Night Noises

Last night after work I met my wife out in the country for dinner.  We met at our cabin in the mountains of Floyd County and ate at the picnic table outside since it was a cool evening.  As we sat there, the idea of quiet came up in my mental checklist of reasons I like the mountains so much.  Quiet, peaceful, uncomplicated- these are words I always consider during moments like that.  In my daydreaming times when I am not in the mountains, I often picture myself sitting outside in the evenings watching the light fade and soaking in the quiet.  That is a frequent “go-to” place for me, imagining that time when I look up at the sky and the dark silhouettes of trees seem to stand out as a vivid border between land and sky.  There are no individual features in the trees, they are just vivid black shapes against whatever is left of the day.  I like that time.  And the quiet…. it is a nice place to be in a daydream and I go there often.

But…..like a lot of daydreams, reality doesn’t quite match up.  Last night as we sat there quietly listening, the thing that just amazed me, as it always does, is the balance between light and sound.  As the day fades, the sounds increase in a really incredible and almost eerie way.  Frogs, cicadas, crickets, birds, and many more things I won’t even pretend to know the names of start their songs/chatter/calls, whatever words you want to assign them- and the sound grows and grows and grows to an amazing cacophony.  The mountains in late summer and early fall are anything but quiet.

As I sat there listening, I tried to pick out individual sounds.  The stream passing over rocks in its bed; breeze blowing through the trees; tree frogs calling to each other; crickets looking for each other; birds.  All these sounds are there, all a part of a massive and complex soundtrack. I would occasionally walk from place to place to listen in a different spot and even the sound of walking gets added to the collective.

Sometimes the wall of sound seems a constant, sometimes it pulses with what I imagine is a call and response situation but on a huge scale.  I assume what I think is a wall of sound is really hundreds of tiny voices all calling out to each other individually, but because of their number, the sound all gets blended together and becomes one thing. (If that is not true, please…nobody tell me otherwise, I like that idea!)  Add to that the sounds that are always there, the breeze blowing through the trees, the occasional dog barking in the distance, the stream making its way over its rocky bed.  It all adds up to a wonderfully complicated symphony.  It also represents thousands of living things going about their business completely unconcerned with me or anything I am worrying about or thinking.  Thousands of living things in a massive relationship with each other, with the trees, the mountain, the stream.  All of them part of a community I will never really understand but am thankfully allowed a glimpse of through these night noises whenever I take the time to listen.

John Cage taught us that chance occurrences are art.  Andy Warhol taught us that everyday objects are art.  Andrew Goldsworthy taught us that shapes in nature are art.  They are all correct, and I thought about them last night and what they taught us while standing there in the dark listening to these night noises.  I am sure that each of them would sometimes just stand somewhere special just listening.

Since this blog is about Appalachian music and culture and I frequently make listening suggestions in it, today I suggest you spend a little time going outside in the evening and just listening.  There is culture there.  There is music there.  Back to the three words that I always consider during special mountain moments- quiet, peaceful and uncomplicated?  Quiet and uncomplicated are surely wrong, but the other- peaceful…… Yes indeed.

 

 

 

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Banjo Construction Photos- Form vs. Function

Recording King- Tailpiece

I like banjos.

There….I said it.  I guarantee that is a true statement too.  I like to play them, I like to hear them, I like to learn about them and I just plain like to look at them sometimes. (Which is one reason I have six of them hanging on the wall in my house, easy access to play and easy access to just look.)  Some time ago I was thinking about people who play banjos, and how when we get together to visit, the talk often shifts to banjos. I will tell you right off, in these situations there is not a lot of talk of playing techniques or music theory happening- the talk is about banjo models, neck inlay, tone rings, tuning pegs, tailpieces, picks…..the list goes on and on.  The take away idea in that is that we are somewhat obsessed with the instrument itself.

In a lot of ways, the banjo is simply a drum with a neck and strings attached to it.  In other ways, it is a finely crafted collection of metal, wood, and a few other things that have been engineered to create a vehicle to make pleasant sounding music.  Over the years luthiers have studied and experimented and changed design and thought about design to attain certain sounds, tones, and looks.

