international bluegrass april 2014

international

bluegrassVol. 29 No. 4 April 2014

IB

Statement of fact and opinion are made on the responsibility of the writers alone and do not imply an opinion on the part of the officers, directors, staff or members of IBMA. Portions of International Bluegrass may be reprinted provided that explicit citation of the source is made:

“Reprinted with permission from International Bluegrass, the publication of the International Bluegrass Music Association, www.ibma.org.”

Editor: Taylor [email protected]

Designer: Erin Erdos [email protected]

Alan Bartram/Director, Artists/Composers/PublishersCindy Baucom/Vice Chair

Becky Buller/At LargeDanny Clark/At Large

Jamie Deering/Director, Merchandisers/LuthiersRegina Derzon/Director, Associations

Henri Deschamps/At LargeCraig Ferguson/Director, Event Producers

Craig Havighurst/Secretary, Print/Media/EducationCarl Jackson/Director, Artists & Composers

William Lewis/At LargeNed Luberecki/Director, Broadcast Media

Stephen Mougin/At LargeBrian Smith/Director, Agents/Managers/PublicistsBen Surratt/Director, Recording/Dist./Marketing

Tim Surrett/Director, Artists/Composers/PublishersAngelika Torrie/Director, International

Elizabeth Wightman/Treasurer, At Large

CONTACT USThe monthly emailed publication of the

International Bluegrass Music Association

608 W. Iris Drive, Nashville, TN 37204 USA615-256-3222 | 888-GET-IBMA

Fax: 615-256-0450 Email: [email protected] Website: www.ibma.org

Jon Weisberger/Board Chairperson

INFO

BOARD

STAFF

Nancy Cardwell Executive Director

Joe LurgioMember/Convention

Services DirectorEddie Huffman

Technology & Office Systems Manager

Taylor CoughlinSpecial Projects Director

Publications Editor

International Bluegrass

INTERNATIONAL BLUEGRASS(ISSN #1095-0605)

IBMA: IBMA is the trade association that connects and educates bluegrass professionals, empowers the bluegrass

community, and encourages worldwide appreciation of bluegrass music of yesterday, today and tomorrow.

Vol. 29 | No. 4 | April 2014

International Bluegrass www.ibma.org4

EDITORIAL

Distracted by Daydreams

Letter from the editor

by Taylor C oughlin

Okay, before I get too far into this editorial, I just have to brag to y’all: Kenny and Amanda Smith jammed in my office on Friday night. I look to my left and there

they are there (in my memory, at least. They would be crazy if they were here at 5pm on a Monday), Amanda with her supreme voice and Kenny flatpicking away. If I may, I’ll extrapolate on this memory by including Mark Dillon, Rick Sparks and Richard Bicknell on banjos (yes, three!), and the ever-charming Vickie Vaughn on bass. I mean, how’s a girl supposed to concentrate with daydreams like that?

Anyway, back to the editorial. Right. Leadership Bluegrass 2014 (the best class ever!). I am officially a graduate! I learned about my leadership style (let’s hear it for the blues!) and learned how to do a banjo roll, albeit painfully slow. I was privileged to hear the concerns and triumphs of my partners working for bluegrass music, and grew in my confidence for building good networks and asking for help when I need it.

For the other 349 of you who have been through this incredible experience, you need no further explanation (but you may argue that your class was better, if you like). For the countless hundred others of you who want to be, all I can say is be on the lookout for the dates and application deadline next year. I guarantee you it is worth an awkward call to ask for a reference, or the money it takes to get here (lots of yummy food is provided and odds are you can find a couch to sleep on somewhere). The people I got to know over three days have inspired me in my work at IBMA and are my motivation to not get distracted by jamming daydreams…too much.

I must give a heartfelt thanks to our planning committee, our sponsors, and Nancy Cardwell for working tirelessly for our class. They gave their time, money, and energy to be there to make the experience so enriching for the 25 of us. Y’all: Your investments paid off! For a full list of class participants and sponsors, flip over to page 6 for a recap.

As the flowers begin to blossom and the weather warms up, so are things in our office (literally, I felt the need to crack my window today) and with our partners in Raleigh as we finalize big details and work on the smaller ones for World of Bluegrass 2014. Take this as my personal invitation to come out to Raleigh and experience what all the buzz is about! IBMA members can take advantage of early registration, hotel rooms, and tickets now! For the general (but still awesome) public, please take note that you’ll be able to purchase everything on Monday, April 14. Visit IBMA.org for information and details (you might just like what you see)!

Now excuse me, I have my leadership style to analyze and a banjo roll to practice. Yep, back to Leadership Bluegrass daydreaming again.

‘Til May,

Taylor Coughlin

www.ibma.org International Bluegrass 5

EDITORIALFrom the Executive Director’s desk

Twelve ways we’ve stepped it up at IBMA by Nancy Cardwel l

• The IBMA Youth Council, under the direction of Chairman Andrew Rigney, plans to launch a new “greengrass” environmental initiative at World of Bluegrass in Raleigh this year, along with playing a lot of great music.

• The launch of IBMA Momentum Awards, which recognizes individuals on both the musical and business side of bluegrass who impress us quickly with their talent

• The spectacularly upgraded and professionally designed new digital magazine which you’re reading right now…along with 1.5 million other people since we launched IB on www.issuu.com in 2012. (You go, Taylor, Erin, Caroline and Katherine!)

• A new IBMA logo and website at ibma.org, plus some behind the scenes improvement with our server and cloud-based database storage (Big thanks to staffer Eddie Huffman, our new IT committee headed by Henri Deschamps, and designer Landon Elmore!)

• Lots of international bluegrass activity at WOB 2013, with more to come this year.

• Financial progress, (better defined in our annual report after the April 2014 board meeting) boasts a 33% savings in office rent with the move to the Berry Hill neighborhood in Nashville, less expensive credit card processing and e-communication, a move from cash to accrual-based accounting on the advice of our auditor, plans to begin rebuilding our financial reserves, the hiring of the fabulous Jacqueline Weiss (IBMA’s new part-time bookkeeper), and Susan Woelkers, our equally fabulous new sponsorship development consultant. We’re also thrilled to

be working with William Lewis and the team at PineCone on production for Wide Open Bluegrass this year, and Raleigh-based Ted Loomis as our Bluegrass Ramble Manager.

• Impressive increases in membership and WOB attendance this year, and our first WOB smartphone app.

• The collaboration with the American Queen Steamboat Company, for August and September bluegrass cruises this summer (which will benefit IBMA and offer $100 coupons to folks who register with our code. Call and ask us for it!)

• IBMA’s Facebook numbers have doubled in the past year. Plus lots of new fun with all things Twitter, Instagram, GooglePlus and Bluegrass Nation.

• A new Business Conference marketing analysis and plan spearheaded by staff member Joe Lurgio, the same guy who is working with Chair Charles Humphrey III of the Steep Canyon Rangers to lead an enthusiastic and motivated Membership Committee.

• The September Worldwide Bluegrass Music Month “Practice Random Acts of Bluegrass” promotional campaign (with cool stickers), to help us paint the world all shades of blue(grass).

