DOCSLIB.ORG

2021 Jam Camp Class List

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2021 Jam Camp Class List Please note: Preliminary Schedule I do not have all classes from all faculty yet, there will be some changes made. And jam facutly/type will also be filled in before camp Sassafras Oak Maple Birch Dining Hall Sage Hall Dining Hall Foyer Hemlock Farside Gallery 12:30-1:30pm ealy bird jam early bird jam early bird jam Registration 1:45-2:15pm Faculty Meeting Clawhammer Banjo Mandolin All Finger Picked Banjo Fiddle Guitar 3 Finger Banjo C Edwards C Edwards B Hammond G Hirshfeld E Setiawan S Gorman E Gilbert 2:30-3:45pm Ergonomics Workshop/clinic Registration jam jam Hobart Smith's "Cuckoo Bird" Learn Posture, hand/arm positioning, economy Wish I had a Wagon: fingerpickin a Technical Tune-up: Proper right and left More With Less Cross- tuned Fiddle Tunes Mapping the Fingerboard elements of his driving style of motion, minimizing effort and pressure. fretless and technique and how to pull great tone. Clawhammer Banjo Mandolin Bass All Singing Finger Picked Banjo Fiddle Guitar 3 Finger Banjo D Surrette B Dick A Carr & J Rothfield L Hammond T Rowell L Bichan L Meyers Friday A Hurt B Stockwell 4:00-5:15pm Jigs vs. Tarantellas all inst: Ireland vs. How to play in a stringband Introduction to the three finger picking jam Italy, who will win the battle for the soul of Tone and Bass Line Essentials for the listening skills, vocals, arranging, make a Rubber Lips! style of Dock Boggs. Country Blues, Oh, Shetland tunes in cross A tuning: simple Flatpicking Essentials and Improve your Mastering the Mechanics of Tone Foggy Mt Banjo- the album 6/8 dance tunes? Bluegrass Bassist song (or tune) come to life!! Vocal warm-ups and cool songs. Death and more. tunes that use cross tuning Rhythm 6:00-7:00pm Dinner 7:00-8:00pm Free Time 8:00-10:00pm Jams Jams Jams Jams Jams Jams 8:00-9:00am Breakfast 3 Finger Banjo Mandolin Guitar Bsss All Fiddle All Clawhammer Banjo R Stillman P Kelly T Rowell M Flinner A Hurt E Gilbert Bass 101 Newbies or a review of T Watt C Edwards 9:30-10:45am Demystifying the Left Hand fundamentals. Ttuning the bass, left and Build your repertoire in the key of C. Four approaches to rhythm playing on Understanding the Structure of Old-Time music theory, chord shape analysis and Intro to Swing Rhythm Guitar right hands, playing simple songs, Introduction to Improvising Deceptive Bowing Practices in Old Time Farewell Trion, Monkey In The Dogcart "Sittin' on Top of the World" Tunes (dry erase board) melody construction different keys, practice tips, and more. and Hy Patillion 3 Finger Banjo Mandolin Guitar Singing Bass Finger Picked Banjo Fiddle Clawhammer Banjo J Rothfield G Hirshfeld B Pearce B Hammond M Shar S Gorman T Watt K Thomas 11:00-12:15pm jam Amp up your bowing: use your bow to The Basics of Bluegrass Banjo Set-Up What Key.. Who Cares? More I, IV, V: RockaFolky right hand, a simplified two- Using chords and scales to break free Old time Southern Ballads Introduction to Harmony Singing Bass Basics: theory to solos add rhythm, speed, and tone to your and Maintenance Chords as movable “blocks” finger picking that's good for everything from tunes playing! 12:30-1:30pm Lunch Clawhammer Banjo Mandolin Guitar All 3 Finger Banjo L Hammond A Carr M Flinner T Watt G Bowder and L Marschall 1:45-3:00pm Back-up, (but don’t push!) jam Alternative guitar chords and bass runs Old time banjo accompaniment for songs Three note chords around the fretboard Introduction to Ear Training Melodic Tunes in D for Old Time and BG and ballads. Saturday Mandolin Guitar Bass Clawhammer Banjo Fiddle 3 Finger Banjo D Surrette D & B Bowden L Marschall A Hurt, B Williams Hartness S Gorman Every BG bassist should know: 3:15-4:30pm L Bichan Right-hand pick patterns mandolin: Grandfather's Clock, Little Darlin, Head jam Jazz Jamming "Be the Banjo Player in the Old-Time Scandinavian fiddle tunes different time signatures