Ctba Newsletter 1605
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A Senatorial Statement Honoring the Life and Accomplishments of John Ray "Curly" Seckler and the Yodeling Rangers/Trail Riders
A SENATORIAL STATEMENT HONORING THE LIFE AND ACCOMPLISHMENTS OF JOHN RAY "CURLY" SECKLER AND THE YODELING RANGERS/TRAIL RIDERS WHEREAS, John Ray "Curly" Sechler (later changed to Seckler) was born on December 25, 1919, in China Grove, North Carolina to Calvin Sechler and Carrie Sechler; and WHEREAS, Curly Seckler developed a love for music from his parents, who played a number of instruments; and WHEREAS, Curly Seckler began working at a local cotton mill at a very young age to help support his family and during this time acquired a used five-string banjo from local musician, Happy Trexler, and soon after began performing with his brother, Marvin, and Happy; and WHEREAS, Curly Seckler and his brothers later formed the group, Yodeling Rangers, which consisted of Curly on tenor banjo and vocals, Marvin on guitar and lead vocals, George on fiddle, and Duard on guitar and vocals, and played at schools and social events; and WHEREAS, in 1935, the Yodeling Rangers received greater exposure when they began performing on a daily show for WSTP radio in Salisbury, North Carolina, which broadcasted the show on several other radio stations across the State and, in 1937, the Yodeling Rangers became known as the Trail Riders and performed throughout the Carolinas, Virginia, and West Virginia; and WHEREAS, in 1939, Curly Seckler was lured to sing tenor with a new group known as the Kentucky Pardners formed by Charlie Monroe, formerly of the Monroe Brothers, leaving the group in 1940 to resume playing with his brothers until the band split up a few years -
Daniel Greeson – 15 Fiddle Tunes
Daniel Greeson – 15 Fiddle Tunes John Lawless | February 2, 2015 | No Comments The latest release from Patuxent Records’ astounding youth movement is a self- titled fiddle album from Jamestown, NC bowman Daniel Greeson. For a musician not yet 18 years old, Mr. Greeson displays a remarkable command of bluegrass fiddle, and of the classic tunes and sterling players who have defined it. In fact, one remarkable thing about this record is the degree to which it resembles the sort of fiddle albums that were popular in 1970s, long before Daniel was born. There are no fancy arrangements, tricky endings, or showy vocals. Just grab a handful of D (or A or G), wind ‘er up, and let ‘er go. You can’t get far in bluegrass fiddle without Bill Monroe, and Daniel includes six of his tunes. Double fiddle from Casey Driscoll, another young virtuoso from the Washington State school of fiddle, helps out on The Old Brown County Barn, Roanoke and Panhandle Country, all performed with precision and panache. They even add a third fiddle to Panhandle Country, replicating Monroe’s original cut. Daniel does an admirable, all-fiddle version of Jerusalem Ridge and one of Monroe’s more complicated tunes, Wheel Hoss. No shrinking violet, this young Greeson. Clearly Greeson has studied the great Kenny Baker, who many feel recorded the definitive versions of Monroe’s music. The album closes with Dry and Dusty, one closely associated with Kenny which was used as the title cut of one of his albums in 1973. You hear Kenny clearly again here on Big Sandy River which he wrote with Monroe. -
Mark O'connor Benny Thomasson Was the Greatest Breakdown Fiddler
