Status: Single
City: MOBILE
State: Alabama
Country: US
Signup Date: 2/18/2006
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Wednesday, September 09, 2009
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Current mood:  chipper
Category: Music
Saturday, September 19th, 2009 our own Mobile Botanical Gardens is hosting an annual event to promote awareness of our gardens with the second
"Bluegrass In The Gardens"
bring your instruments ( for the 'pickin' circle) , ice chests, lawn chairs and join us!
Picnic on the great lawn food and fun for all Ice chests welcome
$10 advance, $15 at the gate 11 yrs & under free
2 until 8 pm
5151 Museum Drive 251-342-0555
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Tuesday, February 03, 2009
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Category: Music
Review: 'Songs of the South' a joyous celebration Monday, February 02, 2009
By THOMAS B. HARRISON Arts Editor
The stars fell on Alabama on Saturday night. Rather, they descended and rose again, like the South itself, in an electrifying concert before a near-capacity Saenger Theatre audience that could have stayed all night. Mobile Opera's "Songs of the South," a one-night-only event, put an emphatic punctuation on January and officially signaled the start of a season of celebration here on the Gulf Coast. The hits just kept a-comin' — jazz, blues, bluegrass, country, Celtic and spiritual. Those who endured the infuriating snarl of downtown Mobile traffic certainly got their money's worth: more than three hours of music, minus a 25-minute intermission, and more memorable images than a Crimson Tide highlight reel. Credit Scott Wright for the clean, spare look of the concert, which put the focus on the music and the folks presenting it. The lighting was just right. Kudos to Hal France, interim artistic consultant for Mobile Opera, for pulling together an evening that included soloists Paula Broadwater, Emily Pulley, Phillip Manuel and Timothy Noble; plus the Mobile Symphony Orchestra, Mobile Opera Chorus, Mobile's Singing Children, the Celtic ensemble Mithril, bluegrass quartet Delta Reign and the incomparable jazz pianist Willis Delony. The evening got under way a few minutes late with violinist Tom Morley (Mithril and Delta Reign) playing the melancholy Aire from the film "Cold Mountain" and "Legends of the Fall" accompanied by France on piano. Morley's intro set the tone for the remainder of an evening during which singers and musicians were at the top of their game. Among the highlights of a long first half, Mobile's Singing Children delivered a spine-tingling rendition of "Motherless Child," followed by Broadwater's poignant "Through the Eyes of A Child." Morley returned with Mithril to delight the audience with a trio of Civil War jigs, which had toes tapping on two levels of the old theater. The group closed its set with three reels that left the audience longing for more. Delony emerged to perform a great old Johnny Mercer Tune, "I Thought About You," and remained to accompany Noble on a terrific performance of "One for My Baby." Delony also stuck around to play for Phillip Manuel, a crowd favorite on this night, who sang "Do You Know What It Means to Miss New Orleans." We do now. Texas native Pulley, who will return in March to sing "Susannah" for Mobile Opera, got to sing "Waltz Across Texas" for the first time — and she led the audience in a clap-along for "Deep in the Heart of Texas." Not to be outdone, Broadwater had a high old time with "Mobile," and she had plenty of backup. The first half concluded with some authentic bluegrass from Delta Reign, highlighted by the voice of Benita Murphy and the banjo of Pat Murphy. Both returned in the second half for a luminous and haunting "Wondrous Love." After a lengthy intermission, Mobile Symphony took the stage for a jaunty "Saints Go Marchin' In," followed by a richly textured Hoagie Carmichael number, "Skylark." Manuel returned for "Basin Street Blues," on which he delivered some impressive scat-singer effects. The audience adored him. Broadwater had an opportunity to channel Patsy Cline with the achingly beautiful "Sweet Dreams" and "Crazy," which she performed flawlessly. Afterward, she smiled at the audience and deadpanned: "No pressure!" Of course not. Such a concert demanded an impressive closing, and "Songs of the South" gave us an ending in three parts: a stirring rendition of "American Anthem" featuring the Opera Chorus; the full company singing "Stars Fell On Alabama" — not a dry eye in the place; and "Battle Hymn of the Republic." The audience responded with a thunderous standing ovation. For an encore, the company launched into Lynyrd Skynyrd's "Sweet Home Alabama," on which everyone sang and clapped along — and no one remained seated. Mobile Opera can be justifiably proud of Saturday's performance, which was by turns brilliant, inspired and great fun for those who attended. "Songs of the South" was an historic moment for Mobile's performing arts, which for one evening defied the doom-and-gloom economic news and packed the house for one of the most astonishing musical events in the past decade. ©2009 Mobile © 2009 al.com All Rights Reserved.
