Categories
Bluegrass Music

The IBMA Virtual Conference – Really? Really???

Even though I am no longer a member of the International Bluegrass Music Association, I still get regular emails from it regarding monthly activities and, of course, an invite to register for the annual World of Bluegrass conference. This year, due to the Coronavirus, the conference is being held virtually.

Now the IBMA knows that it could never get away with charging the usual $300 or so that it would cost for a normal in-person conference. The cost this year is $99 for members and $149 for non-members for the Business Conference portion (which is the only portion that I ever attended anyway). But what do you really get for that cost?

Well, you will get to “virtually” attend a number of seminars dealing with the business end of bluegrass music. Great, but with everyone lately doing the work-from-home option and connecting to meetings through Zoom or some other online conference application, the World Wide Web can only handle so much. The chances of crashes are extremely high. Additionally, the opportunities to ask questions and get an answer back is highly unlikely.

One of the regular activities at WOB every year is the Gig Fair, which artists do a speed-dating style of interaction with booking agents and event organizers to secure gigs for the upcoming year. I am wondering how well this will go by trying to do it over the internet instead of speaking with people face-to-face and physically handing out press kits.

However, the one concept that I have the most problems with is the Virtual Exhibit Hall. During a normal conference at WOB, dozens of musical instrument manufacturers, festival organizers, record companies and artists set up display tables in a hall and allow attendees to try out new products and talk with the band members. It is a VERY physical experience! Many attendees love to try out a new guitar or banjo, shake hands with a bluegrass performer, and grab up a bunch of free swag. With the virtual aspect, that has all disappeared. Now everything will be only available to see on the computer screen. But … the IBMA still plans to charge exhibitors $300 to $400 to appear at the Vitrual Exhibit Hall.

Seriously? Something that can be done on the manufacturer’s website, such as product questions, price guides and feedback, the IBMA is going to charge a few hundred bucks for them to do at its virtual conference? I am sure that there will be a few that will succumb to this “virtual” pick-pocketing, but I am sure that there will be many others that will opt out just for the reason that it seems ridiculous.

I am sure that there will be enough people to register for the virtual business conference for the IBMA to not lose a lot of money, perhaps even make a few bucks from it. However, for whom is this all benefitting? The WOB always served as a great networking opportunity as well as a chance for fans to get up close to their favorite bluegrass artists. The virtual idea seems only like an opportunity for someone to take someone else for granted.

The IBMA is losing touch with its original objectives and philosophies more as each year passes. The Coronavirus has screwed up everyone’s normal schedule and lifestyle. We all need to adapt. The IBMA should also remember that the bluegrass artists, event organizers, and managers went broke this summer due to cancelled shows. It should have swallowed its pride and postponed the conference for this year, or perhaps moved it up to the late Winter/early Spring of 2021 when the world may have a better handle on the virus. Instead, it continues to think only of itself and its progressive ideas. While I miss many people that I have networked with in my previous trips to the WOB conferences, I seriously feel that I am not losing anything by not attending them any more.

Categories
Bluegrass Music

Nuns Performing Bluegrass and Diversity

Scanning through other WordPress blogs, I came across this and it melted my heart:

They are the Sister Servants of the Eternal Word. Their convent is the Casa Maria Retreat House in Birmingham, Alabama. They have a number of prayer and inspirational videos on their website (https://sisterservants.org/), but this one takes the cake as far as inspirational AND toe-tapping.

It makes me think about bluegrass music and its religious connections. While so much of bluegrass Gospel music comes from the Baptist and Methodist themes, a song like “I’ll Fly Away” seems to have no religious border, especially with the Judeo-Christian sects. I have heard this song and “Down to the River to Pray” (both are heard on the O Brother, Where Art Thou? soundtrack) in a Roman Catholic church that I have attended. I have also heard other songs with Southern Gospel leanings during Catholic mass. Of course, a song like “Amazing Grace” cuts across all barriers and is performed regularly even in secular settings, along with Hank Williams’ classic “I Saw the Light.”

