Vol. 35 No. 1 INSIDE THIS ISSUE! Jan Feb March Where are all the young folks?, Update on Chick’s Kids, Sound 2015 Advice and More.... $5.00 Bluegrass Association www.oregonbluegrass.org luegrass xpress B E by Claire Levine Where Have All the oung Folks Gon YThereare tons of talented youngsters -- but why don’t we see/hear them?e

Six friends spent a weekend together • About the lively, tight and talented in the Portland area. We interviewed to play music, eat, walk, play more bluegrass-style bands of young Aarun Carter, Jonathan Trawick, Liz music, eat more food, and chat about people performing in Oregon -- but Chibucos and Ken Chapple, all gigging the state of the world. (You know how that have no connection to the musicians who have their own take these weekends go.) Oregon Bluegrass Association or on what it means to be a member of a most of the musical community. festivals in the Northwest; Meet the musicians • About the Aarun won her first contest at bluegrass age four. In addition to her five state jam party championships from , she re- somebody ceived the 2011 National Young Adult was invited to, with a list of about 100 pickers -- none of whom he had

The Student Loan. Photo by Billy Cook Billycookphotography. ever heard of; What’s missing from that first para- • Whether the nature of the OBA graph is the fact that all of us are all and current festivals push young eligible for at least some type of senior people away; whether young discount. people simply don’t know or care about the conventional bluegrass One of us mused: “Where are all the community; or both; and younger musicians? Why don’t we see • them at festivals, either performing or Is this anything to care about? and attending?” if so . . . • What’s to be done? This prompted a conversation that brought together a number of To learn more, we started by talking thoughts and anecdotes: to some of the younger musicians Photo credit Sterling Imageworks FebruaryHyatt Regency, Bellevue WA 26 - March 1, 2015 ÒHow Can I Keep From Singing?Ó www.wintergrass.com

Del McCoury (Fri) Della Mae (Sat) Aofi e O’Donovan (Sat/Sun) Mark O’Connor (Sun) & the Right Hands (Sat) Kathy Kallick & Laurie Lewis (Vern & Ray tribute) (Th/Fri) Matuto (Fri/Sat & special appearance on Sunday) Mr. Sun (, Joe Walsh, Grant Gordy, Ethan Jodziewicz) (Sat/Sun) Dale Ann Bradley (Sat/Sun) Don Julin & Billy Strings (Th/Sat) Dust Bowl Revival (Fri/Sat) Cahalen Morrison & Eli West (Th/Sat) I Draw Slow (Th/Fri) Sarah Jarosz (Sat/Sun) The Steel Wheels (Fri/Sat) The SteelDrivers (Fri/Sat) Jayme Stone & the Lomax Project (Th/Fri) Birds of (Sat/Sun) Adult Education Blueberry Hill (Th/Sat) Wintergrass Intensives Caleb Klauder Country Band (Fri/Sat) Thursday, Feb. 26th 9am-4pm G Burns Jug Band (Fri/Sat) Vocals w/Aoife OÕDonovan & Sarah Jarosz Youth Education Thursday, Feb. 26th 9am-noon Pearl Django (Fri/Sat) Intuitive Improvisation w/Joe Craven Wintergrass Youth Academy (Th/Fri) Thursday, Feb. 26th 1-4pm Jeff Scroggins & Colorado Feb. 26th - 27th Dobro w/Phil Leadbetter Patchy Sanders (Fri/Sat) Guitar w/Grant Gordy (Fri/Sat/Sun) Wintergrass Youth Orchestra Fiddle & Cello w/Tristan & Tashina Clarridge True North Now - Sun. March 1, 2014 Mandolin w/Joe Walsh special guests: this year performing with Mandolin w/Don Julin (SOLD OUT) Mollie O’Brien & Rich Moore Mr. Sun, Darol Anger & Emy Phelps Matuto, OÕConnor Method Teacher Training Aoife OÕDonovan & Sarah Jarosz Wes Corbett & friends Tues Feb. 24-Th. Feb 26th and Mark OÕConnor Table of Contents Jan / Feb / Mar 2015 Volume 35 / Number 1 Newsletter of the Oregon Bluegrass Association www.oregonbluegrass.org

This Issue Features Cover Story Vol. 35 No. 1

Where have all the Young Folks Oregon Bluegrass Association Gone? ...... 1 www.oregonbluegrass.org by Claire Levine

Features Bluegrass Express Bluegrass Express is a quarterly newsletter The Pied Piper of Chick’s Kids ...... 10 dedicated to informing members of the Oregon by Chris Palmer Bluegrass Association about local, regional and national bluegrass issues, events and Picker’s Corner: Turn Your Car into a opportunities. Metronome ...... 23 Where are all the young bluegrass by John McCoy musicians? Bluegrass Express Staff Columns & Commentary EDITOR President’s Message...... 5 Christine Weinmeister The Theory of Bluegrass...... 15 [email protected] by Matt Snook [email protected] Sound Advice ...... 19 by Mark Gensman COPY EDITOR

Calendars, Lists & Info Nancy Christie [email protected] OBA Membership and Ad Information ...... 4 GRAPHIC DESIGN & LAYOUT What’s Playing on the Radio...... 5 John Prunty Scheduled Jams...... 23 Chick’s Kids continue the legacy of [email protected] Chick Rose. OBA Supporting Performer [email protected] Directory...... 25 ADVERTISING Pat Connell [email protected] (971) 207-5933

WEBMASTER & WEB CONTENT Tony McCormick John Hart [email protected]

JAMS & ONLINE CALENDAR Jim Miernyk Don’t forget to stop by the OBA Clayton Knight hospitality suite at Wintergrass! [email protected]

OBA Bluegrass Express - Winter 2015 3 OBA Membership & Ad Information The OBA Board Membership Information Website The OBA Board of Directors invites you Features include an interactive calendar that www.oregonbluegrass.org to join the OBA and to participate in its allows you to post your own events, excerpts many activities. Our membership benefits from past issues of the Bluegrass Express, and Officers of the Board include a subscription to the quarterly links for local bands. Come visit us online! Bluegrass Express, frequent mailings Visit the OBA web page today! about events, and ticket discounts to www.oregonbluegrass.org Chris Palmer - President Northwest bluegrass events. Annual [email protected] membership dues are $25 for a General Article and Editorial Submissions Member, $50 for Supporting Performers, The OBA Board invites you to submit letters, stories, photos and articles to The Bluegrass Tony McCormick- Vice President and $125 for Contributing Business [email protected] Sponsors, as well as other options. To Express. Published files remain in our archives join, complete the application on the back and art is returned upon request. Ron Preston - Secretary cover and mail with your check to: Please send submissions to: [email protected] Oregon Bluegrass Association John Prunty P.O. Box 1115 Christine Weinmeister [email protected] Portland, OR 97207 John McCoy - Treasurer [email protected]

Advertise in the Express! Liz Crain - Your Express advertising will reach over 500 households of bluegrass enthusiasts, while OBA Roseburg Chapter President helping the OBA to continue publishing this valuable resource. We appreciate your [email protected] support of the Oregon Bluegrass Association. For information about placing an ad for your music-related business please contact Pat Connell via email at: [email protected] or (971) 207-5933. John Hart - Webmaster [email protected] AD RATES AND DIMENSIONS

Published quarterly: Chuck Palmer - Membership Winter (January, February, March) [email protected] Mailed on January 2 Reserve by Dec. 1, Copy deadline Dec. 15 Michelle Traver - Development Spring (April, May, June) [email protected] Mailed on April 1 Reserve by March1, Copy deadline March 15 Linda Leavitt Summer (July, August, September) Mailed on July 1 Volunteer Coordinator Reserve by June 1, Copy deadline June 15 [email protected]

Fall (October, November, December) Mailed October 1 Christine Weinmeister Reserve by September 1, Copy deadline September 15 John Prunty - OBA Express [email protected] SIZE DIMENSION COST TWO OR MORE ISSUES Full Page 7.5 x 9.5” $150.00 $130.00 Half page horizontal 7.5 X 4.75” $90.00 $80.00 Pat Connell - Ad Sales Half Page vertical 3.75 x 9.5” $90.00 $80.00 [email protected] Quarter page 3.75 x 4.50” $60.00 $50.00 Eighth page 3.75 x 2.25 (2 1/4)” $40.00 $30.00