• And of course, the incredible welcome we received from the city of Raleigh, North Carolina at World of Bluegrass last year. Everyone’s still talking about it—there, here, pretty much everywhere in the worldwide Bluegrass Nation. And this year’s event Sept. 30 – Oct.4 promises to be even more exciting.

For most of the world, the year begins on January 1. But for bluegrass industry folks like you and me, the beginning of our annual cycle starts with the kick-off of IBMA’s World of Bluegrass registration. That’s March 31 for members, and April 14 for the general public—people I like to call “potential members.”

I’ve had the honor of serving as your Executive Director for a year and a half now, but September in Raleigh will mark my 20th year on staff at IBMA. It’s been an amazing ride so far. The last couple of years in particular have been a time of change and new energy for IBMA and the bluegrass world overall.

Just off the top of my slightly foggy head (after three days straight of 24/7 Leadership Bluegrass), the following are some accomplishments we can all be proud of:

Be sure and get your tickets and conference registrations while they’re still available this month, and I’ll see you in Raleigh. I’ll be the tall blonde with a pink clipboard, walking fast and smiling big.

http://www.issuu.com


by Ted Lehmann

Leadership

Bluegrass2014Early Thursday morning on

March 20, 2014, 22 somewhat bleary-eyed people showed up

at the impressive BMI offices in Nashville for a three day event called Leadership Bluegrass. Ranging in age from late teens to early seventies, coming from as close as Nashville and as far away as England, Alberta, CA, Nevada, Texas, Maine, and New Hampshire, we had little in common besides our love of bluegrass music and a desire to learn. Three days later, the LGB class of 2014 emerged from the plush offices of the law firm Bone McAllester Norton, housed high in the Tennessee Bank building as friends and colleagues who have joined a fifteen year long line of future leaders, many of whom have become well-known names occupying key positions in bluegrass music and IBMA.

Our functions in bluegrass were varied almost beyond belief: agents, music publishers, event promoters, artists, talent bookers, students, photographers, journalists, association presidents, equipment and instrument manufacturers, college professors, songwriters, talent managers, music teachers, publicists, and the owner of a

Nashville bar. We met under the very professional efforts of facilitator Trisha Tubbs, a Washington (State) based consultant with long experience in facilitating intensive workshop and professional growth experiences in business and industry as well as being a bluegrass event

producer and long-time IBMA member who, along with other members of the Planning Committee, has designed and built LGB from its beginning in 2000. The design of the intensive three-day experience served to create an environment meeting two major purposes: to help


REVIEWLBG 2014

us learn more about many aspects of the bluegrass business, and to meld us into a cohesive group joining with past attendees at LBG and the wider world of bluegrass music. The process proved itself to be involving, challenging to intellect and personal skills, and deeply rewarding.

Throughout the three days we were exposed to dynamic leaders from the music world of Nashville, which styles itself as Music City. Liz Allen Fey, a specialist in leadership development and strategic planning, spent time with us examining our vision and standards as they apply to emerging as leaders, after which we had an opportunity to meet in groups to explore our styles and report to the larger group in a format we designed.

We were encouraged to explore new ideas and to move outside our comfort zones,

a movement each person at LGB experienced at various times during the workshop. We learned that moving beyond our own boundaries allows growth to happen. We all developed as individuals and as a group within a larger group.

We thought and talked about the business of developing a band, a festival, a song in order to obtain sustainability, to be able to continue in our roles. A panel of three entrepreneurs helped us look at the role of the entrepreneur, seeking new ways to develop audiences by finding the holes not filled by others. We examined our own anxieties about risk taking and our tolerance for it as we sought to stretch ourselves. And then we were presented with a wonderful opportunity to examine the development of a single artist through his career, viewed from the outside as largely successful, as Sirius/Xm’s Bluegrass Junction station manager Kyle Cantrell interviewed


REVIEW LBG 2014

bluegrass and country singer/songwriter Jim Lauderdale about his most interesting career. Jim emerged as a very real person sharing himself within a trusted group. Kyle showed himself to be the fine interviewer those of us who admire his work on satellite radio have all seen, a consummate interviewer who finds the niches where truth lies.

One of the great mysteries for me has been the process by which Professional Rights Organizations (ASCAP, BMI, SESAC) assure payment for artists and writers while protecting them from copyright invasion. An expert panel including former ASCAP vice-president Dan Keen, attorney Stephanie Taylor, artist and IBMA President Jon Weissberger, and attorney David Crow explained the process while role-playing a contract negotiation – exciting and fun. IBMA Executive Director Nancy Cardwell explored the state of the bluegrass industry before Tom Kopp, Executive Director of the Bluegrass Foundation and Belmont College’s Michael McLain looked at music education culminating in the whole class playing a tune on Deering Goodtime banjos. Half-way through the workshop looked like a good time to break into groups to undertake a SWOT (Strengths, Weaknesses,

Opportunities, Threats) exercise in small groups on a music topic of our own choice, and presenting our findings to the class. The working day ended with the Della Mae team meeting with us to discuss their emergence as a band, and the teamwork beyond mere talent it takes to achieve such heights. The day ended with a taco supper and jam at the new IBMA headquarters.

On Saturday morning we re-adjourned at the law firm of Bone, McAllester, Norton on the 16th floor of the Tennessee Bank building with stunning views of downtown Nashville including a small peek at the Ryman Auditorium. Everyone was tired, but willing, as two more stimulating and thought-provoking presentations focused on the awesome possibilities and demanding knowledge explosion of the digital world followed by an exploration of new kinds of venue for presenting music, including cruise boats and caves. After lunch the workshop concluded with a series of exercises designed to help us bring closure to the event and place it and our learning into the context of our lives.

At 5:00 P.M. on Saturday afternoon we left: carrying home with us a series of experiences and friendships that will affect each of us differently over the long term. Some of our new friends we’ll see at jams, festivals, and at the World of Bluegrass, while others we may not see again. Nevertheless, we’ve formed a bond between us and with the many others who have preceded us at Leadership Bluegrass, reaffirming our commitment to the music, helping continue its growth and health, while learning and growing together. Pretty good outcomes for three days in Nashville.

Ted Lehmann and his wife Irene travel about 200 days per year to bluegrass events where they both photograph and video, he writes a blog, and she often works selling merch for artists or undertaking various tasks for the festival promoters.