It got me to thinking. The International Bluegrass Music Association has been going crazy with implementing diversity into its fold. They are trying to attract more minorities, including women, African-Americans, and the LGBTQ-whatever else to listen to and perform bluegrass music. This sucking up to the liberal fold is one of the reasons that I left the IBMA – worrying more about who they don’t have listening to the music instead of supporting those that do listen. So, how would they react to a group of Roman Catholic nuns performing bluegrass music? Would that be “diverse” enough for them, or would it be something that they could not handle? In my honest opinion, they would probably ignore it or even purposely brush it off due to the Catholic Church’s views on certain topics.

The IBMA has changed dramatically in the past five years. The people in charge seem to be more concerned with being part of a political move toward the left rather than promoting and preserving the original ideals of the music. Bluegrass music was always firmly rooted in Christian values, and those have gone by the wayside in order to appease the vocal leftists. Bill Monroe is probably turning over in his grave.

As for me, I do hope that the Sister Servants do consider putting out such a bluegrass album in the future.

Chew on it and comment.

Categories
Music Stores

I Miss Mars Music

I miss Mars Music. I’ll explain.

We can order just about anything we want for our musical instrument needs through the internet. Before the Coronavirus pandemic, it could arrive in a matter of a day or two. Once the pandemic kicked in, package delivery now takes weeks. When it comes to a lot of music stuff, especially instruments, you usually don’t want to just order them – you want to sit down and try them out, take them for a test-drive.

For months, music stores were considered non-essential, so the doors were bolted shut. Now, some are open on a limited basis or by appointment. Moreover, some mom-and-pop ones have gone out of business never to return. It is a sad state of affairs.

I love music stores. To me there are two kinds: the big-box ones like Guitar Center, and the specialty smaller ones that cater to enthusiasts. I always looked at it like going out to eat. If you want something fast and maybe cheaper and are not too picky about the outcome, you go to McDonald’s. If you want to get the best steak available and are willing to pay for it in money and time, you go to a five-star restaurant.

As for the big-box music store, there is really only one out now: Guitar Center. The immediate competition is minimal. Music-Go-Round is not much of competition as far as offerings, seems to concentrate on used gear, and is limited in locations. Sam Ash is even more limited in locations and relies heavily on internet orders. GC has its ear to the ground, with numerous locations and prices that are reasonable in most cases. They really do not have any brick-and-mortar competition.

It wasn’t always that way. For a few years, from 1996 until about 2002, GC had intense competition from Mars Music. MM was founded by Mark Begelman, a former president of Office Depot and an avid guitarist. After being disappointed by an experience at a local music store, he started up MM with the intent of selling decent equipment at affordable prices and no pushy salespeople. It worked for a while. Stores were in 20 states, and it was innovative in setting up music education programs and charity programs.

What I loved about MM was that it was competitive with GC in pricing, especially with accessories. I never really purchased any big-ticket items from either store, but I relied on them for quick and easy access to strings, cords, picks, straps, and other stuff that breaks and needs replacement right away. When MM opened, they had their own brand of such items, and they were extremely affordable. You could get a box of 10 set of guitar strings for about $20.00. A set of bass strings would be about $7.00. GC shortly started selling their own brand of accessories as well at bargain prices.

Begelman had a great heart. He knew musicians liked to try out instruments and did not have a lot of money. MM was in many ways more comfortable and welcoming than GC, but the main idea there was competition. Both knew there was a decent-sized market out there, and both went to extremes to get that cash.

Sadly, MM went bankrupt within a few years due to expansion problems and poor investments. It was literally a one-day-open-next-day-closed situation. I thought about all of that branded stuff going nowhere. GC kept going, but phased out most of its budgeted self-branded accessories. While GC still has relatively good prices, there is not that competitive feel for the small-ticket items.

