7 ways to be WEIRD - Review

It's time for another review.  Today's choice? That's simple: 7 ways to be WEIRD by Rushad Eggleston.

I first heard the name Rushad Eggleston when I learned of a group called Crooked Still back in 2004, when I bought their Hop High album.  I was immediately impressed with the cello work on that project and genuinely enjoyed the energy and excitement.  That album also introduced me to Aoife O'Donovan and Greg Liszt - but that's a story for another time. 

Fast forward a dozen years and I thought, "Hey, reckon what happened to Rushad Eggleston?" So I poked his name in Facebook and found his artist page.  There were videos - a lot of videos.  I began to watch.  Captivated is a good word to describe how I felt.  I giggled a lot.  I know I smiled a lot, because my face began to hurt after a bit.  After I felt like I was caught up on videos, I'd make a pass by Rushad's Facebook page daily, just to see if there was anything new - there usually was.

Now, I'm guessing some of you have made your way to his page by this point and are either smiling, completely confused, or both.  That's good.  See, music doesn't have to fit in a nice tidy little box with all of you preconceived notions of what "good music" is supposed to be.  Nope.  There's a bit of chaos, musicianship and creativity that blends in those videos that keeps me glued to screen until it's over and compels me to hit the button to get to the next one.

A couple of days ago Rushad posted a link to his bandcamp page. Wait, he's got recorded music for me to download? Why hadn't I already looked for this? I must be slipping!

I decided to go ahead and make a purchase. Okay, I got everything he had there, but I won't review it all. The newest work was 7 ways to be WEIRD. It's a short "album".  It's seven songs in nine minutes.  You read that right; it's short.  Short isn't a bad thing; sometimes the chaos is better in small doses - especially if you're new to it.  Furthermore, you can set your own price that you feel comfortable paying, and you even get to sample the project in its entirety.  You really can't lose.

I spent the afternoon running errands with 7 ways to be WEIRD playing on my car stereo. I played it loud.  I know it was good, because when other people heard it they would smile, or maybe they were smiling because I was smiling.  Either way, there was a lot of smiling going on. I'm sitting here listening as I write and I'm still smiling at 2:40am.

In his own notes he said he "tried to not care, to be free, to have fun..." I've no way to know for sure if he did those things to his satisfaction, but from my perspective he did - and quite amazingly so. He also says "play it for your kids, i bet they'll understand".  I played it for my fifteen year old kid and he totally got it. I was glad.

If you're ready for "something completely different" this might just be what you're needing. At only nine minutes you won't be overwhelmed. It might just be your ticket to musical fun. Go visit Rushad's bandcamp page and buy something.  Oh, go on; you know you want to.

Three Year Update

The following text is a collection of random thoughts.  It's just a quick update that I've been meaning to do since May, but just couldn't form it up into something clever.  Consider it a rough draft.  Consider it a peek into my brain in it's disorganized state.  I just wanted to share.

tl;dr version: Despite the difficulties, I'd do it all again.

---

In May of 2012 I walked away from my day job.  I had a litany of reasons for doing it, but it was spurred by a desire to do nothing other than to play and teach music.  It wound up saving my marriage, building a relationship with my son and salvaging what was left of my own mental health.  You can read about it here: A Change for the Better

I knew it was going to be tough.  I knew our financial situation would be difficult.  It has.  We've given up a few conveniences and we've had to demonstrate some creativity in paying the bills.  Sometimes we get them paid, other times we get them paid later.  I do sometimes feel guilty about some of the things we've needed to sacrifice.  There's just not much money to go around, but that was the case when I had - what seems like - all the money anyone could ever need.  If I've learned anything, it's that I'm inclined to live just beyond the edge of my means.  I figure a lot of folks do that. 

Since leaving the day job I've learned many things.  I've learned to fix the washer and dryer; I've actually fixed bits that normally get replaced.  I've learned how to do some simple plumbing and home repairs.  I've also learned just how far I can go on a tank of gas.  I've learned to cook some of my favorite meals that I'd have normally eaten out.  I've learned to like the thermostat set to 76 in the summer and 66 in the winter.  I've also learned to ask for help when I need it.  I've learned about the kindness of strangers.  I've learned just how generous my dad is.

Here's a big thing I've learned.  You've heard the old saying, "Time is money."  It's a trap, a trick, and maybe even a lie.  Sure, you can sell your time for money, but you can never use that money to buy back time. 

I'm also learning to value myself.

I finally got to know my son.  He's a real gem.  I never knew.  See, that's a regret.  I regret giving so much of my time to an employer that I missed being involved with him.  Oh, I was home in the evenings, but the stress of the day job made me irritable.  I didn't want to associate with anyone, so I glued myself to the banjo and the internet.  How are things now?  I couldn't ask for a better relationship with my son.  Heck, I've even taken a position with the local Boy Scout District - I never had time for that before.

