Vol. 41 No. 1 INSIDE THIS ISSUE! Jan. Feb. Mar. Taborgrass: Passing e Torch, Helen Hakanson: Remembering A 2021 Musical LIfe and more... $500 Oregon Bluegrass Association Oregon Bluegrass Association www.oregonbluegrass.org
By Linda Leavitt
In March of 2020, the pandemic hit, and in September, two long-time Taborgrass instructors, mandolinist Kaden Hurst and guitarist Patrick Connell took over the program. ey are adamant about doing all they can to keep the spirit of Taborgrass alive. At this point, they teach weekly Taborgrass lessons and workshops via Zoom. ey plan to resume the Taborgrass open mic online, too. In the future, classes will meet in person, once that becomes feasible.
et me introduce you to Kaden Kaden has played with RockyGrass (known as Pat), e Hollerbodies, and Hurst and Patrick Connell, the 2019 Band Competition winners Never Julie & the WayVes. Lnew leaders of Taborgrass. In 2018, Patrick As a mandolinist met Kaden at born in the ‘90s, Taborgrass, and Kaden was hugely started meeting in uenced by to pick. Kaden Nickel Creek. became a regular Kaden says that at Patrick’s Sunday band shi ed Laurel irst his attention to Bluegrass Brunch bluegrass. Kaden jam. According was also pulled to Patrick, “One closer to “capital B Sunday, Joe bluegrass” by Tony Suskind came to Rice, most notably the Laurel irst by “Church Street jam and brought Blues,” and by Brian Alley with Rice’s duet album him. We ended with Ricky Skaggs, Kaden Hurst and Patrick Connell up with this little “Skaggs and Rice.” group called e Kaden’s third major Come Down, Julie and the WayVes, Portland Radio Ponies. e Portland Radio huge in uence was ddler Kenny Baker. e Portland Radio Ponies, e John Ponies hosted a radio show and also played Montgomery Band, and the Slabtown at several regional festivals. Kaden said “ ere are loads of other Rounders. (Look for a new album release folks who have nudged me one way or from Never Come Down in January I interviewed Kaden and Patrick on Zoom another—Béla Fleck, John Hartford, 2021.) about their backgrounds, their approaches Alison Krauss, e Stanley Brothers, to teaching, the challenges they face taking Stuart Duncan, Hazel Dickens and Alice Patrick played with Ashland, Oregon on Taborgrass, and the new ideas they Gerrard—but Rice, Skaggs and Baker are bands e Moore Brothers and e bring to the project. the most responsible for pulling me down Mighty Lonesomes. A er he returned the bluegrass rabbit hole.” to Portland, Patrick joined Whistlin’ Rufus, with his father, Patrick Connell, Sr. Continued on page 5 OBA Membership & Ad Information Membership Information Website e OBA Board of Directors invites you Features include an interactive calendar to join the OBA and to participate in its that allows you to post your own events, e OBA Board many activities. Our membership bene ts excerpts from past issues of the Bluegrass www.oregonbluegrass.org include a subscription to the quarterly Express, and links for local bands. Come Bluegrass Express, frequent mailings visit us online! Visit the OBA web page Clayton Knight - President about events, and ticket discounts to today! [email protected] northwest bluegrass events. 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OBA Bluegrass Express - Winter 2021 2 Table of Contents Jan./Feb./Mar. 2021 Volume 41 / Number 1 Newsletter of the Oregon Bluegrass Association www.oregonbluegrass.org is Issue Features Vol. 41 No. 1 Cover Story Oregon Bluegrass Association Oregon Bluegrass Association Taborgrass: Passing e Torch ...... 1 www.oregonbluegrass.org Interviewed By Linda Leavitt Articles Bluegrass Express is a quarterly newsletter dedicated to informing members of the Oregon Helen Hakanson: Remembering A Musical LIfe ...... 8 Bluegrass Association about local, regional By Patrick Connell and national bluegrass issues, events and Five Albums Worth Having ...... 16 opportunities. By Patrick Connell Bluegrass Express Sta Columns & Commentary EDITOR Linda Leavitt Southern Oregon Voices ...... 12 [email protected] By Joe Ross GrassWord Puzzle ...... 20 COPY EDITOR Created By Kerry Callahan Nancy Christie Calendars, Lists & Info [email protected]
OBA Membership and Ad GRAPHIC DESIGN & LAYOUT Information ...... 2 John Nice-Snowdy President’s Message ...... 4 [email protected] (805)748-6648 What’s Playing on the Radio ...... 4 Waller Grant ...... 18 ADVERTISING Finding Bluegrass In e Time Of COVID-19 ...... 22 Pat Connell [email protected] OBA Contributing Business Sponsors ...... 27 Scheduled Jams...... 28 WEBMASTER & WEB CONTENT OBA Supporting Performer Eric Herman Directory ...... 30 [email protected]
ONLINE CALENDAR Donna Dunaif [email protected]
OBA Bluegrass Express - Winter 2021 3 What’s Playing On The Radio President’s Message: It’s Mighty Dark To Travel Local Radio Bluegrass and Country Listings
For each issue of e Bluegrass Express in 2020, I’ve had to acknowl- Everywhere And Free edge a well-nigh apocalyptic series of events that have aected our Oregon Bluegrass Radio www.oregonbluegrass.org community’s ability to gather together to play and enjoy this music Every day, all day that has sustained us for 75 years and counting. Jams, concerts, festivals—all came to a sudden halt in early 2020, leaving most of us Albany/Corvallis - KBOO a little dazed. Broadcast from Portland, can be heard at And by the time the “fourth horseman” arrived through the smoke 100.7 FM. See under Portland, below of the Paci c Northwest wild res, it really was too dark to see the Astoria - KMUN 91.9 FM path ahead that would lead to picking and singing in each other’s ne Photo By Doug Olmstead Some syndicated programming company. 503-325-0010 “Cafe Vaquera” Bluegrass has outlived hard times more than once. It has endured where other musical genres Tuesdays 9-11pm, Bluegrass/Old Timey have become artifacts. I believe that the source of that persistence is our greatest strength, the Western/Folk with Calamity Jane fact that our music has two vital parts—the stage and the parking lot. We congregate to listen [email protected] and to pick, and we welcome everyone. “Shady Grove” Saturdays 7-9pm But what if the ability to do that goes away? Regular folk program Monday thru Friday 10am - noon When I began writing this message, I wasn’t certain that I could nd a lantern that would serve with bluegrass included to illuminate the New Year. But as I look around, I marvel at all the ways that bluegrass, in all its forms, has leapt forward. Far from stopping us, we have found extraordinary ways to make Columbia Gorge - KBOO up for what we cannot do safely. Broadcast from Portland. Can be heard at 92.7 FM. See under Portland below Bonanza! I won’t try to catalog the amazing developments of the last year—there isn’t space, and I wouldn’t do them justice anyhow—but I do want to spotlight how far we’ve come. Both Corvallis - KOAC 550 AM the last issue (Dennis Christensen’s excellent interview with Daniel Mullins about the Walls of Syndicated public radio with some Time podcast) and this one (Taborgrass 2.0, how Patrick Connell and Kaden Hurst are recreat- bluegrass included in regular programming ing the popular Portland institution for the social distancing age) look in detail at several ways 541-737-4311 we are turning what appeared to be limitations into jackpots. Nancy Christie’s Finding Blue- grass column is a wonderful compilation of ways to get started. Eugene - KLCC 89.7 FM Local broadcast 541-726-2224 Other windfall apples fall into two distinct piles: One for folks who like their bluegrass the old- Mixed format “Saturday Cafe” fashioned way, and one for people who prefer it on the Web. Of the rst group, I ask, “Have Saturdays 11am - noon you seen Bluegrass Unlimited lately?” is fall, the Bluegrass Music Hall of Fame and Museum “ e Backporch” 9 - 10pm Saturdays in Owensboro, Kentucky took over publishing the venerable journal of everything bluegrass. e magazine retains the features that have made it essential reading for several generations—I Eugene - KRVM 91.9 FM admit that I read “Notes and Queries” before everything else—while incorporating more in- “Routes & Branches” 3 - 5pm Saturdays depth journalism, in a richer, eye-catching format. BU has “gone uptown,” in the best sense of “Acoustic Junction” 5 - 7pm Saturdays the phrase. If you answered “No” to the above question, I encourage you to consider subscrib- “Miles of Bluegrass” 7 - 9pm Mondays ing. www.krvm.org 541-687-3370 For the digitally inclined bluegrassers in the second group, I oer one word: Podcasts. I’ve Pendleton - KWHT 104.5 FM subscribed to Toy Heart, Walls of Time, Grass Talk Radio, and Bluegrass Stories. e Blue- “Bushels of Bluegrass” 9 - 11pm Sundays grass Situation and the Bluegrass Music Hall of Fame and Museum also oer downloads. New contact Phil Hodgen 541-276-2476 podcasts seem to sprout weekly and claim distinct territory on the traditional-to-progressive Portland - KBOO 90.7 FM spectrum. “Music from the True Vine” 9am - noon Saturdays Each and every one of these has taken long-form bluegrass journalism where it hasn’t been be- fore and given me hours of delight. And don’t forget OBA Radio! It just gets better and better. Santiam Canyon - KYAC 94.9 FM One click on the OBA web site will take you there. “Ken ‘til 10” 6-10am M-F Additional Bluegrass Programming But I Must Journey on Alone: at’s how the chorus of Mr. Monroe’s song ends. But there are Streaming and Schedule: www.kyacfm.org encouraging signs. I believe that we will be picking and singing together sometime in 2021. Until then, you have my wholehearted thanks for your support. Salem - KMUZ 88.5 & 100.7 “Ken ‘til 10” 6-8am M-F Simulcast with KYAC. Chris Knight kmuz.org, all bluegrass OBA President
OBA Bluegrass Express - Winter 2021 4 Taborgrass: Passing e Torch cont. from page 1 Linda: Kaden, I know you’ve been a for those magical sentences. Whether harbor some fear of making mistakes. I’ve performer and a teacher for a long time. I’m teaching juggling or music theory or joked with students at Taborgrass that if In addition to mandolin, you also teach mandolin, it doesn’t feel all that dierent. they make a mistake, they’re not in danger juggling. You’ve taught students of all ere are more commonalities than you of getting a pink slip or losing their health ages. You’ve studied classical mandolin, would think. insurance. e people coming to this later and you studied music performance under in life have o en been high achievers and 2016 Mandolin Champion Jordan Ramsey Linda: Do you nd a dierence in your place a lot of pressure on themselves to at Regis University, where you tutored approach between teaching kids and excel, whereas most kids aren’t attached fellow students in music theory. I will teaching adults? to that. forever be grateful to Jordan for inviting you to join an evening jam at River of Kaden: Kids are very fast, in terms of Patrick, How did you come to the West camp several years ago, where attention span, and in terms of what ideas teach bluegrass music? Who are your we met. I remember wondering “Who they can pick up. With kids, I nd myself in uences? IS this guy?” What brought you to study pulling back on the reins a bit to teach bluegrass mandolin? them to notice more details of the skills Patrick: My father introduced me to they need to learn to play music with other bluegrass with the ddle tunes he picked Kaden: People who want to learn people. I mostly work with adult hobbyist around the house. It was a revelation bluegrass fall into two camps: ere are musicians who are doing music purely for when he took me to String Summit to the “lifers,” and there are people who have the love of it. Much of my work with adult hear Bryan Sutton with Hot Rize, because gone through a series of musical twists students is the opposite of my experience I’d not experienced the way bluegrass and turns. I fall into the latter camp. I teaching kids. I have to encourage adults instruments interlock and create a went to a Waldorf school, where kids to take risks, to be vulnerable. and to gigantic sound. Around that time, I learn to play the moved to southern recorder early Oregon