The OBA prefers to receive advertising payment in advance. For one year contracts, we The OBA holds board elections each April request payment six months in advance and we will bill for the next six months. Payment as individual terms expire. The Board of may be made online via PayPal at www.oregonbluegrass.org/bgexpress.php or you may Directors invites you to join our monthly send a check payable to The Oregon Bluegrass Association and mail to PO Box 1115, meetings. We welcome your visit and ideas, opinions and proposals. Or, just come to Portland, OR 97207. see what we’re doing! We generally meet the second Tuesday of each month at 7:30 p.m. When submitting an advertisement to the OBA, please be sure the file is black and white, The location is subject to change. Call us or 300 dpi and in either PDF, TIFF, or JPEG. If you have questions about your file please email any board member for time, location email Christine Weinmeister at [email protected]. and directions. President’s Message What’s Playing on the Radio? Local Radio Bluegrass and Country Listings I hope all of you are cozy and warm by your fireplaces. Some of you are getting your picking in at one of the many jams held throughout the winter. And of course Albany/Corvallis - KBOO there are opportunities to enjoy live music. Such as Wintergrass, which is February Broadcast from Portland, can be heard at 26 through March 1 in Bellevue, . The lineup and more information 100.7 FM. See under Portland, below are in this issue. We are lucky, lucky people to live in Oregon. Almost every week there is live at McMenamin’s White Eagle Saloon, LaurelThirst Astoria - KMUN 91.9 FM Public House, Muddy Rudder Public House, Mississippi Studios, Mississippi Pizza, Some syndicated programming Alberta RoseTheater, 503-325-0010 among others. Also “Cafe Vaquera” look for house concerts Tuesdays 9-11pm, Bluegrass/Old Timey when artists travel Western/Folk with Calamity Jane through your area and [email protected] have time to perform in an intimate setting. “Shady Grove” Saturdays 7-9pm One of my favorites was Regular folk program seeing Claire Lynch in Monday thru Friday 10am - noon the Lesters’ living room. with bluegrass included Or at Claire Levine’s. You Columbia Gorge - KBOO can’t beat the intimacy broadcast from Portland. Can be heard at of a house concert, and 92.7 FM. See under Portland below all the funds go to the artist. Corvallis - KOAC 550 AM Syndicated public radio with some We kick off the New Year with the Sonny Hammond Memorial Gospel Show on bluegrass included in regular Sunday, January 25 and hope you see a lot of you there. The OBA Annual Meeting th programming takes place on Saturday, April 4 at the Moreland Farmers Pantry in the Sellwood 541-737-4311 area of SE Portland. This event is one of the benefits of membership. Basically it’s a party where we provide the food and the space and you get to jam and hang out Eugene - KLCC 89.7 FM with your friends. The summer festivals are just starting to announce lineups and Local broadcast 541-726-2224 make tickets available. Be sure to visit our Facebook page or the OBA calendar, Mixed format “Saturday Cafe” where just about any event in Oregon is posted. Saturdays 11am - noon I’ve really enjoyed this first year as president. Colby and Patty left a strong legacy “The Backporch” and our board is working hard to keep it that way. Tony McCormick became VP 9 - 10pm Saturdays last April when I became President. Tony is a bright guy who speaks his mind and is good at problem resolution. Ron Preston is the perfect secretary as well Eugene - KRVM 91.9 FM as someone who will drop everything if there’s a chance to jam. He is also our “Routes & Branches” 3 - 5pm Saturdays ambassador at the Eastside Bluegrass concert series. John McCoy, our treasurer, “Acoustic Junction” 5 - 7pm Saturdays brings his real life work skills, keeping the financial records in perfect order. The “Miles of Bluegrass” 7 - 9pm Mondays rest of the board: Express editors Christine Weinmeister and John Prunty along www.krvm.org 541-687-3370 with ad salesperson Pat Connell contribute to this award-winning newsletter. Linda Leavitt, our amazing volunteer coordinator; Cleve Friedman, our staff Pendleton - KWHT 104.5 FM photographer; and Jim Miernyk are just a few of the other important contributors. “Bushels of Bluegrass” 9 - 11pm Sundays But there’s always room for more. Right now Linda could use some help and we are contact Phil Hodgen 541-276-2476 on the lookout for a development director--someone to apply for available grants to help fund Chick’s Kids, among other projects. If you’re interested, please reach out Portland - KBOO 90.7 FM to me at [email protected]. “Music from the True Vine” 9am - noon Saturdays In the meantime, we’re looking forward to seeing you at one event, jam, concert, festival or another. And may you all have an outstanding 2015. Santiam Canyon - KYAC 94.9 FM “Ken ‘til 10” 6-10am M-F Chris Palmer, President Additional Bluegrass Programming OBA Bluegrass Express - Winter 2015 Streaming and Schedule: www.kyacfm.org 5

Where Have All the Young Folks Gone? by Claire Levine

Champion award at Weiser and took State programs designed to share first place at the 2013 Arkansas State American music with other cultures. Fiddle Contest. She said she picked up the fiddle bug before she was born, as Ken Chapple is best known to OBA her mom was competing in contests audiences as the player and one while carrying Aarun. of two lead singers in Wayward Vessel, an alt-bluegrass band with singer- Her partner Jonathan also comes from songwriter overtones. He is recording the contest world. His dad and grand- and performing with a new bluegrass dad played fiddle, and as a guitarist band called Ken Chapple and DITG Jonathan has accompanied some of the (Deep In The Grass). country’s best-known fiddlers, in and out of contest settings. Ken came to bluegrass through his love of guitar. Although he listened to Both singers and multi-instrumen- some bluegrass-related music (Old and talists, they perform as a duo, mixing In the Way via a -loving musical genres as the mood hits. They brother), he didn’t realize he was lis- also perform with the popular country tening to something called “bluegrass.” swing band, “Well Swung.” As a classical guitar major, Ken was Liz Chibucos. Photo by Claire Levine drawn to superb performers in any Liz majored in world music in college, so much the style of music as the com- genre. His path started with David coming to bluegrass from the perspec- munity that drew Ken to bluegrass. tive that folk, bluegrass and Americana Grier and led to and ulti- are just aspects of global roots music. mately Clarence White, the father of With that introduction, here are some She plays fiddle with The Student Loan, contemporary . of these musicians’ thoughts on the which has been together for nine years, great divide: what keeps younger musi- And what really drew Ken to bluegrass since the members met in college. cians from more interaction with what was community. Before he moved to many of us think of as the “bluegrass Portland and started attending local They often perform in Portland and community.” tour regionally. They also have toured jams, he didn’t know it was possible to parts of Asia, Latin America and the find other people to play with casually, Time, money and the gigging Middle East on U.S. Department of almost whenever he wanted. It wasn’t musician

A standing joke by performing blue- grass musicians is about the “tens of dollars” to be made by performers. Only a handful of touring musicians can be considered financially success- ful. And many musicians who came up through bluegrass have branched out to different genres -- both to satisfy their creativity and to be able to sup- port themselves.

Aarun and Jonathan know that to make it as musicians, they need to be flexible and willing to perform in a variety of configurations and styles. Jonathan said as much as they love bluegrass, they can’t afford to dedicate a lot of time to it.

Liz and Jonathan both noted that the The Student Loan traditional festivals often conflict with OBA Bluegrass Express - Winter 2015 7 Where Have All the Young Folks Gone? by Claire Levine

However the the years, the Laurelthirst has become barricades got the epicenter for a certain type of erected, they basically acoustic music: high-energy; are sustained sometimes raucous; eclectic and fun. from inside by those who love As Liz describes it, people who like this the genre the type of music know they can find it at most. While the Laurelthirst, so they’ll go regularly, of course there even without knowing what band is are exceptions, playing. Since the pub often hosts sev- in general the eral shows an evening, there’s a good bluegrass folks chance that these music fans will find don’t go to old something they like. time events, and vice versa. As Liz explains, the venues create their And according own community. Whereas the con- Photo credit Sterling Imageworrks to Aarun and Jonathan, the contest ventional bluegrass fan goes to festivals paying gigs -- which means they will fiddlers won’t fiddle with either the old or the rare bluegrass concert to social- take the paying performance rather time or the bluegrass folks. ize, as well as to hear music, the young than spend time jamming for fun. It’s pub goers know they can find friends even difficult for hard-working musi- Jonathan feels these barriers are a and like-minded people at places like cians like Liz to get to the local jams. deterrent to a dynamic convergence the Laurelthirst, the Goodfoot and the of musical styles -- and an infusion of White Eagle. The Great Walls new blood into the traditional blue- grass world. In short, these audiences can hear, see Sometime around the commercializa- and do everything they want locally. tion of radio, the music world started The Venue Phenomenon Why go to a concert at a church or putting up walls between genres. travel to a festival when you can find What used to be all “country” or Ever since Jackstraw burst onto the all the music, friends and beer you “hillbilly” music got divided up among scene in 1997, they’ve been holding want a few minutes from your home? country, old time, bluegrass and oth- court regularly at the Laurelthirst Pub- ers names. lic House in southeast Portland. Over Talking, laughing and drinking are as much a part of the atmosphere as the music. Because of that, Liz said, “The late night crowd at these places can be tough.” So when she does get to play at a bluegrass festival where the audi- ences listen attentively, it’s a treat.

