Leo Lindblom with Little Roy Lewis at the 2024 Headin Home Fest – photo courtesy Headin’ Home
Friday at the 3rd annual Headin’ Home Fest was another full day of music, memories, and smiling faces in Swainsboro, Georgia. The day kicked off with a slow jam class led by Patrick Russell from South Carolina, which was enthusiastically attended by a large group of pickers.
At 1:00 p.m. Line Creek, a band from Newnan, Georgia, opened the afternoon with a solid set of bluegrass music which the audience thoroughly enjoyed.
The King James Boys followed next, showcasing their polished brand of bluegrass gospel music. This inspiring four-piece group debuted at Headin’ Home Fest last year, and festival attendees were thrilled to see them back.
Deano Graham & The Grass Wagon Revival are a band from Florida with a hard-driving sound, winsome stage presence, and a diverse collection of captivating original music penned by Deano himself. Hunter Berry was sitting in on fiddle. Both of their sets were highly enjoyed, from their upbeat gospel numbers down to Deano’s fun jingle about his sponsor’s world-famous BBQ sauce.
When The Little Roy & Lizzy Show took the stage, laughter and energy levels in the crowd ran high. Eighty-one-year-old Little Roy Lewis still entertains fans with a showmanship unmatched by any other bluegrass entertainer. The band now features two fiddle maestros, with both Lizzy Long and Hunter Berry sawing on the strings. Newest addition Mikayla Burrows adds some strong singing and rhythm guitar work as well.
Host band Headin’ Home took the stage in the evening for their second set of the festival. This Georgia family band is steadily gaining a loyal following as they share their tight-knit blend of refreshing, uplifting family music through both original and well-known songs. On and off stage, each member of the family worked tirelessly throughout the week—from working the gate and parking campers to oldest brother Luke running the sound. Fans commented throughout the week on the event’s remarkable organization as well as its joyful family atmosphere.
As in previous nights, plenty of campground jamming rang out beneath the stars—bringing a full and happy Friday at Headin’ Home Fest 2024 to a delightful close.
The Brothers Five at Headin’ Home Fest 2024 – photo courtesy of Headin’ Home
The 3rd annual Headin’ Home Fest has kicked off in Swainsboro, Georgia! Hosted by the family band Headin’ Home, the five-day festival is held at The Georgia Sports Arena, and is a celebration of great bluegrass music, camping, jamming, and uplifting family fun. The weather has brought blue skies and sunshine so far this week, and promises to be just as ideal for the rest of the weekend.
Wednesday night started off the festival with a potluck dinner and an open stage. Thursday began at 1:00 p.m. with another open stage, followed by two sets each from Backline, Daryl Mosley, and The Brothers Five, as well as a set from host band Headin’ Home. Jo Odom has been handling MC duties, while Luke Lindblom is doing an excellent job running sound along with his sister Lucy.
Backline, a hard-driving modern bluegrass band from South Carolina, brought their mix of traditional and original music to the stage with their energetic delivery and tight harmony blend. They performed at the inaugural Headin’ Home Fest in 2022, and were warmly welcomed back to the festival.
Daryl Mosley captured the audience with his touching songs and stories that wove their way around everyone’s hearts. This legendary songwriter has won countless awards for his songs that connect so naturally with listeners. His solo show was a definite hit Thursday at Headin’ Home Fest.
Two sets from The Brothers Five got the audience fired up for an exciting weekend of music. The Brothers Five are the younger half of the Lindblom family, whose age ranges from 18 down to 10, and are quickly becoming a musically solid, professional, and highly entertaining band.
Headin’ Home performed a set, as they will each day of the festival. The six-piece group delighted their fans with their engaging family musicianship and camaraderie. “About three years ago, our family had a dream,” guitarist Libby Lindblom shared from the stage. “We had a dream to start a festival and keep bluegrass music alive and strong in Georgia, even though other events around our area have been dying out.” Judging by the opening two days alone, the 3rd annual Headin’ Home Fest seems to be proving that the family’s dream has come true.
Friday will feature The Little Roy & Lizzy Show, The King James Boys, Deano Graham & The Grass Wagon Revival, Line Creek, and Headin’ Home. Saturday will bring The Kody Norris Show, Lorraine Jordan & Carolina Road, The Edgar Loudermilk Band, Line Creek, and Headin’ Home.
Other activities planned for the weekend include a slow jam class Friday and Saturday at 11:00 a.m., a Sunday morning jam with Headin’ Home, a musical silent auction featuring a display of music gear-related items, a Kentucky mandolin raffle sponsored by Banjo Ben Clark, a Gold Tone banjo raffle sponsored by Gold Tone, a daily 50/50 raffle, a guess-the-jellybeans-jar challenge, a variety of craft vendors, an onsite restaurant serving three meals a day, and of course, plenty of jamming!
Come on out this weekend to support the 3rd annual Headin’ Home Fest! The Georgia fall weather is lovely, the music is exceptional, and you’re guaranteed to have a delightful time.
This remembrance of banjo player Reed Martin, who died on September 30 in Potomac, MD after a long stint with Alzheimer’s Disease, is a contribution from his friends and family. He was 78 years of age.
