Bill Keith Patron of Bluegrass, but the Idea Was Put on in Northern Kentucky
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Clawhammer Illuminations What Would THESE Guys Do? Five High-Profile Progressive Clawhammer Artists Answer
Clawhammer Illuminations What would THESE guys do? Five high-profile progressive clawhammer artists answer common questions concerning the banjo Clawhammer Illuminations What would THESE guys do? Five high-profile progressive clawhammer artists answer common questions concerning the banjo Online banjo forums are filled with all sorts of questions from players interested in instrument choices, banjo set up, personal playing styles, technique, etc. As valuable as these forums might be, they can also be confusing for players trying to navigate advice posted from banjoists who's playing experience might range from a few weeks to literally decades. It was these forum discussions that started me thinking about how nice it would to have access to a collection of banjo related questions that were answered by some of the most respected "progressive" clawhammer banjoists performing today. I am very excited about this project as I don't believe any comprehensive collection of this nature has been published before… Mike Iverson 1 © 2013 by Mikel D. Iverson Background Information: Can you describe what it is about your personal style of play that sets you apart from other clawhammer banjoists? What recording have you made that best showcases this difference? Michael Miles: As musicians, I believe we are the sum of what he have heard. So the more you listen, the richer you get. My personal musical style on the banjo is in great part rooted in Doc Watson and JS Bach. Through Doc Watson, I learned about the phrasing of traditional music. Through Bach, I learned the majesty and reach of all music. -
Jim-Rooney-Daa-Induction-By-Menius
Jim Rooney DAA Presentation by Art Menius IBMA World of Bluegrass Awards Luncheon September 29, 2016 Jim Rooney did me a big favor, writing. In It for the Long Run: A Musical Memoir, so that I could do this presentation. That’s being a friend. Jim is a man who has done it all while enjoying being in it for the long run in many relationships. Think of Bill Keith, Eric von Schmidt, or his eventual spouse Carol Langstaff. At Owensboro I remember Jim, tall and commanding, as his left hand powered the rhythm on a kick ass rendition of Six White Horses.” Not that he limited himself to Monroe covers. His interpretation of the Stones’ “No Expectations” became a go to song. His love for bluegrass began back in Massachusetts in the 1950s when he heard on a band called the Confederate Mountaineers at radio station WCOP. Inspired by the Lillys, Tex, and Stovepipe, it wasn’t too long before Jim was on WCOP himself and hooked on performing. At Amherst he met Bill Keith who would be a friend and musical partner for much of the next 60 years. In 1962, they recorded “Devils Dream” and “Sailor’s Hornpipe,” the first documentation of Bill’s chromatic style shortly before he joined the Blue Grass Boys. The tracks appeared on their Living on the Mountain LP. Their many collaborations would include the revolutionary Blue Velvet Band whose music spread worldwide person to person Mud Acres, and concerts and tours with many different aggregations and combinations. Jim enjoyed sharing a heritage award from the Boston Bluegrass Union and brought us to tears at Bill’s induction into the Hall of Fame. -
Color Front Cover