Mark O'Connor Benny Thomasson was the greatest breakdown fiddler from Texas ever, but was tragically not recorded professionally or otherwise at his prime in the later 40s - a real shame. Here is an early Tom and Jerry from me that beat all of the Texas fiddlers consistently (older and younger) when we competed in the 70s and 80s though! Ha! It did well with the Southerners in GA, NC, VA etc too - Weiser, ID of course, Canada... I would do well in the contests they would not kick me out of shall we say! (long hair, sandals, breakdowns and all!) It was about as exciting as it ever got when Terry Morris and I would compete. Placed over him 3 of the 4 times. But for me, it did not matter. It was heavy and we both knew it. The first North and South match up of fiddlers by anyone's memory (Seattle and Texas), the young prodigious caretakers of the music. We helped usher in the new era that the old timers were seeing slip away just before we came along.. We had plenty of pedigree through Benny, Solomons and others. It had an epic seriousness to it that had the young people inspired to try and play and the old timers talking for hours and days who was the best, who were these geniuses of the fiddle with nearly no other young player in our midst? Memory lane! Mark O'Connor Yes... it seems that many on this list don't know what a "breakdown" is. It is derived from an American hoedown, not a Scots/Irish reel. -
Phil Nusbaum AB: Art Bjorngjeld PN
Art Bjorngjeld Narrator Phil Nusbaum Interviewer May 18, 2010 PN: Phil Nusbaum AB: Art Bjorngjeld PN: Well, this is May 18th, 2010. I’m Phil Nusbaum, and Art Bjorngjeld is the interviewee. We’re talking about Art’s experiences and perceptions in Bluegrass, and related idioms and such. Let me ask you first, your birth date, where you’re from, and all that information. AB: Alright. I was born in 1954, grew up in Brooklyn Center, Minnesota. My dad built a home there in ‘49, after the war, and settled there and that’s where I grew up. PN: When did you first become aware of music? AB: I grew up in a family that had get-togethers, and every time we’d have a get-together they’d play music: my uncles and my dad. My dad played the accordion, my Uncle Irvin played the banjo, Clarence played the harmonica, and so every time there was a family get-together, there was music. I did not participate much, and didn’t really appreciate it for a long time, but I was certainly aware of it. PN: Were you encouraged by the others to participate? AB: Oh yeah, always. When I was about six years old, they had a drum set for me, and I’d drum along. They encouraged me to play music in band, and as a kid, we had an organ in the house, I had organ lessons. I played clarinet in high school, but no real big interest in any of it. PN: Just something that was taking place in the house. -
Oct-Nov 2020
The A publication by the Southwest Bluegrass Association SWBA BOARD OF DIRECTORS The Bluegrass Soundboard STAFF President Vice-President Terry Brewer Marc Nelissen Managing Editor Terry Brewer 661-364-9321 909 289 8730 661-364-9321 [email protected] [email protected] [email protected] Associate Editors Treasurer Secretary Sheila Brewer, Mark Shutts Paula De Bie Missy Lyn Gibson 951-934-3478 774-248-4128 Regular Contributors [email protected] [email protected] Terry Brewer, Bert Luontela, Ann Smith, Membership Connie Tripp Chris Jones, Wayne Erbsen, Eric Nordbeck Sheila Brewer 661-305-1554 Distribution 661-364-7415 [email protected] Flo De Bie, Carol Lister, Frank & Patsy Abrahams, [email protected] Susan Brown, Ella Carter, Paula De Bie Paul Haas Louie De Bie The Bluegrass Soundboard Deadlines [email protected] 951-934-3478 [email protected] DECEMBER JANUARY issue November 1st FEBRUARY /MARCH issue January 1st APRIL MAY issue March 1st COMMITTEE CHAIRPERSONS JUNE JULY issue May 1st AUGUST SEPTEMBER issue July 1st OCTOBER NOVEMBER issue September 1st Soundboard & Web manger Social Media Terry Brewer Terry Brewer ADVERTISING RATES Missy Lyn Gibson Single Issue Yearly SWBA Host Julie Ann Evans Full page $65 $350 Sheila Brewer Half page $35 $190 $25 SWBA Jam Host Advertising Quarter page $130 $10 $60 Howard Doering Missy Lyn Gibson Card size Marc Nelisse Terry Brewer Foe more information concerning advertising Mark Shutts (including special rates and discounts) Contact Terry Brewer René Baquet Campout Hosts 661-364-9321 [email protected] Paul Haas Paula De Bie SWBA Membership SWBA School Program For member information, change of address, phone and emails. -
Press Contacts: Rebecca Brighenti
