< PreviousRemembering Down East festivals from the past REMEMBER WHEN – If you are under 40, you are probably just reading about this, not having lived through it.But this will remind our older readers of the dayswhenthemajorityof festival goers lived in tents for the weekend. A few of the lucky ones had campers, but for the most part, you lived with the elements. And during inclement weather, you and your family slept in the car. REMEMBER the Nova Scotia Homecoming Festival near Caledonia - 1980 to 86? The children’s wading pool that more than one person stood in knee deep after dark? The guy in the concert area with his dog tied on a short leash to his foot? I wonder whatever happened to that dog. By today’s standards, both master and dog would be exiled to listen to loud rap and rock ‘n roll music for eternity. Or the neighbor who became upset with the Bluegrassers picking and singing all day and night. Most people sitting in the concert area thought somebody was staging a huge popcorn roast (I was there). In reality it was our friendly neighbor trying to discourage any future festivals from happening next door to him. I heard the Mounties paid him a visit shortly thereafter. REMEMBER the Black Rock Festival that ran for 20 years? Heading out of the city heat and arriving at Black Rock to a warm breeze blowing off the Bay of Fundy?(a breeze to die for in the dog days of August). REMEMBER the Brookfield Bluegrass Festival Days (l980 – 1990s)? Who was that who sat on the tailgate of his truck at the gate and sold tickets? The cold Saturday nights in the little smoke filled hall (aka sugar shack), the bands playing and the hall filled to capacity. Who remembers the great fiddle music in there supplied by Vic Mullen and Allie Mackie. BLUEGRASS MUSIC ASSOCIATION OF CANADA - 20 EAST COAST BLUEGRASS (note: the promoter, Brent Reader, passed away in an accident on June 14th, 2023. A great loss to the bluegrass community. R.I.P. Brent). REMEMBER the Oak Island Inn Days? When Darrell Frail used to run those wonderful “get away” weekends in the spring. And the bass player upstaging the Bluegrass Cardinals. What a rendition of “I Want A Gal Just Like the Gal”.(Update:I was talking with Randy Graham at the County Bluegrass Festival, Fort Fairfield, Maine in 2019 about that event and he definitely remembered, saying he’d heard that Maynard had passed away. REMEMBER those who are now gone. I truly hope there is a special place in heaven, as written by Sharon Ogilvie (Will There Be Any Bluegrass In Heaven) and recorded by the Bluegrass Diamonds, to get together – and jam together forever. Nancy Keddy by Nancy Keddy My memories related here are only meant to take you back to a simpler time, when things were not so complicated. Alas, time moves on, people grow older and things change. But remember this summer - when you see some older lady struggling to carry her chair or some guy with trouble backing his rig in- give them a helping hand. They are sure to appreciate it. Chances are it is probably somebody who 40 or 50 years ago stayed up too late, played into the wee hours, lived by the Coleman stove and sleeping bag and helped their neighbor. "Nancy Keddy has been a BMAC Contributor since 2018 and is the host of “Bluegrass Atlantic” and “Bluegrass Atlantic Gospel” which air on CIOE 97.5 FM from Lower Sackville, N.S." Send Comments & Feedback for Nancy Keddy to:21OCTOBER BLUEGRASS CANADA MAGAZINE Limited Edition’s 1985 tour with Mac Wiseman Searching through some old copies of Canadian Bluegrass Review, the forerunner of Bluegrass Canada magazine, originated and published by Pat and Jack Buttenham, I came across an article I had penned in the June/July 1985 issue of that publication. Tony DeBoer, of The Northern Bluegrass Committee, had organized a multi Ontario cities tour for the great Mac Wiseman. We were honored when Tony asked our band, Denis LePage & Limited Edition, to accompany Mac on the tour. Typically Mac seldom, if ever, traveled with a regular band, preferring instead to use musicians located in the places where he was appearing. Mac’s repertoire was extensive yet all his songs were well known by most seasoned bluegrassers and that worked well in Mac’s favor. Wiseman became an original member of Lester Flatt and Earl Scruggs' Foggy Mountain Boys, recording his first Mercury session with them in 1948, and in 1949 he joined Bill Monroe's Blue Grass Boys at the Grand Ole Opry. Mac Wiseman passed away in Nashville February 24, 2019. By Mike Higgins FROM THE EDITOR ARCHIVESBLUEGRASS MUSIC ASSOCIATION OF CANADA - 22 TOURING With A Legend Touring with the legendary Mac Wiseman is best described as a trip down memory lane. Capacity, sellout crowds waited for Mac, from the Burlington Legion Hall, Friday March 29/85, to the Baysville Arena Saturday, finishing in style at the Academy Theatre in Lindsay with a sold out concert on Sunday evening. At