Vol. 33 No. 4 INSIDE THIS ISSUE! Oct Nov Dec OBA History, Webmaster Tony McCormick, Sound 2013 Advice, and More.... Oregon Bluegrass Association www.oregonbluegrass.org
Bluegrass Express Decades, Hundreds of Volu Three nteers, Thousands of Songs By Claire Levine It’s doubtful that the founders of the were in the first board meetings. organizational talent, its under- Oregon Bluegrass Association thought standing of Robert’s Rules of Order ahead to consider their 30-plus year • At the same time, the nature of the – and certainly its budgetary legacy. In fact, if they had stopped to music has changed . . . and that skills – have waxed and waned, the think about it, they may have ques- too continues to be a subject for OBA continues. In some ways it’s tioned if the organization would last debate. healthier than ever. beyond its first five years. The current member- ship should congratu- Yet in 2013, as the late the founders and OBA celebrates the the hundreds of volun- 30th anniversary of teers who have kept the its first by-laws, the OBA alive and thriving founders should be during the economic, proud that they cre- cultural -- and musical ated a dynamic and -- changes of the past 30 sustainable organiza- years. tion. For starters Reading through the old Expresses, one The OBA founders had is struck by several a vision: To promote things: bluegrass music and musicians. The early • The phrase, board members wanted “There is noth- to create a way for ing new under musicians to connect the sun,” seems with each other, and particularly appli- with fans. But com- cable to a blue- The OBA Board of Directors and volunteers gathered at Sonny Hammond’s home in 1982 munity building wasn’t grass organization. • The nature of the music business foremost on their minds. OBA members are having the has changed remarkably, around What was? Well, getting booked, actu- same discussions today as they did the country and in Oregon, and ally. 30 years ago. Issues of structure, location, role, money – and t-shirts • The OBA is fueled by a passion for Most of the founders were perform- – continue to be debated, as they music and community. While its Continued on Page 6
Table of Contents Oct / Sept / Nov 2013 Volume 33 / Number 4 Newsletter of the Oregon Bluegrass Association www.oregonbluegrass.org This Issue Features Cover Story Vol. 33 No. 4 OBA History: Three Decades, Oregon Bluegrass Association Hundreds of Volunteers, Thousands www.oregonbluegrass.org of Songs...... 1 by Claire Levine Bluegrass Express Bluegrass Express is a quarterly newsletter Features dedicated to informing members of the Oregon Bluegrass Association about local, regional Tony McCormick: Turning the and national bluegrass issues, events and Volume Up to 11 ...... 12 opportunities. by Claire Levine Bluegrass Express Staff The cover of the first OBA Express, Southern Oregon Report...... 16 dedicated to Bill Monroe, June 1982 by Joe Ross EDITORS John Prunty Beginning Bluegrass Jammer ...... 18 [email protected] by Greg Stone and Linda Leavitt (503) 383-8100
Columns & Commentary Christine Weinmeister [email protected] President’s Message...... 5 The Theory of Bluegrass...... 12 COPY EDITOR by Matt Snook Tony McCormick: OBA’s Webmaster, Nancy Christie Sound Advice ...... 19 medieval enthusiast and banjo [email protected] by Mark Gensman player for Back Porch Revival. GRAPHIC DESIGN & LAYOUT Calendars, Lists & Info John Prunty OBA Membership and Ad Christine Weinmeister Information ...... 4 What’s Playing on the Radio...... 5 ADVERTISING Scheduled Jams...... 15 Pat Connell OBA Supporting Performer [email protected] Directory...... 25 (971) 207-5933
Matt Snook gives another lesson in WEBMASTER & WEB CONTENT “The Theory of Bluegrass.” Tony McCormick (503) 330-2239 [email protected]
OBA Bluegrass Express - Fall 2013 3 OBA Membership & Ad Information The OBA Board www.oregonbluegrass.org Membership Information for information about placing an ad Officers of the Board The OBA Board of Directors invites for your music-related business in the Colby Buswell - President you to join the OBA and to participate OBA Bluegrass Express. [email protected] in its many activities. Our membership benefits include a subscription to the Published Quarterly: Patty Spencer - Vice President [email protected] quarterly Bluegrass Express, frequent Winter (January, February, March) mailings about events, and ticket dis- Mailed on December 30; Reserve by De- Ron Preston - Secretary [email protected] counts to Northwest bluegrass events. cember 1, Copy deadline December 15. Annual membership dues are $20 for Spring (April, May, June) Dave Hausner - Treasurer [email protected] a General Member, $50 for Supporting Mailed on April 1; Reserve by March 1, Performers and $100 for Contributing Copy deadline March 15. Liz Crain - OBA Roseburg Chapter President Business Sponsor (see page 20), as well Summer (July, August, September) [email protected] as other options. To join, complete the Mailed on July 1; Reserve by June 1, application on the back cover and mail Copy deadline June 15. Ken Cartwright - OBA Salem Chapter President with your check to: Oregon Bluegrass Fall (October, November, December) [email protected] Association, P.O. Box 1115, Portland, OR Mailed on October 1; Reserve by Septem- Tony McCormick - Webmaster 97207 ber 1, Copy deadline September 15. [email protected]
Suzanne Chimenti - Membership Website Payment [email protected] Features include an interactive cal- The OBA prefers to receive ad- Chris Palmer - Publicity endar that allows you to post your own vertising payment in advance. We [email protected] events, excerpts from past issues of the would like one-year contracts paid six Bluegrass Express, and links for local months in advance, and we will bill for Michelle Traver - Development [email protected] bands. Come visit us online! Visit the the next six months. OBA web page today! Please make checks payable to: Volunteer Coordinators: Marlene Smith www.oregonbluegrass.org The Oregon Bluegrass Association, [email protected] and mail to P.O. Box 1115, Portland Linda Leavitt Article and Editorial Submissions OR 97207 [email protected] The OBA Board invites you to submit Members at Large: letters, stories, photos and articles to Bluegrass Express Advertising Rates Charles M. Holloway The Bluegrass Express. Published files [email protected] remain in our archives and art is re- (size) (dimensions) (two+ issues) Chip Russell turned upon request. [email protected] Please send submissions to: Full Page 8x10” $125.00 $112.00 Half Page 8x5” $70.00 $65.00 Christine Weinmeister John Prunty [email protected] [email protected] (horizontal) Half Page 4x10” $70.00 $65.00 Cleve Friedman (503) 383-8100 (Vertical) [email protected] Christine Weinmeister Quarter Page 4x4.875” $50.00 $45.00 Fred Coates [email protected] Eighth Page 3.875x2.375” $30.00 $25.00 [email protected] Add 3% for late payment. Ian Joel Advertising [email protected] Your Express advertising will Ad Specs John Prunty directly reach over 500 households of When submitting an advertise- [email protected] bluegrass enthusiasts while helping ment to the OBA, please be sure the OBA to keep publishing this valuable MaryJo Turner file is black and white, 300 dpi and in [email protected] resource. Tear sheets or extra copies either PDF, TIFF, or JPEG. If you of the Express are available. We ap- Pat Connell have questions about your file, email [email protected] preciate your support of the Oregon Christine Weinmeister at cjuliawein@ The OBA holds board elections each April as individual Bluegrass Association. gmail.com terms expire. The Board of Directors invites you to join our monthly meetings. We welcome your visit and ideas, Please contact Pat Connell via email opinions and proposals. Or, just come to see what we’re at: [email protected] or doing! We generally meet the second Tuesday of each month at 7:30 p.m. The location is subject to change. (971) 207-5933 OBA Bluegrass Express - Fall 2013 Call us or email any board member for time, location and 4 directions. President’s Message What’s Playing on the Radio? Local Radio Bluegrass and Country Listings A shout out to the board! Albany/Corvallis - KBOO Greetings, bluegrassers! I know this festival season treated you well! And I Broadcast from Portland, can be heard at hope you chose to round off your season with us at our th6 Annual Bluegrass 100.7 FM. See under Portland, below and Old Time Picker’s Fest, October 4-6th at Pendarvis Farm in Happy Valley, OR. Perhaps we raised a glass to bluegrass together. The timing of Astoria - KMUZ 91.9 FM this Express will probably have this issue anxiously awaiting you in the cozy Some syndicated programming confines of your mailbox when you return home. 503-325-0010 “Cafe Vaquera” I just wanted to take an opportunity to give a shout out to the board! We Tuesdays 9-11pm, Bluegrass/Old Timey have some energetic members and their energy has been tested this festival Western/Folk with Calamity Jane season during their president’s proximate absence - some kind of Michigan [email protected] Bed & Breakfast, getting married thing...
