Host Tom Power speaks with Sam Bush, Jerry Douglas, and David Grisman about their old friend and bandmate Tony Rice, in the first edition of our special tribute, Toy Heart: Remembering Tony Rice.
Critically acclaimed bluegrass podcast Toy Heart returns with a special, limited series, Toy Heart: Remembering Tony Rice. In the first installment of three, host Tom Power (CBC’s q) interviews Jerry Douglas, Sam Bush, and David Grisman, each lifelong friends and collaborators with Rice, who passed away unexpectedly on Christmas day. This extra-length episode includes reminiscing, storytelling, and remembrances of the flatpicking legend and Bluegrass Hall of Famer who not only blazed an innovative, often jaw-dropping trail in bluegrass – and all of American roots music – with his technical prowess, but also left a limitless musical legacy with his warm-honey voice, his tender songwriting, and his uncanny ability to inhabit each and every note he emitted, each and every stroke of his pick.
We hope you enjoy the first in this trio of episodes, Power’s and Toy Heart’s humble attempt to pay homage to a towering figure in bluegrass.
Editor’s note: Heart part two of our special tribute to Tony Rice here
The BGS archives are simply a wealth of rootsy reading material. Each week we share our favorite longer, more in-depth articles, stories, and features to help you pass the time — summertime, COVID-19 time, or any ol’ free time you might have! We post our #longreadoftheday picks across our social media channels [on Facebook, Twitter, and Instagram]. But of course, if you get ’em all right here in our weekly collection, that’s fine too!
This week’s long reads are about revitalization, reverence, rainbows, and real wisdom.
We love a long read, yes, but we definitely love a birthday more! On Monday, we combined the two (as we do), celebrating Oklahoma singer/songwriter John Moreland’s day-of-birth with a revisit to our February interview about his latest album, LP5. While some listeners may have found the record to be something of a departure for Moreland, for his part, the “out there” elements of the music are what helped him learn to love creating again. [Read more]
Yes, this is a podcast, so technically this is a long listen rather than a long read, but we have good reason. Four years ago this week, Dr. Ralph Stanley passed away. As more and more of our bluegrass forebears leave us, their memories are even more important. On a recent episode of Toy Heart, hosted by Tom Power, Ricky Skaggs shared stories of his time with Ralph, the Clinch Mountain Boys, and Keith Whitley. It’s worth a listen to honor one of the most pivotal popularizers of this music. [Listen to the episode]
Pride month is always full of rainbows, but never enough roots music! A couple of years ago we collected a handful of our favorite folky, country, bluegrassy, rootsy, ukulele-strumming renditions of “Over the Rainbow” to celebrate Pride month and each year since it’s been well worth a revisit. What cover of “Over the Rainbow” is your favorite? Did it make the list? [Read & listen here]
One quote from our 2017 interview with Blind Boys of Alabama founding member Jimmy Carter is enough to confirm this edition of Counsel of Elders’ excellence: “People ask me, ‘You’ve been doing this for almost seven decades, what keeps you going?’ I tell them, ‘When you love what you do — and we love what we’re doing — that keeps you motivated.'”
Tom Power’s recent Toy Heart episode with Alice Gerrard, whom I first knew as Alice Foster, reminded me of a 1959 visit several of us Oberlin College folkies made to Antioch College. In 2009, doing research on my early bluegrass experiences, I sent my friend Mayne Smith an email asking about his experiences when he met Alice and her late husband Jeremy Foster during that visit.
Mayne and I are the same age and have known each other since 1953. We got into folk music as teens in Berkeley, California, and discovered bluegrass together from 1957 to 1959 while in Oberlin, Ohio. We first heard it on records and radio, and at this time had seen it live only once, when we met banjoists Eric Weissberg and Marshall Brickman at a 1958 spring vacation homecoming party in New York City. We had begun trying to play bluegrass with a circle of Oberlin classmates, folk music enthusiasts learning new music and working on new instruments.
