Vol. 40 No. 4 INSIDE THIS ISSUE! Joe Newberry : Oct. Nov. Dec. on Songwriting , Walls of Time Podcast 2020 and more... $500 Oregon Bluegrass Association Oregon Bluegrass Association www.oregonbluegrass.org
Interviewed By Nora Candey I remember hearing you say in a work- found a folder in her parents’ basement lonely draw shop that you began writing songs as a that read “Sterling Newberry - 1910” writ- I have watched steam rise the lowland, by child. What was the rst song you ever ten on the front. In it were a number of the river’s muddy shore wrote? poems written by my grandfather, includ- And watched Death welcome foes and ing the one-stanza “Reminiscent.” friends through his eternal door I wrote my rst song at around age 5, and All these things may scar you, yet none can it was a blatant rip-o of the Kingston I have felt the sting of Spanish darts down in leave a mark Trio’s Tom Dooley. It was called Hang old Mexico Like hearing “I have been untrue,” as a Down Your Head Bugs Bunny. e story I know the pain of bullets hot as through the whisper in the dark is that Bugs Bunny steals carrots and esh they go I love having a co-write with my grandfa- they hang him! I don’t remember the I have ridden through the ice and snow out ther across the span of 104 years. whole song, but the last lines are, “Bugs on the Western plain Bunny’s still a carrot lover. He still loves And felt my blood turn chill and cold be- Do you feel songwriting to be necessary them night and day. But the only di er- neath the icy rain for you? Would there be personal fallout ence about Bugsy is, he’s eating carrots at All those things may hurt you, yet they can- if you didn’t do it? Heaven’s gate.” Not bad for 5. not compare With tempest in the human heart, which I feel that songwriting is one of the ways I was also one of those kids who would be cometh unaware that help me make sense of the world, and put to bed along with all the other chil- I would miss it terribly if I couldn’t do it. I dren, only to get up in the middle of my Fast forward to working on the “Crow the have always loved the story from hor- night - probably around 11 p.m. - come Dawn” album with my friend, guitarist Jon ror writer Stephen King, who was asked, downstairs and announce to the gathered Shain. Our producer, Dave Tilley, said we “Why do you choose to write what you adults, “I will now sing a song!” I would needed one more song, something a little write?” He responded, “What makes you sing, they would applaud, and then shoo spooky and haunting. I told them about think I have a choice?” me back to bed. this one-stanza poem that my grandfather had written. Jon started playing a melody And now, in these days of quarantine, my Were you encouraged early on? Is song- that he had written a number of years writing is more important than ever to me. writing something you’ve always done before. I sang the words, and they were a I have not been as proli c in songwriting, throughout your life, or have you taken perfect t. But I kept saying, “It only has breaks? one stanza.” Tilley nally said, “Oh, if only but I have been writing a lot of essays and there were a songwriter in the room.” I short ction. ose will probably end up My family has always loved poetry, and we tried to match the feel of the original, and storyboarded and made into songs down were encouraged as kids to make up verses the way my grandfather used words, in my the line. and do word play. I have taken breaks stanza: from writing songs over the years, but have Were there any especially painful phases written every day, either for work or for I have heard the hiss of bad men’s knives you went through with your writing? pleasure. One of the highlights of my writ- down in old Arkansas ing life started when my late cousin Suellen And howls of the Indian tribes in many a 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 - Fall 2020 2 Table of Contents Oct./Nov./Dec. 2020 Volume 40 / Number 4 Newsletter of the Oregon Bluegrass Association www.oregonbluegrass.org is Issue Features Vol. 40 No. 4 Cover Story Oregon Bluegrass Association Oregon Bluegrass Association Joe Newberry: On Songwriting ...... 1 www.oregonbluegrass.org Interviewed By Nora Candey Articles Bluegrass Express is a quarterly newsletter dedicated to informing members of the Oregon Walls of Time: Bluegrass Podcast ...... 12 Bluegrass Association about local, regional By Dennis Christensen and national bluegrass issues, events and Columns & Commentary opportunities.
Southern Oregon Voices ...... 8 By Joe Ross Bluegrass Express Sta EDITOR Ask Aunt Pearl...... 18 Linda Leavitt By Linda Leavitt [email protected] Calendars, Lists & Info OBA Membership and Ad COPY EDITOR Information ...... 2 Nancy Christie [email protected] President’s Message ...... 4 What’s Playing on the Radio ...... 4 GRAPHIC DESIGN & LAYOUT Waller Grant ...... 10 John Nice-Snowdy [email protected] How to Help Oregon Wild re Survivors ...... 17 (805)748-6648 OBA Contributing Business Sponsors ...... 22 ADVERTISING Pat Connell Finding Bluegrass in the Time of COVID-19 ...... 23 [email protected] Scheduled Jams...... 24
OBA Supporting Performer WEBMASTER & WEB CONTENT Directory ...... 26 Eric Herman [email protected]
ONLINE CALENDAR Donna Dunaif [email protected]
OBA Bluegrass Express - Fall 2020 3 What’s Playing On The Radio President’s Message Local Radio Bluegrass and Country Listings Everywhere And Free With this, the fall issue of e Bluegrass Express, this extraordinary Oregon Bluegrass Radio year winds toward its conclusion. I doubt there are many of us who www.oregonbluegrass.org will be sorry to see it go. Every day, all day
With each season I have felt compelled to address events and cir- Albany/Corvallis - KBOO cumstances that are entirely unrelated to the enjoyment of blue- Broadcast from Portland, can be heard at grass, but have had profound e ects on most if not all of us in our 100.7 FM. See under Portland, below community. Astoria - KMUN 91.9 FM is time it’s the wild res that have brought catastrophe to many Photo By Doug Olmstead Some syndicated programming 503-325-0010 parts of our state and caused all of us to breathe air that ranged from “Cafe Vaquera” unhealthy to o -the-scale hazardous. Tuesdays 9-11pm, Bluegrass/Old Timey Western/Folk with Calamity Jane Did we really need another reason to refrain from singing? [email protected]