Reed Martin was one of a kind, a rare breed of human that was beloved by untold people around the globe. Perhaps he described himself the best, so as he put it, Reed was “the last known translator of Kentucky and Hoosier,” who “majored in bicycling, banjo, fishing, hanging out, and talking to older people who would stand still long enough.” He collected things (vintage banjos, Model A and earlier vintage cars, antique spark plugs, circus giant rings, life-sized fiberglass bulls, tether cars and miniature model gasoline engines), but especially poignant were the stories and tales that went with each beloved object.
Reed was a masterful clawhammer banjo player who had an intricate, driving playing style, winning contests and inspiring generations of players to take up the instrument at numerous banjo camps and workshops across the country. Banjo players such as Jeremy Stevens, Russ Carson, Ned Luberecki, and Chris Coole count among those influenced by Reed in their formative years.
His self-released project, Old Time Banjo, consisting of 37 tunes recorded in Reed’s living room in 1996 by Don Anderson, was considered a musical master work by many of his peers. Reed was also featured on various projects which include The Old Time Banjo in America (1979), The Young Fogies (1985), and more recently, Tom Mindte’s The Patuxent Banjo Project (2014).
While still in his early 20s, Reed was recruited by Ralph Rinzler to be the MC for the banjo workshops held at the Washington Folklife Festival, which he did for five years, featuring great players such as Dock Boggs, Don Stover, Buell Kazee, Kyle Creed, Fred Cockerham, Earl Scruggs, Wade Ward, and Libba Cotton, among many others.
Reed was a model maker working at the Smithsonian for a time. He and his buddies could, and did, make anything. In 1990, Reed shipped his single cylinder 1900 Knox three wheeler to England, where and he and his wife Barbara completed the 57 mile London to Brighton Veteran Car Run. First held in 1896, the London to Brighton Run is the world’s oldest motoring event, open only to pre-1905 cars.
His favorite things were hanging out and playing tunes, working on antique cars and engines, going to yard sales, thrift shops and swap meets, canoeing and bicycling, and talking to anyone and everyone he met. He rode the 185 mile C&O Rail trail from Cumberland, MD to Georgetown, DC a dozen times just for fun.
Reed’s beloved wife, Barbara Martin, died before him. He is survived by Barbara’s children Mat and Andy, and their wives, Rory and Becky, and his grandchildren, Lindsey, Miranda, Shane, Tye, Har Rai, Guru, Huddy, Neil, Keith, and Marian. His loss is felt by many friends from around the world, including the communities of old time banjo music, the Fairfax, VA Model A Club, FARTS (Friends of Antique Road Transportation), Cabin John Association, CAMS (Chesapeake Area Metalworking Society), Smithsonian Folklore Society, and collectors and curmudgeons of all stripes.
Family and friends will be hosting a musical celebration of Reed at Glen Echo Park in Glen Echo, MD in the spring of 2025.
This report on coastal Portugal’s Trafaria Bluegrass is a contribution from Andre Dal.
Trafaria Bluegrass 2024 was a huge success. The third edition of the only Portuguese bluegrass festival was held between 13 and 15 of September, in the small fishing village of Trafaria, Portugal, on the south bank of the Tagus river, with Lisbon in sight on the other side. For three days, Trafaria became a musical village, filled with concerts, workshops, jams, and an innumerous number of side activities. The whole village was decorated to receive musicians and people from all over the world, including countries such as Japan, Australia, United States, Canada, Belgium, Italy, Spain, France, and Portugal, among others.
Six bands shared the main stage, and also played at different smaller side stages. Fado N’ Grass, the Portuguese bluegrass band that mixed the traditional Portuguese music, fado, with bluegrass, music opened the main stage on Friday night with a repertoire of fado songs played with a bluegrass feeling, and also did a gospel set with special guest appearance of Katsuhiro Narita from Japan at the Church stage on Saturday evening.
Rain of Animals is a duo from Scotland/Australia that opened the main stage on Saturday night, and also played at the Poço Novo stage on Sunday afternoon. Boom Ditty is a five, and sometimes six piece band from France. They played on the main stage on Friday night, and also on the Bandstand stage on Saturday afternoon.
Lluís Gómez Bluegrass Quartet is a fantastic band from Spain, France, and Czechia which perfectly blend bluegrass music with their own different cultures. The final result is a superb mix of world music. The band closed the main stage on Friday night, and also played at the SRMT stage on Saturday afternoon.
Blue Weed is a band from Italy that played on Saturday night on the main stage, and closed the festival on Sunday evening at the Casino stage. The audience loved their extremely skilled approach to the traditional bluegrass music of Bill Monroe.
The US band Level Best was the highlight of this year’s edition. An amazing concert to open the festival at the Presídio stage on Friday evening and an awesome performance of traditional bluegrass music to close the main stage on Saturday night.
Lots of side activities happened during the weekend, as you can see at the festival’s website.
The audience was vibrating with all the musicians, especially with the jams that happened on and off stage, as you can see on this video.
The support from the Almada City Hall and the Caparica/Trafaria parish council was crucial to the festival’s success, along with all the volunteers’ work and the Recreios Desportivos da Trafaria organization. Though, the festival needs continuous support as the event is free of charge!
