Shades Mountain Air on “Dugger Mountain Music Hall,”
ALABAMA PUBLIC TELEVISION (APTV) Tuesday, June 27 at 10:30 pm
Back in May, Shades Mountain Air (myself, Nancy McLemore, Don Wendorf, Greg Womble and Melanie Rodgers) loaded up and traveled to Dugger Mountain Music Hall in Piedmont, Alabama. It sits in as unlikely a spot as the crossroads where the boys in “O Brother Where Art Thou” picked up Tommy Johnson on the way to Tishomingo. DMMH came from the vision and ministry of Bob McLeod, a talented and charismatic former professional musician and studio engineer. Following a profound personal spiritual crisis, Bob McLeod began to seek to minister to people in trouble–in prisons, jails, streets, and those caught in addiction.
Eventually he established Dugger Mountain Music Hall as the public face of Our Father’s Arms, where they take in people in need of help. He describes the place as “a Christ centered family.” It is located in the middle of open country north of Anniston, Alabama in a former Baptist church that had ceased to exist. The building was given to him for a ministry, and he brought together his love of music with the ministry. Fast forward, now the facilities include a 30 acre farm with a home for men; a 3 acre home nearby for women, mothers and their children known as Eagles Nest; and a state-of-the-art recording studio, offices, fellowship hall and the Dugger Mountain Music Hall. In 2010, the television program was born. On the nights of performances, they open the doors to welcome the community, enjoy supper and bands and performers, some touring through and others from nearby places in Alabama, perform. Read the rest of this entry →
We must face our losses. Courage does not spare us from them.
Courage’s work begins at the other end of honest acknowledgement.
Grief can encompass many parts of life, not merely death. It is, in many ways, our most universal experience. It can be the death of dreams, grief of a way of life that ends, the end of a relationship, leaving home, moving to another town, divorce, a broken friendship. The question is, “What are we to do with it?”
I can’t speak for people who have no faith in God, but I will admit that having faith in God doesn’t dispose of grief. It is just the same, just as overwhelming, the same disbelief followed by disintegration and despair and a long struggle to put life together again.
One verse of scripture I have found meaningful is this one:
But we do not want you to be uninformed, brothers and sisters, about those who have died, so that you may not grieve as others do who have no hope. 1 Thess. 4:13
I take great comfort that it does not say, “Don’t grieve, you’re a Christian,” but I have heard many a well-meaning minister stand up and talk about death like it was a flu shot. Death is real, it is irreversible, it is disheartening. I don’t think dismissing reality is a good idea. It has a way of showing up again with reinforcements.
The denial of death is, as Ernest Becker said, the most pervasive of human failings, and the most futile. The Apostle Paul said, very intentionally, that we should not “grieve as those who have no hope.” Instead, I would assume, we should grieve as people who DO have hope. Read the rest of this entry →
Wednesday evening at 6 pm, at Vestavia Hills Baptist Church, we will have “All Americana Night.” My friend, Keith Elder, and bandmate Don Wendorf, will join me to lead us in singing distinctively American songs from all kinds of “roots” traditions.
Wikipedia defines “Americana” as “contemporary music that incorporates elements of various American roots music styles, including country, roots-rock, folk, bluegrass, R&B and blues.” We want to have fun, sing some songs from the traditions themselves, as well as some originals. Songs for kids to join along, a few hymns and patriotic songs, a little of everything for those who come. Hope you’ll come out.
Keith was at our congregation on a Wednesday night recentlyhere a few weeks back and did a great job on a Wednesday night. Keith has spoken and performed for over thirty years in a wide variety of church, conference, and community settings. After serving local churches in North Alabama as a youth director then as a pastor, he spent a number of years as a songwriter in Read the rest of this entry →
Hope those of you in the Birmingham Area can come out Thursday night to one of the finest music listening venues anywhere! As Shades Mountain Air takes a little break, I have a great new band together to help me present a concert that is, with only a few covers, almost all original songs, and many of them in concert for the first time. Brent Warren will be on guitars, vocals and mandolin. Brent is a multitalented musician well known to the Alabama bluegrass community, but his musical chops venture into rock, folk, and about anything that interests him. Mark Weldon has filled in occasionally with Shades Mountain Air. Mark is a phenomenal musician, former member of Three On a String and many other bands, including After Class. His work on the violin brings great musical chops to my songs. Don Wendorf is my longtime musical brother from SMA and plays a little of everything –harmonica, mandola, mandolin, drums, old time banjo, and vocals. Last, but not least, Rachel Turner, a fine bass player and singer with the Flying Jenny Old TIme String Band, joins us to expand her horizons. I am so grateful for this wonderful set of friends who are helping me out, and we have worked up some exciting new arrangements and songs. I’m excited! Hope you can be with us. I’ll have CDs, my new book, POEMS, PRAYERS AND UNFINISHED PROMISES and all CDs and books will be on sale! Don’t want to haul them home. I promise–a fun night and a few surprises!