Bacon and Day- Mute

I mentioned “looks”.  There is a lot of importance in the visual aspect of an instrument, if not then we would not have instruments with beautiful pearl inlaid necks, artistic peghead designs, veneer covered resonators, decorative binding patterns etc etc etc.  There is real artistry involved in instrument building.  Some say it doesn’t matter, but it does.  Many people can quickly dredge up images of flashy tenor banjos with rhinestones glued to pegheads, classic parlor banjos with heavily inlaid and etched necks, inlay patterns on bluegrass banjos with names like Flying Eagle, Tree of Life, and the like.  The decorative parts of banjos serve a purpose other than being eye candy but artistry is important. Form vs. Function.
Bacon and Day- Nut2

So with all that in mind, I am happy to announce the start of a new digital photograph collection here in the Archives.  The idea behind this collection is to show that many banjos have very similar parts as far as function, but differ in form- sometimes to a great degree.  NechvilleTailpiece8

Never fear though…..if you are one who is not obsessed with banjos you might still enjoy this collection.  Think of this as a Warholian exhibit of sorts.(Shout out to my grandmother who taught me to understand and love Andy Warhol.) Andy Warhol taught us to appreciate that the package of Brillo Pads is art, the Campbell’s Tomato Soup label is beautiful, that repetition is genius.  Same idea can apply here.  If you look at the shape of the wooden rim hidden deep inside a banjo, you might be surprised at the finely cut grooves and curves and how they differ.  You might be fascinated by the many intricate cuts in the heel of the neck.  The minute differences in the curve of a hook might catch your eye.  Form vs. Function. Stelling- Neck5

So come have a look.  Use your artistic eye, your entrepreneurial eye, your musician eye, any way you want to look is fine. You can compare parts between brands- at the moment this collection represents Stelling, Nechville, Gibson, Bacon and Day and Recording King but that list will expand as the collection grows.  It is all art, it is all functional, it is all beautiful.  Form vs. Function.

Banjo Construction Photo Archive.

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John Bullard Interview

bullard smile

For those who want to jump right to the interview-  Part 1…… Part 2

As a banjo player, I have always been attracted to music that is a little out of the mainstream.  For several years I played banjo in a rock band, wrote music for the solo banjo, became nearly obsessed with playing celtic tunes, then equally obsessed with playing ragtime tunes.  My banjo heroes reflect that trend and people like Butch Robins, Jens Kruger, Bela Fleck, Don Reno, and Tony Trischka have provided a lifetime of inspiration for me.  Being a musician though, I am never satisfied with what I know and am always looking for more.  And my list of banjo heroes seems to be increasing accordingly.

I really don’t remember when or how I first became aware of classical music being played on the banjo.  I do remember though one day in the mid-1990s sitting at my desk looking for something interesting to listen to and remembering an obscure album I had heard somewhere along the line.  It was an album of classical music but it had Eric Weissberg playing banjo on it too.   Playing classical music on the banjo, but only on a few tracks.  At that moment I wanted to hear it again but couldn’t find the album so went to the internet to search for it or something close.  That’s when I came upon the name John Bullard.

John had recently released an album called The Classical Banjo.  I was intrigued and so I ordered it.  When the album (well OK, it was a CD but I am from the time when there were albums and I still think of them as such) came, I was mesmerized by it.  Here was an album of mostly solo banjo playing classical music and it sounded GOOD.  Off and on in the 20 or so years since then I have spent many hours trying to play some of the things on that album.  When his second album came out, Bach on the Banjo, I ordered that one too.  Couldn’t get enough of that stuff!  And with that, my list of banjo heroes had increased by one more name.

So without further rambling, I present the newest in out Banjo Masters interview series: John Bullard- Classical Banjoist.

Part 1– In part 1 of this interview, John tells us about when he was first bitten by the banjo bug, talks about his banjo teacher, about how he became inspired to play classical music on the banjo, has a wonderful Galax story that seems to have changed his life and about his time at Virginia Commonwealth University studying music.