The relationship I have with my wife is improving, but there's a lot of mending to do.  It's comforting to know she still supports my decision.  We're just always struggling to pay the bills.  She's not been able to find full time work, and my work, such as it is, adds to the difficulty in making regularly scheduled payments.  Fortunately we don't have a lot of debt and the other folks that expect money from us have been understanding - so far.  We're both hopeful that things are bound to improve.  Keep her in your prayers that she'll find a full time job.  We don't have much hope in her current employer ever offering her a full time position.

Would I do it again?  Yes!  I'd do it again, and I'd do it sooner; I've learned that it's important to follow your dreams and do those things you really want to do, even if there's not much money involved. 

Spend more time with the people you love.  It's worth more than any amount of money.  It's important. 

You Can't Kill the Old Red Rooster

You can't kill the old red rooster anymore.  Don't do it.  You can have chicken and dumplings, but there will be no killing of roosters.  That's a lesson I learned this week.

A friend asked me to speak at her elementary school's career day.  I was more than happy to do it.  I may not be the model independent music professional, but I guess I'm pretty enthusiastic about it.  I like showing children (and adults) that you can be whatever you want.  Doing something that makes you happy is worth more than a big salary for something you dread daily.

My day started early - much earlier than most musicians, but duty called.  I arrived in time to carry in a couple of banjos and stands, meet some folks, and get set up.  I had a full slate.  My day would be filled twenty minutes at a time with children from different grades (kindergarten through fifth grade).  I braced myself for the first group.

They were bright-eyed, inquisitive, and seemed to really like the banjo.  I talked some about how I work and earn money.  They asked questions, and I played them a few songs.  Before I knew it I was out of time, and those children marched out and more marched in.  After a few classes I was getting the hang of it.  Wash, rinse, repeat.

By the afternoon things couldn't be running smoother, until I had a class that was more interested in me playing than me talking.  That's fine, and they were younger kids (maybe kindergarten or first grade).  I asked them, "Do you know She'll Be Coming Around the Mountain?"  They screamed, "YES!!!"  I started the song.

She'll be coming around the mountain when she comes... Everyone sings

She'll be driving six white horses when she comes... Everyone sings

We will kill the old red rooster when she comes... Jaws hit the floor, eyes well up, and lips start to pout.

Wait just a minute!  Here I am, singing a song from my childhood where we killed that dad-gummed rooster every time - and with a big CHOP CHOP with hand motions!  These kids though?  They'll have none of it.  You just can't kill that rooster - not in 2015.  I immediately saw the error of my horrible rooster killing lyric.  How could I not, with the cute little pony-tailed blonde with the cute glasses and the big eyes welling up and her bottom lip stuck out?  With the help of the teacher in the room we segued to a happier song - "The ABCs" - as best as I could recall there are no roosters killed in that one.

Lesson learned: don't kill the rooster.  My childhood was horrible and I never knew it.

That's not all I learned.  No, the next lesson came with the next group of kids.  These were fifth graders - smart, with good questions.

"When you first started playing for money, how much did you get paid?" A boy asked.

"The first time I ever earned anything for playing was with the FFA Stringband in high school.  We would play for different civic clubs (like the Lions Club, Kiwanis Club, etc) and in return they would give us a pig for our pig chain." I told them.

"You got paid a pig?!?!" They all laughed.

Once they were convinced I wasn't just being silly, they had another question.

They inquired, "What did you do with the pigs?"

For whatever reason, there's this bone in my head that often just makes me blurt out the truth.  "We raised them and eventually ate them."

No sooner than I had said it the lesson of the rooster popped into my brain.  Not to mention the exclamation from the kids, "You ate them?!?!  You ate your piggies?"

Yes - yes we did.  Being older kids I figured I would just go ahead and let them go on that remark as time was up.  I started my last tune as they exited.  As the kids were leaving one lagged behind to tell me that his dad raised pigs to eat, and even killed them. He didn't seem to mind.  I was relieved.

Time have changed.  I'm not sure it's for the better.  I saw kids eating meat at lunch, but I'm not sure they have any idea where it comes from.  Except maybe for some of the more rural kids, they seemed to get it.  As I reflected on my rooster horror I tried to see the kids faces again and I recalled that almost none of the Hispanic children had a problem with killing the old red rooster.  We have a large Hispanic population here and a lot of these kids' parents immigrated here in the past decade, so maybe they're still pretty close to their cultures - whatever that might be. Maybe it's cultural?  I'm not sure, and I'm not qualified to even guess.

I just know that the old red rooster and pigs can roam free on the farm, and...

We'll all have kale and tofu when she comes...

Hopefully no one will need therapy.

Wind 'em up. Watch 'em go!

I've been teaching a long time - longer than I should have, most likely.  I've had all sorts of students; some good, some bad, some horrible, and some exceptional.  The latter ones are pretty rare.  Those exceptional ones are those that take what you show them, and assimilate it.  They don't just memorize an idea for a certain tune; they figure out exactly what that concept is and how to apply it.  They're the ones that modify the techniques to fit their own idea of how it works.  They're the ones that soon figure out how to play within the boundaries of their own limitations.  Sounds simple enough, but in reality that assimilation of knowledge is what separates the casual player from the ones that go on to be successful.  If I knew how to bottle that, I'd sell it.