and my on. I became housemate, ad serious about Jacobsen, turned mandolin when out to be a banjo my friends player. He plays went to music all of the bluegrass camp. I wanted instruments. He’s to join them, just a couple of so I became years older than I determined to am, but he’s a total learn to play. recluse. He’s one of I had the good Patrick Connell and Kaden Hurst teaching via the Taborgrass Zoom channel Oregon’s pre-eminent fortune to grow bluegrass talents, but up in the same nobody knows who he town as ddler Alasdair Fraser. He’s kind challenge themselves. Adults largely is. It worked out that he was my private of the Stuart Duncan of the Scottish music bene t from structured information, teacher, and he showed me what to listen world. He runs ve or six ddle camps whereas with kids, you can say “It goes like to, what was important to know about around the world, one of which is located this,” and they say OK and play it. bands, and their musical lineages. I got a where I grew up. I came to bluegrass free bluegrass education from him. through playing the mandolin at his Linda: Do you want adults to rely more camps. on their ears when it comes to learning I’ve played in a number of bands, music? including the Moore Brothers and e Teaching-wise, I’ve taught at juggling Mighty Lonesomes. ad and I, along festivals, which are similar to bluegrass Kaden: Yes, but I have to do that through with a friend who played bass, lived in a festivals. You perform and teach during their head, and guide that process. I dilapidated day spa from the 1970s. We the day and then hang out with people teach almost exclusively by ear. I’m a very slept on air mattresses and listened to of all ages and juggle all night. ese zealous, ears- rst kind of person. I nd bluegrass all day. Living down the road days, I’m mainly teaching adults. When that adult brains need a little more coaxing was a mandolin player. He and his wife teaching, you have to empathize and into that place of vulnerability of not were Texas transplants and they helped you have to make a mental model of having that piece of paper (notation) in us get a few gigs. In Portland, I’ve played what a student understands already. front of you. with Whistlin’ Rufus (with my dad Pat), So o en you’re looking for the magical e Hollerbodies, and Julie & the WayVes. combination of words that gets an idea Linda: I agree that adult students tend to across. I think of my job now as hunting
OBA Bluegrass Express - Winter 2021 5 Taborgrass: Passing e Torch Cont. from page 5
Tony Rice has always been my number missing one note from the notation. in my quiver when I teach a student who is one in uence. e rst CD that my friend interested in playing a tune “the right way.” ad gave to me was Cold on the Shoulder, I try to communicate that there’s a which I was woefully unprepared to big picture here. In the tablature for a Linda: Kaden, I appreciate what I’ve heard even pretend to understand. A er Tony’s ddle tune, there may be an unending you tell students about nding the “skeletal recent passing (on Christmas Day 2020), procession of eighth notes. If you get melody” of the tune and learning how it has become clear to me that deviating 80 percent of those—well, you’ve nailed to play that as a launching spot. I’ve also from traditional bluegrass has been it. What we don’t want is to get halfway heard one or both of you speak about the my inclination since I started playing. through a tune, miss one note, and then importance of learning to sing the tune or I’ve largely played in bands that are not stop or forget where we are. I like to help song before you try to play it. e latter hardcore bluegrass. Still, I’ve committed students get around that roadblock. My has been my approach, but I’m a singer. myself to explore and study A lot of folks may not the roots of bluegrass. be comfortable singing. What’s your approach I started teaching bluegrass to helping Taborgrass guitar at festivals and privately students feel comfortable ten years ago. I’ve developed singing? my approach a er studying several methods about Patrick: at comes up a teaching people how to jam. lot. People will claim to I prefer to teach students to be tone-deaf, or say they learn by ear. were told not to sing as children, and each time Linda: You and Kaden share I hear that story, it’s a that approach, learning by ear. tragedy. We encourage people to try anyway. My Patrick: Yes. We can still use method is to teach people notation, but we can prime to hear and sing chord the pump with ear training. tones, even if I have to e thing that’s important trick them into it. If they is to encourage students to can identify chord tones, assume all of the duties of they’ll understand the their instrument, to take risks heart of the phrases of and to go for it; to let students most bluegrass songs. It’s know they’re valuable humans not much of a departure and have nothing to lose by to convince them to at trying something new. least hum the notes as they’re trying to hear One thing I’ve learned from them. Now that we’re Patrick and William being the parent of a Suzuki wearing masks (before the method student (Patrick’s wife, latest lockdown), people Judy, and their son, William, are aspiring biggest success with adults has come may feel a little more con dent singing, ddle players) is the value of nding one through using that approach. because they may not appear to be singing. note and playing rhythm on that note. It could be ‘taters. It can be the root note Kaden: I agree. ere is a lot of emphasis Kaden: I echo everything Patrick’s just for the entire break, and played with solid among adult students on playing a tune said. My dad is one of those people who rhythm—they’re taking a solo. at’s really “right,” getting all of the notes in there. self-identi es as tone-deaf, and I’ve heard helped me teach adults, reducing the I think adults not only have more fun him sing along with the radio, a perfect wall between playing rhythm and playing when they depart from that mindset, I 5th above the melody line without noticing solos. at’s been my teaching angle: Get believe they’re actually playing the tune it. One of the things I harp on with my in there and do it, because we’re here “more right” in the traditional way if they students is that if you’re not hearing a playing music intentionally and I love you depart from any pre-existing notion of tune, don’t think you’re tone-deaf or self- anyway. It’s also good to take a risk. I’ve what the melody is. at tradition also diagnose, just recognize that you haven’t had adult students who are determined to exists in old-time and western swing yet noticed something. It’s not that you’re learn a particular ddle tune, say “Forked music, both of which are variation- lacking some arcane thing. It’s just that Deer.” ey decide to go into a closet and oriented styles of music. e traditional, something hasn’t been pointed out to you not come out until they can play the tune old-style way to play a tune is to play it in a way that you can recognize. In some the exact same way every time, without dierently each time. at’s a big arrow cases, just learning to match pitch can
OBA Bluegrass Express - Winter 2021 6 Taborgrass: Passing e Torch help someone learn to sing. If someone others. at’s how I got into it! I’m hesitant Linda: Right. Allow that level of curiosity were truly tone-deaf, which is something to say to those students, “Oh, you need to to grow as students get deeper into the that’s super-rare, you wouldn’t be able to dive into rst-generation bluegrass music program. recognize voices. and listen to all that you can,” because being too prescriptive about what it Patrick, I appreciate that you are a fount Linda: Like hearing someone’s voice in means to be a person who plays bluegrass of bluegrass knowledge. You know who your house and wondering, “Is that my music isn’t ultimately very helpful. e played ddle on what album, who sang wife?” longer people play music in a jam, the tenor with so and so. more they’ll begin to understand when a Kaden: You have to take away that excuse jam works and when it doesn’t and why. Patrick: Oh, thanks! As a listener, I’m a and tell students “No, you’re traditional bluegrass nut. I not tone-deaf, you have to start like getting excited about the working on this. It’s just a matter tradition and sharing that of having someone teach you. I with the group, ideally egging do a lot of work with students them on to go listen to Tony about how to learn by ear, easing Holt! people into that process, teaching them to learn what to listen for. Linda: Who? I don’t know “Did that tone go up? Did that who that is! tone go down?” It’s basically helping students to build this Patrick: Right! All of these stack of observations. When they exciting conversations can do that enough, they’ll be able to happen because you’re right — recognize a phrase, like “Oh, that’s many Taborgrass students the arpeggio from this tune.” might not have ever heard any bluegrass, really, and Linda: So you’re helping students they want to learn to play an to understand aurally? instrument and all of their boxes for why they’re there Kaden: Yes. at’s exactly the kind might already be checked, of thing that kids don’t need me to even though they haven’t say, but adults o en just need to heard the Stanley Brothers learn what to listen for. box set. e only way we can make these varying interests Linda: It’s great that you have and backgrounds compatible a method for teaching adult is if we gure out what the bluegrass students. So o en, the connective tissue is in this emphasis is on youth bluegrass music. If you’re at Taborgrass education. Taborgrass addresses because you love Old Crow that need for long-term adult Medicine Show and you love bluegrass education that goes Yo-Yo Ma, we have to gure unmet in so many contexts. It out how to make them all seems like many folks come to compatible. e only way Taborgrass without having heard to do that is to go to the a bluegrass song or having been to Kaden Hurst traditional bluegrass music. a festival or bluegrass concert, but Otherwise, there’s no musical they’ve heard someone sing “I’ll Fly Away,” ey’ll also notice those same things on umbrella for those interests. I think about or they fell in love with the music they recordings, and get pulled further down to what extent should I tell students “you heard in the movie “Oh Brother, Where that rabbit hole. at gets to the informal should go back to the Don Reno version of Art ou?” ey may stumble onto the mission statement I have in my head about this, and the Jon Bon Jovi version is great, Ladd’s Addition jam on a summer evening Taborgrass, which is teaching people to be but let’s reel it in a little here. For me, that’s and end up at Taborgrass for all of these as jam-viable as possible, so they can go to kind of a moving target and an ongoing dierent reasons. What do you do about a jam anywhere in the world and jump in struggle: What is the right amount of that, in terms of educating them? and play. at is more a social goal than pushing versus just embracing the student a musical goal. But they have to learn the as they are. We are being stewards of Kaden: For many people, their motivation repertoire and be familiar with bluegrass something. I want to make sure we’re is social. ey want a hobby, and they want musicians who have come before. a sense of community and having fun with Continued on page 10
OBA Bluegrass Express - Winter 2021 7 Helen Hakanson: Remembering A Musical Life By Ellie Hakanson and Rob Hakanson
In the last months of her life during the spring of 2020, Helen Hakanson spent most of her time playing music. She spent hours each day paging through songbooks with her granddaughter Ellie, who lived with her for several months. Helen made up a game called “Stump the Singer” — nding songs Ellie had never heard before and then teaching them to her. Helen and Ellie were interviewed for a podcast about old-time ddle music, and they played a Facebook livestream every week for an audience of hundreds of people all around the world.
