Friday, January 30, 2015

Wednesday, January 28, 2015

Article about our Oro Valley Event

Friday, January 23, 2015
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Closing Oro Valley Parks and Recreation and the Southern Arizona Arts and Cultural Alliance’s (SAACA) three day long OV Festival of the Arts were members of the Desert Bluegrass Association. The collective formed on the main stage at the Oro Valley Marketplace for one final performance set shortly before all of the festivities would end, after they had started during the Christmas tree lighting on Dec. 5.

Before beginning his group’s set that crisp Sunday afternoon, band leader and association trustee Jim Sanchez took the mic to describe the Desert Bluegrass Association’s mission. “We’re all students of the association, including myself,” Sanchez told the crowd, about a hundred strong.

As evidence of their hard work practicing together to perform local shows, the band showed no signs of nerves as they played through a wide collection of both Christmas classics and bluegrass staples. There were a slew of instruments packed onto the moderately sized festival stage, ranging from a grouping of guitars, to a pair of uprights basses, violins, banjos, and mandolins.

Each instrumentalist was competent, if not stellar, at their craft, with vocals being provided by alternating leads during the night. This included Sanchez himself, as well as a Ocotillo Rain and Thunder Bluegrass vocalist and mandolinist Jeff Collins. Donned in a bright red Wildcats sweater and a reindeer hat, Sanchez introduced Collins to the crowd as he took center stage to perform a rendition of 1924’s “I’m Going Down This Road Feeling Bad” by Henry Winter.

Collins wasn’t the only one clearly willing to express his bright holiday spirit that day, either. One of the band’s two upright bassists had placed a Santa hat atop her instrument, whilst one of the many guitarists present on stage decked his instrument out in portable multicolored Christmas lights. This fine showing of Christmas enthusiasm was contagious, as it was during the chestnuts that the association had performed that they had the most audience reciprocation.

Once Sanchez broke out the lead on “Jingle Bells,” for instance, the people of Oro Valley were up and ready to sing along in full unison. This continued on tracks like “Grandma Got Run Over By a Reindeer,” “Silent Night,” and “Rudolph the Red-Nosed Reindeer,” which Sanchez had humorously dedicated to Collins on behalf of his hat before performing.

This is not to say that the audience did not sing along with the traditional bluegrass songs that Sanchez and company had put together for the show. Early on into the proceedings, he and backing vocalist Arlene Tomlinson had a “Boys vs. Girls” portion of the show where audience members would sing along to a song lyric on the chorus of Doc Watson’s “Crawdad Hole.” At the end of the song, the entire audience had been given a pat on the back—not just one side—and it was a rousing feel-good moment for everyone involved.

Jeff Collins
Other songs performed by the Desert Bluegrass Association during their Dec. 7 show include “Up On the Housetop,” “Go Tell It On a Mountain,” and “I’ll Fly Away.” The most memorable moment was their performance of “Mama Don’t,” which involved multiple guitar, banjo, and violin solos, which received tremendous applause. Even after their set was over, however, and SAACA engineer Jonas Hunter was already putting away his sound equipment used during the show, members of the group weren’t necessarily done performing at the festival.

As Collins, Tomlinson, and a small troupe of banjo and guitar players were just leaving the stage, they were stopped by a little girl who particularly enjoyed their music and was raring to join the band herself. At only about 6-years-old, however, Sanchez and company could not necessarily oblige to her request. However, they made it up to her by performing a couple of songs purely based on her piqued intrigue in bluegrass and the ensemble put on that afternoon.

The Desert Bluegrass Association offered up a great show to members of the Oro Valley community to close up the musical portion of the Festival of the Arts. Given their low-key, yet infectious performance style and overall enthusiasm just to be playing there, it is not hard to assume that some of its students will definitely move on to become influential names on the Tucsonan music scene once the time is right. “It’s never too late to learn bluegrass,” Collins offered to the audience with a laugh as the band was making their way off of the stage. “After all, just look at me!”

For more information on the Desert Bluegrass Association, including information on how to join them, you can visit their official website at http://desertbluegrass.org. For more information on Ocotillo Rain and Thunder Bluegrass, visit their website at http://ocotillorain.blogspot.com.

Wednesday, January 21, 2015

Wednesday Night Workshop great news!