The Festival Phenomenon

Most festivals want traditional-sound- ing bands. That’s neither a secret nor a surprise. So there’s not much incen- tive for young bands to apply to per- form there. Even bands like Jackstraw, based solidly in bluegrass, may not be traditional enough for older audiences.

Liz said that when her band has played, “Some people really like us. Others say, ‘we really liked you, but you’re just not bluegrass.’” Aarun Carter and Jonathan Trawick. Photo by Seth Joel OBA Bluegrass Express - Winter 2015 8 Where Have All the Young Folks Gone? by Claire Levine

Wayward Vessel has a varied enough so there’s plenty of opportunity repertoire that they can adjust their for parking lot picking, listen- music on the “out-there-to-traditional” ing and socializing. spectrum. They lean toward classic bluegrass and fiddle tunes for the more Where does that leave us? traditional festivals than they might at another venue. Before moving to suggestions, there’s always one possibility to Not only are most festivals unwelcom- consider: perhaps OBA mem- ing to bands that don’t stick to the bers and conventional festival straight and narrow, but there’s another attendees aren’t interested in big disincentive for younger bands. expanding their community to Most festivals just don’t pay that well. younger pickers and listeners. So it doesn’t make sense for a young, If that’s the case, the reader is ambitious band to apply to spend a welcome to stop here. weekend, pass up other gigs, and invest in travel and camping, all for a rela- If there is an interest in ex- tively small paycheck. panding the community, here are some suggestions based in But not all festivals are created equal. the conversations with these young musicians. String Summit has evolved to be one of Ken Chapple and Julie Schmidt of Wayward Vessel the summer’s most popular events, at- • • tracting the older Deadheads as well as Break down the barriers. Reach Open up. More festivals might hundreds of young people who like the out to the old time and contest make a conscious decision to hire eclectic music. Unlike the Pickathon, communities. Holding the fiddle bands like Wayward Vessel, The String Summit is a jammer’s festival, contest at Stevenson was a great Student Loan band, a country start, but, Jonathan noted, swing band like Well Swung or it’s too bad the contest an eclectic duo like Jonathan and fiddlers didn’t stay for the Aarun. To keep the music growing rest of the festival. They requires flexibility and room for might have enjoyed it. creativity. Maybe the OBA could • Set some organizational goals advertise the Portland Old that will help young bands and Time Music Gathering (Jan. young audiences. From holding 14-18, 2015) in the Express workshops and concerts in schools and staff an OBA table at to helping performers with the festival. recordings, training and bookings, • Reach out where the OBA has some resources that the young audiences are. could help in a practical way while Perhaps the OBA could attracting new members. The sponsor an evening at the OBA was started almost as a trade Laurelthirst, presenting a organization, rather than as a fan full spectrum of bluegrass- club. Maybe it’s time to revisit that related performances while approach to the mutual benefit of introducing young listeners many musicians and listeners. to the organization. Many The OBA welcomes your insights into of today’s listeners came to this issue. Have some ideas? Send a love traditional bluegrass letter to the Bluegrass Express editor at after first hearing the [email protected]. bluegrass derivatives.

Photo by Jamie Van Buhler -- Jvanbuhler.com OBA Bluegrass Express - Winter 2015 9 Sonny Hammond Memorial

  Kathy Boyd & Phoenix Rising Sobriquet Roosevelt Road

Saturday, January 31st 7:00 pm

660 SE 160th, Portland, OR 97233

Members $10 Non-Members $12

Check the OBA website for advance tickets www.oregonbluegrass.org

A benefit for the Oregon Bluegrass Association OBA Bluegrass Express - Winter 2015 10 The Pied Piper of Chick’s Kids By Chris Palmer

The Oregon Bluegrass Association (OBA) Stevens, Ellie Hakanson, has several activities throughout the year. Ira Schroder, Amy The Annual Meeting in April, the Picker’s Hakanson, Katie Retreat in the fall, the Sonny Hammond Dewhirst, Luke Gospel Show in January and the show- Dewhirst, Jake Dewhirst, case suite at Wintergrass in February, Molly Adkins, Jordan which round out a typical year. But the Alleman, Clara Baker, most compelling program that the OBA Zach Top, Maddie Top, supports is Chick’s Kids. Through this and Junior instructors amazing program, younger people in the Sophie Harnew-Spradley community have a way to really enjoy the and Jorum Top. music by learning to play it.

Chick Rose was an unusual man who by While he was teach- day worked for the State of Oregon, but ing Sophie to play and his passion was making sure that any 6- to teach, a real friendship 16-year-old who wanted to learn bluegrass blossomed among Chick, would be given that opportunity. What Sophie and her parents, was unique about his concept was that Greg and Stacey. Chick had shared his vision with adult supervision, his older students Ira Schroder, Sophie Harnew-Spradley, Chick Rose and could teach the younger kids, employing with them. As soon as he could retire from Athena Patterson on stage. the concept of peer instruction. According his ‘pesky day job,’ he hoped to initially to Joe Ross, “Chick kept the tradition alive hold two or three camps a year. Since Sta- Anyone who knew Chick knew that he by catching them young, inspiring them, cey and her family also operate a horse res- loved to talk. and getting them excited about the music. cue and therapeutic riding program, they Not only does that take considerable time, were on the hunt for a new site that would Since Chick had pretty much set out the whole blueprint before he died, Stacey patience, musical skills and energy, but also accommodate Chick’s music camps. knew what to do. Almost three years later Chick’s calling was a success due to his Chick was an active participant in that she is carrying the torch, which she is well knowledge, wisdom, and gift as an inspira- search. Stacey says “We knew we wanted tional music educator.” Chick began taking qualified to do with her master’s degree in a property that would be suited to music education. Stacey worked as a department his program to many festivals in Oregon venues, camps and gatherings as well as and Washington. head in the education program at the High one that could house the horse rescue and Museum of Art in Atlanta where her focus therapeutic riding program.” Then in March 2011, he was unexpectedly was how the arts supported brain develop- gone, passing away from natural causes. ment and learning. She used visual arts Almost every week during Sophie’s lesson and performing arts which included dance, Chick and Stacey would talk about the The loss was especially painful for his drama and music to integrate curriculum future. One of Chick’s favorite ‘Soph- core group of instructors and students for public and private school programs. It isms’ came from that repeated experi- which included Athena Patterson, Martin was a great project and dovetailed nicely ence. While he with Chick’s down-home approach. Chick and Stacey were also had a master’s degree. All of the re- talking about all search they did in graduate school under- the educational scored the benefits of Chick’s down-home, goals they could hands-on approach to music. achieve, Sophie would typically Today she offers several regular activi- sit politely, maybe ties for Chick’s Kids, including a jam on noodling on her the second Sunday of each month at her . Howev- ranch. At these jams, the kids receive a er, one day she had lot of one-on-one instruction. They learn had enough and jam etiquette and songs that they can said, “Too much take to festival jam circles and participate talk. More music.” with adults or their peers. In the process, “Maybe you had they make friendships that can carry on to be there but it throughout the years. broke Chick and me up,” says Stacey. One of Stacey’s goals is to encourage kids Chick’s Kids take the stage with the support of young instructors who are becoming intermediate players to

Henry Hakanson and Grace Hancock. OBA Bluegrass Express - Winter 2015 start forming those types of associations 11 ANNUAL MEETING Farmer’s Pantry Sellwood neighborhood 6717 SE Milwaukie Ave. Portland 97202 Saturday, April 4, 2015 Farmer’s Pantry offers beer and wine OBA will provide food Jamming from Noon to 6pm with a brief meeting at 1pm One of the benets of OBA membership is a day of jamming, food, door prizes and socializing For more info contact [email protected] or check out our Facebook page.