In the introduction to my memoir, Bluegrass Generation, I mention our trips to Antioch as undergrads, where we met the Fosters.
Antioch was, like Oberlin, a liberal arts college that drew students from all over the country and beyond. At the time, its co-op system, which placed students in jobs every second semester or so, was thought to be radical. Unlike Oberlin, which still drew on a pious abolitionist point of view about many things, it tended to be a more socially relaxed place. A Fun Place to Party.
Mayne Smith, Kaz Inaba, and Neil Rosenberg after a morning of jamming at the Hotel New Hankyu in Osaka, Japan. April 31, 1991.
Mayne was the first of our Oberlin bluegrass circle to meet the Fosters during one of these trips. This music was still a new and distant thing to us; we didn’t own tape recorders. In my email I asked Mayne:
What memories do you have of visiting Antioch and meeting Alice and Jeremy? I went there several times and recall you being there, but don’t have any documents like tapes or photos that include you. Any recollections, however hazy, would be welcome. I remember that you had some kind of document from the Fosters giving you honorary membership in [their band] the Green County Stump Jumpers — do you still have that, was it dated?
Mayne answered the next day:
Neil, I have (for me) unusually vivid memories of our first visit to Antioch and hanging out at the Fosters’ place because it was there that I contracted the Stanley Brothers virus. I think it must have been in the spring of 1959 because I had already heard Flatt & Scruggs and understood that this was called bluegrass music.
But first, Jeremy’s hand-drawn certificate (on a 4×6 card) is undated, but it reads:
I also vaguely remember showing Marge [Ostrow] (later married to Mike Seeger for a while) how I played Carter Family style guitar. I think I got it from Dave Fredrickson — using the thumb to pick melody, then the index finger brushing down/up. I heard later that Mike was impressed by the fact that Marge had adopted this approach, and asked her where she learned it.
But about the Stanley Brothers. I recall a thinly carpeted living room with expansive white bookshelves along the wall opposite the windows. At some point, in an afternoon I think, Jeremy put on a tape of the Stanley Brothers in live performance — my gut tells me it was one of the ones Mike Seeger had recorded at New River Ranch in like 1957. As soon as I heard that totally live, undoctored sound I was captivated, and I believe I sat and lay on that hard floor listening to live Stanley Brothers shows (several sets, at least) for hours. My mind was blown. Knowing it was totally live and without studio gimmicks and buried background effects, it came home to me how the fluctuating balance of instruments and voices was accomplished by movement in relation to the microphone and each other, how at times there were lovely breathing spaces in the sound while people shifted from instrumental breaks to solo vocals to harmony vocals. How nobody was using a lot of physical effort to project the sound, yet it penetrated, flowed, darted ahead, waxed and waned like the mating dance of a single complex organism — and how comfortable and familiar the musicians were with what they were singing and playing.
I was learning not only about how bluegrass fits together, but also about what a band can be like when it’s been playing constantly together, day in and day out, for weeks — for years.
I don’t believe I’ve ever had a more intense listening and learning experience, nor one that had such a profound effect on my life.
I should also mention that this was partly possible because I could tell that [Jeremy] and Alice understood what I was going through and supported me by staying out of the way. I felt toward them the way a bridegroom feels about the best man and maid of honor: I could give myself over to the intensity of the music in a nurturing environment. (In retrospect, it was kind of like having a trusted support team when you first get stoned on something very strong.)
I will always be grateful to them both.
If you were around when this happened, I don’t remember it. I just blanked on everything else but those sounds.
I wasn’t at the Fosters when this happened, which was not in the spring of 1959 as Mayne recalled, but a few months earlier, during the January break between semesters. While he visited them, I was off jamming with Guy Carawan, who’d given a concert at Antioch that weekend. I didn’t meet Alice and Jeremy until they brought the Green County Stump Jumpers to an Oberlin Hootenanny a year later.
