Bluegrass music got more than it bargained for when the 2012 IBMA awards show opened by unveiling an unprecedented collaboration between a quintet of the genre’s greatest and most admired talents. Dubbed the Masters of Bluegrass, the five musicians—J. D. Crowe, Bobby Hicks, Del McCoury, Jerry McCoury and Bobby Osborne—bring to the stage a creative fire stoked by literally centuries’ worth of experience and partnerships that have encompassed every aspect of the music’s fabled history. Home-grown artists who have been blazing trails from rural schoolhouses to urban rock clubs and from early morning local radio shows to national prime time TV appearances, they’ve each been bringing bluegrass to audiences old and new from its earliest days—and as their wildly acclaimed IBMA debut proved, they’re not through thrilling those fans yet.
“I’ve been knowing all of these guys for a long, long time,” chuckles Del McCoury, “and it just feels good to stand on stage with them. We all know all the old songs, so those just fall into place, and we’re working on each other’s songs—and some new things, too. It’s exciting to see the way it’s all coming together.”
A recent inductee into the Bluegrass Hall Of Fame—Crowe preceded him in 2003, while Osborne was named a member in 1994—Del looks to be the group’s primary spokesman, a role for which the amiable patriarch of one of the world’s most beloved bands seems well-suited. But the Masters are definitely a union of equals, as McCoury himself is quick to point out. “As young as they were, brother Jerry and I looked up to Bobby Hicks, J. D. and Bobby Osborne as heroes,” he laughs. “They’ve all been at it even longer than I have—and that’s a long time!”
Indeed, virtually every account of bluegrass history acknowledges Bobby Osborne as one of the genre’s greatest giants, not only as a stunning singer, but as an innovative mandolin stylist and songwriter, too. While still in his teens, he joined the Lonesome Pine Fiddlers, one of the first bands to gravitate to the fledgling style in the late 1940s, and never looked back. Partnered with his banjo-playing brother, Sonny, Bobby joined the Grand Ole Opry in 1964, made music history with “Rocky Top,” toured with legends like Merle Haggard, and led a ground-breaking ensemble that planted bluegrass sounds deep in the heart of country music all the way into the 21st century. Following Sonny’s retirement, Bobby embarked on a solo career that has refined and enlarged his distinctive blend of country and bluegrass.
Making his first recordings in the early 1950s with bluegrass legend Jim Eanes, Bobby Hicks went on to become one of Bill Monroe’s favorite fiddle players, appearing on such classics as “Big Mon,” “Wheel Hoss” and “Cheyenne.” A double threat who’s as much at home with the dance rhythms of western swing as with bluegrass virtuosity, Hicks worked an extended stint with singer Judy Lynn before signing on with Ricky Skaggs and contributing mightily to the younger man’s chart-topping sound for the next several decades. His own Fiddle Patch featured several hit collaborations with McCoury, and the two have formed the core of several Blue Grass Boys reunion performances. Hicks also appears in a variety of settings on stage and in the studio, where his legendary abilities continue to earn the respect and enthusiasm of generations of younger musicians.
J. D. Crowe began learning banjo almost literally at the feet of Earl Scruggs, whom he got to watch during an extended Flatt & Scruggs stay in Crowe’s home town of Lexington, KY. He first began to attract national attention during a brief tour with Mac Wiseman, and then leapt into the front ranks of banjo pickers—and harmony singers—as a member of Jimmy Martin’s Sunny Mountain Boys. Starting in the early 1960s, he led the Kentucky Mountain Boys and then the New South into bluegrass history, recording influential albums with members like Skaggs, Tony Rice and Keith Whitley, touring extensively and balancing a command of tradition with a desire for innovation and musical exploration. With Hicks, he was a founding member of the Bluegrass Album Band, bringing energetic interpretations of the first-generation songbook (including Osborne Brothers material) to new audiences. J. D. and his music were the subjects of a full-length book published in 2012, which earned its author the IBMA’s Print Media Person of the Year award.
Of all who can be considered bluegrass music’s elder statesmen, none has taken the music to as many new places or introduced it to as many new fans in the past quarter century as Del McCoury. Though he followed his mid-60s stint in Monroe’s Blue Grass Boys with more than two decades of part-time music-making, Del became known as one of the most relaxed and open-minded participants—and one of the most intense singers—in the world of bluegrass, and when he and his family moved to Nashville a little more than 30 years ago, fame was quick to follow. Fronting his Del McCoury Band, which includes sons Ron and Rob, he has become a welcome sight everywhere from David Letterman’s show and the New Orleans Jazz Festival to bluegrass festivals tucked away out beyond where cell phone signals reach. He’s a Grammy winner, a member of the Grand Ole Opry, one of Elvis Costello’s favorite musicians, and a man who’s at home in virtually every musical circumstance—and through it all, he’s retained a signature sound that’s still every bit as exciting as it is familiar.