OBA Bluegrass Express - Winter 2015 12 The Pied Piper of Chick’s Kids By Chris Palmer too. At the jams, her goal is to work on being a part of these those relationships. Chick always had workshops. some kids’ band in the works. A group of kids cooperatively arranging and She is planning to performing songs equals major creative hold another Chick’s thinking, social interaction, productivity Kids Camp at her skills—in addition to what they learn about ranch in August rhythm, harmony, and songwriting. Kids’ 2015. She also wants bands are a crucible for learning. Granted, to have some young it takes someone like Chick who can bands invited to play facilitate the learning without taking as “tweeners”—per- control of the entire process. Stacey says formers between the that she hopes she is doing that as the main acts--for the kids learn to lead jams, workshops and April High and Dry be in band formations. She says, “As an Festival Benefit at her example, Sophie and Grace met at Fossil ranch. as 7 year olds and said they were going to start a band. After Chick died, they Some of the first Max Hancock teaching a group of young musicians at High and Dry did and that was how Wild Rose Trail Chick’s Kids are still was born.” Sophie is now a high school active with the group. Fiddle player and vo- when Stacey took over. Now, Chick’s Kids freshman. calist Martin Stevens, who has shared the is under the OBA umbrella with a dedi- stage with Mark O’Connor, , cated bank account, with funds available The Chick’s Kids program also travels to Chris Thile, , Tim O’ Brien, for the hiring of guest instructors and other several festivals in the Northwest includ- Dan Crary, and is working expenses. In addition, several of the grants ing Bluegrass From The Forest in Shelton, as an advisor and will continue to help with the OBA has received were dedicated to Washington; the High and Dry Festival festivals. “the Kids’ program.” in Bend, Oregon; the Columbia Gorge Bluegrass Festival in Stevenson, Washing- At the festivals, the participants work with If you have a child who would be interested, ton, and others. Any young person who is the Dewhirst kids and Molly Adkins, the Stacey can be reached at whmranch@gmail. interested is welcome to participate. Tops and the Monroes, among others. The com There is a Facebook page called The young band Wild Rose Trail, which is Max Chick Rose School of Bluegrass. Stacey is Typical of Stacey, she continues to grow the Hancock, Grace Hancock, Henry Hakan- actively recruiting kids who want to learn, program. Her goals include recruiting pro- son and Sophie, have pretty much taken meet new friends and be a part of the pro- fessional musicians who are interested in over the jams and they run the Chick’s Kids gram. While it was Chick Rose’s original offering kids’ workshops geared to higher- sessions at our newest festival, High and vision, for now at least, it is Stacey’s baby. level skills. Last year a successful workshop Dry, all by themselves. Stacey comments, featured Jim Faddis teaching songwriting ”It is really is remarkable--the teaching and For a treat, visit http://uptownbluegrass.net/ to a group of kids the week before Fos- organizational skills they have developed.” Chick Rose.html where you will find a video sil. Stacey is asking folks to contact her if of Chick talking about his philosophy of they know of advanced youth musicians While the OBA always offered some teaching kids how to play, and an excellent 13 years or older who are interested in financial support, it became truly involved interview done by Joe Ross.

The Chick Rose School of Bluegrass on stage at Sacajewea (Stacey Harnew, far left) OBA Bluegrass Express - Winter 2015 13 An Invitation From the Editor. by Christine Weinmeister

About four years ago, my partner and the Oregon and Portland bluegrass the articles and columns that make the John Prunty and I had just moved to community. Thankfully, it has been Express worth publishing and worth Portland from the Mid-Willamette mostly kind words, and the experience reading. However we are always in Valley. I had been playing bass for has been very rewarding. need of content that is of interest and about a year, and bluegrass – jamming, importance to our readers. concerts, festivals, and the OBA – As gratifying as it may be to hear folks allowed me to meet some wonderful speak kindly of the Express and the That is why I would like to invite any new friends, find a creative outlet, OBA, criticism is also important, be- and all of you to write for or to the and temporarily forget the worries cause it is part of what keeps us work- Express. If you have heard a new band and stresses of my “day” job. I would ing hard to make sure we are represent- you think should be profiled or are like to think that everyone who plays ing the local bluegrass community. I listening to a great that war- bluegrass has had the experience want to make sure the Express remains rants a review, why not try your hand of stepping into a jam and hours relevant to our readers and is a forum at writing it? If you have found yourself later found themselves content and for OBA members and the bluegrass thinking about a festival experience or surrounded by new friends. If so, you community to share their ideas and pondering the history or future of blue- proably understand what attracted me experience, learn about the music and grass, go ahead and put those thoughts to the bluegrass community. its history, particularly West Coast and down on paper (or a word document). Northwest Bluegrass, and even express If you find yourself thinking “the OBA That January, John and I were hanging thoughts or constructive criticism really needs to…” then write a Letter to out in the OBA suite at the RiverCity about the organization. the Editor and share your ideas. festival, and decided to sign up to volunteer for the OBA. Within a few One of the hardest parts of editing the The Express welcomes your contribu- weeks, Colby Buswell, Chris Palmer, Express is finding writers and content tions. Please send your articles, essays, and Patty Spencer had us convinced that is of importance and interest to our letters, lyrics, artwork and musings to that we could take over the Bluegrass members. We have been fortunate to [email protected]. Express (and somehow we do still love have had consistent contributions from them all dearly). In the time since we some fine writers such as Claire Levine, We really do want to hear what you have taken the reins of the Express, Chris Palmer, Joe Ross, Matt Snook, have to say. John and I have heard both criticism Mark Gensman, Ken Cartwright and Christine Weinmeister and accolades for the Express, the OBA, many others who continue to write

Join the OBA in our hospitality suite at Wintergrass. Room 347 Showcase bands include: Shinbone Alley Ken Chapple Mountain Honey Aarun and Jonathan Mountain Meets the Sea The Blackberry Bushes Stringband

Bands start at the dinner break and con�nue un�l ����pm. Schedule will be in the �intergrass Program. The suite will be open from noon �l the cows come home for jamming and socializing. OBA merch is available in case you don’t have your hat, shirt, beer cozie or Fun Meter.

OBA Bluegrass Express - Winter 2015 14 The Theory of Bluegrass:Desperately Seeking Harmony by Matt Snook

Many people learn to sing and will come from the chord being would. Although it starts out well harmonize beautifully, but at some played during that part of the tune. by using the C note, which is both point realize they’re not getting the a chord tone and a third above the high lonesome sound. So how do In Figure 1 you’ll see the staff with melody and therefore a true tenor bluegrass harmonies differ from an F chord in the first measure, – it then just stays there! As the other ? then two measures of a simple melody falls, quite a space opens melody with a tenor harmony just up, then the gap closes as the In the folk music vocabulary, we above. Notice that while the melody melody rises again. Like a droning talk about the melody, along with works its way down the scale and fifth string or the open A a tenor part just above the melody then back up, the tenor follows and E strings of fiddle shuffles and and a baritone part just below. Just loosely but uses only chord tones mandolin chords, it finds power in to keep things simple, let’s focus just above the melody. Compare keeping to one or few notes while just on the melody and the higher the tenor notes with those of the F the song moves along. tenor part. Most of what follows chord in the first measure. Singing also applies to baritone parts, but the chord tones may be the simplest It is also no mistake that the C note it is less critical in the bluegrass way to find a tenor harmony. of this high harmony is the 5th scale sound. Many people find it much degree in the key of F. Just as rock more intuitive to find the tenor part, On the second line of Figure 1 and roll guitarists use the 1 and 5 and have a devil of a time finding a is another method of finding a notes of the scale to create power workable baritone. harmony. Here, the tenor part hugs chords, bluegrass musicians dwell the melody closely, this time always on a high 1 or 5 – and sometimes Three Techniques a third (two scale notes) above. This the flatted 7th or the 9th – to create is typical of sibling harmonies like that high lonesome sound. If you were to sign up for a vocal those of Tim and Mollie O’Brien, workshop (it can’t hurt!), you will the Louvin Brothers, and the As usual, exceptions abound, but probably use the chord tones as a Delmore Brothers. Daunting? Not some combination of chord tones starting point. It is as simple as it at all. With practice, this becomes and high lonesome drones is a sounds: all of the harmony notes completely intuitive. Folks are not pretty good recipe for a bluegrass parsing scales in their minds, harmony. Start with those close saying to themselves: “They’re harmonies; they tend to be singing an A, we’re in F so the “prettier.” Switching to only the next notes are Bb and C…I sing chord tones begins to impart the the C!” No, it’s more like Luke power of the drones. Further, if Skywalker and the force; you the tenor or high harmony keeps just learn to feel it. But only to the power notes of 1, 5, 7 (and with practice. 9!) you’ve rediscovered high and lonesome! So now, what is a bluegrass harmony? Why, it’s high and Once In A Blue Moon lonesome, and the rest ain’t no part of nuthin! On line 3 of For a real-world example, let’s Figure 1 you’ll find just such look at the popular bluegrass tune a high lonesome harmony. It When My Blue Moon Turns To Gold is not technically a tenor part, Again in Figure 2. Lines 1 and 2 because it doesn’t really follow present the melody and a tenor harmony of the chorus as sung Figure 1: a simple melody with three the melody as a tenor part by western swing authors Wiley different harmonies.

