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

Volume 10, Number 3 • February 2006

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. tram Levy’s recording That Old Gut sing. [Playing with him] has been a Recently retired from many years of Feeling. “The thing about the banjo is lot of fun.” teaching physics, Tom now happily that no two people play really alike,” Though Tom has been playing old- finds more time for music. he claims. “It’s just this mishmash time music for many decades, he con- Tom’s ideas add important ingredi- coming at me from all directions, and fesses to one major aberration: ents to the sound of the band. Palmer some things come out in my playing.” “There lurks a 1969 United Artists notes that the bass changes their dy- Greg says that though he feels for- release by a psychedelic/ metal power namics: “It doesn't really change the tunate to have heard J.P. Fraley, trio called Thunder and Roses, which timing, but we've added this neat, Byard Ray, and Tommy Jarrell, he went quickly to oblivion, except for funky dimension of the bowed bass has also been inspired by his contem- one original song which was later with some of the rags. He’s really poraries. “When we hear what they’re covered by Nirvana and just recently willing to step out on a limb and try learning, what’s the first thing we do? resurfaced in their big box set.” something new.” Greg agrees, adding We go and listen to their source to try Tom’s checkered past also includes a that Tom’s bass allows him to “back to hear what moved them to learn it stint with The Munchkins, “a very off and focus more on the rhythm,” so we can pick up on that same pas- turbulent outfit, but we did have a lot and he feels that they have not begun sion.” Greg continues. “We wouldn’t of contact with Todd Rundgren, who to scratch the surface of what Tom have known about Arthur Smith stole our drummer at one point, and offers the band. “His bowed bass without Bill Christopherson, or Ed- had the honor of opening for such playing leads us to switch back to the den Hammons without Bertram Levy banjo-guitar and the National steel as our stepping stones. It’s important to go after the source but so important

THE OLD-TIME HERALD WWW.OLDTIMEHERALD.ORG FEBRUARY 2006 3 to recognize who gave you the spark think of old-time music as a living, ‘Gray Eagle’ and ‘Rachel,’ that never that leads you back.” breathing fine art form that's passed go out of style for us.” person to person,” said Palmer. “The Collective Gut Feeling thing that was so attractive to me as a The “Mid-Career High” fiddle player, and as somebody who Palmer stresses the importance of played written orchestral music for so The Run of the Mill String Band interactive learning in traditional mu- many years, is that you could take a really hit its stride around 1992 and sic. “No one learns to play this music tune and put your own personal 1993. Several years of playing to- alone, and there is no way of getting stamp on it, your own personal twist gether, sharing ideas, and exploring better if you don't listen to and play or feel, and not be wrong as long as were about to pay off. “It was a time with others. When I’m in a jam that’s you’re true to the melody and pre- period when all these things were cooking and we’re listening to each serving the essence of the tune.” happening. We won at Fiddler’s other and I’m hearing new things that Their choice of instruments is up Grove, made our first recording, I’ve never heard before, I’m learn- for grabs every time they acquire a played Brandywine, and went to Rus- ing.” new tune, and they pay attention to sia,” said Paul in retrospective A true calling for this band has the early recordings. “We've been amazement. been playing for dancers. Over the lucky to come across some unique “I remember at Brandywine in years they’ve played for dozens of instruments,” said Margaret Sidlick. 1992 doing the fiddle workshop with dances in the mid-Atlantic region, “Some of them fell in our lap; some Palmer and Sue Shumaker, Pete and their concerts still feature a of them we searched for.” Greg and Sutherland and Pat Conte,” Greg re- healthy helping of dance tunes. “We Paul share an affinity for the banjo- calls. “John Lupton introduced us, basically identify ourselves as a hybrid family of instruments, includ- and I will never forget his introduc- dance band, but we also work our ing the banjo-guitar, banjo-uke and tion: ‘They’re going off to Russia!’ butts off to put together an interesting banjo-mandolin. They often pack the That was our mid-career high.” “By concert, which is not just dance mu- resonator guitar and mandolin as they the time we got asked to play there [at sic,” said Greg. Palmer continues: head out to a concert or dance. “How Brandywine], you can imagine how “We’re driven toward a program many instruments do we want to take blown away we were,” Paul declared. that’s kind of an emotional roller to this gig?” asks Palmer. “Six or “Those festivals were a huge influ- coaster. We’ll do a rag, then a hot 16?” It all depends on the length of ence on us because we went to all of old-time tune, then a waltz, then a performance and the tunes they might them. I wouldn't be playing if it funny song, then maybe a ballad.” want to play. weren’t for them.” Though Palmer can be an energetic Regarding arrangements, Palmer Then it was off to Eastern Europe fiddler on the fast tunes and rags, says she often learns tunes from on a whirlwind summer tour that waltzes are a band specialty. Paul banjo players, and resetting them on would take them from St. Petersburg claims, “that’s because we have the the fiddle is no small challenge. “If to Vienna, with several stops in be- best waltz fiddler ever.” Adds Tom, Paul calls me and says, ‘listen to tween. There they introduced Ameri- “I was always of the opinion that old- this,’ I’m going to learn it because I can old-time music to new audiences time music should be kind of rough want to play it with him. Paul said he in five major cities. They performed and rowdy, not too pretty; but on the really wanted to do ‘The Ohio in primarily in churches, but also in waltzes, Palmer does such a smooth Waltz,’ from Tony Ellis. He played it parks in Czechoslovakia, airports in job that I feel compelled to make for me and I couldn't pick it up just Austria, and even the middle of Red them as pretty as possible, and I con- jamming it, so I went back to what Square is Moscow. “It really was the fess I’m enjoying that.” Banjoist Paul Tony was doing on his CD and I trip of a lifetime,” said Margaret. also manages some uncommonly adapted it to what I thought the fiddle “When we won at Fiddler’s Grove masterful waltz accompaniment on might do. Then I called Paul’s an- in 1993 it was the big band, with Sue tunes such as “The Cherry Blossom swering machine because I knew he Shumaker, Greg O’Steen, Greg, me, Waltz,” and “The Italian Waltz,” was at work, and I said, ‘I just want Paul, and Palmer,” said Margaret. from Marvin Gaster. you to hear what I’ve been doing to- After several years of competing, “we Their work is marked by uncon- day.’ ” had six people and we won the senior ventional approaches with a constant While some tunes don’t make the old-time band contest.” Paul also won nod to the traditions of the old south- cut, others have stood the test of time. a ribbon in the banjo contest, and ern string bands, the long-departed As Paul points out, “there’s also this Palmer and Sue Shumaker won the fiddle masters, and the pioneers of core of [dance] tunes that we've been twin fiddle contest for the second American country and blues music. “I playing since the beginning, like consecutive year.