Trevor is one of those exceptional students.  He's driven - motivated even.  I showed him some very basic clawhammer a few months back.  Last lesson he's already playing some fairly advanced stuff, and he did it on his own!  Also, not too long ago he expressed some interest in a couple of Reno tunes.  Admittedly, my Reno vocabulary is small.  I pointed him in a direction, the rest he did on his own.  I figure I need to get him to show me the Reno stuff he's learned.  ...and the student becomes the teacher.

He's my current favorite windup toy -- wind him up, watch him go!

Anyway... here are a couple of videos of Trevor (one with his brother).

the eighteen Moloney - A Review

Perhaps it was jet lag, or maybe it was the thrill of the moment, but when I heard David Power play at Dillon’s Bar in Dungarvan, Ireland I found myself holding my breath; I didn’t want to miss a single note. 

I admit it; I’m not an experienced listener of Irish music.  The only Irish bands I can think of are the Chieftains and The Masters of Tradition - oh, and Flogging Molly, but they’re from the USA.  Heck, I’ve never even seen Riverdance.  So, as you can see I haven’t the slightest clue about the music.  Sure, I’m not unfamiliar with music in general, and I have a great appreciation of musicianship.  Never-the-less, you’ve been warned.

A couple of weeks ago David sent me a copy of his newest CD the eighteen Moloney.  I’ve listened to little else since I got it in the mail.  It’s a solo recording with David playing the uilleann pipes - and what an exciting recording it is!

The title of the album comes from the chanter he’s using for the recording.  It was made before the Great Famine in Co. Clare by Andrew and Thomas Moloney.  From what I’ve read it’s been used by some pretty notable players throughout history, and it was referred to as the 18 Moloney.  So, it would be like playing a mandolin that had been used by Bill Monroe, Jethro Burns, and Dave Apollon. 

So, history aside, how was the recording?

There are places of peace in this recording.  There are places where you’ll tap your foot and want to dance.  There are, as well, melodies that energize me; I feel stronger - maybe even braver - just by listening.  It’s hard to explain, and maybe I shouldn’t try, but there are musical lines among these tunes that move me emotionally - not sadness, but it’s as if the music reaches ancient or genetic memories.  So, like I said, it’s hard to explain.  There are truly ancient tones on this recording. 

If you’re a fan of Irish music, then you will - without a doubt - enjoy the eighteen Moloney. If you're a fan of a skilled musician doing what he does best, you'll enjoy this recording. 

Check out the sample below, and then visit David's website to order your copy. 

Don't Miss Acoustic Kamp

Look, I know you're busy - me too, but you can't miss this.  It's a big deal, and I know you'll love it.  It is - in my estimation - the music camp that all others aspire to be.  Yes, it's that good.

Now I hope you'll sign up for my Old-Time Banjo Class.  I won't lie to you, I need the students.  I will, over the course of the week, share with you all sorts of ideas that you'll be able to use right away.  I'll share things that you can use later.  It'll be fun!  I promise.

I know you all don't play banjo, but there are flat picking guitar classes, fiddling, hammered dulcimer, finger picking guitar and old time singing - and that's just the week I'm there.  The next week there is even more to choose from.  Heck, go both weeks; a lot of people do that.  Really, I wouldn't pull your leg about it.

So, I'm just going to count on you being there.  Follow this link:  Steve Kaufman's Acoustic Kamp

Spot - A Gentle Giant - A Brother

Meet Spot.  He showed up one day as if to say, "Hey, I'm home."  Just a puppy and mostly just a rambunctious ball of playful fur, he was home.  He found a place to live, grow and just relax; but most of all, he found a home in our hearts.

He grew into a giant of a dog.  At three years old he weighed well over a hundred pounds and his shoulders stood almost as high as my waist. Despite being partially lame in his front left leg due to some nerve damage from a vaccination, he was unbelievably strong and quick.

He loved people, attention, and riding in the car.  He loved the other animals and once even helped a rescue another dog that was trapped in a pen once (In his mind I know he thought it was for the best).  He became instant pals with everyone he met. There wasn't an ounce of meanness in him.

Monday, though, I got a call.  Spot had been shot.  Spot was dying.

What?  Who?  Why?

None of that mattered.  We all knew Spot wasn't long for this world.

Some miserable soulless minion of evil shot Spot through the gut with what could have only been a round from a hunting rifle. Yet, despite being mortally wounded - despite losing so much blood - he made his way back to the only home he had ever known.  I'm convinced he knew his time was over. He kept his eyes on my mom the whole time - as if maybe he was worried about her, or maybe hoping she could somehow fix his horrible wound.  He died there in the arms of those that loved him.