REVIEW

Leadership Bluegrass Class of 2014

Alane Anno, Alane Anno Photography (Hendersonville, TN) Richard Bicknell, Bluegrass Music Asso-ciation of Maine (Windham, ME) Sherrill Blackman, the sdb music group (Nashville, TN) Seamus Brady, G7th Ltd (Peterborough, UK) Lizard Thom Case, Bobby’s Idle Hour/ Songwriter (Nashville, TN) Taylor Coughlin, IBMA (Nashville, TN) Jamie Deering, Deering Banjos (Spring Valley, CA) Mark Dillon, University of North Carolina Greensboro (Randleman, NC) Pam Gadd, Songwriter & Musician (Nashville, TN) John Curtis Goad, East Tennessee State University/ Bluegrass Today (Rog-ersville, TN) Pattie Hopkins, Kickin Grass (Winter-ville, NC) Nate Lee, Chuck Lee Banjo Company/ Alan Munde Gazette (Nashville, TN) Ted Lehmann, Ted Lehmann’s Blue-grass, Books & Brainstorms (Keene, NH) Chris Luquette, Frank Solivan & Dirty Kitchen (Alexandria, VA) Cameron Matthews, AOL Music/ The Bluegrass Situation (Astoria, NY)

Patrick McAvinue, Audie Blaylock & Redline (Parkton, MD) Matt Merta, Songwriter/Artist/Manager/Freelance Writer (Dearborn, MI) Daniel Perry, Belmont University (Nash-ville, TN ), Student Monitor Claire Ratliff, Laughing Penguin Publicity (Nashville, TN) Cass B. Scripps, Agency for the Per-forming Arts/APA (Nashville, TN) Matthew Slocum, DC Bluegrass Union (Falls Church, VA) Amanda Smith, Kenny & Amanda Smith (Lebanon, TN) Anna Sommerville, Northern Bluegrass Circle Music Society (Edmonton, Alberta, Canada) Rick Sparks, Northern Nevada Blue-grass Association (Reno, NV) Ashlee Jean Trott, Music City Roots (Nashville, TN) Vickie Vaughn, Vickie Vaughn Band (Nashville, TN)

The Leadership Bluegrass planning com-mittee this year includes Alan Tompkins (Chair), Louis Meyers (vice-chair), Joan Kornblith, Jean Spivey, Emilee Warner, Ben Surratt, Nolan Lawrence, Trisha Tubbs (facilitator), and Nancy Cardwell (staff liaison).


FEATURE

The journey: by Taylor C oughlin GREAT BIG WORLD

TONY TRISCHKA’S

Rounder Records’ longest standing artist, revered banjo player Tony Trischka, has earned the respect and the right to cre-ate his own musical palatte. On his latest record, he says he’s a kid in a candy store, proclaiming: “I can do whatever I want!” Yes Tony, by all means, please do.

Listening to each track on the 16th album from Trischka is a joyful, contemplative, eye-opening, educational, emotional ride. From bluegrass, to genre-bending

roots, Great Big World listens like a journey through the soul of a pertinent creative mind – one that has Trischka’s (time) signature all over it. But despite the different directions in which Trischka influences the sound of his 5-string, he remains grounded in tradition.

“Bluegrass is still at the heart of every-thing I do,” Trischka says.

If there was any doubt, one would just have to hear the first track, “Say Good-bye (For KM)” on Great Big World to set things straight. It’s a fine introduction, rich with vocals by Michael Daves, man-dolin by Trischka’s son Sean, and a spir-ited fiddle by Mike Barnett, an interesting juxtaposition with the emotional lyrical content of the song. “Rounder [Records] wanted a bluegrass track to begin the album,” Trischka pointed out. “We wrote ‘Say Goodbye’ in a day and a half.”


FEATURE

What’s different about Great Big World from Trischka’s previous work is the amount of lyrics. Even though he has always penned thoughtful and evocative words, he said he felt compelled to write more for this album. “I thought – ironical-ly – ‘Does the world need another banjo tune?’ But the average person relates to songs and stories,” he said. “It’s like going from Technicolor from black and white to have lyrics.”

Perhaps most noteworthy for its lyrics is the wild west-inspired “Wild Bill Hickok” sung by Ramblin’ Jack Elliott, with a nice treat of a voiceover from actor (and longtime friend of Trischka’s) John Good-man. “I was researching Wild Bill Hickok,” Trischka explained, “[The song was] long and ballad-like and I decided to break it up with a fiddle tune and ‘Wanted’ ad. John [Goodman] just seemed like a great fit.”

Trischka added that not only was “Wild Bill Hickok” a great challenge for him, but also for Ramblin’ Jack. “He said it was the hardest thing he’d ever sung because it was so wordy,” Trischka said, “We had to go in [the studio] and artificially create breath.”

With more lyrics to be sung, Trischka recruited great voices to help sing them. Abigail Washburn lends haunting vocals on “Lost” (“No one could’ve done a bet-ter job,” Trischka said). Aoife O’Donovan on “Angelina Baker” with Michael Daves, and Catherine Manning (the incredibly soulful and spiritual “Joy”) contribute as well, rounding out the impressive vocal contributions.

The precision with which Trischka plays is characteristic of his instinctual style and high standard of performance, especially in songs “The Danny Thomas,” “Ocracoke Lullaby,” and “Single String Melody,” which were all new originals by Trischka, each written for a single string on the banjo.

When it came to recording, Trischka said the serendipity of scheduling and “spur

of the moment decisions” were challeng-ing, but fun. “Some of the banjo sounds were not satisfactory to me, even though they sounded fine during the recording,” Trischka said. “We had to go in and re-record some things.”

Overall, the process happened over a year and a half. With so many sched-ules to align and songs to get just right, Trischka was happy to get everything exactly the way he wanted it. “It all ends up working out,” he said.

Beyond his genre-challenging, imagi-native work, Trischka has also made a name for himself as a well sought after banjo teacher. He stresses new students to be aware of timing, from a technical standpoint, and believes in following your heart as a musician; something he has proven in his own career.

“Follow your muse,” Trischka advised. “If the star shining in front of you says play bluegrass, play bluegrass.”

What cannot be ignored are the influ-ences Trischka has had that have sculpted who he is today. From early on, his parents were influential in his music, and from a family connection, he got to know the prolific Pete Seeger, who became his teacher in many ways, and also a very good friend. The recent passing of the American folk pioneer has prompted many to ask Trischka to share his anec-dotes, memories, and lessons learned. Trischka said he heard Seeger’s banjo ringing in his ears from early on, as his parents’ politics aligned with Seeger’s, and therefore their music tastes did, too. He grew up listening to the Almanac Sing-ers, and the Weavers.

“He was an amazing banjo player…more than a strummer; he did a lot of other stuff too,” Trischka said. “He was in a world of his own… When he re-worked [Irving Berlin’s] ’Blue Skies’ in 1955, it was ahead of its time. His working of it gave me a whole new appreciation for him.”

Trischka was fortunate enough to see Seeger about a week before he passed away. “He was burning bright a week be-fore he passed,” Trischka said. “His spirit was still very strong.”

Beyond the banjo, Seeger was influential to Trischka in the same ways he was to many others: through his civil rights and environmental involvement, and pas-sion for humanitarian values. “He was influential in all ways, not just musically,” Trischka said. “There was one time we were saying goodbye from a gig, and Pete walks up onto a hill by the side of the road and picks up a broken headlight. He just started picking up litter. It was the tiny things he did like that that made a difference.”

“He was so positive,” Trischka remem-bered. “I’ve really taken to the term: Think locally, act globally. I still believe in the human race. In spite of negativity, [because of Pete] I still have to keep that positive attitude. I think: ‘Do one small thing that can make a difference.’”

Through the music he inspired and the values he instilled, it isn’t too much to say that Seeger’s influence in our great big world made a mark on Trischka in a great big way.


MEMBERS ONLY TICKETS AND REGISTRATION OPEN NOW at IBMA.ORG

MONDAY, APRIL 14 FOR THE GENERAL PUBLIC

If bluegrass music moves you, then come to the event that moves bluegrass music.

IBMA’s annual bluegrass music homecoming, slated for September 30 – October 4 in Raleigh, North Carolina, will build upon last year’s tremendous success with new activities, seminars and business

opportunities for attendees.