each location, Mac played 2, one hour sets which consisted primarily of the same standards, requested throughout the evening by fans who have remained loyal to his unique vocal stylings over the past three decades. Classics such as: Love Letters In The Sand, Bringing Mary Home, Jimmie Brown The Newsboy, Footprints In The Snow, Put My Little Shoes Away, and the unforgettable “ Tis Sweet To Be Remembered” all held his audience’s attention from start to finish. There was even the mandatory request from an uninitiated fan for “The Ballad of Jed Clampett” which Mac politely declined to perform - but “perhaps next time.” It seems that spontaneous applause broke out at the start of almost every tune, as the crowd showed their appreciation for favorites of years gone by. Judging by the general age group of the audience, it is a tribute to comparative youngsters such as Denis LePage, Larry Brisbois and Mitch LePage that the unrehearsed shows ran as smooth as silk. Mitch and Denis traded breaks with Lee Hough, special guest fiddler for the tour, as if they had been playing these tunes all their lives. After the show at Baysville, we all had a friendly chuckle with Mac, when bassist Larry Brisbois (Canada’s Roger Bush) told how he broke into a shuffle walk during one of Mac’s sentimental old ballads. Between verse and chorus, Mac turned in Larry’s direction and suggested he “just play it straight 4/4 - lad.” Under the master’s direction, Larry dutifully fell into line. During intermissions, Mac was kept busy disposing of his complete stock of tapes and albums to fans anxious to convey their best wishes with obvious, and sometimes overly enthusiastic sincerity. At Lindsay, Jim Higgins (no relation to the writer), our genial host and M.C. at the Academy Theatre, and The Victoria Country Music Club, went out of their way to make Mac Wiseman and Limited Edition feel right at home. In spite of the terrible weather conditions, Mac’s supporters, most of whom had purchased their tickets weeks prior to the show, made it to the Theatre, including two bus loads from Coburg, organized by John Boreham of The Apple Country Bluegrass Festival. On doctor’s orders, Mac was forced to return to Nashville Monday morning, cancelling a concert scheduled for Kingston that Wednesday. We know he felt as disappointed as the hundreds of fans waiting to see him perform to another sell out concert. Hopefully this show will be rescheduled later this season, perhaps in conjunction with his appearance at the Apple Country Festival in June. Special thanks goes to Tony DeBoer for organizing the tour. The time and energy he spent setting up and breaking down the sound system night after night, as well as running it in great fashion, in spite of the different conditions faced at each location, testifies to his proven ability as a real and dedicated professional. On behalf of Mac Wiseman, Denis LePage and Limited Edition want to especially thank the friends and fans who turned out to see the shows and help make the tour with a legend a great success. From Mike Higgins, originally published 1985 All photos from Mike Higgins’ archives “ spontaneous applause broke out” “ Play it straight lad” “ two bus loads from Coburg” FROM THE EDITOR ARCHIVES23OCTOBER BLUEGRASS CANADA MAGAZINE FROM THE EDITOR ARCHIVESBLUEGRASS MUSIC ASSOCIATION OF CANADA - 24 I have wanted to publish the David Tinkoff story in Bluegrass Canada magazine for quite some time. My archives contain clippings of the wonderfully researched and compelling “Rhapsody In Bluegrass” article by columnist Paul McKay, originally published in the Ottawa Citizen June 10, 2002, which Paul has graciously given us permission to use - all or in part - in this issue. Using that as a basis for the “David” story I want to share with our readers my personal experiences with Dave from the beginning of his involvement and development as a bluegrass musician back in 1960’s. Montreal. Where to start? Before proceeding, I want to explain the reason for the publication of David Tinkoff’s story, which relates to his incredible rise above, shall we say, adversity - having a severe speech impediment commonly referred to as a stutter of the worst kind, and how the mandolin and bluegrass music literally saved him from a life of obscurity and isolation. We were a tight group of bluegrass music fanatics in those early days - a group that included David Tinkoff, Doug Benson, Ron Petronko, Stanley Druzin, Bob Fuller & Larry Miller to name just a few - and oh yes - from time to time we enjoyed the participation of none other than Frank Wakefield. The group described above got together for “picking sessions” at various venues that would condescend to have banjos and mandolins a pickin’ and a singin’ loudly. In 1964 a bluegrass band was formed called “The Bluegrass Ramblers”. That band consisted of David Tinkoff on mandolin, Mike Higgins on guitar, Stanley Druzin