and picking Old Time Cowboy Songs Over Heels, Groundspeed, Foggy Mt "All of Me" to "Over the Rainbow" to Trio" patterns Special "When You Wish Upon a Star". Clawhammer Banjo Mandolin Bass All 3 Finger Banjo B Pearce P Kelly T Rowell Jamming skills for BG bassists R Stillman G Bowder 4:45-5:45pm Dissecting Doublestops: how to Jam unfamiliar songs, waltz time, hand and Leisurely CH Waltzes: Tombigbee Waltz, effectively use them in lead and backup arm fatigue, arpeggios, and basic walking bluegrass karaoke with sound system Swing and samba on the banjo Grover Jones Waltz and more. playing bass. 6:00-7:00pm Dinner 7:30-9:00pm Concert in Sage Hall 9:00-10:30pm camper led jams camper led jams camper led jams camper led jams camper led jams camper led jams camper led jams 8:00-9:00am Breakfast Clawhammer Banjo Mandolin 3 Finger Banjo Fiddle All Guitar A Hurt D Surrette R Stillman J Rothfield T Watt B Hammond 9:30-10:45am Irish-style ornamentation D tunes from Uncle Norm Edmunds Jam Scale-Based Exercises to Improve Hand mando/Bouzouki/citern: picked triplets, Developing a second break (stylized (Hillsville VA) such as New Jordan, Lucy The Three Most Important Practice Massive EZ melodic. back-up and power Coordination droning and double-stopping versions of standard melodies) Neil and Lady of the Lake Techniques Ever chords on guitar Clawhammer Banjo Mandolin 3 Finger Banjo Fiddle All L Bichan M Flinner G Hirshfeld M Shar G Nelson 11:00-12:15pm The Scottish strathspey "Rothiemurchus Jam Double stop exercises and using double Changing up Classic Licks to Make New Sunday Rhythm Sentences for clawhammer Rant" and/or the old time cousin "Graf Music Theory and Chord Structure stops in tunes Licks Spee” 12:30-1:30pm Lunch Mandolin 3 Finger Banjo Guitar B Hammond E Setiawan B Stockwell 1:45-3:00pm Mean ol' quarantine. an ez three-chord Jam Jam love song dance tune that sounds like Tone Production Soloing up the neck lotsa swingy chords .
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.
    [Show full text]
  • Old Time Banjo / Appendix 1 Resources: Webography, Discography, Bibliography
    Old Time Banjo / Appendix 1 Resources: Webography, Discography, Bibliography Webography. Where to go on the web … The Banjo-L (Banjo e-mail List) Homepage http://zeppmusic.com/banjo/ Banjo Players Newsletter http://www.banjonews.com/ Clawhammer.com http://www.clawhammer.com/ The Banjo Hangout http://www.banjohangout.org/ There are literally hundreds more sites, and that changes daily! Just type the phrase “clawhammer banjo” in any web site search engine and surf around. Slater’s Old Time Frailing & Clawhammer Banjo Lessons © 2002 - Page 47 Discography. A small sample of who to listen to… Walt Koken Banjonique, Rounder Records, CD0337, 1994 Hei-wa Hoedown, Rounder Records, CD0367, 1995 Bob Flesher Old Time Clawhammer Banjo, DH-401-CD Bob Carlin Banging & Sawing, Rounder Records, CD0197, 1996 Tommy Jarrel & Fred Cockerham Tommy & Fred, County Records, CD2702, 1992 & Kyle Creed June Apple, Heritage Records, HRC-CD-038, 1993 Fuzzy Mountain String Band Fuzzy Mountain String Band, Rounder Records, CD11571, 1995 Highwoods String Band Feed Your Babies Onions, Rounder Records, CD11569, 1994 John Cohen (collected by) High Atmosphere: Ballads & Banjo Tunes from Virginia and North Carolina, Rounder Records, ROUN0028 Doc Watson & Clarence Ashley Original Folkways Recordings of…, Smithsonian Folkways, CDSF40029/30 Dock Boggs The Folkways Years, Smithsonian Folkways, SF40108-CDS Many of these recordings are available on the web, or your local music shop. County Records, “world’s largest selection of Old Time Music”, http://www.countysales.com/ Rounder Records, http://www.rounder.com/ Smithsonian Folkways, http://www.si.edu/folkways/ Slater’s Old Time Frailing & Clawhammer Banjo Lessons © 2002 - Page 48 Bibliography. Books to learn from… (some of these may be out of print) How to Play the 5-String Banjo, by Pete Seeger, self published, 1997.