It was truly a senseless act that has affected all of our lives - none more than my son Samuel's.  Samuel was Spot's boy.  They were brothers.  They loved each other with no conditions.  Hours were spent running, wrestling, playing hide and seek and just lying together to rest.  How is a boy that's only thirteen to begin to forgive someone for taking the life of a best friend?  Did the shooter realize, or even care, that a brave child would be the one to cover Spot's eyes when Animal Control administered the injections to release Spot from his agony caused by such a cowardly action?  Only time will tell how this horrific event will change my son.

How am I supposed to guide my son when the very core of my soul is enraged? It's all I can do to channel my emotion to remembering Spot's contribution to our lives.  He was just a big old goofy dog. He wasn't a lick smart, but he was one of us.  I also realize that no amount of retribution will bring him back to us, but I'm still angry enough to admit that I'd immediately return the action to the contemptible miscreant that took Spot's life so ruthlessly if I thought for a second that it would return Spot to us unharmed.

We're heartbroken.  

---A letter to Spot---

Dearest Spot,

I know you're happy.  I can only imagine how strong and fast you are now with your leg all fixed up.  Oh, I'm also sure you've found Kat and Nibbles.  Tell them they're thought of often.

We all miss you.  

Your little buddy Wally-Dog won't know what to do without you taking him on hikes through the woods.  Molly and Callie (those silly cats) are going to miss you being around.  Dad probably won't get much rest for a while, because you won't be there beside him, and Mom will miss your company during the day.  Tina will certainly miss you poking your big head in the car when she was coming or going.  Samuel is missing you quite a bit - I think it will be a long while before his heart heals.

Please try not to worry about us, and most of all, don't feel guilty.  I know you were probably thinking you messed up, but this wasn't something that you had any control over.  We all know how frightened you were of guns, and would have run at the very sight of one.  So it's okay.  You didn't do anything wrong.  You were just playing in the woods.

We still love you.  We won't forget you, and soon our thoughts of you will be of all the good times we had.

Oh, and Spot, next time I see you I promise that we'll take a much needed nap.  Yes, with you on my lap; I wouldn't have it any other way.

Love Always,

Jim

Preparing for a Banjo Contest

Recently I had an opportunity to judge the Smithville Jamboree.  After sitting through nearly two hundred entrants' performances I decided to resurrect an old post I had made on the Banjo Hangout.  I've tweaked it a little and cleaned it up.  Hopefully, you'll find something useful when you're preparing for a contest.

Once upon a time I had written and saved a couple of long diatribes regarding things not to do at contests.  However, because of your apparent good fortune, they seem to be lost in cyberspace.

One day I might try to recreate some of that, but until I get really bored I'm not going to even try. However, I can offer some common sense ideas that may or may not make a difference.

Before I start, I'd like to preface this with the information that I have, indeed, played quite a few contests. I've won a handful, and totally stunk up even more. In the process I learned some things. I've also had several opportunities to judge quite a few contests too, and hopefully I can offer you something from the judges perspective.

Choose some songs from your repertoire (four or five would be ideal). Make sure those tunes are ones you know upside down and backwards.  I know that seems obvious, but I've seen contestants play tunes they just didn't know well enough to play under the scrutiny of judging.

The question regarding what songs to play comes up a lot. There's no right or wrong here, but there are considerations. Have the judges heard this song a blue-zillion times? If so, I'd probably skip that one. Is it something you don't already know? I'd skip that too. The last thing you need is to have a tune that is "new". I look for tunes that are "different" but not strange. I want the judges to be able to identify it. There are plenty of other things to think about here - and as you get more involved you'll think of plenty reasons to ditch tunes, add others, etc.. Again, I'd hope that the songs you select are ones you're already very comfortable with.

Now that you've picked out your tunes you'll need original arrangements. No, not from that tab book... no, not that recording either - put the video away too. You didn't think you could sneak that note for note arrangement of Sammy Shelor's Earnest T Grass by a competent judge did you? The judges will know. They do listen to stuff. Most of them are students of the music - just like you. That means they're still admiring and listening to all the cool players. Uh oh, can't use someone's canned break... now what? Create your own. Sorry. No easy answers here. You just have to do it. It takes time, it takes effort.  It takes getting around players much better than you and listening to their arrangements and figuring out what you can assimilate without being a clone.

Now... do that 3 or 4 more times.

Once you've got the tunes arranged and practiced, keep polishing. Play them a lot - it's more than you think - once a day ain't nearly enough. You need to play them over and over. Record them. Listen to the recordings. Practice with the metronome. Listen. Practice, practice, practice. Play for friends, neighbors, the cat, play them for anyone that will listen. Heck, come play them for me; I'd be glad to make you nervous and critique your playing.

Day of the Contest

Sign up and get a copy of the rules. Read the rules. It's a good idea to follow them - enforced or not. I've seen players win and lose on technicalities. Don't be a technicality. Know when and where you're supposed to be. Relax - whatever it takes here is fine by me for the most part.  Hopefully you'll have practiced and played enough that you won't be worried or nervous about the songs. You will be nervous about the contest though; that's to be expected. Try not to barf.

