Southwest Virginia’s “Crooked Road” region has been named one of the 2010 America’s Dozen Distinctive Destinations by the National Trust for Historic Preservation.
For ten years the National Trust has used the Dozen Distinctive Destinations program to highlight how historic preservation helps communities create a sustainable future and a strong economy through heritage tourism.
The Crooked Road is a 253-mile route through Virginia’s Appalachian region, winding through 10 counties, three cities, and 19 towns. It offers heritage travelers an opportunity to experience authentic mountain music in the region where it was born.
The Beggars a trio from Adelaide in South Australia topped the charts in Europe last year even though their audiences did not know what to make of them.
The Banjo Song, the first single from second album Desert Flower, hit the top spot on the European country chart with a little help from a 14-date tour.
But the acoustic outfit is categorised as a mix of country, bluegrass and folk, resulting in complicated advertising, and some people even doubt their Aussie pedigree. The Beggars are Stuart Day, Renee Donaghey and Quinton Dunne.
Matthew H. Coogan, for the Harvard Crimson Writes:
American folk music is beginning — too late, as many enthusiasts insist — to be embraced and studied by the academic world. In that vein, Fire on the Mountain — a day-long symposium featuring world-renowned scholars and performers, including Grammy-awarding winning composer and banjo player Alison H. Brown ’84 — aims to explore the roots, methods, and culture of bluegrass this Saturday in the Barker Centre.
Tommy Emmanuel has offered three of his personal guitars for auction to raise money for Haiti earthquake victims.
The first guitar was made for me by Maton and it was the first Mahogany guitar that they made. I’ve played this guitar all over the world. I wrote The Tall Fiddler, Lewis & Clark, The Mystery, Antonella’s Birthday, and many more songs on this guitar. It is a Maton Australian Jumbo. It has the AP5 with mic system in it, and it’s a guitar that I love very much. It has my daughter’s signatures on them.
The second beautiful acoustic guitar is hand-made Paul Reed Smith. It was a gift from Paul via Ricky Skaggs. It is in perfect condition and is Brazilian rosewood back and sides with abalone inlay. The workmanship is of the highest level I’ve ever seen.
The third guitar, a Gibson Country Gentleman was given to me by my friend Mike Voltz from Gibson in 1999. It is the last Electric Guitar made at the Nashville factory before they moved to Memphis. It has a beautiful sound and plays exactly the same as Chet Atkins’ used to. I’m moved to donate this instrument because being inspired by Paul Reed Smith’s kindness that I have witnessed on many occasion. He is a man of great generosity.
Your successful bid will get you the guitar, autographed, 2 VIP seats to a Tommy Emmanuel concert near you, dinner with Tommy and a 2 hour private guitar lesson.
I’m hoping to raise as much money as possible to help Unicef and their efforts with the children in desperate need in Haiti. I know that UNICEF are an amazing organization selfless and tireless workers who put their lives on the line for Children in need. These guitars have been precious to me but not as precious as a child’s life -Tommy Emanuel.
Over the Christmas break a family member come across the pictured banjo. From what they can gather the instrument was made in Melbourne, Australia by J. Fleetwood Melbourne.
However, that’s where the information trail ends. They are unable to find any historical information about the banjo and are wondering if readers of the Australian Bluegrass Blog can point them in the direction of someone who may be able to assist.
The instrument has been in the family for about 50 to 70 years. It has the original case and on the outside of the case it has a patent number. The patent number is not immediately available but can be provided if needed.
Any light that you can shed on this banjo would be greatly appreciated by the owners. You can email us at Aust Bluegrass Blog or use the comment tag above to commence a discussion.
David Eyles from Mackay in Queensland has let us know of his program on radio 105.9FM. Bluegrass Breakfast with Dave every Sunday morning from 8:00am to 9:00am. It’s now listed in our Bluegrass on Radio listings.
If you don’t live in Mackay, the station streams 24/7 on the internet www.my105fm.com.
Dave is especially keen to meet up with other musicians from the area to play some music. You can contact him through the station.
Unlike Victorian venues, pubs, clubs and other public venues in NSW will be able to host live music from Monday, following the abolition of bureaucratic rules stifling local talent.
NSW State Planning Minister, Kristina Keneally, has announced the end of the need for Place Of Public Entertainment (POPE) licences at a news conference in Sydney on Friday, stating that their abolition would give a boost to the state’s arts scene.
Meeting the conditions of the POPE license was reportedly costing some businesses up to $300,000.00.
News from Geoff Morris of Bendigo in Victoria is that the community radio station Phoenix FM and the Star Community Cinema are holding a joint fundraiser in Eaglehawk on Sat 24th October at 6:00pm
They are presenting two films, the first is a beautiful documentary tracing a journey by Bascom Lamar Lunsford through the Blue Ridge Mountains in 1965, while the second film is Song Catcher, a well-known film about a musicologist researching and collecting Appalachian folk music in the mountains of western North Carolina.