OBA Bluegrass Express - Winter 2015 15 The Theory of Bluegrass:Desperately Seeking Harmony by Matt Snook

Walker and Gene Sullivan. (Want parts and transposed down to F. chord on the guitar? You carefully to hear it? Go to http://tinyurl.com/ scrutinized your finger and hand When-My-Blue-Walker-Sullivan.) After finding that high C note the positions, making sure to fret the The tenor part is not faithful to any tenor stays right there, droning on 2nd string on the 1st fret, 4th string th of our methods, but uses a mix that high 5 note of the F scale! At on the 2nd fret…so many numbers of chord tones, the end of measure and rules! And yet now all of that close sibling 34 it drops down for has receded into your subconscious, harmonies, and Many people one note, probably and you haven’t thought of that in almost gets to learn to sing because the melody years. The same fate awaits all of high lonesome falls on C an octave this theory of harmonies. when hanging and harmonize below at this point, onto the high 5 beautifully, but but then it’s right The way to use these theoretical and b7th notes. back up there. In notions is to devote part of your at some point the last phrase practice time to critically listening On lines 3 and they go into a to your favorite tunes, and 4 is the same realize they’re typical sibling tenor determine which methods they’re chorus as sung not getting the harmony, with one using. You’ll develop an ear for how by Tim and exception, and that and when to sing close harmony, Mollie O’Brien high lonesome is quintessential how to use chord tones, and how on their album sound. So how bluegrass. On to get high and lonesome. It will Way Out On The the third note sink in! When jam time comes, all Mountain, more do bluegrass of measure 46 of these numbers and notions will or less… (http:// harmonies differ you see that the disappear, and you’ll be pleasantly tinyurl.com/ tenor, which was surprised at the way it all just When-My-Blue- from other folk paralleling the seems to emerge effortlessly and Tim-and-Molly.) music? descending run of thoughtlessly…after hours of the melody, sticks practice. Mollie sings for one last time the melody and Tim sings what on that high 5 before slipping back Hear the examples from Figure 2: would have been a high tenor, but into the close harmony: “You’ll be http://www.oregonbluegrass.org/ since his voice is deeper than his back, within my AAAARMS to BGExpress/articles/Theory_Of_ sister’s, he sings the part down low. stay!” Try singing that last phrase Bluegrass_2015_1_Blue_Moon_ For comparison I’ve put Tim’s part of the three choruses – paralleling Harmonies.mp3 back on top, and transposed from the melody in the first two and then E up to F. You’ll see it’s a typically finally hanging on the high 5 in Big Matt teaches banjo & dobro in Coos close sibling harmony, with the Mon’s version – and you’ll feel the Bay, Corvallis and Portland, Oregon. tenor part staying a third above the power of that one note. That’s high Send messages to [email protected]. melody. and lonesome. PS: All “Theory of Bluegrass” articles Finally, we get to Big Mon’s will be available on the OBA website. Yikes! To make things interesting for both grassified version on lines 5 and 6 beginners and advanced pickers, the I know what you’re thinking. “But of Figure 2. In this version (http:// Express column will bounce back and tinyurl.com/When-My-Blue-Big- I can’t even remember the lyrics, forth – going back to cover some basics, Mon.), Bill sings in the key of much less keep all of this in mind then forward to cover some technical B, and you’ll notice in the video while I pick and sing!” No worries; detail that hopefully will captivate the that they sing three parts. For this that’s not how it’s done. Do you advanced player. comparison, I’ve written only two remember first learning that C

OBA Bluegrass Express - Winter 2015 16 Figure 2: Three versions of the chorus fromWhen My Blue Moon Turns To Gold Again.

OBA Bluegrass Express - Winter 2015 17 Learn to play bluegrass music! TABORGRASS BEGINNING GROUP CLASSES & SlOW JAM EVERY SATURDAY FROM 10 AM to 1 PM SEPTEMBER TO MAY at St. David’s Episcopal Church, 2800 SE Harrison St., Portland, OR 97214.

All instruments. Cost is $10. per session. No registration required.

Have fun playing bluegrass music with musicians at your own level!

Visit taborgrass.com or call Greg at 971-207-3195 for more info.

Alan Munde & Oregon Concerts Portland Banjo Mini-Camp, January 22-24th 2015

Banjo Legends Alan Munde & Bill Evans – together for the first time! This very special, one-of-a-kind concert and teaching tour brings together two of the most important and influential bluegrass banjo players of the last sev- eral decades, performing bluegrass, original compositions, fiddle tunes on banjo, beautiful slow songs and much, much more. And they’re also funny! Additional info at www.almundesbanjocollege.com and www.billevansbanjo.com.

The Portland Taborgrass workshop is designed for all levels of students and is a hands-on, bring-your-banjo style session!

Thursday, January 22: Bend, OR, Tumalo House Concert Series, 7 pm concert, 6 pm pot luck. Contact Maggie Jackson at 541-306-0797 or [email protected] for reservations.

Saturday, January 24: Portland, OR, Banjo Mini-Camp for all levels for Taborgrass, St. David’s Episcopal Church, 2800 SE Harrison St., 1 to 5 p.m. Bill and Alan will each teach two 75 minute sessions designed for beginner/low intermediate and intermediate/ advanced students. $70 admission. Contact Greg Stone at 8=971-207-3195 or [email protected] for info and reservations. Addi- tional workshop info at www.taborgrass.com.

Saturday, January 24: Portland, OR, Bill & Alan in Concert for Abbie Weisenbloom’s House Concert Series in Inner SE Portland. Seating is limited. Reservations recommended at 503-233-4945. Additional info at Www.abbiew.wordpress.com. Please visit www.billevansbanjo.com for information on Washington and concerts and shows.

OBA Bluegrass Express - Fall 2014 18 Sound advice: Hints and tips on sounding your best with Mark Gensman, Ground Zero Sound Hi and howdy to everyone once again. As I write recordings to a third party for finalizing and mastering. this, I am getting ready to run sound for the Eastside A mastering engineer can level individual songs Bluegrass Christmas show. It is always a lot of fun and also make the entire compilation sound level. A with some great music. It seems that summer was mastering engineer does a lot more than that and the here just a moment ago and now I find myself getting biggest advantage is that there is another set of ears ready for the spring and summer festival season. involved in the process. Most mastering engineers Even though we have lost some festivals, there is still have sensitive monitors, accurate equipment for EQ a lot of great live music out there for everyone to changes, level, etc. A good mastering engineer can enjoy. make a decent recording really sparkle. At most festivals, the bands bring along merchandise Having a coherent recorded compilation is important. to sell to their fans. That includes shirts, hats and, All the songs should sound like the same band was of course, recordings. It’s the recordings that will playing. There should not be any major changes to the represent the band for a long time to come and bass levels, the treble levels or the midrange levels from therefore should be created with great care. We song to song. Sometimes mastering reverb is added receive a lot of CDs from bands that are at festivals to the entire mix to create a more produced sound. A when I run sound and from friends in the bluegrass mastering engineer can’t make the players any better, community. Most of them are well done and convey but they can make a dull recording sound better and the “groove” of the band; some could use a little extra more professional. It may well be worth it to seek work to stand out. out someone with a decent studio who understands bluegrass music and pay the extra money for a better- Sometimes a recording doesn’t sound like the band sounding product. After all, your recordings will last at all. With modern technology it is easy to play a long time and should be representative of how you multiple breaks and cut and paste the best parts sound, with a little help from technology, of course. into a perfect lead. Even though that is an industry Often trying to save money on something so important standard these days, I much prefer knowing the that will last so long is really a waste of money and musicians actually played their parts all the way time. through. Somehow “perfect” music loses something, especially when the band can’t recreate the recorded sound in a live performance, and thus doesn’t sound If you have any questions about anything involving recording, like their own recording! mastering, audio software, duplicating, mics, speakers or sound reinforcement, please feel free to contact me at: Other problems with typical regional band [email protected]. recordings are in the details of the recording itself. There are background noises, pick noises, belt squeaks, and other frustrating noises. It’s easy to miss these little anomalies, especially if the monitoring system is subpar. Another typical problem is the lack of consistent volume overall and from song to song. When a national act records, they typically have a mastering engineer that levels each song and the entire compilation to industry standard volume. That way, when their music is played on a radio station or over the internet, it is at the same volume as the rest of the music. A song that is not as loud as the other songs being played will not sound as good. Somehow, louder gets translated as better, even though the dynamics frequently get destroyed in the process. The human ear can be tricked into thinking the louder song is better. And speaking of mastering, it is also an industry standard to send commercial OBA Bluegrass Express -Fall 2014 19 For information on bands, schedules and ordering tickets visit www.mctama.org & sacajaweabluegrassfestival on facebook. Or call 509-492-1555. DUTCH OVEN RENDEZVOUS June 12,13,14, 2015 Sacajawea State ParkpPasco WA  Concerts  Music Workshops  “Dance Under the Stars”  Youth Workshop  unlimited Jamming  Sunday Gospel Show  Dutch OvenBy Nikki Activities Clevenger Oregon Bluegrass Association Contributing Business Sponsors