Some people like to check out the other competitors; I never do. Last thing I need to do is psyche myself out. I generally stay by myself and warm up. If you have someone accompanying you, warm up with them.

Draw your number. Get called. Go pick. Play what you rehearsed, and try not to bore, irritate, or annoy the judges. You're done now. You can exhale. Go hangout with the other folks. Check out the jams, watch the contest, whatever.

Did you win? Did you place? Did you bomb? Who cares? What I hope you did was have fun. That's that main thing. Play the contests because they're fun. Play them because you like to play. Don't worry too much about the outcome. That sort of thing isn't too productive. There's not a contest that goes by that someone doesn't complain about the outcome. It's not always like you expect it, but if you went in expecting exact science from a banjo contest, well, shoot, you get what you deserve.

Oh, don't be a whiner - especially to the judges. I love talking to the competitors after the contest - especially when they're genuinely looking for help or advice. Do remember that judges are people - like you. (I remember an event where a mother of a player gave me serious grief because she was convinced that I didn't have a clue about music, because if I did I'd have certainly given much higher marks to her kid... sigh.)

Just be a good sport.  Make friends with as many people as you can, and practice a bunch for next year!

tl;dr - Play Something You Know!

A Change for the Better

What is it that you really want to do? Where does your mind wander? What are you driven to do? Why isn’t that your vocation and why aren’t you doing it? I faced that very thing for most of my working life. I knew early on what I wanted, but I also knew that what I wanted wasn’t particularly lucrative. So, I compromised - or I thought. I found jobs that I could do that would allow me some freedom to do the things I wanted - even if it only meant being able to do those things on the weekend. All the while I longed to do something else. It was ever present in my mind. Yet, I felt trapped in job that allowed me to live somewhat comfortably. The stress of the last job took it’s toll, and even though I still had some freedom to pursue my interests, the misery of feeling obligated to hold on to a job with an employer I despised had begun to suck the joy from the very thing I wanted most. I Was In Trouble I was fighting the worst depression I can ever recall. I was on the verge of a complete physical and mental breakdown. My life was a complete mess, and my family was under enormous strain. Something had to change. I knew it couldn’t be some little change. Something big had to happen. In May of 2012, in an attempt to affect the needed change I walked away from my job. It wasn’t an easy thing to do; like many of you I needed the income, and I needed the benefits. I needed the stability. At least that’s what I thought. At first, like with many things, the job was great. I was given a responsibility and it was up to me to manage it my way. And, as the saying goes, “I had it made.” Let’s face it; I had good benefits, and the most money I’ve made in my life. Little did I realize that I was trading away my life and happiness for a lousy paycheck. At this point I could make a lot of excuses to justify walking away from a good job during a tough economy in an area where jobs are scarce. There’s no reason I could offer that couldn’t be shot down with simple common sense. How will I buy groceries? How will I pay the mortgage? Can I afford the car payment? Can I pay our utility bills? What if we get sick? The list goes on and on. Like I said... common sense. Yet, with all of those really good reasons to keep the job, I knew my family would be happier if I was happier. If that meant giving up the money and the benefits then that’s what had to happen. Truth is, living in a cardboard box under a bridge somewhere would be better than the grief that I was bringing home every day to the people I loved. I did have a plan of some sort. I love the banjo. I love playing it and I love teaching it. I’m neither a world class musician nor teacher, but it’s something I genuinely love. Just how many times have we heard, “Do something you love”? With that in my mind the plan was to book as many playing jobs as I could and to schedule as many students as I could. A short, but meaningful, conversation with my Dad proved to be quite helpful. He understood my situation, and knew I really wanted to be free of a job that was poisoning my life. He offered four words of encouragement. Four little words I’ve heard him say when it was time to get things done. “Do it to it.” I turned in my notice that afternoon. I’m Not Dead Yet Since leaving the job I’ve noticed three things. First, my relationship with my wife has improved. My relationship with my son is better. And finally, for the first time in over a decade, my outlook on life is positive. Yes, I struggle. I even worry. However, the things I struggle and worry about are outweighed by the short list of things I mentioned above. No, I don’t make much money, and I don’t have benefits, but I do have my family. I have peace of mind. I feel happy for the first time in many years. The Holidays Oh, this year Christmas morning will happen with very few presents under the tree. That’s okay. It’s so easy to say (and I’ve been guilty of saying it in the past), “Oh, it’s not about the gifts.” No, it’s not about the gifts -- until there’s not many gifts under the tree. I sure wish I could have bought more gifts for my friends. I certainly wish I could have bought more for my family. But really, it’s okay. Here’s why it’s okay. I’m convinced that my little family wouldn’t have lasted much longer had I held onto that job that was making me miserable -- despite the money it provided. Because I was miserable, I was unwittingly destroying the thing we’re all supposed to hold dear -- family. I thought I was doing the right thing, but I wasn’t. As difficult as it is to admit, I was tearing my family apart. What’s under the tree this year is probably the best gift I could have imagined. This year the gift is having a family. Some Words of Encouragement I’d like to encourage you to change your life, but I want you to answer these questions. What would you trade for a better relationship with your family? What would you give for a good night’s sleep? What would you sacrifice for peace of mind? What would you forfeit to just be happy? Those are the questions I asked myself. I also asked my family the same questions. I thought it was important that if I was going to make huge life altering changes they had best be in on it. I didn’t think that either my wife or son needed to make big changes. We all knew I was the problem, but whatever changes were made would effect them. We thought it over. I think we all knew something had to change. We all understood the risks. What if we make this big change and things don’t get better? That seemed like a fair question, but then we asked, “How could it get any worse?” No, it won’t be easy. But I have to ask, “Is your life easy now?” No, your change might not make things better. If you’re like I was, it probably can’t get much worse. During all of the pondering of my situation a New Grass Revival song kept coming to mind -- Sail to Australia. Here’s the verse that I couldn’t get off my mind.