Press Contacts: Rebecca Brighenti, (413) 448-8084 x11 [email protected] www.BerkshireTheatreGroup.org Christina Riley, (413) 448-8084 x15 [email protected] www.BerkshireTheatreGroup.org For Immediate Release, please: Tuesday, September 23, 2014 Berkshire Theatre Group presents Noam Pikelny and Stuart Duncan Pittsfield, MA– Berkshire Theatre Group presents folk music duo Noam Pikelny and Stuart Duncan at the Colonial Theatre on Thursday, October 16 at 8pm. "Fans and students of the banjo and fiddle know Stuart Duncan and Noam Pikelny as among the very finest to have ever plied their trade, with all the attendant awards and critical acclaim that entails. This should be a must see event!" -Bluegrass Today Tickets to Noam Pikelny and Stuart Duncan are $35-$15. Contact the Colonial Ticket Office at 111 South Street, Pittsfield by calling 413-997-4444. Tickets can also be bought online at www.berkshiretheatregroup.org. The Ticket Office is open Monday-Friday 10am-5pm, Saturdays 10am-2pm or on any performance day from 10am until curtain. Noam Pikelny has emerged as the preeminent banjoist among a new generation of acoustic musicians. Noam is a founding member of Punch Brothers, a string ensemble which The Boston Globe calls “a virtuosic revelation.” In 2010, he was awarded the first annual Steve Martin Prize for Excellence in Banjo and Bluegrass. In 2012, Noam’s second album, Beat The Devil and Carry A Rail received a GRAMMY nomination for Best Bluegrass Album. Pikelny has shared the stage with The Decemberists, Marcus Mumford, Béla Fleck and more and continues to broaden the awareness of the banjo in the mainstream through his work with Punch Brothers, collaborating with Wilco, Fiona Apple, Norah Jones, & Jon Brion for the soundtrack to This is 40, and a collaboration with Marcus Mumford for the Coen Brothers’ film, Inside Llewyn Davis. -
Peter Ostroushko a Minnesota Treasure
November 2020 Peter Ostroushko A Minnesota Treasure Inside: From the President 3 | MBOTMA Calendar of Events 4 Meet the Board: Shane Zach 5 | Volunteer Spotlight: Tony Anthonisen 7 Cover Story: Peter Ostroushko 8 | Election Ballot 11 | I’ll Fly Away 18 | Bluegrass Saturday Morning 21 | Coming Up/Postponements 22 | Tab: Fiddler’s Dream 23 November 2020 Mission Statement: Vol. 46 To preserve and promote bluegrass and No. 10 old-time stringband music Newsstand: $3 in and around the state of Minnesota. Subscription: $35 www.minnesotabluegrass.org Thank you, MN Bluegrass members MBOTMA Hot Line 651-456-8919 Membership as of November 2020: 732 (to subscribe and for other information) [email protected] P.O. Box 16408, Mpls, MN 55416 Twitter: @mnbluegrass Facebook: minnesotabluegrass We are a Community Fundraiser Minnesota Bluegrass Board of Directors President: Laura Cooper - [email protected] raises $4275.00 Vice President: Nic Hentges Treasurer: Robbi Podrug for Minnesota Bluegrass! Secretary: Shane Zack Term expires in 2020 - President and Vice President Special Thanks to Term Expires in 2021 - Treasurer and Secretary Board Members at Large: Barbara Anton, Cathy Baldwin Term expires 2020: Dale Gruber - [email protected] Stacey Berkheimer Brett Day, Wayne Hamilton Term expires 2021: Bill Lindroos - [email protected] Douglas Chasar Rudy Marti - [email protected] Marv Cofer, Jane Conger Mark Anderson, Jason Juran Robert Copeland Board Meetings are held the first Tuesday of the month. Con- Cousin Dad tact info@minnesotabluegrass -
UNIVERSITY of CALIFORNIA, IRVINE Bluegrass