I hope you’re as proud of the board and volunteers as I am. It took “Shady Grove” Saturdays 7-9pm some major shuffling to maintain our normal festival presence – table, Regular folk program merchandise and volunteers. We cranked out a new line of t-shirts, which Monday thru Friday 10am - noon sold like the proverbial Picker’s Fest hot cakes! There’s some behind the with bluegrass included scenes work happening to our website in efforts to put our secured grant to use. Some roles are transitioning as well: both the Membership Director Columbia Gorge - KBOO and the Treasurer, which involves training and time for a smooth transition. broadcast from Portland. Can be heard at Our Bluegrass Express newsletter team continues to crank out good, timely 92.7 FM. See under Portland below information. Our board members are working hard so that everything stays smooth and seamless for you. We do hope you noticed some of our efforts Corvallis - KOAC 550 AM at our ever evolving and growing Picker’s Fest. All of this accomplished Syndicated public radio with some bluegrass through their hard work, communication and teamwork. included in regular programming 541-737-4311 Huzzah to you, board members and volunteers of the Oregon Bluegrass As- sociation! I/we couldn’t do any of it without your blood (not really blood), Eugene - KLCC 89.7 FM sweat and bluegrass! Local broadcast 541-726-2224 This is the last issue of the year and I know Mixed format “Saturday Cafe” it seems early, but in grand retail spirit… Saturdays 11am - noon enjoy your holidays, however you choose “The Backporch” to celebrate! Let your loved ones know 9 - 10pm Saturdays they’re loved! And…if you’re so inclined, buy them an OBA t-shirt! Eugene - KRVM 91.9 FM “Routes & Branches” 3 - 5pm Saturdays As always... “Acoustic Junction” 5 - 7pm Saturdays “Miles of Bluegrass” 7 - 9pm Mondays Cheers, Peace, www.krvm.org 541-687-3370
and Love, Pendleton - KWHT 104.5 FM -Colby “Bushels of Bluegrass” 9 - 11pm Sundays contact Phil Hodgen 541-276-2476 Please send ideas, feedback, commentary and hate mail to: Colby Buswell President Portland - KBOO 90.7 FM The Oregon Bluegrass Association “Music from the True Vine” PO Box 1115 Portland, OR 97207 9am - noon Saturdays [email protected] Salem - KMUZ 88.5 FM “Ken till 10” 7-10am Wed/Thur OBA Bluegrass Express - Fall 2013 503-990-6101 & on Facebook 5 Three Decades of the OBA by Claire Levine Continued from page 1 being performed and called bluegrass.” “We wanted It is impossible to summarize 30 years to make people (actually 31 years, since the OBA be- gan a full year before its by-laws were aware of the approved) of an organization. But this article will attempt to look at some of intelligent music the constants and the changes the OBA that was being has experienced since its start. performed and What stays the same? The challenges called bluegrass.” Over the years, board perspectives have changed about many things. . . The Board of Directors and the For example, some boards wanted to Concert Committee are reassessing the make sure there was enough money OBA’s role in concert production. We in the coffers to handle emergencies will be asking for your help.” Sonny Hammond signing the OBA Charter and to pass on to future boards. Some in 1982. (Photo courtesy of Joe Ross) presidents had a different perspective The money question seemed to have ing in bands. A 2008 article in the – use up every penny in the treasury if overlapped the “What is bluegrass, Express describes the vision of Steve it means providing members the most anyway” question – which may actu- Reischman, first OBA president. He fun and opportunity. ally be a more enduring question than saw the OBA “. . . as a serious organiza- “What is the meaning of life?” tion that would support the business Here’s an example of one board chair of bluegrass, rather than be just a fan trying to balance it out. In June of club. His goal was to bring bluegrass 1985, Ben Coker (master of under- to a wider audience in a more profes- statement) wrote, “…the OBA pro- The first Board of Directors sional format.” duced three concerts in Portland this spring. (They) were not a rousing President One goal was, “to fight the Hee Haw financial success. We cleared $57 factor. We wanted to make people on John Hartford and $44 on Ralph Steve Reischman aware of the intelligent music that was Stanley. We lost $518 on Jim and Jesse. Vice President Steve Waller Vice President Sonny Hammond Secretary-Treasurer Judith Poulsen, Members At Large Glenn Morrison Gary Bakel Meryle Korn A crowd of over 600 fills the Northwest Service Center for the 1991 OBA Gospel Show. (OBA Archives)
OBA Bluegrass Express - Fall 2013 6 Three Decades of the OBA by Claire Levine An eloquent letter in a 1985 Express “For the coming year – STOP and take FROM THE EARLY EXPRESSES stated, “I think there has been too stock.” • John Dopyera, one of the two much emphasis on money recently inventors of the dobro, spent his last This is similar to current discussion on . . . There aren’t any stockholders to years in Grants Pass. report to, and many of us would like the board – with plenty of great ideas to see less consideration of the poten- and initiatives, the current co-chairs • Rural Delivery -- which still tial “draw” of a band, or of whether a want to be sure that they use volunteer performs at major festivals around certain show will be commercially suc- and financial resources wisely and cau- the Northwest -- opened for Hot cessful. . . We formed the organization tiously. Rize in 1983 at the Hillsboro to promote BLUEGRASS, not related Bluegrass Festival. At least once during the first 10 years, hybrids that are perceived as being bet- • Steve Reischman, first OBA presi- ter draws at the box office.” the board went through some very hard times before regaining its resil- dent, organized the weekly Zoograss events at the Oregon Zoo. These Another recurring theme -- how ience. One board member wrote in an popular events eventually morphed “Oregon” is the OBA? Letters and old issue of the Express, “The treasury into a weekly summer concert series board comments often expressed has several thousand dollars, but the for a broad range of music styles. a desire to reach more parts of the Board of Directors is barely able to state. In fact, the idea of chapters was function. . . Many members expect • Chick Rose was the first OBA floated in the second year of the OBA’s the Board and the OBA to ‘do some- Express advertising manager. life. At one point, the board set a goal thing.’ The Board as presently staffed • of holding gospel shows in six cities is incapable of doing very much at all, In the mid-1980s, the OBA held around the state. causing ill will, frustration and misun- a picking party -- in Longview, derstanding . . .” Washington. In September, 1986, Susan Langner • A correspondent named “Sasquatch wrote, “Like many organizations, the Whoo-eee! Strong stuff – and amaz- ingly honest for a membership publi- Sam” used to report on bluegrass OBA has tried to do too much, too activity in eastern Oregon. fast, without consideration of the cation! inevitable polarization which results • Peter Kieslich wrote to the OBA from what a diverse group bluegrass Time changes everything from the German Republic in 1985. Apologizing for his poor lovers are. (She describes burnout and With apologies to Bob Wills for steal- English, he wrote, “I think I’m departures and general lack of energy.) ing his song title, the bluegrass music the greatest country-music fan in Easter Germany. . . Besides the good old country music from the early 30’s until the middle 60’s I like yet very dobro instrumentals, gospel- country-music, country duets and the good clean BG music. . . We all must fight today for the preservation of the REAL COUNTRY MUSIC! KEEP IT COUNTRY FOREVER. • In 1985, the Tumwater High School festival offered a $500 first prize for its banjo contest. (Could they trust a banjo player with that much money?) • Rick Winter reminisced on the first time he played the banjo. It was a Sears Silvertone that he received on July 15, 1963. “I practiced sitting on the wheat truck, waiting for the Pumpkin Ridge 1991 combine to come around the field again.” OBA Bluegrass Express - Fall 2013 7 Three Decades of the OBA by Claire Levine Del McCoury? Dailey & Vincent? Frank Solivan? They might all know who Alison Krauss is, but would those who hold to the “True Bluegrass Way” approve? Would they say Rhonda Vincent is the true queen of bluegrass? Do they prefer Sierra Hull? And do most OBA members care about the definition of bluegrass today? When they go to a jam, do they expect to hear the songs of Flatt & Scruggs and the Stanleys? Do they listen to the Old Crow Medicine Show, Mumford and Sons, Chris Thiele and the Wailin’ Jennys? Do they expect old- The Wally’s -- 1991 OBA Gospel Show (OBA Archives) time music mixed in with their blue- world of 2013 is very different from In 1983, it’s likely that every OBA grass? Is an open-backed banjo equal that world in 1983. member had at least heard of, if not to one with a resonator? listened to, these performers. Today, What songs do jammers have in com- The musicians. Volume 1, Issue 1 of what bluegrass stars rank with those mon? What bands do they expect to the Express featured a photo of Bill dominant bluegrass icons – assuming see at an OBA event? Will they be Monroe, followed by Lester Flatt and we could even all agree on what the happy with a mixture of the Loafers Earl Scruggs; Ralph Stanley; Jimmy definition of bluegrass is? and Wayward Vessel plus a square Martin; and Jim and Jesse. dance band? If you went to a bluegrass festival and In today’s bluegrass world, it seems asked the first 100 people you met if And need this be the board’s concern? doubtful you could identify musicians they knew who Ricky Skaggs is, would Or is the OBA’s role to let its members with the same stature, identity and they all say “yes,” as they would have define what they want to hear -- and impact. What does this mean for the 30 years ago when asked about Bill give them opportunities to listen to it OBA? Monroe? If not Ricky Skaggs, who? all?
The OBA History Quiz
In 1985 a letter from Southern Oregon announced that Larry Bulaich was pulling together a band with Jeff Jones, Glenn Freese, Bob Evoniuk and Steve Hardesty. “Larry doesn’t have a name for the band yet, but they were recently booked at . . . the Backstage IV in Ashland.”
Do you know what the band became known as? If so, email [email protected]. You’ll be entered in a drawing to win a prize from the OBA boutique!
Bluegrass Bunnies, AKA Pumpkin Ridge. (OBA Archive) OBA Bluegrass Express - Fall 2013 8 Three Decades of the OBA by Claire Levine
Venues and attendance. The beat goes on FROM THE EARLY EXPRESSES • Red Allen wore turtleneck In 1985, the OBA sponsored Hot So the challenges continue, and some- sweaters. Rize at the World Forestry Center in one who cares to could examine the Portland. The OBA had to turn people underlying functions and purpose of • A letter from Greg Roberts, cer- away because they’d sold out the 800- the OBA. tainly the most irreverent M.C. in seat venue. Oregon bluegrass history, reflects And yet, the 2013 organization is as on the end of the Clark College That just doesn’t happen anymore. For vigorous as it’s ever been. The bank Bluegrass Festival. “. .. I felt sad to whatever reason, people aren’t paying account is healthy; the board, with its see this good old festival crawl and to hear music as they once did. two co-chairs and many volunteers, kick like a poisoned dog, when it has tremendous energy and enthusi- might have received proper treat- Many of the clubs that once hosted asm. The membership meeting and ment, or at least been put out of its bluegrass are long gone. Venues that the annual Pickers Festival win rave misery . . . the victim always had host bluegrass often expect bands to reviews. suffered with multiple ailments, play for free -- or bring in enough fans from uncaring sound crews to to pay the venue, the exact opposite What do you expect? crummy advertising and weird of when venues promised bands a non-grass music -- but moving old guarantee. The success of the OBA is based on a Clark out of the crisp autumn air continuing stream of bluegrass fans and into the August heat was really During the 1990s, the OBA Gospel who add their own spirit to the orga- what put an end to a long General Show filled large venues like the Alad- nization. Attend the events; contact Franco-type death watch.” din Theater with a combination of the board members; write letters to the national and regional acts. Today, even Express; volunteer. Let the board and • Joe Ross, who continues to write Hot Rize doesn’t sell out the Aladdin. other members know what you’d like for the Express, was present at the to see -- and together figure out how to first OBA meeting and offered to So what is the role of a group like the make it happen. take on the role of Publicity Coor- OBA, which can no longer ensure it dinator. can fill up a room and therefore can’t Congratulations to everyone who’s guarantee the cost of national acts been a part of the OBA for 30 -- or is it SPECIAL THANKS anymore? How does it support local really 31 -- years. and national musicians? Is that its role There are many people who can’t anymore? be thanked enough for their early contributions to the OBA.
But two of the principal ones -- and possibly least acknowledged -- are Susan and Fred Langner. For six years, they produced the Express -- well before desktop publishing made it easy to do with the click of a mouse. They wrote, edited, typed, cut, pasted and produced -- they estimated they spent 100 hours on each issue.
