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Lifetime Achievement Awards |
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California Autoharp Gathering Jim Snow Jim was born Grayson County, Virginia in 1942. As the story goes, the midwife who delivered him passed away before she could register him at the courthouse, so an official birth certificate for Jim was never filed. Despite this inauspicious beginning, Jim was born with a special talent for music, just like his father. Jim's first love was with the guitar. At the age of 8 or 9, he used to keep it close by to him while he slept. Kilby wanted him to learn the autoharp, and at an early age, Jim finally gave in and learned the secrets behind the now-famous "Snow Style" of autoharp. Jim had to learn the autoharp in a method different than Kilby, since Kilby was left-handed and played the autoharp in a way that his forefinger did most of the work. Jim was born right handed and had to use his thumb in the same manner that Kilby used his forefinger. Jim's love for the guitar was always his primary musical talent. All of Jim's training has been by "ear." He used to listen to old records of guitar greats, and the guitar runs, or licks, became one of Jim's trademarks. These guitar runs were transferred to the autoharp, giving Jim his own unique standard. By the time Jim was 14, he began to perform in concerts with Kilby, demonstrating their famous "cross-strumming" technique, which we will be seeing an example of in just a few minutes. When Kilby died in 1980, Jim placed his autoharp in the closet along with his father's memorabilia were it sat for 14 years. In 1994, Jim was coaxed out of retirement by his close friend, "Snow Style" artist Joe Riggs, to appear at the Mt. Laurel Autoharp Gathering in Pennsylvania. He entered into the International Championship competition, where he placed first, winning this prestigious award. It was a remarkable achievement. I first began talking to Jim about a year and a half ago, and like Joe Riggs, wanted to coax Jim to come out west to join us at the California Autoharp Gathering. We have had many wonderful conversations over the phone since that first time. This is Jim's first ride on a jet airliner. I learned that Jim still had the original reel-to-reels that were recorded by Mike Seeger. I offered to digitize those old reels onto CDs, and I gave copies to Jim and Mike. Mike Seeger has released some of Kilby's recordings for Smithsonian Folkways and will do so for Rounder Records. I received blessings from Mike and Jim to re-release Jim's cassette "Father and Son" with some recordings from those old reels. That CD has been officially released here at the California Autoharp Gathering and is available for purchase at the patio. In addition, Jim sent me one of Kilby's harps, this one being the last known one to exist, along with an example of Kilby's fingerpicks, and the only 45rpm record that Kilby recorded. The 45rpm in this incredible display also has Kilby's autograph. And now, we would like to show Jim and Kilby, live at the 1966 Newport Folk Festival, a 10 minute film clip of an Alan Lomax production. You will get to see Jim and Kilby performing with the late Mike Hudak, another close friend of the Snow's. In the second scene, you will see Jim and Kilby perform the famous "cross-strumming" technique, along with Mike Hudak. In the two final scenes, you will see Jim sitting on the lower staircase along with other folk musicians. Here's the show! We are pleased and honored to award this California Autoharp Gathering "Lifetime Achievement" award to Jim Snow. And now, please welcome our special guest, JIM SNOW!
