Dale Ann Bradley will be collaborating next year with her old friend and former employee, Michael Cleveland, when she goes on the road with his band, Flamekeeper, for select shows next year. These dates will bill as Michael Cleveland & Flamekeeper with special guest Dale Ann Bradley, with Jim Roe of Roe Entertainment handling the booking and arrangements.

These dates will feature Michael and Flamekeeper doing a one hour set, after which Dale Ann will join them for 30-45 minutes of her material with Michael and his band providing accompaniment.

Cleveland explained how this pairing came together.

“Tony Williams, promoter of the Kentucky Lake Bluegrass Festival, had booked Dale Ann Bradley and our band on the same show this year and he had an idea to have Dale Ann and Flamekeeper do a jam set at the end of the festival on that Saturday night. Tom Adams, Jesse Brock and myself had worked in Dale Ann’s band years ago, so we were pretty familiar with her older material.

We had so much fun playing that show together and we talked about it for days after. So the idea of teaming up with a package show like this seemed exciting and fun for all of us. I always enjoy getting to play music with her and I know what an incredible singer she is. Dale Ann can take any song, whether it be an original, or a standard and make it her own and I’m really looking forward to doing some shows together.”

Only a limited number of dates will be available for this show, as both acts maintain active schedules on their own. It seems likely that audiences, especially for indoor concert settings, will appreciate being able to see the 3-time IBMA Instrumental Group of the Year (Flamekeeper), 7-time Fiddle Player (Cleveland), reigning Bass player (Marshall Wilborn) and mandolin player (Jesse Brock), and the 3-time Female Vocalist (Bradley) in one, all-star show.

Dale Ann is eager to see these shows come to be.

“When I went out on my own, Michael Cleveland as well as Jesse Brock and Tom Adams were the musical glue that held it all together. Watching Michael play the fiddle with his signature drive and sensitivity…man, he’s something else. I am thrilled to be sharing a stage with him and all of the guys in Flamekeeper.”

Sounds like a fun show.

I walked away from the conversation in possession of a brand new Elliott Elite Capo for my guitar.

I owned one of the original Elliott push buttons for years, until it disappeared at a gig several months ago. I’d been laboring along with a standard, spring-loaded, clamp style capo until now. What a joy it is to once again have an Elliott capo on my Collings!

And this new Elliott Elite is even better than the original. The Elite design is so slender it doesn’t get in the way at all. This capo really is smaller than the previous model I had, which was smaller than the standard variety spring-clamp capo. This sleek design really serves to keep the capo out of the way of your left hand as you play.

The Elite also features a longer saddle (leather padded), which makes it easier to keep the capo centered on the instrument neck. And of course, the patented Elliot push button design.

Speaking of design, these capos are finely crafted and even though it’s a small piece of hardware, you can sure feel the quality of the craftsmanship when you hold it in your hand. The screw mechanism is smooth, nothing seems loose, but neither is it overly tight. The push button is perfect, easy to use, yet secure enough that you have no fear of it coming unlatched during use.

The real advantage of this sort of capo lies in the thumb screw. As opposed to a spring-clamp sort of capo, the thumb screw allows the player to adjust the capo to have exactly the correct amount of tension on the strings. Not over clamping, allows for a very transparent sound which doesn’t adversely affect tuning the way a spring operated capo does.

If you are looking for the best capo, look no further. The price tag is serious at $160, but if you’re serious about your music, you can’t afford to use anything less.

The guitar version comes in the following standard neck widths: 1 11/16″, 1 3/4″, 1 13/16″, and 1 7/8″. If you need something special for a different neck width, give Phil a call and he’ll take care of you.

For the banjo, you have the options of a B capo or a C capo.

I took a few photos of the capo to share with you. I hope these give you a sense of the capo’s size and craftsmanship.

Rick Hayes Instruments, makers of dreadnaught guitars and F-5 mandolins, is proud to announce today that Clay will be endorsing their mahogany guitar. It is a solid wood guitar, made with Honduran mahogany back, sides and neck, and high grade spruce for the top. The fingerboard and bridge are of West African ebony, and the guitar sells for $2999.

