Bomnewsletter #275 今月の注目!
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Bluegrass Outlet Banjo Tab List Sale
ORDER FORM BANJO TAB LIST BLUEGRASS OUTLET Order Song Title Artist Notes Recorded Source Price Dixieland For Me Aaron McDaris 1st Break Larry Stephenson "Clinch Mountain Mystery" $2 I've Lived A Lot In My Time Aaron McDaris Break Larry Stephenson "Life Stories" $2 Looking For The Light Aaron McDaris Break Aaron McDaris "First Time Around" $2 My Home Is Across The Blueridge Mtns Aaron McDaris 1st Break Mashville Brigade $2 My Home Is Across The Blueridge Mtns Aaron McDaris 2nd Break Mashville Brigade $2 Over Yonder In The Graveyard Aaron McDaris 1st Break Aaron McDaris "First Time Around" $2 Over Yonder In The Graveyard Aaron McDaris 2nd Break Aaron McDaris "First Time Around" $2 Philadelphia Lawyer Aaron McDaris 1st Break Aaron McDaris "First Time Around" $2 When My Blue Moon Turns To Gold Again Aaron McDaris Intro & B/U 1st verse Aaron McDaris "First Time Around" $2 Leaving Adam Poindexter 1st Break James King Band "You Tube" $2 Chatanoga Dog Alan Munde Break C-tuning Jimmy Martin "I'd Like To Be 16 Again" $2 Old Timey Risin' Damp Alan O'Bryant Break Nashville Bluegrass Band "Idle Time" $4 Will You Be Leaving Alison Brown 1st Break Alison Kraus "I've Got That Old Feeling" $2 In The Gravel Yard Barry Abernathy Break Doyle Lawson & Quicksilver "Never Walk Away" $2 Cold On The Shoulder Bela Fleck Break Tony Rice "Cold On The Shoulder" $2 Pain In My Heart Bela Fleck 1st Break Live Show Rockygrass Colorado 2012 $2 Pain In My Heart Bela Fleck 2nd Break Live Show Rockygrass Colorado 2012 $2 The Likes Of Me Bela Fleck Break Tony Rice "Cold On -
Sunday.Sept.06.Overnight 261 Songs, 14.2 Hours, 1.62 GB
Page 1 of 8 ...sunday.Sept.06.Overnight 261 songs, 14.2 hours, 1.62 GB Name Time Album Artist 1 Go Now! 3:15 The Magnificent Moodies The Moody Blues 2 Waiting To Derail 3:55 Strangers Almanac Whiskeytown 3 Copperhead Road 4:34 Shut Up And Die Like An Aviator Steve Earle And The Dukes 4 Crazy To Love You 3:06 Old Ideas Leonard Cohen 5 Willow Bend-Julie 0:23 6 Donations 3 w/id Julie 0:24 KSZN Broadcast Clips Julie 7 Wheels Of Love 2:44 Anthology Emmylou Harris 8 California Sunset 2:57 Old Ways Neil Young 9 Soul of Man 4:30 Ready for Confetti Robert Earl Keen 10 Speaking In Tongues 4:34 Slant 6 Mind Greg Brown 11 Soap Making-Julie 0:23 12 Volunteer 1 w/ID- Tony 1:20 KSZN Broadcast Clips 13 Quittin' Time 3:55 State Of The Heart Mary Chapin Carpenter 14 Thank You 2:51 Bonnie Raitt Bonnie Raitt 15 Bootleg 3:02 Bayou Country (Limited Edition) Creedence Clearwater Revival 16 Man In Need 3:36 Shoot Out the Lights Richard & Linda Thompson 17 Semicolon Project-Frenaudo 0:44 18 Let Him Fly 3:08 Fly Dixie Chicks 19 A River for Him 5:07 Bluebird Emmylou Harris 20 Desperadoes Waiting For A Train 4:19 Other Voices, Too (A Trip Back To… Nanci Griffith 21 uw niles radio long w legal id 0:32 KSZN Broadcast Clips 22 Cold, Cold Heart 5:09 Timeless: Hank Williams Tribute Lucinda Williams 23 Why Do You Have to Torture Me? 2:37 Swingin' West Big Sandy & His Fly-Rite Boys 24 Madmax 3:32 Acoustic Swing David Grisman 25 Grand Canyon Trust-Terry 0:38 26 Volunteer 2 Julie 0:48 KSZN Broadcast Clips Julie 27 Happiness 3:55 So Long So Wrong Alison Krauss & Union Station -
Shin Akimoto Alan Bibey Sharon Gilchrist
Class list is preliminary- subject to change Shin Akimoto Monroe Style (I) Rhythm Playing (AB) Bluegrass in Japan (All) Alan Bibey No, you backup (AB-I) Playing fills and how to play behind a vocalist Classic Bluegrass Mandolin breaks (I-A) Road to improv (I-A) Classic Monroe licks (AB-I) Spice Up your playing with triplets (I-A) Sharon Gilchrist Closed Position Fingering for Playing Melodies in All 12-Keys: (AB-I) Learn a couple of easy patterns on the fretboard that allow you to play melodies in all 12 keys easily. This is what a lot of mandolin players are using all the time and it's easy! Closed Position means using no open strings. Basic Double Stop Series: (AB-I) Double stops are one of the mandolin's signature sounds. In this class, we will learn a basic double stop series that moves up and down the neck for both major and minor chords. Freeing Up the Right Hand (B-I) This class is geared towards folks who have learned a number of fiddle tunes and have gotten pretty comfortable playing those melodies but are wondering how to speed them up a bit or breathe a little more life into them now. It is also for folks who might have been playing for a while but still struggle with speed and flow in performance of their tunes. Backing Up a Singer: (I-A) Using double stops and licks to create back up that allows the lead vocal to remain front and center while enhancing the story of the song. -