Recently, I needed to purchase a budget gig bag for a cheap Chinese bass guitar that I got brand new for around $65.00. I just needed a glorified dust covering, not a hardshell case or a bells-and-whistle soft case gig bag. Surfing the internet, it was extremely hard to find even a cheap-quality gig bag for under $25.00 plus shipping. I finally found one that come to about $20.00 with tax and shipping. I got it through the mail a week after ordering, and it was not much more than sewn canvas with a zipper.

This experience made me think about how much I miss Mars. Back then, I remember getting a few gig bags that were of the same quality as this recent one for about $8.00. It had the MM brand emblazoned on it, but who cares? It did its job at a musician’s price. Times change, and I realize that a lot of good things disappear. Only competition can keep the things we love affordable.

Chew on it and comment.

Categories
Musical Instruments

Quick Thoughts: 1. Rosa String Works; 2. Complaint About Gov. Whitmer

It’s Saturday morning, and I just remembered that I had a blog to post. My week has been busy caregiving my mom, maintaining her house, writing a few articles and looking for a job, so I forgot about this. So here’s a quick recommendation.

I mentioned the Rosa String Works YouTube channel in a previous post, but I highly recommend subscribing to the channel, or at the very least, checking in every few days. As a person that likes to do musical instrument repairs, Jerry gives some great home-style tips and advice. He videos some of his repairs, and talks to the audience in a very relaxing manner. It’s like sitting in the shop with your uncle or next-door neighbor and talking about mandolin repairs along with the weather and mowing the lawn.

Every one of his videos is magic. Whether he’s repairing a fiddle or the occasional non-musical instrument like his lawn tractor, Jerry has the answer for everything. I learn something new with every video. I also love that he has an assistant now, Caleb, who has the same Missouri drawl in his speech and is making some of the same helpful videos. There are also times when someone comes into the shop to test out a repared instrument and plays a tune for Jerry while he sits and listens. This is the down-home atmosphere that we all need these days while we are surrounded by fears of Coronavirus and riotous protests.

Check out some of his videos here: https://www.youtube.com/channel/UC29Dkc6-RMU8TCrloPN0Cbw

A few days ago, I was notified of the cancellation of the one remaining bluegrass festival here in southeast Michigan. It irritates me that the Coronavirus has made just about everyone nervous and on-edge to the point that every activity outside of watching TV is being cancelled. Yes, there are a number of virtual concerts online, and one bright side is that people stuck at home have been using downtime to learn a musical instrument.

However, I feel that we are being way too cautious in a lot of areas. Michigan Governor Gretchen Whitmer (as well as a few other state governors) have banned singing in church. Really? It was bad enough (and some could argue rightfully that it was unconstitutional) to close the churches in the first place. After opening and limiting attendance, something that has such meaning as singing hymnals can be banned? What is worse, the Archdiocese of Detroit (as well as other state dioceses) are cowering to the governor. When will the people of faith stand up for themselves and not allow an overzealous governor like Whitmer bully them out of their constitutional rights by using the Coronavirus as an excuse?

Chew on it and comment.

Categories
Bluegrass Music

A Brief Look at Bluegrass Fake Books

Today, internet connection is as common in life as the toilet. You can get any information that you seek (whether it is reliable or not) with a few keystrokes and the power of Google. However, a bit more than a decade ago, people still relied on old-fashioned books. Yes, there are still old fogies like me that like to read from the paper pages instead of the computer screen.

Beginner bluegrass musicians appreciate any help that they can get to comfortably jam with others at a festival or other get-together. That means if he/she doesn’t have a mentor readily available to explain chord changes, one had to secure a fake book. If you don’t know what a fake book is, well, it is a book that contains a large number of songs, usually appearing in musical notation as well as lyrics and chord changes. There are still a lot of these out there and available in print. I still have my copy called, appropriately, Bluegrass Fakebook by Bert Casey (available from www.cvls.com), which is one of the most popular. It shows its age, with pages falling out and the cover worn to almost nothing. While I consider myself to have a good ear and able to predict chord changes confidently, I still love having the book around for reference to lyrics and those songs that I am not too familiar with.