4 THE OLD-TIME HERALD WWW.OLDTIMEHERALD.ORG FEBRUARY 2006 After this intense period they de- was going to be hot and crazy, but we jam sessions. Fortunately, unlike cided it was time for a recording. To were really psyched. That was really many other forms, “this music was record the self-produced Along the a high point for us in our lives.” made for small groups. It’s very so- Way, Paul recalls that “we used a Shortly there after, the quartet’s mu- cial and very friendly,” says Palmer. studio in Quakertown [Pennsylvania], sic appeared on The Appalachian Area folks like Clare Milliner and which was a little crazy, because to String Band Music Festival, a compi- Walt Koken host regular gatherings [engineer and co-producer] Pete lation of recordings from the annual in Avondale, Chester County. Carl Davis this was all very unique and gathering at Clifftop, West Virginia. Baron and Beverly Smith host a exotic. . . . But he was very good, As she continued to win ribbons at monthly jam in the city’s Chestnut very sensitive to the music. . . . We Fiddler’s Grove, Palmer appeared on Hill section, and other jams convene worked up a lot of material so we a series of festival LPs. On the 1982 regularly at various locations in and were very comfortable.” He also album, backed by Greg Loux, she around Philadelphia. And Paul and notes, “I can’t believe we played that plays a breakneck “Sidewinder” (later Margaret Sidlick have hosted a regu- fast. I actually think it’s pretty hot, determined to be “Snakewinder”). lar jam for several years at their home although a bit frantic, but we don’t The 70th Anniversary CD (from in Malvern. These gatherings regu- play that fast anymore.” 1994) features a swinging twin fiddle larly draw musicians from Washing- Two months later they gave a con- version of “Red Bird” played by blue ton, D.C. to upstate New York and cert set in a prime time slot at the ribbon winners Palmer Loux and Sue everywhere in between. The attrac- Brandywine Mountain Music Con- Shumaker, and another features Run tion is a steady source of friendship, vention, where they had been hearing of the Mill playing a rousing version feasting and fiddle tunes, where nov- their heroes for 20 years. “I was so of “Pike’s Peak.” ice players can rub knees with the elated,” said Palmer. “We knew it The band’s second recording, most talented bowers and thumpers in 1998’s aptly titled In Good Company the region. With so much good food represented a new approach. In the at the potluck parties it’s a wonder spring of 1997 Palmer and Greg Loux much music is made, but it’s not un- gathered together their closest musi- common for six or seven different cal comrades (including Paul Sidlick, jams to be ongoing in different of course) for a set of easy rolling rooms—sometimes even in a closet! sessions at their home in Havertown, “This is a phenomenal old-time PA. At the controls was Ray Alden, a scene in Philadelphia,” agrees Greg. field recording pro with dozens of Old-time music concerts featuring old-time music projects to his credit. bands from outside the region regu- “The second recording project, larly draw large audiences. Even the working with Ray Alden, was for me Philadelphia Folksong Society, the an epiphany,” said Greg. “He had a region’s folk music institution, occa- very well-formed opinion of the way sionally hires old-time bands to play to record, and to me that removed all at its annual Folk Festival. Run of the of the technical debate and tension Mill appeared at the 2003 festival, on and stress so that we could just play. the main stage and in a workshop ses- The living room became our re- sion with progressive banjo player cording studio, and it was all very Alison Brown. Still, it’s sometimes natural and easy. Ray has such an an uphill battle for old-time artists to amazing ear, and he understands catch the attention of many area folk acoustics.” County Sales chose the promoters who favor contemporary 22-track project as their “Second Best singer-songwriters. Old Time Music (New Recording) of Though that overall trend may be 1998.” disheartening to many old-time musicians, a handful of local nonprofits The Philadelphia Old-Time Music are preserving and perpetuating tradi- Community tional music through public performance. Frank Dalton hosts a staunchly The vibrancy of the old-time music traditional Irish music series in L-R: Paul, Margaret, Palmer, Greg in front of St. Basil’s Cathedral, Moscow, in 1993. community in the Philadelphia area is Coatesville, Pennsylvania in addition evident in the number of parties and to his work with the Philadelphia