Many other names show up repeatedly in early issues. They were not presi- dents, nor were they performers. They were just dedicated folks who sold advertising, took minutes, managed the bank accounts and handled the mailings. The current board wants to thank each of you for the day-to-day Pickers at the 1985 NW Folklife Festival tasks that kept the organization alive. (OBA Archive) OBA Bluegrass Express - Fall 2013 9 OBA Bluegrass Express - Fall 2013 10 Turning the Volume Up to Eleven By Claire Levine
Interviewing Tony McCormick is a programmer could love little like listening to Car Talk on public it. Over the years, he broadcasting. Like Click and Clack, he simplified a few things punctuates every sentence with a laugh – so that others could one of those contagious chuckles so that update the calendar (with you can’t help but laugh, too. thanks to Chris Knight for keeping things up to The OBA webmaster’s laugh isn’t the date). Eventually Tony, only thing that’s constant – he’s a along with Ken Chappell nonstop power source, focusing intense of Wayward Vessel, energy on anything he’s interested in. created a self-service function for the calendar. For example, about 10 years ago he picked up the banjo (actually, he re- Today, Tony is heading picked it up, after a passing attempt up a total website when he was 19 years old). revamp. Thanks to Michelle Traver, who “I’m a both-feet-in kind of guy,” Tony wrote a grant proposal said, and he applied that enthusiasm to for seed money, the the banjo. OBA was able to invest in more self-service “I learned three chords, took a couple applications. Soon, lessons – and started looking for jams members will be able where I could find them.” He and a to sign up online friend wandered into the Produce Row and update their own membership they have improved and persevered Café jam - a high-powered gathering information so they never fall off the -- and are still having a lot of fun; with some very good pickers. “We were mailing list. • terrified,” Tony said. bought a baritone ukulele, so that The OBA also is looking for an intern when he went camping in the But luckily Fred Coates, Mr. who can update the site’s look and feel, medieval atmosphere of Creative Encouragement, recognized Tony and which Tony acknowledges has not kept Anachronism events he could his friends as “fish out of water.” “He up with modern web design. practice his banjo chords without started telling us what the chords were seeming too much out of time and and told us soon we’d be in bands” Meanwhile, Tony’s still picking away. place (try to picture this, friends!); (which turned out to be the truth). But at least after five years of listening • exclusively to bluegrass (to his wife’s runs a nonprofit started by his dad. In his quest for more jams and more distress) he is now able to listen to other The Patient Physician Cooperative bluegrass, Tony started haunting the types of music. Over the years, he: helps working people find OBA website. And he hated it. It wasn’t affordable health care without third- kept up to date. It was hard to find • supported Randy Black in party insurance coverage; and information. He wanted to do something promoting and running the Off Key • about it. Jam, which after many years has runs a business that develops, sells found a permanent home at Biddy and supports software for health As a certified computer nerd, Tony McGraw’s in Northeast Portland. care providers. decided he would go to an OBA meeting They even created a song book, Is that enough? Not for Tony. and offer his services. The next thing he with lyrics and chords noted in the knew, he was a board member (much Nashville Numbering System, so “I’ve been teaching myself relief carving to his distress, since he’d just left two everyone can follow along; and inlays. I have every intention of very time-consuming positions on other being a luthier in my retirement -- not nonprofits). • started a band called Back Porch making instruments, but decorating Revival, which continues to play them. When Tony started, the OBA was around Portland. Tony said the the website equivalent of a manual band’s first appearance made it “I’m an artist -- if it has to do with typewriter. It was all custom obvious “we didn’t play out.” But creativity, I want to do it.” programmed, so that only another
OBA Bluegrass Express - Fall 2013 11 Theory of Bluegrass: Wet Paper Bag By Matt Snook
Each of the bluegrass instruments Let’s pick the banjo in G, to start out And Now The Bag has its own strengths and weaknesses. easy. This line of the song would be Flatpickers and fiddlers fly up and over the C chord, and Big Mon’s mel- “Great,” you say, “but we’re still playing down the scale, playing intricate melo- ody note would be the C. The first line down at the nut.” Hold your horses, dies as easy as breathing. But when it of tab in Figure 2 shows a standard we’re this close to picking our way out comes to arpeggios (chord patterns) Scruggs approach to picking this on a of that bag. Let’s pick it in C. and syncopation it’s a different story: banjo using a forward roll. Ho-hum… They struggle with cross-picking for Duffey’s version would raise that C to Line 5 shows how, with a little modi- guitar and mandolin or Hokum Bow- the D note halfway through, and the fication, we can pick this lick in any ing on fiddles, for instance, sweating second line in Figure 2 is a lame and key. The example is in C, but there is to achieve what banjo pickers do while tame way to put the extra note in your no reason the same lick can’t be played noodling. playing. But it’s still not enough. Let’s anywhere on the neck. The fingering is make people take notice of what we’re a little tricky, so in Figure 1 I’ve shown For banjo and dobro, the opposite doing! one way to do it. Remember this is just seems to be true. The rolls, chord pat- a suggestion; do what works for you. terns, and arpeggios come naturally to There is a musical concept called the three finger picker, but often the enclosure which is a cool way to em- You can use these two ideas – enclo- audience – or even the picker! – has a phasize a note. We want to make that sure and emphasis – to remake each of hard time hearing a melody through D note of the melody stand out – the your basic banjo licks to bring out the the barrage of notes. And that’s while way your hair stands up when Duffey melody and break out of the first posi- picking in the low country down by sings it – so we’ll enclose it by not just tion down at the nut. Identify which the nut. Up the neck things get even dwelling on the D note, but playing note you want to emphasize, then find worse. Legion are the banjo and dobro the notes above it and below as well. a way to play the scale notes just above pickers fairly proficient on the first Line 3 shows a rather tepid way to do and below, the way E and C enclose four or five frets, but up the neck they this. Notice that the E and C notes play D. Add some zing by using pull-offs, find themselves limited to rolling over a part in these standard banjo rolls, hammers, slides, and all the other a chord shape or straight bar position and you can bring out the melody by tricks in your wet paper bag. and feeling like they couldn’t pick their emphasizing the right notes with the Matt teaches banjo & dobro in Coos way out of a wet paper bag. Sound right hand. But it’s still not enough! Bay, Corvallis and Portland, Oregon. familiar? Read on. Let’s banjify this thing. Send messages to [email protected]. Outside the Box Instead of just picking the enclosing notes, which tends to bury them in the When Big Mon sang Little Geor- rolling sound, throw some pull-offs gia Rose, he sang it straight: “Way and slides in there to doooooooooooowwwwwwnnn, in the give it some zing! Line Blue Ridge Mountains, way dooooow- 4 is what I’m talking wnnn, where the tall pines grow…” about. It starts with a The melody stayed right there on the typical roll, then uses IV note during the long-held note on a pull-off to go from E “down.” Later, John Duffey of the Sel- to D, followed imme- dom Scene was thinking outside of the diately by a slide from box when he sang: “Way doooooww- the C to D. Whew! ww-hooooowwwnnnnn in the Blue When you get through Ridge Mountains” yada, yada, yada. playing that phrase, On “hown” he raised the note one step, everybody will be pay- singing a V note over a IV chord – a ing attention. Notice Figure 1: A suggestion for left hand fingering of the Wet Bag blasphemy which sounded so good it’s that the final measures been done that way ever since! Why Lick. I = Index finger; M = Middle finger; R = Ring finger. also enclose the G note Parentheses indicate fingering for measure 23 on Line 5. The not put it to work in your instrumental of the melody between ghost notes are nearby parts of the scale which are fair game for version? You’ll see it’s a great way to the A and F# notes. modifying the lick to your heart’s content. make short work of that bag… OBA Bluegrass Express - Fall 2013 12 Theory of Bluegrass: Wet Paper Bag By Matt Snook
Fgure 2: Tablature for the Wet Bag Lick. Line 5 describes how to use this lick in any key to emphasize the melody while giving it some real banjo zing.
OBA Bluegrass Express - Fall 2013 13 OBA Bluegrass Express - Fall 2013 14 Scheduled Jams: Though we try to stay up to date, times and locations change - always call first!