Part 2– In part 2, John talks about banjo setup, various bands and musical experiences he has had, talks about his practice routine and tells us about his new album which will be coming out in the Fall of 2016.

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Banjo Masters Interview Series

For the past two years, our Archives department has been conducting interviews of master banjo players and builders.  As of now we have published interviews of Butch Robins, Sammy Shelor, Jens Kruger, and Tom Nechville.  This is a fascinating and ongoing project and very soon we will be releasing a new interview of classical banjoist John Bullard.  To whet your appetites for that, here is a short preview!

 

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New Interview- Tom Nechville- Banjo Building’s Mad Scientist

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Tom Nechville- Banjo Building’s Mad Scientist

https://vimeo.com/173492693

A few years ago when I came up with the idea to interview various banjo masters, I intended to focus on both players and builders that I felt were innovative, influential, and were making a lasting impression on the banjo world.  I don’t think it is quite the same, but I do feel question of which came first the master player or the master builder, is pretty closely related to the chicken and egg one.  Either way, the magic ingredient is the same- innovation.  Whether it came first from the builder or from the player, someone had to do or think of something different in their respective craft to either create or demand a change in the playing and building of banjos.

In thinking about who I felt filled all of those areas, a list of several names popped into my head right away and so far each of them have agreed to sit and talk to me about what they do and why.  Today I am very pleased to release the first of the banjo builder interviews in this series of banjo masters- Tom Nechville.  Tom is founder and owner of the Nechville Banjo Company based in Bloomington, Minnesota and he is doing something truly different in banjo design and building.  Nechville banjos are not like the traditional “Gibson style” banjos in form or tone.  When I said above that Tom is banjo building’s mad scientist, that is probably not too far from being true.  Tom has rethought banjo design and function and has some very innovative ideas that he has put into production to produce a very fine instrument.  (Disclaimer- I bought a Nechville banjo several years ago from a music store in Maryland and still play it and still love it.)

In a lot of ways I think we are living in the Golden Age of banjos, and I have heard that said by others too, so it must be true.  Each year we have large corporate builders making hundreds of a few models of fine quality traditional banjos, small private builders making a handful of custom banjos, and a few builders- like Nechville- doing something in between.  If you listen for it, you can hear banjo being played in television commercials, movies, sitcoms, and hear it in a wide variety of musical styles.  Country stars are playing guitar banjos, electric five string banjos, as well as traditional banjos in front of thousands of fans.  Jazz banjo players are playing tenor, plectrum and electric banjos at jazz festivals and clubs.  Bluegrass and Old Time festivals have more banjos than you can shake a stick at.  Did builders create new and different banjos that players discovered would fit in various musical situations, or did players try to put banjo in situations only to find they needed builders to make different kinds of banjos for?  Who knows…. maybe it is the chicken and egg situation, but really….what does it matter?  Both are mighty important in my mind.  What I do know though, is that Tom Nechville makes banjos for all of those situations and he is a fascinating, fast thinking guy.

In this interview Tom Nechville talks about how he came up with some of his ideas, explains his Heli-Mount design; talks about some of the people playing his banjos; talks about what music means to him and what he thinks is important.

So have a look, feel free to comment too!

Tom Nechville- Banjo Building’s Mad Scientist

https://vimeo.com/173492693

 

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A.J. Gaither- Home Made Musician

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A.J. Gaither is not technically an Appalachian, he lives in Arkansas actually.  He does though, live by the Appalachian belief in using what you have, repurposing things to make up for what you don’t have and making the best of your situation any way you can.  He is a musician, an instrument builder, a songwriter, and an entertainer.

IMG_5451A.J. makes his own instruments too, so when I mentioned that in the title, I meant it. His guitars are what are known as cigar box guitars and often times they are made of…..well… cigar boxes.  Other things too, but the box that cigars come in features very heavily in his instruments.