on banjo and Bob Fuller on bass. My dear friend Ron Petronko filled in on guitar and banjo from time to time. We, with Dave Tinkoff, did regular shows at “The Montreal Folk Workshop” held at The Moose Hall on Park Avenue, where manager Ken Sinclair booked the band regularly. As well, a group called “The Mountain City Four,” consisting of the famous McGarrigle sisters, participated during the early years of the club, helping to promote this venue which became a gathering place for Montreal’s emerging folk musicians, lasting well into the next decade. The Bluegrass Ramblers kicked off their illustrious and short lived “professional” career participating in a “Montreal Folk Festival” held at the West Hill High School auditorium in NDG September 17, 1965. Also on the bill were Penny Lang, Bruce Murdoch, and The Nor’Landers. By this time Dave was well on his way to becoming a wonderful mandolin player, playing - and singing in The Ramblers. Stan wrote to me shortly after my move to Edmonton in September 1966, that “Dave screamed his head off at every mandolin break” uttered by Bill Monroe, who was then appearing at The Country Palace. He stayed until closing time. David’s heart warming future associations with Bill Monroe are explained by Paul. We worked steady with Bob Fuller when he was booked at The Moose Hall, The Blue Angel and The Cat’s Den. A memorable gig was a week at “Peg’s Motel,” a lounge of rather ill repute on then Upper Lachine Road. Dave loved the steady work Bob often provided as it gave him ample opportunities to work on his mandolin playing. Dave’s progress was noticeable and he was a truly valued member of the band. For several months Bob had regular “Hillbilly Day” Sunday afternoons at The Blue Angel, a prelude to the 35 years of his famous Monday “Hillbilly“ nights at The Blue. Montreal musician Johnny Brown often joined us. Stan Druzin All about Montreal born mandolinist Dave Tinkoff by Mike Higgins Introduction by Mike Higgins with full story by Paul McKay David’s early Montreal days RHAPSODY IN BLUEGRASS Moose Hall Montreal 1966 Mikeclub sandwich with a huge baked potato on the side. The moment is proof that Tinkoff is just one of the guys. And that music can reclaim a life almost destroyed by disability and despair. Tinkoff was born with a broken instrument -- his voice and the brain circuits wired to make it work. He has battled six decades of stuttering, stammering speech so bad that he still mangles most words. It takes five tries and 10 seconds to say the letter C. Sometimes the hard consonants come out with a jackhammer ring. An R rolls out reluctantly. This happens on the bus, on the job, at the grocery store, on his telephone answering machine message. Yet amazingly, Tinkoff can hold his own in demanding bluegrass harmonies, singing every word without a stutter. When he’s not singing, his mandolin plays what he cannot say. It’s a miracle he has ever taken the stage. Ridiculed by other kids as a boy in Montreal, Tinkoff was driven deeper into reclusivity by an imperious father he apparently failed to please. As a teenager, there were no dates, no jobs, no social life. Humiliated, he quit high school. His confidence was as shattered as the sentences he tried to speak. The one solace was radio as Tinkoff tuned into Wheeling, West Virginia’s WWVA, a flagship station for bluegrass, southern gospel and Grand Ole Opry music. It was a sound entirely foreign to Montreal radio stations and the immigrant neighbourhood in which he grew up. It was also anathema to his father, a Jewish-Russian immigrant who fled anti- Semitic persecution and ordered his son not to have any part of alien music or religions. Yet it was bluegrass that beguiled Tinkoff as a teenager. He continued listening to the broadcasts, and collected every bluegrass record he could. Then Montreal radio station CFCF began playing songs by Nova Scotian Ron Scott -- music with the mandolin, banjo and fiddle. It was a revelation: Bluegrass could be played anywhere. Now Tinkoff had a hero north of the border. 25OCTOBER BLUEGRASS CANADA MAGAZINE RHAPSODY IN BLUEGRASS By Paul McKay From the award winning “ Enchanted Ear” stories: “ RHAPSODY IN BLUEGRASS” David Tinkoff, (back)Richard McCarthy, David Simmonds, Stan Neathery, Back 40 Jam at Rasputins Before moving on to Paul’s article I want to mention all the great times we spent hanging out with Frank Wakefield when he was in town with The Greenbriar Boys from NYC. On one occasion the Greenbriars were at Moose Hall doing a set of their not so bluegrass repertoire. Afterwards Frank hit the stage, played a few of his classical mandolin pieces then called up Dave and Stan to do some ”real bluegrass” with him. Frank hit it off beautifully with David Tinkoff, showing Dave numerous licks and tunes that had Dave just beaming with pride and satisfaction. Mike Higgins A stranger to the monthly open stage at Rasputin’s