2016

Alan O’Bryant – Banjo


Alan O'Bryant - BanjoAlan O’Bryant (aka OBanyon)
is best known as a singer, songwriter and banjo player with The Nashville Bluegrass Band. Originally from Reidsville, NC his career in Nashville spans some forty plus years of recording, producing, teaching and performing worldwide. His appearances have included workshop classes on banjo technique and instrument set-up, vocal and band performance dynamics and more at venues including; Suwanee Banjo Camp Live Oak Fl, Augusta Heritage Center Elkins WV, American Banjo Camp Seattle WA, Wintergrass Academy Tacoma WA, Vancouver Folk Festival, Rocky Grass Academy Lyons CO, Midwest Banjo Camp Olivet MI, Disney Institute Orlando FL, and Nashcamp in Cumberland Furnace, TN. Along with NBB and his home project studio Alan currently enjoys pickin’ with his two sons Calan and Ian, learning old time tunes on the mandolin and five string banjo and gives private lessons at The Musical Heritage Center of Middle Tennessee, “The Fiddle & Pick” near his home in Pegram, TN.

Gretchen Priest – Fiddle


Gretchen Priest - FiddleGretchen Priest divides her time between performing, teaching fiddle and running the Musical Heritage Center of Middle Tennessee (also known as the Fiddle and Pick) that she founded in 2008 in Pegram, Tennessee, just west of Nashville.
Her school teaches traditional acoustic instruments with a staff of 35, many of whom are among Nashville’s leading recording and performing professionals.

Gretchen, along with her husband Tim May, formed the band Plaidgrass by merging the traditions of Irish, old-Time and bluegrass music and the instrumentation of fiddle, bouzouki, bodhran, bass and banjo in a variety of configurations. Prior to opening the Fiddle and Pick, Gretchen toured with the bluegrass band Crucial Smith and the Celtic rock band, Ceili Rain. She is often a featured performer on the Grand Ole Opry, Mountain Stage, the Walnut Valley Festival in Winfield, Kansas, and many festivals across the country.

Ivan Rosenberg – Dobro


Ivan Rosenberg - DobroIvan Rosenberg
Since releasing his first solo album in 2001, Ivan has gained a dedicated following for his recordings of melodic, expressive acoustic music on dobro and clawhammer banjo. His original songs have appeared in the background of over 300 television programs and films including The Daily Show, Oprah, Call of the Wildman, History Detectives, HBO’s Making Deadwood, the Special Edition DVD of Serenity, and the Hollywood blockbuster Kangaroo Jack. In recent years, he earned an IBMA Award for co-writing the 2009 Song of the Year; played on the CD Southern Filibuster: A Tribute to Tut Taylor (produced by Grammy winner and Dobro legend Jerry Douglas); engineered and co-produced recordings for Pharis and Jason Romero, John Reischman, The Breakmen, and the Evie Ladin Band among others; and performed throughout North America with musicians such as Chris Coole and Chris Jones. Ivan is also in high demand as an instructor, having taught hundreds of private lessons plus a combined 40 weeks at music workshops such as Steve Kaufman’s Acoustic Kamp, The California Bluegrass Association Music Camp, 108 Mile Cabin Fever Bluegrass Workshop, NBCMS Acoustic Music Workshop, the British Columbia Bluegrass Workshop, SoreFingers, and the Grand Targhee Music Camp

O.J. Laier – Oldtime

O.J. LaierMusic has been part of O.J. Laier’s life from his early days playing trumpet in high school and a U.S. Army band to a busy teaching and performing schedule in Austin, Texas. Inspired by Earl Scruggs-style three-finger picking, O.J. first picked up a 5-string banjo in the early 70s. He was first introduced to frailing when he toured Europe in a Kingston Trio-type trio as part of his Army stint. About five years ago, while teaching guitar, dobro and banjo to students in Austin, he fell in love with playing oldtime clawhammer banjo. It didn’t take him long to get plugged into the amazing picking styles of Adam Hurt, Richie Stearns and many others. He enjoys learning fiddle tunes as a way to hone his banjo chops.

“The traditional style of playing is very addictive,” O.J. says. “If you apply yourself —and do it a lot! — it can get kind of Zen. I am a firm believer in using any and all available material to help me get where I want to go. By ear, tabs, video…it’s all good.”