A year or so ago, A.J. was playing here on the Radford University campus and he kindly stopped in to visit us in the Archives and Special Collections area of the library to talk to us about his music, his life, his instruments and his philosophy of various things.  He even sang us a few songs while he was here.

To learn more about this fascinating man and his music, check out this honest, somewhat irreverent interview:

A.J. Gaither- Home Made Musician

https://vimeo.com/161833005

 

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Highlights of the McConnell Library Appalachian Music Collection- Bill Keith

BillKeith-InMemory-FredRobbins

(photo copyright Fred Robbins, used by permission)

William Bradford Keith (12/20/1939-10/23/2015) joined Bill Monroe’s Blue Grass Boys in 1963. Bill Monroe called him Brad Keith because he didn’t want another person named Bill in the band. What he did want though is for people to hear the new kind of banjo playing that Bill Keith had come up with- something that was later dubbed Keith style, or Melodic Style. What that means in simple terms is that a person playing in melodic style plays all the notes of a song whereas a person playing Scruggs style generally does not. Bill Keith opened up entirely new ideas and possibilities for banjo players everywhere when he came up with this style. He was a master at playing fiddle tunes and could play them literally like no other banjo player.

Butch Robins talks about Bill Keith and melodic playing in this video starting at about the 7:15-12:50 mark. He even shows us literally the differences between Scruggs and Melodic style as he plays Cripple Creek in Scruggs and Melodic style. Since Butch does a much better job explaining that, I will let him do it for me- https://vimeo.com/111785340

Bill Keith was an accomplished banjoist before he came up with the melodic style, in fact I would be willing to bet most people who play Scruggs style banjo do so in many ways because of the efforts or Bill Keith transcribing many Scruggs solos. These transcriptions were used in the Earl Scruggs instructional book that was practically required reading for beginning players.

After leaving the Blue Grass Boys, Bill Keith joined Jim Kweskin Jug Band and played mostly plectrum banjo (a very chord based method of playing as opposed to melody note type playing) and after that he joined forces with David Grisman and played jazz for a while. As his knowledge of music theory grew, so did the musical selections he tackled and recorded. Jazz standards such as Duke Ellington’s Caravan,

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Felix Arndt’s jazz classic Nola ( here is a video of banjo masters Ryan Cavanaugh and Bela Fleck, both hugely inspired and motivated by Bill Keith, playing Nola),

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Dizzy Gillespie’s A Night in Tunisia http://

and Irving Jordan’s Jordu were recorded and played by Keith and his bandmates. The banjo was once again exciting people in new ways and inspiring a generation of players in different ways than Earl Scruggs had.

Bill is not only known for his banjo playing, but also for a handy little bit of banjo equipment magic known as the Keith Tuners. These are specially made banjo tuners (the things you tune a string with, not the things you make sure your banjo is in tune) that allow you to change the note your string is tuned to in a quick and accurate way. Keith Tuners are used by players all around the world.

Bill Keith did not ever just sit back and rest on his laurels, he was a true musician and good guy and could be found giving music theory workshops and attending jam festivals up until nearly the end of his life. Fred Robbins, thankfully captured many of these workshops and generously shares them with the world–  He was a musical genius, a giver of knowledge and an inspiration until the end.  On October 1, 2015 he was inducted into the IBMA Hall of fame.

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On October 23, 2015 he lost his battle with cancer. He will be truly missed.

Thank you Bill Keith. Rest in peace brother.


So, in celebration of his life and musical gifts to us, let’s have a listen to one of his recordings.  I like this one because it has it all, jazz (Caravan and Jordu), Celtic (Rickett’s Hornpipe), Keith tuners (Auld Lang Syne) and bluegrass (Farewell Blues and others)-

Something auld, something newgrass, something borrowed, something bluegrass

Author: Bill Keith
Publisher: Somerville, MA : Rounder Records, ©1998.

Location: Recordings-CDs- Level 4

Call Number: M1630.18.K45 S66 1998

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Highlights of the McConnell Library Appalachian Music Collection- Alison Brown

Today I am highlighting a very non-traditional selection. The music today is mostly jazz with enough Celtic thrown in and a nod to Doc Watson so I feel it appropriate enough- besides, I love jazz music played on a banjo so you probably do too. If you have been reading this blog from the beginning, you know I look for common ground in my selections. Where someone like Abigail Washburn bridge Appalachian and Asian music, Alison Brown bridges Appalachian and Jazz with frequent detours into the Celtic arena. Today’s selection is a DVD-

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Alison Brown Quartet Live at Blair (with Joe Craven).

I know I have featured Alison Brown here before, her album Replay specifically.  Ms. Brown’s band is her on banjo and guitar, her husband Garry West on electric bass, John Burr on piano, Larry Atamanuik on drums and special guest Joe Craven on mandolin, fiddle and percussion (as the mood strikes him). There is even an appearance by her two young children in the show. (She seems to often bring her two children out on stage to perform a number for the audience. I guess I honestly have mixed feelings about that but it is nice to know that the next generation of musicians is coming along and getting used to the stage and the idea of performing.)

I first became aware of Alison Brown several years ago at the Merle Watson Memorial Festival (held each year in Wilkesboro, NC) when I saw Alison Kraus playing. I had heard of Krauss beforehand and so knew a little about her music, but what I had not heard about was her banjo player at the time- Alison Brown. From the very start, Brown’s playing intrigued and interested me because of how clean and quick it was. My first thoughts were that she must be a jazz player because she seemed very knowledgeable about music theory based on how well she apparently knew her way around the fingerboard in a way that many traditional banjo players might not. Her phrasing was sometimes lyrical and her delivery was confident and succinct. She had something musical to say and when she was done saying it, she backed off the microphone. There was no noodling around…searching with her. I don’t remember Alison Kraus much that night, my attention was focused on Alison Brown the whole time.

I tend to get a little distracted musically at times and sadly I forgot about Alison Brown for a while, but one day a few years later I ran across one of her solo albums and that first time I saw her play all came back to me. I bought the album and have never let her playing slip too far from my mind ever since.

As much as I love listening to CDs, when I can find a DVD of a band I like I always get it. Seeing close-ups and artful edits between cameras is always pleasing to me. Being able to see musicians expressions and silent communication amongst themselves has always been a fascination. That is why I was attracted to Live at the Blair. Musically and visually, this is a wonderful DVD. We see a wide range of music being played from jazz to traditional to celtic. My only disappointment is that most of the stage banter has been edited out. I have seen her band play live a few times and find her stage presence and banter very entertaining. This was especially disappointing because one of the songs in this concert is My Favorite Marsha and the story she tells about writing that is as funny as it is wonderful. The way I remember the story, one day Alison got a not from a fan saying that the person enjoyed listening to Brown’s music while at work. That might be pretty standard but the fan’s name was Marsha Ivins….astronaut! As if that weren’t cool enough, Alison got another note some time later from NASA explaining that when they send astronauts into space, they apparently contact them each morning with a wake-up song. Marsha Ivins was one of the astronauts in space at the time and they wanted to use one of Brown’s songs as the wake up song. She apparently got right to work and wrote My Favorite Marsha for them and she plays if in this concert.

Sadly, the story of Marsha Ivins is not on this DVD, but along about 32 minutes or so into it she does stop the music and tell the story of The Wonderful Sea Voyage of St. Brendan. It is in this talk that Joe Craven shows his amusing side and provides sound effects while Brown talks about rowing and albatross cooking and donut eating. The first time I saw Joe Craven he was playing percussion for David Grisman and his stage antics were always amusing just as his musicianship was always impressive. It was very nice to hear this and it gives a little indication of her stage presence and shows a bit of her dry humor.

My favorite parts of the show are the songs Crazy Ivan and I’m Naked and I’m Going to Glasgow. The latter song is actually a set of The Grey Goose, Ray Harvey’s, The Malinky, and Going to Glasgow. Brown has Celtic roots and her record label is deeply invested in Celtic music. She shows us here that she is a definite player of it too! Crazy Ivan is very impressive musically. There is a lot going on in it and everyone shines. It is not Appalachian music per se but it is impressive.