n the week before her death, Helen’s In her mid-50s, Helen met an older ddler this time Helen also became a member of family was able to gather (carefully) from Arkansas named Herman Classen the OOTFA, and attended several national Iin her home to say goodbye. ey through her garden club. Meeting Her- ddle contests in Weiser, Idaho. sang to her every day, and she joined in man rekindled Helen’s interest in ddle when she could. She spoke with old friends music a er a 40-year hiatus, and soon she In 1981, Helen learned about the com- who had played music with her for many discovered the Oregon Old Time Fiddlers prehensive bluegrass program at a com- years. munity college in Levelland, Texas. Helen decided that her Helen was fortunate: rough luck local community college should and the eorts of her family, she oer a performance class in died as she had lived, surrounded traditional country, folk, and by love, and inspiring, teaching, bluegrass music. Helen pitched and making music. the idea to the music depart- ______ment at Clackamas Community College (CCC), but they were Helen Hakanson was a lifelong not interested. Undeterred, she musician, with a sense of curios- discussed the idea with the col- ity that meant she never stopped lege president — her husband learning new things. She grew up — and somehow convinced with her Aunt Olive and Uncle him that this would be a good Lea, who later adopted her, in the idea. e “Country, Folk, and small southern Oregon town of Bluegrass” class began in the fall Oakland. As a child, she took pi- of 1981 as a one-credit music ano lessons from Ester Hakanson, class on Saturday mornings, the mother of her future husband, taught by a CCC instructor John Hakanson. She also tried named Bob Misley, who played violin lessons around age thirteen, banjo for Gold Rush, an Oregon but she had a bad experience with City bluegrass band. e class it and stopped playing. However, was oversubscribed, with about as an adult she fondly remembered y people showing up. e attending and enjoying a ddle college opened a second session contest as a teen during the town’s on ursday evenings. e annual Turkey Festival (although she same y people showed up. Helen Hakanson, leading a Cabin Fever performance. cut short her search for pollywogs in the local creek to attend!). e class ran fall, winter, and spring term until 1986, and be- Helen remained intrigued by ddle and Association (OOTFA) and also joined a came known as “Cabin Fever.” e course folk music for the next 40 years as she n- band and rotating house jam with Herman featured quarterly concerts that attracted a ished college, married, and raised a family. and his cousin Leo Minden, along with strong following in the Oregon City area, She learned to play the guitar at age 40, Herman’s music teacher Jim Schultze, Jim’s and provided an important forum for while John was attending UC Berkeley, and student Helen Feltz, and guitarist Debo several Portland-area bluegrass musicians. she played and sang folk songs for her four Kerr. Rob Hakanson, Helen’s son, soon Several bands were inspired by the ve children. She also attended folk concerts in joined the group on banjo, having been in- years of the Cabin Fever courses at the Berkley by legendary artists like Joan Baez, spired by Helen’s musicianship during his college. In fact, Rob Hakanson met his and later reminisced about seeing them childhood. ey called themselves the Jack future Great Northern Planes bandmates, play live. Street Fiddlers, a er the street where Her- Jim and Doug Hancock, during the run of man lived in Milwaukie, Oregon. Around Cabin Fever, beginning a 30-year musical
OBA Bluegrass Express - Winter 2021 8 Helen Hakanson: Remembering A Musical Life
profound in uence on the larger Helen’s musical legacy has helped to shape bluegrass community, too. Helen’s several generations of Oregon bluegrass, classes (and those that followed, and continues a er her death. Her children like Steeplegrass and then Tabor- and many of her grandchildren have in- grass) introduced many folks to herited her curiosity and love of songs and bluegrass who didn’t otherwise melodies, and still play, teach, and learn have an entree into the music. new music. Many of the communities she ink of all of the bands, friend- joined or formed continue to play together. ships and marriages that have Ellie continued her weekly livestreams grown from those communities!” a er Helen died, and she is o en joined by her parents and siblings. ey o en As the number of Helen’s grand- reminisce about Helen as they play, and children grew, Helen bought sing her favorite songs. several fractional, child-sized violins, hoping that some of her In Helen’s nal weeks, her family sat grandchildren would share her around her bed and sang, talked, and love of violin and ddle music. listened. She sang along with them, sing- Rob’s kids did take up violin, ing sad songs and funny songs and songs graduating over the years through about Anne Boleyn’s ghost. And a few days Grandma Helen’s 1/8-, 1/4-, 1/2-, before her death, she stumped the singers and 3/4-sized violins. All three one more time: She sang a song her grand- kids began with the Suzuki violin children had never heard before. Ellie and method and were soon doing Amy learned “All the Day Singing” a few classical recitals, playing in youth weeks a er Helen’s death, and the family orchestra, and playing with their sang it to remember her. Helen was still dad and Grandma Helen at OO- teaching her family new songs even a er TFA ddle jams. she died.