Fresh Air Sash Cord Repair, Inc. - Old windows that work! Patty Spencer - (503) 284-7693 - www.freshairsash.com Gwen Peterson, GRI, CRB - Prudential Real Estate Professionals (503) 769-3448 - 1151 First St., Stayton, Oregon 97383 Joe Corder Drywall, Inc. (503) 738-8192 P.O. Box 862, Seaside, Oregon 97138 CCB#46802 Charlie Williamson - Attorney at Law (503) 206-4911 - [email protected] Palmer Wirfs & Associates (503) 282-0877 - www.rivercitybluegrass.com Richard Siewert, GRI - Owner/Broker, Northwest Classic Properties 1-800-440-8301 - 2265 Country Club RD., Woodburn, Oregon 97071

Add your business name to this list: If you are a bluegrass-friendly non-music-related business and would like to actively promote your business by being an OBA supporting partner - now you can, as a Contributing Business Sponsor. A non-music-related business cannot advertise with the OBA, but a Contributing Business Sponsor can get the recognition and promotional benefi ts of underwrite-style sponsorship. For $100 annually, your OBA supporting business gets all the member benefi ts - plus a year of promotional print and announcement recognition at OBA sponsored shows and promotions, as well as a prominent listing in the Bluegrass Express. For more information please contact Chuck Palmer by email at: [email protected].

OBA Bluegrass Express - Winter 2015 20 Pickers’ Corner : Turn Your Car Into A Metronome By John McCoy

“Everything should be made as simple Still not convinced we humans need time with the beat of a song on your as possible, but not simpler.” – Albert to practice with a metronome? An radio. Find a song with a medium Einstein internet friend who owns a recording tempo that you know is rock solid. studio in Nashville practiced until he Just about any George Strait song will A metronome is like dental floss – we was an excellent guitar player, fluent do if you can’t find one. Tap on the all know we should use it, but we in all music styles. He worked in a steering wheel as you cruise on down don’t always do what we know we music store in the Midwest. In the the road. Tap the 1 and 3 with the should do. “Music is the space be- ‘90s when a Nashville studio guitar- bass, or the 2 and 4 with the drums tween notes,” said composer Claude ist happened to stop by the store, or mando chop. Debussy, and the only way to get the my friend asked him to critique his space right is regular practice with a playing. The Nashville cat liked his Seems simple? “Not hardly,” as John metronome. playing and told him he had what it Wayne once said. Dollars to donuts takes to make it in the music biz, but you will be slightly ahead of the beat Why? Because you’re human. We – he needed to work on staying on when you first start, even though humans have a tendency to natu- tempo. One year later, after regularly you may think you’re right on the rally speed up the tempo as a song working with a metronome every day, beat. To correct this, purposely tap progresses. Listen to some of the hit my friend was finally ready to make more slowly than the beat for a while, rock & roll singles from the ‘50s and the move to Music City. How many then gradually increase until you feel ‘60s. If you start with a metronome times have you worked with a metro- yourself locked in the groove. Notice on the beat at the beginning of the nome during the last 12 months? when you speed up a bit, then try song, you’ll find that many songs get again. We humans do have a tenden- faster as the song progresses. This Never fear, Dr. Rhythm is here. There cy to rush the beat a bit. is partly because the energy of a is a simple and elegant tool available song tends to build gradually. The to help you work on your sense of Our banjo-playing friends have an introduction of click tracks that were time. It’s called a “steering wheel.” added challenge. It’s easy to pick on only audible in the musicians’ studio The concept is that, while driving, the 1-2-3-4 downbeats, but actually th headphones helped keep a consistent you practice tapping your thumbs speed up a bit during the other 16 tempo from start to finish during a or fingers on the steering wheel in notes between the beats. The chal- recording session. lenge is to keep equal space between all the notes. A good way to practice this is to put a medium-tempo Earl Scruggs tune on the car stereo and tap along with Earl, hitting all the notes Earl plays. You’ll notice at first when you speed up here and there, but eventually you’ll make it through the whole song with every note in its place.

Simple, no? Practice rhythm tapping while you drive and you’ll gradually see improvement in your ability to play on tempo. Einstein would be proud of you.

OBA Bluegrass Express - Winter 2015 21  NOMINATED FOR THREE 2014 INTERNATIONAL MUSIC & ENTERTAINMENT ASSOCIATION AWARDS!

Bluegrass Group of the Year Holiday Album of the Year WINNER ~ Holiday Song of the Year

Catch fire with the band at the following performances: Sonny Hammond Memorial Gospel Show January 31st (Portland, OR)

Florence Folk Festival ~ January 17—18th (Florence, OR)

Emerald Valley Opry ~ February 14th (Eugene, OR)

Now booking for 2015 and beyond! [email protected] 503-691-1177 Check our brand new website for additional appearances!

OBA Bluegrass Express - Winter 2015 22 Scheduled Jams: Though we try to stay up to date, times and locations change - always call first!

