Bluegrass Today Profiles Archives

Bluegrass Beyond Borders: Taff Rapids brings Blŵgras to Wales

While Welsh is a decidedly different language from the English spoken throughout the rest of the UK, and in the US, music serves as a common connection. Taff Rapids, a bluegrass band hailing from Cardiff in Wales, has proven that point courtesy of their unique blend of bluegrass and its rich traditions. Comprised of seasoned musicians Darren Eedens on banjo, Sion Russell Jones on guitar, David Grubb on fiddle, and Clem Saynor on double bass, the quartet brings a fresh perspective, courtesy of the infusion of their Celtic influences into a style which they refer to as “Blŵgras.”

“We started this band initially as a way to see more bluegrass in Cardiff,” Eedens explains. “I am originally from Canada, and I loved how many bluegrass/country gigs there were to attend in Toronto where I lived. I felt like the Welsh capital needed something similar. So thanks to a friend who ran a pub called Bubs, we were able to start Cardiff’s first bluegrass brunch. We cut our teeth while folks had their bacon and eggs. I had met Dave in a jam years prior, and after a call out on Facebook, Sion was quickly brought around for a jam. We started as a trio, later bringing Clem into the picture and completing the vocals and the instrumentation. We were doing three sets every Sunday very shortly after starting the band, and this gave us the chance – I.e. forced us — to build up a repertoire quickly. As we are all songwriters, we then had the chance to start testing out new originals, concepts, and directions for our sound. Those early days really got the ball rolling and shaped us.”

Eedens goes on to liken their sound to a transatlantic session. “We bring our very different influences together, combining the traditions of Welsh/Celtic music and bluegrass,” he continues. “We quickly realized the similarities between those styles, and found the room to adapt many Welsh traditional fiddle tunes. As we started building up our set, and giving tunes our own spin, we started incorporating the Welsh language. We knew we had a special side to this project, and soon after we took on the term ‘Blŵgras’ as our description of the genre. It’s just like bluegrass, but a bit more Welsh and a bit more our own.”

That’s not to say the band hasn’t dabbled in other forms of musical expression as well. “We’ve all written and performed in such a wide range of styles, from jazz to country, pop to Scottish folk, indie rock and classical,” Eedens said. “I think that once we started to let our guard down, all these things came together in a way that really created a variety in the sound of our music.”

According to Eedens, there was plenty of variety in their musical upbringing, especially as far as their early influences were concerned.

“We all come from very different musical backgrounds, which I think has helped us develop our sound,” he noted. “In bluegrass, we spent a lot of time listening to the greats, ranging in different eras, like Flatt & Scruggs, The Bluegrass Album Band, Tony Rice, Bela Fleck, Molly Tuttle, Punch Brothers, Michael Cleveland, and Billy Strings, to just to name a few. We’ve taken much time analyzing every lick they play, much like everyone does. We love that there is always something to learn, even with a song you’ve known for years. The recordings and players out there today are doing so many great things, so that every time you put on a record, there is inspiration and influence. We have listened to Bluegrass ’95 so many times, we might be wearing the album out!”

Nevertheless, their efforts have clearly paid off. In 2023, Taff Rapids was invited to perform at the IBMA World of Bluegrass Showcase, marking a significant milestone. That was followed by a successful Canadian tour. Meanwhile, their compelling live performances, replete with rich harmonies and instrumental acumen, continue to attract audiences across the UK and Europe.

In addition, they’ve garnered regular radio play on BBC Radio, live performances on BBC Radio Cymru, and features on BBC S4C television. In the coming months, another Canadian tour is planned, including an appearance at Folk Alliance International in Montreal.

Their other festival appearances have included La Roche Bluegrass in France, UK bluegrass festivals such as Gower Bluegrass, Didmarton Bluegrass, and Battlefield Bluegrass, as well as various non-bluegrass gatherings. Their festival plans in 2025 include Focus Wales, Rotterdam Bluegrass, Bluegrass Festival Bühl, and Festival Interceltique de Lorient, which Eedens cites as the largest Celtic festival in the world.

“We still maintain a local monthly residency at the brewery bar Tiny Rebel in Cardiff City Centre, while maintaining our original goal of the band…which is to share more bluegrass,” Eedens said. “But we are also regularly out on the road. We have multiple tours booked that will take us places like France, Belgium, Netherlands, Germany, and Switzerland in the coming months. We will be pushing our album throughout the year, starting with a sold-out show here in Cardiff, and ending the year with a UK-wide tour.”

The album he refers to is due in March, and titled, naturally enough, Blŵgras. “We perform a musical mix,” Eedens insists. “Some shows are entirely originals, and our residencies consist mainly of traditional tunes and covers. The album consists almost entirely of originals, sung in both English and Welsh with a special Welsh trad track in there titled Dacw ‘Nghariad. Often what we do is blend Welsh traditional music with better known American fiddle tunes. Some of our favorites include Cherokee Shuffle, Jerusalem Ridge, and Monroe’s Hornpipe. But we also throw in some singing, with favorites like Big Spike Hammer, Tennessee Waltz, June Apple, etcetera. We keep swapping out and adding new ones, and our monthly gig is a good way to do it! We regularly do two sets, so given a full album and a good size back catalogue, we have a lot of variety, and we’re able to change the set up often.”

Happily then, the band has been well received.

“It’s been quite wild to see the response to our brand of bluegrass,” Eedens added. “I think the Welsh language element has really brought Welsh speakers to our music. People love Wales, and they love bluegrass, so bringing those two things together has been a lot of fun, and I think that’s attracted people to it.… particularly when we have taken a slow choir-style traditional song, and turned it into an upbeat singalong with fiddle solos and barn burning. Everyone knows the words, but they’ve never heard them like we do it. I also think it has shown a lot of people here what bluegrass is all about. We often have people who have never heard a banjo tune before, but when they stumble across our residency, they stay for the whole show.”

Consequently, Taff Rapids has ignited a lot of interest. “We have this strong support,” Eedens said. “Our fans seem to be just as excited for our travels as we are, and they show great support by sporting Blŵgras tee-shirts, and spreading the word. We have literally shown up to play a bar in Canada, and have groups of Welsh people come out because their family, which lived in Wales, has told them to come!”

In that regard, Eedens has no doubt as to why bluegrass enjoys such widespread popularity.

“There is something about bluegrass, and I almost wonder if it can be described,” he suggests. “I can remember the first time I heard it — the drive, the pulse, the feeling, and the power of the acoustic music and vocals. I think that’s one of those things where people don’t just like it, but truly fall in love with it as well. For us, it is also a source of endless learning — the way the new players are pushing the boundaries and the way you can always find something new in someone else’s version of a piece. That way, you never get tired of it.”

There’s more to it as well, he said. “I think it also has such a strong sense of community, from the culture of jamming to everyone being on the same level,” Eedens continued. “It’s much like jamming in pubs here, where we often just practice sitting around a table in a local pub. It truly crosses culture and language. We can just sit and pick together, regardless of where we are from. I think that regardless of age, people could have listened to the music their whole lives and then decide they want to try and be a part of that. Then they learn to play an instrument… it is truly something to be a part of in a way that I think is truly special with bluegrass music…and we are grateful to be a part of it too.”

Bluegrass Beyond Borders: Fat Moose is a Swedish reunion

Fat Moose’s handle may seem somewhat self-effacing, but for a band that hails from Sweden, it’s likely meant to be more descriptive than disparaging.

The band — Jens Koch (banjo, vocals), Jimmy Sunnebrandt (bass, vocals), Erik Igelström (mandolin, vocals), and Erik Lund (guitar, vocals) — make their home in Stockholm, with the exception of Sunnebrandt, who lives about two hours north in the town of Torsåker. According to Igelström, the band can trace its origins back several years when he, Sunnebrandt, and Koch, along with lead vocalist Christoffer Olsson and dobro player Tobias Strömberg, were in a band called G2, short for G2 Bluegrass Band. The band enjoyed a successful run between 2005 and 2016, and, for a time, toured the US while briefly based in Nashville.

“We parted ways in 2016 on the best of terms, with each of us pursuing different musical projects, often outside the bluegrass genre,” Igelström says. “About a year ago, Erik and Jens had the idea of starting a new band with the goal of playing at local venues in Stockholm. They reached out to me and Jimmy, and we quickly found a shared excitement for the project. What began as a fun way to play local gigs quickly grew beyond our expectations. Word spread, and soon we were invited to perform at festivals across Sweden and Denmark. Looking ahead, we’re excited to expand our reach to Norway and Finland this year, and who knows what will come next after that?”

Igelström describes the band’’ sound as traditional bluegrass. “We think bluegrass connoisseurs would agree,” he continued. “That said, we’re excited to see how our sound evolves as we begin writing and incorporating our own original material. Who knows where that journey will take us?”

Not surprisingly then, their influences are firmly etched in basic bluegrass, with Tony Rice, Sam Bush, J.D. Crowe, Del McCoury, and Earl Scruggs chief among the iconic figures that inspired them early on. “Those legends have profoundly shaped our sound and approach to the genre,” Igelström insists. “We also draw inspiration from modern bands and artists who continue to push the boundaries of bluegrass, among them, Sierra Hull, the Punch Brothers, and East Nash Grass.”

“Their work inspires us to embrace both tradition and innovation in our music.”

Fat Moose has only been active for about a year, and, as a result, haven’t had the opportunity to play widely up until now. “However, our journey is just getting started,” Igelström adds. “And so now, we’re looking forward to performing for more audiences in the near future.”

Nevertheless, individually Koch, Igelström, and Sunnebrandt did have an opportunity to participate with Dan Tyminski in a live performance known as Avicii gala, an event initiated by the late Swedish deejay and producer of the same name that took place in Stockholm in December 2023.

Igelström added that while they have yet to record, their live performances have been very well received. “People have shown an excitement for us playing music together, and to have a new group on the scene over here,” he said. “Of course, that’s fun, and it’s been nice to not only reconnect with old friends, but also to have new crowds, most of them new to bluegrass, at the local gigs we’ve played.”

He added that the group is mostly playing covers now, but they intend to start composing original material as things progress. “We’ve played a slew of traditional songs, some from the artists mentioned above,” he continued. “We mix them with some newer songs by bands like East Nash Grass, for example.”

He also has a theory as to why bluegrass music maintains such international appeal.

“Bluegrass is a friendly style of music and it’s easy for folks to get excited about it,” he maintains. “That’s especially true in a live context where acoustic craft is displayed, which is something the listener can relate to due to its authenticity. Perhaps they see it as a nice alternative to the mainstream sounds and the digital music that’s so widely popular today.”

Kenny Cornell – Walnut Valley’s winningest songwriter

Kenny Cornell, a celebrated singer/songwriter, has made waves in the music industry with unparalleled talent and dedication to his craft. Hailed as the winningest songwriter in history at the Walnut Valley Festival in Winfield, KS, Cornell’s musical journey is a testament to his passion for creating impactful music that resonates with audiences worldwide.

“I ended up at Winfield two times by mistake,” said Cornell. “It was in 1972, and I was working as an advertising account executive. I didn’t even own or play a guitar. In 1973, I found myself back at Winfield during the festival.

At 25 I attended Winfield on purpose, and found myself playing with a group, standing in the road.”

In 1973, a 1962 mint green Chevy Bel Air station wagon with a New Jersey kid sitting on a cooler playing guitar was parked, and Cornell didn’t even know what flatpicking was. But those licks caught his attention and excited parts of Kenny that he didn’t even know existed. Ever since, Cornell has not missed an opportunity to attend the Winfield festival this past 52 years. With over 40 years of songwriting championships now under his belt, Kenny laughed when asked about his first song. “You’ll never hear it and no one else will either.”

Kenny refers to himself as an imperfect songwriter, but those who have heard him will offer high praise. He says that listening to Cat Stevens, John Prine, Jimmy Buffet, and Jerry Jeff Walker laid the path for skillful writing and composing he would follow.

Cornell writes stories that “make you laugh, and make you cry,” often in the same song. A furious worker, one time he wrote 18 songs in three days in the comfort of his living room.

In 1988, Cornell entered at Winfield for the first time. Inspired by that first unplanned visit to Walnut Valley, and by the sounds of bluegrass and folk music that have filled the air for over 50 years. It was that passion that fed the fire for Cornell. Then in 1992, Cornell moved to Nashville to run with the big boys, and follow his newfound dream of becoming a songwriter. Tom Collins picked Kenny up as a songwriter, and his love for music and the skills of letting mind and pen flow, grew rapidly. By June 1995, George Jones & Tammy Wynette had released It’s an Old Love thing, with lyrics from none other than Kenny Cornell.

With tears in eyes, and a sincere apology for getting so emotional, Kenny shared…

“I had a friend at Winfield that had passed away and it touched me. I wrote Missing [Missing Faces], as a way of tribute to him. A guy came to me and said, ‘There’s this lady who wants to see you.’ This lady had a baggie of her husband’s ashes, and told me that she too was missing ‘missing’ faces. I write songs that affect people.”

That affect has held on strong as Kenny has been recognized for over 40 years at Winfield, in several different categories. In 2024, Kenny and Elliott Rogers were recognized for their humorous song, Your Problem Now, and Kenny was given an achievement and special recognition award for being the winningest songwriter ever in the competition there.

Kenny and his wife, Rosie, reside in Broken Arrow, Ok, which is a suburban city near Tulsa. Rosie is a well known bass player and instructs at many camps. After 24 years, the pair can be found camped at many festivals throughout the Midwest. Their favorite however is Winfield, and the Walnut Valley Festival.

