very inspirational on a lot of levels…
Old Time Party
Blogger Jonathan Bekoff died at home in the night between June 14-15, 2015, after a 3-year illness. He loved this blog and asked some friends to help maintain the site after he died.
Jon was born May 8, 1959 in Staten Island, NY. Raised in Montreal, Canada, he also lived in Ohio, Virginia, Oregon, and Vermont before settling in Greenfield, MA in 1996. He attended the University of Oregon, and was a gifted middle school math teacher for 27 years, mostly in Guilford and Brattleboro, VT. As his former principal at Brattleboro recalled, “Jon was a gentle soul and loved to connect with people, especially with the kids. He came into himself in the classroom; he explained things so clearly. His students loved him. Everyone loved him.”
Jon had strong passions for studying, collecting, playing, mentoring, and sharing roots music of the world, particularly American Old-time and music of Africa…
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I love it when there’s one person on stage with an instrument and a microphone. The artist is raw and exposed and vulnerable. After seeing a bunch of these shows, you start to get a feel for a performance that has the ring of truth about it. Recently I saw a really “true” performance. The artist’s name is Rich Podgur. Everything about him screams “authentic”- from his left-handed Guild guitar to his corduroy sport coat.
His songs have working-man imagery and feel. At different times I was reminded of other songwriters whose delivery also feels honest and gritty- like John Prine and Townes Van Zandt and Neil Young. Full disclosure- I’m trying to figure out how get hired as a sideman in his band. I feel like I’m getting a sneak preview of something really great. It reminds me of time when songs had integrity and life. Good songs make us feel and remember and think- they take on a life of their own. They have the ability to travel with us and comment and connect with us when we least expect it.
I’m really looking forward to a recording from this guy. I want the ability to read and listen to the lyrics and gain some new traveling companions.
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Before you start playing be familiar with the hierarchy of good band manners.
First, be in tune. Everybody’s uncomfortable when something sounds sour and is out of tune.
Second, play in rhythm. Groove with the bass. When in doubt, pause and listen for the next down beat. Play as little as possible. I’m not sure of the author of this quote but it’s made a lot of sense through the years “It’s not what you play, it’s what you don’t play”. The less you play, the easier it is to play on the beat.
Third, play the right chords. Do your homework and be prepared. Learn the chord chart before you come to rehearsal.
Fourth, learn the notes of the melody- they’ll come in handy at a bunch of different times and on different levels.
After you start playing follow these rules when possible:
First- Start together and end together. Beginnings and endings frame the song you present on stage. It’s the first and last thing that the audience hears and remembers. If these are tight, other “discrepencies” will be forgiven.
Next, when someone starts singing, play softer so that the singing is featured. Create a sonic support/safety net for them. The vocalist is is the most exposed member of the band- make them sound good. In general, build volume in the chorus.
Lastly songs are cycles of repeating musical ideas. Try to add something different each time you play through a verse or chorus or bridge. Something simple- an extra note, a different voicing, a rhythm motif. Add interest to the performance.
Be kind to your band members. Support them musically. Make sure everyone gets a chance to shine. Playing music can be as challenging as it is rewarding. We are at our most vulnerable when on stage. Make it fun for your bandmates and they just might return the favor.
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Tim and Mike at the Black Creek Fiddlers Reunion
Just banjo and fiddle playing together was the original rock band. From the earliest time of the banjo in America – the mid to late 1800’s, the music partner of choice was the fiddle. Here’s a list of some of my favorite duo recordings:
Banging and Sawing by Bob Carlin and Guests
Southern Summits by Alan Jabbour and Ken Perlman
Tommy & Fred by Tommy Jarrell and Fred Cockerham
Starry Crown by Rhys Jones and Christina Wheeler
The Time’s Been Sweet by Jeanne Murphy & Scott Marckx
Phil’s Patio by Aaron Jonah Lewis and Matt Ball
The Fun of Open Discussion by Bob Carlin and John Hartford
These recordings have all affected me on different levels. They’ve inspired me to learn the tunes. They’ve compelled me to seek out fiddlers and sit knee to knee and communicate musically. I’ve shared tunes with my bands and we’ve learned them and added more instruments.
When I think back on wonderful musical moments through the years, many of them have been at festivals where two of us have searched out a quiet corner to sit and play together. Starting with a tune we both know (or not…) and first developing the common ground to kind of establish the musical outlines of the thing that we are creating together then having fun and allowing new ideas to emerge.
The albums above all do this. Most of it is banjo and fiddle but there are some really beautiful fiddle duets on Starry Crown. In the duet form I always love when the whole is greater than the sum of it’s parts.
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Wildwood Flower in a great tuning with compact chord forms. Capo 2 tuning: gEADE
Inspired when Chip came to visit one afternoon and we where trading tunes and ideas. I showed Chip the tuning that I was using to learn John Riley The Shepherd (from the YouTube video of Adam Hurt’s playing) and we started working through tunes and songs in G and Chip suggested Wildwood Flower
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Last Sunday’s BBU-sponsored band scramble at the Real School of Music in Burlington brought out about thirty people who discovered talents many never knew they had. If you’ve never been to a band scramble, the idea is a cross between pickup baseball and the Hogwarts sorting hats: take a bunch of strangers who play bluegrass instruments, throw their names into paper bags. Draw names at random to create bands. Send each band away to rehearse for an hour and a half with a simple mission: create a 5-7 minute set of music on stage. Call everyone back, and put on a show.
The five bands that competed in Sunday’s scramble showed a range of talents. Every band had some people who had never played bluegrass onstage before. At least two people made their singing debut as well.
I can tell you from touring the rehearsal rooms during those 90 minutes that the energy level and enthusiasm was high. Everyone was involved in picking band names, repertoire and arranging. The atmosphere in every room felt like a really good band rehearsal. That spirit made it onto the stage, where all the bands, who were competing for an opening act slot at a local coffeehouse and a set of tuners, put on enjoyable performances and cheered each other on from the audience.
The comments were unanimously positive from everyone involved, and I really enjoyed the simultaneous spirits of cooperation and competition that extended from the selection of the bands through the concert itself. I think the first scramble was a complete success, and I’m looking forward to many more. Thanks to everyone who came out to participate, help out, or just watch!
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