Author: Matt Merta/Mitch Matthews

Musician and writer (both song and print) for over 30 years. Primarily interested in roots music (Americana, bluegrass, blues, folk). Current contributing writer for Fiddler Magazine, previous work with Metro Times (Detroit), Ann Arbor Paper and Real Detroit Weekly, as well as other various music and military publications. As songwriter, won the 2015 Chris Austin Songwriting Contest (Bluegrass Category, "Something About A Train," co-written with Dawn Kenney and David Morris) as well as having work performed on NPR and nominated for numerous Detroit Music Awards.

Categories
Bluegrass Music

A Look At Bluegrass Jam Tracks

In the arsenal of books, videos, and recordings that I have for practicing guitar, bass, mandolin, and fiddle, I have two CDs that I have used on-and-off for a while. The first, Band In The Pocket! #4: Country/Bluegrass seemed to be an afterthought by the company that put it out (Five Feathers Music), because most of its CDs were geared toward rock musicians. This CD has 10 selections, and they are generic arrangements of tunes ranging from Zydeco to alt-country to Gospel. There is really only one bluegrass selection on this disc – a breakdown backing track in the key of C.

The other disc is a bit more useful. Let’s Jam: 23 Country & Bluegrass Jam-Along Tracks (Watch & Learn Inc.) is more evenly divided between country styles and bluegrass. While the country arrangements are again generic, the bluegrass tracks are songs that are standards in jam sessions, such as “Nine-Pound Hammer,” “Old Joe Clark,” and “John Hardy.” A few of them are presented at two different speeds for beginner and intermediate practice. Unfortunately, I don’t think that this CD is available any more from the company (www.cvls.com) but you may find a copy used through eBay or another source.

I have talked previously about the three bluegrass jam videos available from Pete Wernick’s website (www.drbanjo.com), which are pretty good to follow along. Moreover, YouTube will always have some video that one can jam along with. Along with a number of instructional videos, the Bluegrass Unlimited YouTube channel regularly posts jam tracks of popular bluegrass songs in the most familiar key, and you can control the speed of the video for your own comfort (https://www.youtube.com/channel/UCxNYVomNcDI-5mrOy3KgoHA).

One online resource to check out is GrassTrax (www.grasstrax.com). For each song offered, one can select a recording with a particular instrument removed from the mix, be it guitar, bass, banjo, fiddle, or mandolin. The bundle package will include the selection played at various speeds so that the student can gradually build up playability at the normal speed. While a number of bluegrass standards are offered, there are also some more modern bluegrass songs available, such as “1952 Vincent Black Lightning” and “Wild Horses.” Note that each download of a track will cost $1.99, but if you are on the email list, GrassTrax sends out a monthly free download from a song of its choosing. I have a few of these downloads on my computer, and I guess my only complaint is that the key is not always the same as either the most popular recording by a bluegrass artist or the most common at jam sessions.

Post-pandemic bluegrass jam sessions are not that plentiful. Add to that the cost of gasoline (at the time of this writing, a gallon of regular unleaded fuel is about $5.25 in Michigan), and it is becoming more difficult for bluegrass musicians to get together to jam. These jam recordings are helpful, but nothing beats working with other live musicians to feel the spirit.

Chew on it and comment.

Categories
Musical Instruments

It’s a “Mini Me” Guitar!

Another short but sweet blog.

A few days ago, I received an email advertisement from a novelty company called Axe Heaven Store (https://store.axeheaven.com/). This is a company that makes miniature copies of famous guitars, including ones used by Slash, The Beatles, and Jimi Hendrix. The advertisement sent to me was showing the store’s recent addition: a copy of a B.C. Rich Warlock model used by a character on the Netflix television show Stranger Things.

