Exploring the Discography of Life

“…there is a playful randomness about what we find and read.  Or rather, what finds us”

When I first rekindled my interest in songwriting and music again, sixteen or seventeen years ago, I began hanging out in music stores, playing the guitar again and digging out songs from my memory and on faded notebook paper from years ago.  One day, a worker in the store I frequent most, Fretted Instruments of Birminghm, said, “Are you just starting to explore the discography?”  I had just said that “I was getting into bluegrass music” and that was his reply.

I began to delve into just that—listening, going to shows, scooting to Nashville now and then.  I bought a collection of Bill Monroe’s music.  Over the coming years, I heard a lot of music live—Bruce Hornsby, Ricky Skaggs, Nickel Creek, J. D. Crowe, Earl Scruggs, Vince Gill, as well as a lot of lesser-known but excellent players and singers coming through the Station Inn in Nashville or here in Birmingham, Continue reading “Exploring the Discography of Life”

Mapping the Bluegrass Genome

“The genetic code of bluegrass and old time music is more sophisticated than that.  It carries stories of birth, life and death in the old days.  It tells of children dying young, tragic love, shame, murder, alcoholism and faith.  To learn the code, no stereotype will do.  You have to descend into the music and listen.”

 

In 2005 I took a three month sabbatical to study, pray, and feed the senses.  I went to art museums, read books, went to Nashville to learn about the music industry and played at open mic at the Bluebird Café, reaching one

Shuffler and Boosinger Shuffler and Boosinger

of my bucket list items (the ultimate would be a gig on the “Prairie Home Companion Show” while Garrison Keillor is still on earth!).  But a lot of that time was “exploring my roots,” musical, theological and spiritual—which led to a week at Steve Kaufman’s Acoustic Kamp.

I’d been to the Kamp before, in Maryville, Tennessee.  Unless you are a devotee of the guitar and acoustic cousins like the mandolin, the “fiddle” (violin played a certain way), bass, banjo or dobro, you don’t realize that hundreds of camps happen every year across the world where musicians gather and play and learn the heritage of “roots” music—folk, jazz, country, celtic, and so on. In these places, campers rub shoulders with the legends of bluegrass, swing, fingerpicking and new acoustic music.  I met legends like Bill Keith, Clarence White, Continue reading “Mapping the Bluegrass Genome”

Thou Shalt Love Thy Bandmates

Anyway, riding in a van for a week turned us from “Friends

and Brothers” to angry inmates who couldn’t wait to bust out.

Fifteen Years.  That’s how long Shades Mountain Air has been together, at least the core of Greg and Nancy Womble, Gary Furr, and Don Wendorf.  We have spent a couple hours a week most of that fifteen years weekly at Greg and Nancy’s house, practicing, horsing around, composing, arranging, learning and growing from one another.  We’ve only had one personnel change in all that time–Don’s son, Paul, our outstanding fiddle player, left us to move on with wife, kids, career, to Texas, and so, we were four again for a while, then found Melanie Rodgers.  Mel has added dynamic new joy to our sound, and is now a part of our 15th Anniversary Live Album that is now available.     (Go to the website store for our new CD click here!)

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Shades Mountain Air at Moonlight, 2013

The album sounds great!  We hired Fred Miller of Knodding Off Music to record and engineer our live concert.  Fred did a fantastic job and we are so happy with the result.  He captured our live sound and energy.  It sounds like us!  There is NOTHING like live music, and though it’s fun to be in a studio and monkey around with something until you get it “perfect”, there is a corresponding loss of that spark that performers-audience and a venue provide.  We did it at our favorite gig–Moonlight On the Mountain in Bluff Park in Hoover, Alabama, with Keith Harrelson, as always, handling lights and sound.

I say all this because Shades Mountain Air is more than a band.  We have become family together.  We love playing together, singing, creating, whether anyone is listening or not.  Greg and Nancy’s kids grew up having to hear us every week in their house. We have been through life crises, griefs, and changes Continue reading “Thou Shalt Love Thy Bandmates”

Jim Hurst Can Play a Guitar

Jim Hurst picks.  He came dangerously close to Herb Trotman's "10,000 note limit"
Jim Hurst picks. He came dangerously close to Herb Trotman’s “10,000 note limit”

Last night, I went to hear JIM HURST, IBMA (International Bluegrass Music Association) Guitarist of the Year.  That means he is a fast-pickin’ guy.  “Bluegrass,” like few other labels, can lock you in.  The people who love and adore it who are more on the “traditional” side (Has to be like Bill Monroe and Earl Scruggs played it or it ain’t bluegrass) will leave you for growing, experimenting and deviating.  The rest of the music listening world (Country, whatever that is anymore, sheesh!), folk, indie, etc. is disinterested because they never get beyond stereotypes like “Deliverance” and the Beverly Hillbillies. Continue reading “Jim Hurst Can Play a Guitar”

Fiddle Tunes, Old Time, and “Jamming”

When you jam, you shoot for fun and participation, not showing off Well, the other day Nancy called me and said, “Hey, we’re going to have a jam over at the house.”  Jim Brown and his daughter are coming to play fiddle, and a couple of neighbors are coming, one plays the guitar.”  So I went.  We had a grand time. Jam sessions used to terrify my when I was still learning the “discography,” as they say.  The bluegrass, celtic, Irish, old-time and folk worlds are an oral tradition of literally thousands of songs.  Just the familiar American fiddle tunes … Continue reading Fiddle Tunes, Old Time, and “Jamming”