COLOR FRONT COVER COLOR CGOTH IS I COLOR CGOTH IS II COLOR CONCERT SERIES Welcome to our 18th Season! In this catalog you will find a year's worth of activities that will enrich your life. Common Ground on the Hill is a traditional, roots-based music and arts organization founded in 1994, offering quality learning experiences with master musicians, artists, dancers, writers, filmmakers and educators while exploring cultural diversity in search of a common ground among ethnic, gender, age, and racial groups. The Baltimore Sun has compared Common Ground on the Hill to the Chautauqua and Lyceum movements, precursors to this exciting program. Our world is one of immense diversity. As we explore and celebrate this diversity, we find that what we have in common with one another far outweighs our differences. Our common ground is our humanity, often best expressed by artistic traditions that have enriched human experience through the ages. We invite you to join us in searching for common ground as we assemble around the belief that we can improve ourselves and our world by searching for the common ground in one another, through our artistic traditions. In a world filled with divisive, negative news, we seek to discover, create and celebrate good news. How we have grown! Common Ground on the Hill is a multifaceted year-round program, including two separate Traditions Weeks of summer classes, concerts and activities, held on the campus of McDaniel College, two separate Music and Arts festivals held at the Carroll County Farm Museum, two seven-event Monthly Concert Series held in Westminster and Baltimore, and a new program this summer at the Lutheran Theological Seminary at Gettysburg, Common Ground on Seminary Ridge. -
The World Before Scruggs
THE WORLD BEFORE SCRUGGS "Try to imagine the world before Earl Scruggs -- it's unbelievable!" This exclamation by Rick was how our May, 1985 talks began, and it offers a keynote for his music and his thinking. To hear this makes you realize there's a lot more to Rick Shubb than "the guy who makes those capos." Still, one little invention has made Rick's name a musical household word: the ingenious and beauti- ful guitar (and banjo) capo known, simply, as the Shubb capo. Actually, Rick's other products include the innovative Shubb banjo fifth-string sliding capo, the Shubb compensated banjo bridge, the Shubb- Pearse steel (a distinctive bar for Dobro and steel guitar), a pickup and amplifier designed specifically for the banjo (no longer on the market). Most recently, his aptitude for computer database develop- ment has led him to produce a line of computer software for musicians.The first in this line is SongMaster, which will keep track of your songs, followed by GigMaster, a booking tool for musi- cians. Both are easy and affordable, and now available. But the guitar capo in particular has really put his name on the map. A Profile of Rick Shubb By Sandy Rothman Yet, Rick's part in the history of bluegrass in college towns like Berkeley, riding the and became aware of the Ramblers, music in California and the Bay Area long crest of the folk revival. With the forma- eventually taking one banjo lesson from preceded his emergence as a businessman tion of the Redwood Canyon Ramblers, a Neil Rosenberg. -
Bomnewsletter #275 今月の注目!
B.O.M.Newsletter #275 CR-0236 V.A.『Autoharp Legacy』CD3枚 組¥3,750- 2003年9月9日記 オートハープ 物の決定盤!!詳細はインスト新入荷参 8月も終わりになって突然の真夏がやってきたり、天 照。 候も体調も狂いがちな夏も終わり、秋です。…芸術の秋、 ACD-54 SAM BUSH & DAVID GRISMAN ブルーグラスの秋です。アコースティック楽器が天高く 『Hold On, We’re Strummin’』CD¥2,750- 響きます。 ホンマ、天気も経済も、政治も社会も…、 長らく噂のサム&デイブ、遂に発表です。詳細はブル 何か乱調気味の今日この頃、自分が一生懸命になれるも ーグラス新入荷参照。 のを持っている我々は幸せなのかもしれません。音楽は、 PATUX-075 FRANK WAKEFIELD『Don’t それもルーツに根ざしたヒトに近い音楽は、決して裏切 Lie To Me』CD¥2,750- りません。アコースティック楽器は(歌も含め)、真心 天才マンドリニスト、フランク・ウェイクフィールド を込めて、一生懸命になって弾かないと、絶対にいい音 の最新作。 がしません。テクニックの問題ではありません、…気持 DUAT-1142 JUNE CARTER CASH ちです。 今年の秋も、滋賀、水戸、長崎、福島、茨城、 『Wildwood Flower』CD¥2,750- 福岡、愛媛など、全国各地でフェスが続きます。我々の 主催する『宝塚秋のブルーグラス・フェス』は10月25 5月に急逝したジューン(ムーンシャイナー6月号特 日から26日に、夏フェスと同じ三田アスレチック 集)文句なしのカーター・ファミリー・トリビュート、 (0795-69-0024)でノンビリと開きます。その他、全国 詳細はオールドタイム&フォーク新入荷参照。 各地のイベントなど、ムーンシャイナー誌をご覧くださ KOCH-6156D V.A.『Tribute to Bill Monroe; い。…もっと、楽しもう。 Legend Lives On』DVD2枚組¥3,950- KOCH-6156V VHS ¥3,950- 9月29日から10月7日までルイビルで行われるIBMA 1996年9月9日にビル・モンローが他界してから半 WORLD OF BLUEGRASS 参加のため休みます。その 年後、主を失ったブルー・グラス・ボーイズを中心に催 間、出荷やお電話での御返事が出来ませんがよろしくお された『ビル・モンロー追悼コンサート』を収めた2時 願いします。 間半!映像新入荷参照。 今月の注目!新入荷 ブルーグラス新入荷 RC-120 TIPTON HILL BOYS『 Lucky』 RC-120 TIPTON HILL BOYS『 Lucky』 CD¥2,750- CD¥2,750- 我がB.O.M.サービスのレーベル、レッド・クレイ・レ Steamboat Whistle Blues/Rosie Bokay/Lonesome コードからの最新作は、クリス・シャープからの第2弾。 Road Blues/Hot Corn Cold Corn/We All Smell ブルーグラスとクラシック・カントリーでヒルビリーを Good/Crawdad Song/What a Friend We 強く意識したティプトン・ヒル・ボーイズのデビュー Have/Danny Boy 他全16曲 作。詳細はブルーグラス新入荷参照。 我がB.O.M.サービスのレーベル、レッド・クレイ・ 1 レコードからの ビー・オズボーンをはじめ、偉大なテクニック変革者は -
Report Stephen Bruton Stephen Bruton
Mountainview Publishing, LLC INSIDE the Straight Talk from a Guitarist’s The Player’s Guide to Ultimate Tone TM Guitarist... $10.00 US, November, 2002/VOL.4 NO.1 Report Stephen Bruton Stephen Bruton 11 Welcome to the Third Anniversary Issue of TQR. We’d like to begin this month’s trip by sending our sincere thanks and appreciation to each and every one of you for granting us the privilege of PRS Goldtops, guiding and inspiring you in your ongoing love affair with the guitar. It’s you who make our The Emerald Gem, monthly Quest for Tone possible, and that’s a fact we never forget. ell, Amigos, we’re still in Texas, and we’re and a Confession kickin’ off this issue with a true guitarist’s W guitarist – Mr. Stephen Bruton of Austin, Texas. The All Music Guide (www.allmusic.com) con- from The Temple cisely describes Bruton’s tone as “reflective, wist- ful, bittersweet, rollicking and earnest.” All true, but there’s much more to consider here... Bruton grew up in Fort Worth, the son of a jazz drum- 13 mer and record store owner. The significance of these simple twists of fate are not lost on Blackbox Effects... Mr. Bruton. During the 1960s, Fort Worth’s Jacksboro Highway was a guitar player’s paradise – a melting pot of musical styles More Worthy Tone and dicey nightlife that produced an uncan- ny number of top notch, A-team session Gizmos from The players and touring pros like Bruton, T Bone Burnett, Bill Ham, Mike O’Neill, Land of a James Pennebaker, Buddy Whittington, Bob Wills, King Thousand Lakes! Curtis, Cornell Dupree, and Delbert McClinton. -
The Pinecone Bluegrass Show WQDR 94.7 FM, and Streaming on 947Qdr.Com Hosted by Tim Woodall August 3, 2014, 6 – 9 P.M
The PineCone Bluegrass Show WQDR 94.7 FM, and streaming on 947qdr.com Hosted by Tim Woodall August 3, 2014, 6 – 9 p.m. Celebrating our 25 th year on the air! The PineCone Bluegrass Show is a reporting station in Bluegrass Unlimited and Bluegrass Today music polls. Artist Song Title Album Title Record Label Flatt & Scruggs and the Foggy Ground Speed Foggy Mountain Banjo County Mountain Boys Records/ Columbia Records Country Gentlemen Matterhorn 25 Years Rebel Records Rock County Mary Jane, Won’t You be Mine Rock Solid Rebel Records Larry Cordle, Glenn Duncan & Lower on the Hog Lonesome Standard Time Sugar Hill Lonesome Standard Time Junior Sisk & Ramblers Choice Another Man’s Arms The Heart of a Song Rebel Records The Churchmen Little White Church in the Dell Mercy Road Mountain Fever Records Alan Jackson Blacktop The Bluegrass Album Universal Nashville Alan Mullen Big Mon Heartwood Sessions Alan Mullen/Jam Sweet Potato Pie Sweet Blue Eyed Darling Brand New Day Mountain Fever Records Ricky Skaggs You Can’t Hurt Ham Music to My Ears Skaggs Family Records The Osborne Brothers Rocky Top High Lonesome: The Story of Bluegrass CMH Records Music (Various Artists) (Original Motion Picture Soundtrack) Old and In the Way Knockin’ on Your Door Old and In the Way Arista Lorraine Jordan & Carolina Road That’s Kentucky Lorraine Jordan & Carolina Road Pinecastle Records Randy Kohrs Devil of the Trail Quicksand Rural Rhythm Records IIIrd Tyme Out Out of Sight, Out of Mind John & Mary Rounder J.D. Crowe Philadelphia Lawyer Bluegrass Holiday Rebel Records J.D. -
Béla Fleck & Abigail Washburn