These days, you can find the words, chord charts, musical notation, and even lists of artists that recorded the songs with a quick search online. If you have a printer, you can create your own fake book. I’ve seen some people store all of the songs on iPads and take the device to the jam sessions. Hey, whatever works!

While I recommend everyone having some form of fake book, especially beginners, the problem that I always had with the ones published were the choice of songs contained within. While about half of the songs are pretty standard, the other half in the books seem to be personal choices of the author(s). This can vary from modern bluegrass songs, country songs that sound familiar, or even pop and rock songs that someone thought would make a great bluegrass song (and after one performance, they don’t!). One also has to be observant of the key that the music notation and tablature is presented. I have found a number of instances where a popular bluegrass song that was recorded by Bill Monroe, Flatt & Scruggs, or any other well-known artist in a common key of G, A, Bb or C, is presented in the book in the key of Eb or F. Why?

The best way to learn dozens of bluegrass songs is playing along with them. Whether you are working with a recording or sitting in on a jam, your ear will give you the best instruction. Getting familiar with common chord progressions and knowing where to put a capo in the case of a key change are essential to working well in a jam or even performing in a band on a regular basis. While you may start working on original material with a band, bluegrass music is one of those genres that knowing and jamming on old standards is a part of normal life. Whether you buy one or create your own, have a fake book in your arsenal and give it a regular workout. While I am one that promotes original music, there’s nothing wrong with sitting down and jamming on “Wabash Cannonball” or “High On a Mountain” with some fellow musicians when the chance arises.

Chew on it and comment.

Categories
bluegrass bass Bluegrass Music

My Charlie Daniels Memory /Bluegrass Bass Part 4.1

Last week, the music world lost a legend when Charlie Daniels passed away from complication of a stroke on July 6. There have been hundreds of blogs and tributes on Charlie, so I hope that you don’t mind if I throw in my thoughts and history.

I can still remember hearing “The Devil Went Down To Georgia” on just about EVERY radio station in Detroit! Country stations, rock stations, and Top-40 stations were all playing it. You could not help but love the song. It was a great storyline, the fiddle playing was plain crazy, and that gravelish voice was one that cut through skin. Charlie was the true connection between country and rock music, more than Hank Jr or Skynyrd. You knew that there was a good time when a Charlie Daniels show was scheduled. I went to one and was drained afterwards. I still remember the baseball caps and T-shirts that were in every truck stop during the 70s: “I party with the Daniels – Jack and Charlie!”

My sort-of connection with Charlie came in the mid 90s. I was sending out some demos of my band at the time to various record companies. Back in the day, you sent out a query letter, included a return postcard that they could reply with a yes or no on your stamp, and if they said yes, you sent off a cassette. I sent off probably a hundred or so, and one of the few that wrote back with interest was Blue Hat Records, Charlie Daniels’ private label. They were interested in hearing us, so I sent off a tape. A few weeks went by, and I got back a letter saying that they were not interested, signed by Charlie. I wish that I could find that letter, I know that I kept it.

Charlie was a true gentleman, and he will be missed. His first love was bluegrass music (his first band as a kid), but his long-time love was the USA. I hope that he knows that there are still people out there playing the fiddle breaks from “Devil.” He will never be forgotten.

I was looking over my bluegrass bass blogs a few days ago, and I forgot to mention what can be used for an amplifier until you secure a proper one.