Sometimes I wish things were better But most times I'd settle for different Just to know that the day that's waiting for me Ain't the same one that I just spent

That really summed it up for me at the time too. I knew, though, that finally casting off that horrible job and pursuing my dream would only be better for everyone that had to be around me. Better times are coming. My mind is finally starting to heal. I love my family. I know they love me. Are you happy? If not, let me encourage you to make a change. You can do it. Do you have peace of mind? No? Make a change. You can do it. Is your family close? No? Make a change now. Yes, you can. One more thing...

It’s better to have a short life that is full of what you like doing, than a long life spent in a miserable way. - Alan Watts

What does it take?

"What do I need to learn to be able to play banjo like...?"

"I want to be as good as... What should I be practicing?"

The questions go on and on.  They're all about the same too.  I see them posted online.  I hear them from students.  Truthfully, they're fair questions.  I mean really, just how does one get to a level where others hear you play and stand in amazement?  What is it that sets apart our heroes?

I was talking to a young banjo player this past weekend and it came to me in a way that I could explain it - I think.

I just don't think it's a matter of acquiring knowledge.  Just simply knowing things isn't going to turn you into an artist.  I'd even go as far as saying that even being able to play scales, understanding modes, learning tons of tunes, getting the fingerboard under control, and more won't get you very far toward becoming a musician/artist of the caliber you're looking for.

I'm not saying that it'll hurt to know all of those things, but I've come to realize that those are not the main things that you'll need to know.

I also don't think it's just a matter of practicing the fundamentals, or even having a good understanding of even what those might be.

What is it then?  Good question.  While enough practice to get a solid grasp of how to actually "work" the instrument is incredibly important, there's still something else you'll need to get to the next level.

For me it's been the pursuit of creating things, and honing the craft of creativity.

I'm convinced that even moderate technical ability such as I have combined with the craft of creativity is key to attaining some high level of artistry.

Think of it like this.  Let's say I learn how to make a step stool in wood shop.  I could take those plans and build more, and each one would progressively get better.  I'd get quicker, and the step stools would look nicer.  Yet, they'd still just be normal step stools.  Getting beyond the norm would require a bit of creativity.  I'm sure those first "creative step stools" might not be so great, but the more I create the better I'll get.

Hmmm..

TL;dr -- Practice creativity.  :)

Did I Tell You About Ireland?

Back in February I got a phone call from an old friend that had a simple question.  "Can you go to Ireland in June?"  Well, I figured sure, why not?  Okay, so I can go.  Why am I going?  Chuck explained that the band he was playing with had a tour booked in Ireland, but their regular banjo player couldn't make it.

I was suitably impressed that I was asked to go.  I wasn't even sure I would be able to learn the material or get a feel for the band, but why not?

It was also a great opportunity to play with a bona fide the bluegrass legend: Curtis Blackwell.  I learned a lot.  It was also a great opportunity to re-explore the music I was listening to when I first began learning to play the banjo.  It was an experience I won't soon forget.  Curtis knows hundreds of songs that he can call at a moment's notice.  I was also blown away by the power of his rhythm playing.  It should go without saying that his vocals were no less than astonishing.

So, how about the trip?  Okay, I'll get on with it.

We arrived in Ireland on June 12th.  It was chilly, and nothing at all like late Spring in Georgia.  We landed in Dublin and then made our way, via bus, to Belfast where we would play the first of twelve jobs.  We were greeted in Belfast by my friend Mark McCluney and then later by our agent Nigel Martyn.  Mark took us to supper then we went back to the hotel and rested up.

Our show in Belfast was exciting.  The crowd loved the music maybe as much as I loved playing it.  It was, of course, my first time to play in another country.

We did get to do a bit of sight seeing.  Since all of our shows were in the evening we usually had a bit of daytime that we could use to get out and see Ireland.  I tried to take a bunch of photos.

I hope to go back to Ireland again.

We saw Blackwater Castle, Inis Oirr, Mullaghmore, a lot of narrow roads, sheep, cattle, and more things that I could list without being a complete bore.  

