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Toe Jam: “Toe Tapping Good Jams”: Can Jammin Create World Peace? ................................. 2 Refrains from Workshops Past .............................................................................................. 3 Structure of a Typical Bluegrass Song .................................................................................... 4 Bowers Bands and More ....................................................................................................... 5 Local Talent At Bowers ......................................................................................................... 6 The Clumsy Mandolin ........................................................................................................... 7 Welcome Our New NNBA Members ...................................................................................... 8 Solivan Concert and CD ......................................................................................................... 9 For Sale: Mandola .............................................................................................................. 11 Wednesday Night Jammin’ Puzzle ...................................................................................... 12 Photos: Jon Greene, Bob Piechocki, Anne Pinkerton and Anon Y. Mous from The World-Wide Web

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TOE JAM: “TOE TAPPING GOOD JAMS”: CAN JAMMIN CREATE

WORLD PEACE? by Carl Heard

I think I may be the only one who knows…but there is a great political divide in our country, and many other countries to boot! The ability to spend time together without fanning flames of discord is the first step towards reconciliation. Love comes with shared time, mutual respect and appreciation of the other as capable and enjoyable to be with. The rules by which we all agree to play together are like policies and procedures that even when broken, allow all to come to a friendly and “no injury” end to a song attempted. Navigating tricky passes, odd chord changes, and trying to memorize another’s melody so you can imitate it, are all musical metaphors for what must be done to cross our crazy divide.

You just can’t jam alone (sure you can record loops but that ain’t the same…) so you must be able to spend time with another person. The agreed and mutual pursuit of unstated but understood goals sounds a lot like the pursuit of life and jammin. Neither of us can get to where we are going without mutual respect and appreciation of the other’s contribution.

Love, now that is a word that isn’t used near enough in musical or political realms, but I can say without reservation, I Love those I get to play with. Not to say I want to

have their baby, or spend a life time in a confined space, but I Love them as friends, neighbors and companions on a shared musical journey. This I am sure is at least in part due to spending time together, following certain rules of musical decency and our growing appreciation of their skill and commitment.

As for rules, we all know them: call out the key, give and keep a beat, don’t play over others, rotate the leader of the songs, play softly when another is taking a lead. These are the simple rules of jamming. These rules embody respect of another in a real sense; sharing the core of a song and trying to share it with others. The only way a song in a jam can end with injury is when these basic rules are not followed, in which case feelings are hurt.

So, to tie a bow on this: jamming holds the key to world peace! If we all follow basic rules of respectful interaction, spend enjoyable time together and recognize the commitment of other people with widely varied beliefs and proficiency, Love will result. I know, I know, someone is saying “Carl can jammin really create world peace?” Yes! All you have to do is practice, share what you have learned with others, and be open to enjoying their time and participation. The number of people I know, Love and respect that have polar differences is greater than those who are in the agreement with me, and yet we are navigating our lives together with no injury. We continue make many efforts to get together often, and even attempt

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meaningful conversation between musical numbers.

Jam on, practice when you have to; you are working towards world peace!

REFRAINS FROM WORKSHOPS PAST

Going to a workshop or a music camp associated with the festivals can be quite an investment in time, travel, energy, and money, but it is a gift to yourself that can just keep on giving. You can really broaden your musical horizons by working with professional musicians from outside your local stomping grounds (literally and figuratively). That alone, no matter what your skill level, can give you fresh ideas and spruce up your playing. There are general and focused workshops if you look for them on the internet.

Usually, the workshop leaders are chosen not only for their musical expertise, but also for their ability to communicate, to teach, and to share their music with people at many different playing, listening, and performing levels. Their lessons come in many forms, from memories of being there, from the recordings you may be allowed to make of the sessions, to the notes you take, to the materials they supply you. The previous editor of newsletter sent me a nice “souvenir” of a workshop he attended

a while back. The workshop was given by Jack Tuttle, a Bay Area performer and instructor. His website, http://www.jacktuttle.com, is worth checking out; you will find all sorts of great info on topics from bluegrass history to software to practicing techniques to critical listening and much in between.

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STRUCTURE OF A TYPICAL BLUEGRASS SONG By Jack Tuttle

Kick-off break Songs generally begin with an instrumental kick-off. Usually it is played over the chord progression to

the verse of the song. Pickup notes are played ahead of the first nation by the kick-off instrument cue the rest of the band as to the tempo and starting point. These notes would normally start on the 2nd beat prior to the full measure, (2+3 4) or the 8th note before that (+2 3 4). All instruments would join in on the first beat the first full measure. The kick-off lasts for the 16 measures of the verse, but then additional measures (about 2) are inserted before the singing starts, as the soloing instrument finishes on a run or a fill.

1st verse and chorus

The lead singer would then sing the first verse, which consists of four vocal lines, (16 measures) in which the first and third lines have the same melody. From the verse we could go into the chorus, without extra measures in between, and harmonies would be added, usually a tenor part above but the melody and perhaps a baritone part below the melody. Very often the last two lines of the chorus would have the same melody as the last two lines of the verse.