In May 1959, our old Berkeley folk scene friend Sandy Paton (co-founder of Folk Legacy records) was the headliner at the annual Oberlin Folk Festival. By then our circle had become The Lorain County String Band. Sandy heard our festival set and said he knew a British folk record company producer who was looking for American bluegrass and old-timey. He suggested we make a demo he could send to his friend. We cut it at the student radio station, but it was never sent.
That summer, back home in Berkeley, we started The Redwood Canyon Ramblers, Northern California’s first bluegrass band. The story of that band, and of Mayne’s subsequent career as a singer/songwriter and steel guitarist with continuing excursions into bluegrass, is told well at Mayne’s website.
But it does not include an important detail — his groundbreaking work as a scholar. His Master’s Thesis, “Bluegrass Music and Musicians” (Indiana U., 1964) and the article he developed from it, “An Introduction to Bluegrass” (Journal of American Folklore, 1965) opened the door to the serious study of this music. His transcendent aural immersion at the Fosters was the seed that gave him the vision to accomplish this work. I and the many who have followed are indebted to Mayne Smith for blazing the trail.
For the final episode of season one of Toy Heart, we have host Tom Power’s 2019 sit down with legendary artist, musician, and sideman Jerry Douglas at the International Bluegrass Music Association’s annual business conference in Raleigh, NC.
Douglas talks all about hearing “Uncle Josh” Graves for the first time with Flatt & Scruggs and, in the early days, using a toothbrush to turn his own guitar into something like a Dobro. He tells stories of his father’s band, the The West Virginia Travellers, and being discovered by the Country Gentlemen. He shares about his lifelong friendship with Ricky Skaggs — and his connections with Tony Rice, J.D. Crowe, Alison Krauss, Ray Charles, to O Brother, and more. Jerry Douglas will go down as one of the finest American musicians of his generation, but for this episode we focus on his true love — his life in bluegrass.
Trischka and Power talk about the time he saw and met Bob Dylan when no one was sure how to pronounce his name, and when he went to the first bluegrass festival weekend. An innovator on an archetypically traditional instrument, Trischka also discusses how he fuses jazz and experimental music with bluegrass, the intersection of the folk boom and bluegrass, and the time he played “progressive” banjo in front of Ralph Stanley. The episode covers ground from his recording debut with the band Country Cooking, to his first solo album, Bluegrass Light, having had Bill Monroe over for dinner when he was a kid, his teaching Béla, to carving out a life in acoustic music (and about what the term “bluegrass-adjacent music” means, too).
One of the last founding fathers of bluegrass, Jesse McReynold’s story is the story of bluegrass — a music that emerged out of the country, into rural schoolhouses, onto rural radio, finding sponsorship along the way, enmeshing itself into the mainstream of American culture.
McReynolds tells the story of his grandfather, who played in the first recorded country music session, talks about being offered a gig with the Stanley Brothers, serving with the armed forces in Korea and singing alongside Charlie Louvin. He relates hunting down record deals and successes with his brother Jim, starting their own label, being sought out by counter cultural icons like the Grateful Dead and The Doors. Now nearing the age of 91, McReynolds spends some time reflecting as well, on his brother Jim’s death, his own struggles with the Opry, and how he feels about his legacy in the music. This is an icon of American music whose story isn’t often told, and we’re honored to play a part.
In this week’s podcasts, we take you everywhere from Nashville’s Lower Broadway, to Compass Records, to the culinary scene in Montreal, and even back to a time when touring was a thing.
If you enjoy spending your weekend with the BGS Podcast Network, make sure to follow along on our social media [Facebook, Twitter, and Instagram] and right here, where we’ll consistently gather our new episodes, as well as some past favorites:
On the latest episode of The Show On The Road, we feature Jonathan Clay and Zach Chance, two Texans and expert harmonizers who for the last decade have toured the world as Jamestown Revival.
Right before all tours got sent home, host Z. Lupetin was able to hop on the Jamestown Revival tour bus to discuss their intimate new record, San Isabel. While their previous record, The Education of a Wandering Man, saw them harnessing the muscular roots-rock that can be heard at their powerful live shows, San Isabel strips everything back to their intimate two-voices-around-one-mic, “southern and Garfunkel” sound that brought them together in the first place — and has rightfully won them hordes of fans coast to coast.