The International Bluegrass Music Association (IBMA)’s World of Bluegrass 2014 event, September 30 – October 4 in Raleigh, North Carolina, will open Business Conference registration, hotel reservations, Wide Open Bluegrass festival tickets, IBMA Awards Show tickets, Bluegrass Ramble Showcase passes and Exhibitor/Bluegrass Marketplace sales for IBMA members on Monday, March 31—and for the general public on Monday, April 14.

Current IBMA members can take advantage of an exclusive, two-week opportunity to reserve a place at IBMA’s World of Bluegrass week. Many of the events and hotels sold out last year, so don’t wait! Registration will take place via IBMA’s website, www.ibma.org. Note that hotel reservations are contingent upon the purchase of a ticket and/or registration to at least one World of Bluegrass event. Additional details and pricing information will be available on the website. Qualifying professional members can also partake in the prestigious IBMA Awards voting process. Join now at IBMA.org.

IBMA’s World of Bluegrass (WOB) event consists of four parts: the IBMA Business Conference, September 30 – October 2; the 25th Annual International Bluegrass Music Awards, scheduled for Thursday evening, October 2; the IBMA Wide Open Bluegrass Music Festival (a fundraiser for the Bluegrass Trust Fund), October 3-4; and the Bluegrass Ramble, an innovative series of artist showcases, taking place September 30 – October 2 on seven stages in downtown Raleigh and at the Raleigh Convention Center.

We celebrated as Raleigh became our new host city last year, and it proved to be an amazing rejuvenation of the World of Bluegrass events and the bluegrass community, with total attendance for the week’s festivities estimated at 146,000, exceeding expectations for the event’s first year in our new conference home. Since then, we have read and listened to all the comments, feedback, and surveys from last year’s attendees and we look forward to building upon the success of 2013 by making improvements to existing events and

by adding new, exciting components to the full week.

We still are including the amazing aspects you have come to cherish at the IBMA’s WOB such as:

• A phenomenal festival line-up

• Opportunities to see unique, once-in-a-lifetime musical collaborations

• Networking and business opportunities

• Inspiring speeches and stunning moments that inspire the entire bluegrass community

• More live music than you can imagine: In 2013 we hosted over 300 performances by more than 160 different artists during the World of Bluegrass, and we plan to have even more this year!

conference registration, tickets and hotel reservations opening

for World of Bluegrass 2014

http://www.ibma.org

http://www.ibma.org

http://ibma.org/bluegrass-trust-fund

http://ibma.org/bluegrass-trust-fund

Here are just some of the things we are working on bringing to you in 2014:

NEWS

13www.ibma.org International Bluegrass

- The debut of the “Bluegrass Marketplace,” a two-hour, concentrated “mini” exhibit hall giving small businesses, service providers, songwriters and local associations that don’t fit the traditional four-day exhibit hall model an affordable and appropriate alternative to promote their activities to the business community.

- A return of the popular “DJ Taping Sessions” connecting radio DJs with artist and industry leaders for onsite interviews.

- An expanded four days for the “Bluegrass Expo,” with some new innovations that will make the Exhibit Hall bustle, Wednesday – Saturday.

- A special two-day Talent Buyers Focus planned for October 1-2, especially for event producers and agents, with a new pitching session, reception, an expanded Gig Fair and discounts for first-time talent buyer attendees. More talent buyers at the Business Conference, of course, means more booking opportunities for agents and bands. So it’s a win: win situation for all concerned.

- Panel-based seminars, poster seminars, and small group intensive sessions designed to help attendees focus on specific issues and connect with experts in their fields.

- Increased food and beverage available onsite

- A streamlined Business Conference registration, Bluegrass Ramble, and Wide Open Bluegrass festival ticketing process through etix.com.

- An improved Gig Fair format. This popular WOB event sometimes referred to as “speed dating for artists & talent buyers,” directly connects bands attending the Business Conference with top music event producers from all over the world.

- The return of the IBMA Health Fair.

- Information and details regarding performances, seminar details, speakers, presenters, exhibitors and general attendees will be shared and posted at ibma.org as early as possible to help you get the most out of the conference.

- A new and improved Business Conference program book.

- Enhanced networking opportunities

- The return of the popular Song Demo Listening Sessions, the Songwriter Showcase, new receptions, and a special track for Emerging Artists interested in moving up to the next level of touring and recording.

New & Improved IBMA Business Conference: The Bluegrass Ramble…and more! - A dedicated transportation

system – with extended hours – running nonstop between hotels and Bluegrass Ramble venues, provided by the city of Raleigh, 7 p.m.-2 a.m.

- An additional official showcase stage in the Raleigh Convention Center, which will provide the opportunity for attendees to see all official showcase bands under one roof during the course of three days.

- A new streamlined schedule for the Bluegrass Ramble: Tuesday, Sept. 30 (7 p.m.-2 a.m.), Wednesday, Oct. 1 (7 p.m.-2 a.m.), and Thursday, Oct. 2 (10 p.m.-2 a.m.)

- The return of privately hosted “After Hours Showcases” (Tuesday – Thursday) and the new Friday – Saturday “Wide Open After Hours” format will provide additional performance opportunities for both artists and bluegrass fans. All registered Business Conference attendees interested in performing will have the opportunity to have their contact info shared with the appropriate booking contacts.

NEWS WOB 2014

o Hotel rooms in the two official main hotels are available to registered IBMA Business Conference attendees and those who purchase tickets to the IBMA Awards or Wide Open Bluegrass.

o Complimentary transportation from the official WOB campground to the main hotels sponsored by the Raleigh Convention Center

o Prices have not increased one cent at official IBMA hotels or at the State Fair Campground.

The World of Bluegrass pricing schedule for 2014 is as follows:

Tier 1 Pricing level:

• Members only: Monday March 31, 2014 – Sunday, April 13, 2014

• General public: Monday, April 14, 2014 – Sunday, May 4, 2014

Tier 2 Pricing level:

• Monday, May 5, 2014 – Sunday, June 1, 2104

Final “Walk Up” Pricing level:

• Monday, June 2, 2014 – October 4, 2014

Keep an eye on ibma.org, Twitter, IBMA’s Facebook page and Bluegrass Nation for more news on specific events, festival and showcase line-ups, and all things World of Bluegrass. If bluegrass music moves you, we know you’ll want to join us Sept. 30-Oct. 4 in Raleigh, North Carolina.

See you there!

Full Week Improvements: Lodging ZimRide’s WOB Ride Share Program: a great online

tool to connect you to others traveling to IBMA events, provides the opportunity to save transportation costs. You might even make some new friends, traveling to the World of Bluegrass together.

Sustainability is coming to WOB: Bluegrass is going green, under the leadership of IBMA’s Youth Council in collaboration with the city of Raleigh.

The Bluegrass Film Expo: A celebration of what’s new and exciting in the film world, focused on bluegrass and roots music.

Celebrity Jams! Once in a lifetime opportunities to play with your favorite bluegrass personalities.

14 International Bluegrass www.ibma.org

http://www.ibma.org

NEWSWOB 2014 RATES

15


EDITORIAL From the Executive Director’s Desk


EDITORIALFrom the Executive Director’s desk


FEATURE

Australian singer/songstress Kristy Cox is really good at telling stories – probably because she has a really good one of her own.

