BANJO GREAT RAYMOND FAIRCHILD PASSES Had Close
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Bluegrass Music Association of Maine Winter 2019 BANJO GREAT RAYMOND FAIRCHILD PASSES BLUEGRASS JAM Had Close Ties to Maine’s Jimmy Cox ETIQUETTE — PART I Raymond Fairchild, by Stan Keach Jamming, or “field picking” as it’s often one of the masters of the called in the summer, where many impromptu bluegrass-style 5-string groups get together at campsites or just out on banjo, died at the age of the lawn during bluegrass festivals, is a big part 80, on October 13, 2019, of bluegrass culture everywhere in the USA, in Maggie Valley, NC. and it’s certainly a big part of Maine’s bluegrass Fairchild was scene. I hope all our readers are aware of the known for his remarkable two BMAM ongoing jams — the Eastern Jam in Brewer, and the Southern Jam in North Yarm- speed, his intricate play- outh. These two jams come highly rec- ing that combined the ommended for their warm, friendly, welcoming Scruggs and Reno styles, atmospheres, and the quality of music is often and his novelty banjo side quite good — so good that some non-pickers effects. He recorded over just go to listen. 20 albums, including two If you’ve participated in many, or even a gold records. few, bluegrass jams, you probably have a pretty good idea of how they function and the un- Though he was world famous, he didn’t travel much, playing mostly at written rules that govern them. But even if you the Maggie Valley Opry House, which he and his wife, Shirley, founded. If have picked in jams, you may not be aware of you’re not familiar with Fairchild, there are a number of videos on Youtube; some of the finer points of bluegrass jam Whoa, Mule is his best-known tour-de-force. etiquette; hence, this article — I hope it will be Raymond Fairchild has a strong connection to Maine. Jimmy Cox, the helpful to you. great banjo maker of Topsham, partnered with Fairchild in the 1990’s to pro- I hope that this article will be helpful to duce a Raymond Fairchild model banjo. beginners, too. I’ve known people who play an instrument or sing quite well, yet they were still Here’s the story, in Fairchild’s own words, as reported by Dick Kimmel nervous and reluctant to join in at a jam because in a 1994 article in Bluegrass Unlimited magazine. they were under the impression that there were “I’m playing the Cox/Fairchild banjo. I’ve had some great banjos in my some complicated secret codes and rules of time, some great Gibsons. I sat down and designed the banjo. I worked on it for which they were clueless. It’s not hard to learn three years drawing the blueprints on the way I thought a banjo should sound, the basics. look, balance, and perform from one end of the neck to the other. And I got it all Here are a few standard rules and rec- in one package. And I run into a banjo maker who’s the greatest banjo maker in ommended practices that are almost always as- the world. He’s Jimmy Cox. He supplies parts for all the banjo companies. He’s sumed to be in place wherever bluegrass jammers congregate. in Topsham, Maine. I ran into him at a festival in Maine, and I showed him my Continued on page 3. plans. “He said, ‘I’ll tell you what. I’ll make a hundred of each. I’ll make a hun- dred nickel and a hundred gold. I’ll make you two banjos, if you’ll help me sell the rest of them.’ “That’s exactly the agreement we came to. My banjo’s been out a little over a year. Over half the gold ones are already gone, and up towards half the nickel ones are already gone. If a man wants the best banjo in the world, get the Cox/Fairchild banjo.” (Dick Kimmel in Bluegrass Unlimited, Nov. 1994) Continued on page 2. Page 2 Bluegrass Express Winter 2019 BANJO GREAT RAYMOND FAIRCHILD Continued from front page. BMAM 2019 ANNUAL The highly regarded Cox, ELECTION RESULTS who fabricates his own parts ex- Thank you to all BMAM members who participated cept for the tuning gears, accord- in the 2019 Annual Election for a one-year term for Pres- ing to an August 1987 Banjo ident, and for five two-year terms for Board openings. We Newsletter article, has built banjos would like to thank BMAM members Terry and Tina for Sonny Osborne and Don Spearin for assisting in counting the ballots. Stover, among others. “He came down, and we cut a twin banjo tape at Country Roads Studios in Following are the results of the election. Marion, North Carolina. The name of it will be, Raymond OVERALL RESULTS Fairchild/Jimmy Cox: Twin Banjo Ballots Returned................................................80 Jubilee. It’s a knockout, buddy. Zane’s doing a guitar number Returned Ballots – Declined to Vote...................2 on there called Hoss Fly that will knock your socks off. The Total Ballots Counted........................................78 only ones we used is me and Jimmy Cox on