I learned about Gaelic Football and Hurling.  I even purchased a Hurley & Sliotar and Gaelic Football for Samuel.  I couldn't think of anything more Irish that he would enjoy.  He looks so excited, no?  If you've not been exposed to Hurling or Gaelic Football you should look them up -- very exciting!

I enjoyed the sports, the scenery and the buildings.  Yet, with all of the beautiful country the most beautiful part of Ireland is the people.  I found everyone to be absolutely wonderful!  I made new friends, and that's why I want to go back.  There are people there I need to see again.  

-=Jim

Homer and the Barnstormers - Banjoist Unmasked!

Over and over the topic about Homer and the Barnstormers "Bluegrass Banjos on Fire" comes up. For those of you out there that aren't familiar with this topic it's a reference to a bluegrass instrumental recording from 1963. The reason the topic comes up often has to do with the anonymity of the session musicians.

There's not much information available as to who was on the recording.

As a banjo player I had a curiosity about who the banjo player was. And oh boy, there's been tons of speculation by a lot of people about who it might have been.

I spent a lot of time as a kid learning the tunes off that record, and I heard my dad suggest repeatedly that it sounded a lot like Buck Trent to him. I had no idea at the time, but figured his guess was as good as any. It did, however, sound a good bit like Buck to me on a bunch of the cuts, but my experience at the time was very limited. It's a recording that I'm very familiar with. I'm not sure how much time I put into that album learning the songs, but there are portions of it that are still embedded in my brain.

Years passed, as they tend to do, and my record collection grew. I ran across a couple of really great records of Charles Trent (aka Buck Trent). One was The Sound of a Bluegrass Banjo. That particular title was dang confounding because it's all electric banjo. The other record was The Sound of a 5-String Banjo - that one really rang a bell as I listened to it. The tunes, the licks, the tones, the other musicians, everything sounded really familiar.

It sent me searching through my record collection where I came across my copy of the Homer and the Barnstormers record. I put it on the turntable and decided that I was holding sister recordings. Those Charles Trent recordings were done in 1962. I began to speculate that perhaps the "Homer" record was just more takes that weren't used back in 62. Feel free to speculate as to why.

Homer and the Barnstormers came out on the Somerset label (SF-195) in 1963.

Charles Trent's The Sound of a 5-String Banjo was recorded in 1962. It was released under the Smash label that was distributed by Mercury - the jacket says Smash but the label on the record says Mercury.

After listening to these recordings again today it makes me wonder if the Homer recordings were not alternate takes that Buck or someone wanted released but maybe couldn't due to label contract restrictions... there I go speculating - enough of that!

So instead of speculating further take a few moments and listen to these examples.

Open this one from the "Homer" album: Camptown Races

Scroll to about 1:45 and listen to the banjo break...

Now open this one from a Charles Trent's Sound of a 5-String Banjo recording: Cindy

Go back and listen to both, back to back. Listen closely to the backup too.

While you're at it give this audio experiment a listen too: Homer and Buck Together

It's got the Homer session on the left and the Buck session on the right. Now, the tempos are not the same, but they're close enough to allow you to pan between them and really get them back to back.

Oh, I'm aware that Sonny and Bobby Osborne said that they had participated in the recording, and if you listen to a few of the cuts the banjo player sounds like it could have been Sonny (I won't try to deny that).

What's it all mean?

I think it proves that Buck Trent was the banjo player on the Homer and the Barnstormers recording - at the very least on several of the cuts. Will this proof end the debate? I doubt it; there are always those that won't accept the audio proof. There are those that just won't believe it unless Buck Trent says he did it. Then again, why would he? Why spoil the fun?

Oh, if you don't have a copy of the Homer and the Barnstormers recording you can download it from a variety of websites. I really recommend it!

Times are Tough

As the economy around us seems to go from bad to worse it's important to be aware of activity that could impact you financially. Let's face it, times are tough and many people will resort to drastic measures to help themselves.

So begins my story...

I had the recent surprise of a box in the mail. I like getting stuff in the mail. Who doesn't? However, I wasn't expecting anything that would arrive in a box. Sure enough though, here it was. About the size of a shoe box it was. I opened it, and I was not surprised to actually find a shoe box inside. I wasn't expecting a bright pink shoe box, but truthfully I wasn't expecting anything, so what the heck, let's explore further. I opened the box.

Sure, because of the pink box I was expecting ladies shoes. I really didn't have more of an expectation than that. What I got was clearly not the sort of shoes that I'd chose for myself - obviously.

These were a black velvet, five inch heel pumps studded with metal spikes. They're a size 7.5(US).


Now, had I in a fit of insanity ordered these and forgot about it they were clearly not my size, nor were they the right size for Tina. It then occurred to me that maybe someone else had access to my credit card. I checked my wallet and the card was still there. Good, it's not lost. So, I called the credit card company.