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Friday, March 21, 2008
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Current mood:  focused
I’m so excited!... after this long hiatus, I feel like we’re finally gettin’ goin’. We did our first show March 1st with our new incarnation; newest member, Dennis Gould on bass, Tom Morley on fiddle, Pat on banjo, and me on guitar. It was for the USM Roots Reunion at the Saenger theatre in Hattiesburg, MS. It was a packed house and I was a bit nervous, back on guitar for the first time, but overall, I think it went off better than we all anticipated. Got a lot of very positive feedback and made some great new friends. (check out our first You Tube video from Roots Reunion, just from a camera...hope to be getting some more up...
click here: http://www.youtube.com/watch?v=PCCJU1g2J84)
We are all really pumped about the future of the band. Dennis has never played bluegrass before and he’s all fired up about this new genre. He’s looking up stuff, listening to bluegrass, wanting to practice a lot, even confessed to his friends that he’s crossed over to the dark side and is playing bluegrass... I think we’ve created a monster! Good for us...he’ll keep us on our toes...I just hope we won’t bore him to death!
Our original plan was to continue recording... but right now we’ve put it on the back burner briefly, until we can bring Dennis up to speed on all of our Delta Reign material. THEN, we can’t wait to start recording the new stuff with creative input from Dennis and Tom. Dennis can also engineer in the studio...he does all the pro tools stuff so Pat will be glad for help with the load...(someone else to take the blame besides Pat!)
We’ve been having some creative practices with Tom and Dennis. I’m back on the move with booking and promoting the band and hope to soon be filling up our calendar. I know it should already be full, but I really needed that hiatus... and it paid off! I’m rearin’ to go. We do our first home town gig next Friday, March 28th, at our local haunt, the Hurricane Brewing Co. on Dauphin St. in downtown Mobile. So if any of you locals can, come on out and hang with us. Bring 68 of your closest friends, get some food, harrass the banjo player and the new bass player! I’ll help. So until then, take care, See ya, Benita
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Thursday, January 17, 2008
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Hey ya'll, In case anyone is wondering why Delta Reign doesn't have many shows posted, it is because we are taking a planned hiatus for a couple of months. We have been so busy these last couple of years, we felt that we needed a break to refocus, re-energize, regroup, AND record. The first two weeks I actually did nothing. It was wonderful! I did take a trip to Homosassa, FL to see my grandaddy for his 94th birthday. He's doing great and we had a fun trip. I have some new songs that I've been working on and am taking my time to get them like I want and try to record them without the pressure of a deadline...that's a good thing. Don't worry though, we'll be back sooner than you think. The calls are coming in as I write this. (I may have a deadline afterall...) Hopefully we'll hit the ground running sometime in March. So, take care and stay in touch. We'd love to hear from you.
Benita Murphy ~ Delta Reign
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Wednesday, July 11, 2007
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Bluegrass Now Magazine, July issue, 2007 reposted with permission Delta Reign, Delta Reign Down on the Delta by Don Kissil
Circumstances being as they were, for a few days I found myself in Mobile, Alabama and that's very far from my home in New Jersey. Down there is where raw oysters, which I love, cost only 25 cents a piece, (they call 'em nude oysters there) while up in NJ, they go for more than 10 times that price.
There, I meet this classical fiddler, Tom Morley, and he says..."If you like bluegrass, you need to hear these friends of mine. I'll send you their CD. It's self produced, and it's good."
So like that famous mandolin player often says "I told you that, to tell you this" ... in between my dreams of nude oysters, here's my review.
Delta Reign consists of only three people. Benita Murphy is on upright bass and lead vocals, her husband, Pat Murphy sings, plays banjo and sometimes fiddle, and Norman Jeter plays guitar and harmonizes too. Their Gulf Coast music fuses traditional bluegrass with Western Swing and features lots of jazzy guitar licks that really stand out. Benita's singing is strong, resonant, deep, clear and ...to my ear, a perfect female bluegrass voice.
She does some nice and different arranging of some traditional tunes like "Darlin' Cory" and "Don't You Hear Jerusalem Moan'." Pat wrote a "feel-good" song that reflects his upbringing called "Down on the Delta."
Most notably, instead of crowding their first CD with originals like first albums often do, they include lots of country covers, ("Folsom Prison Blues," "There'll be no Teardrops Tonight" and "I Can't Get you Off My Mind."), some folk, ("Southbound" and "Wayfarin' Stranger,") and even the bluegrass classic, "Train 45." All of this they do in their patented "Delta-Grass" sound.
Norm Jeter provided some outstanding, innovative licks on the guitar. Although they lasted only about one verse and a chorus, they seemed to last much longer---kind of like a jazz player's break.
This is a good first CD and I hope to hear more from Delta Reign. DK ~ Bluegrass Now Magazine, July issue, 2007 reposted with permission
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Wednesday, July 11, 2007
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Hi ya'll I hope everyone's enjoying thier fourth of July...not too busy this month as far as performance dates for Delta Reign. I am still working on that...But we do have our first major CD review in the July issue of "Bluegrass Now" magazine. You can find it in Barnes and Nobles stores (except in Mobile where I bought the last two!) You can go online and look http://bluegrassnow.com. I am busy this month trying to book festivals and shows on into fall and '08 on the heels of this review and other new references. I also plan on taking some time to do some songwriting this month as well. Our songs are also getting some airplay on a couple of radio stations, internet as well as some smaller stations around the country. One internet radio station that I'd suggest that you listen in and support is "World Wide Bluegrass". Gracie Muldoon is the owner and general manager and she is doing a great job being involved and promoting bluegrass. They have a great website and several DJ's on the schedule that broadcast from around the country. It's a real family there with a message board and Chat room. So listen in and if you want, you can request our stuff..tell 'em Delta Reign sent ya! Here is the link: http://worldwidebluegrass.com Put 'em on your favorites..click on listen and let it play... Well, that's all for now, here are our dates this month: Saturday, July 7th. ~ Hurricane Brewing Company 8 til 11 ~ 225 Dauphin St. ~ 445-254 We seem to have a little following there, come on out. We'll only be there once in August. Thursday, July 12th ~ "Market in the Park" Mobile Museum of Art ~ 3 til 7 (they have a farmers market,etc. similar to what they have downtown at Market in the Square) 4850 Museum Dr. 208-5200 Sunday, July15th ~ "Bluegrass Mass" Church of the Redeemer (Episcopal)~ 10:15 at the corner of Cody and Hitt Rd. Friday, July 27th ~ Hurricane Brewing Company 8 til 11 ~ 225 Dauphin St. ~ 445- 2544 See ya soon! Benita ~ Delta Reign
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Thursday, November 16, 2006
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» More From Today's Press-Register
Entertainment Columnist Lawrence Specker » Time for some local listening Friday, November 10, 2006 The second week in November finds me in a familiar place: peering out from behind a stack of local albums that have been waiting for some overdue attention.