Kicking off her musical career in the country music scene in Australia, Cox has garnered a lot of hard-earned love and respect for her ability to sing and write songs that tug at the heartstrings and get feet on the dance floor. She has a string of top 10 country hits in Australia under her belt and many industry awards; most recently she was honored with the 2013 Capital News Australian Independent Fe-male Vocalist of the Year award. Recent-ly, Cox’s story has evolved overseas: In 2013, she moved to America – solo – to pursue a promising career in bluegrass, signing with Pisgah Ridge.

While Cox isn’t brand new to the blue-grass scene (she was an official showcase act in Raleigh last September), many are still getting to know her, especially in the U.S. Cox’s new album Living For the Mo-ment was released in February, and was produced by Jerry Salley. What shines most on her American debut album is her clear, powerful, and emotional vocals, not to mention her band, the likes of which feature David Johnson (fiddle and resonator guitar), Darren Nichol-son (mandolin), Steve Sutton (banjo), Stephen Mougin (guitar), and Mike Bub (bass). She also co-wrote half the songs on the album, proving her chops. Cox kindly agreed to talk to International Bluegrass over the phone about her recent project, where she’s been, and all

the great places she’s going. She was in New York and it was snowing at the time. “I can’t wait to get back to Nashville tonight!” she said, in a charming Aussie accent.

International Bluegrass: How has the transition been, as a citizen, and as an artist in a different country?

Kristy Cox: As a person it’s been very ex-citing, a lot of ups and downs. Obviously, the culture is very similar to Australia; we have a lot of things that are very similar, but also that are very different. But as a whole, I find American people love Australians. They want to hear me talk all the time! (Laughs) I think I’ve settled in pretty well. I’m human, so I do have my moments where I want to be home; I miss seeing my family, my nieces and nephews. All of that has been the hardest… I’m basically here on my own, I didn’t move over here with anybody. I’ve got a bunch of friends here, but I don’t have any family here, so that’s been a hard transition. From an artist

point of view, the industry here has been so receptive and positive toward me, and so encouraging that I couldn’t ask for anything more. I love playing music here! The audiences love the music, which is great. Australian audiences have been fantastic over the years, but there’s something with Americans and bluegrass music: they understand it and they get it. Even though I border on the country [music] side, they don’t seem to mind; they still love what I do. It’s really exciting to get to play to new crowds and people who don’t know who I am. I can introduce them to me and who I am, and have a whole lot of fun. It’s everything I hoped it would be, plus more.

IB: What was your focus for Living For the Moment?

KC: Because it’s my first American release, I really wanted to introduce the audience here in America to who I am as an artist and a as person, and take them on my musical journey throughout the album. The album’s got a couple of

America, meet

Aussie songstressdebuts talents to U.S.

by Taylor Coughlin

Kristy Cox


FEATURE

country ballads; it’s got some fast-paced bluegrass songs, too. And basically the reason I did that was to show the audi-ence here where I come from musically; I come from a country music background. But I really love that, unlike country music these days, bluegrass has really held on the importance of the lyrics and vocals and harmonies, and all the reasons I fell in love with music to start with. I did the country/pop thing for a while, and I just couldn’t do it anymore; I wasn’t happy. When I stumbled across bluegrass, I was like, ‘This is the kind of music I want to be singing and want to be playing.’ The album shows that I do come from country roots, but I’ve fallen in love with this thing called “bluegrass,” so it kind of shows the transition I’ve been through, and I want to introduce myself as a person and an artist to the audience here.

IB: You have some amazing co-writers on this album. Tell me a little more about what it was like to co-write with them.

KC: I feel really lucky. I met Jerry [Salley] at IBMA in 2007 and I just fell in love with him as a person. He’d just produced an album which I really loved, and I got to get to know him well. And this is the first album that I’ve actually written with him. This is my third album with Jerry in the producer seat, but this is the first album where we’ve actually had time to sit down and write, which was a great experience for me because, obviously. Every single album I’ve done has been filled with Jerry Salley songs because he’s such a great writer. And he’s got so many great contacts; at my hands, I have thou-sands of fantastic songs that I can record. But for him to appreciate me as a writer and want to write with me was a big deal to me. And same with Johnny [Duke] and Stephen [Mougin]. These are writers I’ve really been inspired to be like, and now with this album actually being able to write with them – it was the most fan-tastic experience. When I put an albums together, I don’t mind if I do my songs or not, I just want an album of really great songs, so the fact that I was able to get

half the album where I’ve co-written was really humbling to me. I’m excited that I’m growing as a writer.

IB: You come from a country background and that certainly carries that quality, but it fits so well in bluegrass. Who have you listened to to craft your own style?

KC: I grew up listening to Loretta Lynn and Dolly Parton. I think my first albums were the Dixie Chicks and Alison Krauss, so I’ve always sort of leaned to the blue-grass side of country even when I was playing country, and without even realiz-ing it. The first song I sang onstage was a Flatt and Scruggs song, and I didn’t even know who Flatt and Scruggs were at the time! (Laughs) So that’s kind of funny…I think it was just meant to be. Alison Krauss is one of my idols, and Rhonda Vincent. Lee Ann Womack, her voice is incredible, I love her voice so much. But those are the ladies, and there are lots of guy bands I listen to who I couldn’t sound like even if I tried!

IB: So moving beyond vocal influences, where does your songwriting influence stem from?

KC: I really just write for me; I write very honestly, which can be dangerous for a songwriter. I’m pretty much an open book. From a songwriter point of view, I really concentrate on the lyrics and the content. I’ve done a whole bunch of songwriting, and I can’t think of one particular songwriter who has really influenced me, but I always tend to lean towards songs, especially when I’m sing-ing, that have a really deep and meaning-ful lyric content to them. I listen to lyrics first, and music second which is different to a lot of musicians – a lot of musicians will listen to the music, then they’ll like the music, and then they’ll listen to what the song is actually saying – whereas I don’t even hear the instrumentation or the melody until I’ve really listened to the lyrics. It’s important to write a song and to write it in a way that, it is from your point of view, but that anyone can listen to.

IB: What are the major differences you’ve noticed in business practices in Australia and America? KC: The size! Our bluegrass scene is really starting to grow back in Australia, but it’s really still quite small. We’ve probably got only 20 full time bands in Australia. So, just the sheer size of the industry over here. I think the workings and the mechanics of it are very similar. But trying to get noticed and heard is hard when you’re a little fish in a big pond. I did that back home in Australia when I first started to sing, so it’s a little bit like starting all over again. But, that’s prob-ably the main thing for me is the size; the industry here is huge.

IB: What lessons did you learn in Australia that you brought with you to America? KC: I think the biggest lesson I learned in Australia was to stay true to myself, and knowing what I’m worth. That’s a big thing for an artist. It’s kind of hard when you’re starting out, you wanna do every-thing and you wanna be everywhere. So one of the main things I’m doing here in America is focusing on one area at a time instead of trying to accomplish absolutely everything. I’m not gonna bite off more than I can chew right now; I’ve done that before and I don’t want to do that again. And I’m extremely lucky that I’ve got huge support from my label and my publishing company, and Jerry. And every single media contact or booking agent has been really nice, and really supportive, and they’ve given me great advice. It’s helping me get focused and know where I need to go next. And I’m still in that learning process; the album’s only been out a few weeks. It’s going to be a learning curve for me, but I’m work-ing through it!