Our hearts are with the folks who su ered unimaginable losses in the res—like OBA stal- “Shady Grove” Saturdays 7-9pm warts Ken and Jan Cartwright—and others, I’m sure, whom we haven’t heard from yet. Regular folk program Monday thru Friday 10am - noon I’m delighted to say that within hours of hearing of the devastation, OBA members were with bluegrass included organizing crowdsourcing to help provide relief. Columbia Gorge - KBOO Broadcast from Portland. Can be heard at We have also assembled a pool of donated instruments, to be provided to musicians who lost 92.7 FM. See under Portland below theirs in the res. Contact our Express Editor, Linda Leavitt, to donate or request an instru- ment. Corvallis - KOAC 550 AM Syndicated public radio with some I’ve been thinking a lot about this quote, from John Hartford: bluegrass included in regular programming “Bluegrass is America’s last small town. Everyone knows everyone else, and you don’t have to 541-737-4311 lock your doors. And not only do we know each other, but some of us are related.” Eugene - KLCC 89.7 FM e air is beginning to clear, and as it does, we have more reason than ever to sing—with our Local broadcast 541-726-2224 Mixed format “Saturday Cafe” families, on Zoom, on our porches, to the four walls or to the sky. at’s how we stay related. Saturdays 11am - noon “ e Backporch” So, I’ll say it again: Until we can sing and pick knee-to-knee, please be safe out there. Every 9 - 10pm Saturdays single one of you is precious to us. Eugene - KRVM 91.9 FM Please accept my humble thanks for your membership and support. “Routes & Branches” 3 - 5pm Saturdays “Acoustic Junction” 5 - 7pm Saturdays “Miles of Bluegrass” 7 - 9pm Mondays www.krvm.org 541-687-3370
Chris Knight Pendleton - KWHT 104.5 FM OBA President “Bushels of Bluegrass” 9 - 11pm Sundays contact Phil Hodgen 541-276-2476 Portland - KBOO 90.7 FM “Music from the True Vine” 9am - noon Saturdays Santiam Canyon - KYAC 94.9 FM “Ken ‘til 10” 6-10am M-F Additional Bluegrass Programming Streaming and Schedule: www.kyacfm.org Salem - KMUZ 88.5 & 100.7 “Ken ‘til 10” 6-8am M-F Simulcast with KYAC. kmuz.org, all bluegrass
OBA Bluegrass Express - Fall 2020 4 Joe Newberry: On Songwriting cont. from page 1
Ones that make you just cringe? If so, e smartass in me would simply say yes. named music camp. Long hours playing how did you get through them? Were Of course, it is sometimes all of those and teaching, but it certainly opens up those experiences necessary in learning things, and sometimes one at a time. But the creative ow. Walking to breakfast to cra a great song? Why or why not? regardless of form, what I always look for one morning someone said to me, “Did when I write, or when I listen, is heart and you hear those larks this morning? ey I had a run of particularly bad songs in truth. Mr. Monroe would say that the best were singing as they rose.” I thought, my middle teen years. Doggerel, really, songs are true songs, and I expand on that “Now, that’s a line.” As I said, some songs more than verse and chorus. Most of them by telling my songwriting students that you have to work at, and some songs are dealt with the angst of teenage love, or lack a song doesn’t have to be true life, but it as if you’re taking dictation, as it is in thereof. I don’t cringe too much, because must be true to life. the case of the song that grew out of my the key to being a writer is writing. Just friend’s comment - “Singing As We Rise.” as a young instrumentalist struggles to Along those same lines, where does your It was nished in about 30 minutes, and is make a recognizable melody, so it is with a inspiration come from? de nitely a true song that’s about all of my young songwriter. And, yes, I think those relatives who are in heaven. My mother experiences were helpful in learning to Sometimes, like in the case of my song, loved to sing; my dad was the hardest- cra better songs - if for no other reason “Baby, I’m Blue,” an entire verse will drop working man I knew. And my late sister than learning what not to do. down in my head all at once. I was stand- Amy was a pastor, so the last verse about ing in line at the Post Oce, waiting to “Sister preaching as she rises,” - that’s Amy Who helped you along the way? buy stamps for my Christmas cards, when to a T. these words appeared: “Before you, blue My late cousin John G. Newberry was a was a color so splendid. I slept the night Who are your favorite songwriters? Who beautiful writer, really the best in our fam- through, and blew was just something the would you encourage aspiring creators ily. He would listen to me sing my little wind did.” I tell audiences that someone to study, and why? songs, and give gentle guidance when re- didn’t get a card that year, because I turned quested. As a young man, I was fortunate over one of the envelopes and wrote the I encourage folks to listen to writers in to live near the wonderful songwriter Bob words on the back. en, later at home, I many genres, and look for great writing Dyer, who made his home in Boonville, spent a couple of days craing more verses. wherever they can nd it. Although I Missouri. Bob had a knack for writing could ll the rest of the article with names, about time and place, with an amazing Sometimes, I will write to order, as hap- here are a few of my favorite songwrit- ers, in addition to the folks I have already ear for language. He spent many years pens when I am working on a theater piece. Songs are a great way to advance a mentioned. All are worth study; all have working with elementary school students whole lot of narrative at one time. And I tremendous heart to me: Woody Guth- on writing songs based on Missouri his- do a lot of writing while I am on the road. rie, Nina Simone, Leon Russell, Ola Belle tory, and that was inspiring, especially as I Before cell phone recorder soware, I Reed, Cole Porter, Hazel Dickens, Tracy started writing more and more songs that would call in verses to my home answering Chapman, Johnny Cash, Tom Waits, sounded like they were already part of the machine as I made up songs in the car. It Prince, Elizabeth Cotten, Bill Monroe, tradition. I hear his inuence in almost was a lot safer than keeping pen and paper Mark Simos, and the list goes on. everything I write. in the passenger seat. My youngest daughter shared something I have also been fortunate to encounter When I co-write with folks, we will oen with me years ago that I recite in every songwriters through the years who model jumpstart the process by emailing back songwriting class I lead. It is by Eminem, the power of a true song. Folks like Tim and forth with ideas for songs and key and it is good advice. Sta ord, Alice Gerrard, Eric Gibson, Leigh words and phrases. A good example is a Gibson, Laurelyn Dossett, Jon Shain, Iris song I wrote with Tim Sta ord called “ e You better lose yourself in the music, the DeMent, John Lowell, and Darcy Wilkin. Marks.” I was just getting ready to retire moment Garrison Keillor was always supportive of my beloved old J-45 from the road, and You own it, you better never let it go my songwriting, and gave me a big plat- Tim and I started by talking about how You only get one shot, do not miss your form through my appearances on A Prairie great old guitars smell, and how they, and chance to blow Home Companion. other instruments, take on the marks of This opportunity comes once in a lifetime our hands, or belt buckles, or capos, or What is a song? Is it poetry set to music? picks. What are your goals when you write a A good story? A record of a feeling or song? Is it individual for each one, or do event? Or is it all of those, or something I also keep my ears open for a phrase that you have any general questions a song else entirely? resonates. I was in the UK to teach at Sore needs to answer or benchmarks it needs Fingers, which I call the world’s most aptly to meet?