In between these films the audience will be enjoying a spectacular two-course southern -style meal which seems to have a lot to do with marinated chicken pieces in buttermilk for twenty-four hours then double dipping and deep frying them, plus corn and grits, followed by a dessert of sweet potato pie topped with strawberries and cream.
In addition to the meal will be entertainment by Australian bluegrass band Hardrive.
Personally I’m thrilled to be involved in putting it on as, apart from all related experiences and its fund-raising aspect, it is bringing bluegrass music and culture to Bendigo in a way never done before. Please wish us luck -Geoff Morris, Phoenix FM.
Here is another note from Dave Stevens of Pure Pop Records about the impact of the change to licensing regulations in
As advocates of live music in Melbourne, we thought it wise to send you a note regarding a recent change to licensing and live music regulations that has slipped a little under the radar in the last month. We’d love it if you could spend a couple of minutes reading about this situation and lend your support to the cause.
It’s come to our attention thanks to a letter from 3RRR Stalwart Johnnie Von Goes, that a recent change in liquor licensing laws in Victoria has become a genuine threat to live music in this city. Of course it seems that a threat to live music in Melbourne arises every couple of years. 3am Lockouts and gentrification of our glorious inner suburbs cause a reasonable amount of media hooplah but it’s certainly worrying that these latest changes are happening with barely a whimper.
In the past few weeks small pubs and licensed premises around town have had visits from Consumer Affairs in attempt to curb alcohol related violence. These pubs have been told they must provide security guards if they are going have live music, any sort of live music, any size crowd.
A security guard gets paid around $250 per shift. Bands in small pubs these days don’t get much more than a rider and a meal. It’s not hard to do the maths. At least one pub has already stopped hosting live music and it seems a matter of time before a whole lot more will be forced to follow suit.
This problem extends further. A Bazooki player in your local Greek tavern will require the venue to hire security. That means we’ll need a security guard to watch over 4 families eating the mixed grill and greek salad. Blues at The Rainbow Hotel to 15 people on a Tuesday night will require security. We’re talking jazz, rock, punk, afro-beat, dub, reggae, lounge, abstract pointillism, folk and classical music. We’re talking open mic nights in front of friends and family. These places don’t attract violence or large crowds. Although we agree there is a need to stamp out alcohol fuelled violence, taken to this level, it’s ridiculous. Clearly there’s a need within the policy to differentiate between large venues with the potential for violence and small venues that will be adversely and unfairly affected by these regulations.
So, you get the picture. The healthy cultural life of a city requires grass roots artists to be embraced and nurtured. The real possibility of small venues losing live music forever will impact the development of emerging artists as well as those playing niche and culturally diverse genres. The effect will be felt throughout the music community.
Please feel free to forward this email to other interested parties. Dave Stevens, Pure Pop Records, 221 Barkly Street, St Kilda Vic 3182.
Bluestone Junction’s Mike St, Clair Miller has brought this issue to our attention. It seems that Melbourne Music venues are under threat from a 10 year old law that has only recently been strictly enforced.
An article appearing in the Melbourne Age this week raises some questions over the application of laws that have actually been in place for some ten years but only recently been enforced, presumably as a result of the growing concern of growing violence in Melbourne’s streets.
The law requires two licensed crowd controllers to be employed for the first 100 patrons at live music events after 9:00pm. Lately some 40 inspectors have been roaming the Melbourne music scene, working for the Compliance Directorate, which was recently established to ensure all licensees abide by liquor laws and license conditions.
The Age’s report cites many publicans of inner-city hotels who are supporting a letter sent to Consumer Affairs Minister Tony Robinson this week. The letter urges the Minister to reconsider laws they deemed unfair and detrimental to Melbourne’s already struggling music and entertainment community.
This legislation appears to be poorly thought out, with the potential to end the live music scene is small music venues. We’ll keep you posted.
Casey Joe Abair & Hunter Robertson have posted us news of the release of a new album If You Want to Go to Sleep, Go to Bed, an album of old-timey banjo & fiddle duets. It comprises 17 traditional songs and tunes, which they have learned from a variety of sources – mainly musicians long gone.
The CD is available from CDBaby and Menzies Stringed Instruments and shortly from County Sales and Elderly Instruments. It will also be available through iTunes, Rhapsody, Amazon, eMusic and other purveyors of fine mp3s as well.
This album was recorded, direct to stereo, over the course of a few months in our homes, not always under the most sanitary of sound conditions; the sirens on ‘Sugar Baby’ for example. Luckily, they fit the song. Otherwise what you hear is unadulterated fiddle & banjo, as we played it. There’s nothing quite like working a tune out with someone, tight, and then playing it for all it’s worth. There’s a trade-off with the liberties you can take when you’re on your own but it has advantages - CD Liner Notes
To listen to samples and get more information on the album from their website.
News from the USA recently highlights the devastating situation of yet another stolen instruments alert. The ease with which people can move across the world these days makes this post relevant to us all here in Oz.