David Hamburger – Fingerstyle Guitar

David Hamburger - Fingerstyle GuitarFingerstyle Guitarist David Hamburger has appeared at Merle Fest and the Kerrville and Philadelphia Folk Festivals, toured with Joan Baez and shared the stage with Dave Van Ronk, Jorma Kaukonen, Tony Trischka, Duke Robillard, Cindy Cashdollar and many others. His guitar, slide guitar and dobro playing can be heard on his solo albums Indigo Rose and David Hamburger Plays Blues, Ballads & a Pop Song and with the Grassy Knoll Boys on their debut CD, Buckeyed Rabbit. David is also a contributing editor to Acoustic Guitar and the author of several books, including the award-winning Beginning Blues Guitar and The Acoustic Guitar Method, also available on DVD from Homespun Tapes. He lives in Austin, Texas.

When I want to sound like I come from a musical background, I tell people that my grandfather was born in Harlem and learned to play stride piano by ear in the Roaring Twenties, all of which is true, if slightly misleading (Harlem used to be a Jewish neighborhood, my grandfather ran an ad agency, not a speakeasy, and he picked up his “popular piano” chops as a freshman in college). My father played piano as well, mostly Tin Pan Alley tunes, Mozart and Chopin, although one of my earliest musical memories is of running around in circles while he played “Malaguena,” until I threw up. (The other is of watching monster muppets on Sesame Street sing “Lulu’s Back in Town.”) I started on the violin in the fourth grade, discovered clawhammer banjo at a groovy New Hampshire summer camp at age 12, and was subtley re-directed towards the guitar by my mom, who thought I’d stand a better chance at parties that way. My first guitar teacher was Lucille Magliozzi, a bluegrass freak and brother to the Car Talk guys, so while my friends were decoding Van Halen’s “Eruption” I was learning fingerpicking and fiddle tunes, rendering the whole guitar/party thing a bit of a wash.

At Wesleyan University I fell in with a bad lot and, to quote Dave Van Ronk, “I wanted to play jazz in the worst way – and I succeeded.” I did, however, also have my first noteworthy gig, backing up Allen Ginsburg at a packed poetry reading my senior year. He was only going to sing a handful of tunes, but when I asked if I should leave the stage in between, he told me, “no, just stay up here and…meditate.” So I did. He was Ginsburg, after all, and gave me a big smooch on the cheek afterwards (very furry, as you might expect).

On to New York City, where I spent the first couple of years gigging with Freedy Johnston and playing on his first record, The Trouble Tree, before embarking on a decade of playing guitar, pedal steel and dobro in the city’s 1990s alt. country scene and serving as de facto house session musician for a couple of indie folk/singer-songwriter labels. Around the same time I wrote an instructional book, Beginning Blues Guitar, which led to me writing for Guitar Player, cranking out a handful more books, becoming a contributing editor to Acoustic Guitar and interviewing people like John Leventhal, Jerry Douglas and Keb’ Mo’. (That first book also wound up selling over 100,000 copies and being translated into French and Japanese, which I thought was pretty cool. After all, who doesn’t want to be known as the author of “Debutante Blues Guitar”?) After a brief stint as a Broadway pit musician and a season playing on the Food Network’s Emeril Live, I headed for Austin, Texas in 2000, where I helped start a hardcore bluegrass band, the Grassy Knoll Boys, and went on tour playing guitar for Joan Baez.

In 2004 I did my first jingle for Austin music house Tequila Mockingbird, a Krispy Kreme radio spot. Since then I’ve continued to freelance for Tequila and for Duotone Audio Group in New York, scoring commercials for Wendy’s, Autozone, Milkbone, Breakstone’s and AARP, while working directly with agencies and directors on spots and PSAs for the Lance Armstrong Foundation, the Texas Department of Transportation and others. In 2009 I began working in film, scoring When I Rise, a feature-length documentary which premiered at the 2010 South By Southwest Film Festival, and Wild Texas Weather, which has been screening six times a day, six days a week at the Bob Bullock Texas State History Museum since the fall of 2009.

In 2010 I began working with the Austin-based production company Megalomedia, scoring the one-hour reality show pilot Quintuplet Surprise, which aired on TLC in April of that year. Since then I have worked with Megalomedia on two seasons of the resulting series “Quintuplets By Surprise,” also on TLC, the first season of “Heavy” and, most recently, the first season of Shipping Wars (both on A&E) . I can also be heard every week playing banjo on the theme to the History Channel show “Swamp People,” and my music is frequently heard on the Outdoor Channel, the Green Channel, Discovery Science and, of course, the Playboy Channel’s “Search For The Perfect Girlfriend.”

But more to the point, I once played on a Springsteen remake of “The Ghost of Tom Joad.” Now me and the Boss are like this, despite the fact that, through the magic of the studio, we’ve never actually met.

