BMACC Notes—April 2010 Page 1 BMACC Notes The Bluegrass Music Association of Central Canada Newsletter—Volume 4 Issue 2—April 2010 www.bmacc.ca Photos Courtesy of Rosemary Davis Winter Concert Series—February 23—Ottawa hosted by The Ottawa Valley Bluegrass Association CONCESSION 23 opens for THE JAMES KING BAND BMACC Notes—April 2010 Page 2 ADVERTISING RATES Publicize your event, band or organization in “NOTES” or on our website. BMACC NOTES Single Issue Annual 1/8 Page (Business Card) $25.00 $ 90.00 1/4 Page 35.00 126.00 1/2 Page 55.00 198.00 Full Page 80.00 288.00 Envelope stuffing is 10¢ per insert WEBSITE Quarterly Annual 100 px X 250 pixels $20.00 $ 72.00 200 px X 250 pixels 30.00 108.00 400 px X 250 pixels 35.00 180.00 Full Page 50.00 252.00 COMBO NEWSLETTER + WEBSITE BEST VALUE Quarterly Annual 100 px X 250 pixels $35.00 $126.00 200 px X 250 pixels 50.00 180.00 400 px X 250 pixels 75.00 270.00 Full Page 115.00 414.00 Members receive 25% discount off the above rates. BOARD OF DIRECTORS President – Denis Chadbourn Home: 705-776-7754 Work: 705-474-2271 Vice-president – Donald Tarte 877-876-3369 Secretary – Leann Chadbourn 705-776-7754 Treasurer – Roland Aucoin 905-635-1818 Directors at Large Gord deVries 519-668-0418 Karen May 705-788-4362 Open Bernie Melosh Open Larry Johnston 519-576-9768 Open WHAT”S INSIDE From the President—Page 3 Leadership Bluegrass 2010—Page 5/6 Did You Know?—Page 6 SPGMA 2010—Page 7 Out Among the Stars—Page 8/10 Winter Grass—Page 11/12 Winter Texans—Page 12 Web Report—Page 14 IBMA Commends TVBMA—Page 15 Organizational Memberships – Page 17/18 Bluegrass on the Radio—Page 18/20 Acoustic Jam Etiquette—Page 21/22 Festivals—2010—Page 24/28 Winter Concert Series—Page 29 Readers Speak Out—Page 31/32 Maximize Your Membership If there are individual members of BMACC that belong to a band or other organization, you should consider paying an additional $30 to take advantage of what BMACC can offer. Organizational Members will be entitled to: A free listing in each issue of the “BMACC NOTES” A free listing in the appropriate info section of the BMACC website List their upcoming events in the BMACC EVENT Calendar Advertise at a reduced rate in the “BMACC Notes” All organizational members should submit their events to: Roland Aucoin 205 Plains Road W., Unit 84 Burlington, ON L7T 4H3 raucoin@cogeco.ca or call 905-635-1818 BMACC Notes—April 2010 Page 3 BMACC Wants You!!! Your mission should you decide to accept it… As members of BMACC, and bluegrass enthusiasts at large, you possess a wealth of information, and are an indispensable source of ideas for us. We are here to serve you. That is why we continue to look to you for suggestions that will make a positive impact on our bluegrass community. In a few short years, BMACC has accomplished much good, and we shall continue to work tirelessly, striving to serve you. However, the success of any grassroots organisation depends heavily on its members for support, feedback, and direction. What can you do? Well, something as basic and simple as introducing someone new, to bluegrass music… a grandchild, a neighbour or friend, or even just a casual acquaintance. Just tell them, “Hey, you gotta hear this” and hand them a cd of your favourite bluegrass band. Invite a friend or someone new to a jam or a live show… there is no substitute for the real thing. Each one of us are stewards of bluegrass, and it is incumbent upon us to plant the bluegrass seed, nurture it, and see that it grows strong. Do you recall your first “Ah ha bluegrass moment?” That epiphany, when you were first struck by the realisation…so this is what it’s all about! You, my friend, have the ability to recreate that moment in others. It’s profoundly humbling to know that you have the ability to shape people’s musical futures, and to shape the future of bluegrass music at large. The term “grassroots” aptly has its origins in agriculture… and it all starts with the planting of a seed… which in this case, is bluegrass. My grandmother used to say, “Many hands make light the work.” This is relative to us in that, if each of us does something small, as a community we can accomplish big things. The jobs of preparing the seed bed, the planting of the seeds, and the nurturing of the crop, are daunting A MESSAGE FROM THE PRESIDENT to just one man…but can be achieved much easier and much more quickly as a community. Our community consists of the fans, the musicians, the promoters, the recording studios, radio broadcasters, etc… we are all on the same team, with the same goals in mind. Collectively, we are the face of bluegrass. Unfortunately, there exist