twin banjos, Zane on guitar, and Shane Crowe on bass. It is a dandy. I’m putting PRESIDENT RESULTS it out myself.” Beth Revels........................................................76 Votes One of the unusual features of the Fairchild banjo was an Bob Bergesch.......................................................1 Vote extension of the peghead to allow Raymond to stretch strings Declined to Vote...................................................1 into a “twang” without using the tuning pegs. A few years later, Jimmy manufactured a limited edition “Raymond Fairchild 50th Anniversary” model banjo (50 ban- BOARD MEMBERS RESULTS jos). Still later, Jimmy manufactured a limited edition “White Bob Bergesch.....................................................78 Votes Lightning” banjo; Raymond was somewhat involved in the de- Patty Thompson.................................................78 Votes sign/production of that banjo. Brewster Bassett................................................77 Votes Raymond and Jimmy also recorded another album called Dean Henderson................................................77 Votes Daybreak in Maggie Valley, with Raymond’s son Zane on gui- Scott Chaisson...................................................75 Votes tar, Shane Crowe on bass, and an unidentified percussion Brian Gelina........................................................2 Votes player. Joseph Kennedy...................................................2 Votes Raymond and Jimmy were great friends, and when No Vote...............................................................1 Jimmy made his annual trip south to bluegrass country, he would always stop in Maggie Valley to play some tunes with At the BMAM Annual Meeting held on October 16, Raymond at the Maggie Valley Opry. On these jaunts, Jimmy 2019 the election results and positions were accepted by the would always bring some banjos to talk about and hopefully Board. We are pleased that Beth Revels will continue to sell to the audience. BMAM’s President for the coming year. Also, pleased that Raymond Fairchild played the Thomas Point Beach Blue- Bob Bergesch, Patty Thompson, Brewster Bassett, Dean grass Festival four times: ’92, ’93, ’95 and ’05. Henderson, and Scott Chaisson will fill the two-year Board He is survived by his wife, Shirley Fairchild; his daughter, member openings. Susie Fairchild; his son and daughter in law, John and Marlene Fairchild; his son and daughter in law Zane and Marissa Fair- child; his granddaughter and grandson in law, Hannah Fairchild At the BMAM Board Meeting on November 13, and Dustin Adam; grandchildren Harper and Jackson Fairchild. 2019, the following additional leadership positions were Raymond was a true original, and an unquestioned master elected by the Board of Directors to serve a one-year term: of the 5-string banjo. He will be missed. Joe Kennedy, Chairman; Dale Canning, Vice Chairman. The following slate of officers were approved for one-year by Stan Keach and Bob Bergesch terms: Bill Umbel, Vice President; Nellie Kennedy, Sec- retary; and Bob Bergesch, Treasurer. Thank you all for your willingness to serve. BMAM appreciates it! Nellie Kennedy, Secretary Winter 2019 Bluegrass Express Page 3 BLUEGRASS JAM ETIQUETTE — PART I Continued from front page. Here are a few standard rules and recommended practices that PASSING THE LEAD (Continued) - No one has to play a break — are almost always assumed to be in place wherever bluegrass jammers it’s voluntary — but it needs to be communicated quickly and efficiently congregate. who is going to pick the next break, and, as I say, the responsibility is TUNING - Tune up carefully before joining in. It’s a good idea passed to the left with nods and head shakes until a willing volunteer to have your own electronic tuner or phone app tuner so you won’t have accepts the honor. Hopefully, all this happens before the chorus ends, to borrow one. so be ready to engage efficiently in this little communication ritual. It’s TUNING - MORE - Of course you’ll have to adjust your tuning a key to smooth jamming. now and then, especially when capos go on. Try to do it quickly, accu- HOW TO PLAY (THREE VERY IMPORTANT THINGS) - rately, and between songs. If the next song starts and you feel that you 1) Keep in time, right on the beat; 2) Play the right chords; 3) Play have to tune some more, leave the group for a moment to tune in a quiet softly. corner. And remember: no one’s tuning is perfect all the time. More on each of these big points below. TAKING TURNS LEADING - The usual practice is that, after 1) KEEP IN TIME, RIGHT ON THE BEAT - Bill Monroe said that the first song played, “leadership” (which is mainly the privilege of nam- in Bluegrass music, you want to be “right on top of the beat,” meaning ing the next song to be played) is passed to the left.