OBA Bluegrass Express - Fall 2020 5 Joe Newberry: On Songwriting
I think it is important to let a song go in doubt about its worth, then alternating that is a pretty amazing feeling. whatever direction it needs to go in, and to between those until I realize that it is the take whatever form it needs to be. Some- song that it needed to be. And I always And then, there are the folks who come times, you will have verse, chorus, verse, worry that whatever song I have just up to me at shows. One woman leaned in chorus, bridge, and chorus. Sometimes, written will be the last one I have in me. to me at the record table and told me that as in the case of a ballad, verses only. In ankfully, so far, that has not been the she sings my songs regularly at a nurs- the case of Bill Monroe’s “Kentucky Waltz,” case. ing home where her mother lives. She one verse, sung twice, does the job. said that if the residents are too weak to I know that a song is hitting the mark sing full out, they still mouth the words. When I was a young newspaper editor, when I tear up as I sing it - either from the My Lord, what an amazing image. At my rst boss shared what he called “Uncle subject matter, or the evocation of time another show, I sang my song about my Phred’s Rules of Editing.” I have applied and place. I also watch the audience as I late mother called, “I Know Whose Tears.” them to everything I have written since, try them out. I knew the rst time that I I noticed a large man in the second row including songs. performed “ e Darker the Night, the Bet- scowling aer I sang it, and he kept that ter I See,” in public that I had something sour look for the rest of the set. I thought, 1. Don’t make the reader work. pretty good, when the audience sang the well, there’s one I just didn’t reach. At the 2. ink, and think again. chorus with me aer hearing it one time. break he came up and stood in front of 3. It can always be shorter. As far as ones that stink, I try not to let me, all 6 foot, 6 inches of him. Scowling. them out to see the light of day too much. And, then, it hit me. I asked him if he So, in adapting those rules of editing to at said, not every song is liked by every had just lost his mother. Without a word, songwriting… You don’t want to make listener. at is important to remember, tears spilled out of his eyes and he nodded. the listener work. Be clear. Don’t have too and very humbling. en, he gave me a crushing hug. So, I much le to chance. If you have something don’t take what I do lightly. that sticks out, the listener will spend time What is your proudest or best moment trying to gure that out, rather than expe- with your songwriting? Are you sick and tired yet of all the cov- rience the song. at is where Rule no. 2 ers of Missouri Borderland, or is it an comes in…. ink, and think again. Rule I have been fortunate to win awards for my honor every time, or both? Is there one no. 3 is particularly helpful. It can always songs and have folks I admire sing them, of your songs you wish someone would be shorter. In fact, I try to take words out and those are certainly wonderful mo- cover, but no one ever does? until the song is conversational, with a ments. But the best for me is when I hear true-to-life rhythm. from folks that my songs brought comfort I love all of the covers of Missouri Bor- to them, or made a di erence in their lives. derland. It is one of those songs where One of my writing exercises for students I got an email last year from someone the rst lines dropped down in my head is writing stream of consciousness about who told me that they whispered my song driving home from a practice with my old what they did yesterday. A common com- “Resurrection Day” in their mother’s ear band, Big Medicine: “I am far away from plaint is that “my life is just not interest- as she was in her last moments. at just home, with neither family nor friends. I ing.” I’ll have them read it out loud, and bowled me over. never meant to stay so long in the Mis- sure enough, here comes that complaint. I souri Borderland.” My friends Andrew then ask them to read what they have writ- Another email out of the blue was from the Marlin and Emily Frantz of Mandolin ten again, but in the voice of Tom Waits, pastor of my childhood church in Malden, Orange did a cover that has had more than since he is the master of conversational Missouri. He didn’t know that it was my a million views on YouTube, and I think songwriting. I love the smile on their face church - my folks and I moved to Colum- that is where a lot of folks have heard it. I when they hear their words in that context bia, Missouri when I was 14. He just liked listen to each cover that pops up, and try and that form. Voila, a song! the Gibson Brothers’ recording of my song, to give some encouragement to everybody “Singing as We Rise.” In the email, he said who tries it. In a few cases, I have gently What makes a good song? How do you that he was the pastor of a little church in corrected a lyric or two that they have know if you have written a good one? a little town in Missouri that I had never misheard. But your songs are like your How do you know if it stinks? heard of, and he wanted to sing my song children. You have to do your best when in his church - Malden First Presbyterian. they are young, and then you just have to I jokingly tell folks that each song I write My eyes opened wide when I saw that, and let them go. follows the ve stages of grief by Elisabeth I sent back an email telling him that every- Kübler-Ross: Denial, anger, bargaining, one in the song sat in the third pew back As far as covers of other songs, I have depression, and acceptance. In truth, my on the right. In a similar vein, when I am always wanted my song, “Baby, I’m Blue” pattern oen takes this path: Euphoria at a session and someone sings one of my to get out into the jazz world a bit more. I with the creative experience, followed by songs, not knowing that I wrote it … well, can hear folks like Diana Krall or Norah
OBA Bluegrass Express - Fall 2020 6 Joe Newberry: On Songwriting Joe Newberry: On Songwriting