California Autoharp Gathering Bryan Bowers I have had a chance to get to know Bryan over these last several years. He is a remarkable talent: a storyteller, songwriter, entertainer, singer, and one of the best performers of the autoharp in history. It has been said that Kilby Snow was the first master of the autoharp. I believe that Bryan follows that same path of mastery with a lifetime of dedication towards our instrument of choice. Like Jim Snow, Bryan was born in Virginia. He spent a childhood listening to field workers, dancers, and traditionalists performing old "call-and-answer" songs. Around his time at Randolph Macon College in Ashland, Virginia, Bryan first picked up the guitar. Soon, he ran into an autoharpist who could play it and keep it in tune, a real feat in the 1960s. The next day, he went out and bought his first autoharp. Practice, practice, practice. Bryan found himself completely devoted to learning the secrets within the autoharp. Frequently, he practiced eight hours a day or more. In an early job, delivering mail in a rural community, Bryan found a way to deliver the mail in his car and simultaneously practice his autoharp. Once, on a cold beach, Bryan made a breakthrough – his found his style using the now famous "three-finger roll." It was a tremendous moment in his life, although those strings became rusted from the salt air. Not a bad trade at all! In 1971, Bryan established roots in Seattle, Washington, and has made a residence in the Pacific Northwest ever since. Part of his life was traveling in "Old Yeller", a yellow 1966 Chevy panel truck that Bryan called home for a while, sometimes with his son, Sean. He used to play as a street singer for coins or in bars for the right to pass the hat. Once he became more polished in his technique, he performed in venues in the East Coast and was heard by the Dillards, who invited him to play for bluegrass audiences. After one concert, he was approached by Maybelle Carter, the first lady of country music, who had listened to Bryan perform his autoharp. "I never thought I would ever hear such beautiful music from the autoharp," was a comment that Maybelle told Bryan. Bryan has been a member of Fret Magazine's "Gallery of Greats" and in 1993 became one of the first members of the Autoharp Hall of Fame. He is responsible for making the autoharp more than a parlor instrument, or a novelty. He has given the autoharp a sense of respectability and appreciation that I know all of us feel today. When I was a young man, in the early 1980s, I was home one night watching television. On NBC, there was a program called "Real People". I saw this program and first became familiar with Bryan as he was being featured. His six minute piece gave me an inspiration for the 'harp and for him. I never forgot that episode. When I first met Bryan in the late 1990s, I told him that I remembered that episode and a comment he made on that program, "trading shots of Galliano." Bryan laughed with me at my remembrance. Last year, I did some research and found the producer of the old "Real People" program. I found that the producer was still around and had an office in Beverly Hills. I called them and inquired if it was possible to get a copy of Bryan's performance. "Oh yes, we might be able to find it, if it is not buried someplace. Just send us a letter of inquiry and we'll look." Faster than a speeding bullet, I sent them that letter. Three weeks later, a VHS copy of that episode came in the mail. I had it converted to a DVD, and now, for your enjoyment, let's see Bryan, on "Real People", circa 1982... Ladies and Gentlemen, I am pleased and honored to give Bryan Bowers this Lifetime Achievement award from the California Autoharp Gathering. Will you please join me and ask for Bryan to come up and accept this award....
California Autoharp Gathering Mike Seeger Charles and Ruth Crawford Seeger used to sing with their children most Saturday nights. At the age of five years old, young Mike Seeger learned the ballad, "Barbara Allen" from his parents. He began to listen to his parent's collection of traditional music. Later, in his teenage years, he began to play instruments. Eventually, he achieved a mastery stage in instruments; many, many instruments. Thus began the life of one of America's greatest treasures of American traditional music, and in my opinion, the most important figure in that genre of the 20th century. Mike is a founding member of the "New Lost City Ramblers," a group that has inspired thousands of musicians to continue the legacy of traditional music. Since that group's first recording in the late 1950s, Mike has gone on to record over 40 albums, both solo and with other artists. In addition, Mike has been nominated for six Grammy awards. Just about anyone that was involved with traditional music over the past fifty years has performed with Mike, been associated with Mike, or eaten lunch with Mike. He has been responsible for promoting, producing, or encouraging artists like the unique and beautiful Elizabeth Cotton; Maybelle, Sara, and Janette Carter; Roscoe Holcomb, Dock Boggs, Eck Robertson, Tommy Jarrell, Cousin Emmy, and our special tributary: Kilby Snow. Without Mike's energy, determination, and perseverance, many of their talents and skills would not have been shared with the rest of us. We all owe Mike a debt of gratitude. Mike has sought out the variety of traditions within his music, and made his own vision of that music in his performances. He is like an open history book of traditional music. He just doesn't play the banjo, fiddle, guitar, jaw harp, harmonica, quills, autoharp, mandolin, and lap dulcimer; he is a genuine master of them all. When he sings, "When First onto This Country," you feel like you are meeting and hearing from that unfortunate soul of the song. When performs in Maybelle Carter guitar style, that feel of the 1920s and 1930s old 78rpm records come back completely. He is equally effective as a lead performer and as an accompanist. One of my best memories is spending time with Mike when he came to the California Autoharp Gathering in 2004. He stayed an extra day to perform for some of our kids at Mendota Unified. I absolutely treasure the time we spent while I was driving my car. We had the most wonderful lunch, hamburgers at a small place, and talked about traditional music. When I drove, I intentionally drove at a much slower pace, just to get the chance to talk. Mike was my guest at my home and we had two memorable dinners with my family. We spent time in my study, playing some of my CDs and Mike was so kind to peer over my collection. I told my daughters that having Mike as a guest was one of our greatest honors. My God, that was fun! It would be great to describe further what Mike has done for all of us – but instead, I'd like to show you some of his highlights, both solo, and with special guests. I hope you like our production... On behalf of the California Autoharp Gathering, I'd like to present this Lifetime Achievement award to one of the greatest – Mike Seeger. Please welcome him and ask that he accept this honor...
