Murder on Music Row?

Did you know the country music award-winning recording Murder On Music Row sung by George Strait and Alan Jackson was written by Larry Cordle and Larry Shell, and was named Song of the Year at the 11th annual International Bluegrass Music Awards on October 19, 2000? That song stirred up the country music industy when Strait and Jackson collaborated on it, but it was first recorded by Bluegrass artist Larry Cordle with his band, Lonesome Standard Time. Murder On Music Row is a fantastic country tune. It doesn't sound a bit like Bluegrass, not even when sung by Cordle, who in my opinion has never been all that Bluegrassy in the first place. Yet, somehow it wins an IBMA award. Well, I believe it should be award-winning, but not Bluegrass award-winning.

Ricky Skaggs' CD titled Instrumentals was recently awarded a 2007 Grammy for Best Bluegrass Album. This CD features stellar musicianship by Skaggs and his band Kentucky Thunder but, at best, it has four tracks that remotely resemble Bluegrass, yet it's another Bluegrass winner! Even Skaggs himself said "I'm surprised it was nominated for a Bluegrass album." So you tell me, how does it win a Best Bluegrass Album award?

BluegrassRadio.org has a slogan on their web site that says "if you plug it in or beat it with a stick, you won't hear it here." I beg to differ. I'm pretty sure I've heard some snare drums and... oh, never mind. I guess electric bass is an exception when we're talking about plugging in. We don't want to go there do we? But if you do, see my post titled Electrified Instruments in Bluegrass - The Debate Continues from May 21, 2006.

I would venture to say for every song played by BluegrassRadio.org, there must be at least five non-Bluegrass tunes played. That's where I first heard Seven Miles From Wichita by Carrie Hassler and Hard Rain. Shortly after hearing it, I was browsing around one of the discussion forums at Bluegrass Works. Somebody made a post and said "check out the new videos by Carrie Hassler & Hard Rain with Special Guest, Jim VanCleve." I replied "Seven Miles from Wichita is a great tune, but can somebody, anyone, tell me how it could even remotely be considered a Bluegrass tune?" The response? "It's radio friendly Bluegrass."

I've heard it said by many that in order to draw a younger crowd to Bluegrass festivals, and therefore ensure Bluegrass music will live on for generations to come, that we have to allow this watered-down and sometimes altogether non-existent Bluegrass content. Excuse me. Exactly what is it that we are preserving? How is it that we are preserving Bluegrass if we are changing it into something else? That's not preserving - it's replacement. In fact, by replacing Bluegrass with something else, are we not doing the exact opposite? Are we not pushing Bluegrass out of the music scene rather than preserving it?

So as not to cause any confusion, let me set the record straight. I'm not debating for a single minute whether the material produced by today's "Bluegrass" artists is "good stuff" or not. In fact, I'd be one of the first to say that some of it is fantastic material, but let's not be hoodwinked here - MUCH OF IT IS NOT BLUEGRASS! Why can't we call it what it really is? Oh, right, I forgot. Today's country is "hot country" and today's Bluegrass is turning into what we used to call country. But it's not just country that is being labeled Bluegrass these days. There are plenty of so-called Bluegrass tunes that belong in buckets other than the one labeled "country." For example, some belong in the Bob Dylan bucket. And newgrass? Don't get me started on that one!!!

Obviously, there are people that like some of this non-Bluegrass material, including me, but I don't see why we can't call it what it really is? We are just confusing newcomers to the genre. As far as using other forms of music to draw in a younger crowd I have this to say about that: if you don't like Bluegrass for what it is, that's just fine with me. Don't listen to it. You don't have to like it - no one is asking you to.

And just who is responsible for the direction Bluegrass music is taking? Is it the artists' fault for choosing to record non-Bluegrass tunes on their so-called Bluegrass CD's? Is it the consumers' fault for buying it, thus saying "I'm okay with it?" Is it IBMA's fault? Is it the fault of all these so-called Bluegrass radio stations for playing all of the non-Bluegrass material? I think the blame goes to all of the above.

It's no wonder very few people seem to have a clue as to what Bluegrass music is. If you don't know what to call it, put a Bluegrass label on it. Here's your Bluegrass sign!

Personally, I don't like the direction Bluegrass music is headed. I hope my thoughts are wrong about where I think it's going to end up. I certainly hear a lot of people complaining about what has happened to country music. I'm now beginning to hear a lot of the same comments about Bluegrass music as well. This cannot be a good thing.

Murder on Music Row? I think so!

Bluegrass Friends Talent Never Ceases To Amaze

Is it possible to acknowledge some of our Bluegrass Friends without offending others? I'm not sure, but I'm going to take a stab at it!

If you've been paying attention at the Bluegrass Friends weekly jam sessions, I'm sure you've noticed a great deal of talent. The talent pool continues to grow and never ceases to amaze me, which is just what we need to keep the jams moving forward and exciting.