Sunday CORVALLIS: Acoustic Bluegrass Jam - EVERY VANCOUVER: Bluegrass Slow Jam KLAMATH FALLS: Bluegrass Jam - Sunday after Tuesday, from 6:30-8:30 Every Thursday from 6:30-9:30 the first Friday of the month from 1 - 5 pm Old World Deli, 341 SW 2nd Street, Corvallis, OR Barberton Grange, 9400 NE 72nd Ave, Vancouver Mia’s and Pia’s Pizzeria and Brewhouse, 3545 Sum- 97330 WA 98665 mers Lane, Klamath Falls, OR 97603 For Information: Contact Jim Ford 541-231-3163, or Please note this is a slow jam, with the belief that For Information: Ben Coker 541-783-3478 Jim Jordan 541-753-6138. bluegrass is a non-competitive participation sport. [email protected] [email protected] All talent levels are invited to participate. No ampli- fied instruments. Listeners welcome. No charge, but PORTLAND: OBA Jam - First Sunday of every DUNDEE: Bluegrass Jam there is a donation jar for those who would like to month October- April: 12:30-4:30PM 1st and 3rd Tuesday Each Month, 7-9 pm support the Grange for allowing use of their facility. Portland Audubon Center, 5151 NW Cornell Road, Held upstairs at La Sierra Mexican Grill right on For information: Chuck Rudkin Portland. Hwy 99W in the middle of Dundee. For Informa- [email protected] Intermediate and advanced, small donation re- tion: Jon Cooper (503) 702-8978 cooperweld@ quested to cover room rental. gmail.com Friday For Information: Audubon 503 292-6855 [email protected] EUGENE: Bluegrass Jam ROSEBURG: Bluegrass and Acoustic Session Every Tuesday 9:00 pm - 1:00 am. 4th Fridays 5:30-8:30pm PORTLAND: Off Key Easy Bluegrass - Every Sam Bond’s Garage, 407 Blair Blvd, Eugene “Back Room” of Round Table Pizza. 2040 NW Sunday 2pm to 5pm Established in 1995, the venue of this year ‘round Stewart Parkway, Roseburg, 97471 Biddy McGraw’s Irish Pub, 6000 N.E. Glisan St. jam offers good food and micro brews. All acoustic instruments. Listeners welcome. Beginner and intermediate jam. “Nobody’s too For Information: Chuck Holloway & Sean Shanahan. Information: Joe Ross [email protected] crummy too play with us!” Call 541-431-6603. For Information: Randy Black or Tony McCormick Saturday [email protected] HILLSBORO: Rock Creek Bluegrass Jam Every Tuesday 7-9pm BATTLEGROUND, WA: BLUEGRASS JAM PORTLAND: String Along Acoustic Jam - McMenamin’s Rock Creek Tavern Every second and fourth Saturday evening. The 2-5:30pm 2nd and 4th Sundays, Jan-May. 10000 N.W. Old Cornelius Pass Rd. Hillsboro, OR Grange Hall, on the corner of N.E. 72nd Avenue at 13793 SE Sieben Park Way (Off SE 147th ave and 97124. 179th Street Battle Ground, Washington. Housed by Sunnyside), Clackamas, OR 97015 (503) 794-3883 Established, open intermediate and advanced Blue- the Columbia River Oldtime Strings. Jamming down- Sharon Sandgren: [email protected] grass only jam. stairs at the Grange Hall with an open mic on the stage Information: [email protected] upstairs. Anyone can join in the fun; listeners as well ROSEBURG: OBA Roseburg Jam - 3rd Sunday Year as musicians are welcome. There is a large stage on the Round. Evergreen Grange, 5361 Grange, Rd. Take Wednesday main floor and a comfortable basement with lots of Exit 119 off I-5. Just past the 2nd stop light, turn left room for jamming. on Grange Rd. The Grange is down 1/2 mile on the BEAVERTON: Bluegrass Jam - Every Wednesday left. Bluegrass Jam - all levels encouraged. (except the 2nd) - 6:30-9:30 p.m. DALLAS: ALL GOSPEL, ALL ACOUSTIC JAM For Information: 541-679-0553 Round Table Pizza, 10150 SW Beaverton-Hillsdale Every third Saturday of the month 7-10 pm [email protected] Hwy Beaverton, OR (just east of 217) Newcomer Guthrie Park in Dallas. Friendly! For Information: Jim 503-623-0874 SALEM: Salem Chapter OBA Jam For Information: [email protected] email: [email protected] 3rd Sunday 2pm-5pm October to May Mission Mill (Dye House) at 1313 Mill Street, Salem, EUGENE: Every Wednesday 7-9pm SNOHOMISH, WA: MALTBY BLUEGRASS JAM OR. Bluegrass instruments and music only, please. Music Masters studios in South Eugene. 40th and first, Saturday of the month 2 pm to midnight. Maltby Listeners are invited. Donald shopping center. All skill levels. No charge. Community Club, 206th St. S.E. & 87th Ave. S.E., For more information call Ken at 503-507-2941 Bluegrass jam with some old-time and old-country. Snohomish Jamming, potluck dinner, stage show and or email at [email protected] Information: Sean McGowan (541) 510-1241 more www.musicmastersstudio.com jamming. WILLIAMS: Pancakes & Jam - 2nd Sunday of the For information: Jan 360-568-3685 month. Pancake Breakfast: 8:30-11am, Bluegrass Thursday email: [email protected] Jam: 11 am- 1 pm. Williams Grange, 20100 Williams Hwy. BEND: Bluegrass Jam - 2nd and 4th Thursdays from WINLOCK, WA: SLOW JAM - Second Saturday of For Information: Kim 541 846-1318 7 p.m. to 9:15 p.m. the month. 1 pm, October through May. Held at the [email protected] Held in the board room of the Bend - LaPine School Hope Grange in Winlock, Washington. Great for all District, downtown Bend, between Wall and Bond levels and especially good for total beginners. Monday Streets, across from the Public Library. For Information: Marv Sobolesky at 360-785-4932 For Information: Becky Brown and Verda Hinkle email: [email protected] PORTLAND: Rambling Bluegrass Jam - Every Mon- 541-318-7341 day night all year. Friendly! [email protected] For the most up to date listing, check the OBA See Our Website for information on location, time, Jam Calendar at: www.oregonbluegrass.org contact, etc. www.ramblingbluegrass.org GRANTS PASS: bluegrass-folkgrass-gospelgrass- mountain-musicgrass - 3rd Thursdays 6-9pm. If you have jam updates or additions, please contact Tuesday Wild River Pub meeting room, Grants Pass, Oregon. the OBA at PO Box 1115, Portland, OR 97207, All levels of players. All acoustic. or contact the Webmaster Tony McCormick at ASHLAND: Bluegrass Jam - 2nd Tuesday - 7-11pm For Information: 541-471-2206 [email protected]. Caldera Taproom, 31 Water Street, Ashland. For Brinkerhoff and Antonucci Information: Call Glen Freese 541-482-8984 [email protected] [email protected]
OBA Bluegrass Express - Fall 2013 15 Southern Oregon Report by Joe Ross
Booming with Fall Bluegrass!
A new Ashland concert series, presented by the Gaia Project, will include hard-driving northwest bluegrass music of Jackstraw on Sat, Sept 28 at Rogue Valley Unitarian Church. Info: gaiaconcerts.com
Also in Ashland, Ariella St. Clair has a diverse lineup of 15 shows (between Sept – May) for her 18th annual season of eclectic concerts at Unitarian Fellowship, 87 4th St. All start at 8 pm, and of special note to bluegrassers are Wed, Nov 20 (Hot Buttered Rum) and Fri, Dec 6 (Tony Furtado). Also, coming Fri, Feb 7 will be Bill Evans with his “History of the Banjo” presentation. For the full schedule, see Long Mountain Revival stclairevents.com play for, as well as in their hearts to Band News Band Feature reach the lost. Their repertoire includes material from Doyle Lawson, Hot The Antonucci Collective (from Grants Long Mountain Revival plays Gospel Rize, Hank Williams, Blue Highway, Pass) plays many originals on standard bluegrass music. Members hail from originals, and bluegrassified hymns. bluegrass instruments, but addition Prospect, Wimer, Eagle Point, Grants Song themes are Bible accounts, of Coleman Antonucci’s ukulele adds Pass and Central Point. Formed in praise songs, stories of redemption, a new, fresh sound. Their new CD, 2007, they decided on the name “Long and spiritual truths. Long Mountain “Acoustic Vortex,” was released in Sept Mountain Revival” by 2010. That refers Revival is Bob Batte, Vicky McGee, 2013. to a local mountain near Eagle Point, Jay Moss, Bob Sullivan, Jerry Truppa, Eight Dollar Mountain plays Fri, and “Revival” reflects their desire to Mark Adams, and Jon Clement. Find Oct 4 with Renegade Stringband at see revival in the hearts of those they them on Facebook and YouTube. Alex’s in Ashland. Then, on Sunday, Oct 6 at Art along the Rogue, which features over 50 artists creating huge pastel chalk drawings on H Street in downtown Grants Pass. They’ve also begun work on their third full-length recording due to be released in early 2014. Info: eightdollarmountain.net
Umpqua Valley Bluegrass Band is working on a special Christmas show for the Douglas County Fairgrounds in Roseburg on Fri, Dec 6 from 6-8 pm. Info: [email protected]
Sequoia appears Sat, Dec 7 at Bear Barn in Grants Pass as part of the Rogue Winterfest. Info: thunderridgeranch.net Sequoia OBA Bluegrass Express - Fall 2013 16 Southern Oregon Report by Joe Ross
Info: 541-281-5994 or 541-783-3478 [email protected] or benfcoker@ gmail.com
Second Saturday - Tom’s Guitars in Medford. Info: 541-772-1994
Second Tuesday - Caldera Tap House in Ashland. Info: 541-482-8984 [email protected]
Second Sunday - 8:30 am breakfast, 11 am - 1 pm jam in Williams. Info: [email protected] 541-479-3487
Third Thursday -6-9 pm - Wild River Pub, Grants Pass. Info: 541-471-7487