    [Show full text]
  • Minstrel and Classic Banjo: American and English Connections Robert B
    Minstrel and Classic Banjo: American and English Connections Robert B. Winans; Elias J. Kaufman American Music, Vol. 12, No. 1. (Spring, 1994), pp. 1-30. Stable URL: http://links.jstor.org/sici?sici=0734-4392%28199421%2912%3A1%3C1%3AMACBAA%3E2.0.CO%3B2-A American Music is currently published by University of Illinois Press. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/illinois.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is an independent not-for-profit organization dedicated to and preserving a digital archive of scholarly journals. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Fri Apr 13 22:02:37 2007 ROBERT B. WINANS and ELIAS J. KAUFMAN Minstrel and Classic Banjo: American and English Connections In the 1840s the minstrel show in the United States popularized what had previously been a black folk instrument with African origins, the banjo. This popularization led to the development of banjo traditions in both folk culture, white as well as black, and popular culture (in the parlor as well as in the theater).
    [Show full text]
  • The Doyen of Dixie: a Survey of the Banjo Stylings of Uncle Dave Macon
    East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 8-2018 The oD yen of Dixie: A Survey of the Banjo Stylings of Uncle Dave Macon Corbin F. Hayslett East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Appalachian Studies Commons, Ethnomusicology Commons, Folklore Commons, and the Other American Studies Commons Recommended Citation Hayslett, Corbin F., "The oD yen of Dixie: A Survey of the Banjo Stylings of Uncle Dave Macon" (2018). Electronic Theses and Dissertations. Paper 3438. https://dc.etsu.edu/etd/3438 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. The Doyen of Dixie: A Survey of the Banjo Stylings of Uncle Dave Macon _____________________ A thesis presented to the faculty of the Department of Appalachian Studies East Tennessee State University In partial fulfillment of the requirements for the degree Master of Arts in Appalachian Studies _____________________ by Corbin Foster Scott Hayslett August 2018 _____________________ Dr. Lee Bidgood, Chair Mr. Roy Andrade Dr. Ted Olson Keywords: Uncle Dave Macon, Banjo, Country Music, Appalachia, Tennessee ABSTRACT The Doyen of Dixie: A Survey of the Banjo Stylings of Uncle Dave Macon by Corbin Hayslett David Harrison Macon (1870-1952) is often memorialized for his showmanship rather than his banjo playing.