After a short conversation with the customer service representative I determined that someone had been using my card for a variety of things. There were all sorts of Blackberry apps purchased (I don't own a Blackberry), there was also a subscription to Hulu, Netflix and Columbia House.

I was glad I trusted my initial instinct and called the credit card company. Although there was paper work to be filed it was minimized by me catching it early. I should also mention that I was lucky that Shoe Dazzle decided to ship to the address listed on the credit card. That was the big tip off.

A couple of days later I got a shipment from Columbia House. It was then I guessed that the person who was using my card number might be doing their Christmas shopping since they had ordered three of the same DVD. Again, it's nice to see that Columbia House ships to the address registered with the credit card.

As amusing as it was to get a pair of spiky high heel pumps in the mail there was a lesson learned here. That being that these sorts of things can happen to any of us. We're all susceptible to this sort of fraud. Friends, please keep an eye on your credit and debit card transactions. If you don't your Christmas spending might come to a quick halt when you discover your account has been emptied or your credit card maxed out. And while both scenarios are fairly easily resolved, it's not something that you want to have surprise you during your shopping trip, or when you're paying for a meal.

I guess the next thing I have to figure out is what I'm going to do with these shoes...

Something Ain't Right

People get all sorts of notions. I know I do. Spotted these banjo salt and pepper shakers and thought for sure they'd be the perfect addition to a Banjo Deviant blog. Hope you enjoy.

You're not listening.

You may think I'm being harsh; maybe I am, but I don't think you're listening. From the endless array of questions ranging from everything from picks, to how to strike a string with a finger (or a thumb), it's occurred to me that you might not be listening to what you're doing.

Let me ask some questions. Since it's music, of all the things that should be at the top of your list of priorities, shouldn't sound be part of it? How can you affect sound if you're not listening? What difference does it make how much you know about theory, or strings, or set-up, or whatever, if you're not listening to what you're playing? Why are you collecting tab after tab of tunes that are way too advanced for you? Even when you're playing through your tab collection you're still stumbling over simple concepts and even missing entire sections of the tune; yet, if you were listening shouldn't you be able to notice?

There's a very active thread on the Banjo Hangout where several members have labored long and hard to explain bounce and swing. It's been described every which way. Yet, with all the words nothing explains it better than just listening to it.

"Fine!" You say, "I'm not listening - whatever. You do things you're way, I'll do things my way."

I've encountered that attitude lately. I still contend - regardless of your particular learning style - that learning music is going to require you to listen.

I see/hear this with my students too. They get involved with the patterns and forget that they're supposed to be making music. Now, don't get me wrong, you need to focus on the mechanics, but the mechanics is not the music.

So please, just for me, take some time this week and just start listening to banjo playing. Not just that, start listening to what you are playing. Does it sound like you want? No? Make some changes, and keep listening.

I dunno, maybe you could practice?

Read the following article. Just do it.

I Suck at Photoshop...

In case it looks daunting, and uninteresting consider the following quotes.

"...what could be easier than improving at something you suck at? The bar is so low."

"Frankly, you should revel in the things you suck at. What a fantastic opportunity to grow with hardly any effort!"

How can this relate to the banjo for you? Do you suck at single-string? Maybe you suck at back-up. Whatever the issue, what's the hold up?

They got it wrong...

...and you've been listening to them anyway.

It's time to deviate from much of the standard advice you've been listening to. It's time to take a practical approach. It's time to play the banjo!

More to come!

I needed a PA for my School Program...

...and some very kind people chipped in to help me make the purchase!

Everyone who supported this deserves recognition and more thanks and more appreciation than I'm able to sufficiently express. Due to the generosity of others my school program is even more versatile now!

Thanks to the donations I was able to purchase the Fishman SoloAmp 220 that I was hoping for.

Special thanks to Karyn T., Doug D. , Bart C., Chad W., Tedd L., David M., Hobert P., Edna P., Mike L., Danny M., Patrick S., James C..

Extra Special Thanks to Butch L. for your extra special support!

Twenty Five Years

This past August 16th Tina and I celebrated our 25th Wedding Anniversary. There were no festivities, so please don't think your invitation may have been lost, or worse yet we decided to cut you from our list of invitees. We had a quiet day at Red Clay State Park.

Why Red Clay? It was one of our regular places to go when we were dating. It's close by, it's quiet, and it's free. It gave us plenty of opportunity just to walk and talk and get to know each other. Maybe that's the secret of a successful marriage. People often ask those of us that have been married for a while what the secret is. Maybe it's just simply getting to know one another.

So that's going to be my advice to dating couples. Get to know each other. Spend some time hiking and walking together at many of the great State and National parks. You'll save money, and you'll learn a lot about the person you're with. Keep it simple.

Recording King Madison

Way back in February Greg Rich and I started discussing the possibility of me becoming a Recording King endorsing artist. I played a few of their banjos and was seriously impressed. They were needing someone to endorse the RK-R35, so I agreed to give it a whirl.

The banjo arrived and after some setup it's a great banjo. Check it out: