B.O.M.Newsletter #265P
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Shin Akimoto Alan Bibey Sharon Gilchrist
Class list is preliminary- subject to change Shin Akimoto Monroe Style (I) Rhythm Playing (AB) Bluegrass in Japan (All) Alan Bibey No, you backup (AB-I) Playing fills and how to play behind a vocalist Classic Bluegrass Mandolin breaks (I-A) Road to improv (I-A) Classic Monroe licks (AB-I) Spice Up your playing with triplets (I-A) Sharon Gilchrist Closed Position Fingering for Playing Melodies in All 12-Keys: (AB-I) Learn a couple of easy patterns on the fretboard that allow you to play melodies in all 12 keys easily. This is what a lot of mandolin players are using all the time and it's easy! Closed Position means using no open strings. Basic Double Stop Series: (AB-I) Double stops are one of the mandolin's signature sounds. In this class, we will learn a basic double stop series that moves up and down the neck for both major and minor chords. Freeing Up the Right Hand (B-I) This class is geared towards folks who have learned a number of fiddle tunes and have gotten pretty comfortable playing those melodies but are wondering how to speed them up a bit or breathe a little more life into them now. It is also for folks who might have been playing for a while but still struggle with speed and flow in performance of their tunes. Backing Up a Singer: (I-A) Using double stops and licks to create back up that allows the lead vocal to remain front and center while enhancing the story of the song. -
MON-MN22-DVD.Pdf
DVDTWO A DETAILED ANALYSIS taught by SAM BUSH 90 minutes Music and tab enclosed Sam Bush is a world-renowned This companion lesson to "The Mandolin of Bill Monroe: multi-instrumentalist whose ear One-On-One with the Master" is a hands-on teaching tool liest influence was the mandolin produced especially for the developing mandolin player playing of Bill Monroe. He first who wants to Ieam the inbicacies of BiD Monroe's powerful came to prominence with his innovative band New G rass style and technique. Veteran mandolinist Sam Bush dissects Revival. and he has since graced eighteen of the pieces as played on Bilrs grourd>reaking les countless albums and concert son, taking them apart in note-for-note detail. Split-screens stages with his powerful instru and close-ups, as well as replays of Monroe's demonstrations, mental technique. An engaging aid the teaching process and make this the method for leam and energetic adler, Sam brings ing Monroe-style bluegrass mandolin. his years of playing experience to You'D detailed for alHime favorite Bill the task of communicating musi get instruction Monroe cal ideas to the learning mand0- songs and instrumentals, including: linist As a long-time Homespun • Sweet Blue-Eyed Dar/in' - Blue Grass Breakdown instructor, his DVD, video a1d CD • Frog On A Uly Pad • Memories of mandolin lessons have been among - Dusty Miller Mother and Dad our most popular products. - Sally Goodin -Rawhide Made possible by • generous -KatyHiIf - Tennessee Blues grant to the Smithsonian I~ - Back to the Old Home tution from Kaman Music Corp. -
Rotten Taters Is a Snapshot of Some of the Material Mike Has Begun to Do in His Solo Endeavors
MIKE COMPTON “This recording is pure gold, through and through.” - Glen Herbert, KDHX Rotten Taters is a snapshot of some of the material Mike has begun to do in his solo endeavors. It’s a project which for the first time lets us see something that we’ve only glimpsed in the past Compton playing by himself, unaccompanied and undirected. And it’s simply stellar. For Compton, it’s all about rhythm, with the mandolin serving principally as a rhythmic instrument rather than a melodic one. These days, for this style of playing, he is the player that all others are compared to; if you play old-time or traditional bluegrass mandolin, you want to play like Mike Compton. Here, for the first time, is pure, unadorned Compton. Of the fifteen songs and tunes here, six are from Compton’s own pen. Tracks like “How Do you Want Your Rollin’ Done” and “I’ll Tell you About the Women” seem, in a sense, like portraits of Compton himself, his effervescence and humor laid bare. Of note, the cut “Forever Has Come to and End” is stark and longing, excellently accompanied only by mandolin chords and cross-picking, bringing out the desperation of the lyric. “Jenny Lynn” is a tribute to Monroe, staying close to Monroe’s style, as is the original piece “Wood Butcher’s Walkabout”, which is like a master class in the slides that are a hallmark of Compton’s playing. “Mike has taken a passel of influences -- “old Instruments Used on This Recording: time fiddle tunes, rock salt and nails Paul Duff F5 Mandolin, 2011. -
