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Ross Nickerson-Banjoroadshow
Pinecastle Recording Artist Ross Nickerson Ross’s current release with Pin- ecastle, Blazing the West, was named as “One of the Top Ten CD’s of 2003” by Country Music Television, True West Magazine named it, “Best Bluegrass CD of 2003” and Blazing the West was among the top 15 in ballot voting for the IBMA Instrumental CD of the Year in 2003. Ross Nickerson was selected to perform at the 4th Annual Johnny Keenan Banjo Festival in Ireland this year headlined by Bela Fleck and Earl Scruggs last year. Ross has also appeared with the New Grass Revival, Hot Rize, Riders in the Sky, Del McCoury Band, The Oak Ridge Boys, Nitty Gritty Dirt Band and has also picked and appeared with some of the best banjo players in the world including Earl Scruggs, Bela Fleck, Bill Keith, Tony Trischka, Alan Munde, Doug Dillard, Pete Seeger and Ralph Stanley. Ross is a full time musician and on the road 10 to 15 days a month doing concerts , workshops and expanding his audience. Ross has most recently toured England, Ireland, Germany, Holland, Sweden and visited 31 states and Canada in 2005. Ross is hard at work writing new material for the band and planning a new CD of straight ahead bluegrass. Ross is the author of The Banjo Encyclopedia, just published by Mel Bay Publications in October 2003 which has already sold out it’s first printing. For booking information contact: Bullet Proof Productions 1-866-322-6567 www.rossnickerson.com www.banjoteacher.com [email protected] BLAZING THE WEST ROSS NICKERSON 1. -
THE CORD WEEKLY January 22Nd, 1 January 22Nd, 1 Hawks Eke out Canadian Roundup Wuc with Barry Dickson Shovel It Says Judge
THE Evaluation needed if CUS to succeed THREE PRESIDENTS CRITICIZED The Canadian Union of Stud' is the main aim, then it is time volvement that Goodings wanted ents should re-examine its posi they spent less time runnig con a full-time job. ORD tion and determine its objectives tests and making travel arrange and it is time that the organizJ.oo ments for university studtmts to McLean further submitted · WEEKLY tion gave more than lip service visit Europe in the summer and that he did not think that the to long term planning if it is to more time pursuing that objec present efforts and accomplish Voi.IV-No. 12 Waterloo University College Wed,. Jan. 22 be successful. tive. ments of CUS substantiated the costs. December 12th, 1963 These were the words used by McLean continued his attack CUS attacked by Student Council President Archie by stating that when Stewart McLean as he outlined the reas Goodings succeeded Walter Mc He further accused the present WUC Student Council ons for his support of the with Lean as National President, the President, David Jenkins, of 1rndest drawal of Waterloo University objective of CUS was again again redefining the primary ob by Ed Neigh jective of CUS. MseLan pointed In a letter of resignation of WUC from Canadian College from the Canadian Union changer, as Goodin.gs stated in of Students. his final report that the student's out that Mr. Jenkins had said [nion of Students, Student Council president Archie Me that the primary purpose and y figured a way to catch lao lashed out at what seemed to be the inherent incom involvement in the university McLean stated that in the past community cannot be a half perhaps the only issue with so ah faked a heart at ,etence of the organization. -
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. -
Robert Glasper's In
’s ION T T R ESSION ER CLASS S T RO Wynton Marsalis Wayne Wallace Kirk Garrison TRANSCRIP MAS P Brass School » Orbert Davis’ Mission David Hazeltine BLINDFOLD TES » » T GLASPE R JAZZ WAKE-UP CALL JAZZ WAKE-UP ROBE SLAP £3.50 £3.50 U.K. T.COM A Wes Montgomery Christian McBride Wadada Leo Smith Wadada Montgomery Wes Christian McBride DOWNBE APRIL 2012 DOWNBEAT ROBERT GLASPER // WES MONTGOMERY // WADADA LEO SmITH // OrbERT DAVIS // BRASS SCHOOL APRIL 2012 APRIL 2012 VOLume 79 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editors Ed Enright Zach Phillips Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
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. -
Brittany Haas: Violin & Vocals Susie Petrov: Piano & Accordion
abdesign bc A Proud Supporter of The New Harmony Music Festival & School -Informing Citizens -Empowering Families -Strengthening Community Listen Live at WNIN.ORG TV 9.1 & 9.2, Cable 12 &13 FROM THE FESTIVAL DIRECTOR christopher layer Welcome to season three... Celebrating Life In The Presence Of Music...And Architecture! elcome festival friends to the third New Harmony Music Festival & School! Welcome Wto community, freedom, and the harmony of sounds in soaring spaces, old ballads in historic theaters, and morning serenades out of doors while nature bestows her gifts upon us in this harmonious spiritual mecca for the soul. I invite you to bring your own joy and enthusiasm for musical creation to bear on our offerings in this cradle of life and sharing. Drink deep from the font of exploration and linger long in the land of things creative. On behalf of Clem Penrose and all of the New Harmony Artists Guild, dear listener, you are invited! This season... his year we celebrate the bicentennial of the town of New Harmony and the unique ways our historic Tsurroundings and structures shape how our ears receive our music. Stephanie Meeks, the Director of the National Trust For Historic Preservation, has graciously written a short letter of greeting to the festival, as we feature some our special architecture around town during festival. We are thrilled to be performing an outdoor concert at 9 o’clock on Saturday morning, July 12 in the Philip Johnson Roofless Church featuring a nine foot Steinway piano courtesy of H & H Music in Evansville. Classical and traditional music inspired by works of architecture through history will fill the bill of fare for this very special “first” in festival history. -