Jones doing a smashing job on it. But I’m when you are done. Look at your last verse. writer. A longtime and frequent guest on just as happy singing it all on my own, and at might be the place where you nally A Prairie Home Companion, he sang with of course, I don’t run in their circles. I understand what it is you are trying to say. the 2016 Transatlantic Sessions, and at the have a new song called “Still Love to Hear I gured that out in my days as an edi- Transatlantic Session’s debut at Merlefest the Whistle Blow,” that I think would be tor. My young reporters, especially, would in 2017. e Gibson Brothers’ version of perfect for Del McCoury, but again, I am write and write around the subject, and his song, “Singing as We Rise,” won the having a blast singing it myself! the last paragraph would have the lede. I 2012 IBMA Gospel Recorded Performance would tell them to toss everything except Award, and with Eric Gibson, he shared What advice can you give to aspiring that and go from there. It o en works the the 2013 IBMA Song of the Year Award for songwriters? Is there certain advice you same with a song. “ ey Called It Music.” Joe will be teaching give that people typically follow, or typi- courses online and also individual lessons cally don’t but should? As far as advice not taken, it is usu- and consultations this fall, with information ally about rewriting. A lot of beginning available at joenewberry.me, or by emailing Writing is like a muscle. It gets stronger songwriters will get something down on the more you use it. So, write every day. paper, and never revise that initial thought. [email protected]. Even if it is just a diary entry, a Facebook I have always loved the omas Edison status, or a page of a story. Play rhyme quote, “Genius is one percent inspiration, Nora Candey is a singer/songwriter and games. Add verses to famous songs - is and 99 percent perspiration.” multi-instrumentalist. She lives in the Land is Your Land is a favorite to do that Portland area with her husband, Scott, and with. Don’t be afraid to let a song be what Joe Newberry is known around the world their cats. it needs to be. Write without stopping and for his clawhammer banjo playing. He is don’t hit the backspace key or cross things also a powerful guitarist, singer and song- out - get in the ow of it, and revise only
OBA Bluegrass Express - Fall 2020 7 Southern Oregon Voices: Happy 40th Birthday, OBA! By Joe Ross
ime ies when yer havin’ fun! A few phone calls were all it took to get purpose and powers, and make-up of the It’s hard to believe that this year some enthusiastic people together for a initial board of directors. Also included Tmarks the 40th birthday for the meeting. Remember that this was before were provisions for distribution of assets Oregon Bluegrass Association. Back in the internet, e-mail and texting. At the upon dissolution or nal liquidation. 1980, a group of individuals led by Steve rst meeting, we decided upon a name, Waller and Sonny Hammond realized selected an interim board of directors and At the second meeting, about three weeks that the state needed an organization of a nominating committee, and appointed later, several new people were present. interested and involved folks to encourage a legal advisor. Committees were also cre- performance and the public’s awareness of ated for membership, festivals and public- Word had begun to spread, and there was bluegrass. Some a lot of interest phone calls were and enthusiasm made, and meet- for an Oregon ings were held. Bluegrass Asso- We heard a lot of ciation. e by- feedback indicat- laws and articles ing that Oregon of incorporation had a mish-mash were presented, of scattered an interim board involvement. We ocially elected, had a number of and festivals bands in Oregon, were discussed. many scattered Volunteers pickers and fans, stepped for- some music ward to edit stores catering to our newsletter, acoustic musi- the Bluegrass cians, a few de- Express. Fred cent venues that Langner served o ered bluegrass, as its editor for and some local several years. festivals. Kayo Korn, an artist, presented e consensus several logo was that the designs. state needed some focal point By the third around which meeting, we all interested OBA meeting 1980 were designing parties could rally. an OBA T-shirt. Everyone agreed ity. Upcoming concerts and festivals were Membership dues and bene ts were set. that an association was needed to unite the discussed. e legal advisor was asked to e board of directors also decided to various complementary forces and to work dra the bylaws and articles of incorpora- appoint a band selection committee for hand-in-hand for the successful promo- tion. each OBA-sponsored event. A logo was tion of bluegrass. Steve Waller, the OBA’s approved for use in the newsletter and on rst president, once said, “Every fan who e bylaws identi ed policies and guide- T-shirts. It was decided to go with the one ever missed a show because they found lines for membership, board of directors, that showed a silhouette of some jammers. out about it a week later; every picker who ocers and other provisions (e.g., execu- at logo evolved and was updated in later wanted to jam or start a band but didn’t tion of documents, expenses and fees, years. know how to nd others to pick with, or committees, bylaw amendments, etc.). every band who wants more will gain only e articles of incorporation identi ed the e next few meetings focused on some as much as they put into the association.” corporation’s name, initial registered oce, hands-on projects such as having a booth
OBA Bluegrass Express - Fall 2020 8 Southern Oregon Voices: Happy 40th Birthday, OBA! at bluegrass events, getting membership the membership informed of events. In I’ve kept most copies of the Bluegrass applications printed, planning a local 1982, I moved from Portland to Medford, Express, and they’re like snapshots from bene t concert, packaging and marketing and I was happy to discover an active a di erent era. Sadly, many bands and OBA strings, monthly meetings, potlucks bluegrass scene in southern Oregon. Garin musicians are no longer with us, but the and jams. At this point, OBA was ready to Bakel served as a southern Oregon repre- next generations of bluegrass enthusiasts sponsor a Bill Monroe concert. An histo- sentative on the OBA board. are continuing to foster appreciation and rian was elected to start a library of tapes, support for the music we love. photos and news clippings. We owed much of our inspiration to the California Bluegrass Association. ey Happy 40th Birthday, OBA! Since those During its rst year, the OBA directors also provided a great deal of support and initial days of the OBA, there’s been a lot were busy with several new projects to in- encouragement during OBA’s rst years. of history. If you have any stories to relate, crease membership and hold meetings and Around that time, the Idaho and Wash- we’d love to hear them. potlucks accessible to all. A membership ington Bluegrass Associations were also drive and a spring festival were planned to rather young and doing well. We docu- Joe Ross, from Roseburg, Oregon, picks showcase Oregon bands. ere was also mented our experiences and o ered our mandolin with the Umpqua Valley Blue- discussion about forming districts around help to other bluegrass associations being grass Band. He can be reached at the state with separate chairpersons, meet- established. [email protected]. ing and jams. Over the past 40 years, many folks have Within a year of its formation in 1980, the stepped up to keep the OBA thriving. OBA had signed up 600 members. e My hat is o to all the ocers, directors, quarterly Bluegrass Express became an volunteers and sta who have worked important source for keeping in touch with tirelessly for bluegrass music in Oregon. bluegrass. A monthly OBA calendar kept ank you so much for your hard work.