As you might expect, Clay speaks very highly of the guitar.

“The Rick Hayes guitar I have been playing for the past year is one of the top five guitars I’ve ever played. I recorded most of my new recording with a 1938 D18, which is my favorite guitar. I recorded the rest with the Hayes guitar. I’ll let y’all try to tell which is which because I can’t.”

More details can be found on Rick’s web site.

Two shows are scheduled: Saturday (11/21) from 2:00-8:00 p.m. at Bob Mackey’s Music World in Wilder, KY and Sunday (11/22) from 2:00-9:00 p.m. at the Freedom Worship Center in Franklin, OH. The shows are both billed as The Weekend For Jim, with suggested donations of $10 to help defray his medical expenses.

Several bands will play each day, and door prizes will be awarded at both shows. Banjo man Johnny Butten will also be on hand to attempt a new Guinness record for the longest continuous playing of the banjo.

If you are unable to attend the shows and would like to make a donation, they can be sent to:

Bentley has a long history of including bluegrass music on his chart-topping releases, and has collaborated several times with The Grascals and other Nashville grassers. He was a fixture on the bluegrass scene in Music City prior to his country career taking off, and even studied bluegrass mandolin with Butch Baldassari.

From The Boot…

“Nashville is my hometown; I’ve been here 15 years, so I know a bunch of the grassers, a lot of the country guys, a lot of songwriters and musicians,” Dierks explains. “Every album I’ve done has a bluegrass song on it, so it’s not a surprise that one day I might make a bluegrass record. It would be a cool thing for me.”

We hope to learn more about this soon.

She was in attendance with her husband, Terry Baucom, and sent us this report.

“Terry was an instructor, along with Tom Adams, Mike Scott, Jim Rollins and Bill Emerson. Josh Goforth worked with the old time players on clawhammer and Tom McKinney was on hand for banjo set-up. There were over 50 participants this year.

A Faculty Concert was held on Friday evening, where I was honored to join the instructors as bass player and tenor singer, as Tom Adams played guitar and sang lead and Terry baritone. That was a lot of fun and was followed by a big jam session with the students. On Saturday night, Bill Emerson & The Sweet Dixie Band performed.”

The event must have gone well, as event producer Rod Johnston has already made plans to do it again in November, 2010.

Now it appears that Sing Out!, the venerable folk music mag, is approaching its 60 year anniversary in a very tenuous state. The economic difficulties of print publishing in today’s market have hit them hard, and without the help of the many friends of the magazine, their fate is uncertain.

Co-founder Pete Seeger has written an open letter to the folk music community about Sing Out’s condition, asking for immediate financial help.

“Over the years, Sing Out! has grown, changed formats several times, and added songbooks like Rise Up Singing to its catalog. It’s created a resource center collecting music, books and photos, reaching back through our community of music and its revival. We even do a weekly radio show that you might be hearing on a local radio station.

Today, in these changing and challenging economic times, Sing Out! is struggling to survive. As we head toward our 60th anniversary next year, we need your support more than ever. I ask you to consider making a contribution to help Sing Out! get through this very difficult year AND to ensure another 60 years of sharing songs that we need to learn and sing.”

He also created a video appeal…

Sing Out! has an online donations page set up to accept whatever assistance loyal readers and supporters of the magazine may be willing to offer.

The songs include early classics from Boone Creek (One Way Track), Sam Bush (Sailin’ Shoes), Lonesome River Band (Highway Paved With Pain), Tony Rice (Church Street Blues), Hot Rize (Colleen Malone), plus tracks from newer artists including Nickel Creek (When You Come Back Down and The Smoothie Song), The Infamous Stringdusters (Fork In The Road) and Sarah Jarosz (Song Up In Her Head).

There is a track from Ricky Skaggs’ initial traditional country album, Sweet Temptation (I’ll Take The Blame) and one from his memorable duo project with Tony Rice, Skaggs & Rice (Bury Me Beneath The Willow). Other artists featured include Dolly Parton, Ronnie Bowman, Jim Mills, Aubrey Haynie, Darrell Scott, Jerry Douglas and many more.