Our region tends to enjoy a span of fine weather from late September into early November, and we capitalize by going on a spree of festivals, fairs, concerts, block parties and other outdoor happenings. But while we've been doing that, it seems, many of the area's musical talents have been releasing material they worked on through the summer months.
Now it's time for a listening party. The backlog adds up to more discs than I can get to this week, so rest assured that there's more to come. Up today are a trio of works from veteran area players, a selection that spans the territory from blues-rock to bluegrass to countrified Southern rock.
Reign day
Benita Murphy, the bassist, principal arranger and lead vocalist for Delta Reign, calls it "bluegrass -- but."
It's a phrase that has come up a lot, she said, when she's tried to convince new venues to book the band. As in, "we play bluegrass -- but you don't have to be a bluegrass purist to enjoy it."
It's a sales pitch that should be easier to make now that the trio -- which also features Norman Jeter on guitar and Pat Murphy on banjo -- has its debut album to present as a calling card.
"Down on the Delta" crystallizes "a couple of years of working pretty hard at it," as Pat Murphy summed up the band's career. It also does a fine job of illustrating what band members are talking about when they describe their music as a blend of bluegrass and western swing.
How does that concept work out in practice? You might call it a low-tension version of bluegrass.
Mandolinist Phil Proctor of the Dog River Boys sits in on occasion (and contributes to this album as well), and Pat Murphy occasionally picks up the mandolin or fiddle, but the basic Delta Reign mix consists of banjo, bass and guitar.
Doing without fiddle and mandolin, two high-pitched instruments commonly dominant in bluegrass, means Delta Reign's music has a lower center of gravity, tone-wise. Benita Murphy's vocal range also is lower than the usual "high lonesome" territory.
Trios are a rarity in the bluegrass world -- so much so, the Murphys said, that they are sometimes told by festival organizers that they'd prefer it if the group showed up with a fourth picker. But as is often the case with players in rock and jazz trios, the Murphys said they're drawn to the format because of the space it offers.
Happily, they make that space a part of the music, rather than drowning it out the way a rock power trio might. Delta Reign's tempos tend to be more in keeping with western swing's amble than the bluegrass scramble, Jeter's guitar lines tend to be more lyrical and less percussive than the bluegrass norm.
"We come from a background of traditional," Benita Murphy said. "We honor our roots."
But "Down on the Delta" is about a tradition that's all their own. They take some genuine bluegrass standards in unexpected directions, such as a jazzy turn on "Wayfarin' Stranger" and a tight bounce on "Don't You Hear Jerusalem Moan."
They also transform some songs that never have been bluegrass standards -- Johnny Cash's "Folsom Prison Blues," Hank Williams' "There'll Be No Teardrops Tonight" -- and fool you into thinking they might have been. One particular highlight is "Ready For the Times to Get Better," an Allen Reynolds composition that was a late '70s hit for Crystal Gayle.
Aside from the instrumental track that gives "Down on the Delta" its name, this is an album of covers. Now that they've learned the ropes with this effort, recorded at Pat Murphy's own Back Door Studios in Mobile, the Murphys said they're eager to follow up with an album of original material. That might see them heading in a different direction.
"Where we see it going is more Americana," Pat Murphy said. "There's no stereotypes in that genre. Anything goes."
In the meantime, "Down on the Delta" is something to savor, especially for folks who think Lower Alabama should serve its bluegrass with a twist.
The album is available locally at Satori Coffee and Carpe Diem in Mobile, Bay Sound in Daphne and Dr. Music in Fairhope. You also can find it online at www.cdbaby.com and iTunes.
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Sunday, November 05, 2006
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This speech that Ron Block (banjo player with Allison Krause) gave at the IBMA in Oct. 2004, really expresses what we feel about our music. We LOVE our bluegrass roots, but read on....