This recollection of Jimmy Martin’s lessons to his heralded banjo player Chris Warner is a contribution from Thomas Cook. Chris is widely regarded as one of the finest exemplars of the Jimmy Martin style on banjo, behind only J.D. Crowe and Bill Emerson. The photos are from Warner’s personal collection.
What made the first generation bluegrass music so powerful? Why does it still resonate 80 years after Earl Scruggs and Lester Flatt joined Bill Monroe’s Blue Grass Boys and musically tore down the Grand Ole Opry? What made these musicians and the music they created so great? It is too late for todays’ bluegrass musicians to go and hear Bill Monroe, Flatt & Scruggs, Reno & Smiley, The Stanley Brothers, and Jimmy Martin. But we can still learn from the musicians they fostered, such as the great banjo player, Chris Warner.
Chris, along with J.D. Crowe, Bill Emerson, Kenny Ingram, and others, was among Jimmy Martin’s definitional banjo players. Also an excellent mandolin player and baritone singer, he served two stints with the Sunny Mountains Boys (1967-’69 and again 1985-’89), and helped Jimmy Martin record some classic songs, including Freeborn Man, Milwaukee, Here I Come, Slowly, and Arab Bounce.
He also backed up or played for Del McCoury, Bill Monroe, Jim & Jesse, Rhonda Vincent, and Doyle Lawson, to name a few. Through it all he was listening and paying attention, and has some thoughts to impart to the younger generation of pickers and singers. Chris is serious about bluegrass, and he is of the opinion that there is fundamentally a right way and a wrong way to play the music. And he believes that what he learned from Jimmy Martin should be taken seriously by anyone who wants to play the music well, as opposed to simply thrashing at it.
Jimmy Martin is seen by many as a comic figure, given his brash stage presence and ebullient personality. While he certainly knew how to command the attention of his audience, he was very deliberate about his music, and set high standards for his band members. Knowing exactly what each vocal and instrumental part should sound like, each musician was expected to know his part and play it to Jimmy’s satisfaction under any circumstances. Hundreds of songs were recorded over a 50 year career, with a constantly rotating cast of musicians, yet his sound remained remarkably unchanged. He taught his Sunny Mountain Boys what he wanted, and those lessons are worth studying.
Jimmy was a fanatic about timing. He drilled his musicians to play the way he heard his music, and went so far as to forbid Sunny Mountain Boys to jam at a festival with lesser players because of the deleterious impact on their rhythm. As Chris Warner puts it, “When I went with Jimmy the first time from 1967 to 1969, I could play the notes that were on the records, but I couldn’t play them with his timing. That took a lot of work. Jimmy kept talking about timing, and I thought he meant meter. I was getting frustrated until Vassar Clements took me aside, and said in his understated way that, by timing, Jimmy meant meter, tone, bounce, syncopation, and dynamics.”
Chris refers to Jimmy’s timing as a shuffle, similar to the shuffle of a fiddle bow on a hoedown, which is much easier to demonstrate than to describe. This “one, two, and three” syncopated beat underlies all of Jimmy Martin’s music, both instrumental and vocal.
Jimmy Martin referred to the lack of dynamics in bluegrass rhythm as being like, “a dog trotting in dry leaves.” This is Jimmy’s slang for lesser singers and instrumentalists who perform with a sing-song quality to their music. Jimmy Martin insisted that the instruments play the way a great singer holds and slurs notes to create emotion. He believed that a great lead singer doesn’t sing in a monotone, or phrase his words mechanically.
This shuffle rhythm does not come naturally to many beginning players, but it can be learned. Chris says that he had to really work on not only the timing in his banjo playing, but learn to pronounce vowels the way Jimmy did for singing baritone, being from Pennsylvania rather than Tennessee. If you don’t pronounce words the same, says Chris, it is very difficult to get a good vocal blend.
“Open your mouth when you sing,” Jimmy would tell him. Chris relates that you have to extend your jaw out to achieve the “braying” vocal tone used by Jimmy, as well as Lester Flatt and Curly Seckler.
Chris points out that the great first generation bluegrass bands can be easily identified by their rhythm – the Stanley Brothers were very different from Flatt and Scruggs. Both are fine, in Chris’ opinion, just different. One of the things which created the Jimmy Martin sound was his exemplary rhythm guitar playing, which powered the Sunny Mountain Boys. Jimmy played on top of the beat with a syncopated double strum, plus runs.
Serious students of bluegrass music would do well to listen to Jimmy’s guitar playing on such songs as Foggy Old London, Chattanooga Dog, and Hold Whatcha Got, which create the pace and tone of the song. Many contemporary guitar players are followers of Tony Rice and Clarence White, without realizing that both were excellent, solid rhythm players in addition to their lead work. Both admired Jimmy’s guitar playing. Chris says that guitar players in a band context should focus on the rhythm; the cake being more important than the frosting.
Chris points to the recorded version of Sunny Side of the Mountain as a good example of the classic Jimmy Martin style. The kickoff is a syncopated triplet – counted “trip-o-let-four-and” – which is economical, driving, and exact. During the break, Vernon Derrick plays the melody with double stops; at the end of the lines he executes a classic signature motif; he uses an upstroke of the pick over four strings to create syncopation and rhythm.