You can see the complete track list, hear audio samples, and buy it as a digital download in iTunes.

We’ve just learned that Yonke has recently been commissioned to create artwork for the 2010 Delfest. The artwork will be used as the “graphic foundation” for the festival poster and other related promotional pieces.

Yonke is a mandolin player himself, and finds great joy in combining his two artistic passions, bluegrass music and watercolor painting.

We’re fans of his work here at The Bluegrass Blog, and excited to see this fusion of two fine art forms.

Be sure to visit his online studio at AppalachianStudio.com.

The company is the brainchild of Ken Caulkins, who has modified the concept of the player piano for a variety of other stringed instruments and percussion. He has also created full-sized MIDI music boxes with actual instruments that perform upon command.

Ken is obviously a bluegrass fan, as he offers several versions of his automated music players in a Bluegrass Special line. The lovely conversation starter pictured above is his Grade 3 model, complete with banjo, guitar and bass, selling for $37,950 in cherry.

Here’s a look at one in action.

Click here to view the embedded video.

Hollender forwarded me the following video, which gives a great look at his robot banjo in operation, this time in clawhammer style.

What do you get for the bluegrass picker who has everything? You can see more and get full details on these fascinating machines at www.ragtimewest.com.

Junior had a show nearby and spoke at some length with music reporter Tad Dickens about his latest CD, Blue Side Of The Blue Ridge, and the 2009 IBMA Awards, where Junior had several nominations.

You can hear the entire 20 minute interview at Roanoke.com.

Their explanation of the legislation is that copyrights for sound recordings are soon going to be up for grabs.

If an artist or author sold a copyright before 1978 (Section 304), they or their heirs can take it back 56 years later. If the artist or author sold the copyright during or after 1978 (Section 203), they can terminate that grant after 35 years. Assuming all the proper paperwork gets done in time, record labels could lose sound recording copyrights they bought in 1978 starting in 2013, 1979 in 2014, and so on. For 1953-and-earlier music, grants can already be terminated.

In other words, artists will soon be able to take control of sound recordings produced before 1978. This could mean good things for artists positioned to take advantage of such a change, and it could possibly intensify the financial pressure the major labels are feeling due to declining CD sales.

I don’t see this being a huge issue for the bluegrass industry, though some important, first and second generation bluegrass music could find its copyright changing hands. Sound Recordings from artists such as Bill Monroe, The Stanley Brothers, even New Grass Revival and The Seldom Scene, could be affected. We could potentially see the release, into the digital world, of music which the labels, for one reason or another, have chosen not to reissue.

I’m not a lawyer, and I certainly don’t understand all the ins and outs of the copyright law, but this article at Law.com contains a paragraph that seems to indicate a sticky mess could insue.

As of now, songwriters and performers — as well as producers, engineers and anyone else who helped create a song — can send a notice for songs created between 1978 and 1984.

In the end, who will own the copyright? I don’t know, but if you’re an artist it would be worth your time to speak with an entertainment lawyer concerning this issue, and what your rights may be regarding sound recordings you made in the 70’s and 80’s.

If you are interested in old instruments and the stories behind them, you’ll want to give this a look.

Or you may find sidemen touring together while their primary musical employers are taking some time off for the holidays. There are two such mini-tours for the end of 2009 that should be of interest to bluegrass and acoustic music fans.

First up, The Nedski-Mojo Show, which began this past weekend, and continues through next week. It features banjo picker Ned Luberecki, who performs with both Chris Jones and Larry Cordle, and guitarist Stephen Mougin, who works with Sam Bush. Both are superb musicians and singers, and Ned could easily hold forth for half the show as a stand up comedian.

They have a string of concerts and workshops along the east coast leading up to the Thanksgiving holiday and you can be sure to catch a highly entertaining and musically challenging program if they stop near you. A full list of dates can be found on Facebook.

Then in December, mandolinists Adam Steffey and Kym Warner will tour together briefly in Virginia and Maryland, billed as Mandolin Sessions.