He says that his passion for storytelling through music blossomed as he performed at local venues and festivals, captivating audiences with his raw talent and heartfelt lyrics. It was clear from the start that Cornell was destined for greatness, with his unique blend of traditional roots and modern influences setting him apart as a songwriter in the music scene.

Bluegrass Beyond Borders: France’s Watson Bridge

Jean-Paul Delon, half of the French duo known as Watson Bridge, finds more than a hint of inspiration for his music within the environs he calls home. “We live in France, in the old mountains named Massif Central,” he explains. “Our landscape looks a lot like the Appalachian mountains, particularly in the state of West Virginia.”

Delon, who sings and plays guitar, and partners with lead vocalist and guitarist Isabelle Groll, says Watson Bridge are longtime members of the French bluegrass community. “Isabelle started playing bluegrass thirty years ago in the band Crazy Buffalo,” he explains. “I’m a member of the band Bluegrass 43, active since 1977. We used to jam together, and then we decided to form a duo in 2010. Since then, we’ve played more than 150 gigs in every part of France and in Switzerland. We’ll play in any venue — in bars and restaurants, concert halls, or for private events. We’ve also played some major festivals — Bluegrass in La Roche — three times on the main stage and many times for the street festival — five times at EWOB in the Netherlands, and twice at Herbe Bleue. At the big festivals, we often perform as a quartet, with double bass player Florence Chapuis and French mandolinist extraordinaire Dorian Ricaux.”

Asked about their influences, Delon claims that the two first started listening and practicing American music fifty years ago. “The man who touched us most, emotionally speaking, was Doc Watson,” he adds. “Though we are not a cover band as far as his repertoire, we wanted the name of our duo to pay homage to him. As young adults, we grew up listening to the classic sounds of bluegrass like Bill Monroe, Flatt & Scruggs and the Stanley Brothers, but soon we were attracted to progressive artists like Seldom Scene, New Grass Revival, and David Grisman.”

Nevertheless, Delon claims things began to shift once he and Groll began working together as a duo. “The influence of singer/songwriters became prominent, first for the intense poetry of the lyrics and second for the sound of a one-man band or duet,” he said. “Our current heroes are Darrell Scott, Kate Wolf, Gillian Welch, Peter Rowan, the Milk Carton Kids, and Watchhouse. Another major influence is Kathy Chiavola, who is a model for the beauty of the voice. Isabelle can sing high, and Kathy’s interpretations fit naturally in her range.”

Even so, Delon said the two had certain challenges they had to overcome.

“First, we had to accept the fact that it is impossible to play real bluegrass music with just two voices and two guitars,” he conceded. “Working as a duo is a wonderful experience where everyone is more upfront than in a band, but we can’t count on the fiddler or mandolinist to make the song shine from the beginning till the end. So we work hard to create interesting arrangements for each song, with beautiful intros or endings, changes in colors, rhythms, or keys, twin instrumental breaks, and original vocal harmonies that fit the song. Along the way, we learned how to produce a full sound with only two guitars that can complement each other, often with the use of capos in different places. I frequently use a baritone-tuned Martin, giving extra bass notes and separating the ranges of the two instruments. We believe that the audience deserves to hear music arranged as well as possible.”

“Second, in nine out of the ten gigs we play, a typical French listener has never heard about bluegrass, nor is fluent enough in English to immediately understand the lyric’s poetry. As none of us are good at writing songs, we soon decided to be as eclectic as possible about the cover repertoire we choose. Our set lists always contain a swing number or two, an occasional pop song, a Mexican love song, or a baroque piece. A typical concert by Watson Bridge is maybe seventy percent folk, bluegrass, and Americana-rearranged covers, and thirty percent musical surprises. French audiences respond very well to this eclecticism, and no one ever tells us that ‘everything sounds the same’.”

Delon went on to explain Watson Bridge’s impetus was more than a product of its initial influences. “We have a deep respect for the bluegrass giants who paved our way, but sometimes we like hijacking the old standards,” he continued. “For example, our version of On And On keeps Bill Monroe’s lyrics, but uses a Latin groove that carries the melody of Sting’s Fragile, just because the first words of his chorus are ‘on and on.’ It was a lot of fun to imagine, and it works. This creative process is very important for us, and we spend a lot of time thinking of what a new song could sound like. Many ideas end up in the trash bin, but we know when we have found the one that works. Isabelle’s artistic intuitions and feelings are always spot on for the music. I have a solid background in different styles and harmony, and so our duo is always experimenting with new ideas, while keeping a creative and open mind.”

Those ideas have come to full fruition through the band’s recordings. “In 2020, we released our first album, titled Orion, named after Isabelle’s cat,” Delon recalls. “We received very good reviews from the French bluegrass community. The album often presents a full band sound, because we invited eight excellent friends from the French bluegrass community to play banjo, mandolin, fiddle, bass, and dobro on some tracks, and also to sing harmony with us. We are currently working on our next album, and hope to release it in the spring.”

Naturally, Delon has his own option on what gives bluegrass its universal appeal.

“Bluegrass is not very popular in France, at least in terms of mainstream TV, radio, big tours and concerts,” he concedes. “It’s not a problem for us, because we think that on a small scale, it’s as alive and solid as ever in our country. The French bluegrass community gathers every fall in Vichy, thanks to FBMA — the French Bluegrass Music Association — and this year, we had 120 pickers. Our feeling is that a big festival like Bluegrass in La Roche helps a lot when it comes to creating new listeners and eventually new pickers. Watson Bridge was amongst the founding members of the one weekly bluegrass jam in France, at the Antidote Pub in Lyon, and we have played there quite often since 2011. We saw many young pickers come out of this jam. Plus, American pickers visiting France are always welcome there. Ten years ago, we thought only people in their 50s liked to play bluegrass in France, but today, we see a growing interest from young people, and they actually learn much faster than we did during the ’70s.”

A Berline & Hickman timeline from Bette Berline and Sue Hickman

Byron Berline and John Hickman are two distinguished figures in bluegrass music, each carving out their unique paths in the industry. Berline, known for his virtuosic skills as a fiddler, and Hickman, a talented banjo player, captivated audiences with their exceptional talents and collaborative works.

Recently I spent the day with their wives, and we waltzed through their musical journeys of and daily lives, explored their individual careers, and shared projects and the lasting impact they have made on the music world. Join me on a journey through the lives and music of Byron Berline and John Hickman.

As I drove North on I-35, I played through my mind, how I was going to “do this interview;” but it was to my astonishment that I was so nervous. I was fortunate enough to hang out with both of these musicians and their families many times, but had never been to the Berline home.

Pulling into the semi-circle driveway my heart was pounding and my hands were sweaty. But then I was greeted with Bette Berline’s smile, and I entered her childhood home. Bette’s father was a physician in Guthrie, OK, and after her parents’ passing, she and Byron moved into the house she had grown up in. The home itself was more like a museum of her and Byron’s life.

Upon entering, to my immediate left was a curved couch, and the piano that played a vital role in Bette’s childhood. As I sat at the breakfast table, with my heart still pounding, I began to relax and listen, but i was probably sitting with my mouth agape. I didn’t ask a lot, but I sure learned plenty.