Another classic is the Paul Williams’ mandolin treatment on Drink Up and Go Home. Listen to how Paul lingers over the notes the way a singer would. It frames the melody with elegant punctuation and ornamentation, which complements rather than overwhelms the song. It’s a perfect set up for Jimmy, one of the great vocalists of bluegrass music, to tell the story.
Chris credits Jimmy Martin with teaching him how to play his style of backup on the banjo as well. Jimmy has, with occasional exceptions, two basic rules for backup: 1. Don’t play the same notes that the person at the mic is hitting. When the melody goes down, you go up. 2. Keep it simple; “don’t detract from what the lead vocal is doing. Your job on back up is to make the singer or picker sound good.”
He also believed that the first three or four notes of a lead instrumental break are important and should “pop” or “bounce.” They should be distinctly emphasized. Jimmy wanted his players to lead up to the melody note and really hit it, and then back off creating dynamic tension and resulting interest for the listener. J.D. Crowe learned this so well because Jimmy spent more time teaching J.D. than any other banjo player he had, and perhaps because Crowe was so young when he entered The Sunny Mountain Boys.
Musicians who insert too many fancy licks and run excessive scales risk tiring the listener and losing the narrative thread of the song. Playing the melody during a break reinforces the song because, in Jimmy’s view, too much improvisation was aimless noodling, and was to be avoided. Jimmy and Hershel Sizemore used to fight over this; later in life Herschel admitted that he should, in retrospect, have done it Jimmy’s way.
Sizemore was, of course, one of the great mandolin players in bluegrass, and had excellent technique. Many lesser players attempt fancy playing but haven’t done their homework. Jimmy Martin’s credo was, “listen to the record, learn the music, practice and be able to play it with drive, taste, and dynamics.”
Chris points to Earl Scruggs. “Earl wasn’t a fancy player. He was a strong musician with great taste, power, timing, and dynamics.” Chris notes that Jimmy Martin loved the singing and playing of Paul Williams. Paul always played exactly the right lick in the right spot on his mandolin. His playing is deceptively simple, yet careful listening reveals that Paul, like Earl, played with taste, tone, and touch due in part to Jimmy’s coaching.
In Jimmy’s view, a solo, like a letter, should have a salutation or beginning, contain full sentences which say something meaningful, have appropriate punctuation, and an ending which summarizes and completes the statement. The instrumental break, like the lead singing, should convey meaning and emotion, although he couldn’t articulate it in quite that way. Chris quotes Jimmy as telling him to just, “play it pretty.”
Jimmy made exceptions for hot players who “had what it takes,” meaning that they understood melody and dynamics and could bring something new to the Sunny Mountain Boys. A good example is the nice mandolin style of Vernon Derrick who played mandolin with Jimmy, and pedal steel with Kitty Wells, before a long stint on fiddle with Hank Williams, Jr. Vernon loved the music of Chuck Berry and worked on converting Berry’s guitar licks to the mandolin, and delivering them on stage with some real moves. See Jimmy Martin & the Sunny Mountain Boys with Vernon Derrick and Alan Munde play Tennessee on the Del Reeves Show. Jimmy let him do it because Vernon could instrumentally pull it off, and could really sell it to an audience.
Jimmy Martin’s music wasn’t easy to play, but it was simple in structure. Jimmy didn’t want things cluttered; he wanted to emphasize the melody. A few hot licks were OK if they fit the song, but his musicians had to remember they were playing for an audience who were there to hear Jimmy’s music.
Chris says it may sound like a paradox, but that it is a challenge to play simple music well. One key is constant practice. Chris quotes Jimmy as saying, “learn your break! Listen to the records!” That way, a musician could perform to a high level no matter what the conditions. Chris notes that the really good players – citing J.D. Crowe and Doyle Lawson – never overplay. They know exactly the volume they should perform at, and never vary it, no matter how deficient the sound system might be. Overplaying leads to choppy rhythm, bad tone, and missed notes. Lesser musicians beat on their instruments – “thrashing” in Jimmy’s slang – meaning volume at the expense of finesse.
What would Chris say to aspiring bluegrass musicians who want to play in a way that Jimmy Martin or Earl Scruggs would approve of? Chris notes that he is discussing the music of Jimmy Martin and that the following tips are fundamental rules of thumb. Different styles call for different approaches; fancy playing is OK if the style of music calls for it, and it is played with the aforementioned drive, punch and dynamics
1. Keep your pick(s) moving, put rhythm to it. At the end of a phrase, put in a little bit of extra something. Give it a little syncopation without losing the melody. It should be exciting and not mechanical. You can use off-time licks tags as long as you keep the overall timing.
2. Learn the melody of every song you play, and don’t lose sight of it! Don’t show off with lots of fancy licks unless the style of bluegrass calls for fancier playing. Remember that you are playing for an audience, and don’t play to impress other musicians by showing what you know. Audiences like melodies. Also, that fancy lick that you can do in your living room may not be so easy to play live. Practice your break until it is fixed in your brain and the notes are clean.