Clawhammer Illuminations What Would THESE Guys Do? Five High-Profile Progressive Clawhammer Artists Answer
Clawhammer Illuminations What would THESE guys do? Five high-profile progressive clawhammer artists answer common questions concerning the banjo Clawhammer Illuminations What would THESE guys do? Five high-profile progressive clawhammer artists answer common questions concerning the banjo Online banjo forums are filled with all sorts of questions from players interested in instrument choices, banjo set up, personal playing styles, technique, etc. As valuable as these forums might be, they can also be confusing for players trying to navigate advice posted from banjoists who's playing experience might range from a few weeks to literally decades. It was these forum discussions that started me thinking about how nice it would to have access to a collection of banjo related questions that were answered by some of the most respected "progressive" clawhammer banjoists performing today. I am very excited about this project as I don't believe any comprehensive collection of this nature has been published before… Mike Iverson 1 © 2013 by Mikel D. Iverson Background Information: Can you describe what it is about your personal style of play that sets you apart from other clawhammer banjoists? What recording have you made that best showcases this difference? Michael Miles: As musicians, I believe we are the sum of what he have heard. So the more you listen, the richer you get. My personal musical style on the banjo is in great part rooted in Doc Watson and JS Bach. Through Doc Watson, I learned about the phrasing of traditional music. Through Bach, I learned the majesty and reach of all music. -
Official Sponsor Package
Valid through April 30, 2007 IEG Valuation® Statement 15 MerleFest Official Sponsor - 2007 Contents Description of Property 2 IEG Valuation Service ™ 3 Valuation Methodology 3 Tangible Benefits 4 Notes to Tangible Benefits 5 Intangible Ranking 7 Deal Terms 9 Geographic Reach and Impact 9 Cost/Benefit Ratio 9 Fair Market Value 10 Chart A: Five-Year Attendance History 11 Chart B: Attendees by Gender 11 Chart C: Attendees by Annual Household Income 11 Chart D: Attendees by Age 11 Chart E: 2007 MerleFest Sponsors 12 Chart F: Sponsor Renewal Rate 12 Chart G: Scope of Exclusivity 12 Chart H: Summary of 2007 MerleFest Sponsorship 12 Packages Verification Documents Received 12 Certification 13 © 2006 IEG, Inc. All Rights Reserved. Page 1 of 13 Valid through April 30, 2007 ® IEG Valuation Service IEG Valuation Statement IEG, Inc. 640 North LaSalle, Suite 600 Chicago, Illinois 60610-3777 U.S.A. Tel: 312/944-1727 Fax: 312/944-1897 e-mail: [email protected] Web site: www.sponsorship.com 1 Art Menius MerleFest Sponsorship and National Marketing Coordinator MerleFest Official Sponsor - 2007 P.O. Box 120 Wilkesboro, NC 28697 Tel: 919.542.3997 Fax: 240.250.7229 e-mail: [email protected] Web site: www.merlefest.org Description of Property Established in 1988 to celebrate the music and life of Merle Watson, MerleFest (the 2 "Festival") is a four-day Americana music festival held annually at the Wilkes Community College campus in Wilkesboro, North Carolina. MerleFest offers a generation- and genre- crossing mix of traditional and contemporary roots music, bringing together the best bluegrass, contemporary acoustic, blues, folk, old-time, Cajun, jazz and signer-songwriter artists. -
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
Jack Pearson
$6.00 Magazine Volume 16, Number 2 January/February 2012 Jack Pearson Al Smith Nick DiSebastian Schenk Guitars 1 Flatpicking Guitar Magazine January/February 2012 design by [email protected] by “I am very picky about the strings I use on my Kendrick Custom Guitar, and GHS gives me unbeatable tone in a very long lasting string.” GHS Corporation / 2813 Wilber Avenue / Battle Creek . Michigan 49015 / 800 388 4447 2 Flatpicking Guitar Magazine January/February 2012 Block off February 23 thru the 26th!! Get directions to the Hyatt Regency in Bellevue, WA. Make hotel & travel arrangements. Purchase tickets for shows and workshops! Practice Jamming!! Get new strings! Bookmark wintergrass.com for more information! Tell my friends about who’s performing: Ricky Skaggs & Kentucky Thunder Tim O’Brien, The Wilders, The Grascals, The Hillbenders, Anderson Family Bluegrass and more!!! Practice Jamming!!!!! wintergrass.com 3 Flatpicking Guitar Magazine January/February 2012 Feb 23-26th 4 Flatpicking Guitar Magazine January/February 2012 1 Flatpicking Guitar Magazine January/February 2012 CONTENTS Flatpicking FEATURES Jack Pearson & “Blackberry Pickin’” 6 Guitar Schenk Guitars 25 Flatpick Profile: Al Smith & “Take This Hammer” 30 Magazine CD Highlight: Nick DiSebastian: “Snowday” 58 The Nashville Number System: Part 2 63 Volume 16, Number 2 COLUMNS January/February 2012 Bluegrass Rhythm Guitar: Homer Haynes 15 Published bi-monthly by: Joe Carr High View Publications Beginner’s Page: “I Saw the Light” 18 P.O. Box 2160 Dan Huckabee Pulaski, VA 24301 -
MON-MN22-DVD.Pdf
DVDTWO A DETAILED ANALYSIS taught by SAM BUSH 90 minutes Music and tab enclosed Sam Bush is a world-renowned This companion lesson to "The Mandolin of Bill Monroe: multi-instrumentalist whose ear One-On-One with the Master" is a hands-on teaching tool liest influence was the mandolin produced especially for the developing mandolin player playing of Bill Monroe. He first who wants to Ieam the inbicacies of BiD Monroe's powerful came to prominence with his innovative band New G rass style and technique. Veteran mandolinist Sam Bush dissects Revival. and he has since graced eighteen of the pieces as played on Bilrs grourd>reaking les countless albums and concert son, taking them apart in note-for-note detail. Split-screens stages with his powerful instru and close-ups, as well as replays of Monroe's demonstrations, mental technique. An engaging aid the teaching process and make this the method for leam and energetic adler, Sam brings ing Monroe-style bluegrass mandolin. his years of playing experience to You'D detailed for alHime favorite Bill the task of communicating musi get instruction Monroe cal ideas to the learning mand0- songs and instrumentals, including: linist As a long-time Homespun • Sweet Blue-Eyed Dar/in' - Blue Grass Breakdown instructor, his DVD, video a1d CD • Frog On A Uly Pad • Memories of mandolin lessons have been among - Dusty Miller Mother and Dad our most popular products. - Sally Goodin -Rawhide Made possible by • generous -KatyHiIf - Tennessee Blues grant to the Smithsonian I~ - Back to the Old Home tution from Kaman Music Corp. -
Can Milwaukee Festivals Compete?
Arts and Entertainment Summer 2010 _________________ Donna the Buffalo’s Tara Nevins, left, and Woody Platt of Steep Canyon Rangers, both have played in Milwaukee, but are local festivals too big to showcase quality? Photos by Geoff Davidian Smaller venues offer sober, cleaner, family-friendly chance to see popular acts By GEOFF DAVIDIAN ILKESBORO, North Carolina – It was Sunday morning and Dan Fedoryka looked every bit a Baptist preacher in his white suit as he stepped out of the Church Bus, walked a hundred or so yards over a worn path and mounted the raised platform where he would perform a ritual that has become familiar in this Appalachian community. The sun was shining and it was already in the 80s when the 30-year-old former student at a Ukrainian seminary slipped off his jacket, folded it and placed it neatly on the back of a chair, rolled up his sleeves and turned to the energetic congregation. Then Fedoryka strapped on his guitar and jumped over some speakers to join his brother Alexander, childhood friend Josef Crosby and Mike Ounallah as the band Scythian jumped right into its third performance in two days at MerleFest, the annual gathering in Wilkesboro, NC, to worship and be baptized in quintessential American music. MerleFest began 22 years ago as a celebration of traditional American folk and bluegrass music but after more than two decades, it has opened its arms to a broader slice of regional and national talent. The event, dedicated to the memory of Eddy Merle Watson and to raise money for the Wilkes Community College, was held this year from April 28 to May 1 on the college campus. -
Jim-Rooney-Daa-Induction-By-Menius