Official Stranger Things® Eddie's Guitar B.C. Rich® NJ Warlock® Mini Guitar Model

Not my cup of tea, but the thing does look professionally made, not some mass-produced piece of crap. I decided to check out the website, and along with dozens of rock-oriented miniature guitars (and even drum kits), they have a few acoustic related miniatures. There are a few D-28-style guitars, a banjo, and a mandolin! Unfortunately, these seem a bit more amateurish in manufacturing, although the Gibson Hummingbird does look like they put the time in to making it look realistic. By the looks of things, Gibson may have a licensing deal with Axe Heaven.

Gibson Hummingbird Vintage Cherry 1:4 Scale Mini Guitar Model

I would love to see a miniature replica of Bill Monroe’s road-beaten F-5 mandolin, or perhaps a true, more to realistic miniature of Earl Scruggs’ Gibson Grenada, or maybe even Jerry Douglas’ Signature Beard dobro. I would consider buying one of thise and putting it on my desk at work instead of a family photo (since I really don’t have a family).

I leave you with a great guitar face off recorded a few years ago with Josh Williams, Andy Falco, and Chris Eldridge.

Chew on it and comment.

Categories
Bluegrass Music

New Job: No Festival Time

Well, in two weeks I start a new job! It is a job that I have been wanting for probably 20 years. I will be doing what I do best, writing and editing, for a well-known law firm here in the Detroit area. The lawyer that I interviewed with was really impressed with the writing test that I did, so much so that the HR rep called me about two hours later to offer me the job.

Great! However, this means that for the next six months or so, I will not have any vacation time. It’s not like I’ve been able to take any time off for the past two or three years anyway because of COVID. Yeah, I was laid off for nearly a year, but I couldn’t go anywhere. Festivals were cancelled, and no hotels were open if I wanted to travel. The only time that I had off was two weeks in October when I actually had COVID, and I spent 20 hours each day sleeping.

So this summer, I will be missing some festivals that I planned on attending. The Milan Bluegrass Festival this year is a five-day event, and I am hoping that I can at least hit the Saturday shows. I also hope that I can hit the Hillsdale Old Time Fiddlers Convention in mid August for that Saturday. However, that is about it, most likely will be until after Christmas.

Bittersweet indeed. However, I have gotten used to not having vacation time or any time to myself, for that matter. Caring for my 89-year-old mother is a full-time job in itself. I get very little help from my sibling, who is retired and is always on vacation himself. I have stated previously that I am attempting to sell my house and move back to mom’s so that I can take better care of her. I have had very little time to even clean that place up. I still have lots of music equipment to get rid of.

I know that I will never retire, I will most likely work until I am in the grave. However, I would like at least a few days to myself once in a while. My last “vacation” was September 2019, and that was volunteer work at the AmericanaFest. Since then, any day off I have had has been used to do car repairs, doctor’s visits or take mom to her doctor. I just means that I have to look way ahead for restful opportunities and plan accordingly.

As an aside, I appreciate the recent rise in hits both at the Luegra blog site as well as my YouTube channel (https://www.youtube.com/channel/UC0ID9z7AR8-0WWGDM-TrsIA). Your checking in and comments are greatly appreciated.

Chew on it and comment.

Categories
Musical Instruments

Guitar Straps: That’s Why I Make My Own

This past week at the Songwriters Anonymous meeting, I was listening to a conversation between two other members. One was talking up a storm about his new leather guitar strap that someone in Ohio made for him that was emblazoned with his nickname. When asked how much it cost, the reply was $200.00. The other person walked away, saying, “I’ll just stick with my Fender one.”

You have to figure, for $200.00, one could actually buy a decent back-up guitar, or a decent beginner mandolin, or a good electric guitar effects pedal (or two), let alone cover the high cost of gasoline and food these days. One can get a cheap woven/vinyl adjustable guitar strap for about $10.00 these days. However, I have never had good long-term luck with those, being that they wear out quickly, and if the vinyl should come in long-term contact with a guitar finish, it can actually damage it.