3. Every note should be distinct. Go for tone and play pretty. Don’t noodle, go for clarity. Every break or kickoff should tell a story with a beginning, middle, and end. Every break should begin with a bouncy pop leading up to the main note, maybe with a slide or double stop to emphasize it. Then, lighten up.
Play the melody, choosing the notes you want to emphasize. Build the solo like a singer would. Play consistently with dynamics and emotion. End with a flourish. If you are playing two breaks, play simply the first time and fancier the second, if you can do it without losing timing and tone.
4. Play with dynamics. Every note shouldn’t be played at the same volume. Build to a crescendo with solid, well-executed notes. Create an ebb and flow. Slide or hammer into important notes like a singer would. Create off-time runs with hammer-ons, pull-offs, and varied right hand patterns.
If you are interested in hearing Chris demonstrate his precepts; give a listen to his CD, Goin’ To the Dance, on Patuxent records. It is a Master Class on bluegrass timing from a bluegrass master who really knows his subject.
This report on the genesis of San Diego, CA’s Summergrass, which recently ran August 16-18, comes courtesy of Terry Brewer.
Twenty-two years ago, a group of passionate local musicians and volunteers gathered over coffee to tackle a pressing question: Why was it so difficult to attract top-tier touring bluegrass bands to San Diego? They pondered, “What if we started our own festival?” That conversation marked the beginning of what would become one of the most beloved bluegrass events on the West Coast: Summergrass.
The informal committee, including Corky and Debbie Shelton, Sandy and Richard Beesley, Roger and Gretchen Gagos, Mike and Vonnie Tatar, Dwight Worden and Betty Wheeler, Kit and Mary Birkett, Jerry and Judy Hass, and a few others, had little experience in organizing a festival. They had no budget, just a shared vision of bringing great bluegrass music to San Diego.
The first breakthrough came when Corky Shelton suggested the Antique Gas and Steam Engine Museum in Vista, CA, as a potential venue. With its grassy areas, a small stage, ample camping space, and unique exhibits, the location seemed perfect. After negotiations with the museum management, a deal was struck: the fledgling festival, still unnamed, would take place in August 2003.
From the beginning, the founders had three goals: to bring top-quality bluegrass to San Diego, to offer educational opportunities through workshops and a youth academy, and to provide a platform for local bands.
The festival made a small profit in its inaugural year, and a name was chosen: Summergrass San Diego — Picking in Paradise. The name has since been shortened to Summergrass.
Musically, the organizers aimed to make a big impact from the startand secure a reunion concert by the legendary band California, featuring bluegrass icons Byron Berline and Dan Crary. This put Summergrass on the map, with the band delivering performances that are still talked about today. Other acts included Bluegrass Etc., Ron Spears and Within Tradition, and a host of regional and local bands.
One of the most magical moments of that first festival occurred when legendary fiddler Mark O’Connor joined Byron Berline and Dennis Caplinger on stage for an impromptu triple fiddle performance. That moment has since become part of Summergrass lore, resonating throughout the bluegrass community.
In 2004, Summergrass expanded its offerings by introducing a Kids Camp, with a young band from Alaska called Bearfoot both performing and teaching. The camp was a success and has since become a staple of the festival, inspiring the next generation of bluegrass musicians.
The festival has grown tremendously over the years, with the Antique Gas and Steam Engine Museum building a new and better stage in response to the event’s success. Today, more than 100 volunteers help make Summergrass a reality each year, many returning annually, drawn by the camaraderie and love of the music.
Despite the challenges posed by the COVID-19 pandemic, Summergrass has persevered. With its 21st festival, the 2024 lineup provided another unforgettable experience, featuring John Moore and Friends, Special Consensus, Lorraine Jordan & Carolina Road, and Breaking Grass, alongside local favorites like Central Valley Bluegrass Boys, Vulcan Mt Boys, Front Porch Music Preservation Society, Sweet Tidings Gospel Jam, Sheri Lee & Blue Heart, Chris Cerna & Bluegrass Republic, Corzines, and Virtual Strangers.
The Kids Camp continues to thrive, with members of Special Consensus leading the charge in teaching the young attendees.
As the festival kicks off another year, Lorraine Jordan & Carolina Road joined The Thursday Night Pickers for a campground jam, continuing the tradition of good times, great music, and the making of countless memories at Summergrass.
Many thanks to Beat Heri, Editor of the Swiss Bluegrass Music Association News, for allowing us to republish this story he wrote, translated into English, about this remarkable achievement by the Country Ramblers.
This summer, the Country Ramblers of Switzerland have been celebrating their 55th Anniversary to sold out houses, be it in Adliswil near Zurich, Elgg near Winterthur, or Urnäsch in Appenzell. Their music remains forceful and enchanting, the shows engaging and full of humor.
Three band members, Tom Matejovsky (guitar, mandolin, vocals), Urs von Arx (banjo, vocals), and Roland Ambühl (fiddle, mandolin, guitar, harmonica, spoons, vocals) founded the group in 1969. Markus Fritzsche (bass, vocals) joined 44 years ago. At 55, the Country Ramblers are the bluegrass band with the longest span of activity in Europe, a recognition earned in 2014 when the European Bluegrass Music Association named them European Bluegrass Pioneers in 2014. Over the decades, the Country Ramblers put out 8 LPs/CDs, not counting a 1985 gold record.