Steffey may be the most prominent bluegrass mando man in the biz these days. He has been named Mandolin Player of the Year six times by the IBMA, and his current CD and DVD releases are hits with the public. Most folks first came to know his music when he was a member of Alison Krauss & Union Station, and he has toured since with Mountain Heart and now, Dan Tyminski.

Warner is a founding member of The Greencards, a fascinating, genre-bending outfit of acoustic musicians who formed in the US, though none were native born. Kym hails from Australia, but lives now in Nashville.

You can find information about the Mandolin Sessions dates at Mandolin Cafe.

The track list reads like, well… a treasury of classic bluegrass and country songs.

In fact, he might have called it a Family Treasury of Bluegrass and Country Songs, as the bulk of the accompaniment is provided by kith and kin. Phil explains…

“My wife, Beth Sommers, plays bass and sings harmony with me on a lot of the songs. Our daughter, Naomi Sommers (who is a wonderful songwriter as well as singer – check out her website, www.naomisommers.com), also sings on some of the songs. Naomi started singing with me, at the age of 5, when I began recording a series of albums of bluegrass for children in 1985, just before I left the Seldom Scene – in fact, if you listen to all the albums I produced on my label, American Melody, you can basically hear Naomi grow up (she’s 31 now). Daniel Rosenthal is Beth and my son, and he plays trumpet on the album and also sings bass parts on some of the quartets. Golden Slippers, Rye Whiskey and Sail Away Ladies has all four of us singing on the choruses.

My parents, Lil and Irv Rosenthal, sing on the chorus of Some Folks Do, along with me and Naomi. My father also sang with me on some of the children’s CDs I’ve recorded over the years, and was a great singer. Sadly, he died last spring, just before the record came out.”

He also offered a nice overview of the songs he chose for this new project.

“The songs on my new CD are some of my all-time favorite bluegrass and country songs, plus some originals, including Muddy Water, a song that the Seldom Scene recorded before I was in the band, and had something to do with the band approaching me to replace John Starling when he left the group in 1977. Songwriting was part of my appeal to them, and part of the reason they asked me to audition for John’s spot.

I’ve added some new verses to some of the songs, like Down the Road (which has a verse about Beth keeping me on my musical path through the years, and also mentions the chicken farm that my parents ran when I was growing up – and a verse about first hearing Lester and Earl’s recording of the song when I was a kid), plus Old Joe Clark and Sail Away Ladies. I guess that’s part of the folk process – adding new things to older songs. But some of the songs I’ve done just the way they were written – like Some Folks Do, a little-known but wonderful Stephen Foster song, and Listen to the Mocking Bird, which has become known more as a fiddle tune, but I think sounds better when it’s sung (it’s such a great, sad song, with an uplifting melody).”

It’s likely that most readers of The Bluegrass Blog know Phil primarily for his work with Seldom Scene. For his fans and friends from those days, he gave us a thumbnail version of his post-Scene activities in the music business, where he has remained active and productive.

“I left the Scene in 1986, and have spent most of my time starting and running my label, American Melody. The main focus of the label was to produce good quality bluegrass and folk recordings geared especially for kids, but with appeal, I hope, for any age.

I never wanted to simplify things musically on these recordings. I fell in love with bluegrass the first time I heard it, when I was about 11, and always felt it had something in its sound that had appeal for kids, beginning with infants, so that’s why I decided there needed to be recordings directed especially to them. I’ve produced over 25 albums, many of which have won awards from various organizations, including the Parents’ Choice Foundation, the American Library Association and others, and very good reviews over the years.

Now that my kids are grown and pursuing their own musical careers (Daniel is a professional jazz trumpet player), my musical focus has gone back to more ‘adult’ music again.

I have my own recording studio, which is where I’ve produced all my American Melody albums, and where I’ve been working on the songs for the new album over the past 7 or 8 years.  It’s nice to finally have finished it!

I’ve also been performing since leaving the Seldom Scene. Beth, Naomi, Daniel and I perform occasionally as the Sommers Rosenthal Band. I also do solo performing, and Beth and I  perform as a duet. In the past few years Naomi and I have also toured together. We (Naomi and I) performed in Europe this past May and June, including an appearance at the European World of Bluegrass, the biggest European bluegrass festival, and will be touring the United Kingdom in September, 2010.”