Sunday DUNDEE: Bluegrass Jam: 1st and 3rd Tuesday Wild River Pub meeting room Each Month, 7-9 pm Acoustic-bluegrass, folk, western, Americana roots KLAMATH FALLS: Bluegrass Jam - Sunday after Held upstairs at La Sierra Mexican Grill, 1111 N & more! the first Friday of the month from 1 - 5 pm Hwy 99W, Dundee, OR, 97115 For Information: (541) 471-2206 - Brinkerhoff and Mia’s and Pia’s Pizzeria and Brewhouse, 3545 Sum- Features bluegrass/old country music. Beginner to Antonucci mers Lane, Klamath Falls, OR 97603 intermediate jam, all levels welcome. For Information: Ben Coker (541) 783-3478 ben- Information: Jon Cooper (503) 702-8978 cooper- VANCOUVER: Bluegrass Slow Jam [email protected] [email protected] Every Thursday from 6:30-9:30 Barberton Grange, 9400 NE 72nd Ave, Vancouver PORTLAND: OBA Jam - First Sunday of every EUGENE: Bluegrass Jam Every Tuesday 9:00 WA 98665 month October- April: 12:30-4:30PM pm - 1:00 am. Please note this is a slow jam, with the belief that Portland Audubon Center, 5151 NW Cornell Road, Sam Bond’s Garage, 407 Blair Blvd, Eugene bluegrass is a non-competitive participation sport. Portland Established in 1995, the venue of this year ‘round All talent levels are invited to participate. No ampli- All levels of bluegrass players are welcome and we jam offers good food and micro brews. fied instruments. Listeners welcome. No charge, but frequently break a small group off for faster picking. For Information: Chuck Holloway & Sean Shana- there is a donation jar for those who would like to Small donation of $6.00 requested to help cover han. Call (541) 431-6603. support the Grange for allowing use of their facility. room rental. For information: Chuck Rudkin [email protected] For Information: Rich Powell powellR5923@q. HILLSBORO: Rock Creek Bluegrass Jam Every com Tuesday 7-9pm Friday McMenamin’s Rock Creek Tavern PORTLAND: Off Key Easy Bluegrass- Every 10000 N.W. Old Cornelius Pass Rd. Hillsboro, OR DALLAS: All Gospel, All Acoustic Jam Sunday 2pm to 5pm 97124. Every third Saturday of the month 7-10 pm Biddy McGraw’s Irish Pub, 6000 N.E. Glisan St. Established, open intermediate and advanced Guthrie Park in Dallas. Beginner and intermediate jam. “Nobody’s too Bluegrass only jam. For Information: Sally Clark (503) 623-0874 crummy too play with us!” Information: [email protected] For Information: Randy Black or Tony McCormick Saturday [email protected] Wednesday PORTLAND: Taborgrass Bluegrass Class & CLACKAMAS: String Along Music Jam - 2nd and BEAVERTON: Bluegrass Jam - Every Wednesday Jam - Every Saturday Through May. Starts up again 4th Sundays except the 2nd one, 6:30-9:30 p.m. September 6, 10-1 for the beginning class and jam; Sunnyside Library Community Room, 13793 SE Round Table Pizza, 10150 SW Beaverton-Hillsdale 1-4 for the intermediate Sieben Park Way, Clackamas, OR 97015. Located Hwy Beaverton, OR (just east of 217) St. David of Wales Episcopal Church 2800 SE Har- on circle behind Albertsons at 148th. For Information: janeromfo5@gmail rison Street Portland, OR 97214 For information: Sharon - [email protected] For all instruments. No registration required. Drop- SILVERTON: Bluegrass Jam – Every Wednesday ins welcome. ROSEBURG: OBA Roseburg Jam - 3rd Sunday 7 – 9 pm Cost is $10 per session. Knowledge of basic chords 1-5 pm year round Seven Brides Brewing Co. 900 N. 1st St., , Silverton, and the ability to execute the chord changes is Evergreen Grange, 5361 Grange, Rd. Take Exit 119 OR required. off I-5. Just past the 2nd stop light, turn left on For Information: Mark Rauch [email protected] For Information: www.taborgrass.com Grange Rd. The Grange is down 1/2 mile on the left. Dewayne Powell [email protected] Bluegrass Jam - all levels encouraged. DALLAS: All gospel, all acoustic jam - Every third For Information: (541) 679-0553 lizcrain42@ EUGENE: Jam - Each Wednesday from 7:00 pm to Saturday of the month 7-10 pm gmail.com 9:00 pm Guthrie Park in Dallas Music Masters Studios in South Eugene located at For Information: Call (503) 623-0874 WILLIAMS: Pancakes & Jam - 2nd Sunday of the shopping center at 40th & Donald [email protected] every month except July and August. Pancake All skill levels are encouraged. Good players stop in Breakfast: 8:30-11am, Bluegrass Jam: 11 am- 1 pm. frequently and sit right in with newbies. No charge. WINLOCK, WA: Slow Jam - Second Saturday of the Williams Grange, 20100 Williams Hwy. Some old time and old country tunes filter in with month beginning at 1 pm, October through May. For Information: Steve Radcliffe (541) 479-3487 the bluegrass. Held at the Hope Grange in Winlock, Washington. [email protected] For Information: Sean McGowan (541) 510-1241 Great for all levels and especially good for total http://www.musicmastersstudio.com/ beginners. Monday For Information: see website - winlockpickers.com or Thursday email [email protected] PORTLAND: Rambling Bluegrass Jam - Every Monday night all year. Friendly! BEND: Bluegrass Jam - 2nd and 4th Thursdays VANCOUVER, WA - Old Time Country Jam - Ev- See Our Website for information on location, time, year round from 7 p.m. to 9:00 p.m. ery 2nd and 4th Saturday 6:30-10:00 pm contact, etc. www.ramblingbluegrass.org Held in the board room of the Bend - LaPine 2500 N.E. 78th Ave., Vancouver, WA. 98665 at the School District, downtown Bend, between Wall and Vancouver Masonic Center Tuesday Bond Streets, across from the Public Library. All are welcome to join the fun as a musician, singer, For Information: Becky Brown and Verda Hinkle or to just listen and or dance. ASHLAND: Bluegrass Jam - 2nd Tuesday - (541) 318-7341 Contact info: Dean Roettger (360) 892-0769 or (360) 7-11pm [email protected] 627-1228 email [email protected] Caldera Taproom, 31 Water Street, Ashland. For Information: Call Glenn Freese (541) 482-8984 GRANTS PASS: bluegrass-folkgrass-gospelgrass- If you have jam updates or additions, you may [email protected] mountain-musicgrass - 3rd Thursday 6pm-9pm update your jam’s listing via the public calendar at oregonbluegrass.org or email calendar@ oregonbluegrass.org OBA Bluegrass Express - Winter 2015 23 Order your OBA Fun Meters at

www.oregonbluegrass.org

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 - Winter 2015 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 Steve Blanchard Hudson Ridge A Sudden Tradition is a five-member Steve Blanchard is well known as an Mary Luther- lead vocal and bass, Portland-area Americana band, acoustic flatpicker guitarist, singer and Jerene Shaffar-vocal, mandolin and bass, performing bluegrass, folk, old time, songwriter with a career spanning over Shelley Freeman- bass and vocal, Kevin country, standards, contemporary, and four decades. His musical style includes Freeman, lead guitar and vocal, Bob original songs. Our mission is to bring bluegrass, cowboy/western, folk, and Shaffar-fiddle and dobro, Fred Grove- musical joy to your gathering. Americana. rhythm guitar. Upbeat and family friendly-- light- No matter what the style or venue, Hudson Ridge has a sound all its own. hearted and just plain fun-- that’s what you’re sure to feel Steve’s love and you get with A Sudden Tradition! Love of harmony and the desire and passion for his music. ability to “Ridgetize” their own blend of www.ASuddenTradition.com Americana, Bluegrass, and traditional Dennis Zelmer 503-893-4569 www.SteveBlanchardMusic.com Country music gives this band a truly Suzanne Chimenti 503-957-6161 503-730-0005 unique sound. [email protected] [email protected] www.hudsonridgeband.com Mary Luther Back Porch Revival Eight Dollar Mountain Darrin Campbell, Stuart Green, Phil [email protected] Gene Greer – guitar/harmonica, Tony 541-404-9281 McCormick – banjo, Dan Anolik – Johnson, Peter Koelsch, Mark Lackey. mandolin/harmonica, Aron Racho – Eight Dollar Mountain rises from the Kathy Boyd & Phoenix Rising guitar and more, Bruce Peterson – bass Cascade-Siskiyou Mountain region of and guitar. Southern Oregon and brings you fine Phoenix Rising appears fresh and new Blues inspired folk, country, blues, string music from the long standing as the result of its members performing honky-tonk and original songs. Back traditions of excellent bluegrass. together in various combinations over the past 30 years. This particular porch music that hits the ball out of the www.eightdollarmountain.net park! combination has now gathered together Mark Lackey in full force, bringing together the best www.backporchrevival.com of bluegrass, cowboy, folk, country, Gene Greer Fadin’ By 9 Americana and some incredibly talented [email protected] What happens when you bring songwriting to bring you a sound that is 503-641-4946 together a bass-playing attorney, guitar- clean, hard driving and uniquely their strumming bilingual reading specialist, own. Back Up and Push fire-on-the-fiddle volcanologist, and Dan Kopecky --mandolin/vocals, a banjo-picking elementary school www.phoenixrisingband.org/ Robert Brownscombe –bass, Susie principal? Correct if you circled “c) [email protected] Anderson – fiddle/vocals, Tom Gall Fadin’ by 9” . With hot pickin’, tight 503-691-1177 -- guitar/vocals, Patrick McLaughlin – harmonies, and a mix of “bluegrassified” banjo. rock, folk, and bluegrass covers & The Loafers originals, Fadin’ by 9 creates a unique, Mike Stahlman, Dave Elliot, Aaron 5 piece bluegrass band from Welches, Stocek, Holly Johnson OR. We play a mix of traditional uplifting, high-energy sound. bluegrass, southern blues and a few www.fadinby9.com The Loafers are an acoustic quartet, cowboy tunes. Available for festivals, Dave Irwin based in the Portland-Metro area, shows, parties, dances, barbecues or [email protected] specializing in bluegrass, jazz, and whatever! 360-903-0131 old time instrumentals, with a few backupandpush.tripod.com good classic vocals thrown in for good Patrick McLaughlin Home Grown measure. We are a new group with some [email protected] Steve Smith, guitar; Bill Nix, banjo; and old names, and a couple new faces. Dave Morris, fiddle. Everyone sings. Dave Elliot Bethel Mountain Band HomeGrown has presented their music 503-663-3548 Gene Stutzman, Jerry Stutzman, Larry in a variety of settings ranging from Knox, Tyce Pedersen (Front) - Jerry Bluegrass festivals to concert halls. Their Long Mountain Revival Schrock, Will Barnhart, Craig Ulrich music ranges from intense Jug Band Long Mountain Revival’s main emphasis Hello bluegrass lovers of the Willamette dance tunes to foot tapping porch tunes in the group is sharing the Gospel Valley! Please visit our website to learn to sweet melodic waltzes. through song. Long Mountain Revival more about us, our music, our schedule, www.homegrownoldtime.com/in is available for church functions, and the annual “Bluegrass in the Bill Nix outreaches, community events, and any Orchard Grass” event. [email protected] other venue where Gospel Bluegrass music is desired. bethelmountainband.com Jerry Stutzman www.myspace.com/lmrevival [email protected] Jon Clement OBA Bluegrass Express - Winter 2015 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 [email protected] as tasty instrumentals combining the corporate and civic events, weddings, 541-292-6907 American genres of bluegrass, old family gatherings, private parties, time, gospel, folk and country music. restaurants and taverns. Lost Creek Family friendly, the band can include www.rosecitybluegrass.com/ind interactive songs that engage the From Portland, Oregon, Lost Creek Charlie Williamson delivers a driving blend of bluegrass and younger set. old time standards with terrific vocal [email protected] Carol Harley 503-206-4911 harmonies and tasteful instrumentation. [email protected] For years they’ve delighted audiences at festivals, pubs, parks, dances, markets, www.mistymamas.com Roundhouse and weddings throughout Oregon Donn Whitten, Kim Jones, Ron Leavitt and Washington. Have a listen and see Money Creek Mining Co. and Joe Denhof what’s new ... thanks for stopping by. LuAnn Price, Michael Johnson, Steve Roundhouse was formed with Leming, Dave Toler and Steve Bickle For Information: the goal of providing a variety of www.lostcreekmusic.com Money Creek plays stirring mountain musical genres to diverse audiences: [email protected] ballads and burning banjo tunes. something for everyone. Toward this Known for their precise harmonies, end Roundhouse performs bluegrass, Lucky Gap String Band rarely do you find a group of singers southern rock, doo-wop, gospel, with their unique blend. Join Money country, blazing instrumentals and Chas Malarkey, Bob Llewellyn, Jerry Creek on a musical American journey original compositions. Roundhouse Robbins, Mike Harrington, Linda of triumph, sorrow and just plain fun. instrumentation includes guitar, Sickler mandolin, banjo and bass. www.moneycreekbluegrass.com Good Old-Time Traditional Americana LuAnn Price www.roundhouse-band.com and Bluegrass on the Oregon Coast. [email protected] Kim Jones High Energy, Tight Harmonies, and 425-346-6136 [email protected] Fun-Loving Personalities compliment 503-838-2838 any Party, Dance, Wedding or Special Mud Springs Gospel Band Occasion. George Klos Shasta Ray Band Chaz Malarkey 541-475-6377 The band’s founder and leader is Shasta [email protected] Ray, born in New England. His travels 541-265-2677 Puddletown Ramblers and experiences are reflected in his song Puddletown Ramblers is a regional writing. About 30% of what the band Mischief bluegrass band that performs original plays are Shasta Ray originals. The band songs, good old time traditional is referred to as a truly “Community Based in the Pacific Northwest, Mischief Band”....a “Bring a town together Band.” is father/daughter duo Matt and Anna bluegrass, acoustic, old country and Americana music. We are based in The music played is a real slice of Snook with Jim Brockill. We’ve 70+ Americana including bluegrass, folk, years of experience playing bluegrass Portland, Oregon and perform all over the Northwest. Our blend of country, sing-a-long gospel, and old and acoustic music. Be amazed: trio time favorites. harmonies and instrumentals with harmonious voices will shake that banjo, Dobro, guitar, mandolin, octave tender chord in your heart and leave Liz Crain mandolin, and fiddle. you wanting to hear more. [email protected] Dave Peterson, Tom Martin, Joe 541-537-1031 [email protected] Martin,Walter Jacobson, Fred Schultz. 541.805.5133 Slipshod Dave Peterson Slipshod formed in 2012. These Misty Mamas puddletownramblers.com musicians enjoy entertaining Carol Harley, April Parker, Katherine [email protected] audiences with both their humor and Nitsch, Eileen Rocci musical skills. Matt Snook (dobro Rose City Bluegrass Band This band – together since 2005 – has and banjo) and Steve Blanchard Gretchen Amann, Charlie Williamson, (guitar and mandolin) offer listeners made a real name for itself in the Peter Schwimmer, Spud Siegel Vancouver/Portland acoustic music a broad and diverse range of music, scene. Collectively these women have The Rose City Bluegrass Band performs including originals, familiar melodies decades of experience playing and an eclectic blend of Bluegrass and and dynamic instrumentals. Their singing in harmony. MISTY MAMAS Americana. Who doesn’t love great harmonies and unique vocal serve up Home-Style bluegrass banjo, fiddle, guitar, mandolin and interpretations add to their precise filled with powerful harmonies, bass backing up 3 part harmonies? We instrumental talents. traditional and original songs as well excel at playing and delighting folks at If you’re looking for a fun, energetic