Starting with the Lester Flatt/Bill Monroe classic, Little Cabin Home On The Hill, their anniversary show includes a cross section of instrumentals covered over the decades, such as Earl’s Breakdown, Alabama Jubilee, and Caravan, as well as original tunes Picking the Line and Bloozindee – starting with a stunning bass solo. In addition to bluegrass classics, the Country Ramblers over the years developed bluegrass versions of rock songs, including What A Day For A Daydream (Lovin’ Spoonful), Sunny Afternoon (Kinks), or The Letter (Box Tops).
The band creates a bond with its audience with relaxed banter and amusing bits of band history. At one point, Tom calculated the total age of the band members to be 290 years! At which point Markus added that he plays bass for a number of other bands where he’s usually the oldest musician; only with the Country Ramblers is he the youngest. At 9:00 p.m., while he was introducing the next song, Tom’s watch sounded an alarm, a reminder to take some medication that he then laughingly did before the band launched into the next song.
The selection of tunes allowed each musician to demonstrate excellence on their instruments. All four sing lead, and with the harmony voices picked up by some or all of the others, the band creates a wonderful variety of sounds. Towards the end of their performance, the Country Ramblers surprised with a four part harmony version of Southbound Passenger Train. Audiences thanked the band with standing ovations that led to one or more encores, a worthy ending of the 55th anniversary concerts for this likeable band.
Because banjo man Urs von Arx has been a New York City resident for the last 20 years, the Country Ramblers only get together to practice and play during his stays in Switzerland. The way the band nevertheless blends together is a testament to the format of four equal partners each carrying their weight while listening to the others, and not least to more than five decades of joint experience in bringing bluegrass to audiences in Europe.
This report on the long-running Bluegrass in La Roche festival is a contribution from Angelika Torrie in Switzerland. She is a Board member of both the European Bluegrass Music Association and the Swiss Bluegrass Music Association, and a Wernick Method Bluegrass Jamming teacher. Photos are from Emmanuel Marin.
The Bluegrass in La Roche Festival took place from July 31 to August 4, 2024, celebrating its 19th edition, and once again drew thousands of bluegrass enthusiasts from the region, from France, Europe, and around the world. Set against the stunning French Alps, La Roche-sur-Foron provides the perfect backdrop for a festival known not only for its top-tier music but also for its unique sense of community. As always, the event lived up to its promise of showcasing “The Best of Bluegrass in Europe.”
The Atmosphere
From start to finish, the festival showcased the unifying power of music. The area in front of the stage was packed, especially during the evening concerts, with excited people—families, friends, old acquaintances, and new ones—all sharing a common passion: bluegrass music. It was hard to find anyone without a smile as the bands gave their all on stage.
While I couldn’t be everywhere at once, I made a point to randomly explore the Festival Off, the lively street festival in the charming town of La Roche. Throughout Wednesday evening and during lunchtime on Thursday and Friday, various cafés and bistros hosted bands, with performances by both European and American musicians. The spontaneous jam sessions added to the vibrant atmosphere, popping up in front of the church, the bakery, and every other suitable corner. It was a musical experience like no other!
Musical Highlights
Music was, of course, at the heart of the event. Over the four days, 35 acts performed 45 concerts. The bands and musicians came from 10 European countries as well as the US, showcasing the diversity and global reach of bluegrass. With this impressive lineup, the stage was always bustling with activity.
Though space is limited, a few highlights stand out. The sheer wealth of music presented was immense, and every performance was exceptional in its own rights! Naturally, headliner bands like East Nash Grass, Broken Compass Bluegrass, Campbell-Jensen, and the Rick Faris Band captivated the audience with performances that ranged from energetic to thoughtful.
Cisco & The Racecars, with their deep musical passion and “family-like” ties through Anni Beach and the Jam Pak association, delivered an outstanding performance. The band includes Francisco Briseno (banjo), Joelle Tambe (bass), Chester Carmer (mandolin), Mark Hickler (guitar), Giselle Lee (violin), and Katie Carmer (cello). Their performance was top-notch, featuring flawless instrumentals and vocal harmonies. The blend of traditional and modern pieces, coupled with their evident joy and passion, made it a pleasure to experience their shows.
The opportunity to see Broken Compass Bluegrass came on Wednesday evening in front of the Brasserie Mino, where they delivered a quality, energetic performance in a jam-session format with minimal amplification for a small audience. This young band from California consists of Kyle Ledson on mandolin and vocals (and guitar), Django Ruckrich on guitar and vocals (and mandolin), Mei Lin Heirendt on fiddle and vocals, and Sam Jacobs on bass. The band has received support from local artists and institutions, suggesting a promising future for the genre, especially considering their average age of 20. I loved their music – some pieces were very impressive and almost magical. Their performance on Thursday on the main stage was even better, in particular Mei Lin’s vocals were much more refined. The use of technical elements and musical duels reminded me of Billy Strings’ style. Cool stuff!