Every one of the attendees at the jam sessions contributes to its overall success but, there are some key players that help keep the jam moving forward and exciting. I would like to reflect on some of those individuals now, for without them, we wouldn't have much Bluegrass content, nor much of a jam.

From day one (July 25, 2005) of the Bluegrass Friends Jam Sessions, Harvey Arbo has been the banjo go to guy. Harvey has provided us with a good number of solid 5-string banjo tunes and is more than willing to provide banjo backup for the rest of us when asked to do so. He entertains us with his jokes and funny songs such as Puttin' On The Dog and The Naked Song which are crowd pleasers for sure, he's a great emcee and he also gives us a good dose of serious Gospel tunes to think about. Harvey has also volunteered to share his knowledge of Bluegrass music at the workshop sessions held on the last Monday of each month. Clearly, the Bluegrass jam sessions would not be where they are today without the reources of Harvey Arbo.

Kenny Innis, another longstanding attendee of the jam sessions has been providing us with all the mandolin breaks we need. Kenny has the ability to figure out a mandolin break on the fly for almost any tune played at the jam sessions. Kenny also has a creative side to him and he has written a few mandolin instrumental tunes. In addition to his mandolin tunes, Kenny Innis has written several country tunes and is an accomplished country style guitar player, although he sticks to the mandolin at the Bluegrass jam sessions.

Not too long after the jams started, Reg Gallant got wind of them and decided to try one out. He's been a faithful contributor ever since and he's pretty much the only one at the jams that can improvise a guitar solo for almost any tune. He also plays the odd mandolin or banjo tune from time to time. Reg is best known for his long history of involvement in the country music scene in New Brunswick and for his Port City Jamborees. His Bluegrass repertoire is growing slowly but sure. On the rare occasions when Harvey Arbo is not able to attend a jam session, Reg steps up to fill in as emcee.

Then there's Murray Sheils. Murray has a great voice but doesn't use it as often as he should. Still, he is a faithful attendee. Murray has a very good mandolin chop and is ready to fill in on upright bass whenever required.

That brings us to Gerard Rooney who stands at the back of the room every Monday night thumpin' away on the upright bass. Gerard never says a word unless spoken to - he just shows up week after week, except for the summer months.

Along came Ed Betts in late June of 2006. Ed was a great find. Actually, Ed found us, but in any case I'm sure glad to have him. Ed is a great vocalist and he is constantly learning new songs; he never sings the same song two weeks in a row.

Shortly after Ed came along, Tom Mason found his way to a jam session and all of a sudden Bluegrass Friends had harmony; an important Bluegrass component that we were missing. Tom's vocal abilities are fantastic, he's enthusiastic about Bluegrass music, and like Ed Betts, he is always learning new tunes.

Somehow, Angela Curran found out about Bluegrass Friends and we were blessed with a great female lead vocalist as well as a good harmony singer. More harmony - wow! Some people talk about how they couldn't carry a tune in a bucket. I'm here to tell you Angela Curran does not require a bucket to carry any tune she sings. Like Ed and Tom, Angela is willing to learn new tunes as often as required.

Ed Betts, Tom Mason and Angela Curran are all relatively new to Bluegrass music but, it appears the bug has bitten them hard - all three of them appear to be hooked on Bluegrass music and that's just how we want to keep it!

I can't forget Matthew Hayes who is pretty much the only fiddler we have at the jams, but boy did we get a good one. Matt was a latecomer to the Bluegrass jam sessions but, a real welcome addition. Matt can help make anyone sound good. He's one of the few fiddlers I know of that can get a Bluegrass sound from his instrument. Matt never says no when asked if he can learn a new tune.

Denise Arsenault has been attending the Bluegrass jam sessions since they started two years ago. Denise doesn't play a musical instrument but, she has always been a fine vocalist and has been contributing Bluegrass tunes since day one.

We've had some recent contributors. Wade Townes has been showing up for a few months now. Wade is probably the best rhythm guitar player in the Bluegrass style of music that we have seen thus far at the Bluegrass jam sesions and he knows how to get a Bluegrass sound out of a tune. Wade has also volunteered to share his knowledge of Bluegrass at the end of month workshop sessions.

Jessica McLaughlin and Nicole Doucet from Lawrence Station have dazzled us many evenings with their incredible vocal talents. Both of them are big fans of Rhonda Vincent and Alecia Nugent so they get my stamp of approval! Jessica has the wonderful ability of being able to produce the "high lonesome" sound of Bluegrass music. Nicole demonstrates an aptitude toward song writing.

Mike Scott has graced us with his presence a half dozen times since shortly before Christmas of 2006. That boy has some speed goin' on with that banjo of his; there aren't too many that can keep up with him. Mike also plays a mean guitar and mandolin and is a member of the Porcupine Mountain Boys based out of Black's Harbour, NB.

I'm sure I have left someone that I should have recognized off the list - if I have, I apologize.

Thanks to everyone that attends the Bluegrass Friends jam sessions - spectators and participants alike, talented or not. You are all welcome to attend the Bluegrass Friends jam sessions.