Visit DavidHamburgerMusic.com

Tim May – Flatpicking Guitar

Tim May - Guitar / Dobro

For fifteen years, Tim performed with the progressive bluegrass band Crucial Smith, playing most of the high-profile festivals in the country including Telluride, Winfield and Winterhawk.  In 2002-2003 he toured with Patty Loveless in support of her bluegrass albums Mountain Soul and White Snow: A Mountain Christmas.  In 2005, he recorded on Charlie Daniels’ album Songs from the Long Leaf Pines, and was solo guitarist on the Grammy-nominated track I’ll Fly Away.

Tim has also toured with John Cowan Band, performed at the Grand Ole Opry as a member of Mike Snider’s Old Time String Band and recently played on the all-star Rounder recordingMoody Bluegrass: a Nashville Tribute to the Moody Blues, of which Mark Hurley of Higher and Higher, the Moody Blues fan magazine, said “The jaw-dropping guitar solo on The Voice would cause Eddie Van Halen to weep from insecurity.”

Besides our camp, Tim’s taught at Nashville Guitar College, South Plains College and Nashcamp, and is a national clinician for Breedlove guitars.

Of his playing, Pat Flynn said “Tim always says that I influenced him, but the truth is that I’ve learned something every time I play with him.  I owe him a lot,” and Dan Crary said simply, “Tim May has just become one of my favorite guitar players.”

Robert Bowlin – Guitar

Robert BowlinAs a Blue Grass Boy: Robert Bowlin was the last fiddler to join the Blue Grass Boys. He plays on the recording of “Boston Boy” that closes the boxed set “Music of Bill Monroe, 1936-1994”

Recording Sessions: 1/9/1994

Before and After: A multi-instrumentalist, Bowlin won the 1979 National Guitar Championship. He has created audio lessons in twin guitar and twin mandolin playing for Musicians’ Workshop, and has recorded as a sideman with many bluegrass and country artists. He has been a member of the Osborne Brothers’ and Kathy Mattea’s bands, and currently plays lead guitar and fiddle with the group Shady Mix.

For more information about Robert, visit: https://RobertBowlin.com

Wil Maring – Songwriting

Wil MaringAs Wil Maring sat for long summer hours as a teenager at her family’s roadside vegetable stand, picking out self-made tunes on her Sears guitar to pass the time, she never dreamed of the path she would one day follow. Wil has become a highly acclaimed songwriter, a previous winner of the prestigious Chris Austin Songwriting Contest at Merlefest, and has appeared on the Grand Ole Opry with her original music, in addition to touring extensively in Europe and Japan. She honed her songwriting skills playing music professionally in Europe with her group Shady Mix.

Wil Maring and virtuose guitarist and fiddler Robert Bowlin have been recently combining talents to create beautiful original acoustic music which straddles the fence between bluegrass, folk and country music. Wil’s beautiful airy vocal style and heartfelt lyrics have raised the eyebrows of the acoustic music world in recent years with the release of her three solo cds and four band cds with her band Shady Mix. Robert, a two-time National Fingerpicking and Flatpicking Guitar contest winner, has been a band member with legendary artists like Bill Monroe, Maura O Connell, Kathy Mattea, the Osborne Brothers, and many more. Their music will leave audiences spellbound long after the show is over. For bigger venues, Wil sometimes appears with whole band, Shady Mix, which includes instrumental lineup of upright bass, fiddle, mandolin, and sometimes banjo.

As Dave Higgs, respected host of Nashville Public Radio’s nationally syndicated bluegrass program describes the performance: “Absolutely, hands-down some of the most mesmerizing, exciting, interesting and enjoyable acoustic music I have ever heard. Wil’s songs are just in a league of their own, and the picking…. the interplay between (the musicians) is simply astonishing. Not clones — but an inspired group with a different message. I love it!”

WHAT FOLKS ARE SAYING:

“Wil Maring, one of the most underrated writers in bluegrass, returns with a new collection of songs about familiar topics like home, family, the road, and relationships. Her approach is refreshingly intimate and subtle, rendering the songs simultaneously contemporary and timeless, in a way that rewards repeated listening. The singing matches the grace of the songwriting, and her top notch regular band, with great guests like Rob Ickes and Stuart Duncan, couches everything in shimmering, spacious sound. Plus there’s a great cover of a Steve Winwood song – how’s that for contemporary bluegrass?”
– Bruce Bergathon “Acousticity” WGLT, Bloomington, IL