preconceived notions, myths, and stereotypes about bluegrass, that work against us. The good news is… we have the means to correct this injustice. It is called first hand information. So expose bluegrass to whoever might listen…open their eyes, their ears, and their minds. Other BMACC opportunities: If you can sit at a BMACC table for an hour or two, at a particular festival this summer… we’d be glad to hear from you. Hey, if you’re going to be there anyway…we’d certainly appreciate your help. We’d also welcome information about concerts, or perhaps nominations for people worth recognising within our bluegrass community. Again, feel free to send us pictures, festival reviews, or write articles for this publication. If you have some constructive criticism…we’ll give you a soapbox, in our Readers Speak Out section. If you are looking for economical advertising opportunities, BMACC rates are amazingly inexpensive, so call us. In conclusion, I counted over 50 festivals and touring shows for 2010 (not including club concerts). This goes to prove that we have fertile ground upon which to plant, grow, and feed those, who hunger for honest music like ours… and bluegrassers are the sort of people who don’t mind sharing! So go forth and spread the good word; bluegrass is well and thriving here! For that, we can all be truly thankful. Until next time…warm regards from bluegrass central. Warm regards, Denis Chadbourn BMACC President BMACC Notes—April 2010 Page 4 BMACC Notes—April 2010 Page 5 I recently had the distinct honor of attending the Leadership Bluegrass course, in Nashville, the second week of March. This highly motivating forum presented by IBMA, and graciously hosted by BMI, focused on the challenges facing the width and breadth of the music industry at large. I say that I was fortunate to attend this prestigious course, because only 25 people, from around the globe, were picked by a panel of judges to attend this industry think tank. Among the nations represented were Australia, Ireland, the USA, and yours truly from Canada. Leadership Bluegrass is a think tank on the state of the music industry at large, not just bluegrass. It addresses the problems that all sectors face, and provides the tools to construct and to formulate plans, to respond to these problems. Not only is it an opportunity to devise a means of guiding and building the future of our music, but it is also an empowering healing circle of leaders, equals, and friends. The topics we covered in the three days are far too numerous to mention here, so I will give you only the highlights. Suffice it to say that all the stakeholders in the industry were represented…from songwriters, bands, publishers, record labels, studios, festivals, promoters, broadcasters, retailers, educators, clubs, the new media, artist management, touring agencies, and consumers. Bluegrass truly is a global industry, and it has a far greater potential to draw tourists from both outside of Ontario, and outside of Canada. Festival promoters need to bear this in mind when marketing their festivals. And the Internet is a great way to do that. In fact, when it comes to the Internet…this is the equivalent of the Wild West…it is a land of border-less opportunity. For artists, the music distribution model has changed drastically. They can now, eliminate the middlemen altogether (i.e. Labels, distributors, etc.), and sell directly to fans via their website. Although artists may sell fewer units, their piece of the pie is substantially larger. We have returned to an age of singles…nearly 2 billion singles (digital tracks) were downloaded in 2009. While it is still imperative to have CDs & merchandise for sale at live shows, the bricks and mortar distributors are going by the way of the dinosaur…music stores are closing at a fantastic rate and their share prices are plummeting. Web based tools, like web metrics, now give us access to high tech research and marketing. That is, drilling for, and extrapolating information from social networking sites. The information derived can help to build fan bases, sell show tickets and merchandise, and get gigs. It is also useful in pitching to sponsors, and encouraging radio airplay. Did you know that your top 20% of fans bring in 80% of your revenue? So it is wise to keep them engaged via social networking tools. If you need or want to get into the nuts and bolts of legal issues surrounding publishing deals, label deals, distribution deals, performance royalties, licensing, contracts, etc., a good resource is Donald S. Passman, All You Need to Know About the Music Business, seventh edition. Although this was