UNIVERSITY OF CALIFORNIA, IRVINE Bluegrass: A Unique Synthesis of Musical and Extra-musical Concerns THESIS Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in Music by Martin Varner Thesis committee: Assistant Professor Stephan Hammel, Chair Associate Professor Amy Bauer Professor of Teaching John Schneiderman 2020 © 2020 Martin Varner Table of Contents Abstract of Thesis iiii Introduction 1 The Recording Industry 1923-1927: Manufactured Authenticity In Hillbilly Music 6 Chapter 2: The Radio and the Authenticity of Immediacy 1922-1939 18 Chapter Three: The Folk Movement and Academicizing Authenticity 1870-1933 30 Chapter 4: The Monroe Synthesis and the Death of the Hillbilly 1939-1957 40 Chapter 5: Monroe Meets the Folk Movement 1957-1963 49 Conclusion: Ramifications and Assessment of Current Stasis of Bluegrass 58 Bibliography 62 ii Abstract of Thesis By Martin Varner Masters of Arts in Music University of California, Irvine, 2020 Professor Stephan Hammel, Chair Bluegrass has simultaneously been recognized as an archaic folk music and a living, popular art form. Although what was to be later named “bluegrass” is played no earlier than 1939, the genre has been associated with archaic and romanticized symbols such as the banjo and fiddle. Bluegrass performers have also been given the responsibility of continuing past American traditions regardless of its lack of temporal connections to past tradition. Yet, if one thinks of bluegrass as a popular music designed for the evolving marketplace, it would seem to be in the bluegrass musician’s best interest to only allude to these romantic symbols when it is economically beneficial. -
1 Darol Anger Is an Associate Professor at the Berklee School Of
Darol Anger is an Associate Professor at the Berklee School of Music and an accomplished fiddler, producer and composer. He has spent his career exploring diverse genres and leading the evolution of string bands as a soloist and an ensemble player. Anger has worked with musicians including Bela Fleck, Earl Scruggs and the Detroit Symphony, and his music has been featured on NPR’s Car Talk and in the Sim City computer games. Dale Ann Bradley is a five-time winner of the Female Bluegrass Vocalist of the Year award, presented by the International Bluegrass Music Association (IBMA). Her storied career dates to her high school days and weekly gigs at Pine Mountain State Park in Kentucky with her first band, Backporch Grass. After a hiatus, Bradley returned to music and took up a musical residency at Renfro Valley, where she often performed on The Sunday Morning Gatherin’ and became a member of The New Coon Creek Girls. After recording four albums with this group, she was offered a solo deal and her first release, East Kentucky Morning, catapulted her into international media and airplay. In the intervening years, she has been nominated for and won numerous awards from the IBMA and the Grammys and has worked with such artists as Alison Brown, Vince Gill and Pam Tillis. Alison Brown is a Grammy Award-winning banjo player, guitarist, composer and producer. While she emerged from the Southern California bluegrass scene, Brown has taken her banjo work to new heights, incorporating elements of folk, jazz, Celtic and Latin music into her playing. -
Bluegrass Vocals by Fred Bartenstein (Unpublished, 4.27.10) All Rights Reserved
725 Wright Street Yellow Springs, Ohio 45387 Office: 937-767-7355 Cell: 937-478-4151 Fax: 937-767-7466 [email protected] Bluegrass Vocals www.FredBartenstein.com by Fred Bartenstein (unpublished, 4.27.10) All rights reserved. Not to be quoted without attribution or published without permission. There has been a lot more written about bluegrass instrumental techniques than there has about vocals. That seems odd, because bluegrass performances and recordings almost always feature the human voice. A few concepts will help you to better understand and appreciate bluegrass singing. This short article will cover solo vocal styles, commonly used bluegrass harmonies, and suggested resources for listening. History And Overview Bill Monroe was the first bluegrass singer, but bluegrass wasn’t the first music he sang. Like many youngsters in the rural South, Monroe attended singing schools led by traveling music teachers. There he learned a simplified “shape-note” system of musical notation that had evolved from the one used in The Sacred Harp (1844), one of several early shape-note hymnbooks spawned by the Second Great Awakening and published during the 19th century. When you hear people singing “fa-so-la-mi” syllables the first time through a gospel number, you’ll know you’re listening to shape- note singing. Monroe also heard unaccompanied ballads, some of them tracing to the British Isles and the Elizabethan era. Before people had newspapers, radio, or TV, they conveyed news and tragic or touching events through song. Parents commonly used ballads and hymns to quiet, amuse, or teach their young children – and to help pass the time while engaged in their work. -