I was particularly impressed by the performance by Buster Sledge from Norway. Though they are a bluegrass band, they incorporate other influences that enriched this musical evening. Their “new-timey sad-grass” brought an enriching mix of jazz, folk, and gypsy influences to their bluegrass base, adding depth and modernity to their music. Their lyrics, which can be downloaded from their website, are modern and thoughtful, giving an added reason to listen.
Another outstanding performance for me was the Lluis Gomez Bluegrass Quartet, a truly European project. Spanish banjoist Lluis Gomez had assembled a group of equally wonderful musicians: Mirabel Rivero on double bass, Ondra Kozák (CZ) on guitar, and Raphaël Maillet (FR) on violin. A brief but intense thunderstorm caused a temporary interruption during their soundcheck, just before their performance, but the quartet wasn’t deterred. Their repertoire was original and invigorating, firmly rooted in bluegrass yet beautifully infused with Lluis’s Hispanic heritage. Their live performance, featuring several special guests (Chris Luquette, Cory Walker), was pure joy—a celebration of sharing and receiving happiness, expressing their love for music.
Never before has a solo act been invited to this festival, but Stella Prince clearly belonged on that stage. Her performance was a hit, with the audience captivated by her unique sound and ethereal voice. Blending influences from Joan Baez, Joni Mitchell, and Judy Collins, Prince’s voice and guitar work were both mesmerizing and powerful. Her confidence and artistic depth make her a standout talent in modern folk music.
The Mary Lee Family Band (BRA) brought their hard grass genre from Brazil to Berlin, adding a unique flair to the festival. Their performance, with hard rock elements and a drum set, was loud and energetic, providing a distinctive edge to the bluegrass lineup.
The Alum Ridge Boys & Ashlee (USA) delivered authentic, gritty old-time country music from Virginia. Their performance provided a poignant conclusion to the festival, reminding everyone of the genre’s roots.
Bands not specifically mentioned include Stacja Folk (POL), The Boatswain Brothers & Pitch Hill Boys (GBR), Bluegrass Cwrkot (CZE), New Blue Quitach (FRA), Tricyclette (FRA), Blue Weed (ITA), Taff Rapids (GBR), Happy Heartaches (SWE), Mad Meadows (DEU), Cow Comino Train (FRA), Blue Lass (GBR), and Morgane (FRA). I saw them all, and they were all very, very good!
Community and Connections
What truly sets this festival apart is the strong sense of community that has formed around the music. Whether in the audience, at the campsite, or in local cafés, new friendships were made and old ones rekindled. Attendees agree: the festival is more than just a musical event; it’s an annual gathering of a global family.
A special thanks goes to the 270 volunteers who made the festival possible. Recognizable by their red festival T-shirts and happy faces, they came from the region, from farther away, and even from the USA to contribute to the success of the event. Their tireless work, from logistics to visitor care and artist support, was greatly appreciated by all.
With so many locals involved, it’s clear that since the festival’s beginning an entire generation has grown up in La Roche-sur-Foron for whom bluegrass music and this festival have become an integral part of life each year. And that is quite an achievement within Europe, not to be underestimated!
Workshops and Side Events
A key part of the festival is the three-day workshop led by Gilles Rézard, featuring instructors from the USA and France. Over 120 participants showcased their skills in a grand finale on the opening night on Thursday evening.
Another highlight was the Kids on Bluegrass Europe program, led by Ti’Pierre from France, co-founder of Jam Hall and KOBE (Kids on Bluegrass Europe), along with Thomas Marinello (France) and Ross McKerrell (Scotland). The program gave the youngest festival-goers the opportunity to immerse themselves in the world of bluegrass and develop their musical skills. The highlight was the Saturday midday concert, where the young musicians showcased their skills to an enthusiastic audience. At the end of the concert, the participating children were awarded a certificate of participation, which was a particularly proud moment for many of them.
Numerous professional luthiers and musical accessory distributors were showcased in the dedicated luthiers expo hall, offering high-quality instruments and accessories. Iva and Rosta Čapek from Prague (CZ) were present with their camper full of beautiful instruments. Other luthiers at the exhibition were Bulas Banjos, who generously donated a unique, custom-decorated banjo for the Bluegrass in La Roche festival. The banjo was auctioned during the festival for €1,500 and purchased by Guy Cholez. He surely will enjoy many years of use from this exceptional instrument.
The village market and second-hand book and music album market offered a range of goods and souvenirs, adding to the festival’s charm.
Food and Drink
Of course, the festival wouldn’t be complete without good food. The food street, operated by numerous volunteers, offered a variety of local and international specialties, eagerly enjoyed by the attendees. Favorites included Croziflette, Jambalaya, and Chili con Carne, all cooked in giant pans over an open fire. And – oh, the crêpes!!! As usual, the local shops and restaurants of various tastes in La Roche-sur-Foron likely benefited from the influx of visitors, many of whom enjoyed wandering through the picturesque streets where jam sessions were held at every corner almost around the clock.