Rounding out the Masters is a musician whose resume reads like a roll call of bluegrass music’s greats—starting with his brother, Del. A bassist who’s influenced generations of musicians with strong, steady playing, Jerry McCoury has served long stretches working with his brother, but also with Hall of Famers like Don Reno and Red Allen. Indeed, it was working with Jerry on the late 80s McCoury Brothers album that helped persuade Del that it was time to get deeper into the profession, and Jerry went on to do more pioneering work with artists like the late John Hartford, appearing on the latter’s touchstone Wild Hog In The Red Brush. Deft on his instrument and a singer who can hold his own with anyone, Jerry McCoury is the perfect foundation for the Masters of Bluegrass.
We regret to inform you that Delloween, scheduled for Wednesday, Oct. 31 at the Madison Theatre has been cancelled. While last year’s Delloween was a huge success, we made the mistake of moving it from the weekend to Halloween night. Based on comments from fans and ticket sales, it became clear to us that the DMB’s fans wanted this show on the weekend, so they could spend Halloween night with their families. This is completely understandable-since many of the DMB have young kids and now plan to go trick-or-treating as well.
Thanks for your support. For those that purchased tickets in advance, the Madison Theatre will be in touch regarding refunds. You may also feel free to contact them directly.
The St. Louis Del Yeah has been rescheduled and the lineup has been announced! Old Rock House is going all out and putting on a party for us with an indoor stage, and outdoor stage and lots and lots of good music!
Del Yeah! – Reschedule
The Del McCoury Band
The Bluegrass Ball feat. The Travelin’ McCoury’s w/ Billy Nershi & Michael Kang of The String Cheese Incident
Old Salt Union
Friday, October 5 • Doors 7pm • Show 8pm • $22 Advance • $25 Day of Show • All Ages • Buy Tickets
Outdoor & Indoor Stages
Tickets already purchased for the Del Yeah daytime event on 9/1 will be honored!
More info can be found here
Nashville, TN – September 25, 2012 – Two of bluegrass music’s most entertaining and well loved performers, Sam Bush and Del McCoury will be teaming up for a highly anticipated string of tour dates beginning in November. To quote Sam, “I first saw Del at the Roanoke Bluegrass Festival in 1966 and have been waiting for this opportunity to tour together ever since. We invite you to come join the fun as two old friends make music and swap stories onstage.”
Known as the “King of Telluride” Grammy award winning multi-instrumentalist Sam Bush maintains a busy travel schedule with The Sam Bush Band. He is currently nominated for both IBMA Mandolin Player of the Year, his band for Instrumental Group of the Year and is also a CMA Nominee for Musician of the Year. Sam was honored with a Lifetime Achievement Award for Instrumentalist from the Americana Music Association in 2009. His most recent release is “Circles Around Me” on Sugar Hill Records.
Del McCoury has been playing Bluegrass Music professionally for more than 50 years. His storied career has included a Grammy, as well as numerous Grammy nominations, nine IBMA Entertainer of the Year Awards, membership in the Grand Ole Opry, and a National Heritage Fellowship. He has collaborated with everyone from Dierks Bentley to Phish, and has his own festival, DelFest, coming up on it’s sixth year. His most recent release is a tribute to Bill Monroe called “Old Memories: The Songs of Bill Monroe” on McCoury Music. Del is also co-hosting this year’s IBMA Awards show at the Ryman Auditorium on Sept. 27th.
Though both Sam & Del grew up playing traditional bluegrass, their openness to expanding the genre has set them apart in recent years bringing numerous young fans to the music.
Sam Bush & Del McCoury Tour Dates 2012
November 15th – The Paramount – Peekskill, NY
November 16th – Norwalk Concert Hall – Norwalk, CT
November 17th – Stockbridge Theatre at Pinkerton – Derry, NH
November 18th – The Birchmere – Alexandria, VA
November 19th – The City Winery – New York, NY
December 1st – The Old Town School of Folk Music – Chicago, IL
From now until the end of September you can download The Del McCoury Band and Preservation Hall Jazz Band’s American Legacies at Amazon for only $5! Don’t miss this deal!
Get it HERE!
The Travelin’ McCourys new album with Keller Williams hits stores today. To celebrate, we are giving away the track “Bumper Sticker” featuring Del McCoury until midnight tonight. To get your copy go to:
To hear more, or to purchase the album, visit http://www.kellermccoury.com
We’re about to be a part of the biggest bluegrass festival at sea and we’d love for you to join us! Mountain Song Productions is partnering with Sixthman to fill an entire luxury cruise liner with more than a dozen bluegrass and acoustic artists including David Grisman Sextet, Del McCoury Band, Tim O’Brien, Bryan Sutton, Steep Canyon Rangers, Kruger Brothers and many more!