OBA Bluegrass Express - Winter 2015 26 Go To www.oregonbluegrass.org For more info & links Please contact [email protected] if you are interested in receiving a Supporting Performer Membership form. band for your next event, party or constellation of accomplished young Northwest for several years. Three and festival, consider Slipshod. Check out stars who have been attracted toward four part vocal harmonies, exciting this dynamic duo on their web site, one another as much by each other’s instrumentation and contagious fun Facebook and YouTube. shine as by the affinity they share with are part of the Rufusarian bluegrass traditional Folk music. The Wild experience. A Whistlin’ Rufus show Steve Blanchard, 503-730-0005 Wood resonates with that part of us guarantees a varied and wonderful mix [email protected] which is rooted in a simpler way of of blazing bluegrass, original homemade Matt Snook, 541-805-5133 life while delighting us with dynamic tunes and an Irish fiddle tune or two. [email protected] arrangements, emotional vocal www.whistlinrufus.com harmonies and virtuosic solos by two Pat Connell Sleepy Eyed Johns national champions. Josiah Payne – Mandolin, Belinda Underwood – Bass, [email protected] Ian Joel - banjo; Mark Klassen- guitar; Michael Money – Guitar, Kian Dye – 971-207-5933 John Melnichuk - fiddle; Chuck Fiddle Davidshofer - bass; Billy Wyatt - Betsy and Theron Yochelson http://www.thewildwoodmusic.com/ mandolin. Stand-up bass / mandolin -- Lead Sleepy Eyed Johns – Stump-pulling / harmony vocals. We head up two bluegrass, from the roots. Wayward Vessel bluegrass / acoustic-country “all-event” Ian Joel Ken Chapple (guitar), Julie Schmidt bands in the mid-Willamette Valley. [email protected] (fiddle), Josiah Payne (mandolin) and 503-281-7666 Belinda Underwood (bass). 541-409-8248 [email protected] Steer Crazy Wayward Vessel is an adventurous Red Diesel: alternative acoustic ensemble exploring www.facebook.com/reddieseloregon Rick King -- Guitar, Glenn Denison -- the boundaries of bluegrass and folk Prairie Dog Backfire: Mandolin, Tim Dawdy -- Steel-Guitar & music. With superb musicianship and www.reverbnation.com/ Dobro lush, natural vocal harmonies, the band prairiedogbackfire A New Brand of Western & American creates a unique Music. Musical fun and close harmonies palette to portray their rich library of that require no complicated explanation. original and traditional music. Nice guys singing and playing great www.waywardvessel.com How do I get my music. [email protected] http://www.facebook.com/ band’s information Steercrazyband Whiskey Puppy Tim Dawdy Rachel Gold (guitar), Justin Auld (banjo listed here? [email protected] and fiddle) and Gabe Adoff (Bass) 360-904-0347 1. Sign up for a band membership! Whiskey Puppy plays boot-stomping, Go to Oregonbluegrass.org, fill out Stumbleweed mule-slapping traditional bluegrass the form on the back page of this and old time music. The Portland, OR Stumbleweed is a Portland based trio brings energy, humor, and skillful issue, or find us at a festival or event! bluegrass band. Playing mostly original musicianship to little-known songs and A band membership includes one material, with a few classics thrown tunes searched out from the repertoires print subscription per membership. in, we blend traditional bluegrass and of the early Southern string bands. honky tonk with a bit of old country, 2. Email your band’s listing to and we smile a lot. From weddings to http://www.whiskeypuppy.com/ company picnics, Stumbleweed plays [email protected]. Rachel Gold Don’t forget to include contact with an infectious energy that brings [email protected] fun to any gathering. information and a photo (and a link 503-227-0647 Contact or two if you have it.) Once we have [email protected], Whistlin’ Rufus verified that your membership is [email protected] or Pat Connell, Ritchie Wernick, Nat current, your listing will be posted to [email protected] O’Neal, Patrick Connell, Zach Banks, the website. The Express is updated John Meek. quarterly from the website. We may The Wild Wood have to shorten your listing from the Coalescing from Portland’s thriving Whistlin’ Rufus has delighted family website to fit allowable print space. music scene, The Wild Wood is a audiences throughout the Pacific

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