2nd break, 2nd verse, and chorus

Another instrument would then play a verse break in the same fashion as the kick-off break, complete with extra measures, and the lead singer would now sing the second verse (all new words) and a second chorus (same old words) With harmonies.

3rd break, 3rd verse and chorus and ending

Now a third break would be played by a third instrument and singing would continue as before, with the third and final verse and last chorus. The last line of the chorus is sometimes sung twice and one or two more instruments would play a fill lick to end the song with all instruments ending on the 3rd beat of the last measure of the last line.

There are tons of exceptions to this structure and mental note should be taken of the exceptions. For example:

Some songs play breaks over the chorus. Lots of songs have the same melody for the verse and the chorus. Some songs have extra measures built into the melody. Sometimes on slow songs, only the last line of a verse is played as a break, although in jams often the

normal full break is played. Another common option for slow songs is to split the break into two lines per instrument. Sometimes a singer will sing the chorus first and go from there to either a break or the first vocal

verse. Sometimes after the last verse and chorus an additional break is played which then leads into one

extra chorus, usually to lengthen a short song. The extra measures after the breaks can vary in length from zero to four. Songs can have as few as two verses or as many as four or five. Some songs have no choruses. Etc…. Etc…

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BOWERS BANDS AND MORE

The 32nd Annual “Biggest Little Music Festival in the World” is shaping up quite nicely. The Featured performers from far and wide will be Wayne Taylor & Apppaloosa,

Trey Hensley & Rob Ickes,

and Snap Jackson and the Knock on Woods Players As usual there will be a two free concerts at Davis Creek Amphitheater at 7 pm on Friday, August 18th and the wrap-up Gospel Show on Sunday the 20th at 10 am. Tickets are $20 presale, $25 after August 12th,

with children 12 and under free. They can be purchased on the website (http://nnba.org/bowers-mansion.html).

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LOCAL TALENT AT BOWERS

Keeping this whole thing rolling right along will be our Master of Ceremonies Larry Maurice, award-winning Cowboy Poet, Range Rider, and Master of the Mouth Harp.

Featured local bands this year are The Reno Swing Set, Ricochet, and The Sierra Sweethearts. The crowd pleasing regulars, including The Monday Night Volunteers, The Note-Ables, and the Scottish

American Military Society Post 1864, will be making appearances. Informal picking is encouraged, if not expected, in the parking lots,

campgrounds, or any shady spot away from the main stage. Don’t forget to visit The Instrument Petting Zoo, with Zoo Mistress Karen Williams. Outbreaks of spontaneous dancing have even been reported!

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THE CLUMSY MANDOLIN by Steve Gallagher

It’s Festival Season Again!

The nearby summer festivals, be they Grass Valley, Susanville, Parkfield, Strawberry or even our own Bowers, give you all a great chance to get out there and jam with folks you have never met. These

gatherings attract a lot of great players who, mostly, love to play with other musicians that share their love of this kind of music.

I can only share my experiences with you to validate what I am talking about. I attended the Strawberry festival for years without ever trying to play with other folks because, frankly, I did not think I could play bluegrass. After a life changing experience, I decided to learn the mandolin and after a few years, I grew the nerve to attend a Pete Wernick jam class hosted by our own NNBA President Rick Sparks. I got my feet wet with performing some tunes in concert with other folks without too much difficulty so I decided to take the next step and attend the Bluegrass Camp at Susanville. Rick encouraged us to get out there in the evenings and jam with anyone we met. I

was a brand new member to the NNBA but after classes each night I packed up my Chinese mandolin and nervously headed out to see what would happen. I walked up and down the lanes of the fairgrounds and played with folks who have become good friends to this day. I did not know my scales or the tunes they were playing, and certainly could not put together a cohesive break, but I was accepted and allowed to give it my best.

Surprisingly, other than Rick and two other folks I knew from Nevada, I never ran into anyone I knew from the NNBA at those jams. I later found out that NNBA cadre insulated themselves in there own campsites and rarely, if ever, ventured out to jam with other musicians. Folks, this is not the way to go. Why drive an hour and a half to play the same songs that we do at the workshop? Some of my best experiences in music have happened under a streetlight, at both Susanville and Grass Valley, long after midnight. My best memories are meeting professional level musicians and learning “The Moonshiner”, standing out in a parking lot in Grass Valley and learning “Billy In the Low Ground” or at the lot outside Lassen Fairgrounds gate to learn the minor variations for “St. Anne’s Reel”.

I’ve only had one bad experience in those late night jams. My mentor on mandolin, Kristell, and I made the rounds at Susanville a few years ago where we ran into sexism at a jam. They were willing to let me play breaks but blew Kristell off, who was way better that I was. What was that

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about? Our response was to pack our gear and move on. Kristell handled it well but it took me about an hour to cool down. All the jams I have walked up to, save for that one, have been great experiences.