Kristy Cox’s Living in the Moment can be purchased on iTunes and KristyCox.com and also found on AirPlay Direct. She has many tour dates around the globe in 2014, including her native Australia. Keep up with her at KristyCox.com.

https://itunes.apple.com/us/artist/kristy-cox/id355283497

http://www.kristycox.com/

http://www.airplaydirect.com/music/kristycoxmusic/

http://www.kristycox.com/


FEATURE

The Special Consensus has come out with a new album – a full on tribute to folk singer/songwriter John Denver titled: Country Boy: A Bluegrass Tribute to John Denver. For fans, it’s an absolute treat. For the band, it’s a treat too, but it’s really about the songs.

“Every song tells a story,” says Special Consensus front man and banjo player Greg Cahill. “It really touches most of us in some way, shape or form.”

Produced by powerhouse Alison Brown and released on Compass Records, the idea for all-Denver album had percolated with Cahill since the beginnings of Scratch Gravel Road. “Several bluegrass bands have recorded his hits, but nobody, to our knowledge, has dedicated a whole recording to his music.”

The record includes 10 tracks of well-loved Denver tunes, and a couple of unfamiliar ones that are just as worthy of popularity as their brothers (and maybe thanks to this album, they will become more well known).

“It was really enjoyable,” Cahill says. “Usually we go in and have a focus, of course, and do something, but this just felt like it was gonna be really pretty wide-reaching and that could really appeal to other genres and people who listen to all kinds of music, not necessarily just the bluegrass crowd. We’re really trying to make it a labor of love and really a wonderful experience for everybody.”

Oh, and the variety of guests. Heaven help us. Besides the chosen songs themselves, they make the album even richer with texture. The pairing of guests to songs would imaginably be quite a challenge, but for everyone involved, it was all part of the experience that set this record apart.

“There are so many great voices and players – instrumental and vocal voices in bluegrass music right now – that there’s just a lot to choose from,” says Alison Brown. “But there were certain songs that just really cried out for certain people to do. When I think about ‘Wild Montana Skies,’ which was not a song that I really knew before we started working on this

project, when we heard John’s version of it, I think, to all of us, it just seemed like Claire Lynch was the voice to have on that song,” Brown said. “The texture of her voice just really cried out.”

Other noteworthy recruits are Dale Ann Bradley on the completely heart-encompassing “Back Home Again,” and Jim Lauderdale’s countrified rendition of “Poems, Prayers and Promises” will make anyone a believer. Michael Cleveland and Buddy Spicher joyously play twin fiddles, with Cahill and Brown on twin banjos for an instrumental “Country Boy.”

“The idea of making [“Country Boy”] just an instrumental and getting a really distinctive twin fiddle voice, to all of us, really started to seem like a unique spin on a tune that’s been covered so many times,” Brown says. “You know, it’s such a good tune, it just stands up as a tune.”

The fact that one can recognize immediately that the song is “Country Boy” even without the fun, well known lyrics is a testament to the quality instrumentation

BREATHES

BLUEGRASS LIFE INTO

JOHN DENVER SONGS

Special Consensus

by Taylor C oughlin

21

FEATURE

played by the artists. “To me, bluegrass music is really unique in the fact that instrumentalists and vocalists can be considered on a par to the audience,” says Brown. “Instrumental voices in this music are just as important as they are in jazz, and that’s pretty unique about those two idioms because that’s not true in pop music. When I can, I like to remind people of that, and I think by doing “Country Boy” as an instrumental, we kind of make that statement.”

Perhaps it’s the familiar melodies, or lyrics memorized by a crackling fire, that keep John Denver close to people’s hearts and make him timeless. But beyond the imagery of the Rocky Mountain High, jumping on Grandma’s feather bed, and eagles soaring in the sky, John Denver’s songs resonate on a deeper level that can be told through any genre and felt through any generation.

“In some ways, hearing John’s voice come through this music now in 2014, you’re really hearing something from the ‘70s: ideas and themes that were so present in the 1970s and hearing them 40 years later, you just realize how universal John’s music is and how timeless some of those ideas are,” says Brown. “In some ways you may think his “green attitudes” were very ‘70s, but they’re very relevant today, too. To me, it’s more about human themes that have stood the test of time.”

The choice to do a tribute album to John Denver for Special Consensus’ next album was not just a wise one for the fans, but a wise one for the business, too. Less than two years from the debut of the Grammy-

nominated Scratch Gravel Road, the band was itching to get back in the studio. But they knew that in order to make their next effort stand out, it would have to be something different than what they’ve done before. That’s where Cahill’s longtime initiative would come perfectly into play.

“Greg came up with the idea for this record and I think it’s a brilliant way to follow up on a really strong band record,” Brown says. “Because if we’d done another band record, I’m sure it would’ve been great, but why would someone need that if they just bought Scratch Gravel Road? I think this way you give fans something that hopefully really becomes a must-have.”

Fans will no doubt easily embrace the album as a quality work of music from a fantastic band, and bevy of lauded guests, but it has the potential to grab people beyond the fact that they’re fans of the artists producing the music: because they’re John Denver songs, and you’d be hard pressed to find a lot of people who

don’t enjoy John Denver songs who also are fans of bluegrass music.

“It’s amazing how many people were touched by him and his music,” Cahill says. “And you know, once the word was out that we were releasing this recording, I can’t tell you how many folks – even really young folks like teenagers – at the festivals came up and said, ‘Oh my mom listened to that!’ or ‘My dad used to play those songs!’ You know, there’s still a huge connection to his music and then, of course, people in their 60s, 70s and even 80s are even familiar with his music.”

If you are lucky to catch Special Consensus live anytime soon (you can catch their tour dates here), you’d better bet you’ll hear some of those familiar tracks, and if you’re even more lucky, you’ll get to see some of the guests on the album join Special C onstage. Hey, it’s happened before!

“The world of bluegrass is not that big, especially all the touring bands, everybody kind of knows everybody and a lot of the fans are very well known,” Cahill says. “This also brings that connection together which we hoped to create in a studio, but now when we’re at different festival with someone else who was on the recording. Rob Ickes was really disappointed they were leaving the next day when we were at Joe Val because he would’ve jumped up and played on the song. So that just shows a connection, how we all really are emotionally.”

From the Rocky Mountains, wild Montana skies, to the country roads of West Virginia, Special Consensus’ tribute to a folk legend will surely harmonize with us all.

Click here to see a special video for

“Wild Montana Skies”

Allison Brown

http://specialc.com/schedule/

http://specialc.com/schedule/

http://www.youtube.com/watch?v=2VZLyqc8f5Y&list=UUlxzGD9FDdC4QM4KwcQ9LdQ&feature=share&index=3


MEMBERSHIP NEWS From the Financial Desk of Sound Healthcare and Financial

The informal world of the musician often leads to casual business practices with handshake deals and cash payments. When it comes time to file taxes the Internal Revenue Service wants details, and you can wind up paying if you don’t have them to report!