Sonny Hammond
OBA Bluegrass Express - Fall 2020 9 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
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Continued
OBA Bluegrass Express - Fall 2020 10 OBA Steve Waller Memorial Fund pp c o e 1 2 Grant Award Information S o . . o 1115 and Application o 72 7 Date: ______ e pp c o o e o e .o
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! Continued on page 12
OBA Bluegrass Express - Fall 2020 11 Walls of Time: Bluegrass Podcast Interview By Dennis Christensen Field interviews with the Best in Bluegrass: Dennis Christensen’s interview with Daniel Mullins am not ashamed to admit that I am Joe Mullins), Daniel Mullins seems to have a newcomer to the bluegrass world, inherited a special knack for command- Iand a novice when it comes to the ing this type of program. He has a rare music’s history. However, I am ashamed to quality that nds him adept at teetering on admit that when I began looking for mate- the line between already possessing a lot rial to feed my new obsession, I turned not of intimate knowledge of his subjects but to a library, or even back issues of Blue- also showing a genuine curiosity and keen grass Express. I reexively consulted my listening ear. All these factors work in smart phone, my podcast app to be exact. concert as he asks the perfect questions. is was roughly two years ago, and as one might imagine, the o erings were a disap- Mr. Mullins’ Rolodex rolls deep, as he is pointing few. But thanks to all the tracking able to book great guests. e show’s Insta- of my internet habits (and the possible gram page provides photo evidence that he monitoring of my inner thoughts), Walls has known a lot of these legends since his of Time: Bluegrass Podcast found its way childhood, and has spent a lifetime culti- into my feed upon its September 2019 vating these relationships, another sure re debut. way to get folks to speak candidly. It is through this wide-ranging list of featured From the very rst episode, part one of a guests that the Walls of Time interviews Lawson talks about his early days with two-part interview with the legendary J.D. cover the range of bluegrass experience. Crowe, joining the Country Gentlemen Crowe, it became evident that this podcast e listener can be treated to stories of the and ultimately forming his own seminal would be exactly what I was looking for: early days of bluegrass and its rst revival, quartet; then the great Dudley Connell An entertaining and enlightening mix of from legendary bluegrass superstars (such reecting on the founding of the Johnson stories and anecdotes about the music as as Crowe, Sonny Osbourne, Doyle Lawson, Mountain Boys and their steadfast delity told by the folks who lived it. For someone Peter Rowan, Del McCoury), sidekicks to keeping alive the traditional sound and like me, constantly endeavoring to absorb to the stars (Blake Williams, Mike Bub, look of bluegrass. We also gain insight via all aspects of my new obsession, what bet- Johnny Warren), millennial prodigies Skip Cherryholmes on what it is like to be ter way is there to learn about the history (Sierra Hull, Skip Cherryholmes, Michael one of the youngest members of a family of this music than to get it straight from Cleveland), and other notable members of band who experienced an unprecedented the people who helped make it? the bluegrass community (Cindy Baucom, rise to the top of the bluegrass ranks and Kitsy Kiechendahl, Andrea Roberts). what it takes to go from jamming in the One reason the podcast as a medium has family room to winning Grammys in a boomed in popularity over the last decade, A few personal highlights that I enjoyed few short years (spoiler alert: ose kids especially interview-type shows, is the from Season One are: Hearing Sierra Hull practiced a LOT!). We get to hear about freedom the medium provides to host and describe her rst festival experience as a Michael Cleveland overcoming personal guest. Unburdened by restraints of time 10-year-old at Merlefest, and the star-stud- obstacles on his journey to greatness, and and format, podcasting allows the space ded chance encounters she experienced; Russel Moore’s side of the story about the needed for a long-form interview to take Cindy Baucom describing her methods for great shakeup that saw three-fourths of his the shape of casual conversation. When picking new bands to feature on her radio band, Southern Connection, get absorbed the interview subject is innately compel- program, and what it takes to catch her into arguably the biggest bluegrass band ling (again, Mr. Crowe required two full attention; Kristin Scott Benson’s thoughts of that era. And a thoughtful and personal episodes) and the interviewer is adept at on breaking new ground as a female banjo look into an old soul, C.J. Lewandowski, steering the conversation, the recipe for player; how Carl Jackson got the gig as and the decade of hard work that lead to “interesting” is almost always achieved. Glen Campbell’s banjo player (simultane- the Po’ Ramblin’ Boys seemingly immedi- But a truly great interview show requires ously marking the end of a band that was ate success. Season Two rounds out with a a great interviewer. While Walls of Time still in its infancy featuring Jackson, Keith one-of-a-kind conversation with the great may be the rst podcast e ort for host Whitley and Jimmy Gaudreau). Del McCoury. Daniel Mullins, broadcasting comes to him naturally. A third-generation blue- Season Two builds on the sturdy founda- ese are just a few of the many great grass radio personality (his grandfather tion set in Season One and continues to stories featured on Walls of Time. Each Paul “Moon” Mullins was a renowned deliver knockout episodes on a weekly episode is capped by producer Ty Gil- ddle player and veteran radio broad- basis, beginning with another two-part pin joining Daniel to provide a sort of caster; his father is banjo great/radio host episode featuring a legend. is time Doyle
OBA Bluegrass Express - Fall 2020 12 Walls of Time: Bluegrass Podcast postgame show, to break down some of the I don’t think we have had anybody say no. trying to get them to come to me. But highlights the listener may have missed, ere are some people who aren’t really we did also try to capitalize on the fact and features a companion playlist on sure what a podcast is; it’s a relatively new that these are eld-recorded interviews, Spotify, personally curated by Gilpin to medium. I’ve had people that didn’t say because it makes it cool and unique. Also, capture the music of each guest. no, but they said “What’s a podcast?” I tell it gives us a little bit of a leash, and lets our them that it is essentially an on-demand listeners know “Hey, the audio quality isn’t I was fortunate enough to speak with Dan- radio show that you can listen to whenever going to be absolutely perfect, but it is cool iel Mullins on the phone as he drove from you want, and you can pause it and listen that we recorded in a car outside the Sta- his home in Ohio to Tennessee and he was to the rest later, but no one