Ever wonder what a day in the lives of musical maestros Byron Berline and John Hickman looks like? The two spent their later years working together at The Double Stop Fiddle Shop. Picture this: mornings brewing coffee to the sound of fiddles tuning, afternoons jamming away in the shop, and evenings winding down with some good ol’ bluegrass tunes. Yup, that’s the kind of day these two legends thrived on.

Bette and I and Sue Hickman sat at the table with a breathtaking view of the back yard. I sat across from Byron’s empty chair, the exact spot where he would eat his meals. Bette shared with me that, “Byron allowed me to do what I loved.”

Breakfast was a topic we went over. “Byron always had a bowl of cereal for breakfast, with ½ of a banana. He always wanted to use the whole banana but I would tell him you get the same taste with ½,” she grinned. Sue chimed in, ”John loved grits, waffles, and fried eggs. His eggs couldn’t be jiggly or runny.” The ease of listening was taking away the nerves by now, and I leaned back in the chair eager to know more.

Reaching behind her, Bette picked up a box chocked full of memories, as she and Sue began walking down memory lane with me tagging along.

Here’s a timeline they shared of Berline and Hickman’s musical contributions:

1965 – Byron recorded Pickin’ and Fiddlin’ with The Dillards. He also met Bill Monroe at the Newport Folk Festival and was offered the chance of a lifetime, to join the band, but Byron turned it down to finish his education at Oklahoma University.

1967 – Graduating from the University of Oklahoma with a teaching degree in Physical Education, Berline succumbed to his love for bluegrass music and joined Monroe and the Blue Grass Boys in March, replacing Richard Greene. He recorded three instrumentals with them, including Gold Rush, which Berline and Monroe co-wrote, and which has become a jam session standard. Berline left the group in September 1967 when he was drafted into the Army.

1969 – Two years later, Byron was discharged from the Army and moved his family to California later that same year. It was a time when bluegrass hit the West Coast, and did it ever. Much like a tsunami, Berline tossed the traditional west coast music on its ear.

1971 – Byron joined The Flying Burrito Brothers, recording two albums, Last of the Red Hot Burritos (Live) and Six Days On the Road: Live in Amsterdam. After the Burritos’ breakup, Berline briefly worked with Stephen Stills’ band Manassas (which also included several other Burritos alumni) contributing to several songs on their debut album.

1971 – Berline met John Hickman at a lumber yard in California. Hickman’s career is punctuated by memorable performances and collaborations with top musicians in the bluegrass and country music community. His dynamic playing style and commitment to his craft have earned him a well-deserved reputation as a banjo virtuoso.

1972 – Together with Alan Munde, Kenny Wertz, and Roger Bush, Berline formed the band, Country Gazette.

1976 – Berline joined guitarist Dan Crary, banjoist John Hickman, and others to form Byron Berline & Sundance. A young Vince Gill later joined the band on mandolin. Bette shared, “While in California, there were jams, gigs, and pickin’ parties held in our garage, which was now called the music room. Vince Gill came to audition for Sundance. He actually lived with us for a while. Byron had first heard Vince at a festival in Kentucky, and knew that the young Vince was from the Oklahoma City area. So on our next visit to Oklahoma, Byron took out the telephone book and thumbed through the Gills. Only finding three Gills in the phone book, Byron started dialing and was successful in locating Vince.”

1979 – Berline had a small role as a country musician in the film, The Rose.

1981 – Berline again collaborated with Crary and Hickman, forming the band Berline, Crary, and Hickman (BCH). Berline and Hickman joined forces on various projects, blending their unique musical talents to create captivating performances that showcased their exceptional chemistry and skill. Their collaborations have produced timeless music that continues to resonate with audiences worldwide.

A subsequent line up also included Steve Spurgin and John Moore. That band later became known as California, who were named the International Bluegrass Music Association Instrumental Group of the Year in 1992, 1993, and 1994.

1995 – The Double Stop Fiddle Shop opened when Byron and Bette, and John and Sue, moved to Guthrie, OK. The Byron Berline Band was formed upstairs in the music hall. That small stage housed some of the elite musicians that would drop by to visit with Byron and Hickman. The Double Stop became known as the place to jam, listening to the stories as Byron and John would reminisce about their lives together. The Double Stop may have held the title of one of the most popular bluegrass music stores in the world. Hickman was the luthier, and taught lessons here.

1987 – Berline appeared briefly playing violin in the first-season episode of Star Trek: The Next Generation, Where No One Has Gone Before.

1997- OIBF (Oklahoma International Bluegrass Festival) was founded. Artists from around the world have graced the Berline stage over the years, such as Earl Scruggs, Ricky Skaggs, Sierra Hull, and international artists The Kruger Brothers, and many more.

April 2019 – A devastating fire destroyed the Double Stop Fiddle Shop, burning it to the ground.

July 2019- Berline opens Byron’s Fiddle Shop

May 2021 – John Hickman passes away after several years of ill health.

July 2021 – Byron passes away following a stroke.

December 14, 2024 – Final Show at Byron’s fiddle shop

January 2025 – Byron’s Fiddle shop closes permanently as a brick and mortar store. Retail sales will continue on by appointment only. Contact Bette Berline, or Becca Berline via Facebook.

As our day was wrapping up, Bette took a seat at her piano, with myself sitting on the couch, and said, “Byron always sat there and listened to me play.” She played a beautiful waltz that she also played (recorded prior) at at her husband’s funeral service in 2021. “We always ended our day here,” as she sat on the mid-century loveseat, “and we watched the news.”

As I gathered up my things, Bette asked, “Have you been to the cemetery?” With an answer in the negative, she climbed into my Jeep and we drove to the cemetery north of town about a mile. Upon arrival, she walked up to her parents’ last resting place. Just north of there, is where Byron is laid to rest.

Beyond the melodies and harmonies lies a legacy of innovation and influence in bluegrass music. Berline and Hickman have left an indelible mark, reshaping the bluegrass landscape with their unique blend of tradition and innovation. Their contribution extends far beyond the notes they play, inspiring generations of musicians to push boundaries and follow their creative muse.

Every year the town of Guthrie awakens in December with a Victorian Walk. In the original Double Stop was housed a huge plate glass window, and you could always find the Berlines sitting in that window for those who walked the downtown area. This December the curtain has fallen on the fiddle shop as a day-to-day operation. As the metal sign will be removed from the building front, the memories will forever linger on.

In true Christmas fashion, Berline would always end his shows with Christmas Time’s a Comin‘ in December.

New things await the surviving Berline family in 2025.