My first true leather strap that I purchase probably 30+ years ago cost about $25.00. It was pretty basic, no frills or stitching, but it was better than the woven/vinyl types. I put some strap locks on it, and after a while, I noticed that the weight of the locks along with the guitar was tearing the leather to uselessness. The leather was pretty thin, and I saw that real quality leather straps were twice as thick, but they were at least $50.00, a lot at that time for me.

At the same time, I was also doing Civil War reenacting. At an event that I attended which had a number of different time periods participating (Civil War, Native American, French & Indian War, War of 1812, etc.), one of the sutlers there (sutlers are people that sell period clothing and accessories for the reenactors) that catered to Colonial America reenactors was selling large pieces of leather hides, which many use to make leather accessories such as pouches or moccasins. It gave me an idea, and I purchased a few long pieces for a decent price.

When I got back home, I traced one of my thin leather guitar straps on a sheet of cardboard, then cut that template out and used it to trace and cut out straps from this thicker leather. From the original pieces that I bought then, I probably made about 10 leather straps with a cost of less than $10.00 each. Since then, I have kept an eye out for bargain leather remnants at other events or on eBay to continue to make more straps. I have even kept the sizeable scraps for end pieces on my mandolin straps (I’m not sure if I mentioned it before, but I have learned to weave leather laces to make mandolin straps, which I sell on Craigslist). I have my own leather straps on all of my guitars, banjo, and mandolins, and have given other out as gifts and even sold a few.

My first strap is still with me after about 30 years. It holds up my Martin D-28, and shows its age with a number of scuffs and sweat marks. However, it still does the job, and has probably outlasted 10 or more cheaper straps. I’m not willing to pay a high price for something that I can make myself for a lot less cost with the satisfaction that I did make it myself.

Chew on it and comment.

Categories
Folk Music

Trae McMaken’s Michigan Fiddle Website

Trae McMaken is not necessarily a household name with Michiganders or area fiddlers, but he probably should be. A fiddle enthusiast and Michigan history buff since childhood, he has been combining his two loves over the past few years to make sure that the story of fiddle music in Michigan will not be forgotten.

Trae recently started up an educational website called Michigan Fiddle dot com (www.michiganfiddle.com). The site takes a look at Michigan folklore and how much fiddle music has had an impact on the state. In the Introduction page, he cites that fiddle music played in the past few centuries around Michigan has many ethnic influences. Because the state was continually a location for commerce, from fur trading during the 18th century, logging and copper mining in the 19th century, and the automobile industry of the 20th century, so many people came to the area from many foreign lands and brought their music with them. One characteristic of Michigan fiddling is the stress on use of the music for dance, with less flowering and ornamentation and a dedication to keeping a beat for the dancers.

The site includes many papers and articles written by Trae, as well as links to articles and recordings related to Michigan Fiddlers over the past century. He has assistance from a number of state fiddlers and historians to supplement his work. One such person, Jim McKinney, I have known for a number of years, and have supported his and his son’s work at the annual Michigan Old-Time Fiddle Championship held at the Huron Applefest in New Boston every October.

When one thinks of old-time fiddle music in America, thoughts usually go to the music of the Appalachian Mountains, the hills of Kentucky, or the plains of Texas. Michigan rarely gets a notice. Henry Ford loved fiddle music, and Beaver Island off the west coast of the northern Lower Peninsula has always had a strong fiddle presence. I am keeping this week’s blog short, as I would want you to instead spend some time checking out Trae’s site dedicated to Michigan old-time fiddling (see above link). Also check out this video of him performing some Quebecois music for the dancers.

Chew on it and comment.

Categories
Americana Music Country Music

Perfect Song #7: “Sixteen Tons” (Tennessee Ernie Ford version)

This is one badass song! If there ever was a “man” song, it would have to be this recording. It is right up there as tough as any Led Zeppelin number. Merle Travis wrote it about the trials and tribulations that his brother faced as a coal miner. He recorded it in 1947, but his was more of a country-folk ballad. Frankie Laine, Doc Watson, Stevie Wonder, B.B. King, The Dandy Warhols, Old Crow Medicine Show, and a slew of other artists have recorded this classic, but it is the Tennessee Ernie Ford version that stands out as the definitive version.