2018-19 UMS LEARNING GUIDE Echo in the Valley Béla Fleck & Abigail Washburn BE PRESENT BE PRESENT 1 Table of Contents 04 05 06 16 ATTEND THE DETAILS LEARN CONNECT 07 Why? 17 Being an Audience Member 09 Artist 20 Arts Online 11 Art Form 21 Recommended Reading 13 Performance 23 Writing About Live Performance with Your Students 26 About UMS 38 Credits and Sponsors February 7 February UMS SCHOOL DAY PERFORMANCE Echo in the Valley Béla Fleck & Abigail Washburn Thursday, February 7 // 11 am Hill Auditorium BE PRESENT 3 Attend Coming to your email inbox! Map and Driving Directions Logistical Details (drop-off/pick-up locations) Venue Information 734.764.2538 ——— UMS.ORG BE PRESENT 4 The Details CELL PHONES We ask that all audience members turn off their cell phones during the performance. ACCESSIBILITY We aim to maximize accessibility at our performances, and below are details regarding this performance’s points of accessibility. If you have further questions, e-mail [email protected] or call 734.615.0122. PARKING There is handicapped parking very close to the Power Center on Fletcher Street and in the parking structure behind the Power Center on Palmer Drive. The first three levels of the Palmer Drive structure have 5 handicapped parking spaces on each level next to each elevator. There are a total of 15 handicapped parking spaces in the garage. VENUE ADDRESS Hill Auditorium, 825 North University Avenue, Ann Arbor, MI 48109 WHEELCHAIR ACCESSIBILITY Courtesy wheelchairs are available for audience members. Hill Auditorium is EMERGENCY CONTACT NUMBER wheelchair accessible and has 12 seats for audience members with special needs. -
International Label Discography
International Label Discography: 13000 Series: PR-INT 13001 - Golden Songs of Greece - Spero Spyros [1960] Tsutsurada/Samiotissa/Pounafta Matia/Tria PediaYasu Costa/Egiotissa (Kalamatianos)/Itia (Tsamiko)/Kanarini/Poli Kala/Vlaha/Glendi (Syrtos) PR-INT 13002 - Best of Ed McCurdy - Ed McCurdy [1961] The Miller/Jolly Roger/Chilly Winds/Fireman’s Not For Me/Maidenhead/The Fox/Blues Ain’t Nothing/Doleful Tale/Cindy/Once I Loved a Maiden Fair/Mrs. McGrath/Wee Cooper of Fife/Every Night When the Sun Goes In/John Henry/Ploughman/Old Joe Clark/Lonesome Valley/Good Morrow/Gossip Joan/Branch of May PR-INT 13003 - Best of Jean Ritchie - Jean Ritchie [1961] Shady Grove/Nottamun Town/Old Virginny/I Wonder When I Shall Be Married/Gentle Fair Jenny/Sweet Jane/Pretty Polly/Come All Ye fair and Tender Ladies/Pretty Fair Miss/Goin’ to Boston/Christ Was Born in Bethlehem/Little Devils/Hangman/Children, Go Where I Send thee/Moonshiners/Dying Cowboy/Lord Thomas and Fair Ellender/Lullabies: Go to Sleep Little Baby, Dance to Your Daddy, Go Tell Aunt Rhodie PR-INT 13004 - Best of Ewan MacColl - Ewan MacColl [1961] Cardsong/Shepherd Lad/Gallant Colliers/General Wolfe/Girls Around Cape Horn/Henry Martin/Come All Ye Tramps and Hawkers/Foggy, Foggy Dew/Bonny Ship the Diamond/Cruel Mother/Black Velvet Band/Deserter/Farewell to Tarwathie/Tatties an’ Herrin’ PR-INT 13005 - Best of Peggy Seeger - Peggy Seeger [1961] Pretty Little Baby/Raccoon and Possum/I’ll Not Marry at All/Chickens They are Crowing/Lowlands of Holland/Wagoner’s Lad/Brave Wolfe/Old Woman and Her Little -
America's Roots Music
FREE Volume 1 Number 4 July/August 2001 A BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY “Don’t you know that Folk Music is illegal in Los Angeles?” –Warren Casey of the Wicked Tinkers AMERICA’S ROOTS MUSIC NEW FILM EXAMINES THE LIFE & MUSIC OF APPALACHIAN PEOPLE ike O Brother, Where Art Thou, singing ballads Songcatcher is a movie where the and young folks plot is built to showcase the fiddling away on music. As with O Brother... the the corner. music being trumpeted is from Songcatcher Appalachia. The haunting songs attempts to give us a glimpse into life in the Songcatcher in the film, as well as on the mountains at the turn of the century. Dr. Lily L soundtrack, represent some of Penleric (JANET MCTEER) is an academic WRITTEN & DIRECTED BY America’s most powerful musical folklorist. When she is passed over again for