IBMA Keynote Speech Introduction: I..ve often heard the question ..What is bluegrass?.. and have not yet found a definitive answer. Viewed in its outer clothing, bluegrass is a music form started in the 40s by Bill Monroe and his companions using mandolin, fiddle, guitar, bass, and banjo. Duets, trios, and gospel quartets. Suits. Fiddle tunes. Etcetera. We..re all familiar with the outer form of the music, and I don..t need to talk any more about it; I..m sure many of the people in this room know more about exact bluegrass history than I do.
But still, an understanding of the music is crucial to its future well being. As an occasional reader of the Bluegrass-L, I..ve seen some interesting food for thought - and some junk food - in the past few years, and it..s forced me to try to think more clearly about what this music is at its heart. The variety of answers I..ve seen to ..What is Bluegrass.. shows the subjective and complex nature of the question. Some say that without a banjo a song isn..t bluegrass, which leaves large parts of the original Monroe repertoire out of the picture. Others put everything from The Carter Family to The Flecktones in the bluegrass category.
There are absolutes as to what can be considered as being within the genre - James Taylor and AC/DC are not bluegrass, while Flatt and Scruggs and the Johnson Mountain Boys definitely are. But in general, I..ve found that attempts to define the exact particulars won..t bring much light because of our human subjectivity. We each bring our unique experiences in life as our personal background to the question.
So I began to ask myself a different question.
Part 1: Tradition and Imitation
What are some of the elements at the heart of the music? What are a few of the truths that can be learned and assimilated from the music of the founders? Some of the health and growth of bluegrass in the next few years depends on individuals consciously understanding and applying the underlying truths of the music. I..ve begun to see three foundational ideas. The first is a love and respect for the roots. I spent some time recently looking through The Bluegrass Reader by Thomas Goldsmith, and some Bill Monroe quotes on his love for tradition caught my eye:
..I have always been proud of the people I came from in Kentucky and growing up the way I did in the country and to learn what old-time music was really all about and to study it ever since I was a young boy.....
..We would go to this real old house called the Lizer place, and this man...played the fiddle...We..d walk there, and there was a good many in the room listening to them play and..I thought that was awful pretty music... numbers like ..Turkey in the Straw.. and that kind of stuff. They..d play ..Cacklin.. Hen.. and he could really play that. It was something to go knowing you was going to hear some music that night...
..The first time...I ever seen Arnold Schultz...this square dance was at Rosine, KY, and Arnold and two more colored fellows come up there and played for the dance....He was powerful with it. In following a fiddle piece or a breakdown, he used a pick and he could just run from one chord to another the prettiest you..ve ever heard. Me and him played for a dance there one night and he played the fiddle and we started at sundown and the next morning at daylight we was still playing music - all night long...
..Uncle Pen fiddled all his life...His last days in Kentucky, me and him would play for square dances wherever they would want a fiddle and a guitar. They..d clear a room out and me and him would play for the dance. And we..d make three or four dollars apiece, something like that. And he..d always give me just as much as he made. If it was six dollars he..d give me three of it. And he had the best bow movement with a fiddle bow that you have ever seen in your life. He could really shuffle...
I hear a deep fondness in those memories, a love and respect for the musical traditions of his childhood. Those traditions became the necessary background and foundation for the music he created in the 30s, the 40s, and beyond. These early sights and sounds kindled his passion.
When I was first learning to play banjo and guitar in southern California in the late seventies and early eighties, John Hickman blew my mind by giving me live tapes of Flatt and Scruggs, Jimmy Martin, J.D. Crowe, and others. I was hooked, and developed a deep love and respect for the more traditional side of bluegrass. As the music in Southern California got further and further from its roots during that time period, some like me reacted and went deeper into the source. I spent several years listening to nearly nothing but traditional bluegrass, hours upon hours learning solos by Earl Scruggs, J.D. Crowe, Larry Sparks, George Shuffler, Clarence White, and others. That..s the foundational part of any musician..s development, and I..m sure many of us can tell a similar story. Imitation is the sincerest form of flattery. And as the years go on, I still spend time studying the music of the founders.