Since most of us listen to music through our iPhones or computer, we have most likely relegated the old home stereo system to storage in the basement or garage (if it wasn’t thrown out in the garbage). If you still have it, then put it to use again! Check the back of the receiver/amplifier to see if there is an input marked AUX, TAPE IN, or PHONO. If so, you can plug your guitar cord into one of these inputs by using an adapter that converts a 1/4-inch plug to an RCA phono plug. You can probably get one of these from an audio store, I’m sure you can order one off of the internet (I do miss the old Radio Shack stores). Check which channel you plug into, Left or Right, and that should coincide with that channel’s speaker output.

NOTE: Turn the volume all of the way down before plugging in or turning the stereo on. The speakers for home stereos are not designed for musical instruments, and you could blow the speaker. Also, you will notice that the overall volume is quite low unless you are using a PHONO input that has a built-in preamp. You may also need to cut back on the bass tone control so as not to distort the speaker. You can also use the headphone jack to listen without disturbing others.

This setup should suffice for a while until you secure a decent portable amp. BTW, if you have the proper cords and adapters, you may be able to run the bass through one channel and plug your iPod/iPhone or even a CD player through the other channel and play along with songs.

Chew on it and comment.

Categories
Bluegrass Music

New Grass Revival and The Johnson Mountain Boys

So the 2020 International Bluegrass Music Association’s 31st Annual Awards nominees have been announced. I won’t go into them big here; you can take a look at them at https://bluegrasstoday.com/2020-ibma-award-nominees-announced/ . However, one thing that I do want to address is the Hall of Fame inductees, specifically two of the three that truly deserve more recognition than they have gotten from the bluegrass community.

First is New Grass Revival. Sam Bush started this band back in the early 1970s, and while there have been a number of great musicians that have served time in the group, its most famous lineup is of mandolinist Bush, bassist John Cowan, banjoist Bela Fleck, and guitarist Pat Flynn. During their tenure in the band, these guys made listeners from all different genres come to love bluegrass! They were amazing soloists, Cowan and Bush sang like their lives depended on it, and they could kick anyone’s ass when it came to live performances! Their audiences ranged from old traditionalists to mohawked punk rockers. Leon Russell took them on tour with him in 1980. Each album they put out reflected their approach with one foot in old school, the other foot aimed at the moon! What other band could cover Marvin Gaye’s “Ain’t That Peculiar” and Bill Monroe’s “Wicked Path of Sin” and make it all sound like their own as well as showing respect to each original artist? They gave the progressive “newgrass” format a whole lotta class!

Unfortunately, they decided to call it quits in 1989, right when they finally achieved some chart success with “Callin’ Baton Rouge.” Garth Brooks respected them so much that he asked the band to regroup for his 1993 recording of the song.

Their 1986 self-titled album is still in heavy rotation on my CD player and is definitely one of my Top 20 of all time favorites. Their original albums are hard to come by, even in used bins. There are a few different “Best Of” compilations floating around, so be sure to grab one if you don’t have anything by NGR.

Second is the Johnson Mountain Boys. What NGR was to progressive bluegrass in the 1980s, the Johnson Mountain Boys was to neo-traditional bluegrass. While other bands were dressing casual in blue jeans on stage, the Boys dressed as if they stepped out of a time machine from the 1940s. They approached each of their songs, whether it was an original or a cover, with the same attitude that Bill Monroe or Flatt & Scruggs would use. Formed in the mid-1970s by guitarist/vocalist Dudley Connell, other notable members included Eddie Stubbs on fiddle, Tom Adams on banjo, David McLaughlin on mandolin and Marshall Wilborn on bass. Like NGR, they had their big break about the time they decided to break up when their live album At the Old Schoolhouse was nominated for a Grammy in 1988. Fortunately, they re-formed a little while later and recorded another Grammy-nominated album Blue Diamond in 1993 before calling it quits for a second time.

After the 1996 final breakup, members secured various music jobs. Connell works with the Seldom Scene as well as worked for Folkway Records. Eddie Stubbs still handles the weekday evening hours DJ-ing on WSM in Nashville. The band was signed to Rounder Records, a label that respects all of its artists, so fortunately music of the Boys’ back catalog is still available. Anyone wanting to know how to effectively cover a bluegrass standard and not make it sound amateurish should listen to an album from the Johnson Mountain Boys.