It is to the musicians’ benefit to keep meticulous records. Many musicians are self-employed, so they must file their taxes dif-ferently, and have different requirements. Musicians should look for every business expenses they can find, and deduct them before paying social security taxes. It often makes sense to incorporate as a Limited Liability Company, or LLC for certain protec-tions and tax advantages.

• Agency/management fees

• Education, lessons taken

• Business gifts

• Business insurance (yourself or your instruments)

• Business meals and entertainment

• Cabs, subways, buses

• Copying, printing

• Fairs/shows your at-tend (research!)

• Equipment and soft-ware

• Tips/Gratuities

• Home office: rent, gas & electric, insurance

• Instrument and equip-ment repair

• Instrument purchases

• Memberships (profes-sional organizations)

• Messengers, couriers, postage

• Musician fees

• Office supplies

• Promotion

• Studio/rehearsal space rent

• Tax preparation/legal fees

• Telephone/internet

• Stage clothing

• Travel

For everyone – ask your business professional how to use the rules to pay less taxes while you fund your retirement. Pay yourself first! If you would like to talk to Sam, call him at Sound Healthcare, 615-256-8667.

Mistakes you might make when you are in business for yourself:

Here are some expenses typical to musicians:

by Sam Gee

• You forget you have to pay self-em-ployment tax if you have a profit of $400 or more. IRS wants to know.

• You confuse Gross income and Personal income. Spend on yourself what’s left after expenses.

• Cash counts. If you are paid, it’s probably income. If the payer re-ports it, the IRS can track it.

• Receipts count. Keep the actual receipt as well as the credit card statement.

audits.

• You think an extension is an exten-sion to pay. Pay what you owe when you file the extension or you will be charged extra.

• You heard incorporating will save you money. Then you found out that you have to keep track of even more paperwork, taxes and rules. You might just decide that being a sole proprietor remains the simplest and best for you. Look into being a single member limited liability company (llc) instead of a corporation.

• You’ve paid in estimated taxes so you think you do not have to file. File! Also, you only have three years to get a refund due you, so file.

• Make sure your reporting name is what’s on your Social Security card. That’s who the government thinks you are.

• If someone doesn’t send you a 1099 you think you don’t owe taxes. It’s on you to report regardless of any-one else’s poor record keeping.

• You don’t believe you will ever get audited. Some musician’s tradi-tionally poor business practices can make them inviting targets for


From the Executive Director’s desk


Is your album eligible for this year’s IBMA Awards?

IBMA 2014 SubmissionsNEWS

Hey you! Record labels & Artists:

All professional members of IBMA will receive the first ballot for the International Bluegrass Music Awards in late May. A reference list of recordings reported to have been released during the eligibility period for this year’s awards will be available at www.ibma.org, or mailed upon request.

IBMA compiles this information for members who may not be familiar or have access to actual release dates of the recordings. Once again, we are requesting the help of record companies, artists and producer members in compiling the list.

To include a project on the reference list send the following information in writing for each recording

• Recording Title

• Featured Artist/Group

• Record Label

• Catalog Number

• Commercial Release date (month/day/year recording was first made available to consumers).

To be eligible for the 2014 International Bluegrass Music Awards to be presented on October 2, 2014 in Ra-leigh, a recording album or original song must have had its first commercial release between April 1, 2013 and March 31, 2014. Since IBMA will establish the Eligible Recordings List before the first ballots are printed and mailed, your information must be received at the IBMA office in Nashville no later than May 12, 2014.

Please note: Even if you have sent IBMA information on recordings during the past year for review in the International Bluegrass, please supply this specific information again, since prior info may not have estab-lished an exact release date. Because this reference list will probably not contain every recorded project released during the eligibility period, IBMA members are not limited to titles on the list when making their nominations. Any necessary updates will be made to the list of eligible recordings posted on the website.

Your entry will be processed faster if you submit online by clicking here on our webpage. However, if you wish to send in your information through the mail, we must receive it by May 12, 2014. Please send to:

IBMAAwards Elegibility List608 W. Iris DriveNashville, TN 37208

http://ibma.org/awards/eligibility-form


IBMA 2014 Submissions NEWS

IBMA Songwriter Showcase Submissions NeededDeadline to Submit a Song: June 2, 2014

Have you written a new song that the bluegrass industry needs to hear? IBMA will host another great Song-writer Showcase to feature the work of 10 selected songwriters during the World of Bluegrass Business Conference in Raleigh on Thursday, October 2.

The IBMA Songwriter Showcase is not a contest. Its purpose is to present new, original bluegrass songs to artists, producers and labels looking for new material, as well as to other industry reps in the audience. Both veteran and novice songwriters are invited and encouraged to submit songs. Songwriters who presented original material at past IBMA Songwriter Showcases are not prohibited from submitting a CD again for this year, but they should present a different song.

IBMA Songwriter Showcase Application Procedure:Email an mp3 file with lyrics in a Word document to [email protected]. OR submit a CD of one original song to: IBMA Songwriter Showcase; 608 W. Iris Drive, Nashville, TN 37204 by June 2, 2014.

CDs will not be returned. It is not necessary to submit a highly produced song demo. A vocal with a guitar is fine. Please send five copies of your song lyrics if you submit via USPS. There is no form to fill out or application fee to submit a song for consideration, but be sure to include your contact info: name, address, telephone & email address.

Songs must be:

*Original works OR co-written by the person who submits the CD/file *Unpublished OR not previously recorded by a major bluegrass artist or a major artist from another genre.

Songs will be chosen on the basis of:*Representation of the bluegrass genre *Potential appeal (Are they likely to draw the interest of recording artists and to get airplay by bluegrass broadcasters?) *Quality of work (lyrics, melody)*Entertainment value.

If you have additional questions, contact Taylor Coughlin at: (615)-256-3222, [email protected]

mailto:[email protected]

mailto:[email protected]


APRIL 2014Industry NEWS

On the Charts as reflected at press time

Association Assertions

Billboard: Live by Steve Martin and the Steep Canyon Rang-ers feat. Edie Brickell debuted at number one; The Bluegrass Album by Alan Jackson at number two; Love Has Come For You by Steve Martin and Edie Brickell at number three.

Bluegrass Today Monthly Airplay: “All I Was To You” by Newtown (Written by Charles James Cain) at number one; “Streets of Baltimore” by Del McCoury Band (Written by Tompall Glaser, Harlan Howard) at number two; “Wild Moun-tain Honey” by Junior Sisk and Joe Mullins (Written by Arthur Q. Smith) at number three.

Singing News Bluegrass Chart: “When I Get Home,” by Primi-tive Quartet (with Smoky Mountain Reunion) at number one; “Revelation Song,” by Chigger Hill Boys & Terri at num-ber two; and “It Could Happen In A Moment,” by Mountain Faith at number three.

Bluegrass Unlimited songs: “I’m Putting On My Leaving Shoes,” by Big Country Bluegrass (Writ-ten by Tom T. Hall, Dixie Hall, Troy Engle) at number one; “The Devil’s Train” by James King (Written by Cliff Carlisle, Mel Foree) at number two; “Dear Sis-ter,” by Claire Lynch (Written by Louisa Branscomb, Claire Lynch) at number three.