For many years, a member of my church who knows my weird tastes in music (if most people have never heard about it, I might have; if mass media doesn’t write about, I will) gives me the annual Oxford American Southern Music Issue. Given my roots and rootlessness around and on the edges of this bizarre and wonderful region (politics=absolutely bizarre; unelected people generally fascinating and gracious; land, music and layer of cultue—wonderful), he knows it lines up with my interests.
The OA is a journal with as colorful and eccentric history to match the region it writes about, but plenty has been written about it elsewhere. Just a few lines to mention the music issue, which isn’t cheap ($12.95) but well worth it. Every year, a particular state’s rich heritage of famous and not-so-well-known songwriters and performers are showcased. Read the rest of this entry →
“…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, Read the rest of this entry →
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!)
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 Read the rest of this entry →
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. Read the rest of this entry →
A voice is heard in Ramah, weeping and great mourning,
Rachel weeping for her children and refusing to be comforted,
because they are no more.
Friday morning, I got up early. I had a doctor’s appointment later, then a short appointment at the church and then the rest of the day I took off, as it was my normal day off. I’m an early riser, and a lot of time I take time early in the morning and late at night to indulge myself in music, one of the places, along with my family, of deep joy for me.
Today is the Sunday of Joy in the Christian calendar
Greg Womble and I sat weeks ago and recorded a little improvised song with drum and banjo, a somber, modal-blues piece. Friday I decided to finish it early in the morning, so I listened, feeling the mood and ideas that suggested themselves. I heard bass and light guitar lines in it, so I recorded them, then sat back to listen. The result was full, dark, somber, sad—perfect Christmas song. What on earth should I name it, since there are no words?
A Bible text bubbled up that fit the mood. I took the title, and sent a little email to Greg with the finished product. And here is what I wrote:
“Greg: I edited the song you and i did and added bass and light guitar. The mood suggested a title for the piece: “Weeping in Ramah” CLICK TO LISTEN from Matthew 3:18, after the slaughter of the innocents What do you think?
“A voice is heard in Ramah, weeping and great mourning,
Rachel weeping for her children and refusing to be comforted,
because they are no more.”
Then out into the day, doctor, a meeting at the church, then home. Only then did I hear the terrible news about Newtown, Connecticut, a town not all so different from ours. I had a weird feeling—I looked back at the email I sent, read online what time the events of Friday morning transpired. The moment when the verse came to mind was the same moment the deranged young man began his short day of darkness.
I was struck by the weirdness of that juxtaposition. Me, sitting in comfort and safety and boring routine, even Christmas shopping, and at that very moment, something unearthly, unimaginable. Read the rest of this entry →
The truth is, the banjo, like all the indigenous music of the South,
is another of those curious shadowy meeting places of black and white people.
Surely by now you’ve seen that bumper sticker that says, PADDLE FASTER—I HEAR BANJOS PLAYING. It’s an allusion to the worst movie for the banjo’s image since the minstrel era—“Deliverance.” Despite the wonderful “Dueling Banjos” song, which was written by the talented Arthur Smith, whom I used to watch on TV from Charlotte, NC as a boy (and who also wrote the “Guitar Boogie.”), it was an image I’d as soon forget.
The banjo is associated with rednecks, hillbillies, and racism in the American mind. We think of it as an instrument of uneducated mountaineers in the rural South. We remember white people in blackface mimicking the music of the plantations that makes us wince in pain now. And that’s too bad. The banjo is an instrument that contains a shared history in black and white. It is an African instrument that white people—especially the poor–came to love.