In 1998, Rob started attending Steeplegrass with his 9-year- Continued on page 14 old daughter, Ellie. About a year later, Rob and Ellie, along Age 13, circa 1937 with Ellie’s mom Kathy and younger sister Amy, started the Hakanson Family collaboration. Bluegrass Band. ey played their rst show Cabin Fever inspired future teachers as part of an OOTFA along with performers. One class member, jamboree, and featured Charles (“Chick”) Rose, later started the Helen as a guest star. Steeplegrass class in Vancouver and intro- e family band contin- duced scores of young people to bluegrass ued to perform for ten with his youth program. Steeplegrass then years, frequently joined provided some inspiration for Portland’s by Grandma Helen on current Taborgrass community. ddle, Grandpa John with his ne tenor voice, Linda Leavitt, who taught the vocal sec- and younger brother tions at Taborgrass, said about Helen, Henry on ddle. El- “Helen Hakanson paved the way for local lie and Amy are now bluegrass learning communities that came professional musicians a er the ground-breaking bluegrass class and music teachers. community she founded at Clackamas Henry also joined his Community College. ere’s a direct own bluegrass band as a line from Cabin Fever to Steeplegrass to teenager, and still plays Taborgrass. I like to think of Helen as ‘the bluegrass with friends grandmother of Taborgrass.’ She’s had a and family today. Helen serenading family during a campout
OBA Bluegrass Express - Winter 2021 9 Taborgrass: Passing e Torch Cont. from page 7 doing a good job of that, without denying welcoming to newcomers than others. e I-IV-V, and you’re a good listener, you’re any singular student’s agency. festival jams can be a complicated scene much more likely to anticipate what will to navigate. When Taborgrassers go to happen next in the song or tune. Linda: Well put. the festivals, they suddenly realize that they are not in the comfortable setting Linda: In the middle of a pandemic, you Patrick: One of my favorite things about of Taborgrass anymore. What do you two have taken on a weekly bluegrass Taborgrass is the opportunity to turn think is the best way to prepare students class that has historically been taught decent, upstanding citizens into rabid for a festival? Do you spend time on in person. ere’s an entire community bluegrass fans, and that is an insatiable jam etiquette? You focused on etiquette that exists around Taborgrass. ere quest I’ve found myself on. My wife, for when you were teaching e Taborgrass seem to be myriad challenges, strategic, instance, was a fairly committed deadhead, Sessions. day to day. How do you deal with it? starting in her late teens/early adulthood. You’re using technology, and you’re also One of my crowning achievements has Kaden: I think the key to that is exibility, using a physical space, but because of been helping with her conversion into a primarily hearing the chords and where the lockdown, you’re not able to host in- fullblown bluegrass junkie. A teaching they’re going. e ability to notice those person workshops. How are you adapting? skill that I hope I’m always sharpening is things is key to keep in mind. at’s Also, what is your post-pandemic vision being open about everything I’ve absorbed not what it means to be a musician. It’s for Taborgrass? in my own learning journey. ere are a what it means to be a kind of musician. handful of people who have been that way For instance, one of my friends has her Kaden: I’m thinking a lot about how to with me and that has been invaluable. I’ve master’s degree in classical violin. She keep the community aspect of Taborgrass noticed that lots of teachers and players cannot allow herself to take a break. She going. I haven’t mentioned this to Patrick either retain an element of mystery to what can play in any octave, but she won’t yet, but I’m thinking about hosting a they know, intentionally or not, or are improvise. at’s just not a skill she has. I Zoom Open Mic. at would be fun. simply not interested in nding a way to think that’s important for everyone to keep We’ve focused for the time being on articulate all the source material that has in mind here. At Taborgrass, students seem the educational side of Taborgrass, informed them. is isn’t a bad thing, but to want a social experience, and that’s what keeping people focused on playing I’ve found that the people who have been I try to optimize for. Ultimately, I think the their instruments and learning, making most edifying for me are those who have determining factor in whether students progress. Multnomah County is on a freeze the tendency and ability to explain WHY a can go to a festival and jam is how much now, so we’re not hosting in-person events. particular G-run is used in a certain song, paper is involved. I don’t think relying Prior to that, we held small instrument- or WHY having a banjo break immediately on one’s ear is any harder than learning focused weekly workshops and another a er a guitar break is a standardized, good to read music or tablature. It is just more class modeled on e Sessions, a how-to idea. To teach this kind of thing, a teacher subtle and slippery. jam workshop. We’re also doing the Zoom has to have spent a lot of time simply class each week, talking about the song and listening to and enjoying bluegrass music. Linda: Patrick, would you like to chime in? its components. As the genre gets bigger and broader, being a bluegrass fanatic is becoming less and Patrick: Yes, what we’re doing is really all Linda: What happens in the Zoom class? less of a prerequisite. I think that’s just ne about etiquette, almost to the exclusion and dandy, but I also think one of the most of repertoire. No single song is that Patrick: One of us will lead the song at signi cant contributions when I teach a important. What can you play in each speed, play it slowly, then on verse or person is to help them love the music as measure? What can you expect at the chorus the students can take a break. We much as I do, as this is truly how you teach beginning, end and middle of this phrase? assume the Zoom sessions are temporary, someone “how to sh.” is material lies in the larger set of but they’ve turned out to be very much like responsibilities of jam etiquette, which is the traditional Taborgrass classes. I believe Linda: What’s your approach to helping knowing how the songs go. Not meaning there is a place for the Zoom component Taborgrassers prepare to jam “in the wild,” the notes, but how stu is designed and a er the pandemic is over. e value of as John Kael puts it? I remember being how to anticipate lls and what-not. You people being able to practice with Zoom at in my rst jam with John Kael and Annie can spend a decade learning material, but home will not expire. We’ve also discussed Staninec years ago, and John wanted in a given jam, maybe none of those songs including people who would like to just to know the version of the song I was or tunes comes up. It’s not how many songs observe online. singing. It’s good advice to listen to many and tunes you know. We want to teach versions, but the question caught me o- people how to jam on any song and tune. Kaden: ere are people who are not local guard. at was when I realized long-time who are jumping in on our Zoom session. jammers held a whole set of expectations e answer is listening and paying We‘re expanding the reach of Taborgrass. that I didn’t know existed. On top of that, attention. Some bluegrass songs aren’t very I’ve been pleasantly surprised by that each jam culture builds over time, with poetic, so the message is conveyed in being development. expectations that might diverge from able to hear and jump in. If 80 percent other jam situations, and some are more of songs whose chord progression in G is Patrick: e Zoom sessions also allow
OBA Bluegrass Express - Winter 2021 10 Taborgrass: Passing e Torch us to host teachers from elsewhere. I’m Linda: I appreciate that you two are Patrick: If we have ten people masked grateful to know the community is so carrying on this project, because I know it in the building or 50 on Zoom, we’re established and made up of so many means a great deal to a lot of people. You’re still teaching the same stu. I want awesome people who want the program reinventing Taborgrass, partly by need and to say thank you for developing the to succeed, so we can shepherd Taborgrass context, and partly because you two bring infrastructure and priming everybody for through the hard times. your own vision to bear. what Kaden and I are conveying. ey have this training from you and Greg that Kaden: It can’t be said enough —we are Patrick: at’s right! I’ve always lamented has helped to prepare them for what we’re reliant on what you and Greg have built that there’s not one store or bar that is trying to do. before, the fact there was already a group bluegrass oriented. With Taborgrass, we of people with a sense of community have a physical location where you know Linda: Well, I admire both of you for and buy-in, and invested in growing as there’s bluegrass happening once a week. keeping Taborgrass going. It’s a very musicians. at’s what’s keeping us going, I’m super grateful for it. demanding project, and I think it’s in 100 percent. I’m incredibly grateful for good hands. I think the world of both of everything that was done before. Kaden: We have our own priorities and you! I’m sure there are many people who approach that are not like what you and appreciate what you’re doing and would Patrick: We’re all looking forward to being Greg did at Taborgrass. At this point, join me in saying thank you! together physically again to learn music. we’re trying to squeeze all of the juice we can from the platforms that are available You can learn more about Taborgrass Kaden: Yes, that’s when the best learning to us. at said, the priorities I have now at http://www.taborgrass.com. happens. will continue—being listening oriented, community oriented.
OBA Bluegrass Express - Winter 2021 11 Southern Oregon Voices: Catching Up With Barry Willis By Joe Ross ooking for something to help you Barry recalls, “I was lled with questions about the music he loves. He wrote liner get through the pandemic? It’s about bluegrass and how to apply what I notes for about 35 albums on the Rural Lalways fun to read a book that learned to my radio show, should I ever Rhythm record label, including ones by includes bluegrass music in its plot. Barry decide to start another. I just found it Mac Martin, Reno and Smiley, Raymond Willis, retired pilot, author and Fairchild, Mac Wiseman banjo player, has released an and many others. Barry’s exciting new novel, Icy Strait: book idea, which started out e Alaskan Adventures of the to be just a deejay’s helper, Banjo Pilot. It’s a sequel to his evolved over twelve years 2018 book, e Banjo Pilot, of concentrated eort into and will be available in early the 630-page America’s 2021. Music: Bluegrass. A History of Bluegrass Music in the Barry Willis became interested Words of Its Pioneers. in bluegrass music a er Critics have called it hearing country music fascinating, comprehensive, stations back in the sixties. important, informative, He’d tune in at the end of the entertaining, scholarly and hour, speci cally to hear the engaging. upbeat and exciting bluegrass instrumentals played before While based in Colorado the news broadcast. Barry and and active in that state’s his family moved around, and bluegrass scene, Barry self- he didn’t get involved with published the book in 1997. bluegrass again until 1973, He’s currently looking for a a er the military and college. savvy IT-quali ed person to He bought a banjo, found a help him place the book on- teacher near Sherman, Texas, line for future generations bought the Scruggs banjo to enjoy and to understand book, and was hooked. where the music came from. He’s also converted his many Barry’s other passion is ying. interview tapes into digital A pilot since 1965, he provided format, and he hopes to ight instruction, and ew share them in audio version. charter, Alaskan bush, night freight and commuter airlines. In 1997, Barry Willis also Barry Willis A er retiring from United authored his rst novel, e Airlines in 2005, he moved to Banjo Pilot. It draws upon Kailua-Kona, Hawaii. impossible to quit in my search for the Barry’s own personal experience and truth and in an eort to be as complete oers storylines that revolve around A charter member of the Oregon Bluegrass as possible. One of the reasons it grew the protagonist Duke Steel’s aviation, Association, Barry helped to get the to such length is because I let the artists bluegrass music, Christian faith, organization up and running smoothly. add to it and change it however they romance, and other exciting adventures. During his tenure in Oregon, Barry started wanted, with the presumption that this e book’s ctional characters are Folk Music Unlimited in 1982 to promote was their story, not mine. I wanted to intertwined with real people and our state’s folk and bluegrass groups. merely act as a vehicle for them to bring events spanning a timeframe from the Until 1985, he also had a syndicated radio their story to you. It started simply as 1940s to 1970s. Besides action-packed program called “Barry’s Bluegrass Show” a series of biographies, nessed by the emergencies in the air, Duke played in on two stations. at same year, Barry read artists themselves.” a local bluegrass band (Pilot Mountain e Big Book of Bluegrass, and it spurred Volunteers), as well as with Bill Monroe his interest to delve much deeper into the With curiosity, commitment, patience and his Blue Grass Boys for several music and its history. and tenacity, Barry embarked on a months. Duke retired as a pilot with a journey to further discover and write major airline in 1978. He’d been born in
OBA Bluegrass Express - Winter 2021 12 Southern Oregon Voices: Catching Up With Barry Willis
1924 so was the same age as Earl Scruggs. has started a bush ying business in Barry Willis’ novels are published by ey were both from North Carolina the Inland Passage of SE Alaska. Duke Covenant Books (Murrells Inlet, South and knew each other. Duke rekindles discovers a “hidden truth” about his Carolina). e Banjo Pilot and Icy Strait his passion for bluegrass at a Virginia new wife, and the local ma a has an are available from online booksellers festival where he coaches a young band on unimaginable eect on their business. Icy (like Amazon), in print or digital (Kindle how to play classic, traditional or “true” Strait includes events associated with the or Nook) versions. ey’re also available bluegrass in the style of Bill Monroe. Russian ma a and child prostitution, as directly from Barry Willis at 73-1400 Oering historical background, amusing well as a bluegrass band in Juneau. Icy Hamiha St., Kailua-Kona, HI 76740. anecdotes, musical vignettes and ctional Strait sounds intriguing and engaging as excitement, e Banjo Pilot also has it details Duke and his family’s business Barry admits that he has a preference for helpful advice for bluegrass musicians. undertakings, threats to them by criminal classic bluegrass music. “Mainly, I like elements, and continuing escapades with the rhythm and drive,” states Willis, “and I was excited to hear that Barry Willis’ bluegrass music. its repetition which has its roots in the next novel, Icy Strait: e Alaskan British Isles, of course. We had a band Adventures of the Banjo Pilot, is now hot going called Bluegrass Breeze in Hawaii. o the press. Barry oers, “It’s Sadly, the pandemic ended the written very dierently than 15-year Saturday jam at my my other books. It’s narrated by house. Because there are so few Duke himself. It ties up all the people interested in bluegrass unanswered questions which in Kona, Hawaii at this time, I might arise a er reading e doubt that it will be revived.” Banjo Pilot, and I know there are a lot of loose ends. Icy Strait As a bluegrass-loving author, completes the cycle from my Barry Willis has a sincere desire other books. It examines why to see the music preserved for bluegrass music, Christianity, future generations. With his and family relationships are rst book, the competent writer important in life. It covers many and historian illuminated the other topics too.” personalities of bluegrass people. en, he introduced us to Duke While I haven’t read the new Steel, e Banjo Pilot. Now, with novel yet, I’m told that Icy Strait further motivation, con dence picks up with Duke Steel in and time, Barry has yet another retirement. It sounds like the engaging novel under his belt new book is full of adventure that continues the saga. and mystique. At age 56, Duke
Joe Ross, from Roseburg, Oregon, picks mandolin with the Umpqua Valley Bluegrass Band. He can be reached at [email protected].