“This is the best stuff I’ve heard at TAXI since I can’t remember when. The songs are beautifully written and memorable, the lyrical imagery is vivid and intense, the level of musicianship is stunning. Oh, and did I forget to mention the singing?! Well, the singing is pretty damn great too. I believe every word. I am forever under the singer’s spell. Music of this caliber deserves to be celebrated. Superb. Can’t wait to hear more.”
– TAXI rep., the biggest independent A and R company

“With “The Calling” she has established herself as one of the genre’s premier songwriters. Her songs are always thoughtful, tastefully arranged, arrestingly executed, melodically interesting and pack a 20-megaton emotional wallop. And, as though that wasn’t enough to send everyone into perpetual euphoria, she has developed an original sound as well–propelled by her beautiful, one-of-a-kind voice that is lilting and gorgeous yet tempered with a tough-edginess that makes for a simply exquisite combination. I especially enjoyed the ominous “Black Snake of the Sky,” the inspiring “Keeper of the Farm,” the hauntingly poetic “Going Down,” the introspectful “Window Seat” and the killer cover of “Back in the Highlife Again.”
– Dave Higgs, syndicated Bluegrass Breakdown, WPLN Nashville, TN

“Wil Maring is a dynamic songwriter, guitarist and singer. She has created a homespun quality and sound while performing deep rooted bluegrass music mixed in with the sound of folk. There is clarity and brilliance in her masterpieces. She has a passion in her voice while performing songs dear to her heart such as “Keeper of the Farm”. The song is poetic in nature with a down-home feeling. The lyrics contain visions of the past that will take you down an old path leading to a family farm that is filled with history. It is a heartfelt song in its overall interpretation of its presence, and in a land of memory dear to her heart called family. Overall she brings forth great music that will last a lifetime.”
– Peggy Leyva-Conley, former Editor/Columnist, Delta Snake Blues Magazine San Jose, California

“When you are finished reading this review, please, please go to her website and have a listen to her voice. I can’t even begin to describe what it is about it that attracts me so. Is it the easy back-porch alto, the slight twang, the way it just sounds real? Maring’s lovely vocals are surrounded by her Shady Mix bandmates as well as acoustic luminaries such as Stuart Duncan and Rob Ickes. The soft bluegrass arrangements are perfect for the contemporary rural themes of the songs. ……Whether you focus on the heartfelt poetry of the lyrics or the gently intricate playing, Maring and company welcome you to a very genuine place in the country. Essential!”
– Michael Devlin, Music Matters Reviews

“Don’ get much better than this…. Nothing else to add except to urge you buy this excellent album.”
– Maverick Country Music Magazine, United Kingdom

“Congratulations, Wil, on another great record! Strong songwriting, excellent production, and stellar players – this one will be getting lots of spins!”
– Bud Johnson, host of syndicated Acoustic Accents, Tok, Alaska

“Wil…Got home from the post office awhile ago, laid down with headphones and listened to your tunes….whew!! I just finished taking it all in. So many different grooves and perfect backup to your lyrics and voice. This project is just plain right, that’s all I can say at the moment. You must be proud to be able to produce such an awesome album. Any of the writers we know should be so lucky as to come up with lyrics and melodies like yours! What a great trip your CD is…no kidding! ”
– Kevin Lynch, WWUH, West Hartford, CT

For more information about Wil, visit: https://www.myspace.com/wilmaring.

Tony Trischka – Banjo

Tony TrischkaTony Trischka is perhaps the most influential banjo player in the roots music world. For more than 35 years, his stylings have inspired a whole generation of bluegrass and acoustic musicians. He was not only considered among the very best pickers, he was also one of the instrument’s top teachers, and created numerous instructional books, teaching video tapes and cassettes.

A native of Syracuse, New York, Trischka’s interest in banjo was sparked by the Kingston Trio’s “Charlie and the MTA” in 1963. Two years later, he joined the Down City Ramblers, where he remained through 1971. That year, Trischka made his recording debut on 15 Bluegrass Instrumentals with the band Country Cooking; at the same time, he was also a member of Country Granola. In 1973, he began a two-year stint with Breakfast Special. Between 1974 and 1975, he recorded two solo albums, Bluegrass Light and Heartlands. After one more solo album in 1976, Banjoland, he went on to become musical leader for the Broadway show The Robber Bridegroom. Trischka toured with the show in 1978, the year he also played with the Monroe Doctrine.