They say sibling harmony can’t be compared and we’ve had several sets of twin bands on the podcast, but what about soul-brother harmony? If one thing is clear just sitting on the bus and listening to them weave their stories and songs together, it’s that Clay and Chance were born to sing together.
San Isabel was laid down at Ward Lodge Studios overlooking the San Isabel National Forest in Buena Vista, Colorado and often includes the natural sounds of the nature all around them. Give it a listen — it’s peaceful and powerful and raw and maybe just what we all need right now.
Banjoist and record label head Alison Brown speaks with host Tom Power from her studio at Compass Records headquarters in Nashville, Tennessee. They begin with her early records made with Stuart Duncan, “finding her people,” and winning the Canadian National Banjo Championship (as an American), then on to her time at Harvard, where playing banjo became “something you’d talk about at cocktail parties.”
She describes the moment she decided to leave investment banking and commit to music full time, her cocktail napkin dream, and the two talk women in bluegrass, women in banjo, and the First Ladies of Bluegrass. The story they dive into together is ultimately about figuring out what makes you happy, and pursuing it bravely, against all odds.
This week, The Shift List closes out its miniseries focusing on the food of Montreal with chef, restaurateur, and cookbook author Dyan Solomon. If you’re from Montreal, Dyan Solomon needs no introduction. She’s the co-owner of multiple restaurants there, including Foxy, one of the city’s essential fine dining establishments. Back in November 2019 she released the Olive + Gourmando cookbook, a collection of 150 recipes from the namesake cafe that put Solomon on Montreal’s culinary map when it opened back in 1999.
Host Chris Jacobs checked in with Chef Dyan via email the other week to see how her restaurants have been affected by the stay-at-home orders in Canada. She replied with cautious optimism, saying that while all of her restaurants are closed until further notice, they are surviving and trying to remain positive about the future.
If you’ve listened to the last two episodes of The Shift List with Chef John Winter Russell of Restaurant Candide, you’ll know that he highlighted the work that’s being done to help support the Montreal Restaurant Workers Relief Fund, an organization set up to provide emergency relief to restaurant employees who are facing economic hardship due to COVID-19. Coincidentally, the fund was set up by Kaitlin Doucette, the Sommelier at Solomon’s fine dining restaurant Foxy, and donations are still being accepted at mtlrestorelieffund.org.
Paul Burch moved from Indiana to Nashville in 1995 when his friend Jay McDowell (BR549) told him about the burgeoning indie country music scene on sleepy Lower Broadway.
In the 25 years since then, Burch has made uncompromising and original music with shades of classic honky tonk and timeless rock and soul. On the latest episode of The String, we talk with Burch about his role in the fascinating band Lambchop, the evolution of his band the WPA Ball Club and his new album Light Sensitive. Also in the hour, German-born bluegrass songwriting star Thomm Jutz.
Banjoist and record label head Alison Brown speaks with host Tom Power from her studio at Compass Records headquarters in Nashville, Tennessee. They begin with her early records made with Stuart Duncan, “finding her people,” and winning the Canadian National Banjo Championship (as an American).
Brown then headed to Harvard, and playing banjo became “something you’d talk about at cocktail parties.” She describes the moment she decided to leave investment banking and commit to music full time, her cocktail napkin dream, and playing with Alison Krauss, Indigo Girls, and Michelle Shocked.
Power and Brown talk women in bluegrass, women in banjo, and the First Ladies of Bluegrass. The story they dive into together is ultimately about figuring out what makes you happy, and pursuing it bravely, against all odds.
Another week, another podcast roundup. From bluegrass, to dreamy jazz classics, to Montreal cuisine, we’ve got options.
Make sure to follow along on our social media [Facebook, Twitter, and Instagram] and right here, where we’ll consistently gather our new releases, as well as some past favorites:
On the latest episode of Toy Heart, Béla Fleck talks to host Tom Power from his home studio and for the first time, he tells his story in bluegrass.