2008 Annual Report “Get on Board the Rex Caravan!” Has Increase, As the Rex Community of Expanded
Furthering a Tradition of Grassroots Giving 2008 Annual Report “Get on board the Rex Caravan!” has increase, as the Rex community of expanded. And coming into more been our rallying cry for several supporters at large has grown. The focus has been the Human Rights years. Many more have taken this Rex Musical Caravan of musicians, Framework, an overarching context to heart in 2008; the buses are roll- bands and festivals, who support for Rex mission areas, with The World ing down the road. Donations to the Rex’s work with their benefit perfor- As It Could Be Human Rights Educa- Rex Community Caravan are on the mances and other initiatives has also tion Project gathering momentum. RALPH J. GLEASON AWarD BILL GraHAM AWarD JErrY GarcIA AWarD In memory of music journalist Ralph J. Gleason, a In memory of pioneering producer and founding Rex In memory of Grateful Dead guitarist and founding Rex major figure in the advancement of music in America in board member Bill Graham, himself a refugee, this award board member Jerry Garcia, this award is designed to the 1960s, whose openness to new music and ideas tran- is for those working to assist children who are victims honor and support individuals and groups that work scended differences between generations and styles. of political oppression and human rights violations. to encourage creativity in young people. Ali Akbar College of Music The Beat Within All Stars Project (ASP) The mission of the Ali Akbar College The Beat Within provides incarcer- The All Stars Project, San Francisco, of Music is to teach, perform and ated youth the means for self-ex- brings the All Stars “performatory” preserve the classical music of North pression and positive connection approach to inner-city youth devel- India, specifically the Seni Baba Al- with their community through opment to California’s Bay Area. -
Roland White Band
The Roland White Band Roland White Bluegrass mandolin master Roland White has played in some of the most influential and popular groups in the music's history, and has played a notable part in creating that history. Springing from a large family of musicians, Roland and his younger brothers Eric and Clarence first played together as youngsters in their native Maine. Moving to southern California in 1955, The Country Boys (later to become The Kentucky Colonels) won talent contests, appeared on local television shows and even landed appearances on The Andy Griffith Show. They toured the country during the folk music boom of the early 60's, creating a sensation among coffeehouse, festival and college audiences with their instrumental virtuosity, traditional brother vocal harmonies and rhythmic innovations. The Kentucky Colonels' influence far exceeded the band's short tenure as an active band. Their "Appalachian Swing" album remains one of the most important albums of that era, a landmark in the history of bluegrass. Moving from The Kentucky Colonels into a position as guitarist for Bill Monroe in the late 60's, Roland absorbed the traditional feel and repertoire from his mentor, the Father Of Bluegrass, which remains a strong element in his music today. From Monroe's band, Roland joined that of another bluegrass pioneer, Lester Flatt, playing mandolin and recording several albums as a member of The Nashville Grass from 1969-1973. In 1973 a short-lived reunion of The White Brothers was brought to an untimely end due to Clarence White's tragic death. Of this brief reunion came two concert recordings that capture the excitement of the White Brothers' sound fully matured, after Clarence's excursions in country rock with the Byrds and Roland's studies with the Monroe and Flatt. -
