Lenten Speaker Series Continues: Kate Campbell

Last evening, we kicked off our series, “The Callings That Find Us,” with Dr. Danny Potts.  An overflow crowd filled the room and was not disappointed as he shared his personal journey with brokenness and new life through his father’s long battle with Alzheimer’s disease.  It was inspiring and so helpful to all who were there.

Next Wednesday we welcome folksinger Kate Campbell. Kate is a favorite singer-songwriter for many.  She is a storyteller and singer with a unique voicrockcitye that blends faith, justice and humanity in her writing and singing.  Growing up in the south as the daughter of a Baptist preacher, Kate’s formative years were spent in the very core of the Civil Rights Movement of the 1960’s, and those years left a mark on her.  

Her Two Nights in Texas CD received the prestigious Mississippi Institute of Arts & Letters Award. Ballet Memphis featured several tunes from her song catalog as well as a live performance by Kate and band at a ballet entitled South Of Everywhere. Three of Kate’s songs (“Ave Maria Grotto,” “William’s Vision,” and “Fordlandia”) were recently featured in documentary films.  A variety of artists have recorded Campbell’s songs including Laurie Lewis, Missy Raines, Ronnie McDowell, and the Nashville Bluegrass Band who covered her compelling snake-handling song “Signs Following.”

Campbell has played the prestigious Cambridge Folk Festival (England), Merlefest, Philadelphia Folk Festival, and Port Fairy Folk Festival (Australia), been featured on National Public Radio’s Morning Edition, All Things Considered, Live From Mountain Stage, and had her story (and haunting song “When Panthers Roamed In Arkansas”) included in the debut issue of The Oxford American’s ultra-hip Southern Music series. Kate’s latest release Damn Sure Blue, a heart-felt collection of tunes that pays a respectful nod of admiration to the Man in Black and reverberates with the soulful sounds of award-winning Americana guitar whiz and producer Will Kimbrough.

Kate lives in Nashville with her husband, Ira, a minister a

PR Lent

Start Young

If you don’t know who Ricky Skaggs is, then you really don’t know anything about bluegrass and old-time music. It’s important to distinguish those two terms. “Bluegrass” technically didn’t exist before the 1940s. It was literally invented as a form by Bill Monroe, recasting the traditional old time music of his Kentucky and Appalachian roots with a new sound built around his unique mandolin playing. The mandolin took a new role as a centerpiece performing lead instrument in

Ricky Skaggs and Bill Monroe

Monroe’s vision. He was truly a unique American music phenomenon.

Monroe inspired an entire generation of musicians and his influence lives on in all the varieties of bluegrass, newgrass, swing, jazz and a hundred other variations of playing involving the mandolin, but no one has embodied that variety more than a kid from Kentucky named Ricky Skaggs. His father started him out with a mandolin around age 6 and before he was out of his teens, he played on stage with Monroe himself, with childhood buddy Keith Whitley, Flatt and Scruggs and toured with the Stanley Brothers.

Bluegrass and its predecessor, the “old time” music, that was originally the dance music and music played in homes and small communities of the South that had traipsed across the Atlantic from the border regions of Scotland through Ulster and Ireland as immigrants to the New World, settling in the mountains of the South. They brought with them the instruments of their folk music, and it underlay their common life for generations.  Like all immigrants, their music was a powerful identity that helped buffer them against the hardships of fitting into a new and strange country that did not always want them.

Like all people, the love for their children motivated their work, way of life, and the sharing of their music. Today, like few other music forms, you will see men in their eighties at a bluegrass festival sitting in a circle jamming with teenagers strumming guitars and 6 year old fiddle and mandolin players. Ricky Skaggs was one of those children.

It gives hope to look at our children and imagine what they might do. They are not jaded yet by our own deep prejudices and ignorant opinions

about “how it is.” So today, I share this video I came across of little RIcky Skaggs, age seven, playing on television with Lester Flatt and Earl Scruggs. Teach your children well. And maybe their elder’s failures will give way to something wonderful, unexpected and new.

Doesn’t conflict at this moment in Lent to me at all, when we are wringing hands, troubled in mind, struggling with hope and anxious to the gills, to pick up my mandolin at home, play a tune, and feel something lift out of the room. Wherever that sound came from (and as a man of faith, I think I know), it says, “There’s still something unexpectedly beautiful up ahead. Go on, and don’t give up.” If you don’t know any seven year olds, I suggest you enlarge your life and bit, get out of yourself, and look for hope in the strings and paintings and delightful voices of the young.