Part 2 The Leap: I Can..t Be ________, So I..ll Just Be Myself
But imitation can only take us so far. There comes a time when we realize we can..t be our heroes; I had to realize there is only one Earl Scruggs, one J.D. Crowe, one Larry Sparks, one Clarence White, and so on. Others tell a similar story of trying to be like their heroes and then finding their real musical selves through failing to reach their goal.
J. D. Crowe: ..When you get older (you) start realizing that you can't beat a man at his own game. Earl had done it, he'd been there, he started the whole thing off. What you really need to do -- and what I did do -- is take what you get from someone else and add to it from other people or your own ideas. You start to put in licks of your own or licks from guitar, piano, or whatever you listen to. I heard things a little differently and I heard things that I could play that I didn't hear him play."
Bill Monroe: ..There..s things in my music, you know, that come from Arnold Schultz - runs that I use in a lot of my music. I don..t say that I make them the same way that he could make them, ..cause he was powerful with it. In following a fiddle piece or a breakdown, he used a pick and could just run from one chord to another the prettiest you..ve ever heard. There..s no guitar picker today that could do that...
Tony Rice: "I tried for a good many years to play like Clarence White..and of course I found out I couldn't do it..and then I would catch myself playing something and say, 'Well, maybe I can get it as close to the way he would play it as I can,' and as a result of that came my own sound....That process just kept repeating itself over the years til I had my own musical identity....while still retaining that respect and admiration for Clarence White that I will always have."
The process of outer imitation leads to an inner realization: ..I can..t play just like my heroes. I have to forge my own path, find my own musical identity... And that..s really the goal for all of us; imitation is the school for that goal. We have to go through our years of trying our best to sound like our heroes, just as a child imitates the parents in the early years before learning to be the one-of-a-kind personality he or she was created to be. And even then, the growing process continues as we keep reaching to appropriate more and more of our own personal vision.
Part 3: Innovation
One of the major keys to bluegrass.. passion and endurance through the years is originality. Bill Monroe, Lester Flatt, Earl Scruggs, and the rest were not traditionalists by any stretch; they were radical innovators. They had soaked up tradition and the music of their time into their consciousness and then output it in a new and sometimes shocking form. Throughout bluegrass history, the story is the same - think of these names and how their music continued to revolutionize the music: Reno and Smiley, who gave us banjo innovations and a more country approach to bluegrass singing; Jim and Jesse; the Osborne Brothers, who introduced the high lead, new types of songs, and Sonny..s new twist on banjo; The Country Gentlemen, with Charlie Waller..s more relaxed approach to singing, and more complex chord progressions; Clarence White, who, like Earl Scruggs, created a lead style which finally clearly defined what bluegrass guitar was all about; J.D. Crowe and the New South, which gave us the 1975 album, need I say more? Then there..s Tony Rice; Jerry Douglas; Ricky Skaggs; Stuart Duncan; Hot Rize; Doyle Lawson and Quicksilver, the Nashville Bluegrass Band. The list goes on and on. Nearly all of the revered players in the music began by imitation, and then through a process of listening to other forms of music, introduced new elements into the bluegrass sound. Tony Rice has loved jazz for decades; Jerry Douglas.. influences and musical loves are beyond listing; Stuart Duncan is a textbook of traditional fiddle and listens to other genres. J.D. Crowe likes early rock and roll.
J.D. Crowe: "If someone can turn on the radio and hear you and know immediately who you are, thats the key. Having your own style and sound. Thats what makes a pro. You can take ideas from people, but you don't ever want to be a clone".
Tony Rice: "I hope that aspiring young players are able to look at this (instructional video) and that it inspires them not only to play music but also to not be afraid to play some of the things that they're hearing in their own head, and not be afraid to try their own approach to rhythm, lead, all aspects of musicianship in general. To me, that's that would make it a more beautiful musical world out there if there were more people who had a musical identity to share." "It's up to the individual player to hopefully start to establish their own identity as a musician."