THE OLD-TIME HERALD WWW.OLDTIMEHERALD.ORG FEBRUARY 2006 5 Ceili Group’s concert series in the never be enough thanks in that re- Todd Denton lives in Thornton, Mt. Airy neighborhood. The Bran- gard.” Pennsylvania. He serves on the dywine Friends of Old Time Music Above all, these players delight in board of the Brandywine Friends of continue their long-running concert sharing tunes, comparing notes, and Old Time Music. series and annual Delaware Valley trading ideas with friends and fellow Bluegrass Festival, and a new group musicians. Whether you’re an old called Low Key Productions presents friend or a curious stranger stumbling Run of the Mill String Band area concerts by old-time musicians upon one of their sessions, they’re Discography from West Virginia, North Carolina, completely welcoming, engaging, and and Kentucky. excited to show you the latest tune June 1993: Along the Way, In January 2005 the Run of the that trips their trigger. Most of all, Run of the Mill String Band, Mill String Band gathered for a new they want to hear what you can do self-produced, cassette project, Steal Aboard. This time out with it. August 1994: A Tribute to the Appa- they chose to work with noted jazz Palmer concludes, “The elements lachian String Band Festival, and classical music producer Rick we’re taking are the love, the quality, Clifftop, WV, Various Artists, Hall and his ace engineer Chris and the truth in representing what Chubby Dragon CD1001 Gately. The entire process involved we’ve heard. What we bring to the January 1998: In Good Company, only two days of recording and a few music is how we’re feeling it at the Palmer and Greg Loux, follow-up mixing sessions. The result time, so our music is always evolving Chubby Dragon CD1004 is a collection of 21 tunes that dem- and changing. We’re enjoying this July 2005: Steal Aboard, onstrates how well this quartet’s nim- ride together, knowing the best is yet Run of the Mill String Band, ble yet natural sound has been sharp- to come.”n Stylograph STY44531 ened and intensified by 25 years of interplay. The fact that the CD has been so well received is great news for Hall’s fledgling Stylograph label, based out of his studio in Consho- hocken, just west of Philadelphia.

The Future

“Bands are like marriages. Some of them last, some of them don’t,” says Margaret. “No matter what, we all grow and change, but we’re all still playing music, and we’re all still friends. We listen to other types of music, even play other types of music, but old-time is what we all come back to. It’s a common interest that holds us all together and we’ve all become friends because of it. It’s ob- viously a commitment in everybody’s lives.” Palmer continues: “We’ve all been through hard times personally and professionally, and we’ve been there for each other because this is an ex- tension of our family. We feel lucky.” She appreciates that despite their trips South for inspiration, “we’ve gotten so much mileage and support and Greg, Palmer and Paul at the Philadelphia Folk Festival, 2003. love from the people so close to home. It’s really great and there can

6 THE OLD-TIME HERALD WWW.OLDTIMEHERALD.ORG FEBRUARY 2006