MAGGIE GREENWALD influences - the roots that later sprout into blue- university promotion, she leaves the universi- WITH JANET MCTEER, EMMY ROSSUM, grass, country music, folk singing, and eventually, the Southern- ty and heads to the mountains where her sister runs a local PAT CARROLL, AIDAN QUINN influenced rock ‘n roll of Elvis Presley. Appalachia remains a schoolhouse. Once there, she “discovers” the treasure-chest hotbed of creative music with new stars such as Iris DeMent ris- of music, sung with such expression and depth that she is at ing out of the old traditions with the rarest of gifts: a high lone- once inspired to tell the world (and make her statement to the some voice and a simple song that can shatter a person’s heart. -
Northern Grass 0715
Summer August Edition 2015 Jerry Schrepfer Editor Summer August Edition Northern Kentucky Bluegrass Music Association 2015 Keeping Bluegrass Music Alive in the Northern Kentucky Area In This Edition “RC Vance, The Fiddle and the Jamboree” Ron Simmons and Jerry Schrepfer When the “Thompson/Chastain/Lovett’ jam Burlington, which now houses the Boone sessions proved to be such a success, it was Co. Water Rescue equipment. The Jamboree rather inevitable that somebody would ramp lasted for 8 years until RC became too ill up the fun and turn it into a real show. That with diabetes to carry on. It takes a strong person was RC Vance. Although I never personality and good management for heard him play a lick, I understand from anything like this to go on that long. It also Page 1 - 5 - Second of many of You whom I spoke to that he was took a lot of good folks who were bent on A Series of articles a man who could “get it done”! having a good time every Friday night. It About the history of seemed at that time the dancers, the Bluegrass jams in It was an era of good Bluegrass Music that performers and the beloved patrons,who just Northern Kentucky was really still considered part of Country loved the music, were a part of the show.It Including photos! Music, so the two genres of music clung to all worked around the lights of the stage and each other on stage and off. It was a time the sound made on a wood dance floor. -
Fiddle-Style Banjo' from the Great Smoky Mountains Ted Olson East Tennessee State University, [email protected]
East Tennessee State University Digital Commons @ East Tennessee State University ETSU Faculty Works Faculty Works 2014 Carroll Best: Old-Time 'Fiddle-Style Banjo' from the Great Smoky Mountains Ted Olson East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/etsu-works Part of the Appalachian Studies Commons, and the Music Commons Citation Information Olson, Ted. 2014. Carroll Best: Old-Time 'Fiddle-Style Banjo' from the Great Smoky Mountains. The Old-Time Herald. Vol.13(10). 10-19. http://www.oldtimeherald.org/archive/back_issues/volume-13/13-10/best-fv.html ISSN: 1040-3582 This Article is brought to you for free and open access by the Faculty Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in ETSU Faculty Works by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Carroll Best: Old-Time 'Fiddle-Style Banjo' from the Great Smoky Mountains Copyright Statement © Ted Olson This article is available at Digital Commons @ East Tennessee State University: https://dc.etsu.edu/etsu-works/1217 CARROLL BEST: OLD-TIME "FIDDLE-STYLE BANJO" FROM THE GREAT SMOKY MOUNTAINS By Ted Olson Carroll Best and Danny Johnson at the 1992 Tennessee Banjo Institute 10 THE OLD-TIME HERALD WWW.OLDTIMEHERALD.ORG VOLUME 13, N UMBER 10 n an interview published in the February 1992 is sue of The Banjo Newsletter and conducted by blue grass historian Neil Rosenberg and banjo player Iand instruction book author Tony Trischka, Car roll Best conveyed the depth of his connections to the instrument he had mastered: "When I was old enough to pick up a banjo I wanted to play." An affinity for the banjo, he claimed, had been passed down within his family.