Cafe in Ottawa might be surprised to find it standing room only by 8 p.m. Even performers -- caressing fiddles, banjos, mandolins, guitars and stand-up basses -- are stacked up back to the kitchen, waiting their turns to play a three-song set on a night when bluegrass rules. There is a second surprise. When the Back 40 house band finishes the opening set, the loudest applause comes for a balding, billiard-ball shaped mandolin player who has gamely stroked chords, picked a few solos on bluegrass classics such as Fireball Mail, and chipped in confident harmony vocals on standards such as “Oh, Lonesome Me.” The boos bring a mile-wide smile to the face of 62- year old David Tinkoff. He salutes the crowd with a sardonic bow, takes a few slaps on the back, and packs away his mandolin and his pay for the night -- a teetering from the Ottawa Citizen June 2002BLUEGRASS MUSIC ASSOCIATION OF CANADA - 26 After he attended a Ron Scott concert in Montreal, he bought a mandolin and disappeared into his room for months to practise. There were few lessons. Armed with a book of scales, he wore down the grooves in vinyl records learning how to copy chords, play traditional fills in ballads and waltzes, and work out simple solos. He emerged with a confidence that astounded his parents. Soon, it would also astonish Bill Monroe, the father of bluegrass. When the renowned U.S. mandolin player, who penned Blue Moon of Kentucky, came to Montreal in 1966 for a rare Canadian concert, Tinkoff caught him backstage and haltingly offered to play him a tune -- though he had not brought his mandolin. The gentlemanly Monroe saw Tinkoff’s reverent stare at his own ancient Gibson F-5. Seconds later, it was gleaming in the novice’s hands. “This was practically my god, and my god’s mandolin,” recalls Tinkoff, with unabashed delight. “He listened to me play a little bit of Old Joe Clark, then told his band to back me up. It went off pretty good.” At a reunion in Toronto, Monroe spotted Tinkoff at an airport reception and invited him out for an evening of dinner, music and road stories. The two apparently hit it off, and in a stroke of wry genius Monroe gave him the nickname Coca Cola Cowboy -- precisely because it was a phrase Tinkoff couldn’t say without endless stammering. With Monroe’s encouragement, Tinkoff sought pick-up sessions and open stages at Montreal folk clubs and country music venues. He jammed with Kate and Anna McGarrigle, who produced a seminal album dominated by Appalachian style harmonies and ballads. It was authentic, Canadian-crafted bluegrass, three decades before the revival sparked by the film ”O Brother, Where Art Thou.” Meanwhile, Tinkoff turned deeper into bluegrass and southern gospel, travelling as far as Cave Creek, Arkansas to immerse himself in the oldest, purest strains of the music he loved. “I was in a southern Baptist church, on a Sunday morning. When everyone opened the hymn books, we began singing all the gospel songs I had heard on the radio and on the Old Tyme record albums I had bought by the armful ... That’s when I knew what I wanted to do.” Back in Montreal, his father still fiercely opposed the music he suspected would undercut their Jewish faith and culture. “My folks kept asking me if I was converting to the Baptist religion, and I kept assuring them that I wasn’t, that it was just the kind of music and people that made me feel at home.” Yet his parents apparently discerned that the Deep South musical tradition seemed to be their son’s only doorway out of despair and isolation. “My speech was way worse then,” says Tinkoff. “Until I took up the mandolin, I was a total hermit. I had no social life. Then I started to get friends, and go out. My father was still very nervous that I hung out with non-Jewish people, but he did start giving me some money to get out to play music.” A decade later, his father realized the mandolin had saved his son’s life. “That was when my life changed. It was in 1977, on a Friday night, at suppertime. He asked me: “I heard you have a show on?” Totally surprised I said, “Yeah, I do.” Then he said,”I want to come and see you.” So after 20 years of arguments he showed up at the coffee house. After our show, he came over to me and shook my hand and said, “You did good. I’m proud of you.” The reconciliation was cemented two years before his father’s death, when the two exchanged letters expressing love and pride. I wrote that I hoped I hadn’t disappointed him as a son, Tinkoff says. “He wrote back that he loved me, and was proud of me.” I’m so glad I wrote those letters. There’s nothing worse than asking yourself, too late: what if ?” Living alone he has never married, has no children and if he feels sorry for himself, it doesn’t show. He is gregarious and it doesn’t take long for a stranger to detect an articulate intelligence behind his tortured vowels and consonants. His income is a small inheritance, supplemented