Third Friday – 6 pm - Gospel jam, St. John’s Lutheran Church, Eagle Point. Another Bluegrass Jamming class starts up in November at Absolute Music in Roseburg. Info: [email protected] For information call 541-673-9759 or go to bgjam.com. 541-538-8482 or 541-826-4334 Classes and Workshops Info: [email protected] 541-673- 9759 Third Sunday – 1-5 pm - OBA From Oct 1 – Nov 5, another Roseburg Chapter, Evergreen Grange “Bluegrass Jamming Class” using Dr. Siskiyou Strings and Threads Festival Hall, Roseburg. Info: 541-679-0553 Banjo’s Wernick Method at Absolute will go over Labor Day weekend in Music in Roseburg occurs every 2014. There will be bluegrass, quilting, Radio Tuesday from 6:30 – 9:30 PM. All breakfast, corn on the cob, games, Mondays from 7 – 9:30 pm, “Bluegrass levels welcome, but you must be able and square dances. Gene Bach says, Tendencies” w/ Georgia Lee features to change smoothly between simple “The fairground is a much better diverse tunes from the countryside chords. Participants play and sing place for a festival with 100+ hook- with a tendency towards bluegrass. many songs, as well as experience ups with dedicated power and water, Info: www.freewillradio.org various jam situations. If interested shade, tent camping, nice bathrooms, [email protected] in learning or improving jam skills, in showers, and easy a non-threatening atmosphere, don’t access.” Info: hesitate to sign up. Info: bgjam.com Sweatysocks2@ 541-673-9759 yahoo.com
Festivals Jams
Eagleview Bluegrass Festival in early First Friday – 6 Sept was a resounding success, and pm - Gospel jam, dates have already been set for a 2014 Redwood Grange, festival at the beautiful Umpqua River Grants Pass. Info: site which also offers great camping, 541-292-6907 fishing, swimming and hiking. Their emphasis will continue to primarily Sunday after the showcase Southern Oregon bluegrass, first Friday – 1-4 as well as other up-and-coming groups pm - Mia and Pia’s from around the region. Mark your Pizzaria, Klamath calendars for August 29-31, 2014. Falls.
OBA Bluegrass Express - Fall 2013 17 Beginning Bluegrass Jammer by Greg Stone and Linda Leavitt
Why Learn to Play Bluegrass Music, puzzles waiting to be solved. When Listen deeply to bluegrass music. Go Anyway? you’ve mastered a fiddle tune or song back to the original material of the that you can play in a jam, you will be genre (Monroe, Stanley Brothers, Flatt Festivals, friends, camping under the solving that musical puzzle in concert & Scruggs, Del McCoury) and really stars, sharing great food and beautiful with others. Bluegrass music is both an listen to the rhythm, chord structure music from the heart in community: individual and a team sport. When you and the singing, too. Memorize tunes That’s what bluegrass music is all about. take a break in a jam, you may feel like and songs. Join a regular weekly jam Some of you would like to go beyond you’ve hit a home run. and play with other musicians at your just listening to bluegrass at festivals level, and perhaps those who are farther and concerts. You’ve decided to learn to Make friends no matter where you are along than you. Bluegrass musicians are play a banjo, mandolin, fiddle, guitar or in the world by nature generous folks. Ask questions bass. Some of you are even singing for and ask for help! Practice 10 minutes the first time. This column is for you. If you know how to play and sing in the morning and ten minutes in the bluegrass music, you will have learned evening. Join a group class. Join the Bluegrass music is good for body and a language that is recognized all over Oregon Bluegrass Association! soul the world. Bluegrass music is very acces- Playing bluegrass music is just plain sible, and everyone good for you, with health benefits that is welcome. If you include improved brain function, hand- find yourself at a eye coordination and finger strength, bluegrass jam in and lower blood pressure and stress. Tokyo, Buenos Aires Music practice results in better mem- or Prague, you may ory and staves off dementia. Focused need a translator to practice is meditative. Playing bluegrass ask how to find the music keeps us sharp and inspired. train station, but chances are excel- Singing results in greater lung capac- lent that everyone at ity, fewer colds (yes, really) and better that jam will know posture. how to play “Old Joe Clark” with you. Playing bluegrass music allows you to express yourself emotionally. Singing a The founder of sad song may improve your mood. bluegrass music, Bill Monroe, felt Friendship is good for you, too. People overwhelmed by the with good social connections live lon- success of the music ger. That’s a fact! To play well with oth- community he cre- ers, you will develop your ear for listen- ated. Monroe said, ing to the music and to the folks with “Bluegrass music has whom you play music. If you regularly brought more people play music with other folks, chances are together and made you will make deep music connections more friends than and you might just live longer. So turn any music in the off that TV and get to practicing! w or l d .” Greg Stone teaches guitar and directs Taborgrass, a weekly bluegrass class and Playing bluegrass music is fun What is the best way to learn to play jam for all instruments (www.taborgrass. and sing bluegrass music? com) and performs in the GTM String Face it: You work too much! You need Band. Linda Leavitt teaches at Tabor- to find a diversion that totally engrosses Find an instrument, a good teacher grass and sings with the bluegrass band you. Fiddle tunes and songs are like and learn to play your instrument. Porch Cats.
OBA Bluegrass Express - Fall 2013 18 Sound advice: Hints and tips on sounding your best with Mark Gensman, Ground Zero Sound
Hi again, folks. It seems the summer Imagine the old-time cheer leader’s distracting. If the talking bothers you, festival season was just starting and voice tube (megaphone) with a small remember that the sound engineer now here we are, nearly finished with hole at one end and a large hole at the can’t get up and move. You can. nice weather and outdoor events. It other. That is similar to how a high- There are times when a discussion of just goes too fast. frequency horn works. a band’s sound needs must be held while another band is on stage. If that This installment is not for musicians. I There are times when the horns will bother you, sit far enough away to have been observing festival audiences overlap each other, somewhere out avoid being distracted. and believe there is some “sound in front. That can be a great place advice” that could help the audience to sit, or it can be a terrible place And a final note about being an have a better musical experience. In to sit. Sometimes when a PA is not audience member. Most folks know fact, I actually doubt that anyone has set up properly, the place where the that having good sound at an event is ever attempted to give advice to those two horns overlap can cause phase important. Be aware of where you sit. who come out and support live music. cancellation which can sound like Try not to block the engineer’s view So, I have my task. mud. Imagine dropping a stone in a of the stage. Try not to walk on cords pool. Notice the water waves going or cables on the ground. While you Knowing a little bit about sound away from the point of impact in are there to enjoy yourself, the sound systems can make the listening nice concentric rings. Now, drop two guy is working hard to make your experience more enjoyable for many stones a couple of feet apart and watch experience as enjoyable as possible. folks. Frequently people will set their what happens. Where the two waves chairs right in front of the stage, meet, they cancel each other out. That And when in doubt, ask the sound thinking that is the best seat in the can happen where horns overlap. guy where the best seats in the house house. Other times, folks will sit as far are for the best sound. Who knows? away as they can and don’t realize they Therefore, the ideal place to sit is a Maybe they actually know the answer. too are losing some of the experience. reasonable distance from the front of the speakers, anywhere within that Those who sit right in front don’t ninety-degree triangle and far enough realize that most PA systems have away for the low frequency drivers low- or mid-frequency drivers and and the horns to couple and provide If you have any questions about high-frequency horns of some type. the best sound. anything involving recording, master- The separate components each have ing, audio software, duplicating, mics, their own characteristics and require Another hint is to not sit next to the speakers or sound reinforcement, a certain amount of distance from the mixing station. Not that the sound please feel free to contact me at: speaker to work together. A front-row is bad, but frequently people come seat might be the worst place to sit if to talk to the engineer. That can be [email protected]. you really want to hear the band. The main speakers are aimed past where you are sitting, the horns can’t cover your area, and you are hearing both the main speakers and the monitor speakers on stage. In an ideal world, everyone would sit in the “sweet spot” of the PA system. That spot is always out in front of the main speakers a certain distance-- never in front of the speakers and never between the speakers close to the stage. High-frequency horns radiate sound at an angle. Most radial horns send sound out at either sixty or ninety degrees from the front of the speaker.