Mountain Song at Sea will set sail February 1-4, 2013, from Miami to Great Stirrup Cay, Bahamas aboard the Norwegian Sky, a luxurious ship full of all the amenities you’d expect – pools, hot tubs, a casino and music on multiple stages, around every corner. There’s something special that happens when a group of artists who share a passion for their music and a community of like-minded fans gather together to journey aboard one ship. Mountain Song at Sea will provide experiences that you can’t get anywhere else – shows with your favorite artists in intimate venues, spontaneous artist collaborations, jams, interactions with artists and through it all the creation of friendships and your own Mountain Song at Sea community. Artists will host Q&A sessions and other activities, like a poker tournament, beer and wine tastings, workshops, games, and more!
You’ve never seen this many bluegrass fans at sea! The entire ship has been chartered for the inaugural Mountain Song at Sea festival, and will be full of like-minded fans just like you. Every person on board will be there for one thing: to live and breathe all the amazing music for three full days! So prepare to sail on the greatest music festival celebrating the traditions, the legends and new evolutions of bluegrass! Check out www.mountainsongatsea.com to find out more details about the event and how you can be a part of the pre-sale and get yourself onboard!
March 23, 2012
SMF: Preservation Hall/Del McCoury @ Trustees
By Jim Morekis
It’s been written before but I’ll write it again: There are only two American musical traditions worth talking about:
1) The African-American tradition, historically centered in the Mississippi River Delta;
2) and the Scots-Irish tradition of the Appalachian Mountains.
That’s it. Everything else that’s come out of this country that’s worth listening to — jazz, R&B, gospel, rock ‘n’ roll, bluegrass, country — has its roots in one or the other, or both, of these.
(The undeniable fact that both of them are Southern traditions is yet another reason for you non-Southerners to be happy we allow y’all to stick around here. You’re welcome.)
Popular portrayals and conventional wisdom insist that we should consider those two traditions as somehow in opposition to each other. But in another of those adventurous double bills for which SMF Director Rob Gibson is becoming famous, the Preservation Hall Jazz Band of New Orleans and Del McCoury’s bluegrass ensemble joined forces at the Trustees Friday night for one of the biggest barn-burners in recent SMF history, one which defied lazy explanation.
While the alliance of the two groups actually happened well before this evening — with their American Legacies recorded collaboration and a Letterman appearance — the overwhelmingly rapturous reception of the show was by no means a given considering the generally conservative nature of many typical SMF audience members.
It’s true that many SMF audiences tend to skew a bit older, but it’s just as true that I can’t recall another crowd at the Trustees Theatre — even for rock shows — demand an encore in as spirited and vociferous fashion as the crowd did this night.
But I’m getting ahead of myself. The takeaway from this show is twofold: A) the Preservation Hall Jazz Band remain a bunch of smiling, genteel killers who can play with anyone, anywhere, and B) it is a very pleasant surprise just how well these two fine ensembles melded America’s two seminal musical traditions.
To read the rest of this review, click here
Huffington Post Grammy Preview: The Best Albums of 2011 From Top to Bottom
I’ve traveled to the future and can reassure you that Adele will have a fun night at the Grammys on Sunday. Her album is one of those inevitable triumphs at an awards show that feels right. Adele has dominated the charts and the radio and critics; if she’d been able to tour, we’d probably be saying how much better her songs sound in concert than they do on the album and realize she has room to grow. Her smash hit 21 is in every sense the album of the year.
So I was surprised in my recent trip down South to realize how few people actually own it. Five million copies is nothing to sneeze at in the North American market, but a lot more people should snap it up. If and when they do, here are some other albums you might want to consider purchasing as well. These days, you can check them out first on Spotify or MySpace so you won’t have to take my word for it before spending your precious entertainment dollars. I have an embarrassing lack of classical music this year (I just wasn’t exposed to much), but there’s something for almost everyone — pop, rock, country, jazz, gospel, world music, film scores, ambient, folk and more. If you’ve liked the artist before or enjoy the genre, I’ll bet it’s worth your time.
Now make sure you read the list and immediately chide me for not including so and so (Wilco! Jayhawks! Tuneyards!) or for foolishly including so and so (Panic! at the Disco? Really?) or for having one act too high (Glen Campbell in the Top 10?) or too low (Frank Ocean at the bottom?). Hey, it wouldn’t be fun if we didn’t argue. I’m especially looking forward to getting tips about any albums I haven’t heard yet. Chances are if an act is on a lot of year-end lists that I probably already gave it a listen. But little known favorites of yours are very welcome comments indeed. That’s certainly all I hope to achieve with my picks: point you in the direction of an album or two I think you’ll love. And now, the list! Come back over the weekend and I promise to add in some comments explaining my choices.