Bill Monroe: ..The beat in my music - bluegrass music - started when I ran across ..Mule Skinner Blues.. and started playing that. We don..t do it the way Jimmie Rodgers sung it. It..s speeded up, and we moved it up to fit the fiddle and we have that straight time with it, driving time....When we started here on the Grand Ole Opry, ..Mule Skinner Blues.. and ..John Henry.. were the numbers we tried out with. And it was something different for them, and they really wanted it...
..We was the first to ever wear a white shirt on the Opry or wear a tie. We was the first outfit to ever play in B-flat or B-natural and E. Before that it was all C, D, and G. Fiddle men had a fit and they wouldn..t hardly tackle it and they figured that that..s where I should sing. And that..s where bluegrass really advanced music...
..There wasn..t a quartet on the Grand Ole Opry before us...
Bluegrass, like Jazz, is a music of firsts, of innovations, of breaching tradition. In order for the music to continue, creativity and individuality have to keep on pushing. Sometimes that means working within existing traditions, like Jim Mills or Tom Adams, innovating within existing forms; other times it means breaching traditions and bursting forth in a new genre, like the Dawg and New Acoustic music created by David Grisman, Tony Rice, and others.
Lester Flatt: ..Bill came and found me and said, ..I want you to come and hear this young banjo player from North Carolina and see what you think... I told him as far as I was concerned he could leave it in the case....But when I got backstage there was a crowd gathered around to watch this boy. I worked my way through to where I could hear him and see him, and I was just dumbfounded. I had never heard anybody pick a banjo the way he did. He..d go all over the neck and do things you couldn..t hardly believe. Bill said, ..What do you think?.. I said, ..If you can, hire him - whatever the cost...
Innovation and creativity are hallmarks of the bluegrass sound. In the early Monroe Opry show recordings, the audience goes absolutely nuts every time Earl Scruggs starts taking a solo, as if he were doing something they'd never heard before - because they hadn't ever heard anything like it before. He had created techniques on the banjo which were previously unthinkable - he had assimilated tradition and then got creative with it. He wasn..t sticking rigidly to a preconceived notion of what he could and couldn..t play; he experimented. The live tapes of Flatt and Scruggs document his continual experimentation.
If a person is not rigidly traditional, he or she can innovate within the boundaries of tradition -- but usually even that involves stretching the boundaries a bit. Innovative people are often viewed as heretics by those who hold tightly to the established tradition. Bill Monroe and Earl Scruggs were country music heretics. They didn..t stick with the country music tradition of the day, instead choosing to create a highly personal expression of their musical influences and innovations. Tradition is the word for an innovation that through time was revered and copied and preserved.
I..ve adapted a quote from my favorite bluegrass philosopher, the jazz guitarist Pat Metheny: ..In order to play (bluegrass) and make it have meaning, you have to tell your own story in your own words. To adopt the mannerisms, techniques, and 'idiomatic effects' of a master...in the name of authenticity to an ideal of a 'pure' style is to automatically disqualify yourself from singing your own song. For me, everything I play is...the manifestation of my own personal relationship with music...I would say that the guys who are generally agreed to be the best (bluegrass) players are among the most successful musicians ever at manifesting into sound their reality as people. The same way they aspire to communicate the things that they have found to be true, so do I. But the first priority for me is to use my own experiences and imagination to tell my own story, because that's the only one I can tell that will be true -- the essential quality that any great music must have to resonate...
In order to do what the founders of bluegrass did, we have to first learn the outer form; we learn that by listening, by imitation. But sooner or later we move on into the heart of the outer form. We have to switch from imitation to using the music as a means to tell our own story, to show our own personality, to express our own ideas. Honesty is what makes the most heartfelt music. More than anything else, bluegrass is always in need of risk takers, innovators, and creativity, those who are willing to be themselves musically, because those attributes were stamped into the music..s genetic code at the very beginning.