Bluegrass Beyond Borders – New Blue Quitach is a French treat

New Blue Quitach at Festival La Roche 2024 – photo © Emmanuel Marin

Having originated in the south of France, specifically in the Nîmes region located between the Mediterranean and the Cévennes Mountains, the group that refers to itself as New Blue Quitach has become one of their country’s foremost bluegrass bands. As such, the musicians pride themselves on striking a balance between a traditional template and a modern motif. They put an emphasis on four-part harmonies, but integrate other disparate elements as well, including Irish melodies and hints of rock and blues. In the process, they offer unique adaptations of songs spawned from their native environs.

The group — which currently consists of Erick Millet (banjo, vocals), Benoît Robbe (guitar, lead vocals), Bernard Minari (mandolin, vocals), and Jean-Paul Jamot (bass, vocals) — has performed at any number of prestigious European gatherings, among them, the Toulouse Festival, the Country Rendez-vous, Paloma in Nîmes, the Nice American Music Festival Pézenas Country Festival, and, most recently, the La Roche Bluegrass Festival and the Al Ras Festival in Barcelona, Spain.

We here at Bluegrass Today took note of the latter. “The Al Ras Bluegrass and Old Time Festival 2024 was a true celebration of music, community and culture… spanning four days in different venues across Barcelona….Friday’s events at La Sedeta were a testament to this unity. The French bluegrass band, New Blue Quitach, put on a remarkable show, demonstrating once again the cross-cultural cross-pollination that makes this festival unique. After the show, the musicians went down to the bar, where members of New Blue Quitach led the improvised cover of Country Roads, which resonated in the La Sedeta cultural center.”

The band has also released several well received CDs, and recently represented France at the Jam Thon event, as organized by the California Music Association.

“Although our latest album was delayed due to health issues affecting two members, the project is now back on track and will include original compositions in both French and English, as well as instrumental piece,” Robbe remarked.

Robbe isn’t an original member of the band, but he currently takes a prime role in its ongoing efforts. “Erick Millet remains the founder and pillar of the group,” he explains. “I joined the band a few years ago, followed later by Jean-Maurice Lassouque. The arrival of mandolinist Bernard Minari brought new energy to the group, as did the addition of Jean-Paul Jamot on bass, replacing Jean-Maurice who had to step back due to health reasons. Today, the band remains deeply attached to the traditional acoustic sound of bluegrass, at times enriched by the contribution of guest singer Nathalie Andruszczak.”

The band draws inspiration from such bands as Seldom Scene, Hot Rize, Lonesome River Band, and The Country Gentlemen, but so too, each member has his own personal proviso. Minari’s music is informed by Mike Marshall, Darol Anger, and David Grisman. Millet admires Earl Scruggs and Sammy Shelor, but is also a fan of Alison Brown. For his part, Robbe worked on guitar technique with Christian Séguret and François Vola.

The associations and collaborations don’t stop there. As a whole, New Blue Quitach has had opportunities to share stages with a number of notable artists. They’ve opened for international performers of high repute that include Claude Bolling, Sanseverino, and the Bruce Daigrepont Cajun Band.

“We also performed at the Craponne Festival the same year as Alison Krauss,” Robbe recalls.

“In addition, we played with Emory Lester at the Festival de Barjols and collaborated with Jean-Luc Leroux, a mandolinist from New Caledonia, during one of our concerts here in France. Plus, we performed alongside Canadian musicians Joey Wright and Jenny Whiteley to a sold-out audience at the Théâtre de Nîmes.”

It’s hardly surprising then that Robbe has a very definite opinion on why bluegrass has attained its international popularity, especially as it applies to the realms where he resides.

“Bluegrass is experiencing a true resurgence in Europe, with the emergence of talented musicians and promising young bands, particularly in France,” he insists. “In a world where music is increasingly digitized and standardized, the return to authentic sounds and acoustic music has become a necessity. New Blue Quitach fully embraces this movement, offering a pure sound and infectious energy, as evidenced by our acoustic concerts.”

He also adds an afterthought.

“Bluegrass music remains a genre with a unique discipline,” Robbe suggests. “It’s not always fully understood unless it’s actively practiced.”

Happily, New Blue Quitach makes it a point to do just that.

For more information on New Blue Quitach, visit them online.

Trey Hensley talks bluegrass and guitar pickin’

Trey Hensley in Edmund, OK – photo © Pamm Tucker

Walter Kelly with Atmospheric and the University of Central Oklahoma Jazz Lab in Edmond, OK hosted vocalist and flatpicker supreme Trey Hensley on November 22. I was fortunate to catch an interview with both Walter and Trey.

With over 40 years of guitar experience, Walter Kelley, a former band director of Rogers State University, set out to bring “good music” to all. Working directly with the late George Winston (1949-2023), renowned pianist, Kelley chose to be the exclusive agent for Dancing Cat Records, which opened a gateway to where Walter stands today, with his own production company, Atmospheric, which promotes shows in Stillwater, Oklahoma City, Edmond, and Tulsa. He shared his wisdom on building up a business in the arts, “Grow organically and don’t bite off more than you can chew. Do the little things well, they will add up to the big things.” One of the big things in 2024 was Hensley’s appearance in Edmond.

Trey Hensley is a guitar-slinging superhero that has taken the bluegrass world by storm. Hailing from the hills of east Tennessee, Trey’s musical journey started at a young age. Legend has it he strummed his first guitar before he could even spell “bluegrass,” which probably explains a lot about his rapid ascent in the music business.

It was at the Appalachian Fair in Gray, TN that Hensley’s dad pulled some strings and was able to introduce his son to Marty Stuart.

Hensley shared with me that, “I don’t know how Dad did it, but we got backstage. Dad told Marty, ‘My son wants to play his guitar for you.’ That’s exactly how the fairy tale began. It was around nine months later, when Marty called and invited Hensley to the Grand Ole Opry.

“I was just excited to get to go to the Opry. When we got there, Marty called me onto stage and I played Jimmy Brown the Newsboy. It was a surprise when Earl Scruggs walked on the stage,” said Hensley with a genuine grin.

That alone is an amazing story for a pre-teen, but it only gets better, as the stones were laid in place for a blazing hot trail for Hensley.

Just a mere 35 miles up the road from Hensley’s hometown of Jonesborough, TN, is Hiltons, VA, where The Carter Family Fold is located in the foothill of Clinch Mountains. Carter Fold, as it is generally described, hosts live music and jams and Hensley would attend as many of those jams as possible. That’s where he met the Man in Black, Johnny Cash, and his wife, June Carter Cash, who introduced Trey to Tom T. Hall in 2002.

At the age of 34, Hensley has over 20 years of experience performing on some of the largest stages in the world and with some of the most well known artists in the bluegrass and country genres of music. A remarkable talent in the bluegrass realm, Trey has received the prestigious honor of being named IBMA Guitar Player of the Year twice, with multiple additional nominations. This accolade not only solidifies his position as an expert in the industry, but also highlights his exceptional skills and contributions to the genre.