Jim Rooney DAA Presentation by Art Menius IBMA World of Bluegrass Awards Luncheon September 29, 2016 Jim Rooney did me a big favor, writing. In It for the Long Run: A Musical Memoir, so that I could do this presentation. That’s being a friend. Jim is a man who has done it all while enjoying being in it for the long run in many relationships. Think of Bill Keith, Eric von Schmidt, or his eventual spouse Carol Langstaff. At Owensboro I remember Jim, tall and commanding, as his left hand powered the rhythm on a kick ass rendition of Six White Horses.” Not that he limited himself to Monroe covers. His interpretation of the Stones’ “No Expectations” became a go to song. His love for bluegrass began back in Massachusetts in the 1950s when he heard on a band called the Confederate Mountaineers at radio station WCOP. Inspired by the Lillys, Tex, and Stovepipe, it wasn’t too long before Jim was on WCOP himself and hooked on performing. At Amherst he met Bill Keith who would be a friend and musical partner for much of the next 60 years. In 1962, they recorded “Devils Dream” and “Sailor’s Hornpipe,” the first documentation of Bill’s chromatic style shortly before he joined the Blue Grass Boys. The tracks appeared on their Living on the Mountain LP. Their many collaborations would include the revolutionary Blue Velvet Band whose music spread worldwide person to person Mud Acres, and concerts and tours with many different aggregations and combinations. Jim enjoyed sharing a heritage award from the Boston Bluegrass Union and brought us to tears at Bill’s induction into the Hall of Fame. -
David Grisman Quintet to Play University Theatre
University of Montana ScholarWorks at University of Montana University of Montana News Releases, 1928, 1956-present University Relations 6-7-2001 David Grisman Quintet to play University Theatre University of Montana--Missoula. Office of University Relations Follow this and additional works at: https://scholarworks.umt.edu/newsreleases Let us know how access to this document benefits ou.y Recommended Citation University of Montana--Missoula. Office of University Relations, "David Grisman Quintet to play University Theatre" (2001). University of Montana News Releases, 1928, 1956-present. 17322. https://scholarworks.umt.edu/newsreleases/17322 This News Article is brought to you for free and open access by the University Relations at ScholarWorks at University of Montana. It has been accepted for inclusion in University of Montana News Releases, 1928, 1956-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. The University of Montana UNIVERSITY RELATIONS • MISSOULA, MT 59812 • 406-243-2522 • FAX: 406-243-4520 This release is available electronically on INN (News Net.) or the News Release Web site at www.umt.edu/urelations/releases/. June 7, 2001 Contact: Tom Webster, director, University Theatre Productions, (406) 243-2853. DAVID GRISMAN QUINTET TO PLAY UNIVERSITY THEATRE MISSOULA-- The man called “Dawg” will bring his unique blend of acoustic sounds to Missoula for a September concert. The David Grisman Quintet will perform at 8 p.m. Tuesday, Sept. 4, in the University Theatre. Tickets are $21 in advance or $23 the day of the show. They are on sale now at all Tic-It-E-Z outlets or by calling (888) MONTANA or 243-4051 in Missoula. -
Rotten Taters Is a Snapshot of Some of the Material Mike Has Begun to Do in His Solo Endeavors
MIKE COMPTON “This recording is pure gold, through and through.” - Glen Herbert, KDHX Rotten Taters is a snapshot of some of the material Mike has begun to do in his solo endeavors. It’s a project which for the first time lets us see something that we’ve only glimpsed in the past Compton playing by himself, unaccompanied and undirected. And it’s simply stellar. For Compton, it’s all about rhythm, with the mandolin serving principally as a rhythmic instrument rather than a melodic one. These days, for this style of playing, he is the player that all others are compared to; if you play old-time or traditional bluegrass mandolin, you want to play like Mike Compton. Here, for the first time, is pure, unadorned Compton. Of the fifteen songs and tunes here, six are from Compton’s own pen. Tracks like “How Do you Want Your Rollin’ Done” and “I’ll Tell you About the Women” seem, in a sense, like portraits of Compton himself, his effervescence and humor laid bare. Of note, the cut “Forever Has Come to and End” is stark and longing, excellently accompanied only by mandolin chords and cross-picking, bringing out the desperation of the lyric. “Jenny Lynn” is a tribute to Monroe, staying close to Monroe’s style, as is the original piece “Wood Butcher’s Walkabout”, which is like a master class in the slides that are a hallmark of Compton’s playing. “Mike has taken a passel of influences -- “old Instruments Used on This Recording: time fiddle tunes, rock salt and nails Paul Duff F5 Mandolin, 2011.