has even really tion Inn, or on the deck of a cruise ship.” kind enough to answer a And it sounds like it, so few questions for me. why act like it’s some- thing it’s not? Let’s make Walls of Time is a great it a positive feature that classic tune. How and this wasn’t recorded in a why did you settle on that professional studio. name for your podcast? I also like how you start Ty Gilpin and I had been each interview mid- batting around some ideas, conversation, like the and nally I said “Why listener is just wan- don’t we see if there are dering up on two old any song titles that will friends sitting under a work,” and that one nally pullout camper awning hit me one day. It’s one in a eld at a festival of my favorite bluegrass somewhere. Was this songs, and it t what we another conscious sty- are going for because of the listic decision? way we talk to people from di erent generations, but at is by design. I particularly when we talk wanted the guest to with some of the industry forget about the micro- veterans and think about phone and forget that it what we can learn from was an interview. I am their time in the business, blessed that I’ve met and and how we can look for- known the majority of ward by looking back. I’ve the people I have had tried to do that with most on this podcast. Some I of the interviews, asking have known my whole “What are some things that life; some I have only we can learn from the past and how can we hesitated. We have had no pushback trying worked with professionally. But one thing use those to shape the future of bluegrass?” to get anyone on the show. I wanted to do was NOT have everything I gured there wasn’t a more perfect title all set up and then start talking. I wanted than Walls of Time. As far as the ocial I love the sort of “pop-up” nature of your to start talking to them normally, about title, Walls of Time: Bluegrass Podcast, we recording process, capturing guests in anything--the festival, personal stu , wanted the word Bluegrass in the title so unusual places (kitchens, back porches, whatever. I’ll start talking to them while when folks are looking for a podcast and backstage, etc.). It lends an authenticity to I’m setting up so that by the time we are search for “bluegrass,” ours will be one of the conversation. Was this a premeditated recording, they have let their guard down the rst to pop up. decision, or did you happen upon this and forgotten about the microphone. idea through necessity? How has the reception been from prospec- Of the interviews you have done, is there tive guests when they have been ap- at is kind of a “yes and no” answer. one that stands out to you? proached? Has there been any di culty Because I live in Ohio, getting people into convincing them to do a podcast inter- an actual studio would be a real challenge. at’s a tough question. ey are each view? e best way to get these interviews would unique, and there are some really cool ele- be to get to where the artists are, versus ments to all of them, but the Doyle Law-
OBA Bluegrass Express - Fall 2020 13 Walls of Time: Bluegrass Podcast son interview was special. I have known For each episode there is the initial cap- the places where I go to meet guests are Doyle my whole life. He is a dear family turing of the audio and guring that all live music venues, and there hasn’t been friend. It was wonderful to talk to Doyle out, whether it’s at a festival or someone’s a lot of live music happening recently, so and ask him questions I have always want- home. I record everything on an iPad, and Season ree had challenges, but we will ed to ask on a personal level. One beauty that is on purpose. e less equipment, the feature some great guests. of this podcast is that because we are not better, for ease of use and to make it less promoting a new record or a festival or a intimidating for the guest. I typically have What does the future look like for Walls of show coming up, it’s just about the artists just two microphones and an iPad. en Time? Do you have any expectations for and their stories. It is more appropriate to there is some editing that typically needs the show, moving forward? ask questions I always wanted to ask. For to happen. I do that from my oce at the example, if I’ve got Doyle Lawson on my station (WBZI in Xenia, Ohio). A lot of the I don’t really have any expectations. I like radio show to promote a new album, it editing involves going back through and what I am doing and I would love to keep would be inappropriate to ask questions cleaning up volume levels. Each episode doing this show forever. My goal is to about the rst edition of his band Quicksil- can take as long as 3 hours to edit. en eventually talk to everyone and reach as ver. He will want to talk about the current I send a le to Ty, who lives in Asheville, many people as possible.* Quicksilver lineup, because that is the North Carolina. Ty will listen, take a few point of the interview. But with the Walls notes, o er some feedback, and write the Daniel Mullins is also the host of e of Time podcast, anything goes. e Blake introductions for each episode. Daniel Mullins Midday Music Spectacular, Williams show was special too. weekdays 10-12 p.m. Eastern on Real Roots Two seasons in so far, and so many great Radio, WBZI, Xenia, OH, and a contribut- Do you ever get nervous interviewing guests. Can you give us a hint about who ing writer for Bluegrass Today. bluegrass music legends? we might meet in Season ree? Dennis Christensen is a edgling picker I wouldn’t really say nervous. Like we Without giving anything away, I can give and warbly caterwauler, currently attempt- mentioned before, I have known a lot of you hints about two guests who will ap- ing to crash a jam circle in the Portland, these folks for a long time. at takes out pear in Season ree. One is a member of Oregon area and dreaming of one day being a lot of the nervous factor. I used to get the Bluegrass Hall of Fame. e other is a a sideman in a family band with his wife pretty nervous, but now not so much, not member of a popular band and also a TV and two young children. with this podcast. show host. I will just leave it at that. ere is also a bonus episode that I teased during *If you would like to be one of those folks What does the work load look like for a the nale of Season Two; that will appear Daniel reaches with his stories and conver- weekly podcast? How are the duties shared sometime before Season ree launches. sations, you can nd Walls of Time: Blue- between you and Ty Gilpin? at also features a Bluegrass Hall of Fame grass Podcast on most streaming platforms, member. But as you can imagine, a lot of including Apple Podcasts, Apple iTunes, Google Podcasts, Spotify and Stitcher.
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OBA Bluegrass Express - Fall 2020 15 is issue of the Oregon Bluegrass Association’s Bluegrass Express newsletter is partially funded by a generous grant from the Oregon State Coronavirus Relief Fund for Cultural Support, allocated by the Cultural Trust for Oregon and its county and tribal coalitions.