OBA Bluegrass Express - Winter 2021 13 Helen Hakanson: Remembering A Musical Life Cont. from page 11
Watch Helen’s livestreams on Facebook at “Ellie Hakanson Music,” and listen to her podcast interview at getupinthecool. reside.fm, episode 196. You can also watch Helen play with Cabin Fever at Rob’s YouTube page under the name robhakanson.
Helen Hakanson
Helen performing with Amy and Rob Hakanson
Hakanson Family Band members at a Turner Tabernacle performance. Le to right: Je Wold, Kathy Fetty, Helen Hakanson, Helen and John’s oldest son John Haakanson, Henry Hakanson (with the hat), Ellie Hakanson, Amy Hakanson, Helen’s husband John (behind Amy), and Rob Hakanson.
Helen and her granddaughter, Ellie.
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OBA Bluegrass Express - Winter 2021 15 Five Albums at Are Worth Having By Patrick Connell
i, you. Patrick here. I’m typing that sound like the Stanley Brothers. In but always delivered perfect tenor singing without pants, but I am wearing a ranking scenario, a Stanley-esque band to Flatt. Truly a helper, in a world with H4 masks, so the overall amount would never fare better than the Stanleys too few. On his solo debut, Curly sings of clothing material is not too far o from themselves. ey would necessarily be most of the lead, some tenor, plays guitar the “normal times.” Okay, enough small inferior to the primordial ooze of Carter’s and mandolin, and has an excellent cast talk. thumb pick. In many music genres, each (including Herschel Sizemore on mando- band/group is a rogue agent. In that sce- lin) that you’ll need the liner notes to learn is is a column about ve great bluegrass nario, a top-5 list of albums makes sense. about, which you will have a er you buy albums. What it the album. is NOT is a list of the “ ve most 2. e Wildwood Val- in uential” or ley Boys, “Daylight’s “ ve must haves,” Burnin’” or “BREAKING NEWS: We’ve Tony Holt recorded gured out which this album of 12 songs ve bluegrass that were all written albums are most by his dad (except the likely to contribute instrumental, “Boiler- to societal malaise. maker”), and his dad Click here and see sings tenor on them what happens!” all. His dad is Aubrey No, this is more Holt, founding mem- or less an arbi- ber and lead singer/ trary list of some guitar of e Boys albums that I like, from Indiana. e and think you will album is awesome. I too. think I bought this one the same day that I If you’re like me, bought Curly Seckler’s or even if you’re album, at the Music not, you’ve prob- Coop in Ashland, Or- ably had it with egon, many years ago. living inside of Photo by Suzanne Chimenti Great band on that a Likert scale. Every one. All original music, yet morning it’s “Here are the top ve cit- In bluegrass, the ranking system translates it all sounds like bluegrass, which is really ies without ICU beds” or “Most adults to Sam Bush winning IBMA mandolin hard to do. e song “Feelin’ Blue” makes somewhat agree that America currently player of the year for 45 years straight. I good use of the I-III7-IV changes, previ- resembles a Mad Max movie.” love Sam Bush, but who bene ts from him ously monopolized by “Old Home Place.” being #1 every year? Nobody. ere’s plenty of ranking going on, so 3. e Traditional Grass, “Howdy Neigh- I’m going to share 5 albums that I like a So here’s a list of 5 albums that you might bor Howdy” lot, that probably won’t turn up in your consider owning. ere’s tons of excellent streaming algorithm. If I were to do a top- bluegrass out there, and all of it deserves De nitely part of the Flatt & Scruggs 5, it would include Monroe, the Stanleys, your ears. legacy. Smooth, but with heavy country Flatt & Scruggs, and probably Jimmy sounds that are o en lost in more modern Martin, which would leave one spot open, 1. Curly Seckler, “ at Old Book of grass, which is perfectly ne. Some albums which I would probably assign to Tony Mine” play an important role in reminding us Rice’s “Manzanita” album (because it has that country music and bluegrass were no banjo, yet still has drive). I love this album. If it sounds a lot like undierentiated for a long time. Also, Flatt & Scruggs, it’s because Curly is as Mark Rader (guitar) has some pretty sweet My motivation is to underscore the beauty F&S as F&S themselves. Here, he gets sunglasses. It features the father/son pair- of bluegrass and how ranking and com- a chance to be front and center, and it ing of Paul and Joe Mullins. Paul played in petition don’t really capture the genre’s is well-earned. Seckler was, arguably, e Boys from Indiana, with Aubrey Holt. organizational structure. ere are bands bluegrass music’s preeminent sideman. A Tracing the trajectories of 2nd- and 3rd-gen- mandolin player who rarely took a break,
OBA Bluegrass Express - Winter 2021 16 Five Albums at Are Worth Having eration bluegrass musicians is a fun game responsible for my interest in bluegrass you can play with friends and kinfolk. and the guitar. He completely transformed the role of the guitar in bluegrass and 4. David Evans, “Bluegrass Memories” o en plays way outside the boundar- ies of traditional bluegrass. His body of David Evans: Enigma. Mountain soul- work suggests that he was anything but a singing plus an ahead-of-his-time melodic staunch traditionalist but, unlike me, he banjo style that was as crude as it was fu- earned the boundary-pushing by caring a turistic. On paper, a fairly bizarre combi- lot about the music. As such, there isn’t a nation of skills. Whatever special sauce he single guitar solo on this album. Nope. Not pumps through his veins made for some one. Why? Because that’s not what Mon- mighty sad bluegrass. If you are a blue- roe wanted for his music and Tony Rice grass person, being sad makes you happy. was far too slender to challenge the ghost Get this album so you can feel bummed of Big Bad Bill. But seriously, that’s a lot of out and turn that day right around, champ! restraint and care: To acknowledge when His rendering of the Stanleys’ “Sweet and what not to play is the trademark of ing” is a personal favorite. an attentive musician. As much I love the guitar and guitar solos, the beautiful, raw 5. Bluegrass Album Band, “Lonesome power of all the instruments interlocking Moonlight” is a recipe that took a lot of trial and error to get right, and it’s a grand testament to all is is a compilation of 12 Monroe songs, that hard work to hear Tony Rice just play played by the Bluegrass Album Band. e rhythm, just like Bill wanted, along with BGAB features Tony Rice, the guitar player his all-star crew of bluegrass giants.
OBA Bluegrass Express - Winter 2021 17 OBA Steve Waller Memorial Fund Applications Due 1, 20 Grant Award Information Submit to: OBA P.O. Box 1115 and Application Portland, OR 97207 Or: Date: [email protected]
Applicant Name: ______
Mailing Address: ______
City, State, Zip Code: ______
Phone: ______Email: ______
Best Time to Contact ______
Are you an OBA Board Member or Relative? ______
(Use a separate page to complete the following section, if necessary.)
Describe your involvement in the Oregon Bluegrass Community.
Describe the Use of Waller Grant Funds______
For What Time Period Will Funds Be Used ______
How Will the Grant Funds Further Your Musical or Career Aspirations?
Provide information on who would receive Waller Funds from OBA, should you be awarded a Grant (name, address, phone number, email address)
For questions about this application, contact: [email protected]
Thank You and Good Luck!