You can hear audio samples from A Treasury of Bluegrass and Country Songs on Phil’s web site, and at CD Baby.

Shelton was diagnosed with leukemia, which at age 73, is an awfully serious bit of news. He had been receiving chemo and other treatment at the Centennial Medical Center in Nashville, and was released this past Friday (11/13).

Here is the report we received from Allen’s daughter in law, via Fred Robbins:

“He still has a way to go on his recovery, but the doctor told them (him and Mrs. Shelton) that as long as they are very careful (wearing masks, gloves, and limited visitors) he could recover at home.  They were thrilled to get out of that hospital room.”

That’s wonderful news for Allen’s many friends and admirers of his tremendous contribution to the world of 5 string banjo.

As the winners of the 2007 European Band Of The Year at the European World of Bluegrass, they garnered the IBMA showcase slot “reserved” for the EWOB winners. They played on the Wednesday brunch showcase during IBMA week, but unlike most invited showcase acts, they were also featured on the International Bluegrass Music Awards show and the weekend Fan Fest.

But this wasn’t a matter of pure kismet; the band had laid the groundwork in advance. Banjoist Jens Koch had attended IBMA on a number of occasions, and the entire band was there in 2008. They generated quite a buzz from their late night showcase slots last year, and worked the networking hard that whole week.

Perhaps most importantly, they retained US representation (Roe Entertainment) following IBMA 2008, and booked two brief tours here prior to IBMA ‘09. Nothing shows an eagerness to perform in the US more than, well… performing in the US!

Jens shared a few impressions of their recent IBMA experience:

“We felt like we did a good performance on the main stage, and the energy in that room was great. I think that it’s great to have people sit down and enjoy the music with some food, that never hurts. We got great reactions after that showcase and to us it meant the world compared to doing all the late night showcases where very few people actually show up and personally I think that it’s hard to perform that well in a little showcase room due to our constant fight with jet-lag (it’s like 8 or 9 in the morning for us when we do late night showcases), less sound reinforcement and the small crowds. So we loved to play the brunch showcase.

Playing the Awards Show was such a treat. It felt very special to walk on that stage and I think one of us said ‘what the heck happened down there?’ as we came back to the dressing room in the Ryman, followed by ‘My record collection was sitting in the front row looking at me.’ Scary and nice at the same time. The vibe at the Ryman was definitely something else!”

Their second CD on Sweden’s Cosmos Records is due out shortly, and a number of US labels have expressed an interest in licensing it for distribution in the States.

G2 has plans for another US tour during the summer of ‘10, and maybe two. Jim Roe of Roe Entertainment tells us that their exposure at IBMA this year has made a big difference in arranging dates for the band.

“It’s a great selling point that they played on the awards show – not everyone gets to play that show.

We had a lot of interest following their Wednesday showcase. One major festival contacted me right away about having them next year after hearing them live. We’re not sure yet whether they’ll be able to do it, but the immediate response was very encouraging.”

Jim said that they will be in the US from mid-June of 2010 through at least the end of July.

“Their tour will start at the Grass Valley Festival in California, and we also have them booked at ROMP in Louisville. They are booked at Mohican Bluegrass just before IBMA, and we are still filling open dates. If we can keep them busy all summer, the band will stay over here from June all the way up to IBMA in September.

They also did as many media appearances as possible while they were here this fall, including live sets for WAMU’s Bluegrass Country and Bluegrass Breakdown, syndicated on Tennessee Public Radio.

There was also a set for The Woodsongs Old Time Radio Hour, which was broadcast a few weeks ago on their many affiliate stations. Though primarily a radio show, Woodsongs also offers their programs on video, and you can see G2’s performance online, or in the player below. Just click the image if the player controls don’t appear.

Click here to view the embedded video.

G2 was so visible this year that a number of European bluegrass enthusiasts got to grumbling about how well they were treated at IBMA versus other acts that have made the trip. Acousticure, the 2008 EWOB band champs (from Hungary), made their first trip to IBMA this year, and they could do a lot worse than emulating the example G2 has set for success in the US market.