The Christmas Revels Program Book
The 48th annual production With David Coffin Merja Soria The Kalevala Chorus The Solstånd Children Infrared listening devices and The Briljant String Band large print programs are available The Northern Lights Dancers at the Sanders Theatre Box Office. The Midnight Sun Mummers The Pinewoods Morris Men for Please visit our lobby table Karin’s Sisters Revels recordings, books, cards Cambridge Symphonic Brass Ensemble and more. Our new CD, The Gifts of Odin: A Nordic Christmas Revels, features much of the music from Lynda A. Johnson, Production Manager this year’s show! Jeremy Barnett, Set Design Jeff Adelberg, Lighting Design Heidi Hermiller, Costume Design Bill Winn, Sound Design Ari Herzig, Projection Design Thanks to our generous Corporate Partners With support and Media Sponsors: from: TM www.cambridgetrust.com CONTENTS Introduction Please join us in “All Sings” on pages 5, 10, 12, 14 and 16! Welcome to the 48th annual Christmas Revels! Sven is a dreamer and his father’s patience is wearing THE PROGRAM page 4 thin. It is Christmas and the big house is bustling with preparations for a party that will bring together ministers PARTICIPANTS page 17 and dignitaries from all the Scandinavian countries to meet the new Ambassador of Finland. The seasonal festivities do little to reduce Sven’s moodiness that FEATURED ARTISTS page 22 seems to be tied to the loss of his favorite uncle. Change comes in the guise of three unusual Christmas presents. They usher Sven into an alternative universe populated by witches, A NOTE ON THE KALEVALA snakes and superheroes, where he is reunited with his late uncle Finland Finds Its National Identity page 35 in a series of life-changing adventures. -
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 -
Artistworks, Inc. 68 Coombs, Suite C1 Napa, CA 94559 1.800.326.5596 Artistworks.Com
“World-class virtuosos listen and respond to practice videos submitted by student members, personally.” ArtistWorks, Inc. FOR IMMEDIATE RELEASE 68 Coombs, Suite C1 MI Resellers Can Profit From Unique, High-Margin Napa, CA 94559 Music Lessons with New ArtistWorks Online 1.800.326.5596 Music Lesson Access Cards ArtistWorks.com Innovative Retail Cards Allow Resellers to Tap Into Our World-class Instructors: Online Lesson Market with 23 Different Online Music Schools, Paul Gilbert | rock guitar from Rock Guitar to Violin Martin Taylor | fingerstyle guitar Jason Vieaux | classical guitar January 17, 2014 – NAPA, CA – ArtistWorks, the leading interactive lifestyle social learning platform, today announced the availability of a new retail program John Patitucci* | jazz bass for credit card-sized cards, which grant access to their 23 online interactive Video Nathan East* | electric bass Exchange™ music schools. With the new tangible cards, musical instrument and Andreas Oberg* | jazz guitar supply resellers can now conveniently offer every advantage of a superior online subscription-based instruction with a physical card at the checkout counter. Jeannie Deva | vocal Nathan Cole | violin Currently, tens of thousands of members in nearly 100 countries have improved Jeffrey Khaner | flute their playing within ArtistWorks’ unique online learning communities. ArtistWorks William Caballero | French horn has long been known for its innovative Video Exchange Feedback Platform, where an average music lover can submit practice videos and receive video David Bilger | trumpet feedback from world-renowned teaching artists such as Paul Gilbert, Nathan Ricardo Morales | clarinet East, Mike Marshall, Tony Trischka, John Patitucci, Howard Levy, DJ Qbert and Howard Levy* | harmonica more. -
Mundealan2011-12-08Transcript.Pdf (1.076Mb)
Oral History Interview of Alan Munde Interviewed by: Andy Wilkinson December 8, 2011 Wimberley, Texas Part of the: Crossroads of Music Archive Texas Tech University’s Southwest Collection/Special Collections Library, Oral History Program Copyright and Usage Information: An oral history release form was signed by Alan Munde on December 8, 2011. This transfers all rights of this interview to the Southwest Collection/Special Collections Library, Texas Tech University. This oral history transcript is protected by U.S. copyright law. By viewing this document, the researcher agrees to abide by the fair use standards of U.S. Copyright Law (1976) and its amendments. This interview may be used for educational and other non-commercial purposes only. Any reproduction or transmission of this protected item beyond fair use requires the written and explicit permission of the Southwest Collection. Please contact Southwest Collection Reference staff for further information. Preferred Citation for this Document: Munde, Alan Oral History Interview, December 8, 2011. Interview by Andy Wilkinson, Online Transcription, Southwest Collection/Special Collections Library. URL of PDF, date accessed. The Southwest Collection/Special Collections Library houses almost 6000 oral history interviews dating back to the late 1940s. The historians who conduct these interviews seek to uncover the personal narratives of individuals living on the South Plains and beyond. These interviews should be considered a primary source document that does not implicate the final verified narrative of any event. These are recollections dependent upon an individual’s memory and experiences. The views expressed in these interviews are those only of the people speaking and do not reflect the views of the Southwest Collection or Texas Tech University.