    [Show full text]
  • Just-This-Banjo-2019.Pdf
    Just This Banjo By Patrick Costello For my father. My hero, my mentor, my father, my partner, and most of all, my friend. No son has ever had such a cohort in a jam, on stage or in life. Special thanks go to my Patreon sponsors for helping us make this book happen. I love you all. ISBN: 0-9744190-7-9 © Copyright 2019 Joseph Patrick Costello III Cover art by Carlos Vazquez My sincerest heartfelt thanks to Ken Brewer – he knows why. Here we stand before your door, As we stood the year before; Give us whiskey, give us gin, Open the door and let us in. Or give us something nice and hot. Like a steaming bowl of pepper pot! ~The Philadelphia Mummers Birdsong brings relief to my longing I'm just as ecstatic as they are, but with nothing to say! Please universal soul, practice some song or something through me! ~Mewlana Jalaluddin Rumi Even a fish would stay out of trouble if it kept its mouth shut! ~My father Contents Introduction .......................................................................................................................... 5 The Rabbit ............................................................................................................................. 6 The Guitar Girl ....................................................................................................................... 8 The Core .............................................................................................................................. 14 Aunt Mannie ......................................................................................................................
    [Show full text]
  • Sug-Sept 2021
    The Aug/Sept 2021 A publication by the Southwest Bluegrass Association SWBA BOARD OF DIRECTORS The Bluegrass Soundboard STAFF President Vice-President Terry Brewer Marc Nelissen Managing Editor Terry Brewer 661-364-9321 909 289 8730 661-364-9321 [email protected] [email protected] [email protected] Associate Editor Treasurer Secretary Sheila Brewer Paula De Bie Missy Lyn Gibson 951-934-3478 774-248-4128 Regular Contributors [email protected] [email protected] Phoebe Leigh-Suelflow, Rod Tripp, Bert Luontela, Ann Smith, Membership Connie Tripp Patty Sullivan, Chris Jones, Wayne Erbsen, Gary Reid, Tom Isenhour Sheila Brewer 661-305-1554 Distribution 661-364-7415 [email protected] Flo De Bie, Carol Lister, Frank & Patsy Abrahams, [email protected] Susan Brown, Ella Carter, Paula De Bie Louie De Bie Patty Sullivan The Bluegrass Soundboard Deadlines 951-934-3478 909-762-2848 [email protected] [email protected] DECEMBER JANUARY issue November 1st FEBRUARY /MARCH issue January 1st Robert Wheeler APRIL MAY issue March 1st 949-395-0687 JUNE JULY issue May 1st [email protected] AUGUST SEPTEMBER issue July 1st OCTOBER NOVEMBER issue September 1st COMMITTEE CHAIRPERSONS ADVERTISING RATES Soundboard & Web manger Social Media Single Issue Yearly Full page $65 $350 Terry Brewer Terry Brewer, Patty Sullivan, Half page $35 $190 Julie Ann Evans $25 $130 SWBA Host Quarter page Card size $10 $60 Sheila Brewer Advertising Missy Lyn Gibson, Terry Brewer Foe more information concerning advertising Jam Host (including special rates and discounts) Contact Terry Brewer 661-364-9321 [email protected] Howard Doering, Marc Campout Hosts Nelissen, Mark Shutts, SWBA Membership Paula De Bie, Sheila Brewer René Baquet, Robert Wheeler, For member information, change of address, phone and emails.
    [Show full text]
  • General Guidelines
    2017 Uncle Dave Macon Days Music Competition Guidelines 1. Check in with the stage manager as soon as your category is called. 2. Remain backstage throughout the entire duration of the category. 3. While waiting in the backstage area, be respectful of others and the proceedings onstage. Practicing or “warming-up” must be done away from the immediate backstage area. 4. Failure to appear when called may result in disqualification and loss of entry fees. It is NOT the responsibilities of staff to make sure you are there ready to participate. Please keep aware of the proceedings and respond immediately when your name is called. 5. No additional registrants will be allowed in a category after the first contestant begins. Exceptions may be granted at the discretion of the Chairman of Judges. 6. A contestant’s number will remain the same throughout the preliminary and final competitions (if applicable). There will be no finals in a category, unless it is so indicated in the official schedule. The following categories generally do not have finals (Consult the official program or the stage manager for any revisions). a. Beginner Instrumental, ( 2 Tunes) b. DeFord Bailey Harmonica, (2 Tunes) c. Uncle Dave Macon FreeWheelin’ (2 Tunes) d. Blues Singing with acoustic instruments (2 Tunes) e. Old Time Singing (2 Tunes) f. Guitar, (2 Tunes) g. Mandolin (2 Tunes) h. Contest Fiddle (2 Tunes) 8. Contestants who have won their category two (2) years in a row are not eligible to enter that particular category the following year. They will be reinstated for eligibility the next “season”.