Uncle Vance’s Guitar

 Writing songs started for me at age 16. I have been singing, though, all my life. I sang in church, hummed to myself, started plucking guitar and piano and anything else with strings. Somehow marrying melody with words came naturally. I would memorize tunes and never forget them. So it was not completely foreign to me when I started trying to do it intentionally. I have so enjoyed in recent years the experience of learning, crafting, writing and performing original songs.

In recent years, I have completed three CDs.  My first was permanent world of pretend, the second was Overload of Bad News Blues and the third was What it Is. Recently I remastered the second and third one and re-did the artwork.  They are now available on CD Baby for purchase and download.  A few weeks ago, though, I finished my newest, four years in the writing and “trying out.” It’s titled Uncle Vance’s Guitar and it centers around the title cut, based on the story of a guitar that’s been in my family. My dad and his brothers all played and sang, and Uncle Vance had a turn playing with a well-known North Carolina performer, J. E. Maynor in the 1940s.  The song is about him, and about how music is a way to express and bear our lives.  I hope you’ll take a listen!

Last Thursday, I had an official CD release concert in Birmingham at Moonlight on the Mountain.  My good friend and fellow songwriter Keith Elder opened for me. I was joined by a very talented group of friends and supporting musicians, Brent Warren on guitars and mandolin, Don Wendorf on mandolin, banjo, drums and harmonica, Rachel Turner on bass and vocals, Mark Weldon on fiddle, and my Shades Mountain Air bandmates Nancy Womble and Melanie Rodgers were special guest artists, stepping up for some extra good work on a couple of songs.

A great crowd turned out, and now the CD is available for purchase. You can get downloads online at CD Baby by clicking here Uncle Vance’s Guitar but if you’re a CD buyer, you can order direct from me and I’ll put it in the mail to you.    The cost is $9.99 plus $3.63 for shipping.  I’ll bill you by email!  Just contact me below!

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”

Johnny Cash’s Music Lives On

Johnny_Cash_-_Out_Among_the_Stars
Johnny Cash material released this week.

Johnny Cash, in many ways, lived as a prism of

the last half of the twentieth century,

at least a Southern version of that.

 

Johnny Cash died on September 12, 2003, going out in a blaze of recording glory with his last work, four albums titles “American I-IV”.  Ever experimenting and interacting with the musical world, the series, produced with the help of Rick Rubin, was highly acclaimed.  “Hurt,” and the accompanying video, appearing three months before June’s death and seven before Johnny himself succumbed to diabetes.

The brilliant video serves as a summary and eulogy for the man in black.  But apparently it was not the end of his recording career.  This week the world is meeting the music of Johnny Cash once again.  “Out Among the Stars,” a never-released album of songs recorded in 1984, was unearthed by his son and released to the public.  I just got it and am listening through.

Continue reading “Johnny Cash’s Music Lives On”

What’s In a Name? Or, a 59 Year Old Songwriter Finds the Milk Carton Kids

 “Gillian Welch & David Rawlings-meets-Simon & 

Garfunkel with a splash of The Everly Brothers

I am and always have loved the process of how books, music, ideas and people find me.  Life, for the most part, is an odd assortment of intentional seeking and being found.  Some people major on the former, others on the latter.  Freedom and providence is what we call it in theology.  Too much of either leads to bad theology and a distortion of reality. This is about “how the Milk Carton Kids Found Me.”  I love music.  Two of my parishioners, Kenny and Katherine Worley, love the Milk Carton Kids.  I love Gillian Welch and David Rawlings.  They figured, “he might like the MCK 800px-The_Milk_Carton_Kids(Milk Carton Kids from now on!).  So they had an extra ticket and invited me to Workplay,  a great venue in Birmingham.  I listened to them on YouTube, of course, but I was distracted by the handkerchief Pattengale tied to his Martin 000-15 and waved in a circular motion that reminds me of David Rawlings so much.  I came ready to dismiss them as wannabes, to tell you the truth.  I was so wrong. Wikipedia’s article about them describes them as:

…an indie folk duo from Eagle RockCalifornia, consisting of singers and guitarists Kenneth Pattengale and Joey Ryan, who formed the group in early 2011. NPR has described their approach to music as “gorgeous contemporary folk”[1]and “Gillian Welch & David Rawlings-meets-Simon & Garfunkel with a splash of The Everly Brothers“, which fairly represents the band’s music while also appealing to the intended audience[i] Continue reading “What’s In a Name? Or, a 59 Year Old Songwriter Finds the Milk Carton Kids”

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”