Conclusion and Looking Ahead
The 2024 edition of Bluegrass in La Roche was a resounding success, combining excellent music, a warm community, stunning surroundings, and great weather. Christopher Howard-Williams, Didier Philippe, and their team created a truly magical event. As we look forward to the 2025 20th anniversary edition, the memories of this fantastic weekend will be cherished. The festival’s fans, signed CDs, and souvenirs will keep the spirit of Bluegrass in La Roche alive until next year.
This story about the wonderful work of the Orange Army in Kentucky is a contribution from David Carroll of Hammertowne. Photos were taken by Michael Boggs.
The typical choice of battle uniform colors for most armies is not orange. But then again, the Orange Army isn’t just any army. Their enemy is the dreaded “C” word, and they fight it with a veracity and passion that would make any adversary want to retreat.
The first weekend of August, the 2nd annual Orange Army Bluegrass Festival took place in Olive Hill, KY with the mission of raising awareness and funds that will go directly to assist cancer patients in and around eastern Kentucky and beyond. Lasts year’s inaugural festival raised $30,000 that was distributed in $1,500 increments to twenty-one patients to help offset the expenses that come with fighting this dreadful disease, be it for fuel and transportation to and from treatments, food, housing or loss of income.
This year they raised over $40,000 and counting in only its second year, the first at a new location. Why you ask? Here’s why. Festival Matriarch Shelia Porter was diagnosed with breast cancer three years ago. The bluegrass music family circled the wagons and organized a fundraising concert to help offset the expenses of her treatment.
Sheila explains…
“I had never been on that end of the help, and to be honest, didn’t quite know how I felt about it. But one thing that I knew was that I wanted to use my platform, and pay forward the love and support that I had been shown to others who are fighting the same battle. So together with my crazy, motivated, loving husband, Robert, and a lot of help from a lot of wonderful people, we started out on this journey that is the Orange Army Bluegrass Festival.
There is so much hard work that goes into this by so many wonderful people. But they are willing to do whatever it takes to make things happen. They are just the most selfless people ever.”
Shelia’s husband and festival organizer Robert (Sleepy) Porter adds…
“These people are amazing. So many people have stepped up to help in a big way. From the businesses and individuals who have contributed financially to the all of our Orange Army Volunteers. They’re the most amazing and selfless group of people I’ve ever known.
This is what Shelia wants as a part of her legacy, and with the help of this Army of supporters and friends I am going to make sure that it continues.
Now we begin the planning for 2025 to make the festival bigger and better than this year. But the mission is the same – to raise all the money we can to help those that need it!”
More than 15 bands pumped out great sets of bluegrass music from Thursday’s opening act, Solid Ground, to Saturday night’s grand finale with Hammertowne, and a ton of top tier acts in between. Next years Orange Army Bluegrass Festival will be held July 31-August 2 at the same location in Olive Hill Kentucky.
You can find out more about the festival by visiting them online, or on their Facebook page.
This report is a contribution from Vicki Dean, who retired in 2016 as digital editor of the Sarasota Herald-Tribune in Florida. A lifelong bluegrass music fan, she resides in the Blue Ridge Mountains of north Georgia, and is a native of West Virginia.
Bluegrass music returned to Blue Ridge, Georgia, on Saturday at the first Ridge Jam. The one-day event featured top national bands and a collection of North Georgia-area bluegrass acts.
Authentic Unlimited brought a contingent of fans and made a slew of new ones by playing big hits like Fall in Tennessee, Hannah, and Big Wheels, along with bluegrass and country standards like Can’t You Hear Me Calling and The Lonesome River. The band showcased stellar vocals that were powerful yet smooth.
Junior Sisk’s band performed his hits, including He Died a Rounder at 21 and Load the Wagon. Heather Barry Mabe and Red Camel Collective ended both of Sisk’s shows, showcasing her vocals and the band’s musicianship.
Russell Moore & IIIrd Tyme Out closed out the event with a 90-minute set, packed with hits from the past three decades. Ridge Jam was only a short jaunt up the road for Moore, who lives near Cumming, Georgia. The six-time IBMA Male Vocalist of the Year shined on the hit single Bluegrass and gospel tune The Eastern Gate, sending spine-tingling harmonies echoing through the mountains.
Also performing were Retro 78, Appalachian Smoke, and local bands Scenic Drive and Mineral Bluff Revue.
Event photographer Laci Mack documented the first Ridge Jam with videos and still images. You can see all her work on Facebook.
Chris Pope, a local builder and music lover, founded the event with Brad Kaylor, who plays bass in up-and-coming band Retro 78. The Blue Ridge natives hope to make Ridge Jam an annual event that brings mountain music back to North Georgia.
“When I was young, we were fortunate to have a bluegrass festival to attend each year at Sugar Creek Music Park,” Kaylor said, reminiscing about the event produced by Vida and Jean Cox that featured national and regional touring bands. “To me, it was the same as attending a mainstream music festival for young folks today. Getting to see my music heroes perform live and meeting and talking to them blew me away as a child. I want our community to have the opportunity to experience a bluegrass music festival.”
Pope and Kaylor are already planning Ridge Jam 2025, with the intent of expanding into a two-day event August 1-2. They are also exploring nearby venues that could offer camping.
Follow the event’s Facebook page for updates, or call Kaylor at 706-455-9265.