    [Show full text]
  • Introduction
    INTRODUCTION I have wanted to put together a banjo book for a long time, and I am pleased that it is now in your hands! Thank you for picking it up, looking through it, and using it to learn how to play clawhammer banjo. The tabs in this book are just a starting point for what the songs can become after you add your own creative touch. This book is meant for beginning players, but also for beginners crossing the bridge to intermediate. These tunes will get you playing and jamming at festivals, informal gatherings, in bands, or just in your living room! You will find the tabs are arranged from simpler technique to more difficult. All of the songs were chosen based on the input from the old-time community in Brooklyn, NY, and from many lessons with banjo students over the years. To simply pick up an instrument, learn a tune, and mess around with it is relatively easy. To play an instrument with musicality, beauty and grace is an art form. I recommend spending some time really learning the tunes in this book. Find and listen to recordings of the songs, play slowly at first, and then speed up. Try to memorize the songs, and perform for someone - or record yourself and listen back. Above all, acknowledge the traditions, the sources, the stories and feelings that the notes and lyrics communicate. We can learn and emulate songs of the past, but the truth in music is when it combines with your own soul’s stories. That is what makes a song personal and meaningful.
    [Show full text]
  • Old Time Music in Central Pennsylvania By
    4 Old Time Music in Central Pennsylvania By Carl R. Catherman Old time music is generally thought of as music played on acoustic stringed instruments, particularly fiddle1, banjo and guitar, which were most often used by string bands in the Appalachian region. In addition to those three Jim and Jane and the Western Vagabonds. Rawhide (seated) and Tumbleweed (standing) 2nd from the left, 1938. (author's collection) main instruments various bands used the mandolin, upright bass, washtub bass, ukulele, harmonica, autoharp, mountain dulcimer (an American invention), jug, pump organ and anything else that might contribute useful sounds. The Old- Time Herald, a quality magazine published in Durham, North Carolina since 1988, focuses on music with roots in Appalachia, including Afro-American and 1 The word fiddle is used universally to refer to the violin by old time and bluegrass musicians and also by some musicians in all genres. 5 Cherokee musicians, but also expands its coverage to include regional styles such as Cajun, Norteño, Norwegian-American Hardanger fiddle players from the Upper Midwest, early cowboy singers and others. The concertina or accordion are used in at least two of these regional styles. The fiddle has been in America almost from the time of the earliest European settlements, brought here mostly by Irish or Scottish immigrants to the United States and by the French to Canada. Often called the devil’s box, it was used primarily to provide music for dancing. The modern banjo is an American adaptation of gourd instruments played by African slaves. It first became popular among Whites in the 1830s.
    [Show full text]
  • MACON, UNCLE DAVE MACON, UNCLE DAVE (B
    MACON, UNCLE DAVE MACON, UNCLE DAVE (b. David Harrison M., fifties he decided he could not adapt to new times, and Smart Station, Tenn., October 7, 1870–March 22, let his business go. 1952) Throughout this period Macon had continued to play Uncle Dave Macon appeared on THE GRAND OLE the banjo, mostly to amuse his customers and family. OPRY’s stage from its opening days into the early In the early 1920s, while visiting a Nashville barber- 1950s, when he was in his early eighties, performing shop, Macon was playing for customers when he was a combination of traditional BANJO songs, sentimental heard by a scout for Loew’s vaudeville houses. Macon songs, and his own compositions, often commenting was soon performing on stage, and in early 1924 made on contemporary trends. his first recordings. A year later he was invited to be Macon was born outside of Nashville, but the family the second member of WSM’s Barn Dance program soon relocated to the big city, where his father operated in Nashville, which would soon be renamed The Grand a rooming house located on downtown’s main street. Ole Opry. The rooming house was popular with vaudeville per- Macon played both clawhammer and two-finger formers, and the young Macon was particularly im- banjo styles. He was an exceptionally talented musi- pressed by the stunt banjo playing of one traveling star, cian, but it was his ability to perform stunts like playing Joel Davidson. He began to learn the instrument and the banjo while swinging the instrument between his to play locally, mostly in informal settings.