For Immediate Release July 2016 Rare Jerry Garcia Band
FOR IMMEDIATE RELEASE JULY 2016 RARE JERRY GARCIA BAND PERFORMANCE OUT AUGUST 19TH VIA TWO-DISC ARCHIVAL SERIES RELEASE GARCIALIVE VOLUME SEVEN RECORDED NOVEMBER 8, 1976 AT SOPHIE’S IN PALO ALTO, CA PREVIOUSLY UNRELEASED AND UNCIRCULATED TAPES FOUND BY FORMER GRATEFUL DEAD & JGB VOCALIST DONNA JEAN GODCHAUX Nashville, TN – On August 19, Round Records & ATO Records will release the two-disc GarciaLive Volume Seven: November 8th, 1976 – Jerry Garcia Band, a previously unreleased and uncirculated performance recorded at Sophie’s in Palo Alto, CA. The original reels, along with several other recordings, which have come to be known as the “Houseboat Tapes,” were only recently discovered by former Grateful Dead and Jerry Garcia Band vocalist Donna Jean Godchaux. The chance finding is the subject of a Q&A with Godchaux in the current issue of Relix. Pre-order for GarciaLive Vol. Seven can be found at Garcia Family Provisions (http://jerrygarcia.shop.musictoday.com/). Once a supermarket, Sophie’s was an unassuming and intimate venue where the Jerry Garcia Band played four times in 1976. The hall eventually became the Keystone Palo Alto and hosted the group many more times through the years. Palo Alto itself holds a distinctive place in Garcia’s history. After a brief stint in the Army, it was where Garcia settled and became fully committed to music in the early 1960’s when he was teaching guitar and playing in bands around the area. With former Elvis Presley drummer Ron Tutt manning the throne, longtime Garcia collaborator John Kahn on bass, Keith Godchaux on keys and Donna Jean Godchaux on backing vocals, this ensemble performed almost 70 shows that year and became known as one of the Garcia Band’s strongest lineups. -
Bomnewsletter #266
B.O.M.Newsletter #266 ランドとアパラチアの秀作。島田耕氏のリポートがムー ンシャイナー誌11月号(MS-2001 ¥500-)。 2002年12月3日 SAN-126 DOLLY PARTON『Halos & Horn』 ▼2002年も残すところわずか…、米国でのブルーグラ CD¥2,750- ス・ブーム、凄いですよ。日本にも、必ず何かの形で伝 圧倒的な歌唱力と存在感、ドリー・パートンの最新ブ わるでしょう。…準備はいかが? ルーグラス第3作。今回はスペクトラムで来日もしたジ ミー・マッティングリー(f,m)の他、ダレル・ウェッブ 「旬」の話題作 (m)、ゲイリー・デイビス(g,bj)、ボブ・カーリン(bj)、 NW-76034 THE LITTLE GRASSCALS スティーブンス・シスターズなど、彼女の地元、東テネ 『Nashville’s Superpickers』CD¥1,750- シー人脈との録音。自らの伝統を素直に表現している。 CAP-40177 NITTY GRITTY DIRT BAND クラシック専門レーベルから発表された特上トラッド 『Will the Circle Be Unbroken Ⅲ』CD2枚組 グラスの超廉価盤、しかも「これがブルーグラス」的な ¥3,960- 入門アルバムで美味しいスタンダード18曲のオンパレ ード、歌モノとインストが半々。ナッシュビルのライブ ジョン・マッキューエンが復帰したニッティ・グリテ ハウス、ステーション・イン・オールスターズのライン アップ!! ィ・ダート・バンドの最新『永遠の絆』第3集である SH-3932 JOHN COWAN『Always Take Me (30年前の第一集制作秘話はムーンシャイナー誌4月号 Back』CD¥2,750-(歌詞付) に)。マッカーリーとの1曲目から、ワトソン、スクラ 今年夏のジャムグラス・ムーブメント(ムーンシャイ ナー誌7月と8月号で特集)でも圧倒的なボーカルで存 ッグス、ブッシュ、クラウス、ライス、NBB、ディラ 在感をアピールしたジョン・コーワンの最新作は、お待 ード&スキャッグス、ハリス他、豪華ゲストによるアメ ちかねのニューグラス作品。自身のバンド・メンバー、 スコット・ベスタル(bj)とジェフ・オウトリー(g)らのス リカン・ミュージックの大セッション。 ーパーピッキンをフィーチャーし、”Sittin’ on Top of ACD-49 DAVID GRISMAN QUINTET the World”などのロッキングラスを中心に、泣かせる 『Dawgnation』CD¥2,750- 今秋で結成25周年を迎えたデビッド・グリスマン・ バラッド”In My Father’s Field”やオリジナル” クインテット最新作は7年ぶりのスタジオ・オリジナル Monroe’s Mule”、そしてインスト”Mr.Banjo”で仕 集。1977年、アコースティック・アンサンブルに全く 上げた「ニューグラス・ファン」直撃作品。 新しい基準を創り、自身のマンドリンが最高の響きを表 BVCF-31111 THE CHIEFTAINS『Down the 現するアンサンブルの追求を続け、今ではジャズ/ロッ Old Plank Road』CD¥2,427- ク界の巨匠で、今注目のジャムグラス・ムーブメント アイリッシュの世界的グループ、チーフタン (ムーンシャイナー誌7月と8月号参照)で、サム・ブ ズがジェフ・ホワイトの強力で創ったナッシュ ッシュと並ぶリーダーでもある。ドーグ音楽25年の到 ビル録音最新第2作。アール・スクラッグスの 達点、明るく楽しいラテン風味をお楽しみ下さい。 -
Mandolin Camp North Class Descriptions