Beginning in 1978, he also played with artists such as Peter Rowan, Richard Greene, and Stacy Phillips. In the early 1980s, he began recording with his new group Skyline, which recorded its first album in 1983. Subsequent albums included Robot Plane Flies over Arkansas (solo, 1983), Stranded in the Moonlight (with Skyline, 1984) and Hill Country (solo, 1985). In 1984, he performed in his first feature film, Foxfire. Three years later, he worked on the soundtrack for Driving Miss Daisy. Trischka produced the Belgian group Gold Rush’s No More Angels in 1988. The following year, Skyline recorded its final album, Fire of Grace. He also recorded the theme song for Books on the Air, a popular National Public Radio Show, and continued his affiliation with the network by appearing on Garrison Keillor’s Prairie Home Companion, Mountain Stage, From Our Front Porch, and other radio shows. Trischka’s solo recordings include 1993’s World Turning, 1995’s Glory Shone Around: A Christmas Collection and 1999’s Bend. New Deal followed in 2003. The new studio album was a bluesy adaptation of bluegrass standards that featured, among other things, a vocal cameo by Loudon Wainwright.

Double Banjo Bluegrass Spectacular, featuring an appearance by comedian Steve Martin, Earl Scruggs and many other luminaries, came out four years later. For this recording he went back to Bluegrass and reinvigorated the double banjo tradition of that style along the way and brought along some fine companions. In October 2007, Tony was given an IBMA (International Bluegrass Music Association) award for Banjo Player of the Year 2007. Double Banjo Bluegrass Spectacular received IBMA awards for Recorded Event of the Year, Instrumental Album of the Year and a Grammy Nomination.

With his fearless musical curiosity as the guiding force, Tony Trischka’s latest critically acclaimed release, Territory roams widely through the banjo’s creative terrain. Nine selections partner Tony with fellow banjoists Pete Seeger, Mike Seeger, Bill Evans, Bill Keith, Bruce Molsky, and twelve all-Trischka solo tracks explore a panorama of tunings, banjo sounds, and traditions; tapping the creative potential of America’s signature musical instrument.

Throughout his upcoming tours, Tony will be presenting both his Solo works from Territory and will continue to present an “astonishing” (Boston Herald) group of musicians to perform his Double Banjo Bluegrass Spectacular.

Biographical info:
Courtesy Rounder Records
Courtesy Smithsonian Folkways
Courtesy Hi-Gain Management
Sandra Brennan – courtesy All Music Guide

“…the godfather of what’s sometimes called new acoustic music.”
– New York Times

“…most influential banjo player of the latter part of the 20th century, certainly in terms of his profound influence on succeeding generations of modern players.”
– Banjo Newsletter

“Urban bluegrass whiz.”
– Time Magazine

“Explosive banjo playing.”
– Boston Globe

“One of the most impressive banjoists alive.”
– Billboard

“Keep playing them new notes.”
– Bill Monroe

TONY TRISCHKA HAS PLAYED WITH:

The Boston Pops Orchestra
Barry Bostwick*
Sam Bush*
David Bromberg
William S. Burroughs*
Buddy Cage*
Larry Campbell*
Keith Carradine
Vassar Clements*
Ornette Coleman
John Denver*
Hazel Dickens*
Jerry Douglas*
Bill Evans (saxophonist with Miles Davis)*
Bela Fleck*
The Flecktones
John Goodman
Richard Greene*
Merv Griffin Orchestra
Nancy Griffith
David Grisman*
Thomas Hampson*
John Hartford
Levon Helm
Chris Hillman
Garth Hudson
Ferlin Huskey
David Johansen (aka Buster Poindexter)*
Jorma Kaukonen
Jeannie Kendall
Alison Krauss*
Malachy McCourt
Roger McGuinn
Steve Martin*
John Medeski
Natalie Merchant*
Edgar Meyer
Jane Monheit
Bill Monroe
National Radio Orchestra of Korea
Mark O’Connor*
Odetta
Charles Osgood*
Van Dyke Parks*
Tom Paxton
Robert Randolph
The Roche Sisters*
Peter Rowan*
Earl Scruggs*
Mike Seeger*
Pete Seeger*
Ricky Skaggs
Phoebe Snow
Bruce Springsteen
Ralph Stanley*
Tanya Tucker
Jay Ungar and Molly Mason*
Violent Femmes*
Loudon Wainwright*
Doc Watson
Waverly Consort*
The Whites*
Wichita Percussion Ensemble
Tom Wopat
*denotes recordings

Television Appearances

Live at the Quick, with Bela Fleck, 2004-2006
ABC “Views”, with Bela Fleck – Summer 1997
“ABC World News Tonight” with Peter Jennings – Summer1996
“CBS Sunday Morning” with Charles Osgood – feature story (including Bela Fleck), 1995
“Where in the World is Carmen Sandiego?” (PBS), 1992
British Television Production of “Voice of America: History of the Banjo” , 1989
CBS “Hallmark Hall of Fame” production of “Foxfire” with Jessica Tandy, Hume Cronyn and John Denver, 1987
Ralph Emory’s “Frets” Awards Show, The Nashville Network, 1987
Nashville Network’s “Fire on the Mountain,” 1986, 1984
Merv Griffin Show, 1976