Hey all,
Great news, our Flatpicking session with Mike Leonard is back. He'll be starting tonight with Soldiers Joy.
Also our new Fiddle tune is Mississippi Sawyer which Sue will lead.
Well also be continuing our Progressions Session with Dave.
Tab for Soldiers Joy:
http://www.bluegrassguitar.com/pdf/SoldiersJoy.pdf
Music for Soldiers Joy:
http://youtu.be/1rj-_lmF02E
Enjoy
Jeff

Monday, January 19, 2015

Wednesday Night Workshop fiddle tune

As promised our fiddle tune will be Mississippi Sawyer. Here is the tab, note the this tab shows the C progression but the tune is actually in D; it's capo 2 for guitar. Please play accordingly on your instrument.
http://www.bluegrassguitar.com/pdf/MississippiSawyer.pdf
Here is the tune
http://youtu.be/cxGeIxUetw4
The Eastside Workshop is also doing this Fiddle Tune so if you want a double dose of it you can attend both workshops.
Here's a backing track to play along with
http://www.banjohangout.org/myhangout/media-player/audio_player2.asp?musicid=29789&archived=
Have fun and enjoy!
Jeff

Saturday, January 17, 2015

Monday Night Workshop Supplement- Mandolin Encouragement


Bluegrass, a mandolin lesson

 

One day, it just happens. You decide you really

want to play the mandolin, and maybe you want to

play really well. Or maybe you just want to play

well enough to enjoy playing by yourself or with

some good friends. Maybe you'd like to step into a

jam session at a festival.

 

Lets take bluegrass. "So you there, Mandolin Cafe.

What makes you so darn smart enough to think you

can give a lesson?" Fair question.

 

In 1985 my band "Last Kansas Exit" won the SPBGMA

National Bluegrass Band contest in Nashville. There

were almost 60 other bands. We were too modest to

think we'd win. The band was Mike Allen on banjo and

vocals (1986 National Banjo Champion), Barb Hudson on

lead vocals and guitar, and Ronnie DeLancey on acoustic

bass with me holding down mandolin and vocals.

 

I learned a lot of lessons in that band and many, many

others. What I've learned I'd like to share. Bluegrass is

a big part of my "roots." I hope what is presented here

will help you develop your playing. Enjoy.

 

 

"There ain't no kind of music in the world like

bluegrass music."

       -- Bill   Monroe

 

Make a Smart Start!

 

"I can always tell a musician who has listened to

the real stuff.

Flatt & Scruggs, Monroe, Stanley Brothers, Jimmy Martin.

        -- Tony Rice

 

Tony wasn't the first one to make such a statement

and won't be the last. Look around at the mandolin

players we dig and you'll see all were rooted firmly

in an earlier tradition. Jethro knew 30's jazz.

Grisman and Bush can play Monroe note for note. So

can Ricky Skaggs and Doyle Lawson. Evan Marshall has

studied Dave Apollon.

 

But herein lies one of the biggest problems with

learning to play mandolin. It's easy to think that

old stuff isn't cool. After all, the recording

quality is bad, sometimes the boys sounded a little

weary . . . we get turned onto the music by a modern

group and then spend months (maybe years) trying to

use them as our model. That's OK but there's wisdom

in study of the old stuff. Ever wonder why most of

those Grisman wannabe's don't sound like him? They

haven't studied Monroe, a strong part of his

influence.

 

It's not a guarantee of success but studying the

masters is a sound start. With busy work schedules,

families and other time drains, the best thing you

can do is to get some good brain food for your ears.

Listen to some of the right stuff and listen

carefully. There's magic in Monroe, Stanleys, Jim

and Jess, Flatt & Scruggs, Osborne Brothers, Louvin

Brothers and others. If it's good enough for Sam

Bush, Grisman, Doyle Lawson, Butch Baldassari, Tom

Rozum (there are many more), it's good enough for

the rest of us.

 

 "He really didn't need lessons, but there

 was something missing in his playing. I

 suggested he sit down and work the Scruggs

 book. You know the rest . . . "

 

- Tony Trischka talking about giving a

banjo lesson with a very young Bela Fleck

 

So this doesn't mean you should throw away those new

CDs. The more you can listen to the better. But if

you really want to put some soul and power into your

playing here are some suggestions:

 

1. Make every third or fourth CD you buy one of

   the "classics." There are terrific new CD

   releases of the oldies with great old photos

   and history. Some of those gems are available

   for a steal in used record stores.

2. Pick one tune off of something like "The

   Bluegrass Album Band" recording and then seek

   the original by a Jimmy Martin or Flatt &

   Scruggs. It's cool.

3. If you're lucky enough to have a local NPR

   station with a good collection and an on air

   show, call in and request those old recordings.

 

The road to success starts with an educated ear.