OBA Bluegrass Express - Winter 2021 18 OBA Steve Waller Memorial Fund Cont. from page 7 History Scope h r h ca a r M r a c r c a h ra a ar a a r ra c a a r r h h a r M r a h r h a a h a r ra c h a h a r r h h r c r a r hr h a ar a c a ra r c hr h c r a r h r h a r ra ca h r ca r a r h r h a r h a a c r r a r r ra c Criteria
rc r h a r 1. ca a r c ra ra c a r Use Of Funds acc a r h a r a a h r ar r ra c a a ar r c a r 1. ar ar a ra r c r r h h a ar h r r a a r c ra r 2. ca ha a a a r c h r a c a h r r a a c a h a r ha a r c a r a r a r r a c h r c a a a c r a ac . ca a r ra a h r c r a r a r ar ar r ca r c r a a ra a ar r a r h ha ach a a c h ra r r a a a c a r rc 2. ar ar h h ar ra c c a h ra a ar c r . ca c a ar r c r c h a r ra ca h ar h r h a a r h a r a ar ra a ar a ar a 5. ca a . h r March a a a ar r r a c rr ar M r r a ra ca r ra r c a r r a r a ca r r a a h a r c a ar r c . ra a ar a . c h a ar a a a h ar a h a r h r r c r r a a r a h a h a r ra h a ar a h ra a r h a ar ca r r h h a a a a a h a M r a ar ar a r 7. a r h cr r a a a r a ca r c r r a a a r a r ar
OBA Bluegrass Express - Winter 2021 19 Grassword Puzzle Created By Kerry Callahan Grassword
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OBA Bluegrass Express - Winter 2021 20 Grassword Puzzle Across Down 1 Elder Monroe brother 1 Elder Stanley Brother 4 “_____” Grisman 2 “ ____the Good Times are Past and Gone” 6 _____ Brothers, Alton and Rabon h r h r h 8 _____ Trischka or Rice 5 Premier Northwest bluegrass festival 9 Earl and _____ 7 Played on stage with Bill Monroe at the age of 7 12 _____ won’t grow at all on Rocky Top 8 “It’s been _____ long years since I left my home” 15 Home of J. Martin and D. Crockett 10 Monroe family farm, _____ Ridge 16 First president of the IBMA 11 Self-proclaimed “King of Bluegrass” 18 Doc’s son 13 _____ Auditorium, home of the Grand Ole Opry 19 Rhonda Vincent and the _____ r a a r h cra ch 21 Roy or Old Joe 22 That good old mountain _____ 16 “Darling _____ of Mine” 25 Stanley Brothers Dominion for short 17 Name Bill Monroe called Bill Keith because 26 Stringbean’s real name “there was already a Bill in the band” 27 _____ your head, Tom Dooley 20 Rhiannon _____ delivered the keynote address at 28 BG state 2017 IBMA Business Conference c a h 23 “Old and in the _____” 32 In a long black veil she cries over my _____ 24 “A gentleman is someone who knows how to ra a r a play _____, and doesn’t.” --Mark Twain 34 John Hartford’s home state, for short 28 The name of Big Mon’s horse 35 Earl Scruggs’ home state, for short 30 Banjo virtuoso called “Pickles” by Chris Thile 37 _____ Belle Reed h r a a a h ar h h rc a a ca a h Unbroken” album cracky, _____ play a little.” 42 _____ Crowe on the banjo 38 Home of Bill Monroe’s annual festival 43 “There’s a ______the _____ in the hills of Caroline” 40 Taught Bill Monroe about the blues 44 _____ Smiley 41 _____ and Lester 46 Brown or Krauss 45 Instrument invented by the Dopyera Brothers 49 “I’ve got those ______Mountain blues” 47 AP’s wife and Maybelle’s cousin 50 _____ McCoury h h r ha r 51 “I wish I was _____ in the ground” c a r a cr r Mar ha h r 53_____ Brothers, Bobby and Sonny 54 _____ Forrester played accordion in an early Bill Monroe 55 “I’m gonna _____ down my old guitar” band 56 Color of the moon and grass in Kentucky 57 Mandolin designer Lloyd _____ r a 59 Name of Sam Bush’s mandolin 61 First star of the Grand Ole Opry, Uncle _____ 60 “Roll on _____” Macon 62 John Hartford’s last name before Chet Atkins changed it r a h c h c 65 9-time IBMA bass player of the year, Missy to lovin’ me” 66 Has awarded $50,000 annually to a deserving banjo player 64 _____ Brothers, Bea and Everett since 2010 67 “Hey, hey, Della _____!” 69 _____ Brothers, Ira and Charlie 68 _____ McCoury See page 29 for solution
OBA Bluegrass Express - Winter 2021 21 indin lue rass and more in the time o C ID Compiled by Nancy Christie Here’s a toast to 2021! May it bring vaccinations, indoor dining, and a return of festivals! While we await safe gatherings, here are some resources you can enjoy at home, just you and your computer. All ti es are acific ( est coast)
orth est Blue rass via a e oo : A great resource for bluegrass around the Northwest is the ace oo group orth est Bluegrass ou ll fin in or ation a out an luegrass e ents that can be viewed via Facebook. Most of these shows are recorded, so if you can’t catch the live show, you can view the recorded version later.
Portland ld ime Musi atherin This festival is online, January 1 -17, 2021. If you’ve become a oom expert, volunteers are still needed to host oom performances. https://bubbaguitar.com/gathering/
Po et rass is a monthly 5-minute variety show featuring your favorites of the Wintergrass Festival on the Wintergrass YouTube page. Performers include The Downtown Mountain Boys, Mike Marshall, Betse Ellis, Mike Block, Nefesh Mountain, and aurie ewis.
ther estivals If all the 2020 festivals you hoped to attend, you can still go to a festival, virtually. No RV needed. It’s not the full festival experience you might actually get some sleep! Do a search on ouTu e or ace oo or luegrass esti al an see hat ou can fin
Playin y ear ou u e a e oo CDs the radio anythin that plays musi Dig out the music media from that shoebox in your closet. Cassette tapes -track Records We know you have them. It doesn’t have to be bluegrass to work on your skills. isten and experiment as many ti es as necessar until ou e figure out the e an then pla along ith the chor s elo har on hate er our instru ent an s ills are rea to han le en a grate ul an letter to musicians who put the keys in their liner notes.
he Muddy Rudder Do n ome Musi our a e oo al ost e er e ening at p ) sho cases ohn ael an Annie taninec ( his e ea uet ith occasional guests) on Thurs a s On other nights ou ight fin the ern ill Ban auren heehan an ran ( an o pton ran le er) an others
uarantine appy our ( a e oo al ost e er e ening at 5 30 p ) A ariet o li e usical per or ances hoste a rielle acrae an Barr outhern ith a ocus on ol -ti e usic ut there’s bluegrass and other musical styles too.
llie a anson and llie a anson Musi will lead you to performances by Ellie and the rest of her talented family. Go to Ellie’s YouTube page and subscribe so you won’t miss any shows.
Musi rom he rue ine Don’t forget our Oregon favorite bluegrass radio show on KBOO-FM ( 0 ) e er atur a ro 00 a until 1 noon ou can listen li e ro an here in the orl on the KBOO web site and hear past shows too.
OBA Bluegrass Express - Winter 2021 22 indin lue rass and more in the time o C ID
a or rass has a e so e changes in response to the O -1 restrictions a en urst an atric onnell host online classes an a s To register an or ore etails (see page 1 o this ne sletter) go to www.taborgrass.com here ou ll also fin a list o pri ate instructors
More ammin A ter ou e finishe a ing ith a or rass, try other jams. Only you can hear our solos so e ra e an tr ne lic s un a s at 3 00 p red So olo and his wife ynn do a free play-along with chord charts on the screen yler rant presents 3 hours of jam-along music live on most Mondays at :00 p.m., and any other time, recorded.
Donate please If you want those performers, venues, and festivals to be around when the pandemic is over, and there’s a way to give them a donation online when you watch via computer, please do. They will really appreciate it, and your donation may keep them solvent until they can perform in public once again.
Introducing......
• 24/7 Bluegrass To log in go to • Traditional www.oregonbluewgrass.org • Progressive and click on • Regional Oregon Bluegrass Radio • And It’s Free!
Oregon Bluegrass Radio is part of the Oregon Bluegrass Association. Join the OBA and help support our programs
OBA Bluegrass Express - Winter 2021 23 Acousc Music That’s Entertainingly Good Fun
NEW CD AVAILABLE ( ia all the usual o nloa sites) W B I S WS
OBA Bluegrass Express - Winter 2021 24 Join The
Oregon Bluegrass Association And Enjoy BA These Benefi ts Bluegrass Express quarterly newsletter subscription
Discounts to OBA-sponsored events and fundraisers
Stay informed of local bluegrass festivals, concerts, etc.
Help support bluegrass in Oregon
See back cover for more information
OBA Bluegrass Express - Winter 2021 25 503.238.4515 fax 503.231.1560
Fine Violins Violas Cellos Sales Rentals Purchase Repairs kerrviolins.com Restoration Accessories Appraisals
HOURS: tues-fri: 12-5 & sat: 10-3 4451 SE 28th Ave. Portland, OR 97202 We Make House Calls Don’t Be Left
Schedule a private banjo In The Dark showing or on-site repair Visit the with banjo consultant Tom Nechville today.
Available by appointment in your home or at his new Sisters,Oregon Showroom. OBA Call for all your banjo WEBSITE needs. 612-275-6602 for all things bluegrass n the fi o th est WEST and beyond. https //www ore onblue rass or /
OBA Bluegrass Express - Winter 2021 26 Oregon Bluegrass Association
Ore on l e rass Association Contributing Business Sponsors
Mister Longarm MBQC Warren Womack - (503) 367-9789 - [email protected] Fresh Air Sash Cord Repair, Inc. - Old windows that work! Patty Spencer - (503) 284-7693 - www.freshairsash.com Gwen Peterson, GRI, CRB - Prudential Real Estate Professionals (503) 769-3448 - 1151 First St., Stayton, Oregon 97383 Joe Corder Drywall, Inc. (503) 738-8192 P.O. Box 862, Seaside, Oregon 97138 CCB#46802 Charlie Williamson - Attorney at Law (503) 206-4911 - [email protected] Richard Siewert, GRI - Owner/Broker, Northwest Classic Properties 1-800-440-8301 - 2265 Country Club Road, Woodburn, Oregon 97071 “The Connell Team” Alpine Real Estate Pat Connell 971-207-5993, Patrick Connell 541-261-3609, [email protected], www.areportland.com Woodwork Solutions - Collaborative Architectural Woodwork and Remodel Jack Livingston (503)729-1743 www.woodworksolutions.com, [email protected] Day Chiropractic David Day (503)760-7572 www.daychiropractic.com Medical Information Integration, LLC Tony McCormick, CTO [email protected] Hankins Home Inspections Tracy Hankins 503-985-7869 Nechville Musical Products Tom Nechville 612-275-6602 https://www.nechville.com, [email protected] Preston Thompson Guitars 541-588-6211 325 East Main Avenue Sisters, Oregon
Add your business name to this list: If you are a bluegrass-friendly business and would like to actively promote your business by being an OBA supporting partner - now you can, as a Contributing Business Sponsor. A Contributing Business Sponsor can get the recognition and promotional bene ts of underwriter-style sponsorship. For $125 annually, your OBA supporting business gets all the member bene ts - plus a year of promotional print and announcement recognition at OBA sponsored shows and promotions, as well as a prominent listing in the Bluegrass Express. For more information please contact the OBA at: [email protected].