OBA Bluegrass Express - Fall 2013 19 OBA Bluegrass Express - Fall 2013 20 Watch Albertarosetheater.com and Oregonbluegrass.org for more information and lineup as it becomes available!
OBA Bluegrass Express - Fall 2013 21 OBA Bluegrass Express - Fall 2013 22 OBA Bluegrass Express - Fall 2013 23
607 Washington St. Oregon City, Or. 97045 (503)656-5323
Store Hours : 9:30 to 5:30pm Mon - Fri except Thursdays, open til 7:00 • Sat 9:30 to 5pm
OBA Bluegrass Express - Fall 2013 24 OBA Supporting Performer Directory OBA supporting memeberships are $50 per year. This includes a listing and link on the OBA website and a brief (approx 35 word) band listing in the supporting performers directory
A Sudden Tradition In February 2009, four young musicians got Hudson Ridge A Sudden Tradition is a five-member together and started playing. Something Mary Luther- lead vocal and bass, Jerene Portland-area Americana band, performing clicked. Drawing from a variety of influences Shaffar-vocal, mandolin and bass, Shelley bluegrass, folk, old time, country, standards, such as The Lonesome River Band, Vince Freeman- bass and vocal, Kevin Freeman, lead contemporary, and original songs. Our mission Gill, John Mayer, Hot Rize, and Buddy Miller, guitar and vocal, Bob Shaffar-fiddle and dobro, is to bring musical joy to your gathering. the Regulators deliver a unique blend of Fred Grove- rhythm guitar. Upbeat and family friendly-- light-hearted contemporary bluegrass, complete with solid Hudson Ridge has a sound all its own. Love and just plain fun-- that’s what you get with A instrument and vocal work Sudden Tradition! of harmony and the desire and ability to Luke Dewhirst “Ridgetize” their own blend of Americana, www.ASuddenTradition.com 503-395-8103 Bluegrass, and traditional Country music gives Dennis Zelmer 503-893-4569 [email protected] this band a truly unique sound. Suzanne Chimenti 503-957-6161 www.bluegrassregulators.com www.hudsonridgeband.com [email protected] Mary Luther Daniel Robinson [email protected] Back Porch Revival Singer-songwriter. Bluegrass mandolin. 541-404-9281 Gene Greer – guitar/harmonica, Tony Beginning lessons. Mandolin player for hire. McCormick – banjo, Dan Anolik – mandolin/ harmonica, Aron Racho – guitar and more, [email protected] Kathy Boyd & Phoenix Rising Bruce Peterson – bass and guitar. 971-322-7231 Phoenix Rising appears fresh and new as the Blues inspired folk, country, blues, honky-tonk result of its members performing together in Eight Dollar Mountain various combinations over the past 30 years. and original songs. Back porch music that hits Darrin Campbell, Stuart Green, Phil Johnson, the ball out of the park! This particular combination has now gathered Peter Koelsch, Mark Lackey. together in full force, bringing together the best www.backporchrevival.com of bluegrass, cowboy, folk, country, Americana Gene Greer Eight Dollar Mountain rises from the Cascade- and some incredibly talented songwriting to [email protected] Siskiyou Mountain region of Southern Oregon bring you a sound that is clean, hard driving 503-641-4946 and brings you fine string music from the long standing traditions of excellent bluegrass. and uniquely their own. Back Up and Push www.eightdollarmountain.net www.phoenixrisingband.org/ Dan Kopecky --mandolin/vocals, Robert Mark Lackey [email protected] Brownscombe –bass, Susie Anderson – fiddle/ 503-691-1177 vocals, Tom Gall -- guitar/vocals, Patrick Fadin’ By 9 McLaughlin – banjo. What happens when you bring together a Long Mountain Revival 5 piece bluegrass band from Welches, OR. We bass-playing attorney, guitar-strumming Long Mountain Revival’s main emphasis in play a mix of traditional bluegrass, southern bilingual reading specialist, fire-on-the-fiddle the group is sharing the Gospel through song. blues and a few cowboy tunes. Available for volcanologist, and a banjo-picking elementary Long Mountain Revival is available for church festivals, shows, parties, dances, barbecues or school principal? Correct if you circled “c) functions, outreaches, community events, and whatever! Fadin’ by 9” . With hot pickin’, tight harmonies, any other venue where Gospel Bluegrass music and a mix of “bluegrassified” rock, folk, and is desired. backupandpush.tripod.com bluegrass covers & originals, Fadin’ by 9 creates www.myspace.com/lmrevival Patrick McLaughlin a unique, uplifting, high-energy sound. [email protected] Jon Clement www.fadinby9.com [email protected] Dave Irwin Bethel Mountain Band 541-292-6907 [email protected] Gene Stutzman, Jerry Stutzman, Larry Knox, 360-903-0131 Tyce Pedersen (Front) - Jerry Schrock, Will Lost Creek Barnhart, Craig Ulrich From Portland, Oregon, Lost Creek delivers Home Grown a driving blend of bluegrass and old time Hello bluegrass lovers of the Willamette Valley! Steve Smith, guitar; Bill Nix, banjo; and Dave standards with terrific vocal harmonies and Please visit our website to learn more about Morris, fiddle. Everyone sings. tasteful instrumentation. For years they’ve us, our music, our schedule, and the annual delighted audiences at festivals, pubs, parks, HomeGrown has presented their music in “Bluegrass in the Orchard Grass” event. dances, markets, and weddings throughout a variety of settings ranging from Bluegrass Oregon and Washington. Have a listen and see bethelmountainband.com festivals to concert halls. Their music ranges what’s new ... thanks for stopping by. Jerry Stutzman from intense Jug Band dance tunes to foot [email protected] tapping porch tunes to sweet melodic waltzes. For Information: www.homegrownoldtime.com/in The Bluegrass Regulators www.lostcreekmusic.com Bill Nix Luke Dewhirst, Martin Stevens, Molly Adkins, [email protected] [email protected] Josh Adkins, Jake Dewhirst
OBA Bluegrass Express - Fall 2013 25 OBA Supporting Performer Directory OBA supporting memeberships are $50 per year. This includes a listing and link on the OBA website and a brief (approx 35 word) band listing in the supporting performers directory Lucky Gap String Band Mud Springs Gospel Band www.rosecitybluegrass.com/ind Chas Malarkey, Bob Llewellyn, Jerry Robbins, George Klos Charlie Williamson Mike Harrington, Linda Sickler 541-475-6377 [email protected] 503-206-4911 Good Old-Time Traditional Americana and Bluegrass on the Oregon Coast. High Prairie Dog Backfire Energy, Tight Harmonies, and Fun-Loving Theron Yochelson, Betsy Billings Yochelson, Roundhouse Personalities compliment any Party, Dance, Sam Holmes and Steve Speth Donn Whitten, Kim Jones, Ron Leavitt and Wedding or Special Occasion. Joe Denhof Pickin’ and singin’ bluegrass music with a country flavor and honest country music on Roundhouse was formed with the goal of Chaz Malarkey providing a variety of musical genres to [email protected] bluegrass instruments. Four musicians with years of performin’ experience who have diverse audiences: something for everyone. 