The Randy Kohrs Band has advised of the loss a number of instruments. The band’s van was broken into and almost everything stolen out of it last weekend. The estimated loss appears to be around $50,000 – $60,000
Here is the list of missing items:
Amistar Randy Kohrs Model tricone resonator
Scheerhorn L-Body Resonator guitar #547
Meredith all blonde, tongue-oiled maple resonator guitar
Mike Long D-18 style acoustic guitar
Custom Cedar Creek Case for the Meredith – black alligator, inside is purple, has “Custom Built for Randy Kohrs” plate
Two white Calton Cases with Randy’s name on them, both had red interiors
Cedar Creek case for the acoustic Mike Long GuitarForrest Craig (Texas-based luthier) Violin with L.R. Baggs pickup
Strad copy violin, roughly 1880’s, the tag inside not exactly accurate.
A double violin case, the attached strap doesn’t match – it’s maroon and gray with gold hardware.
Nothing to do with Bluegrass Music, but a subject that strikes fear into the hearts of every musician who has ever contemplated flying with their precious instruments. Here’s a sad tale from Dave Carrol sent to me from mandolin player, Bob Lord.
In the spring of 2008, Dave Carol was flying United Airlines with the rest of his band, Sons of Maxwell. His Taylor guitar was witnessed being thrown by United Airlines baggage handlers in Chicago. He later discovered that the unthinkable had happened, his $3500 guitar was severely damaged.
The airlines didn’t deny the experience occurred but for nine months the various people he attempted to communicate with put the responsibility for dealing with the damage on everyone other than themselves. Finally the airlines said they would do nothing to compensate me for my loss. So I promised the last person to finally say “no” to compensation (Ms. Irlweg) that I would write and produce three songs about my experience with United Airlines and make videos for each to be viewed online by anyone in the world. United: Song 1 is the first of those songs. United: Song 2 has been written and video production is underway. United: Song 3 is coming. I promise – Dave Carol
The team at Blue Ridge Music Centre in Virginia USA, are compiling a permanent exhibition that aims to display the history of music of America through the Blue Ridge region. The contemporary perspective includes primarily bluegrass and old-time music.
The project will also feature a large three-dimensional cube, which aims to incorporate hundreds and hundreds of CD covers. The story will attempt to portray the spread of bluegrass and old-time music across the world.
The team are looking for CD covers going back to the Bluegrass 45 on Rebel Records and everything since then. They are particularly interested in music (CD albums) of non-American bluegrass groups, preferably released in countries other than America.
Unfortunately, they do not have the ability to display LPs.
If aritist or agents wish to submit their CD covers, (just need the jacket) it would be to: Blue Ridge Traditional Arts, P.O. Box 1010, Galax, VA 24333.
The project will be the permanent exhibit for the Blue Ridge Music Center on the Blue Ridge Parkway outside Galax.
The Blue Ridge Music Center celebrates the music and musicians of the Blue Ridge. Established by the U.S. Congress in 1985, the site includes an outdoor amphitheater and an indoor interpretive center used to highlight an important strand of American musical culture, which is still alive and thriving in the region. The site is operated through a partnership between the National Park Service and the National Council for the Traditional Arts. The permanent exhibit will open in summer 2010 – Blue Ridge Music Centre Website
For the uninitiated, bluegrass is acoustic music, that features the five string banjo, mandolin, guitar, upright bass and fiddle and noted for its lightning-fast picking and vocal harmonies.
While there are now thousands of bluegrass musicians in all parts of the world, some 50 years ago, there was only one bluegrass band - Bill Monroe and The Bluegrass Boys. Bill Monroe came to be known as the Father of Bluegrass Music because he invented the musical sound during in the 1940s.
While there were many many musicians who had, at one time or another, featured in Monroe's band, the most notable line up (from 1946) featured Bill on his mandolin, Lester Flatt on guitar, Howard Watts on bass, and Earl Scruggs on banjo and Chubby Wise on fiddle. It was the hard driving sound of Scrugg's banjo that finally brought Monroe's search for his bluegrass sound to conclusion.
Bluegrass music - uniquely American - has now been a part of global music scene for some 60 years. While bluegrass fans are on the increase and remain loyal to the music form, it is likely that most folk are only familiar with the genre through a handful of songs that have become popular through mainstream media. Most of the music or bands have been featured on television shows such as The Beverly Hillbillies, The Andy Griffith Show and Dukes of Hazard or movies such as Deliverance, and Bonnie and Clyde, which featured Lester Flatt and Earl Scruggs performing the classic Foggy Mountain Breakdown. The biggest influence on brand recognition in recent times has been the movie and the soundtrack of the same name: O Brother Where Art Thou?.
Today, the popularity of bluegrass has spread far beyond the United States, with fans and musicians, popping up in Great Brittan, Japan, Australia, Europe, South America and many more countries.
Southwest Virginia’s “Crooked Road” region has been named one of the 2010 America’s Dozen Distinctive Destinations by the National Trust for Historic Preservation.
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