Class list is preliminary- subject to change Guide to “Skill Levels” Skill Levels: N: Novice B: Beginner AB: Advancing Beginner I: Intermediate A: Advanced These abbreviations are often combined. N-B means Novice to Beginner; AB-I means Advancing Beginner to Intermediate; etc. Below is a description of each skill level. Please keep in mind that there’s some overlap between levels. During registration on Friday, you may want to attend "Find Your Level" where instructors advise campers, one-on-one, on their level. Novices (N) are absolute beginners, just starting out. They may have only recently acquired an instrument, don’t know how to tune and have yet to learn any technique. Beginners (B) are able to tune and have learned a few basic techniques, a couple chords, maybe a rudimentary picking method. They may know a few songs but still don’t pick out tunes on their own or have much experience playing with other people. Advancing Beginners (AB) have been practicing for some months, perhaps a year. They’re comfortable tuning and have command of fundamental techniques. They’ve been learning to play simple melodies and can play along with a number of tunes and may even have started jamming. Intermediates (I) have likely been jamming on a regular basis. They’re familiar with a sizeable repertoire, recognize chord changes and play solos routinely. They may not yet play up to speed and may still need to work on their timing and tone as well as their understanding of music theory. Many read tab but could use help arranging tunes on their own and more experience improvising. -
Jerry Garcia from Wikipedia, the Free Encyclopedia
Jerry Garcia From Wikipedia, the free encyclopedia Background information Birth name Jerome John Garcia Born August 1, 1942, San Francisco, California, United States Died August 9, 1995 (aged 53), Forest Knolls, California, United States Genres Folk rock, bluegrass, progressive rock Occupation(s) Musician, songwriter Instruments Guitar, vocals, pedal steel guitar, banjo Years active 1960–1995 Labels Rhino, Arista, Warner Bros., Acoustic Disc, Grateful Dead Associated acts Grateful Dead, Legion of Mary, Reconstruction, Jerry Garcia Band, Old and in the Way, Jerry Garcia Acoustic Band, New Riders of the Purple Sage͵ Garcia Grisman Band Notable instruments Fender Stratocaster "Alligator" Doug Irwin-modified Alembic "Wolf" Gibson SGs Guild Starfire 1957 Gibson Les Paul Gold-top Les Paul with P-90 Doug Irwin Custom "Tiger" Doug Irwin Custom "Rosebud" Stephen Cripe Custom "Lightning Bolt," Martin D-28, Takamine acoustic-electric guitars Travis Bean TB1000S, TB500[1] Jerome John "Jerry" Garcia (August 1, 1942 – August 9, 1995) was an American musician best known for his lead guitar work, singing and songwriting with the band the Grateful Dead, which came to prominence during the counterculture era. Though he disavowed the role, Garcia was viewed by many as the leader or "spokesman" of the group. One of its founders, Garcia performed with the Grateful Dead for their entire thirty-year career (1965–1995). Garcia also founded and participated in a variety of side projects, including the Saunders-Garcia Band (with longtime friend Merl Saunders), the Jerry Garcia Band, Old and in the Way, the Garcia/Grisman acoustic duo, Legion of Mary, and the New Riders of the Purple Sage (which Garcia co-founded with John Dawson and David Nelson). -
Virtual Bluegrass Music Presentations for Schools by Charles Pettee, Hear the Sound Productions
Virtual Bluegrass Music Presentations for Schools by Charles Pettee, Hear the Sound Productions Success! Check out these post-program survey answers from Sterling Montessori, where Charles Pettee performed 20 virtual sessions for grades K-5, (multiple classes in each session), October, 2020: Q17: Would you want this artist to return to your school again? A: Yes, Charles was delightful to work with from an administrative and teaching standpoint. He’s flexible, and our kids really liked him. Q18: What would you tell other schools about your experience with the program and/or interaction with the artist? A: It was a really fun program and Charles Pettee is a fantastic artist to work with. The kids were engaged and learned a good deal. If you have the chance to work with Charles, I encourage you to take it! 1) “Catch the Bluegrass Bug” (grades K-2) & “Bluegrass Stomp” (grades 3-5) Hear the exciting sounds of Bluegrass mandolin, banjo, guitar and voice, performed live (via the platform of your choice) for your class or grade level by acclaimed teaching artist and performer Charles Pettee! Close your eyes and let Mr. Pettee guide your imagination to reveal sounds from Africa and sounds from Europe blended together in the catchy rhythms of Bluegrass music! Curated video clips enhance Mr. Pettee’s recounting of this boundary-crossing multicultural music. Join in, singing along live, with the lyrics displayed on your screen. Programs feature numerous connections with educational standards in both music and social studies, all shared with Mr. Pettee’s -