Chew on it and comment. Have a good 4th of July!

Categories
Bluegrass Fiddle Bluegrass Music

My Favorite Beginner Fiddle Books

When I started writing for Fiddler back in 2012, after two or three articles, I figured that I better actually learn a bit about the fiddle so that I knew what questions to ask and not be confused when an artist or luthier mentioned some strange term. I played guitar, bass, and mandolin at the time, dabbled a wee bit on dobro, and looked at a banjo that I owned more than touched it.

I purchased a student model with soft case off of eBay for about $42.00, and from the stories that I later heard, I lucked out. The 4/4 model was no Strad, but the nut was properly cut, the bridge was satisfactory (I purchased a better one about a year later), and it was definitely playable. While it was able enough to kick out a jig or reel, I sure the heck was not! I picked up some books and videos, then tried my best to hack through a few old-time tunes. I was able to play about a dozen songs without too much squawks, but due to matters beyond my control, I let the fiddle practice slip away a little while after my bridge replacement.

Fast forward to about a year ago. I haven’t been living in my own house due to caregiving my elderly mother. Little by little, I found that I had time on my hands, though not enough to drive back to my house to make use. So among the items I brought over to mom’s place was the fiddle and books. I also started following some YouTube videos for instruction, and found one gent who calls himself Fiddlehed (www.fiddlehed.com) that was quite entertaining with his instruction. One suggestion he made a few months ago stuck with me – pick up your fiddle every day, even if it is just for a minute or two to drag the bow across an open string. That regimen stuck with me, as before I would play for an hour or so once a week. Now, I found myself doing 20 minutes or so every day, and it is part of my daily schedule just as morning exercise or evening dinner is. Plus, it has made me love playing the fiddle!

I pulled out the old lesson books and started from scratch. Lots of rust in many spots, but a few bright spots as well. I want to talk about the four instruction books that I have used for my lessons, which I recommend (in no particular order). I got them years ago when they came with play-along CDs. I believe all are still available, but you have to download the audio tracks from the websites on three of them.

My First Fiddle Picking Songs by Steve Kaufman and Conny Ottway (www.melbay.com) – Very easy to follow. It does not take too long until you start diving into easy songs. The accompanying CD has all of the songs played at a slow speed. Unfortunately, while there are short instructions on the musical notes and where they appear on the fingerboard and music staff, once the songs start appearing, you have to know where to finger as well as the notes on the staff. Also, there is no guitar chord markings on the songs for someone to follow along.

The American Fiddle Method Volumes 1 and 2 by Brian Wicklund (www.melbay.com) – This is probably my favorite of the lot! Wicklund has a good sense of humor, supplementing the lessons with cartoon drawings and witty thoughts. Like the other basic books, it covers the parts of the fiddle and how to position the hands. His instruction mirrors Mark O’Connor’s teaching philosophy, where you jump right into a popular fiddle tune that makes people dance (“Boil ‘em Cabbage Down”). With each new song comes a new technique, and all of the songs are fun (you can conjure up only minimal smiles for perfecting “Twinkle, Twinkle” taught through the Suzuki method). He also covers slides, drones and double stops, which is what makes this style of fiddling unique. Volume 2 continues with even more old-time and bluegrass fiddle tunes for intermediate players. There are also videos available for both books.

Fiddle Primer for Beginners by Jim Tolles (www.cvls.com) – This one is probably the most basic of the books listed. A lot more coverage of the rudiments on bowing and hand positions. It also moves slower, so if you are complete beginner that has no musical experience whatsoever, this may prove to be a good starter. There is also a companion video, and a very similar book (about 90% in content) entitled Violin Primer for Beginners by Tolles as well.