Through his musical journey, collaborations, and undeniable influence, Trey Hensley has carved a distinct path in the world of bluegrass, captivating audiences and earning the respect of his peers along the way. Since 2016, he has been one half of the duo of Rob Ickes & Trey Hensley, who tour all over the world performing their mix of bluegrass, country, and blues. There his guitar prowess and soulful vocals add a unique flavor that resonates with a wide range of listeners, from die-hard bluegrass fans to new enthusiasts looking for something fresh.

Let’s delve into the life and career of Trey Hensley, exploring the factors that led to his recognition as Guitar Player of the Year, and examining the impact of his music on the bluegrass community.

From picking up the guitar as a wee tyke to mastering the instrument like a true bluegrass professional, Trey’s journey has been a whirlwind of pickin’ and grinnin’. Influenced by legends like Tony Rice and Jerry Garcia, Trey’s sound is a unique blend of tradition and innovation. He’s collaborated with some of the biggest names in bluegrass, from Ricky Skaggs to Steve Martin, not to mention his duo partner Rob Ickes. Whether he’s shredding solos or harmonizing with fellow pickers, Trey’s musical partnerships have solidified his status as a powerhouse on the bluegrass scene.

From jaw-dropping live performances to critically acclaimed albums, Trey’s musical catalog is as impressive as his guitar pickin’ skills. Whether he’s onstage at the Grand Ole Opry or in the studio crafting a new masterpiece, Trey’s dedication to his craft shines through in every note he plays.

So, how did Trey snag the coveted title of Guitar Player of the Year twice? Well, it wasn’t just luck. Through a rigorous voting process that involved industry professionals, fellow musicians, and probably a few banjo players, Trey’s talent and passion for guitar showed him worthy of the recognition. Trey Hensley’s music brings a fresh perspective to the bluegrass genre, blending traditional roots with modern innovation.

Hensley’s talent clearly hasn’t gone unnoticed, as evidenced by the fervent support of his fans, and the industry accolades he has garnered. His ability to connect with audiences on a deep emotional level through his music has earned him a dedicated following, and critical acclaim within the bluegrass community and beyond, including a Grammy in 2016.

I asked, “Where do you keep your awards?” Trey answered, “Most are in cabinets, but the Grammy is upstairs on the mantle. It is never dusty,” he said as we both laughed.

Huss & Dalton Guitar Company announced their collaboration with Hensley in 2023, a signature model the Trey Hensley TD-R Custom. Only a limited number of these rosewood dreadnaught guitars will be built.

Hensley’s peers in the bluegrass music scene hold him in high esteem, acknowledging his remarkable skill, dedication, and passion for the craft. His respectful approach to tradition, coupled with an innovative spirit, has earned him the admiration and respect of fellow musicians, establishing him as a force to be reckoned with in the bluegrass community.

As he looks towards the future, Trey says that he will be doing more solo shows in 2025. It is evident that his legacy in the bluegrass community will endure for years to come.

California Report: Guitarist Ian Ly of Crying Uncle Bluegrass Band

Ian Ly is the 2023 National Flatpick Guitar Champion who plays with the Crying Uncle Bluegrass Band. He grew up in Santa Cruz, CA, has studied with Steve Palazzo and Jake Workman, and is currently studying Visual Communications Design at San Francisco State University. This young artist’s story has only just begun.

Hi Ian, can you tell us when you first started playing music?

I’ve played music since the fourth grade when I took piano lessons. I didn’t take to piano very much, but I think it laid down some important foundations.

When did you first start flat-picking?

I picked up the guitar in 2016 when I was in high school. I had started listening to some bluegrass, and actually took a few banjo lessons, but I really got hooked on guitar when I started taking lessons from Steve Palazzo in Santa Cruz.

Were you involved with California Bluegrass Association (CBA) Youth programs?

I was not! There wasn’t as much bluegrass going on in Santa Cruz at that time, and I didn’t start playing bluegrass until my teens, so I kind of missed out on it. I was kind of a bedroom flat-picker for a while there.

What instruments do you play?

I play guitar, and I can fake it on mandolin. I spent a while there trying to play more mandolin, but it didn’t quite take.

Tell us about studying with Steve Palazzo. How has he motivated you?

I took lessons from Steve for four or five years, until I moved out for college. One thing I like about Steve’s approach is that he has a deep knowledge of bluegrass/American traditional music history, and shares that knowledge. Steve really pointed me in the right direction around who to listen to, and what to listen for. Steve is very honest, so you know if he compliments you he means it, and that’s a great quality in a teacher.

Talk some about the bluegrass scene in Santa Cruz.

There was a small bluegrass scene when I was growing up, and there are still regular jams that go on. I used to be a regular at the Crepe Place jam on Soquel Ave. There are some great pickers, but they tend to keep to themselves. I played a lot with Hide Kawatsure, a great mandolin player in the area.

Congrats on winning the Walnut Valley National Flatpick Contest. You said you had been going for five years before you won. What changed in those five years that helped you finally win the title?

I got better. I think that’s the main factor in those contests, just working on your fluidity, musicality, and confidence. That and the judges. There’s no special contest technique that I know of.

Ian Ly – Walnut Valley National Flatpick Guitar Championship 2023 – 1st Place Winner

It was interesting that you had a mandolin backing you during the competition. Is that unusual?

It is unusual. Most contestants have guitar backup, but I find it tends to overlap a bit too much with my leads, and I just needed a timekeeper. That mandolinist, Scott Schmidt from Tulsa, OK, is a great player with rock-solid rhythm, so I asked if he would back me up.

Are you still participating in contests?

No, I don’t feel a need to. It was mostly just for fun, and a personal goal of mine. Maybe I’d do the RockyGrass contest if I ever make it out there.

What impressed me about you playing in the finals, beyond the obvious technique and tone, was how relaxed you were while playing in what must have been a high-pressure environment. How have you been able to do that?

I didn’t over-practice or over-prepare. I worked on those tunes for a week or two before that, and ran them once or twice the night before the contest. A lot of it was improvised. Having confidence in your improvisation and not being tied to an arrangement is a good way to clear those nerves.

That’s a nice-looking Collings Guitar that you won.

That is a great guitar. My main axe right now is a Bourgeois that I play with Crying Uncle, and I have a 1980 Santa Cruz Tony Rice that I mostly play at home, in duets, or at local gigs.

I enjoyed that song you sang, Ode to a D-18. How long have you been singing that?

I heard that song from the Norman Blake and Tony Rice album, and I’ve been singing it for a while. I figured it’d be fitting since I learned a lot on that D-18 that my parents gave to me as a high school graduation gift.

You seem like a natural fit for the Crying Uncle Bluegrass Band (CUBG). Have you known those guys for a long time?

Sort of, I met them in passing at the Father’s Day Festival in 2019, but I’d been following them on social media. They asked me to fill in on a few gigs for the 2023 Festival, and I joined a while after that.

Jumping in to an established group is not always easy. Has it been fun and/or a challenge learning their material and making it work?

Yeah, fun and definitely a challenge. Miles, Teo, and Andrew are such inspiring musicians, and playing with them has pushed me to keep improving, and keep pushing my musical boundaries. And it’s just a blast playing with them, which is the most important part.