David Benedict Alan Bibey
Class list subject to change David Benedict Waltz Warehouse (AB-I) Get started on a couple classic bluegrass waltzes and check out the measured waltz tremolo and other embellishments to make your waltz playing really dance. Geeking Out on Groove (AB-I) Listen to some sample recordings of different acoustic bands ranging from trad to modern to dissect the nuances of group rhythm and examine the roles of each instrument. Jiving On the Jigs (I-A) The deep end of the Irish jig pool: learn repertoire, build comfort and versatility with the new right hand jig picking pattern and Irish triplet techniques, and explore ideas for melodic variations on each tune. One Stop Double Stop Shop (I-A) Bluegrass double stops, locating movable shapes to play familiar melodies in a bluegrass style in various keys. Revuegrass Revival (I-A) Take a look at the progressive instrumental side of newgrass and new acoustic music, getting hip to the tunes and techniques of the great masters Bela Fleck, David Grisman, and others. Alan Bibey Getting Slippery (I) Improving slides, hammer-ons, pull-offs and position shifts with an eye towards building speed and incorporating these new ideas into songs you already play! Old Tunes, New Solos (I) Review the melodies to some popular fiddle tunes then explore some alternative break ideas for spicing up second and third solos. Enhance your knowledge of the fingerboard and get ideas for many other songs. Using my Mandolin as a Roadmap (I) Build breaks to common bluegrass songs by using double stops as your roadmap. Transpose these doublestops to different chords and you’ll be able to play a break to any bluegrass song as well as improve your breaks to songs you already know. -
Peter Rowan Bluegrass Band
Peter Rowan Bluegrass Band The Peter Rowan Bluegrass Band consists of outstanding musicians with over 100 years of combined recording and performance experience. Joining guitarist Peter Rowan are Keith Little, banjo; Chris Henry, Mandolin; Paul Knight, bass; and Blaine Sprouse, fiddle. The ensemble has graced the stages of Hardly Strictly Bluegrass, Grey Fox, Merlefest, Rothbury Australia’s National Folk Festival, and numerous other festivals domestically and abroad, entertaining audiences with original and traditional songs executed in vibrant harmony. In April 2013 Peter Rowan, joined by members of his current Bluegrass Band, released The Old School, a magnificent blending of old school sounds and players (Del McCoury, Jesse McReynolds, Bobby Osborne and Buddy Picher) with some of the bright young talent such as Chris Henry, Ronnie & Robbie McCoury performing memorable new songs such as “Doc Watson Morning”, “Drop The Bone” and “Keepin’ It Between The Lines (Old School)”. The Old School followed the group’s debut album for Nashville’s Compass Records- Legacy; the recording, featuring traditional and original compositions, was produced by Compass owner/recording artist Alison Brown and includes Ricky Skaggs, Gillian Welch, David Rawlings and Del McCoury. Legacy received a Grammy nomination in 2010. Peter Rowan – Guitar, Vocals GRAMMY-award winner and six-time GRAMMY nominee, Peter Rowan is a bluegrass singer-songwriter with a career spanning over five decades. From his early years playing under the tutelage of bluegrass patriarch Bill Monroe, Peter’s stint in Old & In the Way with Jerry Garcia and his subsequent breakout as both a solo performer and bandleader, Rowan has built a devoted, international fan base through his continuous stream of original recordings, collaborative projects, and constant touring.