Bluegrass Jamming on Fiddle by Wayne Erbsen (www.nativeground.com) – This is a lot less of a beginner instructional book and more of a fiddle tune compendium and a simple way to play them (it even states in the introduction that this book is for those who have their feet wet, or at least “moist”) . Erbsen is laid back in his presentation, and gives some great information on bluegrass history. The music staff and tablature are a bit confusing compared to other books, so it takes some time to figure out. However, the songs are more bluegrass jam-centric than the other books, and he includes chord charts for the popular fiddle tunes. Erbsen is old school, so he still includes a CD with the book. He does have a beginner book called Old-Time Fiddle for the Complete Ignoramus.

The first three books listed have a lot of the same songs (“Soldier’s Joy,” “Old Joe Clark,” “Cripple Creek”), but it is interesting to see the variants of them. As I have all three books, I like to pull ideas from each one (i.e., whichever looks easiest) and work out my own version. What all of them do have in common is that they shy away from teaching via the Suzuki method, which may be fine for a three-year old but is monotonous to an older student.

I have enjoyed getting back to the fiddle, and still keep in touch with a few former co-workers that were also beginner fiddlers. In many ways, I could kick myself for thinking that the violin was a sissy instrument back in grade school, taking up saxophone instead and failing miserably. Perhaps by the time I was a teen, along with playing in high school orchestra, I would have been skilled at “Jerusalem Ridge” and found a great bluegrass band to work with.

Here’s “Forked Deer,” performed by Brian Wicklund. The music staff and notations appear in The American Fiddler Method Volume 2.

Chew on it and comment.

Categories
Bluegrass Music

Where is the Next Bluegrass Generation?

This weekend I attended a meeting for the Southeast Michigan Bluegrass Music Association (http://www.smbluegrass.org/). While discussing elections of new board members, we talked about the age relevance of the membership. Of those attending, I was one of the youngest at the meeting, and I’m 55 years old!

Why aren’t younger music fans attracted to bluegrass? There are a lot of negative factors, I suppose. It is not like there are not enough young bluegrass players making names for themselves. Molly Tuttle, Billy Strings and Sierra Hull are three of many that come to mind. However, it also matters how the older crowd reacts to them as well as how they are promoted within the community. The three above can easily perform any bluegrass standard asked of them, but they also look outside of the box, performing more progressive forms of bluegrass, which traditionalists tend to shun. A tree that is not allowed to grow will eventually die.

I have mentioned the Junior Appalachian Musician program (www.jamkids.org) in an earlier blog, and I must say, this program has its ear to the ground! Right now, JAM has satellite programs throughout the Tennessee/Virginia/South Carolina/North Carolina area. However, programs like this need to be in other areas of the country where bluegrass is popular (Ohio Valley, Great Lakes, Northeast, California). Young students would truly appreciate people who take the time to teach them music as well as encourage them to learn about their culture.

It could be that bluegrass still has that stigma of being “old folks music.” The stigma is heightened usually by these older people turning a cold shoulder to the younger crowd. I used to see it a lot when I attended a monthly jam session in Flint, Michigan years ago. I haven’t been there in years, and hopefully the attitude has changed. But in all honesty, I don’t see much of that “transfer of knowledge” from older generations to the next. I am always reminded of that scene from Fahrenheit 451 in which an older man on his deathbed is reciting the book that he memorized to a child so that the child can continue the book’s importance.

How many older bluegrass musicians are actually sitting down with a youngster to show him/her the beauty of the bluegrass sound on a guitar, banjo, or mandolin? Does apathy live in the senior, the youngster, or both? One can learn to play an instrument from hundreds of videos, either purchased or on YouTube. There are thousands of teachers at music stores. Of course, that costs money, and are you getting a bluegrass guitar teacher or one that teaches rock, jazz, blues, classical and other genres? Whatever happened to the joy of seeing a student successfully learn and play an old folk or bluegrass song and that serving as payment received?