Performances

Double Banjo Bluegrass Spectacular Tour – Currently touring with guitarist/vocalist michael daves, fiddler brittany haas, bassist skip ward & double banjo seat filled by noam pikelny, gordon stone, and others.
Tony Trischka Band – Kennedy Center (2000), Seaside Jazz Festival (2002), plus tours throughout the United States, Canada, and Germany, 1997-present
Solo tours throughout the United States and Korea, Japan, Finland, Germany, Czechoslovakia, Italy, Croatia, 1986-present
World Turning – Metropolitan Museum of Art (NYC) 1997, Telluride Bluegrass Festival, Winterhawk Bluegrass Festival, Black Mountain Folk Festival, and countless concerts and club dates, 1993-2002
National Public Radio – “Next Big Thing”, 2005, “World Café”, 2004, 2001, “Morning Edition”, “Fresh Air”, Mountain Stage”, 2001, 1995 and 1994; The Connection (2001), “Prairie Home Companion”, 1996, 1982
With Skyline – appearances in 40 states, five tours throughout Europe; two tours of Japan, 1981-Present
Performances With Others

Duo performances with Bela Fleck – tours of U.S., and New Zealand, 1992-2006
With John Modeskey and Robert Randolph, 2001
Leftover Salmon, Flecktones, Vassar Clements, and Violent Femmes, 1999-2001
Old and in the Way reunion at Rocky Grass Festival (CO), 1997
Waverly Consort – 1998 Spring tour, NPR’s Performance Today, Summer 1996; Metropolitan Museum of Art (NYC), 1995.
With Peter Rowan and Richard Greene – Telluride,CO, 1996, Japan and Hawaii, 1978
Guest soloist with National Radio Orchestra of Korea, in Seoul: “The Slavery Documents”, 1991
Guest soloist with Wichita Percussion Ensemble: “The Void Beneath the Coffee Table” a three movement banjo concerto composed by Paul Elwood for Tony Trischka, 1986
“Foxfire” with Jessica Tandy, Hume Cronyn, and Keith Carradine, Los Angeles and Denver, 1985-1986
“The Robber Bridegroom” – Ford’s Theater, Washington, D.C., 1978; bus and truck tour, 1978; musical leader of Broadway production, 1976-1977
With David Bromberg and Ferlin Husky – Avery Fisher Hall, NYC, 1973

Instructional Materials

Mel Bay

Fiddle Tunes for Banjo, to be published in 2006
Alfred Publishing

Banjo for Beginners, 2001
Hal Leonard Publications

The Tony Trischka Collection, 1999
AcuTab Publications

Masters of the 5 String Banjo (with Peter Wernick) 2000 (re-pubublication)
Glory Shone Around, 1995
Books for Oak Publications

The Complete Banjo Player, to be published 2006/2007
Masters of the Five String Banjo (with Peter Wernick), 1987 (first publication)
Hot Licks for Bluegrass Banjo, 1983
Bill Keith, 1979
Teach Yourself Bluegrass Banjo, 1977
The Banjo Songbook, 1975
Melodic Banjo, 1973
Independently Published Books

Tablature for Hill Country
Tablature for Robot Plane Flies Over Arkansas
Homespun Tapes

BOOK

Bluegrass Repertoire, to be published 2006
Tablature to Solo Banjo Works, with Bela Fleck, 1998
VIDEO and DVD

Classic Bluegrass Banjo Solos, and Practicing Tips, 2002, 2003
Bluegrass Banjo: Tunes and Tips, 1990

AUDIO

Easy Banjo Solos, 1988
Hot Licks for Bluegrass Banjo, 1986
Advanced Banjo (with Bill Keith), 1979