Here is the deal: You’ve got to be fearless in your pursuit of having fun, whether it be learning tunes or jamming with other musicians. There are some really good ones out there and my experience has been that those folks really encourage new guys to get involved and play. It seems to me that they have not forgotten where they come from and they get what you want to do. An added benefit is you can steal some of their licks if you are paying close enough attention. I had a chance to play with Zeke Griffin, a fine mandolinist from Strange on the Range, a few months ago and walked out of there with a quiver full of technique. He told me as we were packing up to leave that he stole some of my tricks. I’m certain that he was just being kind but my vanity would like me to think it was true.

Yes, you meet the players who try to run you off by befuddling you with their stuff but those people have something else on their agenda. I’m not sure what it is. Or you meet the folks who showcase their stuff, with their band mates, in a jam situation. I’m really sensitive about that phenomenon and try to be very careful about the bands I play with by doing common or easy tunes at a jam so we don’t alienate outside players. The musicians who perform their own difficult material at jams make an impression that most people will

remember, but it won’t necessarily be a good one.

So, the evenings are getting warmer and the festivals will be waiting for all of you to meet and make music this summer. Clean up your instrument, get it restrung, fill your coolers, pack your gear, and head out to have some fun. I will see you there.

WELCOME OUR NEW NNBA MEMBERS

Since the beginning of the year, the

members listed below have joined the NNBA. We all are looking forward to getting to know you at jams, concerts, and other occasions.

New Member Instrument Ned Zoller Joseph Martini Guitar, Banjo Alice & Carl Hoffman Harry Spencer Guitar, Bass, Mandolin James Davidson Guitar, Banjo Bill Papa Guitar, Ukulele Dennis Davis Guitar Gary Jacuk Guitar Chris Hendricks Danny Stewart Mandolin

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SOLIVAN CONCERT AND CD by Cousin Jim

Thursday, June 1, 2017, was an

incredible treat for local bluegrass musicians and fans. The great mandolinist Frank Solivan, winner of the IBMA Mandolin Player of the Year award, and his band’s guitarist and multi-instrumentalist, Chris Luquette, came to Reno, thanks to the efforts of our own Mountain Music Parlor. Early in the day, Frank gave a class for advanced mandolin pickers, and then, in the evening, Frank and Chris joined forces to give an amazing performance in the Mountain Music Parlor’s Heritage Hall.

Opening for the duo that night were Rick Sparks and friends. After some great warm-up songs, the stage was turned over to Frank and Chris, who gave us great music and more. Frank introduced each song with a little story about his family members who used to sing the song, or friends who brought the tune to Frank’s attention. We all felt Frank’s warmth and humor, like we were best friends.

At the intermission, I got to visit with Frank and Chris and purchase their Grammy nominated CD. Frank Solivan - Family, Friends & Heroes, which has received rave reviews and is the second Solivan album to receive a Grammy nod. His release of Cold Spell also received a Grammy nomination in 2015.

On his Family, Friends & Heroes album, the traditional blends faultlessly with innovations. Frank kicks-off the collection with a familiar tune with an unfamiliar set of instruments and voices, “Pretty Woman”. He shares the singing with the harmonies of the great Del McCoury. Next up, Frank takes us on a trip for an island snorkeling trip. With his cousin’s Ernie Cruz Jr, John Cruz, and his band mates from Dirty Kitchen, Frank reminds us of relaxing like Jimmie Buffet, with “Mask, Snorkel and Fins”.

Frank asked another musical hero, Jim Hurst, to provide his wonderful drop thumb guitar on “The Fishin’ Song”. Sam Bush and Jerry Douglas, two of Frank’s great friends and heroes join-in on “I Am A Rambler”, and “Cazemorio Casamora”. Chris Luquette on guitar and Mike Mumford on banjo rounded out the really sound great.

During the performance that night, Frank and Chris tore into “Dark Hollow” and give a repeat performance of the song on the CD. On the CD John Cowan sings harmony with the band on “Leaving On A Jet Plane”. Playing his great dobro on this one Frank invited his buddy Rob Ickes. Frank’s cousin Megan McCormick sings great duets with Frank on the tunes “Mexico” , “Put Me In Your Pocket” and Johnny Cash’s “I Still Miss

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Someone. This one also features Frank’s dad on banjo.

A real treat on the CD is a cut from Frank’s mom, Lorene Solivan, who died shortly after this recording. She absolutely nails the old Gospel song, “Wayfaring Stranger”. I usually play this song first when listening to this CD and then end with it before I turn off the player. Really Great!!

During the show at the Mountain Music Parlor, Frank invited a couple of guests to pick on stage with them. First-up was our buddy Charlie Edsal, he played “Whiskey Before Breakfast” and “Blackberry Blossom”. All three of the guys really sounded great on those tunes.

In the second set Frank asked 12 year old Django Ruckrich, guitarist from Grass Valley, to join in on the fun. He was fantastic, to say the least. Frank and Chris quoted David Grisman , “We have seen the future”. The audience really enjoyed the set, and demanded an encore.

It would be great to entice Frank and Dirty Kitchen to join us for a future Bower’s Festival, but in the meantime I’ll be enjoying his CD. Get a copy today!!

--- Cousin Jim Lappin

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FOR SALE: MANDOLA

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WEDNESDAY NIGHT JAMMIN’ PUZZLE