Carolina Chocolate Drops
UMS YOUTH EducatioN PROGRAM CAROLINA CHOCOLate DROPS TEACHER RESOURCE GUIDE 2010–2011 UMS 10-11 1 SUPPORTERS The Andrew W. Mellon Foundation This Teacher Resource Guide is a product of the UMS University of Michigan Youth Education Program. Special thanks go to Bruce Conforth for his contributions to the development of content for this guide. Anonymous Arts at Michigan Additionally, UMS appreciates Sarah Suhadolnik, Em- Arts Midwest’s Performing Arts Fund ily Barkakati, Britta Wilhelmsen, Matthew Mejia, Pam Reister, the University of Michigan Museum of Art, The Dan Cameron Family Foundation/Alan and Swanna Saltiel Linda Grekin, and Omari Rush for their feedback and CFI Group support in developing this guide. Community Foundation for Southeast Michigan Doris Duke Charitable Foundation Endowment Fund DTE Energy Foundation The Esperance Family Foundation David and Jo-Anna Featherman Forest Health Services David and Phyllis Herzig Endowment Fund JazzNet Endowment W.K. Kellogg Foundation John S. and James L. Knight Foundation Masco Corporation Foundation Michigan Council for Arts and Cultural Affairs THE MOSAIC FOUNDATION [of R. & P. Heydon] National Dance Project of the New England Foundation for the Arts National Endowment for the Arts Prudence and Amnon Rosenthal K-12 Education Endowment Fund PNC Bank Target TCF Bank UMS Advisory Committee University of Michigan Credit Union University of Michigan Health System U-M Office of the Senior Vice Provost for Academic Affairs U-M Office of the Vice President for Research Wallace Endowment Fund 2 UMS 10-11 UMS YOUTH EDUCATION PROGRAM CAROLINA CHOCOLate DROPS Friday, December 3, 2010 • 11 AM – 12 NOON • MICHIGAN THEATER Sponsored by CFI Group and David and Jo-Anna Featherman. -
Sept 14, 2015.Indd
6,250 subscribers www.TML1.org Volume 66, Number 14 Sept. 14, 2015 Study finds municipal bonds save governments $700 billion in interest State’s transportation problems New ICMA report describes how access to tax-exempt focus of governor’s 15-city tour financing affects state and local infrastructure investment Haslam meets with legislators, local officals to discuss infrastructure needs State and local governments government, and their total par value would have paid $714 billion in is just over $3.6 trillion. Gov. Bill Haslam and John additional interest expenses between • If the federal tax exemption Schroer, Tennessee Department of 2000 and 2014 without tax-exempt for municipal bonds were repealed, Transportation (TDOT) Commis- municipal bonds, according to a new state and local governments would sioner, sat down with local and state white paper issued by the Interna- have paid $714 billion in additional officials from across the state in a tional City/County Management interest expenses between 2000 and 15-city tour to discuss the transpor- Association (ICMA) and the Gov- 2014. For a typical bond issue, this tation and infrastructure needs in ernment Finance Officers Associa- would mean $80-$210 in additional each region. tion (GFOA). interest expenses per $1,000 of bor- Among the cities visited were Other key findings from the new rowed money. Memphis, Clarksville, Jackson, public policy white paper, Municipal Infrastructure funding is one of Nashville, Franklin, Kingsport, Bonds and Infrastructure Devel- the most critical functions of state Greeneville, Murfreesboro, Shel- opment—Past Present and Future, and local governments in the United byville, Crossville and Union City.