    [Show full text]
  • Finding Meaning in the Two-Finger Banjo Style. Jeffrey K
    East Tennessee State University Digital Commons @ East Tennessee State University Undergraduate Honors Theses Student Works 5-2013 Finding Meaning in the Two-Finger Banjo Style. Jeffrey K. Elkins East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/honors Part of the Music Commons Recommended Citation Elkins, Jeffrey K., "Finding Meaning in the Two-Finger Banjo Style." (2013). Undergraduate Honors Theses. Paper 179. https://dc.etsu.edu/honors/179 This Honors Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Finding Meaning in the Two-Finger Banjo Style Thesis submitted in partial satisfaction of the requirements for Honors By Jeffrey Kent Elkins Midway Honors Scholar Bluegrass, Country and Old Time Music Studies To The Honors College East Tennessee State University April 30, 2013 ________________________________________ Jeffrey Elkins ________________________________________ Lee Bidgood, Faculty Advisor Table of Contents Acknowledgements .................................................................................................................................... v Vitae ..........................................................................................................................................................
    [Show full text]
  • JOHN NEMETH MEMPHIS S O U L 2 - Blues Music Magazine - DEC 2015 DEC 2015 - Blues Music Magazine - 3 from All of Us, to All of You, Happy Holidays
    JOHN NEMETH MEMPHIS S O U L 2 - Blues Music Magazine - DEC 2015 DEC 2015 - Blues Music Magazine - 3 From all of us, to all of you, Happy Holidays... 6 JOHN NEMETH 5 RIFFS & GROOVES Memphis Soul From The Editor-In-Chief by Tom Hyslop by Art Tipaldi 10 ROY ROGERS 24 DELTA JOURNEYS Still Slidin’ Life In Hell by Phil Reser by Roger Stolle 12 KIRK FLETCHER 26 AROUND THE WORLD California’s In-Demand Guitarist Young And Old Blues by Pete Sardon by Bob Margolin 14 DOUG DEMING & 28 REVIEWS DENNIS GRUENLING Over 65 CD, DVD, And Book Reviews Making Music Together Available At BluesMusicStore.com by Mark Thompson 30 SAMPLER EIGHT 16 ANTHONY GOMES 15 Songs To Download Celebrating Blues-Rock by Various Artists by Don Wilcock 57 DAHL’S DIGS 18 SUGAR BLUE 12 Re-issue And Box Sets No Longer Alone by Bill Dahl by Matt MacDonald 58 Music Store 20 MIKE WELCH CDs, Box Sets, DVDs, Books, And More... Monster Mike Grows Up by BluesMusicStore.com by Karen Nugent 62 UPCOMING 22 ALBERT CUMMINGS Festivals, Tours, CD Releases, And Events Workin’ Man Mark Your Calendars by Art Tipaldi 4 COVER PHOTOGRAPHY © Mike Shea PUBLISHER: MojoWax Media Inc. Been re-alphabetizing CDs for the past few months. Where do you file Lil’ Ed PRESIDENT: Jack Sullivan and the Blues Imperials? Is it under Lil’, Ed, or Blues Imperials? Ditto Sonny Boy EDITOR-IN-CHIEF: Art Tipaldi Williamson. Sonny Boy or Williamson? LEGAL: Eric Hatten The best part of this seemingly impossible task has been to play records that made an impact on my blues but with the glut of new music filling my mailbox CONTRIBUTING EDITORS in the 21st century have become as distant to me as my old 33 and 45s.
    [Show full text]