Fleck started out in New York hearing Earl Scruggs for the first time, learning from Tony Trischka, and then making the decision to go (new) south to learn from J.D. Crowe. He auditioned for Bill Monroe, but eventually found ‘his people’ and joined New Grass Revival. He tells of mistakes the band made along the way, the hard decision to leave that band and start the Flecktones, recording with his hero Earl Scruggs, and how he found his way back to bluegrass after all.
He also unveils the one change he thinks anyone can make to their practicing to become a better musician.
Initially turning heads for her dreamy and futuristic interpretations of great songbook classics like Gershwin’s “Summertime,” which have been listened to over ten million times and counting, Kat Edmonson broke through with playful original works a decade ago, self-producing one of Show on the Road host Z. Lupetin’s all-time favorite records, Take to the Sky. She quickly found powerful fans in folks like Lyle Lovett, who she toured with wildly. Major label releases followed. Edmonson soon migrated from her home state of Texas to Brooklyn, with her elfin chanteuse look and sparkling vintage sound (think Blossom Dearie with some Texan muscle).
Z. and Edmonson sat down to discuss her newest record, Dreamers Do, which may just be the shot of pure cinematic nostalgia we all need right now. Does she cover Mary Poppins, Alice In Wonderland, and Pinocchio and somehow make them deeply cool, sonically subversive, and somehow brand new again? She sure does.
This Spring, many of the outstanding women of roots music have released new albums, and this past week on The String, Craig Havighurst caught up with two of them.
Jessi Alexander, native of Jackson TN, moved to Nashville at 18 and landed songwriting and record deals. She’s a hitmaker behind the scenes who rarely surfaces with her own heartfelt country music, but she sure does so on Decatur County Red, anchored in stories of her Tennessee coming-of-age.
Jill Andrews is more urbane and silky in her sound, but the personal journey she shares on her album and book Thirties is full of challenges and the clarity that comes with time and triumph.
On the latest from The Shift List, a two-part conversation with John Winter Russell, chef and founder of Restaurant Candide in Montreal. While host Chris Jacobs caught up with Russell via phone post-COVID-19 restrictions in Part 1, Part 2 was recorded a few months back, before the world was thrown into chaos, and it serves as a reminder of how integral chefs and independent business owners are in shaping the culture of our cities.
Restaurant Candide is named after 18th century writer/philosopher Voltaire’s book of the same name, inspired particularly by the last line of the book: “Let us cultivate our garden.”
This line is the guiding force to Russell’s food, as he works closely with producers local to Montreal and creates four-course meals inspired by those ingredients, crafting dishes that are produce forward, but not exclusively vegetarian.
The experience of eating at Restaurant Candide is unique and only something that can be experienced in Montreal. From the restaurant’s location, set in an old gothic church basement, to the warm interior that utilizes refurbished pews, and exposed brick along the walls that look into the kitchen. The restaurant is a defining part of the fabric of Montreal’s restaurant scene, not only in 2020, but overall.
Thankfully, Russell feels that he and his staff will weather COVID-19 and should be able to resume business at the restaurant once restrictions are lifted, and in the meantime he’s given back to restaurant workers affected by job losses in Canada by offering beer deliveries every Friday. If you live in Montreal and are craving some craft beer delivered to your house, send an email at [email protected]. All proceeds will go to the Montreal Restaurant Workers Crisis Relief Fund.
Fleck started out in New York hearing Earl Scruggs for the first time, learning from Tony Trischka, and then making the decision to go (new) south to learn from J.D. Crowe. He auditioned for Bill Monroe, but eventually found ‘his people’ and joined New Grass Revival. He tells of mistakes the band made along the way, the hard decision to leave that band and start the Flecktones, recording with his hero Earl Scruggs, and how he found his way back to bluegrass after all. He also unveils the one change he thinks anyone can make to their practicing to become a better musician.
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