Openers

By Jerry LeCroy The HTMA Coffeehouse continues to feature members and member bands opening for most shows.

The April coffeehouse will open with Wayne Taylor and his Wade Mountain Wanderers Band. Wayne has been entertaining Audiences with his brand of traditional music for nearly fifty years. It’s bound to be fun.

In May, former HTMA president Jerry LeCroy will open for the Harmony Strings Pickers. Jerry is working on a few new songs for this coffeehouse, so our guests may hear a few new tunes. The June coffeehouse will open with Bob and 15 Jerry LeCroy playing at the 2018 Burritt Gazebo concert Patti Heinisch. Bob is a fine multi- (Photo courtesy B. Cassels) instrumentalist, and Patti will sing and play bass.

16 Bob And Patti Heinisch playing the March 2018 HTMA 14 Three Forks of the Flint, with Dan Charles, Jack Ellis, and Sue Coffeehouse Charles at an HTMA Coffeehouse in 2014 (Photo courtesy J. LeCroy) (photo courtesy J. LeCroy)

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boats, and in the camps of Civil War soldiers. At the core of minstrel music was the 5-string banjo. In time, the instrument itself came to symbolize an entire era of Why Are There So Many minstrel music.

Banjo Jokes To understand minstrel music and the banjo’s place in it, we must remember that by Wayne Erbsen minstrels were not just performing music. Instead, they were part of an entire stage Maybe you’ve heard the one about the banjo show consisting of rowdy dancing, player who always sits in a level spot so the boisterous singing and playing, biting humor tobacco juice will run out of both sides of and outrageous skits. Of course, minstrel his mouth. shows were done in blackface with the performers wearing loosely fitting Or the guy who makes a perfect score by ragamuffin garments, oversized shoes, and throwing a banjo in a dumpster without slouch hats. With the ’ prominent hitting the sides. He earned extra points for place in minstrel music, it’s no wonder that landing on top of an accordion. the banjo was forever linked to the comic character depicted in the minstrel show. Or what has 16 legs and 3 teeth? The front row of a banjo concert. When the movie “Deliverance” hit the big screen in 1972, it became an instant classic. Or what do you call a banjo player in a Almost overnight, the faded image of the three-piece suit? A defendant. blackfaced minstrel banjo player was replaced with the stereotype of the banjo The fact is, people love making jokes about being the favorite instrument of low-intellect banjos and the people who play them. These hillbillies. With its sordid past, it’s no banjo jokes have taken over where the wonder that the poor banjo continues to be moron, blond, lawyer and Polack jokes left America’s whipping boy. off. For the heck of it, let’s try to figure out why people get such a kick out of picking on Banjo jokes, although told in the spirit of banjo players. What is it about the banjo that fun, do reveal remnants of America’s makes it the brunt of so many jokes? ambivalent attitudes toward the banjo and those who play it. To answer this question we need to take a little trip back to 1843. At that time, minstrel For example, a large number of banjo jokes music was just taking root, and it soon paint the banjo player as stupid, or worse. surged in popularity to become America’s first national musical obsession. Minstrel How do you get a banjo player’s eyes to bands performed everywhere from concert sparkle? Shine a light in his ears. stages in the north, to the gold fields of California, on the decks of Mississippi River Why did the banjo player cross the road? It Page | 14 was the chicken’s day off. sentimental, with themes of dead mothers, dying orphans and widows waiting for their There’s not much difference between you an lost sons to come home. Unfortunately for a fool, is there? “Just this here banjo.” banjo players, the sentimentality of has splashed on them, What did the banjo player get on his IQ making them seem overly sentimental too. test? “Drool.” How many banjo players does it take to What is this? x x x Three banjo players screw in a light bulb? Five. One to screw it cosigning a loan. in and four to lament about how much they miss the old one. Why was the banjo player staring at the bottle of orange juice? Because it said Banjo players are also considered purists “Concentrate.” who shun electric instruments.