required reading for the music industry, it is also a very entertaining, and very practical guide to the music industry legalese. Our leadership think tank was privileged to be graced by guest speakers and industry pro’s, such as: Eddie Adcock, Dan Keen (ASCAP), David Crow (entertainment lawyer), Ronnie Reno, Todd Mayo, John Walker, Craig Havighurst, (new media broadcasting), Brian Smith, Stephen Day, Kathy Armistad (William Morris Agency rep’s. Brad Paisly), Kissy Black, Tim McFadden artist management, Paul Lohr Touring, Ron Cox (BMI) and of course bluegrass flagship IBMA…and the list goes on. After the presentation on his (Continued on page 6) Leadership Bluegrass 2010 By Denis Chadbourn See LEADERSHIP BMACC Notes—April 2010 Page 6 educational Dobro workshops and retreats, Rob Ikes pulled his Dobro out of its case, and gave the group a virtuoso performance of The Old Rugged Cross, that left tears of appreciation in the eyes of some attendees. Doyle Lawson too, spoke at length about coming to Nashville Feb.3, 1963 and landing a job with Jimmy Martin. He spoke of his subsequent tenures with J.D. Crowe, and then with The Country Gentlemen, before striking out on his own. Doyle was very candid when talking about 32 years of life on the road and how it affected his marriages. The band would spend 15 to 18 hours a day practicing when Quicksilver was first formed. Doyle’s advice to succeeding in the music biz…”You don’t need to be the best, you need to be different. Respect yourself, dress the part, and never lower your standards…have those around you raise theirs. ”In working together as a community, using high standards of professionalism, we cannot help but succeed! We need to find new audiences for bluegrass, and build a greater appreciation for the music. The bluegrass community already has the tools and resources, and the ability to succeed in the changing business environment. The greatest resource we have is one another. The ability to cooperate and to explore new partnerships, is integral for success and for future growth. This is precisely the reason BMACC exists. The most important message I gleaned from the Leadership Bluegrass course, is …people, are more important, than the music itself. People with a common goal are unstoppable…that is the essence of any grassroots movement. Putting aside petty squabbles, and working together to achieve common goals…not only promotes personal growth, but also guarantees the success of our bluegrass mission. (Continued from page 5) As your Canadian representative at Leadership Bluegrass in Nashville, I wanted to make it abundantly clear to those around the table…Canada is not just a hockey nation, it is a bluegrass nation as well. We have some world- class individuals, organizations, festivals, and musicians here in Canada. However, for us to win gold, we need to improve on playing as a team! If you have any specific questions about the Leadership Bluegrass experience, or about the workings of the music industry, please feel free to communicate with me. If I cannot answer your question, we have a team of experts that can. There has been a 10% increase in the number of consumers who purchased a bluegrass product in the last 10 years. Bluegrass fans are for the most part active people who enjoy camping, sports, recreation and outdoor activities. 78% are homeowners 64% are between the age of 25 and 54 Bluegrass consumers are 79% more likely than the average American to play a musical instrument. They are twice as likely as the average American to earn more than $75,000/ year. They are three times more likely to own a full size motor home. They are found in all major markets in North America and dozens of countries worldwide. (Bluegrass is very popular in Europe, Australia, and Japan.) The number of people who enjoy Bluegrass music is growing faster than any other genre of music. There have been more bluegrass albums charting in Billboard Magazine in the past three years than in the prior thirty years, prompting Billboard to initiate the first ever Bluegrass Sales Chart. Broadcast programming of bluegrass content has increased 250% since 1996. Bluegrass music is traditional, natural, honest music that is generally played in family oriented environments. It expresses wholesome core values. LEADERSHIP From Simmons Research Data Did you know? According to Simmons Research, bluegrass music is the fastest growing genre of music. Here are some interesting facts about bluegrass consumers, based on data collected in 2008. It reflects the American market, but still has some relevance north of the border. According to Simmons Research: Over 