Bluegrass Unlimited albums: The Streets of Baltimore by Del McCoury Band (McCoury Music) at number one; Three Chords and the Truth by James King (Rounder) at number two; It’s Just a Road by The Boxcars (Mountain Home) at number three.

The Kansas Bluegrass Association held their annual KBA Winter Fest in February. Hall of Fame honorees included Pat Audley, Carl Duncan, Delbert Reser, and Orin Friesen. Top tier performers The SteelDriv-ers and Chris Jones and the Night Drivers played, along with regional bands The McKinney Sisters, and The Ready Brothers.

The Southeastern Bluegrass Asso-ciation announced a new jam site at Reel 2 Reel Recording Studio in Jonesboro, GA. On the 3rd Wednes-day of each month, pickers will be invited for instrument workshops and special performances, followed by two hours of open jamming.

The Bluegrass Music Association of Maine announced the bluegrass music scene in southern Maine will have a new place to call home in Westbrook. The venue is a former home to Event Records will book Americana acts, serve food and drinks, and will be a place for musi-cians to come and hone their craft!


INDUSTRY NEWS

For the Record

Compass Records has announced that John Cowan has signed with the label, and that his next al-bum, SIXTY, will be released some-time this summer.

Russ Carson is the new banjo player for Ricky Skaggs and Ken-tucky Thunder. Carson had played with Audie Blaylock and Redline the past three years.

The Gentlemen of Bluegrass have signed with Pinecastle Records and recently released their first album with the label called Carolina Memories.

Apple has introduced CarPlay, which allows users to connect their iPhone to their car’s interface, en-abling navigation, call, message and music capabilities from the car’s dashboard.

FreshGrass, a fairly new and in-creasingly popular festival held at the Massachusetts Museum of Con-temporary Art, has acquired the blog No Depression.

Wanna be the next bluegrass idol? Your chance is at Bluegrass on the Plains festival, on May 27 in Au-burn, Alabama. First prize includes a free CD demo recording with Mt. Fever Studios, and more. Visit the website to apply. Good luck!

The Blue Ridge Acoustic Uprising will present a musical instrument and vintage musical instrument auction on Saturday, April 12th at

5:00 pm as part of the event at the Wytheville Meeting Center. Infor-mation on how to register for the musical instrument auction is at the website www.acousticuprising.com as well as all other information for the entire event.

Rob Ickes has announced the debut of three new Scheerhorn/Resophonic National Guitars. These are all L-body, solid wood guitars designed by Tim Scheerhorn and made in the USA and can be pur-chased at RobIckes.com.

Roland White has announced his band is in the studio recording a new album that should come out this year. This will be the latest ef-fort from The Roland White Band since 2003.

WAMU’s Bluegrass Country in Washington D.C. has opened a

theater! The Black Box Theater will serve as a great setting for live broadcasts of bluegrass music in front of a studio audience. Local DC bands Bud’s Collective, Patux-ent Partners and Bill Emerson and Sweet Dixie helped kick off the grand opening event on March 21 with the crew at WAMU.

A recent Belk department store ad featured the ever-dapper Steep Canyon Rangers for a two-page spread in a Raleigh, NC newspaper in March, proving that bluegrass has some style!

Rhonda Vincent has renewed her sponsorship agreement with Martha White and has celebrated with a new bus wrap! You won’t be able to miss it when Rhonda rolls through your town.

Deering Banjos has introduced a new item for their players, a custom-gauged set of Terry Bau-com strings. They can be purchased on Terry’s web site or from Deering dealers.

Jesse Smathers has joined Nothing Fancy as their new guitar player and tenor vocalist.

Mountain Fever Records has an-nounced Breaking Grass has signed to their label. A new single from the band will be released in April, and a full CD of original music (their third) to follow.

http://www.bluegrassontheplains.com/id17.html

http://www.bluegrassontheplains.com/id17.html

http://www.acousticuprising.com/

http://www.robickes.com/store.cfm?pth=Resonator%20Guitars

http://www.deeringbanjos.com/collections/banjo-strings/products/deering-terry-baucom-banjo-strings


HEARD ROUND THE WORLD

The Spinney Brothers (Canada) have announced their first ever European tour in April with shows in the Netherlands, Germany and Switzerland.

Lilly Drumeva successfully completed her Fulbright research time in the U.S. She recorded more than 50 interviews with bluegrass and country music professionals and will write the first ever book of bluegrass history in the Bulgarian language. You may read some of her articles at www.lillydrumeva.net.

Monogram, from Czech Republic, is at it again after a two year hiatus. They have added new guitarist Jindra Vinkler. Learn more at www.monogram.cz.

The 22nd Beppe Gambetta International Acoustic Guitar Workshop will take place August 10-17 in Ambroz pod Krvavcem, Slovenia. Jack Lawrence, U.S. flatpicker and former partner with Doc Watson, and Doug Cox, a musician, songwriter and producer from Canada are set to teach.

Finland’s Jussi Syren & the Groundbreakers has released There’s No Greater Message, their first gospel album. Sample tracks can be heard on the band’s website and on Jussi’s blog, and the album can be bought for €20 through the merchandise page of the website.

April

http://www.monogram.cz

http://www.syren.fi/

http://www.syren.fi/

http://jussisyren.wordpress.com/

http://syren.mycashflow.fi/

29

Charles AnascoRobert Ballard

James BeckSteven BeverlyTiffany BurieKevin Carter

David ChichesterAthelia Chongasing

Colleen ClancyOwen Combs

Michael EdwardsRegina FerencePau l Foley Jr.

Ken GoodsonWendy HamerJoyce HarrisScott Jackson

Charles JohnsonMargaret KerrDiana Koehn

Maureen LavisEdward LeCarpentier III

Syd LepineCindy LochbaumIrene Lundquist

Mike Lynch

David MabenLubos Malina

Diana McDuffeeMary Ann Miller

Terry MiltonBenjamin Minton

Jay MolvieMichael Moody

Flora MorrisBill MullinsEmily Olson

Stephen ParkerJerome Parnell

Jeff PowellRick Samuel

Sonia SamuelsAllison SandlinJack Shannon

Mary ShumwayDavid WardBryan West

Hilda WetheringtonJeff WilliamsonRichard Zerance

Jeri Zerance

NEW MEMBERSWelcome new members: April 2014

Make a donation today. Visit the Foundation website or call 615-256-3222 for information.

Some examples of programs that can grow under this umbrella:

• Bluegrass in the Schools (grants, workshops, other resources)

• Academic conferences

• Literary work and related efforts

• Public artistic presentations of an educational nature

• Historic preservation

• and other works of a charitable nature

Created in 2007, the Foundation for Bluegrass Music is a non-profit charitable organization

(501c3) created to serve as an “umbrella” under which funds can be placed and disbursed to support educational, literary, artistic and historic preservation activities of public benefit.

DONATIONS may be designated to create or sustain a particular program or may be

unrestricted. And by combining it with the gifts of others, the legacy of the music and your contribution grows and takes on even greater importance.

All gifts – no matter the size – are acknowledged and are tax deductible as a charitable donation.*

Vol. 29 No. 4 April 2014International bluegrass

international bluegrass april 2014

Documents

bluegrass community

bluegrass professionals

members of ibma

ibma fax

trade association

amanda smith

kenny flatpicking

editorby taylor c oughlinokay