Has the band’s traveling schedule impacted your studies?

I have to be more on top of my time management. During festival season we could be flying out and playing every weekend, so I have to make sure I have time to get work done in the hotel room or on the plane. I’ve been able to make it work so far, though.

Can you talk about the upcoming album and where folks can hear it? Did you have compositions on it?

Yeah, we have two singles out right now with more on the way. The album’s still in the mixing and mastering process, but it’ll be out next year for sure. I didn’t write any songs on it, but I do sing a cover.

We recorded it in five days with Adam Engelhardt at Sony Music Studios in Nashville. It was a totally new experience for me, and I really enjoyed it. We wanted to put our best foot forward and get some really good tracks out there. I think we accomplished that.

Roland by the Crying Uncle Bluegrass Band

You’ve done some travels with the band. Are there any highlights or fun stories you can share?

Recently we played in Livingston, Montana, and our hosts were kind enough to take us to Yellowstone. We saw hot springs, bison, and luckily no bears. Another time we missed a connecting flight and spent a night in the Minneapolis airport.

What is your process for working through any challenges you encounter musically?

I usually bang my head against the wall until I get it right. Everyone hits plateaus, but the best thing to do is not lose hope, and make an effort to set time aside for practice. Listen, learn things by ear, play with musicians who are better than you, and you are guaranteed to improve.

Do you see music as a full-time endeavor professionally?

I could definitely see it, and want to try being a full-time musician, but I’d be happy to do it on the side as well. I also want to start teaching more.

What other bands have you played with, or are playing in?

I currently play with The High Water Line, which is a semi-traditional, semi-mashy band based in San Francisco with Tyler Stegall, TJ Carskadon, Amy Kassir, and Jim Toggweiler. It’s a good chance for me to play straight-ahead bluegrass, which I love. We play every fourth Monday (schedule permitting) at Blondie’s Bar on Valencia Street. I also do occasional pickup gigs in the city where I assemble a four or five-piece band.

What other shows do you have coming up?

Crying Uncle is playing at the Hop Monk in Novato on December 20. I’m also playing in Evan Ward’s band at Blondie’s on December 9. He’s a great Bay Area banjo player that more people need to know about.

Is there anything else you would like to say or plug?

If anyone is interested in lessons, DM me on Instagram at @i.a.n.l.y. I can do Zoom or in person!

Thanks much Ian!

Crying Uncle Bluegrass at the IBMA Awards Night 2023, for David Dawg Grisman’s induction into the Bluegrass Hall of Fame

Bluegrass Beyond Borders: Bluegrass Beans makes a nice Swiss mix

Erich Ritter & Bluegrass Beans call central Switzerland home. Each member of the band lives within a two hour drive of one another, and they meet every two weeks for the purpose of making music together.

Given Switzerland’s reputation as a peaceful neutral country, it might imply that Ritter and company keep things safe by maintaining a quiet calm overall. Indeed, given their devotion to a traditional tapestry, that seems to be the case here. The band — which consists of Ritter, its founding member, on guitar, co-founder Adrian Zuber on mandolin, banjo player Res Nobs and bassist Hanspeter Adam — shares a sound that Ritter describes simply as “honest and straight from the heart.”

It’s hard to argue with that.

Ritter and Zuber first became acquainted through their mutual love of music. They formed a country band called The Hobos early on, and later, when the two developed a passion for bluegrass in particular, they founded the Bluegrass Beans in 2001.

“One day we heard that Doyle Lawson was giving a concert in Switzerland at the legendary Country Festival Albisgüetli,” Ritter recalls. “That must have been around 1995 or something. In any case, it was recommended to us that we should attend this concert. We didn’t really know bluegrass, not that band anyway. But that evening, we were incredibly surprised. The uniquely crackling atmosphere that arose when Doyle Lawson & Quicksilver celebrated a wonderful song with just one microphone touched our hearts. Adrian and I decided that very evening that bluegrass was the music we wanted to make!”

Nobs and Adam, who had become acquainted with Ritter and Zuber through various jam sessions, joined the band after an initial change in the line-up.

“There were two problems,” Ritter says cautiously. “Firstly, Adrian was a drummer. How does this fit into a bluegrass band? Secondly, how do we tell our colleagues in the country band?”

Nevertheless, things worked out. “Adrian spontaneously swapped his drums for a mandolin and decided to learn that instrument,” Ritter insists, “and he never let go.”

The band has been successful ever since. “We have continued to discover new bluegrass music, and have always decided from the heart which songs we wanted to play. Bill Monroe, Blue Highway, Ricky Skaggs, Lonesome River Band, and many more have always influenced us. Of course, we have now gotten to know the Krüger Brothers, who we can also call friends.”

Although the band has limited its performances specifically to Switzerland, they’ve managed to appear at all the country’s major festivals. “We were able to play nine times at the Country Music Festival Albisgüetli, which is where we saw Doyle Lawson. We played with the Nashville Bluegrass Band, and several times with Dailey & Vincent at the same festival. We were also able to play with the Krüger Brothers several times. Plus, last year we played with East Nash Grass.”

In addition, the band can count the Trucker Festival Interlaken, Country Night Gstaad, Bluegrass Festival Grunderinseli, and Bluegrass Family Festival among the other gatherings in which they’ve taken part. “We play bluegrass festivals and many country festivals,” Ritter continues. “We also perform at many country cruises on the Mediterranean. Nevertheless, we appreciate the very small performances that take place on a small scale.”

Ritter also notes that the band has hit a number of plateaus throughout its 20-plus year career. “A highlight for us were the performances we were able to play at the VIP Apéro at Countrynight Gstaad,” he says. “The Gatlin Brothers, Patty Loveless, and Aaron Watson were sitting in the audience! We were allowed to perform our music for the big stars, which made us very proud. We were also able to travel with the legendary Albert Lee on the Country Music Cruise 20. He and his manager visited us several times at our performances and were really impressed. That was an honor for us. We’ve also been able to appear on stage several times with Florian Fox, the International Country Music Award-winner for Entertainer of the Year 2024 in Switzerland’s Country Music Hall of Fame.”

Ritter added that on November 15th of this year, they had a big surprise. “We were able to celebrate the second anniversary of the International Country Music Hall of Fame of Switzerland by providing the musical accompaniment for the evening. We organized the entire stage show with the presenters over the course of the evening, but what we didn’t know was that we would be recorded at the International Theater that evening. That makes us extremely proud!”

It’s hardly unexpected then that their music has been so well received. “The big stars who heard us at the VIP Apéro were totally surprised that we were playing the music they grew up on,” Ritter says. “Their enthusiastic reaction has motivated us. The audience in Switzerland loves us because of our acoustic music, which is played honestly without any accessories. It creates an incredible amount of drive, as well as the calmness of gospel.”