80 million people listen to Bluegrass music. This represents a 75% increase in the last 25 years. Terry Smith composer of “Far Side Bank of Jordan” at Mercedes, TX Wayne and Rhonda in Nashville BMACC Notes—April 2010 Page 7 SPBGMA 2010 Once again this winter, I had the pleasure of attending the SPBGMA Bluegrass Music Awards and National Convention, which was held in Nashville February 4 – 7, 2010. For those who are not familiar with this event, SPBGMA is an acronym which stands for Society for the Preservation of Bluegrass Music of America. Their goals include preserving the traditional spirit and art form of bluegrass music, offering management services for festivals, encouraging professionalism in appearance and showmanship in bluegrass performers, and supporting various bluegrass publications and associations. Like the IBMA conference in the fall, SPBGMA is a weekend full of performances by the top acts in bluegrass, band showcases, workshops, trade exhibits, opportunities to network with promoters, agencies and record companies, and of course jam sessions that last into the night. One of the highlights of the weekend is the annual band competition, in which aspiring bluegrass bands from all over North America compete. If you want to improve your band’s performance, witnessing this competition and getting an idea of the objective criteria for judging will be very educational! Previous winners of the band competition include Alison Krauss Union Station and Cadillac Sky. The awards show is held on the Sunday evening. This year’s award winners include: Songwriter – Tom T. Hall and Dixie Hall Bass - Darrin Vincent, Dobro– Tim Graves, Guitar– Josh Williams, Mandolin– Alan Bibey, Banjo – Aaron McDaris, Fiddle – Hunter Berry, Female Vocalist (Contemporary) – Rhonda Vincent, Female Vocalist (Traditional) – Alecia Nugent, Male Vocalist (Contemporary) – Jamie Dailey, Male Vocalist (Traditional) – James King, Gospel Group (Contemporary) – Dailey and Vincent, Gospel Group (Traditional) – Paul Williams and the Victory Trio, Vocal Group – Dailey and Vincent, Instrumental Group – The Bluegrass Brothers, Overall Band – The Grascals, Song of the Year – “Amanda Lynn” by Lou Reid and Carolina, Entertaining Group – Nothin’ Fancy, Entertainer – Rhonda Vincent. Promoter—Bertie Sullivan Radio Station—WDVX-FM, Knoxville, TN DJ—Brenda Lawson A special award was also presented to Roland White, who was inducted into the Preservation Hall of Greats. Jamming at SPBGMA is at once inspiring and humbling! It is an opportunity to meet and jam with people from all over North America who have come together for the same purpose – to share their love of bluegrass. Many of the jammers are performers of the highest calibre; to have a chance to play music with these people you can’t help but learn and you come to realize how very high the bar is set. BMACC newsletters and flyers were strategically placed on tables at the elevators on every floor of the hotel, and were provided to the MCs for mention in between acts. If you are in a band or you are a promoter in Central Canada, getting on board with BMACC and advertising your band or event in our publication can help you get some visibility not only across Central Canada, but wherever our directors go and spread the word! Visit our website membership information and advertising rates. If you are interested in getting more information on SPBGMA, visit their website at SPBGMA memberships are also available to Canadians, for which you’ll receive the annual Festival Guide and Band Directory, as well as the quarterly Bluegrass Music News. If you are serious about your bluegrass and you can swing it to attend IBMA or SPBGMA, I guarantee you will come home enriched for the experience! I am looking forward to seeing you around the Ontario bluegrass circuit this summer – come and say hello! Karen May James King with “NOTES” By Karen May BMACC Notes—April 2010 Page 8 OUT AMONG THE STARS Random Bits of news from the world of Bluegrass By Tom McCreight NEW RELEASES Blue Highway SOME DAY: THE FIFTEENTH ANNIVERSARY COLLECTION - Featuring the best of their Rounder Records tracks, along with one cut from a Rob Ickes solo album and three new selections including: "Bleeding for a Little Peace of Mind". Also includes: "Through the Window of a Train", "Still Climbing Mountains", "Marbletown", "Wondrous Love," 13 in all. Release date 01/19/2010 CD..ROUN-CD0633...P Emerson, Bill SOUTHERN - 2010 - Latest from the banjo legend includes classics from Flatt & Scruggs, Hazel Dickens, The Delmore Brothers, and others, as well as originals penned by Vince Gill, Tim Stafford, Pete Goble, and Janet Davis. With guest vocalists Tom Adams, Teri Chism, and Wayne Lanham. Includes: "I Don't Care Anymore", "The Midnight Train", "Old Coal Town", 12 cuts in all. Release date 01/12/2010 CD..RHY-CD1053...M Kohrs, Randy QUICKSAND - 2009 - Acoustic Americana selections from this masterful resonator guitarist/vocalist, featuring Shannon Lawson on harmony vocals, Russell Moore, Scott Vestal, Ron Block on banjo, Adam Steffey on mandolin, Bryan Sutton on guitar, and others. 