This music is paradoxical at heart; the inherent paradox shows itself in the outer polarization of ..Purist.. and ..Progressive.., as if the music could have one without the other. The tension between the opposites in the music itself is a source of much of the passion and excitement of the bluegrass sound. This music is built on tradition, but it strains against tradition as each generation works to make the music relevant for itself. The roots of the tree hold it steady as it reaches for the sky, as it stands in the wind. If the roots don..t hold, the tree falls and dies. If the tree stops reaching and growing, it might be dead already.
Does all this mean I..m somehow against people playing traditional bluegrass? Not at all. When I listen to bluegrass, it..s usually J.D. Crowe, Jimmy Martin, Flatt and Scruggs, Bill Monroe - the more traditional side of things. And I love hearing people like Jim Mills and Tom Adams, who innovate closer to home. The music itself is a tension between two opposites - the traditional foundation and the creative heart. Take the traditional foundation away and the music loses its rootedness, its realness, it..s emotional power; take the creative heart out and it begins to stagnate into mere nostalgia, sometimes even bordering on parody. We need both sides of the paradox in order for the music to remain healthy. Whether a purist or progressive or somewhere in between, the point is to find our own musical identity and then go on improving our expression of that.
The trouble is, it always seems safer to merely imitate, to do what has been done, to do what has been proven and tested. But living in the merely imitative state is fertile ground for unhealthy competitiveness. As long as we are trying to play or sing or write like someone else, there are other people out there who can do it better. But when we find our own musical self and establish our own identity as a musician, nothing in the world can compete with that because it..s then that we become one-of-a-kind.
Think again of Jerry Douglas, Stuart Duncan, Tony Rice. Their very names bring their tone, their sound, their emotive power into my mind. That..s because they..ve moved beyond playing their instruments into using the instruments to express their own personalities. And that is what we are all meant to be and do, in whatever form that takes.
How does all this apply to the future of bluegrass? It means we need continued creativity in all areas: management, production, engineering, marketing, cover art, and every other part of the business. We need risk and experimentation. We need the love for and study of tradition. We need the tension between tradition and innovation even in those areas. It..s up to the individual to think of these ideas in reference to their own music, their own managing skills, production, marketing, etc. Just as some study the intricacies of the tradition, others can and do study intensely the inner workings and history of successful marketing, cover art, or booking.
There..s one last thing I..d like to say. Young people are the future of this music. It..s crucial to take the time to encourage them. Most of us remember being taught or encouraged by adults we admired. If you see a young person hit a good lick in a jam, or sing a song well, speak it out to them. That..s all encouragement is; it..s the speaking out of good that we see. Speak good to them, and it will bear good fruit in the years to come for this music.
Addendum - Oct 17, 2004
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Wednesday, August 23, 2006
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Current mood:  calm
Category: Music
Hey ya'll, I just took off our old songs and I'm uploading some of our new stuff from our "Down On The Delta" CD. Apparently it takes a while to upload. I will try to change up the songs every week or two... hope you check in once in a while. Let us know what ya think. ~ Benita ~
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Sunday, July 09, 2006
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Current mood:  exhausted
Category: Music
Hey folks, Our new CD is done and will be back from production pretty soon I hope. Wheww!...It's been a long time comin and we are having our CD release party at the Blue Gill restaurant on the causeway this Tuesday July 11th. 92 ZEW will be broadcasting it live from 7 til 8 and we'll do another set after the broadcast. It has been a grueling process getting this thing done! Hopefully now we are gonna start focusing on doing some more festivals and out of town venues. We actually have some CD's headed out tommorrow to England to demo for some possible festivals. That would be fun! Ya never know.. I'll think about that later...after all, "tommorrow is another day..." BUT, I am takin a break after the Blue Gill! See ya soon. Benita
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