From the start, it did not have the ingredients for a cutting-edge pop number. The main instruments that work with the vocals are a clarinet (with a bass clarinet in the background) and a trumpet. A brushed snare drum and upright bass follow the vocals in a smooth jazz sense. It isn’t until the last chorus that we hear any other instrumentation: a laid-back rhythm guitar and an ending accented by a harp. Then there’s the snapping of the finger. Like the lighting of a match or the sound of a pick hitting rock far away. The minimalist instrumentation makes the listener pay attention to the story, with every instrument accenting the words and making sure that you understand what was just said.

But it is that voice! Ford’s bass-baritone vocals make every word sound like it is coming form the depths of a coal mine. Earth-shaking, heart-pounding tone of a voice! Before this recording, Ford was known for singing some corny country & western songs, as well as a few ballads with Kay Starr. He did have a Number 1 hit with “Mule Train” back in the late 1940s.

Travis wrote a number of verses for the song, but the four that Ford used are the most memorable, telling of what a man is made of, how he is a slave to the coal company and its store, how he can’t be made to “walk the line” by any woman, and getting on his bad side may mean death. Some of these ideas would not go over well in a song today, but back in the early 1950s, when coal miners were still revered by the common man yet treated poorly by the rich mine owners, one could hardly argue with the singer.

As you listen, you can actually hear this voice as it is working in the mine. You also wonder how much time it would take for one man to mine 16 tons of coal. But you don’t question it, because you have high respect for this guy. You KNOW he could kick your ass in! Everything that doesn’t work in a pop song falls into place to work here. In under three minutes, you get an autobiography of a working man. Someone who has broken his back to make sure that he has a roof over his and his family’s head as well as food on the table.

I could listen to this song a thousand times and never get bored. Ford’s voice is beyond human – it is from the gods! The story moves you, knowing that there is a man out there working his life away yet still can be tough as a rock after quitting time. This was rock-n-roll attitude before the media caught on to what Elvis and Chuck Berry were doing. So pay attention, a recording like this comes around only once or twice in a lifetime.

Chew on it and comment.

Categories
Bluegrass Music Music Programs

SEMBMA Cancels Bluegrass Workshop: What Went Wrong?

Last Sunday, the Southeast Michigan Bluegrass Music Association had its first meeting for 2022. The last meeting was in October, which I could not attend due to having COVID. I had missed providing any input on decisions made during that meeting.

The big decision made at that meeting was to set up and sponsor a workshop for learning bluegrass guitar, banjo, bass, mandolin, fiddle, and singing. The date set was June 10-12, with really only workshops on June 11 and the other days providing jam opportunities. The proceeds would go to the Association’s Scholarship Fund. Cost would be $40.00 for each participant, with a discount for SEMBMA members.

I honestly didn’t find out about the workshop weekend until January (and I am a member as well as on the SEMBMA committee for Scholarships!). So at last week’s meeting, we found out that only five people registered for the workshop. That was less than the number of instructors hired for the event! The workshop would be less than two months away, and there was no word on any more people wanting to register. The person in charge of organizing the workshop stated that she did all that she could to get the word out, sending flyers to music stores and radio stations.

With a unanimous vote, it was decided to cancel the workshop. Some attending wanted to move it to September, while others (myself included) want to hold off for a lot longer until the Association can invest more time and money into the project.

There were a lot of things working against this workshop from the beginning that cancellation was inevitable. The problem is that the coordinator(s) were either too blind to see them, or just did not want to work in order to alleviate them.