13 tracks, including: "Time and Time Again", "Die on the Vine", "Devil of the Trail", more. Release date 01/12/2010 CD..RHY-CD1052...M The Boxcars, a new group featuring: Adam Steffey, Ron Stewart, John R. Bowman, Keith Garrett and Harold Nixon has formed. With collective stints with Alison Krauss & Union Station (Adam Steffey, John Bowman), J.D. Crowe & The New South (Ron Stewart, John Bowman, Harold Nixon), Blue Moon Rising (Keith Garrett and Harold Nixon), The Isaacs (John Bowman) and most recently The Dan Tyminski Band (Steffey and Stewart), this quintet starts out with an impressive rap sheet. Steffey's newly released project on Sugar Hill, One More For The Road is a receiving a great deal of airplay and attention and features guest appearances by Krauss, Ronnie Bowman and Tyminski. Expect The Boxcars to cover this material and branch out into their own unique style of contemporary bluegrass laced with Steffey's signature rhythm that can be traced back to the early days of Union Station. Award winning instrumentalist Ron Stewart will deliver rock solid banjo work, but will also lay down the banjo for the fiddle on some tunes. It's always a rarity to have multiple strong vocalists in the same group, and The Boxcars will benefit from strong vocal performances from Keith Garrett, John Bowman and Steffey's signature baritone. Look for a new release first quarter of 2010. Bill Monroe's mandolin continues to make history By Keith Lawrence, Owensboro Messenger-Inquirer OWENSBORO, Ky. A 7-inch mandolin headstock veneer defaced by Bill Monroe nearly half a century ago sold at auction Dec. 3 for $37,500. That's $5,357.15 an inch. Christie's auction house in New York City had estimated that the piece would sell for between $5,000 and $7,000. She wasn't the buyer, but Gabrielle Gray, executive director of the International Bluegrass Music Museum in Owensboro, Ky., was the last bidder to drop out before the piece of bluegrass history was sold. "People at Christie's were shocked at the price," she said Thursday. "But it's folklore. It's one of a kind. It came from the most famous mandolin in the world. It's at the heart and soul of bluegrass music. It could have sold for $100,000." Gray did come away from the auction with a 14-inch statue that was presented posthumously to Monroe when he was inducted into the Rock and Roll Hall of Fame in 1997. She got it for $2,500, below the anticipated price of $3,000 to $4,000. "It's being shipped to us," Gray said. "It's a very good artefact. I'm sorry they waited until after his death to induct him." She doesn't know yet when the piece, a black human-shaped figure holding a disc above its head, will go on display. "We'll possibly wait until the centennial" of Monroe's birth in September 2011 "and make a big splash then," Gray said. The name of the person or company that bought the defaced headstock veneer, which sits atop the mandolin's neck, is being kept secret, at least so far. Gray said she's written Christie's and asked them to pass a letter on to the buyer, asking for permission to display the veneer at the museum during the Monroe centennial in 2011. Monroe's 1923 F-5 Lloyd Loar mandolin, which sold in 2002 for $1.125 million, is now in the Country Music Hall of Fame and Museum in Nashville. Monroe is said to have bought it in a Miami barbershop for $150 around 1943 or 1945. According to Christie's, Monroe, an Ohio County native known as "the father of bluegrass music," sent his mandolin to Gibson Guitar Co. in 1963 for a neck reset, new frets and fingerboard, new tuners, a new bridge and refinishing. When Monroe got the mandolin back, only the neck work had been done. In anger, Monroe is said to have taken his pocketknife and gouged out the pearl- inlay logo that read "The Gibson." He left only the "The" on the veneer. Monroe played the Gibson-less mandolin for 17 years until the company finally persuaded him to let it fix the instrument in 1980. Bluegrass Unlimited said that Pat Aldworth, a former Gibson employee, kept the damaged headstock veneer after the new one was attached to the (Continued on page 10) See OATS BMACC Notes—April 2010 Page 9 Next >