The group produced a CD titled Traditional – Handmade in 2009 and released a live CD at the Albisgüetli Country Music Festival in 2016. They mostly perform covers and traditional songs, among them Rain Please Go Away, the old standard Lonesome Road Blues, Rank Stranger To Me from Albert E. Brumley, Walls of Time, courtesy of Bill Monroe and Peter Rowan, and Cold Sheets of Rain by Randall Hylton.

Ritter isn’t surprised that bluegrass possesses such international appeal. “We believe that many people are fascinated by the natural sound that can be played without technology, and which touches the heart,” he says. “It’s a pleasant contrast to a crazy world that’s full of technology and illusions. It goes back to the roots by being honest and down to earth.”

Junior Marriott – from champion fiddler to celebrated instructor

Fiddling, with its rich history and versatile appeal, has long been a beloved musical tradition that spans across cultures and generations. In the elite world of fiddling, instructors play a crucial role in shaping the next generation of top fiddlers.

You might ask what qualifies an instructor as exceptional? How important is technique and skill in mastering the instrument? What are some of the varieties of teaching methods, and how does one approach the diverse culture of fiddling? Join me on a journey through these captivating questions and discover the keys that brought Junior Marriott to become one of the most loved and prestigious instructors in the state of Missouri, after becoming a champion fiddler.

Growing up in a small town, Junior was no stranger to music. His family was steeped in musical traditions, so it was only a matter of time before the fiddle found its way into his hands. From backyard jam sessions to family sing-alongs, music was at the heart of Junior’s upbringing. Acquiring his first guitar at the age of seven, Junior didn’t have much interest in the fiddle until his teen years.

“I played the fiddle, but it was squeaky, and I just had more fun on the guitar,” Marriott shared. Like most in our teenage years, we catch other interests like sports, and Junior veered into baseball, but his instruments were alway tucked away nearby. At the age of 14, he was given an album which contained a track that changed the young teen’s life. It was Alive and Pickin’, by Doug Kershaw, and there were songs on the album that “grabbed” Marriott, and altered the course of his future.

The local music scene in small-town Missouri may not be as flashy as the bright lights of Nashville or Austin, but it was where Marriott found his musical roots. Surrounded by supportive community members and fellow musicians, Junior honed his skills and developed a deep love for the fiddle. It was this tight-knit community that nurtured his musical journey from the very beginning.

Marriott had a fiddle bow that needed repair, and he was no luthier, but that didn’t stop him. “I took copper wire,” Junior told me, “glued that to the tip back of the stick, wrapped more copper wire, and the wrapped with the tape that was attached to the bow. My bow weighed as much as a soda bottle, but that’s how I started. It was then that I started learning Cajun fiddling, and my sister began dating Travis Inman.” Inman (1963-2022) was a phenom when it came to fiddling, with 15 Missouri State Fiddling Championships under his belt, and a pair of National championships. The relationship with Travis was the fertilizer needed to make Marriott’s fiddlin’ bloom.

“I had never paid much attention to the style of fiddling, but I started watching Travis, and I thought that was the shit. There’s something more than playing this song and hacking around, so I started following the fiddle world, and that is how I started. Travis Inman was my biggest influence, just watching him and learning.”

Marriott won his first championship at the age of 16, in Columbia, MO at the Stevens College.

“I was one of those kids that was hungry. I had a lot of tunes, but not great tunes, but I still had a lot of them. When I got down to Columbia I played three songs. Then you played three more, if you made the cut. It was getting down to the wire as I made the first two cuts, and I couldn’t believe it, because now Iim in like the top ten. We played three more and I won.”

His name was engraved on the gold trophy cup, along with others who had won, and the college passed it around for years. Junior has lost track of where that cup is now, but he had it a few times on display in his home.

His childhood hobby soon blossomed into a full-fledged passion. Marriott’s love for the fiddle drove him to share the knowledge and skills he had acquired with others. Teaching became not just a profession, but a calling – a way to pass on the rich tradition of fiddling to the next generation, and keep the music he loves alive.

Recently I sat in on a lesson with Junior, in his home. As we sat in his living room, surrounded by stringed instruments, his student , Sydni Cantrell, State of Missouri Junior Champion, sat down in the adjacent chair. Junior asked her what she wanted to work on, and the lesson started. As hIs dog sprawled out on the couch beside me, I listened and watched.

I saw that for Marriott, teaching the fiddle is not just about mastering the technical aspects of the instrument. It’s also about finding one’s own voice and expressing oneself through music. While technique is crucial for honing skills, Junior Marriott encourages his students to tap into their emotions, and let their personalities shine through in their playing. After all, music is not just about hitting the right notes – it’s about telling a story.

From small-town beginners to elite performers, Junior has trained a diverse array of students who have gone on to make their mark in the music world. These rising stars carry with them the lessons and skills imparted by Marriott, continuing the legacy of fiddling, and spreading the joy of music far and wide. Justin Branum, Jake Duncan, and Trustin Baker, have grown to become outstanding players that have won their share of trophies, and graced the stage at The Grand Ole Opry. All three had their start at fiddlin’ with Marriott.

As word of Marriott’s teaching talented students spreads, so has his reputation as a fiddle virtuoso and exceptional teacher. His success stories not only reflect the dedication and hard work of his students, but also highlight the mentorship and guidance he provides. With each success story, Junior’s reputation as a top-tier fiddle instructor grows, cementing his place among the elite in the music community.

In addition to private lessons, he hosts local workshops and masterclasses, and provide a space for budding musicians to hone their skills and learn the art of fiddling, straight from the source. Junior Marriott can always be found at Jana Jae’s fiddle camp in Oklahoma, doing just this, doing what he loves

There are other facets of Junior Marriott, and titles to go with them. Marriott is an avid coon-hunter, deer hunter, and just all around great guy.

Marriott’s children have followed in their dad’s footsteps, with many fiddle championships of their own. “I can’t tell you exactly how many contests they have won, but there’s a lot,” said a jovial Marriott with a proud parent’s smile.

At a time when traditions can easily be lost in the buzz of modernity, this maestro is a guardian of the fiddle tradition. By sharing his knowledge and passion, he is not only teaching others how to play, but also preserving the rich heritage and history that comes with each note. Despite rubbing shoulders with the best, this fiddle instructor knows the importance of staying true to one’s roots. Balancing local charm with global recognition, he navigate the waves of fame with a down-to-earth attitude and a sprinkle of Missouri humility.

For Junior Marriott, it’s not all about fame or glory. He understands the value of giving back to the community that raised him. Through various outreach efforts, he ensures that the music doesn’t just stay within four walls, but resonates far and wide, spreading the joy of fiddling to all who care to listen.

In conclusion, the story of this fiddle instructor from small town Missouri is a remarkable tale of talent, perseverance, and community. Through his dedication to teaching, and working to preserve the rich tradition of fiddle music, he has not only shaped the lives of his students, but have also made a lasting impact on the wider fiddling community. As he continues to balance his local roots with global recognition, his legacy as a respected and influential fiddle instructor is sure to endure for generations to come.