Here are some problems as well as possible solutions to making an events such as this workshop more successful:

  • Time allotted to set up and promote the event. In this case, the decision to have the event was eight months until the workshop date. Moreover, the first notices did not come out until January. Talk to anyone that runs a bluegrass event, and they will tell you that they start the planning the day after the last event ends. You need a year to not only follow a structured plan to make the event work, but also time for people to plan to attend.
  • Promotion. The days of sending flyers out or posting them at music stores and expecting a line at the gate on opening day is ancient history. One has to have a strong grasp on social media just to get a message out. Emails are a start, but that has to have a plan, such as sending announcements out on a regular basis so that members and other interested parties get the reminder. These emails should have updates on the event, such as who will be teaching, any special offers, and asking for suggestions from attendees. However, the big blast should be with Facebook, Twitter, and YouTube. I know that SEMBMA has its own YT page, so a video announcing the workshop should have been posted.
  • Money. This coincides with promotion, along with other factors. This is not Field of Dreams, where if you build it, they will come. Much more needs to be done to get the word out, and that costs money. Yes, there are some free outlets such as posting flyers on local bulletin boards, but if you really plan to get people to pay attention, you have to pay for advertising. Local newspapers are a start, but that is a coin toss to see if it will work. Since this is a bluegrass-related event, the advertising is best spent with bluegrass publications such as Bluegrass Unlimited. This goes back to time allotted, as magazines require an ad request months in advance. The thought here is, you get what you pay for. If you don’t spend money, you won’t get great results. Now you may not get great results if you spend a big amount on advertising, but most successful event coordinators know that the first year or two may result in loss of revenue in order to get the word out.
  • Scheduling. Why would you schedule a first-time workshop only a week after a more-established workshop only a two-hour drive away? That being the Midwest Banjo Camp near Lansing, which has been going on for years and has built itself up into a reputable weekend, providing well-known instructors and a well-structured schedule.
  • Personalities. Just who are the teachers that are at the workshop? If I have to pay a fee and you are not telling me who is the instructor, then this guy could know less about the instrument than me! Also, if my kid wants to learn guitar, what is going to motivate me to register and drive an hour or two instead of getting lessons from the local music store 10 minutes away? The truth is, names draw attendees. That is why a lot of bluegrass festivals have workshops and pay artists a little more to be the instructors. Someone is more likely going to attend a workshop with Ronnie McCoury, Molly Tuttle, Sierra Hull, or Darol Anger than Joe Schmoe from the local music store.

SEMBMA is going through a drastic time right now. Current officers are looking to retire, and no one is really volunteering to step up. I currently serve on two committees (the other being the Office Nomination Committee), and it is hectic with the little time that I can spare. Some new, younger blood needs to step in with new ideas. This workshop (and its inevitable cancellation) is just one example of old ideas not working. The issue here is that young people need to know that for bluegrass to survive in certain areas, it needs more than to just learn how to play and instrument and jam.

Chew on it and comment.

Categories
Bluegrass Music

What Is/Isn’t Bluegrass? The Debate Continues

Last week, the online site Bluegrass Today posted a review of the Watchhouse Band performance at The Ark in Ann Arbor (https://bluegrasstoday.com/watchhouse-band-in-ann-arbor-mi/). This ensemble consists of the duo Mandolin Orange along with two additional acoustic guitarists and an upright bassist. While I am not a huge fan of Mandolin Orange, I do like some of their music, and this set-up allows them to do more eclectic material live.

As expected, a recurring debate on what is/isn’t bluegrass started up in the comments section. The Watchhouse Band does not have a banjo in its lineup, so of course, that brought a lot of traditionalists out commenting that the band was not bluegrass and probably should not be featured in a BT article. Others from the opposite end stated that many established bluegrass bands such as the Osborne Brothers and Doyle Lawson have used non-traditional instruments such as electric bass and drums in their recording for a number of years.