541-265-2677 found one another on the same musical page... Toward this end Roundhouse performs not such an easy thing! bluegrass, southern rock, doo-wop, gospel, Mischief country, blazing instrumentals and original Based in the Pacific Northwest, Mischief www.sonicbids.com/bluelightsp compositions. Roundhouse instrumentation is father/daughter duo Matt and Anna Betsy Yochelson includes guitar, mandolin, banjo and bass. Snook with Jim Brockill. We’ve 70+ years of [email protected] www.roundhouse-band.com experience playing bluegrass and acoustic 541-409-8248 music. Be amazed: trio harmonies and Kim Jones instrumentals with banjo, Dobro, guitar, Puddletown Ramblers [email protected] mandolin and octave Mando, and fiddle. A regional bluegrass band that performs 503-838-2838 original songs, good old time traditional [email protected] bluegrass, acoustic, old country and Shasta Ray Band 541.805.5133 Americana music. Performing together since The band’s founder and leader is Shasta 1997, this Portland based band has played Ray, born in New England. His travels and experiences are reflected in his song writing. Misty Mamas festivals, theaters, private parties, pubs and special events all over the Northwest. Our About 30% of what the band plays are Shasta Carol Harley, April Parker, Katherine Nitsch, blend of harmonious vocals will shake that Ray originals. The band is referred to as a Eileen Rocci tender chord in your heart ans leave you truly “Community Band”....a “Bring a town together Band.” The music played is a real This band – together since 2005 – has made a wanting to hear more. slice of Americana including bluegrass, folk, real name for itself in the Vancouver/Portland country, sing-a-long gospel, and old time acoustic music scene. Collectively these puddletownramblers.com favorites. women have decades of experience playing Dave Peterson and singing in harmony. MISTY MAMAS [email protected] Liz Crain serve up Home-Style bluegrass filled with [email protected] powerful harmonies, traditional and original The Rainbow Sign 541-537-1031 songs as well as tasty instrumentals combining Curt Alsobrook, Rachel Bock, and Josh Cole the American genres of bluegrass, old time, Sleepy Eyed Johns gospel, folk and country music. Family Old-timey goodness with strong harmonies and knee slapping tunes! Taking turns Ian Joel - banjo; Mark Klassen- guitar; John friendly, the band can include interactive Melnichuk - fiddle; Chuck Davidshofer - bass; songs that engage the younger set. leading vocally and switching up instruments, The Rainbow Sign delivers a high energy Billy Wyatt - mandolin. Carol Harley performance strengthened by a common love Sleepy Eyed Johns – Stump-pulling bluegrass, [email protected] of mountain music. from the roots. www.mistymamas.com www.facebook.com/TheRainbowSign Ian Joel www.joshcolebluegrass.com [email protected] Money Creek Mining Co. 503-281-7666 LuAnn Price, Michael Johnson, Steve Leming, Rose City Bluegrass Band Dave Toler and Steve Bickle Gretchen Amann, Charlie Williamson, Peter Steer Crazy Schwimmer, Spud Siegel Rick King -- Guitar, Glenn Denison -- Money Creek plays stirring mountain ballads Mandolin, Tim Dawdy -- Steel-Guitar & and burning banjo tunes. Known for their The Rose City Bluegrass Band performs an Dobro precise harmonies, rarely do you find a group eclectic blend of Bluegrass and Americana. A New Brand of Western & American Music. of singers with their unique blend. Join Who doesn’t love great banjo, fiddle, guitar, Musical fun and close harmonies that require Money Creek on a musical American journey mandolin and bass backing up 3 part no complicated explanation. Nice guys singing of triumph, sorrow and just plain fun. harmonies? We excel at playing and delighting folks at corporate and civic events, weddings, and playing great music. www.moneycreekbluegrass.com family gatherings, private parties, restaurants http://www.facebook.com/Steercrazyband LuAnn Price and taverns. Tim Dawdy [email protected] [email protected] 425-346-6136 360-904-0347 OBA Bluegrass Express - Fall 2013 26 Go To www.oregonbluegrass.org For more info & links Please contact Suzanne Chimenti, (OBA Database & Membership Manager) at [email protected] if you are interested in receiving a Supporting Performer Membership form. The Loafers http://www.waywardvessel.com Whistlin’ Rufus Mike Stahlman, Dave Elliot, Aaron Stocek, Ken Chappel Pat Connell, Ritchie Wernick, Nat O’Neal, Holly Johnson [email protected] Patrick Connell, Zach Banks.
The Loafers are an acoustic quartet, based Whiskey Puppy Whistlin’ Rufus has delighted family in the Portland-Metro area, specializing in Rachel Gold (guitar), Justin Auld (banjo and audiences throughout the Pacific Northwest bluegrass, jazz, and old time instrumentals, fiddle) and Gabe Adoff (Bass) for several years. Three and four part vocal with a few good classic vocals thrown in for harmonies, exciting instrumentation and good measure. We are a new group with some Whiskey Puppy plays boot-stomping, mule- contagious fun are part of the Rufusarian old names, and a couple new faces. slapping traditional bluegrass and old time bluegrass experience. A Whistlin’ Rufus show music. The Portland, OR trio brings energy, guarantees a varied and wonderful mix of Dave Elliot humor, and skillful musicianship to little- blazing bluegrass, original homemade tunes 503-663-3548 known songs and tunes searched out from the and an Irish fiddle tune or two. repertoires of the early Southern string bands. www.whistlinrufus.com Wayward Vessel Pat Connell Ken Chapple (guitar), Julie Schmidt (fiddle), http://www.whiskeypuppy.com/ [email protected] Josiah Payne (mandolin) and Belinda Rachel Gold 971-207-5933 Underwood (bass). [email protected] 503-227-0647 Wayward Vessel is an adventurous alternative acoustic ensemble exploring the boundaries of bluegrass and folk music. With superb musicianship and lush, natural vocal Is your band’s contact information up to date? Need to make a change to your line-up? harmonies, the band creates a unique Please check your band’s listing at palette to portray their rich library of original http://www.oregonbluegrass.org/band_links.php and traditional music.
OBA Bluegrass Express - Fall 2013 27 Oregon Bluegrass Association Non-Profit US Postage P.O. Box 1115, Portland, OR 97207 Paid Address Service Requested Portland OR Permit No. 2956 Oregon Bluegrass Association
A subscribing member of the OBA according to expiration date. Cut along dotted line for a handy OBA Membership ID card.
Oregon Bluegrass Association P.O. Box 1115 Portland, Oregon 97207 www.oregonbluegrass.org
Oregon Bluegrass Association Membership Membership The Board of Directors of the Oregon Bluegrass Association cordially invites you to join the organiza- Check all that apply tion. Benefits include a subscription to the Bluegrass Express and discounts to OBA sanctioned events. The Oregon Bluegrass Association is a 501 (c) (3) non-profit corporation founded in1982. ___ New Member ___ General Member ...... $20 (1yr.)/$57 (3yrs.) ___ Supporting Performer .....$50 (1yr.) Name ___ Angel Sponsor ...... $60 (1yr.) Address ___ Golden Sponsor ...... $100 (yr.) ___ Contributing Business Sponsor....$100 (1 yr.)/$275 City State Zip Code (3 yrs.)
Home Phone Work Phone Volunteering E-Mail Address ___ Yes! I am interested in helping as a volunteer at OBA sanctioned events. Please add me to your list of volunteers.