Unfortunately, the searing history of the plantation, slavery, with all of its terrible damage to the people brought here against their wills, left us with a bizarre and tragic legacy of contradictions that perhaps reflect in our music. The notion that an African instrument, the banjo, would embody racism is odd indeed. The truth is, the banjo, like all the indigenous music of the South, is another of those curious shadowy meeting places of black and white people. From the painful memories of the minstrels to the accusations against Elvis as “race music,” the musical inventions of southern culture—jazz, gospel, rock, soul, R&B, blues, country, folk and bluegrass—all formed bridges across a divide that was stupidly attempted by law and cultural taboo.
A couple of video explorations that will open up that world for you differently. One is “Give Me the Banjo” NARRATED
Steve Martin is a lifelong devotee to the banjo
BY Steve Martin on PBS. You can watch it online here CLICK It is a wonderfully told narrative of the instrument through its complex history and cultural settings. It will introduce you to a lot of players you’ve never heard of, black and white, blues, old-time, folk, bluegrass and other styles.
Like so many cultural artistic expressions, you will find yourself realizing that all your surface shorthand stereotypes are nearly worthless. Finding the worlds under the music is like the difference between taking a tour of a country and living there.
Finally, I recently found Bela Fleck’s wonderful documentary, “Throw Down Your Heart.” A camera crew follows the master banjo player and his sound man as they traipse through Africa to reintroduce the instrument to its home and play along with native folk musicians across the continent. Movie reviewer Lou Novacheck wrote of it in 2009:
The main story covers their trip, beginning with Uganda in East Africa, and ending up in Mali in West Central Africa, and includes hundreds of African musicians from the countries they spent time in, Uganda, Tanzania, Senegal, Gambia and Mali, from the famous to unknown. I’m sure neither Fleck nor Paladino saw the complexities and immensity of the project ahead of time, and I’m equally certain that there will be at least one additional similar
Bela Fleck with new friends
trip in the future. The origin of the banjo and its concomitant history are subjects that music scholars have been chewing on for years.
Early in the ninety minute film there is an astounding clip of a group of men playing what is a gigantic “xylophone” made of small logs calibrated to different notes. Fleck, the great jam musician he is, finds a place to play along. The music is haunting, joyful, and you see as many smiles as any film ever has, genuine and pure.
Truth is, most music through time was not primarily entertainment as we have created it in the last century but participative. Music was a way that common people found relief from the dreariness of life and connected in their sorrows, joys and hopes my sharing the gift of music. The image for the banjo to me is not the “minstrel” or the sinister condescension of “Deliverance” at all. Those terrible truths existed and still do. But the image of the banjo is the jam, where people sit together and make music. There is an etiquette to old-time and bluegrass jams about taking turns, learning a canon of tunes, being invited in, and initiating the newcomer.
This year I finally broke down an bought a banjo (to go with my guitars, acoustic and electric, mandolin, harmonicas, keyboard, violin, dobro, bass, two ukuleles and penny whistle, among other things. I just love sounds—any and every. I have a Gold Tone BG-250, a gorgeous instrument that prices at the beginning of the high end banjos. I bought it from my good friend and banjo wizard, Herb Trotman, at Fretted Instruments of Homewood Alabama.
And playing it is not a political event to me at all. It is simply soothing, a connection to ancestors and the mystery of all life. When I sit alone and play, I am not alone. I connect to the ages and to all things. While I’m not very good yet, here is an MP3 I came up with as a first composition, called, “Dynamite Hill” with banjo and keyboard on my recording. LISTEN TO GARY PLAY “DYNAMITE HILL”
In a time when people sit, docile, in front of Blueray screens and passively watch other people live life, the jam seems pretty healthy by comparison. So I offer, in closing, a wonderful group from North Carolina, “The Carolina Chocolate Drops,” play “Cornbread and Butter Beans,” who keep alive that this music belongs to all of us. In the weary, tiresome deadness of current politics and economics, we desperately need the arts to help us find our souls again. A good jam is a great start.
RT @PasterdsPodcast: The arrogance of Christians about their own interpretations of Scripture is truly staggering. As if there was nothing… 3 weeks ago
er Mountain Music Hall in Piedmont, Alabama. It sits in as unlikely a spot as the crossroads where the boys in “O Brother Where Art Thou” picked up Tommy Johnson on the way to Tishomingo. DMMH came from the vision and ministry of Bob McLeod, a talented and charismatic former professional musician and studio engineer. Following a profound personal spiritual crisis, Bob McLeod began to seek to minister to people in trouble–in prisons, jails, streets, and those caught in addiction.