I did post one comment within the debate. I stated that while Mandolin Orange was not a bluegrass band by definition, much of their material and sound does pay homage to bluegrass music and artists. I also stated that BT has widened its coverage by including a Grassicana chart (charting artists/recordings that are on the fringe of bluegrass while having some Americana influence), and that the website The Bluegrass Situation covers only about 10% of traditional bluegrass music. One statement that I said that was taken out of context was that I felt that some “uneducated” music people do not fully understand what traditionalists view as bluegrass and simply lump any acoustic band into the bluegrass format. When I put that word into quotes, I meant that there are a lot of people that may not listen to bluegrass as much as the hard-core bluegrass fans, and thus, do not have such a hardline definition of bluegrass (must have banjo, no drums, no electric bass, no piano, etc.).

Of course, there were a few that took that quoted word out of context, and started an even bigger ball rolling. In short, this is an argument that will never have a happy ending, or an ending period! As I said at the end of my comment, “To each his own, I guess.” There are a lot of “beyond the walls” definitions and influences with bluegrass. Doc Watson played amazing flatpicking guitar doing old-time fiddle tunes. He wasn’t bluegrass by narrow definition, but his playing inspired thousands of bluegrass guitarists, and so many times did he perform with bluegrass bands at bluegrass festivals.

There are so many things to consider when defining bluegrass, but one thing that is definite – there is no definite answer. While there are distinctions that definitely do not fit any bluegrass mold, such as a metal band like Metallica or a rap artist like Eminem, the format of bluegrass has a few basic rules and branches out from those according to individual tastes. Some individuals parallel a long stretch, while other individuals break apart early.

Whether it’s Doc performing solo, or a full band playing, my thought is, does it give you a feeling inside that bluegrass music (by traditional definition) always seems to give you? If so, then perhaps it is bluegrass. Or perhaps one can say, “Can you clog to it?”

Check out this backstage performance of Doc jamming with a very young version of award-winning fiddler Michael Cleveland.

Chew on it and comment.

Categories
Acoustic Guitars Lutherie

String Slots for Better Tone

A while back I caught this YouTube video from Driftwood Guitars regarding a small saw-like tool from Stewart-McDonald that can provide your acoustic guitar with better tone.

The procedure involves cutting a slot in the string ball-end holes of the bridge so that there is more contact between the string and the guitar itself. Normally, the string comes out of the bridge hole and has the slightest contact across the saddle before traveling over the fretboard, nut, and to the tuning gear. This procedure allows the string to be in contact with the wood of the guitar as well as more contact with the saddle, providing more resonation of the guitar (the video shows how).

A few years back, I purchased a used Jasmine S35 acoustic guitar with case at a real cheap price (the cost was worth the case alone!). I noticed during playing it that, while the tone was not fantastic, it was quite loud, especially for a cheap acoustic that sold for about $150 new. After seeing the Driftwood video, I checked out the Jasmine’s bridge, and sure enough, there were slots in the string holes.

Now the tool from Stewart-McDonald costs about $25, and add to that shipping costs and having to wait for the package, I decided to make my own device. I took a hacksaw blade, cut off about an inch from the upper half of one side of the blade, then attached it to a smaller holder. Total cost was about $3.00.

With it, I dug into the bridge of a Yamaha F-325 that I was cleaning up. I figured that I would try this procedure out on a less expensive guitar than my Martin D-28. I learned a few things along the way:
– Hacksaw blades have finer teeth, meant to cut through metal. It takes a lot of time and effort to cut even a little slot, especially when two different woods and some glue are fighting you.
– I was working on this while quarantined at home during my battle with COVID. Do physical work, even light physical work, when you are healthy.
– It seems that while I could tell the difference in volume and tone, the normal (i.e., non-guitar geek) doesn’t care. I played a slotted Yamaha F-325 against a non-slotted Yamaha F-325 to a friend, and she didn’t hear any difference.

I do plan on doing this procedure on the other two Yamaha acoustics that I have, as well as one or two other acoustics that I own. Until I get really good at it, I will hold off on the Martin. This was a good lesson learned about improving the sound of an acoustic guitar, and I feel that it is worth the work. If you are still jittery about attempting it on your own, check with your local guitar repair person or a luthier.