OBA Bluegrass Express - Winter 2021 27 Scheduled Jams: Oregon and SW Washington ough we try to stay up to date, times and locations change - always call rst! Some jams may be temporarily cancelled due to the COVID-19 situation. Please check with the organizer about the status of any jam you’re planning to attend Sunday C AC AMAS APP A Strin Alon R S B R BA Rose ur am rd I SB R Ro Cree Blue rass am am 2nd and th Sundays 2 pm to pm Sunday pm year round very uesday pm pm Bluegrass and more. Happy Valley Library e Sutherlin Senior Center, 202 E. Central M Menamin s Ro Cree avern W Community Room, 13793 SE Sieben Park Way, Ave., Sutherlin, OR 97479 ld Cornelius Pass Rd ills oro R 2 Happy Valley, OR 97015. Located o Sunny- Bluegrass Jam - all levels encouraged. Established, open intermediate and advanced side Rd. at SE 147th. Look for the signboard on For information: (541) 679-0553 bluegrass music jam. It is requested that only the sidewalk near the Library. [email protected] bluegrass instruments are used and no song- For information: Charlie [email protected] books/tab. or LeaAnne [email protected] SIS RS Strin s in Sisters rd Sunday o For information: the month pm pm Nancy Christie, 503-348-5374 C R A IS am very st and rd Sisters Library, 110 N. Cedar St. 97759 All [email protected] Sunday 2 pm welcome. No charge. A friendly jam for beginning and intermediate For Information: Phil Minor 541/719-0497 or I C CI Blue rass ld ime Musi players. Meet at a private residence. Bruce Barnes 541/728-3190 am very uesday pm pm For information and directions: Call Christine North Lincoln Eagles Lodge, Robins (541) 738-2610 SW 32nd at Hwy 101 All levels and ages welcome. AMA A S Blue rass am irst Monday For information: Carla 541/418-1779 Sunday o every month pm B A R Ram lin Blue rass am Mia’s and Pia’s Pizzeria and Brewhouse, 3545 very Monday ni ht all year e ept Christ Wednesday Summers Lane, Klamath Falls, OR 97603 mas Day i that alls on a Monday to For information: Ben Coker (541) 783-3478 pm B A R Blue rass am very [email protected] Open jam in semi-private banquet room with Wednesday p m lively tempos and jammers eager to try new P R A D BA am irst Sunday o every Round Table Pizza, 10150 SW Beaverton-Hills- month to er April 2 pm pm material. Papa’s Pizza Parlor, 15700 Blueridge dale Hwy, Beaverton, Oregon Portland Audubon Center, 5151 NW Cornell Dr., Beaverton, OR 97006 (east of Hwy. 217) For information email: Road, Portland. All levels of bluegrass players For information: Jane, [email protected] or website [email protected] are welcome. Bring an instrument, your voice, http://ramblingbluegrass.org a song, and a friend. Come make music among Phone: Pizza Parlor (503) 531-7220 M D RD Blue rass am 2nd and th the birds. Small donation of $5.00 requested to Wednesday p m help cover room rental. Wild River Pizza & Brewery, For information: Rich Powell Tuesday 2684 North Paci c Hwy, Medford, OR [email protected] on Cooper D D Blue rass am st and For information: John Nice (805)748-6648 nicetunz @gmail.com P R A D Sunday Blue rass am rd uesday a h Month pm 2 to pm Held at La Sierra Mexican Grill, 1179 Hwy Moved outdoors, weather permitting. 99W, Dundee, OR. 97115 Updates on Facebook page Features bluegrass/old country music. All skill Thursday Open bluegrass jam for all acoustic instruments levels welcome. and skill levels. For information: Steve Edward – B D Blue rass am 2nd and th Contact Murray Nunn at [email protected], (503) 985-1945, hursdays year round rom pm pm [email protected] Tracy Hankins – [email protected], Held in the board room of the Bend - LaPine (503) 720-6629, School District, downtown Bend, between Wall P R A D he andsome adies 2nd Ron Taylor – and Bond Streets, across from the Public Library. Sunday pm pm [email protected], For information: Becky Brown and Verda Strum Guitars, 1415 SE Stark #C (503) 625-7254 Hinkle (541) 318-7341 or Ladies only, traditional bluegrass repertoire and [email protected] Call or Blue rass am very uesday instruments. email to con rm before you head out. pm am For information: www.thehandsomeladies.org Sam Bond’s Garage, 407 Blair Blvd, Eugene - RA S PASS A ousti Blue rass am Call (541) 431-6603 for information rd hursday pm pm is year ‘round jam oers good food and Wild River Pub meeting room, micro brews. 533 N.E. F Street Jam Hosts: Sunday Sam and Sean Shanahan. For information: Gary or Debbie Antonucci [email protected]
OBA Bluegrass Express - Winter 2021 28 Scheduled Jams: Oregon and SW Washington
A C R WA Blue rass Slo am Saturday very hursday pm pm If you have jam updates or additions, you may Barberton Grange, 9400 NE 72nd Ave, DA AS A ousti ospel am very rd update your listing via the public calendar at Vancouver, Washington 98665 Saturday pm pm oregonbluegrass.org or email: Please note this is a slow jam, with the belief All levels welcome. Guthrie Park in Dallas, [email protected]. that bluegrass is a non-competitive participa- Oregon. For information: Sally Clark (503) 623-0874 tion sport. All talent levels are invited to par- or email Jim [email protected] ticipate. No ampli ed instruments. Listeners welcome. No charge, but there is a donation jar WI C WA Slo am 2nd Saturday for those who would like to support the Grange o the month e innin at pm to er for allowing use of their facility. throu h May For information: Chuck Rudkin Hosted by WAMA (Washington Acoustic [email protected] Music Association) Held at the Hope Grange in Winlock, Washington. Great for all levels and especially good for total beginners. Friday For Information: see website – wamamusic. C RA IA WA A ousti Blue rass am com or email [email protected] rd riday pm pm to er throu h April Sponsored by WAMA (Washington Acoustic A C R WA ld ime Country am Music Association). Informal event with a few very 2nd and th Saturday pm small jams taking place at the same time. Loca- 2500 N.E. 78th Ave., Vancouver, Washington. tion: Oakview Grange, 2715 North Pearl Street, 98665 at the Vancouver Masonic Center Centralia, Washington Donations for facility All are welcome to join the fun as a musician, costs are encouraged. singer, or to just listen and or dance. For information: Cheryl (360) 870-8447 or Contact info: Dean Roettger (360) 892-0769 [email protected] or (360) 627-1228 email [email protected]
DA AS pen A ousti am very riday pm Grassword Solution
Guthrie Park in Dallas, Oregon. 6 a z 3 4 For information: Sally Clark (503) 623-0874 l H A RL , £ D A \v G- D £ L /\'\ 0 7R. £ ,- {) ,v y or email Jim [email protected] Ae L fv \ I £ - - � - 12 rr- R 9L E s T £ R.. N <1" � C 0 l ti -1' SCI ld Country ol Blue rass and ospel 1 16 1 - 5 R 7 P I 0 am ourth riday pm to Midni ht T rv Ji E T £' w E R. N C. I< \/ H ZCBJ Hall, 38704 N Main St. Scio, Oregon E £ A E R M y ft'1 E' R t- E 2 2 - l 0 - - - www.zhall.org Free event, but donations ac- A G E p c. L A £\ K u M s A k - - 2 cepted to support the historic hall. Beginners - A L I I G -s K N ;; w welcome. Please bring goodies to share. - - - 2 -y - - b For information: Starla (541) 223-2343 or 23:r l) N R v A ,.,, A 2 1, 28 - ! b I:. 7H email [email protected] H .A V AK£#. A N L A N G 1<. 'I - 2 y 1 3 3 E E s s P £ °,v' -R. -G- I t) 3 3 3 - B 0 N £' s /... o � I s 3M 0 -r s /V C £ 6 - A s 3 I A I -G- 370 ,_ 3 3 4 4 -0 v A s s A- R. C l- £ /v1 � w T s .\Al- A 43.-. - u p £ R. ft A I N 43 4 I 45 �0 C A l3 I Iv INPI tJ E s i? � b A L 0 iv N 0 L 0 K A - - - s 4 - 8 9(3 j_ (A I; R.. I D cr-lE 13 I f( 0 ti s 5 s2 3 ;4 /VI 0 L.. e D H 0 i R I z.. e A £ 54 s � 5 1:3 0 s A L ':>/_. YANN 5 0 R - - - s 5 H A B S k ' 6 6 6 6 '64"'"" L OA 0 1) 5)-� 0 s s 8 u. D b 't H A R != 0 R L lJ_ 0 6 - e: 0 L A R. 7? A I Ive s - 6 6 � -J_. fr\ � T � V £ fit /( T I N 0 L - - 6 - t -z -t:; -A -0 -E p () u_ V I N I - -B LY.
OBA Bluegrass Express - Winter 2021 29 OBA Supporting Performer Directory OBA supporting memberships are $50 per year. is includes a listing and link on the OBA website and a brief (approx 35 word) band listing in the supporting performer directory.