UPDATE 11/17: Dan Hays, executive director of IBMA, sent along a clarification about the showcase selection process as it involved G2.

“G2 was actually chosen for an official showcase performance slot based on their own merits and IBMA’s selection criteria….rather than assuming a slot reserved for an EWOB winner. In fact, IBMA does not reserve a slot for EWOB winners or any other competition from Europe, the US or elsewhere. All of IBMA’s official showcase artists are selected from amongst those that apply and best fulfill the criteria for those presentations and we wouldn’t want anyone to think G2 was chosen on anything other than their own merits and through processes open to everyone.”

Entitled The freshman, the general tenor of the piece by Joan Anderman is the contrast between Sarah’s path and that of the average 18 year old artist with a recording contract.

Now, just when most rising stars would be leaping headlong into the beckoning arms of agents and promoters, Jarosz is putting her career on the back burner to study at the New England Conservatory. She admits that enrolling in the school of life was a tempting choice; plenty of musicians do it, and many believe that hitting the road is the only legitimate path for a player.

“I talked to a lot of musicians that I respect and got a lot of different opinions,’’ Jarosz says over coffee at a cafe near campus. “And I definitely did ponder the idea of just going straight into the music career. But there’s always more to learn, and I also didn’t want to miss out on the college experience. My roommate is a classical vocal performance major; she does a lot of opera singing, which is something I’ve never really been around before. I’ve been listening to a ton of Billie Holiday and Sarah Vaughan. I’m in a world music and a Jewish music ensemble. I’m getting out of my comfort zone.’’

You can read the whole article online.

The October 25th benefit show for Eddie and Martha Adcock at Nashville’s Station Inn was a great success. The packed audience at the Station Inn was treated to the sounds of some of the finest in Bluegrass, who donated their services (and also their own funds) to help Eddie and Martha through some difficult times following Eddie’s successful brain surgery last August.

The Nashville Bluegrass Band was followed by Missy Raines and the New Hip. Then Jerry Douglas told how his father’s first experience hearing the Country Gentlemen with Eddie Adcock prompted his father to buy every Country Gentlemen record he could find, which Jerry listened to constantly for the next year. Jerry was joined by Russ Barenberg on guitar for some hauntingly beautiful tunes.

Next the Whites with dad Buck and daughters Cheryl and Sharon demonstrated family harmony at its best. Jerry Douglas joined with surprise guest Ricky Skaggs to round out the Whites’ portion of the show. Jesse McReynolds and his family showed that the Virginia Boys sound is alive and well. Jesse concluded his set with El Cumbanchero, again confirming that his picking is as fast (or faster) and clean as ever — an amazing performance.

Harley Allen sang several of his own songs, showing all why he is one of the world’s best songwriters. He was ably assisted by the Infamous Stringdusters’ Andy Hall on Dobro, David Harvey on mandolin, and Barry Crabtree on banjo. Speaking of songwriters, Dixie and Tom T. Hall were in the audience. Others attending to support Eddie and Martha included Sonny Osborne, Terry Eldridge, Roland White, David Sebring, and many other notable Nashville area musicians.

Sam Jackson handled the emcee duties and “Supe” Granda from St. Louis delivered several of his original songs. The climax was when Eddie Adcock himself took the stage with former II Generation bandmate Gene Johnson (now of Diamond Rio), Missy Raines, and Don Wayne Reno. After a few moments of Eddie’s picking, there was no doubt that his surgery had been a success, and his trademark baritone voice proved as smooth as ever.

It was a magical evening where the excellence of the music mixed with the atmosphere of love and respect, and once again our Bluegrass community stepped up to assist one of our own.

If you would like to add your contribution to assist Eddie and Martha, you may send a contribution to:

Martha Adcock
P.O. Box 219
Lebanon, TN 37088

They will perform as an acoustic duo, with both contributing on guitar and vocals. Nershi and Law recorded together in 2006 as Honkytonk Homeslice, along with Nershi’s wife Jillian.

Here is a taste of their show.

Van Ghost will open each show on the tour. You can details on all these dates on the Nershi-Law web site.