Chew on it and comment.

Categories
Classical Music

Je t’Adore, Esther Abrami!

Last week, I received my copy of the debut album from classical violinist Esther Abrami. I have mentioned her a few times in previous blogs, and I wanted to talk more about her and her recording.

I came across one of Esther’s YouTube videos about four years ago, and have been in love with her spirit ever since. What first caught my attention about her physical appearance is that she looks so much like Audrey Hepburn, one of the most beautiful women to have ever been captured in motion pictures. Of course, Esther has done some professional modeling in her still young career, and she comes across so photogenically. She truly looks like a princess the way she holds herself.

Then I heard her playing. Amazing, to say the least! She was putting so much emotion into her bow technique that you would have thought that she had been playing the violin for 30 or 40 years. But no, this was a young woman of about 22 years of age! I had to see more of her videos, and almost immediately, I subscribed to her YouTube channel.

With each new video that Esther posted, I learned so much more about her personally. She comes across so beautifully for the camera. Although she is French, she has a wonderful control of the English language. This is due to the fact that she has done most of her musical studies in England, including at the Royal College of Music in London.

Esther’s passion for the violin and classical music began at the age of 3, and it was non-stop from that point. She was teased and made fun of by her school classmates for her intense interest and rigid practice schedule on the violin. It had an emotional effect on her growing up, yet she persevered.

Along with her musical education, Esther took a great interest in social media, promoting herself on all of the major outlets. This has resulted in gathering a large fan base in just a few years. She is often open about her dreams, hopes and fears as she progresses in her career. Her fan base has learned so much about her, and with that, has become her personal support group with whatever direction she takes. In 2019, she became the first classical musician to be nominated in the Social Media Superstar category at the Global Awards.

Her YouTube videos not only show her performances and practice sessions, but she also does reviews of violins and bows, as well as has some fun with the camera, including performing a duet with her “twin sister.” She recently started a vlog on her channel in which she interviews other women in classical music. We also learn of what a big and warm heart she has. She is a lover of animals, especially kittens. She has served as a foster parent for stray kittens and they have often appeared in her videos. One video went extremely viral, in which a kitten that is being held in the fanny pack around her waist is watching her practice the violin, then slowly falls asleep.

We have also learned how sensitive and emotional Esther can become in times of stress. We saw her sad and nearly broke down when the COVID lockdowns began, and she had to decide whether to continue to live and study in London or return to her family in France. We have also seen how the stress of a perfect performance can have an such a young yet talented musician. However, the reward of her work has shown in the past year, when she was signed to Sony Classical Entertainment Records, and most recently, being selected to perform at the Royal Albert Hall in London on April 11. Not bad for a girl of 25!

Since I have been following her, I have done what I can to help support her career. A few years back, I became a patron of hers on the Patreon website. In the short amount of time that I have been following her, we have also emailed each other a number of times, and she always thanks me for my continued support. She sent me a beautiful Christmas/New Year card recently that I will cherish immensely.

Yes, I have a crush on her. Not just because of her beauty, but because of her passion for music. Through her videos, I have seen a little girl of 10 years of age mature into a beautiful and extremely talented performer. There is no one that I know of that deserves the attention and accolades that she has received the past year or two. With every email that I send her or comment that I post on YouTube, I always sign it with “Je t’adore.” and I do, I truly adore this young lady. I am sure that she knows that she can call on me if she is ever in need of something that I can do for her. I also truly hope that 2022 is her year for amazing success, as I have seen how hard she has worked for it.

I implore you to get a copy of Esther Abrami on CD, vinyl, or download. The music is light classical, easy on the ears, and is performed by a beautiful young lady that knows her way around the violin fingerboard. I also ask you to check out her website, as well as her YouTube channel. You will fall in love with her as well.

http://www.estherabrami.com/

http://album.estherabrami.com/

https://www.youtube.com/user/estherabrami

Chew on it and comment.

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