BEST ALBUMS OF 2011
1. FLEET FOXES Helplessness Blues (CSN rocks out)
2. TOM WAITS Bad As Me (bohemian troubadour in top form)
3. KING CREOSOTE & JON HOPKINS Diamond Mine (quirky concept album, gorgeously done)
4. GILLIAN WELCH The Harrow and the Harvest (simple, straightforward, striking folk)
5. TEDDY THOMPSON Bella / kd lang Sing It Loud /RON SEXSMITH — Long Player, Late Bloomer (pure pop by pure pros)
6. WYNTON MARSALIS AND ERIC CLAPTON Play the Blues / BRANFORD MARSALIS AND JOEY CALDARAZZO Songs of Mirth and Melancholy (trad jazz)
7. GLEN CAMPBELL Ghost on the Canvas (haunting country pop)
8. BOMBINO Agadez (Tuareg rocks!) / BOUBACAR TRAORE Mali Denhou (gentle African guitar) / LADYSMITH BLACK MAMBAZO Songs From a Zulu Farm (ecstatic and playful children’s music)
9. VARIOUS ARTISTS This May Be My Last Time Singing: Raw African American Gospel on 45 RPM (1957-1982) (lo-fi, high flying gospel that’s so good you’ll convert)
10. ADELE 21 (unstoppable soul diva)
11. GROUPLOVE Never Trust a Happy Song (raucous LA pop-rock)
12. PANIC! AT THE DISCO Vices & Virtues (sterling but overlooked pop-rock)
13. NICK LOWE The Old Magic (vintage wine, vintage bottle)
14. WILD FLAG Wild Flag (giving super groups a good name)
15. BRAD MEHLDAU Modern Music (dependably adventurous jazz trio)/COLIN VALLON — Rruger (bold EU trio following in Mehldau’s wake)
16. JAY-Z AND KANYE WEST Watch the Throne (braggadocio taken to new heights)
17. BON IVER Bon Iver (stares down success with quiet confidence)
18. BALLAKE SISSOKO AND VINCENT SEGAL Chamber Music (delicate instrumentals)
19. PAUL SIMON So Beautiful or So What (mortality, musically)
20. BETH HART & JOE BONAMASSA Don’t Explain (the blues, thumpingly good)
21. PRESERVATION HALL JAZZ BAND AND DEL MCCOURY BANDAmerican Legacies (an institution finds new life via collaboration)
22. AMBROSE AKINMUSIRE When the Heart Emerges Glistening (quietly probing jazz)
23. JAMES BLAKE James Blake (trippy pop)
24. VARIOUS ARTISTS Live From the Old Town School (folk’s beating heart)
25. GIRLS Father, Son, Holy Ghost (interesting identity crisis)
26. TINARIWEN Tassili (bluesy, distinctive, campfire sing-alongs)
27. JOY FORMIDABLE The Big Roar (noisy pop)
28. DARI0 MARINELLI WITH JACK LIEBECK Jane Eyre soundtrack (the year’s best traditional score)/ MATTHEW COOPER Some Days Are Better Than Others (the year’s best untraditional score)
29. THE CORAL Butterfly House/THE MAGIC NUMBERS Runaway (pop, unimported, unrecognized)
30. PISTOL ANNIES Pistol Annies / MIRANDA LAMBERT Four The Record (country’s top gal and friends)
31. THE LOW ANTHEM Smart Flesh (brainy Americana)
32. CHARLIE HADEN AND QUARTET WEST Sophisticated Ladies (female singers, jazz swingers)
33. THE BLACK KEYS El Camino (rock, no fuss)
34. M83 Hurry Up, We’re Dreaming (ambient pop)
35. ALISON KRAUSS AND UNION STATION Paper Airplanes/ JOHN HIATTDirty Jeans and Mudslide Hymns (old dogs, old tricks, happily so)
36. BEASTIE BOYS Hot Sauce Committee, Part Two (feisty hip-hop from the old-timers)
37. BEN HOWARD Every Kingdom (gentle pop)/MIKE BLOOM King Of Circles (WARM singer-songwriter vibe for this solo debut)
38. VINICIUS CANTUARIA AND BILL FRISELL Lagrimas Mexicanas (two great guitars, one great voice equal haunting Latin music)/
39. THE GOURDS Old Mad Joy (rootsy celebration) / MARC BROUSSARD Marc Broussard (bluesy rock)
40. SUZANNE VEGA Close-Up Volume 3: State Of Being (acoustic songs, electric songwriting) for fu
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