Ash Creek e Jamblers Midshelf String Band Ash Creek explores the frontiers between e Jamblers play a blend of bluegrass, folk, Midshelf String Band is a 4-piece Portland- bluegrass, folk, and traditional country music. classic rock, alt-indie and more, and jamble based band with roots in bluegrass, folk, Celtic, Gene Alger plays banjo; Larry Ullman plays ‘em all into our stringband style. We feature honky-tonk and other Americana. We’re fairly bass; Tim Howell plays guitar; Clayton Knight tight, bold harmonies and tons o’ fun! Some new as a band, but we’ve all been playing for plays mandolin and ddle. We all share lead call it “Americana.” We call it “Music,” the kind decades in other bands like Back Porch Revival and harmony vocals. everyone enjoys. and Pagan Jug Band. We really enjoy playing together and aim to bring fun and good times [email protected] www.jamblers.com https://eclecticacoustica.squarespace.com/ www.facebook.com/jamblers with us wherever we go. Check here for our Facebook: @ashcreekbluegrass ash-creek- Gene Greer, [email protected] schedule: bluegrass 503-702-1867 www.midshelfstringband.com/ Clayton 503-358-0658 Kathy Boyd & Phoenix Rising Misty Mamas Corral Creek IMEA 2015 Bluegrass Group of the Year. Kathy e Misty Mamas serve up home-style bluegrass Corral Creek’s commitment to showing the Boyd & Phoenix Rising is all about the stories, lled with powerful harmonies, traditional and audience a good time has worked out O.K. for and the stories of everyday America are what original songs as well as tasty instrumentals 13 years. We share tunes of Oregon, gospel, and you get from these four personable entertain- combining the American genres of bluegrass, old bluegrass standards to city festivals, cultural ers. With over a dozen years of awards on time, gospel, folk and country music. Katherine centers, bluegrass festivals, house concerts, the shelves, the quartet has longevity in the Nitsch (vocals, guitar), April Parker (vocals, wineries and more. performance arena and an extended fanbase mandolin, accordion), Eileen Rocci (vocals. up- Pam Young worldwide! is hard-working group of song- right bass), Tony Rocci (guitar, mandolin, vocals) [email protected] writers is guaranteed to deliver a high-energy mistymamas.com corralcreekbluegrass.com family-friendly performance that is a delight for April Parker 503-780-9770 For bookings please call 503-319-5672 all ages. www.phoenixrisingband.org [email protected] Mountain Honey Steve Blanchard 503-936-8480 Steve Blanchard is well known as an acoustic Sweet and golden acoustic music inspired by atpicker guitarist, singer and songwriter with traditional bluegrass, with driving banjo and a career spanning over four decades. His musi- Julie & e WayVes high lonesome harmonies. Mountain Honey cal style includes bluegrass, cowboy/western, Julie and e WayVes is a 5-piece progressive features Linda Leavitt (vocals, guitar, mando- folk, and Americana. No matter what the style bluegrass band, based in Portland, Oregon. lin), Dee Johnson (vocals, bass), Greg Stone or venue, you’re sure to feel Steve’s love and Centered around the songwriting of Julie (vocals, guitar) and Mike Stahlman (vocals, passion for his music. Schmidt, a con uence of hard-driving bluegrass banjo). www.SteveBlanchardMusic.com and masterful composition and arrangement www.mountainhoneyportland.com 503-730-0005 sensibilities delivers a powerful and elegant www.facebook.com/mountainhoneymusic [email protected] Contact Linda at [email protected] sound. Timeless tones within a modern, artful structure that incorporates genre-bending Dogwood String Band subtleties without sacri cing what their instru- Never Come Down Contemporary bluegrass-fueled Americana mentation suggests they are: A bluegrass band. Earnest songwriting, dedication to cra , and Members: Julie Schmidt, Patrick Connell, Jon Woody Wood genuine care for the music. Joe Suskind: Lead [email protected] Meek, Kaden Hurst, and Rob Wright. dogwoodstringband.com Guitar/Vocals , Crystal Lariza: Rhythm Guitar/ Patrick Connell [email protected] Vocals , Kaden Hurst: Mandolin, Lillian Sawyer: Fiddle, Brian Alley: Banjo, Ben Ticknor: Bass Booking: [email protected] Fire & Stone Lost Creek Bluegrass Band Fire & Stone is a nontraditional bluegrass band Brian Alley 303-330-8414 From Portland, Oregon, Lost Creek delivers a playing a diverse blend of traditional and con- driving blend of bluegrass and old-time stan- temporary folk, blues, pop, and bluegrass. F&S dards with terri c vocal harmonies and tasteful delivers a powerful sound of lyrical storytelling, Pickled Okra rich harmonies, and expressive instrumental instrumentation. For years they’ve delighted Bluegrass, quirky originals, harmony-laden traditionals, and bluegrass-in uenced covers. solos audiences at festivals, pubs, parks, dances, markets, and weddings throughout Oregon and Todd Gray (mandolin & drums) and Paisley Facebook: https://www.facebook.com/ re- Gray (guitar & upright bass) Washington andstoneband/ Paisley Gray Email: [email protected] www.lostcreekmusic.com [email protected] Telephone: (707) 832-9262 [email protected] 971-678-2337 Continued on page 26
OBA Bluegrass Express - Winter 2021 30 OBA Supporting Performer Directory Rose City Bluegrass Band Slipshod True North Bluegrass, Country and Americana. Peter Matt Snook (dobro and banjo) and Steve True North is a powerhouse of award-winning Schwimmer, Spud Siegel, Gretchen Amann & Blanchard (guitar and mandolin) oer listeners original songs, with the crazy-good picking and Charlie Williamson a broad and diverse range of music, includ- harmonies of a band deeply rooted in folk and Charlie Williamson ing originals, familiar melodies and dynamic bluegrass genres. Members: Kristen Grainger, [email protected] instrumentals. Check out this dynamic duo on Dan Wetzel, Josh Adkins and Martin Stevens. their website, Facebook and YouTube.. [email protected] e Rogue Bluegrass Band www.SlipshodMusic.net www.truenorthband.com e Rogue Bluegrass Band is: Paul Steve Blanchard, 503-730-0005 [email protected] Hirschmann, guitar, dobro and vocals; Ed Matt Snook, 541-805-5133 Wailing Willows Hershberger, banjo and vocals; Deb Smith- [email protected] Traditional bluegrass. Andrew Spence, banjo, Hirschmann, bass and vocals; and Don guitar, primary lead vocal. Hal Spence, guitar Tolan, mandolin and vocals. An entertaining Sun sh Duo and tenor, Andrew’s dad, bringing family-blend four-piece acoustic bluegrass group, featuring With Sarah Ells on guitar and Daniel Fish on harmonies. Kim Jones, bass ddle, lead and harmony vocals and foot-stomping ddle tunes. mandolin, you’ll go back in time to hear tra- harmony vocals. Dave Elliott, mandolin and Rogue Bluegrass Band ditional harmonies and simple melodies from lead harmony vocals. Contact Don at the roots of Bluegrass, Country, and Old-time Contact: 909-913-3668 [email protected] [email protected] music. Daniel Fish Rowdy Mountain djoe [email protected] A throwback to the heyday of bluegrass music, Whistlin’ Rufus Rowdy Mountain brings the heat with the raw, Pat Connell, Ritchie Wernick, Nat O’Neal, down from the mountain sound that originally Timothy Jenkins Band Patrick Connell, Zach Banks. ree- and four- gave bluegrass its wheels back in the 1950s, 60s Timothy Jenkins part vocal harmonies, exciting instrumentation [email protected] and 70s. Featuring energetic and fresh clas- and contagious fun are part of the Rufusarian sics alongside stirring and relevant originals e Hardly Heard bluegrass experience. A Whistlin’ Rufus show that honor the time-tested tradition, Rowdy e Hardly Heard perform music inspired by guarantees a varied and wonderful mix of blaz- Mountain is the real deal. Listen for yourself at Second Generation Bluegrass. We oer rich ing bluegrass, original homemade tunes and an rowdymountain.bandcamp.com. vocal harmonies, memorable instrumentals Irish ddle tune or two. 971-347-6050 and we are equipped with a full gospel set for www.whistlinrufus.com rowdymountain@ gmail.com Festival Sundays. Pat Connell [email protected] Contact email: [email protected] 971-207-5933 Visit us on Facebook: www.facebook.com/ Scratchdog Stringband thehardlyheard/ Band Website: www.reverbnation.com/ e Scratchdog Stringband is creating a name thehardlyheard for themselves as the vanguard of a high-energy, innovative brand of bluegrass that satis es old-school traditionalists of the genre while enchanting modern audiences with a style of music they didn’t yet know they loved. Some of the hardest-working young musicians in the Paci c Northwest. Steve Eggers [email protected]
OBA Bluegrass Express - Winter 2021 31 on- rofi t Oregon Bluegrass Association ostage P.O. Box 1115, Portland, OR 97207 Paid Portland OR er it o 5
Oregon Bluegrass Association
A subscribing member of the OBA according to expiration date. Cut along dotted line for a handy OBA Membership ID card. Oregon Bluegrass Association P.O. Box 1115 Portland, Oregon 97207 www.oregonbluegrass.org
Name Address City, State, Zip Daytime phone Email Address Visit www.oregonbluegrass.org THE OBA NEEDS YOU! P.O. Box 1115 for information on OBA activities, THANK YOU Portland, OR 97207 local jams, festivals, concerts, FOR JOINING We are always seeking members Chick’s Kids and more THE OBA for various tasks, ranging from open director positions to taking $30 Individual Membership Rec’d date: a shift at the merch booth at a $75 Individual Three-Year Membership festival. It’s fun and you’ll meet Amount: some truly nice people. Tell us $50 upporting er or er Membership Check/Cash/CC: a little about yourself in an email Received by: to [email protected] $1 5 ontri uting Business Sponsor or contact any board member. The Oregon Bluegrass Association is a 501(c)(3) non-profit Event:
OBA Bluegrass Express - Winter 2021 32