Oregon taxpayers who contribute to Oregon cultural nonpro ts, including ours, are eligible to make a matching donation to the Oregon Cultural Trust and receive a 100% tax credit for their Trust donation (up to $500 for an individual, $1,000 for a couple ling jointly and $2,500 for a Class-C Corporation).
For more information, visit https://culturaltrust.org.
OBA Bluegrass Express - Fall 2020 16 How to Help Oregon Wild re Survivors Our hearts go out to the survivors of the September wild res around the state. Here are a few ways you can help. Financial Donations Santiam Canyon Wild re Relief Fund c/o Santiam SIT of Santiam Hospital 1401 North 10th Ave. Stayton, OR 97383 https://santiamhospital.org/santiam-canyon-wild re-relief/ e Wild re Relief Fund https://www.gofundme.com/c/act/oregon- res Rogue Credit Union Due to the tremendous outpouring of support from our communities, Rogue Credit Union is pledging an additional $50,000, for a total of $100,000, in matched donations. Please note: Rogue Credit Union is not disbursing the funds collected. Instead, it will partner with local non-pro ts which then distribute the funds to those in need. https://www.roguecu.org/community/donate Phoenix-Talent School District Over half of the families in the Phoenix-Talent school district lost their homes, and most of the people were in mobile home parks, and are elderly and Latinx, with no homeowner’s insurance. A number of businesses also burned, with so-far unknown magnitude of local job (and tax rev- enue) losses. e schools had already distributed laptops for distance learning. Pretty desperate. https://www.phoenix.k12.or.us/ Donating Supplies To donate food, water and other items, the State advises to contact your local food pantry or Community Action Partnership to see if they are able to receive donations. Find food pantries at https://food nder.oregonfoodbank.org/. Community Action Partnership of Oregon: https://caporegon.org/ Phone: 503-316-3951 Instrument Donation If you or someone you know is a re survivor who has lost instruments, or if you’d like to donate an instrument to a survivor, please contact: [email protected].
OBA Bluegrass Express - Fall 2020 17 Ask Aunt Pearl: Minding Your Bluegrass Manners by Linda Leavitt Dear Aunt Pearl, did they think hijacking my song was an OK thing to do? e last jam I attended back in February at Wintergrass still haunts my dreams, six I still have nightmares about that jam and months later. I’m afraid to join another jam a er the pandemic is over. Do you think I may have Even if there’s a vaccine and every single jam-related PTSD? bluegrasser gets inoculated, I’m not sure I will ever jam again, due to my experience at that Sincerely, jam. Ms. Trop Gentil Here’s what happened: Shortly a er I joined a jam on the jam suite oor at the Hyatt, it was my turn to call a song. I called “Bury Me Dear Ms. Gentil, Beneath the Willow.” crow. We called that rooster Booger. Every Well, bless your heart! morning around dawn, Booger climbed A er I explained the chord progression and up on the air conditioning unit outside the song order to the jammers, I kicked o the During the “before times,” we could easily my parents’ bedroom window and tried to song with a I-V-I turnaround and I sang a follow up a bad jam experience with an make a joyful noise, but ended up sound- verse and chorus. antidote: A satisfying jam. Now ANY jam ing more like forks in a garbage disposal. is a rare event. I would advise you to re- Booger’s life was tragically cut short by my I kept eye contact with each jammer as they solve your feelings about that Wintergrass father, despite my pleas for leniency. took their breaks. jam now, before the weather turns and we all have to spend most of our days wearing at brings me back to those ladies at en the third jammer did not take a lead. pajamas and sitting in front of the tube, Wintergrass. Forgive them. Right now. Instead, she busted out singing the second binging on pie and old episodes of Star Forgive yourself for holding a grudge. verse and chorus, and acted like she was the Trek, e Beverly Hillbillies and the Andy Just think “bless their hearts,” and think leader of the song. Grith Show. of excuses you can use to exit gracefully from any jam situation that’s not fun, such On top of that, the gal sitting next to her sang Unfortunately, even during as “I need to pee,” or “ ese skeeters are the third verse and did not take a lead. She pre-COVID-19 times, jams that open your swarming me.” looked so happy with herself. heart and cause you to feel an irrational amount of love for your fellow man, and Look on the bright side. By the time we’re e next few jammers took instrumental I mean every person in the room, plus all able to resume festivals, we’ll all be thrilled leads, until the song nally returned to me. I living beings on the planet, have always to be in any jam, period. ended the song on the chorus, feeling sadder been few and far between. ose jams are than a person on a diet at an all-you-can-eat kind of like the weather, owing through Take care and sleep well. fried catsh and hush puppy feed. a jam space with a particular cast of characters who are there not because they Aunt Pearl A er the song was over, I just sat there with want to showboat, but because they love my mouth hanging open in a state of pure connecting with other folks through the shock, outrage and confusion. Surely those bluegrass music. gals were simply misguided, at best, or just plain rude. I deserve a medal for not rolling For now, there are a couple of things my eyes. you can do to fend o those nightmares. First, recognize the fact that those gals Linda Leavitt plays guitar, mandolin Later, I asked the gals why they decided to just didn’t know any better. ey kind of and sings with Mountain Honey. She sing lead on the song I called. ey claimed remind me of the rooster I raised from is the vocal instructor at Taborgrass that since they “knew” the song, they had an egg that hadn’t been exposed to other and loves to teach folks to sing. every right to sing it when their time came roosters and never learned to properly around in the jam circle.