Paul Glasse – Mandolin

Paul GlasseGrowing up in Poughkeepsie, NY, a young Paul Glasse was introduced to the unusual acoustic draw of the mandolin. Though as an adolescent he cut his teeth on Bluegrass, Old Timey, and New England Traditional Music, it was the Siren of Texas Swing that would lure him to Austin, Texas in 1977. Under the tutelage of the great electric mandolinist, Tiny Moore (Bob Wills and the Texas Playboys) Glasse immersed himself in the vocabulary and vibe of Texas Swing. Known for its quick-pulsed tempo and unusual blend of early Country and Western fused with the jazz harmony of late 30’s Benny Goodman/Charlie Christian swing, this indigenous art would be the unique and central core of his musical identity.
To the right, a youthful Paul Glasse, 1981 Buck White International Mandolin Championship winner(middle), pictured between 1982 winner Nashville recording artist Mark O’Connor (left) and 1980 winner Bobby Clark (right). A decade-long success championing mandolin contests in the late 80s would hone his technical picking prowess and morph his interest into the rapid-fire compendium of Bebop jazz. A fondness for a short, recognizable “head,” followed by blazing improvisation became the signature sound of Glasse, and his compositional skills. (Photo of Paul with his electric mandolin courtsey of JazzMando.com)

Permanently rooted in the promiscuously vibrant Austin musical scene, Glasse’ regular appearances at local performances have become of the many treasures of this town’s nightlife. Known internationally for its cadre of talented players and musical originality, Austin with it’s notably raw brilliance has all the musical attraction and potential of Nashville, sans the gloss. Though he has toured with such notables as Lyle Lovett, it’s the incubating environment of this musical homebase that defines the originality and sensibilities of his music.Paul furthered his traditional education through his coursework in the University of Texas, where he filled the Big Band guitar slot with his 5-string electric mandolin. Michael Stevens, former Senior Design Engineer of the Fender Custom Shop, introduced a special signature Paul Glasse Model Mandolin. He also owns the original darker sunburst prototype that Michael made in 1982. Barry Mitterhoff (Hot Tuna) borrowed this for some touring before his own “Paul Glasse Model” was completed. These mandolins are played by, Aubrey Haynie, Tom Rozum, and Don Stiernberg among others.

Two albums grace his discography, and lately, a compilation double CD re-release of these (with bonus tracks!) record this magnificent ground-breaking music for posterity and of course, serious aural study for the aspiring jazz mandolinist.

Kudos:

1st place 1981 Buck White International Mandolin Championship Kerville, Texas
Winner Professional Mandolinist division Shriner Central Texas Pick-off.
1st Place 1987East Texas Mandolin Championship
1st Place 1989 Walnut Valley (Winfield) Mandolin Championship
Multiple appearances on Austin City Limits including as a featured performer with his own group
Inductee Texas Western Swing Hall of Fame
Featured on an NPR All Things Considered profile/interview with Noah Adams
Awarded a six month apprenticeship with Johnny Gimble as part of Texas Folklife Resources “Master/Apprentice” program
Custom Builder Michael Stevens “Paul Glasse Model” electric mandolin
Endorsee, D’addairo Strings
National Association of Jazz Educators citation for “outstanding musicianship.
“Featured on voluminous projects with artists such as Tiny Moore, Johnny Gimble, Mark O’Connor, Jethro Burns, Mike Marshall, Tony Trishka, Jerry Douglas, Howard Levy, Peter Rowan, Lyle Lovett, Willie Nelson, Eldon Shamblin, Allison Krause, Kelly Willis, Mary Chapin Carpenter, Shawn Colvin, Michelle Shocked, Laurie Lewis, Riders in the Sky, Asleep at the Wheel, and many others.

Paul’s bio courtsey of Ted Eschliman – JazzMando.com

Dix Bruce – Guitar


Dix Bruce
is a musician and writer who has performed and recorded music in the San Francisco Bay Area since the mid-1970s. He is well-known in jazz and bluegrass music circles for his work with a variety of bands from bluecrass and country to jazz and bib band. He has recorded four duo CDs with guitarist Jim Nunally. For several years Dix was a clinician for the C.F. Martin Guitar Company conducting guitar clinics up and down the West coast. Dix also does studio work on guitar, mandolin, bass, and banjo, and has recorded two LPs with mandolin legend Frank Wakefield.

Dix has produced over fifty music books and DVDs. His latest publications are four book/CD sets for mandolin and guitar entitled “Gypsy Swing & Hot Club Rhythm” and “The Parking Lot Picker’s Songbooks.” Dix wrote and recorded music for three versions of the best-selling video game “The Sims.” He has taught at the Puget Sound Guitar Workshop, The California Coast Music Camp, Greater Yellowstone Music Camp, Camp Bluegrass, California Bluegrass Assn. Music Camp, Walker Creek Music Camp, and the American River Music Camp. His recent book/ CD sets are entitled, All Time Favorite Parking Lot Picker’s Mandolin Solos, Old Time Gospel Crosspicking Guitar Solos, and Christmas Cross Picking Solos for Guitar.