A man went to a brain store to get some How many banjo players does it take to brain for dinner. He asked the butcher, screw in a light bulb? Five. One to screw it “how much for fiddle player brain.” “Two in and four to complain that it’s electric. dollars an ounce.” How much for guitar player brain?” Four dollars an ounce.” Bluegrass banjo owes its existence to one What about banjo player brain?” “One man, . hundred dollars an ounce.” “Why are the banjo player brains so high?” “Do you How many banjo players does it take to know how many banjo players it takes to get screw in a light bulb? Five. One to screw it one ounce of brain?” in, and four to complain that Earl wouldn’t have done it that way. Many of the attributes of the banjo itself have helped to make it the brunt of jokes. Banjo players are often lambasted because For example, the banjo is a rather loud they don’t earn much money playing the instrument, especially when played with banjo. picks, which are used by most bluegrass banjo players. What’s the difference between a run over skunk and a run over banjo player? The What’s the difference between a banjo and a skunk was on his way to a gig. chain saw? You can turn a chain saw off. What will you never say about a banjo Banjo played in bluegrass style is seen by player? “That’s a nice Porsche.” many people to be highly repetitious. What’s the difference between a banjo and a What’s the difference between a banjo and pizza? At least a pizza can feed a family of an Uzi? An Uzi only repeats forty times. four.

Bluegrass music is typically rather How can you make a million dollars as a Page | 15 banjo player? Start with two million. Can you read music? Not enough to hurt my playing. What’s the difference between a certificate of deposit and a banjo player? The CD How do you get a banjo player to slow eventually matures and earns some money. down? Put some music in front of him.

How do you get a banjo player off your Because banjo are such notey instruments, porch? By paying for the pizza. it’s generally best for there to be only one banjo in a band or jam session. Many people think that all banjo tunes sound the same. How do you get two banjo players to play in unison? Shoot one. How can you tell the difference between all the different banjo songs? By their names. The banjo has been perceived by some as a difficult instrument to play. Banjo players have frequently been accused of being less than stellar musicians. What’s the difference between a good banjo player and Bigfoot. There have been How can you tell if there’s a banjo player at sightings of Bigfoot. your door? They can’t find the key, the knocking speeds up, and they don’t know Despite the fact that banjos can be quite when to come in. expensive, some people don’t consider that they have much value. Because the banjo is a loud instrument, and bluegrass music demands a certain Joe: Yesterday my car was broken into. And aggressiveness or attack, banjos players I had my banjo in the back. Jack: Did they have been seen as show offs. take it? Joe: No, but they left me two more banjos. How is playing the banjo a lot like throwing a javelin blindfolded: You don’t have to be In some jokes, banjo players are depicted as very good to get people’s attention. being less than human.

By their nature, banjos easily get out of tune, How do you tell where all the pink flamingos so there’s lots of banjo tuning jokes. live? There’s a banjo player on the front lawn! What’s the best way to tune a banjo? With wire cutters. Banjo players are like sharks. They think they have to keep playing or they’ll sink. Most banjo players learn either by ear or by And finally, after all this research, I have tab, which is a shortcut way of writing down firmly decided that there is really only one banjo music. Very few banjo players use banjo joke. The rest are true stories. standard musical notation.

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Do you have an item for sale? Are you looking for an instrument? Are you wanting to acquire, trade or sell musical gear, recordings, books, get something repaired.... Do you need music lessons? Are you wanting to join or find a new group or band member? This section of our newsletter is for members to place ads for services or instruments or anything related to music. It will be updated for each newsletter. If you have an item or advertisement you would like to be published, please send an EMAIL (preferably before the fifteenth of the month) to [email protected] (Jerry) to have your listing included in the upcoming newsletter. In your email, fully describe what your offering or looking for, and how you want users to contact YOU, via email, phone or both, etc. Once your listing or item is no longer active, please also email [email protected] for removal of your listing. Please note that HTMA makes this service available to aid our users in finding, trading or selling music items and services only - and we are not responsible for the completion or non-compliance of any transactions between members.

Free to a good home – HTMA is retiring a couple old microphone stands. The stands are Hercules and work okay, but the plastic is getting a bit sticky. Call or email Jerry if you’d like these items.

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Vance Sheffield has a number of copies of two LPs that HTMA [then the Huntsville Association of Folk Musicians or HAFM] recorded in the early 1970s. Vance also has some records produced by TennVale in the same time period, with collections of tunes by a number of country fiddlers of that era, and other LPs recorded at the Galax convention. All of the albums came from the estate of Doug Crosswhite, owner of Tennvale records and the engineer of the 1 & 2 HAFM albums.

The price for the HAFM albums is $15 per set for the AL 1 & 2 albums, free shipping, and $10 each for any other albums, free shipping. Payment can be made through Paypal at [email protected] or they can send a check to: Helen Sheffield, PO Box 1342 Killen, AL 35645. Phone #256-757-8370, Vance or Helen.

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