by a part-time janitorial job at the Ottawa Folklore Centre. He dresses like a janitor, even on stage, cracks his friend and guitar partner David Simmonds - adding Dave is a marvellously sweet guy. Tinkoff remains ever eager to play his mandolin at kitchen singalongs, charity events hosted by genial CKCU radio host RHAPSODY IN BLUEGRASS He astonished Bill Monroe The mandolin saved David's life " I knew what I wanted to do".27OCTOBER BLUEGRASS CANADA MAGAZINE and “Back 40” bluegrass band member Ron Moore and the monthly Rasputin’s gig. There’s not much doubt Tinkoff’s real home is a bluegrass crowd. At Rasputin’s, most drink Blue Light out of bottles, tap out tunes on tabletops with fingers circled by old gold bands, and sing aloud salt-of-the earth songs by Bill Monroe, Ralph Stanley, and Newfoundland’s Ron Hynes. It’s an inclusive audience, where all pretensions are checked at the door and musical mistakes are quickly forgotten. Anyone can sign up for the open stage and earn warm applause. A song about lost love or buried Kentucky coal miners brings respectful silence with the break- neck “Salty Dog Blues” drawing delighted claps and tapping toes. What counts is conviction -- the mandolin’s haunting tremolo at just the right moment, the lonesome baritone twang of the dobro, sparkling banjo rolls, an elegant refrain played on the fiddle, and tenderly sung lyrics. “There’s a kindness in this music and that’s why I keep it up”, says Tinkoff, before heading back on stage for a set with David Simmonds, Rich McCarthy and banjo player Vic Chartrand. “Playing my mandolin gives me a chance to venture out on equal terms with everybody, and not have my speech be an obstacle.” Moments later, the delicate, feathered chords of his mandolin waft out from the stage, while four voices blend harmonies and sing lyrics locked in bluegrass unison. Paul McKay (edited from the Ottawa Citizen, June 10, 2002) Executive Producer: (David Tinkoff: August 4,1939 - Oct. 9, 2006) 1966 Bluegrass Ramblers at the Cat’s Den Montreal David Tinkoff with (Back40) RHAPSODY IN BLUEGRASS Dave Tinkoff Stan Druzin Mike Higgins Bob Fuller At Peg’s Motel Montreal 1966-Leanne Swantko LEANNE S DOODLES BLUEGRASS MUSIC ASSOCIATION OF CANADA - 28 Bluegrass Canada’s cartoonist and more In 2019, when I met Mike Kirley at the Waterloo Wellington jam, I learned that he not only co-founded the jam, he set up the Tottenham festival, and, at the time, was the editor of this fine magazine. I pitched him a couple of cartoons and was thrilled when he asked me to become a regular contributor, bringing “Wildwood and Old Dan” to Bluegrass Canada. The characters were created many years ago when I was a teenager listening to bluegrass music and starting to learn how to play the 5 string banjo. Old Dan was the star of the first tune I ever wrote. It was about a giant lollipop being carried around in a banjo case. Since then I have been writing (hopefully better) songs and practicing various musical instruments as I continue to learn how to draw and paint with zeal. Since 2017, I am extremely fortunate to have learned to play mandolin, guitar, and sing in a fabulous string band called “Onion Honey.” I am also grateful to turn everyday doodles into cartoons for the magazine. Many of my inspirations come from playing gigs, jamming and listening to bluegrass music. Ideas flow while I am on long multi day trips cycling or portaging. I always bring a notebook and a small travel guitar or mandolin with me on my excursions. I have always hoped to be an artist of some type but it just hasn’t been in the cards. For now, I continue to work in a rewarding career with emergency services. Soon I will be happy to have a year off work as I plan to draw, paint, and play as much music as I can while travelling throughout Canada. Recently I created a website, a small world named “Trillium Holler” for Old Dan and Wildwood to share their lives with friends and fans. Please visit us at: There you will find new cartoons, links of interest, and merchandise that will include a small cartoon publication. I hope that sharing our humour in “Trillium Holler” will also introduce new listeners to the wonderful world of bluegrass and folk music. I sincerely appreciate everyone’s support. Please reach out to say hi, or to share your ideas for cartoons at: With thanks. Editor’s introduction: Leanne has been contributing her “Wildwood & Ol’ Dan” cartoons for the pleasure of our Bluegrass Canada magazine readers since April of 2020. She describes here how she came to be a contributor and how the ideas, all of which have a bluegrass theme, are created. We present here several of her past “funnies”. In addition to being an imaginative cartoonist, Leanne is also a member of the wonderful band ”Onion Honey”.LEANNE S DOODLES 29 OCTOBER BLUEGRASS CANADA MAGAZINE July 2021 July 2020 Oct 2023 April 2020 July 2020 January 2021Next >