For more info about Dix visit MusixNow.com

 

Irl Hees – Bass

Irl Hees - BassOn December 11th, 1976, at 16 years of age, Irl Hees began playing the upright bass.  It was a very important day in his life.  Up to that day, he had been playing a washtub bass; one quarter-inch strand of nylon clothesline cord on a number 3 galvanized washtub.  After that day, he never looked back.

He began working with Oklahoma banjo player Kenny Cantrell the following year, and took several more regional band gigs over the next 10 years. Irl was the original bassist in the Midwest group “Radio Flyer”, and in the late 80’s, Irl began a group called “Down The Road”.  The band lasted about 6 years.  It was during this time that he joined with several others to produce and record “The Missouri Session”, a CD devoted to showcasing several Midwest bluegrass bands and musicians in a studio setting.

Irl began playing professionally in 1995 when he joined Rhonda Vincent’s country band.  In 1996, he was part of the original RAJ’E band, which later became Rhonda Vincent and the Rage.  Irl then joined Chris Jones and the Night Drivers, and eventually did two stints with Chris, appearing on Chris’s “Just A Town” album.  In 2002, Irl joined the Lonesome River Band, and recorded “Window Of Time” with LRB.

The Grand Ole Opry, The Jerry Lewis Telethon, Music City Roots, Larry’s Country Diner, are just a few of the venues Irl has appeared on over the years.  He has performed with actress Mare Winningham and her ‘Jewgrass Boys’ several times, and he knows Miles Cleverly of the Cleverly Trio personally, although he’s never seen Miles perform.  That’s OK, because Miles has never seen Irl perform, either.  Irl has also worked with Roy Rogers Jr. as a Highrider for two years.

Irl now enjoys teaming with bandleader Clay Hess in the Clay Hess Band, and does occasional session work for other bluegrass performers.  He still has the old wash tub as a reminder of where he came from, but prefers the acoustic upright bass, although he has toyed with donating the wash tub to the IFWS…..the International Foot Washers Society.

Sam Swank – Fingerstyle Guitar

Sam Swank - Fingerstyle GuitarSam Swank is a life-long Dallasite who started playing guitar in 1968 when his father brought home a copy of “Are You Experienced” by Jimi Hendrix to supplement his record collection, which consisted of “The Monkees Greatest Hits” and “Revolver” by the Beatles.

Sam has made his living as a professional musician and guitar instructor for 25 years. He studied classical guitar with Rick Madriguera at Eastfield College and Tom Johnson at the University of North Texas. He has recorded and performed with such diverse talents as Johnny Reno, Olivia Newton-John, Ray Wylie Hubbard and Andy Timmons. (Sam believes Andy is really coming along!)

Sam’s approach to teaching is always tailored to individual needs. He specializes in acoustic fingerstyle and classical, as well as rock and blues styles. He enjoys corrupting strict classical and acoustic players with rock and blues music, and vice-versa. He even plays bluegrass well enough to fool undiscriminating listeners, but tries not to tell too many people. Sam really likes helping people improve their guitar skills.

 

Lee Thomas – Clawhammer Banjo

D Lee Thomas - Clawhammr BanjoLEE THOMAS while in college and by random chance saw Earl Scruggs on a TV special.  The rest is history. Absorbed, obsessed, possessed, and insane over the five string, his life became the banjo. Dropped out of college, abandoned his wife, went on the road and never looked back…

Gerald Jones – Banjo / Mandolin

Gerald Jones - Banjo / MandolinGerald Jones, founder and director of Acoustic Music Camp, is a favorite instructor at many bluegrass and roots music camps around the nation, teaching banjo, mandolin, and many special topics such as “Jam Survival Skills.” He’s a skilled player in many different styles, including bluegrass, western swing, country, classical banjo and Polish war hymns. He’s played on stage or recorded with Jim “Texas Shorty” Chancellor, Vince Gill, Sam Bush, Hank Thompson, Red Steagall, Jethro Burns, Jerry Douglas, Tanya Tucker, Junior Brown and many more. He is the inventor of the Jones/AcousticPlus banjo pickup endorsed by Earl Scruggs, Bela Fleck, Alan Munde and many others. As a banjoist, he’s been a two-time finalist in the National Bluegrass Banjo championship in Winfield, Kansas.

Gerald has taught music for almost 30 years, and counts among his students Marty and Emily Erwin of the Dixie Chicks, and Max Johnston of the Gourds. He was the editor of Mel Bay’s bimonthly webzine Banjo Sessions and a frequent contributor to Joe Carr’s Mandolin Sessions. As Joe said of Gerald, “Students love him because he jams a lot with them and teaches as much out of class as in!”

For more information about Gerald, visit: TheGeraldJones.com.