Listening to and learning the early material

provides a road map to the music. Give the classics

a good listen and you'll have a lot better idea of

what's going on in today's bluegrass.

 

"It's the hardest music in the world to play."

        -- Ralph  Stanley

 

Play Along with the Recordings

 

Seem like a stupid thing to do? I get endless

requests for "which is the best video," or "what's

the best book to buy?" Hey folks, I'm here to tell

you there's no substitute for putting on the CD's,

tapes or records and trying to play along. It's

great for your timing, good for your ears (and

hands), and forces you to really LISTEN. Until you

get the sounds in your head you'll never be able to

play them on your instrument.

 

I'm not saying books and videos aren't good. I'm

saying there's no substitute for playing along with

(and listening to) the good material. Just don't get

caught dancing around by your friend or spouse in

front of a mirror imagining you're on stage at

Winfield. Some of you know exactly what I'm talking

about. Of course, I never did anything like that...

 

The Big Three!

 

G, C & D Chop chords. So named because the mandolin

serves the purpose similar to a drummer in a

bluegrass band by playing a percussive "chop" chord

that falls on the 2 & 4 beat. The bass plays on the

1 & 3 beats and combined you've got the basis of an

acoustic snare and kick drum!

 

These three chord "positions" form the basis of

literally thousands of songs. They are the universal

chord fingerings in that they're moveable up and

down the neck and create other chords. Learn these

three and you can easily move them up to play in the

keys of A, Bb, B and C.

 

The "G" chop chord is the hardest chord to learn

when you're starting out. The first time I made that

chord I looked at the person showing me and said

something like, "you're kidding, right?" Well, it's

a good starter because once you get that and the

four-finger "D" chop chord you've done the hardest

chords there are in my opinion.

 

If you don't already know, the

fingerings for the chords lie below

the chord diagram. Many people have tried these and

have problems with them. Don't get discouraged. If

you're having problems moving between the G and D,

try this: leave the pinky PLANTED when changing

chords. G and D share the same note. A good rule is

"never lift a finger unless you have to."

 

I could put a sound file out here to demonstrate but

any good bluegrass recording should have that

percussive "pop" of the mandolin on the 2-4 beat. I

did tell you to play along with recordings didn't I?

 

So How Do You Get the "Chop?"

 

Good question. Many people try to hold the strings

down on the frets all of the time like you would on

a typical guitar strum. DON'T! It's far too much

work. The chop works like this: as you are moving

the pick towards the strings to strike them, your

fingers should be "resting" on the chord you're

prepared to play. Before the pick strikes, quickly

depress the strings and let up as soon as the pick

strikes all of the strings. In other words you're

quickly dampening or muting the chord once it is

played. Your ability to cut off the ringing sound

defines the amount of "pop" sound you want.

 

Be aggressive! Most people are afraid they'll make

too much noise. I'm here to tell you that with a

guitar, banjo and bass there's not a chance in hell

you'll be too loud. But remember, it's not loudness

but "quality" that matters. However, you have a role

to contribute and you can't do it unless you're

heard.

[G, C and D]

 

This Lesson Lasted Too Long

 

OK, ya get what you pay for.

 

Here are 10 good basic beginner tips to go home

with.

 

1.  Buy an electronic tuner to keep yourself in

    tune but practice tuning your mandolin on your

    own. Your fellow musician friends will thank

    you.

2.  Use good strings and change them once a month!

    You change the oil in your car don't you? Dull

    strings are hard on fingers and are hard to

    keep in tune.

3.  Try to play with people who are better than

    you. It's a great learning experience. If

    you're better than everyone--congratulations.

4.  Keep your frets in good shape. If they have

    deep grooves in them, it's time for a visit to

    the shop.

5.  Don't get caught in the speed trap!!! Too many

    beginners ruin their technique by trying to

    play too fast. You'll develop bad habits in

    doing so. Do yourself a favor and give yourself

    some time!

6.  Practice playing as slow as possible but with

    the best technique you can muster. Make your

    instrument sing!

7.  Experiment with different weight picks and

    don't let someone tell you there's one best.

8.  The world is full of "experts" who want to

    teach. Take everything with a grain of salt and

    apply it to your playing (including my

    comments).

9.  If you're already learning lead lines, make

    SURE you are playing downstrokes "on the beat"

    and upstrokes "off the beat." This is the one

    bad habit that is hardest to break. If you

    don't know what I mean, ask someone who does.

10. Listen to ALL styles of music. There's

    something to be learned in everything you

    hear.