With the Coronavirus pandemic still hanging above our heads, festivals that include workshops are pretty much cancelled for the summer and into the fall. Social distancing is another thorn in the side as far as teaching music. We cannot let these evils kill any enthusiasm that may come from an interested youngster with bluegrass music. We need to do what we can to encourage the younger generation that appreciates bluegrass music. It could be free basic lessons, free performances, showing them a bluegrass documentary and helping with references, setting up jam sessions just for kids, but mainly, showing how great the music really is.

It is rare that these youngsters will actively search out bluegrass mentors. They have that comfort zone of sitting in a basement and playing video games when not in school. We as the mentors have to be the active ones! Make yourself available, look for ways to get their attention (flyers posted at music stores or strip mall bulletin boards), reward those kids that DO show an interest and improve on themselves. These kids will decide the future of bluegrass music.

With that said, I want you to see this video of my friend Brittany Haas, along with Lauren Rioux, showcasing a young fiddler named Claire.

Chew on it and comment.

Categories
Bluegrass Music

Review: Behringer Europort HPA40

I think that I may have found an answer for the bluegrass bassist playing an electric bass and needing amplification that is also portable, allowing to play where there is no power.

A few weeks ago, I won an eBay bid on a Behringer Europort HPA40 battery-powered PA system. Back when I was playing in electric bands, I remember the Behringer brand as a decent source for low-cost solid-state amplification, especially with bass guitar, keyboard, and PA system amplification. Phasing out of my electric guitars and moving toward acoustic instruments, I had forgotten about the brand and was a wee bit shocked that they were still around when I saw this item on eBay.

I got my model used, so it didn’t come with accessories. Brand new, it retails for about $150 at most of the online music stores. It is about the size of a toaster, is shaped like a torpedo head, and runs on a rechargeable battery (or AC adapter). The specs say that it has 40 watts of power through a 5-inch speaker. I assume that the 40 watts is peak, and probably runs about 10-15 watts regulated, which is still great for a battery-powered amp.

When I received it, I plugged my acoustic bass guitar into it and was surprised at the amount of volume that it kicked out. The speaker was more bass responsive than my Pignose, which makes it better for porch jams when some bottom end needs to cut through.

The controls are basic. Volume control (no EQ or tone controls), push-button power switch, 1/4-inch mic input, 3.5-mm line input, a USB input for optional Behringer wireless microphone, and an input jack for AC adapter/charger. LEDs light up for power as well as battery life. Accessories include a power supply, a dynamic microphone with a 3-foot coiled mic cord, and a carrying strap (which can be stored in the rear of the amp where the rechargeable battery sits). Plugging the bass guitar into the mic input gives a bit of distortion, so it would be wise to cut some volume from the guitar controls. If using the line input, you would need an adapter.

To be honest, this is the best battery-operated (albeit a rechargeable battery and not disposable ones) portable amp that I have seen in a while for the price. It has enough volume, and the specs state that it will go 8 hours on a full charge. The 5-inch speaker has enough low-end response to make the bass guitar sound like a bass guitar. While Behringer seems to have developed this as a mini PA system for a presenter to use in a small conference room, it does the job as a music amplifier. I also see it being used perhaps as a small outdoor PA by a bluegrass combo working a single microphone (NOTE: this doesn’t have phantom power), maybe not with the supplied dynamic cardioid mic but possible with an omnidirectional one. This is a great busking PA.

While $150 may seem pricy for a small unit, remember its portability. Also, you may find used or refurbished ones on eBay or your local Craigslist. Make sure that those versions work, as this unit does not look like an easy repair. If you get one, treat her kind and she will be good to you.

I also see that Behringer markets a similar model, MPA 30BT, which has a larger speaker, runs for 20 hours on a charge, and has a built-in 2-channel mixer for about $180 with no accessories.

Chew on it and comment.

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