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The Not So Run of the Mill String Band by Todd Denton

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The Not So Run of the Mill String Band by Todd Denton Volume 10, Number 3 • February 2006 The Not So Run of the Mill String Band by Todd Denton Tree-lined suburbs of Philadelphia relocated from Boston, would retreat reminder not to take ourselves too may seem an unlikely place to find to the shop’s repair room after hours seriously.” good old-time southern string band to play tunes. Fiddler Palmer Loux Palmer Turnburke fell in love with music. Yet this is the home of one of (then Turnburke) met Paul and Tim at the sound of the violin when she America’s most vibrant old-time mu- the Philadelphia Old-Time and Blue- heard a young neighbor girl play a sic communities and the widely ac- grass Festival and they soon formed a sweet version of “Lightly Row.” Af- claimed but humbly named Run of working band they called Linsey- ter finding a good instrument and the the Mill String Band. For the last 25 Woolsey. A bit later, guitarist Greg right teacher, eight-year-old Palmer years, the core trio of Palmer and Loux (pronounced “loucks”) met was on her way: “My grandmother Greg Loux and Paul Sidlick has Palmer at another festival, and while bought me a lovely little violin, honed skills at dances and contests, they were getting to know each other, which [we] still have.” In the mid- blending powerful, dance-driving Palmer introduced Greg to Paul, Tim, 1970s, she went to Furman Univer- rhythm with easy-going musical so- and old-time music. sity in Greenville, South Carolina. On phistication. They continue to be very When Tim Brown left the band, a Memorial Day weekend in 1977 she active, with a new CD, Steal Aboard, Paul Sidlick switched to banjo and made the first of many life-changing more public appearances, and the ad- Greg Loux became the guitarist. treks to the Fiddler’s Grove conven- dition of a long-time stalwart of the About the name, Greg recalls think- tion in Union Grove, North Carolina. Philadelphia old-time community, ing that “Run of the Mill [String Since she only knew four or five fid- Tom Schaffer on bass fiddle. Despite Band] seemed like a fun idea. Self- dle tunes, she spent her time at Union the band’s name, there is nothing deprecating names in old-time music Grove just listening, sitting in the “run of the mill” about this band. are not that unusual.” They recently stage area, taping the whole thing. The Run of the Mill story began in tried to come up with something dif- Working from that tape, she had 1980 at a newly opened bicycle shop ferent, but after so many years, they enough of the basic repertoire by in Malvern, Pennsylvania. Its proprie- didn’t want to lose their brand recog- summer’s end that she could “walk tor, guitarist Paul Sidlick, and his nition. Besides, Greg adds, “it’s a into any jam and just start playing.” friend banjoist Tim Brown, recently THE OLD-TIME HERALD WWW.OLDTIMEHERALD.ORG FEBRUARY 2006 1 With renewed confidence and ex- eventually focusing on old-time mu- studies the early recordings: “The citement for old-time fiddling, Palmer sic. They have played in combination guitar playing on almost half of the returned to Furman for her junior with a number of fine Philadelphia old-time recordings is more of a year. She recalls twin fiddling with area musicians over the years. From straight, flat strum with no boom- Nick Hallman at Fiddler’s Grove the mid-80s through the 90s, Paul and chuck. If you listen closely, often a when she met Byard Ray for the first Margaret also played in the County jazz or swing back-up—what I would time. “His eyes lit up and he asked 502 String Band, with Tim Brown, call a sock rhythm—is what they're Nick, ‘where did you get that little fiddler Sue Shumaker, and bassists approaching, so that's what I do on doll fiddler?’” She and Byard became Rich McKenzie and (later) Doug rag tunes like ‘Wink the Other Eye’ friends and enjoyed working up twin Odell. In 2003, young fiddler Matt and ‘Going to Jail.’ ” fiddle tunes for the contest. Later that Brown enlisted Paul to play in the Greg’s friend Beth Hartness points year, she joined his band the Appala- Rusty Beaus, an energetic old-time out that “The Run of the Mill gang chian Folks in a performance at the concert and dance band that includes can always be counted on to provide Bascom Lamar Lunsford Festival in Tim Brown, Rusty Neithammer, and music that is tasteful, intricate and Mars Hill. Another Fiddler’s Grove sometimes Sara Slaughter. Paul has intriguing.” As a guitarist who also regular who influenced Palmer was also been playing recently with fid- has a strong and unusual style, Beth smooth fiddling finds Greg Loux Kentuckian J. P. “an absolute de- Fraley. “When I light to play with was introduced and to learn from. to Fiddler's His take on tunes Grove, which and chords and his was my first Byzantine, double- baptism into the picking style are communal music always unique, of western North something I look Carolina and forward to, and Kentucky, con- definitely not run test fiddling is of the mill!” what I heard and Palmer and what I was Greg married in drawn to.” 1983 and the Run Palmer went of the Mill String back home to the Band solidified as Philadelphia area the trio of Palmer after college, and Greg Loux and though she re- The Run of the Mill String Band L-R: Greg Loux, Palmer Loux, Paul Sidlick, and Tom Schaffer. Paul Sidlick. An turned to Union exception was that Grove regularly—winning the twin dler and tunesmith Jane Rothfield. when Paul couldn’t make the trip, fiddle championships with George Though Greg Loux had also had North Carolina banjoist Greg O’Steen Huhn in 1980 and 1981, and with the requisite childhood piano lessons, played with them. Margaret Sidlick Fritzi Wisdom in 1983 and 1984. In he was more strongly drawn to the joined the Run of the Mill String Philadelphia, she was “playing music guitar, obtaining his first one around Band on banjo uke from about 1987 every night of the week. I played at age 12. Today, Greg’s guitar playing to 1998, a period of tremendous ac- the Tuesday night square dance [a is easily recognizable. Though he tivity for the band. Bassist Tom famous event at the International worked hard to master the boom- Schaffer joined the group a year later. House in University City], at the chuck rhythm he heard on early coun- This version of the group plays regu- Commodore Barry Club [Philadel- try records, he went on to develop a larly at concerts, dances, and festi- phia’s Irish community center], and unique, galloping style of playing that vals, including the Coatesville Cele- at the Summit church”—all hotbeds incorporates more complex rhythms. bration of Old Time Music and of traditional music in Philadelphia. He’s also experimented with a cross- Dance, an annual event sponsored by Paul and Margaret Sidlick were picking style inspired by George the city’s Cultural Society. musical omnivores from the start, Shuffler, long-time band mate of the Tom Schaffer, who plays guitar, attending folk music festivals, and famous Stanley Brothers. And he bass and fiddle, has been part of the 2 THE OLD-TIME HERALD WWW.OLDTIMEHERALD.ORG FEBRUARY 2006 guitar. That bowed bass just makes it so old sounding. On the ‘Georgia Stomp’ it’s just so cool.” Following Taproots The band members claim many musical heroes, including Buddy Thomas, Luther Davis, the Delmore Brothers, Ed Haley, Wayne Perry, Doc Roberts, and John Salyer. Their closest tune-swapping connections are their Pennsylvania pals, but they also love to meet up with friends of all ages from North Carolina to hear what they’ve been playing. Greg sees generosity and sharing as a major part of the older tradition and feels it is now up to them to be J.P. Fraley and Palmer share a tune with Will Keys at Fiddler’s Grove in the 1980s. just as generous to the younger play- Philadelphia old-time scene since the greats as Jay and the Techniques and ers. He also advocates originality: “I early 1970s. He bows as well as even The 1910 Fruit Gum Company.” encourage learning guitar players to plucks his bass, and brings a rich, full Despite this brush with notoriety, strive to develop their own dynamic, bottom end that envelops the trio’s Tom has kept a low but steady profile discernible style, as opposed to a ge- sound. “He comes off as a very unas- in old-time music. “There have been neric approach, and to match the in- suming person, but he has a definite some forays into organized band- tensity of the fiddle and banjo with a opinion about what he wants to hear, dom: playing guitar in another power guitar style as unique and identifiable and he won’t hesitate to make a sug- trio, the Sly Dogs, alongside Mark as the other instruments.” gestion,” laughs Palmer. Paul ob- Simos and Michael Gallagher, and as When asked about mentors, Paul serves that Tom “is a chordal mini- part of The Amazing Rhythm Kings lists older players like Marvin Gaster malist,” and that, as a physics teacher, with Bob Carlin, Ernest Tedino and and Tony Ellis, but also peers Rusty “he’s got that analytical thing going. Sol Kohen,” he admits. Tom has also Neithammer, Frank Scott, Walt And having his tonal range with the played with The Hix, The Sandia Koken, and Pete Peterson, and Ber- bass makes it that much easier to Hots, and The Piedmont Pepsteppers.
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