My recommendation is that you watch and enjoy this video.  People like Alison Brown are widening the public awareness and appreciation for banjo.  We need more of that.

Title: Alison Brown Quartet- Live at Blair

Location: Video-DVD- Level 4

Call Number:M1630.18 .L584 2009

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Highlights of the McConnell Library Appalachian Music Collection- Conversations With North American Banjo Builders

This month’s highlight selection is very different from all of the others. This week I am featuring volume 1 of a 9 DVD series in three parts. This series is composed of interviews of banjo builders. AND HISTORIANS!! (I have a little obsession with banjo history.  I can admit that in public.  There is probably a therapy for it but I am not interested in therapy, I just want to learn more about banjo history.)  There are actually four parts to this series but the library only owns the first three at this point.  (I will buy the fourth this year- I just haven’t gotten to it yet!)

I realize that some people might not think a conversation with a banjo builder would be very interesting.  I can understand that thought but I am here to tell you, this stuff is fascinating.  Anybody who has ever built or thought of building anything at all will enjoy some of the shop tours in this series.  We see a lot of really interesting things and hear some of the thought processes that went into inventing the process these guys use (as well as some of them inventing tools and jigs to use).

Continue reading

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Jens Kruger Interview

Photograph John Hildreth 2014

(Photograph ©John Hildreth 2014 and used with permission.)


I can remember the first time I ever heard The Kruger Brothers’ music.  I had heard the name Kruger Brothers and was aware that Jens was an amazing player but that was as far as I knew. “Wind in the Wheat” was the song I heard first. I remember listening to that song over and over again. I knew right away that this music was something special. I also knew I needed to listen to everything they had recorded. And so I did.

Each time I read an interview of Jens, I was struck by his eloquence and how thought provoking some of his ideas were. I knew I wanted to interview him as well and so I put the wheels in motion for that to happen and on August 18, 2014 I found myself with my friends John Hildreth, Tom Snediker and Chris Miller all armed with cameras and microphones sitting in a lovely studio in North Wilkesboro across the room from Jens Kruger. The result is this two-part interview. There is a lot of fascinating information here and Jens was most generous with insight and detail and willing to talk about anything. The highlight of the conversation for me were his tellings of his time with Bill Monroe (this story is one of the most fascinating things I have yet heard about Monroe), and his philosophy about what music is and what it does.

In Part 1 Jens talks about his parents, growing up in Switzerland, his musical beginnings on the tenor banjo, he and Uwe setting out as street musicians. He tells about the people he and Uwe met and were inspired by on the streets and how they lived. He shares both happy and sad moments from his family life. Throughout the interview, he holds his banjo and when the mood strikes him he gives musical examples to animate his stories.

Part 2 of the interview starts when Jens and his wife come to America and end up meeting and being befriended by Bill Monroe. The couple stay on Monroe’s farm and Jens gets to play at the Grand Ole Opry, do farm work with Monroe and is pretty much treated like a member of Bill’s family. When they returned to Switzerland after that, Jens set out to learn all he could about the banjo and it’s role in music and eventually decided to move to America for good. He discussed his friendship with Doc Watson and deciding to settle in North Wilkesboro, North Carolina which is where this interview took place.

I have been struggling to find a way to summarize Jens and our conversation. To say that he is a fascinating, sensitive, generous, talented and insightful person would be a vast understatement. To say that his philosophy of what music “is” has occupied a large percentage of my thoughts for the past several months would also be an understatement. I feel as if I don’t even have the right words to say these things in an accurate way, so I will borrow a line from the video and say Jens has “it” and leave it at that. With that said, I present Parts 1 and 2 of our conversation for your viewing pleasure.

And thank you again to Radford University, McConnell Library Archives and Special Collections, John Hildreth, Tom Snediker, Center for Innovative Teaching and Technology (CITL), Chris Miller, Steve Helm, Julie Macie, and especially Jens Kruger.

Part 1

Part 2

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