How do you argue against that claim? Why
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OBA Bluegrass Express - Fall 2020 22 Finding bluegrass in the time of COVID-19 By Nancy Christie While it may be difficult to find a bright side to our COVID-19-imposed isolation, one interesting result is that we can hear and/or see live/recorded music performed anywhere via our computers. Northwest Bluegrass via Facebook: A great resource for bluegrass around the Northwest is the Facebook group, North- Taborgrass has made some changes in response to the west Bluegrass. You’ll nd information about many bluegrass COVID-19 restrictions. Kaden Hurst and Patrick Connell will events that can be viewed via Facebook. Most of these shows are host some in-person classes and workshops beginning October recorded, so if you can’t catch the live show, you can view the 10 and they’ve devised a way for you to virtually jam with them. recorded version later. To register and for more details, go to www.taborgrass.com where you’ll also nd a list of private instructors. e Muddy Rudder Down Home Music Hour (Facebook, almost every evening at 8 p.m.) showcases John Kael and An- More Jamming: Aer you’ve nished jamming with Tabor- nie Staninec (Whiskey Deaf Duet, with occasional guests) on grass, try a few other jams. Only you can hear your solos, so be ursdays. On other nights you might nd the Fern Hill Band, brave and try new licks! Lauren Sheehan, Dan & Fran (Dan Compton & Fran Slefer), Fred Sokolow and his wife Lynn do a free play-along with and others. chord charts on the screen. Sundays at 3:00 p.m. Ellie Hakanson and Ellie Hakanson Music will lead you to Tyler Grant presents 3 hours of jam-along music live on most performances by Ellie and the rest of her talented family. Go to Mondays at 4:00 p.m. (Paci c), and any other time, recorded.
Ellie’s YouTube page and subscribe so you won’t miss any shows. Festivals: If it wasn’t in your budget to travel around the coun- Pocketgrass is a monthly 45-minute variety show featuring try to bluegrass festivals last year, and all the festivals you hoped your favorites of the Wintergrass Festival on the Wintergrass to attend this year were cancelled, you can still go to a festival, YouTube page. Performers include e Downtown Mountain virtually. No RV needed. It’s not the full festival experience— Boys, Mike Marshall, Betse Ellis, Mike Block, Nefesh Mountain, you might actually get some sleep! Do a search on YouTube or and Laurie Lewis. Facebook for “bluegrass festival” and see what you can nd.
Oregon Bluegrass Radio is always available online. See the ad Donate please. If you want those performers, venues, and festi- below. vals to be around when the pandemic is over, and there’s a way to give them a donation online when you watch via computer, Music From e True Vine: Don’t forget our Oregon favorite please do. ey will really appreciate it, and your donation may bluegrass radio show on KBOO-FM (90.7) every Saturday from keep them solvent until they can perform in public once again. 9:00 a.m. until 12 noon. You can listen live from anywhere in the world on the KBOO web site and hear past shows too. Introducing......
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OBA Bluegrass Express - Fall 2020 23 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 o ers 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 - Fall 2020 24 Scheduled Jams: Oregon and SW Washington
A C R WA Blue rass Slo am DA AS pen A ousti am very riday A C R WA ld ime Country am very hursday pm pm pm very 2nd and th Saturday Barberton Grange, 9400 NE 72nd Ave, Guthrie Park in Dallas, Oregon. pm Vancouver, Washington 98665 For information: Sally Clark (503) 623-0874 2500 N.E. 78th Ave., Vancouver, Washington. Please note this is a slow jam, with the belief or email Jim [email protected] 98665 at the Vancouver Masonic Center that bluegrass is a non-competitive participa- All are welcome to join the fun as a musician, tion sport. All talent levels are invited to par- SCI ld Country ol Blue rass and ospel singer, or to just listen and or dance. am ourth riday pm to Midni ht ticipate. No ampli ed instruments. Listeners Contact info: Dean Roettger (360) 892-0769 ZCBJ Hall, 38704 N Main St. Scio, Oregon welcome. No charge, but there is a donation jar or (360) 627-1228 email [email protected] www.zhall.org Free event, but donations ac- for those who would like to support the Grange cepted to support the historic hall. Beginners for allowing use of their facility. welcome. Please bring goodies to share. If you have jam updates or additions, you may For information: Chuck Rudkin update your listing via the public calendar at [email protected] For information: Starla (541) 223-2343 or email [email protected] oregonbluegrass.org or email: [email protected]. Friday Saturday C RA IA WA A ousti Blue rass am DA AS A ousti ospel am very rd rd riday pm pm to er throu h April Saturday pm pm Sponsored by WAMA (Washington Acoustic All levels welcome. Guthrie Park in Dallas, Music Association). Informal event with a few Oregon. small jams taking place at the same time. Loca- For information: Sally Clark (503) 623-0874 or email Jim [email protected] tion: Oakview Grange, 2715 North Pearl Street, Centralia, Washington Donations for facility WI C WA Slo am 2nd Saturday costs are encouraged. o the month e innin at pm to er For information: Cheryl (360) 870-8447 or throu h May [email protected] Hosted by WAMA (Washington Acoustic Music Association) Held at the Hope Grange in Winlock, Washington. Great for all levels and especially good for total beginners. For Information: see website – wamamusic. com or email [email protected]
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Contact Mimi Dobler at [email protected]
OBA Bluegrass Express - Fall 2020 25 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 conuence 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-inuenced 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 - Fall 2020 26 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) o er 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 o er 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 - Fall 2020 27 Non-Profi t Oregon Bluegrass Association US Postage P.O. Box 1115, Portland, OR 97207 Paid Portland OR Permit No. 2956
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. or eg onb lueg r ass. or g T H E O B A N E E D S Y O U ! P . O . B ox 1 1 1 5 f or inf or m ation on O B A ac tiv ities, T H A N K Y O U P or tland, O R 9 7 2 0 7 loc al j am s, f estiv als, c onc er ts, F O R J O I N I N G W e ar e alway s seek ing m em b er s C hic k ’ s K ids and m or e T H E O B A f or v ar ious task s, r ang ing f r om op en dir ec tor p ositions to tak ing $ 3 0 I ndiv idual M em b er ship R ec ’ d date: a shif t at the m er c h b ooth at a $ 7 5 I ndiv idual T hr ee- Y ear M em b er ship f estiv al. I t’ s f un and y ou’ ll m eet A m ount: som e tr uly nic e p eop le. T ell us $ 5 0 Supporting Performer M em b er ship C hec k / C ash/ C C : a little ab out y our self in an em ail R ec eiv ed b y : to v olunteer s@ or eg onb lueg r ass. or g $ 1 25 Contributing B usiness S p onsor or c ontac t any b oar d m em b er . he Oregon luegrass ssociation is a 5 1 c non-profit E v ent:
OBA Bluegrass Express - Fall 2020 28