California Autoharp Gathering Kenny & Marta Hall Both Kenny and Marta Hall have become the "first couple" of old-time and traditional music in the Fresno area. Their reputation, as I have learned, has reached throughout the United States and abroad as outstanding performers, music historians, and purists towards old-time music. It is been my pleasure to work with them on several projects over the last several years. Kenny and Marta, with the assistance of Vykki Gray, published their mandolin and fiddle book through Mel Bay productions. Unfortunately, Mel Bay only printed 500 copies, and today that issue is as tough to find as hen's teeth. Hopefully, Mel Bay will consider a second printing or allow us to reprint the book, as people all over the world have contacted me, over www.kennyhallband.com, desiring a copy. The book lists over 200 of their songs – words and music – along with some of Kenny's classic storytelling. A highlight of the book is a complete list of the 1100 songs that Kenny knows and performs. It is a remarkable achievement. Kenny was born in Campbell, California in 1923. His parents found a school for Kenny, who was blind from birth. That place was the California School for the Blind, which at that time was located in Berkeley. It was a residence school, where the kids lived there during the school year and came home for summer and Christmas vacations. At the school, Kenny learned his academics as well as life skills; to become an independent member of society. At the school, Kenny also developed two of his great loves – music and the outdoors. Kenny loved to go on hikes, sometimes solo, throughout those Berkeley hills. Kenny is best at home in the outdoors. Like an incredible data base, Kenny began to learn songs and tunes from wherever he went: The Record Exchange in San Francisco, The Swiss Café in San Jose, the Broom Factory, through 78rpm records, from people from Ireland, Chile, Mexico, Sweden, and throughout the United States. One time, just to see if I could trip him up, I asked Kenny, "Do you know any songs from Asia?" "Yeah," he said, "Chinese Breakdown." His stories are tremendous – the phrase: "Kathy smashed Homer," where his ex-wife had an accident with her then-boyfriend in the back of a pickup. Kenny made it part of the song: "Rattlesnake Bit the Baby." It always breaks me up! His Wednesday night jams at the Santa Fe Basque have been very important to me and to a number of us. Marta was born in San Diego. It was at the San Diego Folk Festival where she first met Kenny. As she once said, "I was asked to escort Kenny at the Festival, and have blessed with the job ever since." They married in 1974. This October, they will celebrate 32 years of marriage. Although Kenny is famous for his 1100 songs, Marta is a great resource of many of those songs. She will amaze you with the depth of lyrics she knows during their performances. Once that I had gotten to know her, I soon learned that Marta is a very intelligent woman. The detail of knowledge that she has for fine arts is impressive. Not only is she a fine musician; but also she is a traditional poet and artist. I have been the fortunate recipient of her art at Christmas time. With the assistance of Marc Blake and the members of Kenny and Marta's Wednesday night band from the Santa Fe Basque Restaurant, Kenny & Marta recorded two albums last year, "North Sanger Blues" and "Number 11 on the Jukebox," titles of two of Kenny's well known songs and tunes. Later in the year, Kenny & Marta released "Guitar for Pervis", Kenny's tribute to a friend of his who was dying of cancer. "Guitar for Pervis" features Kenny solo on guitar, with all of his famous wit and character. When we were at the pre-production stage of "Guitar for Pervis", we played the song "Gold Mine in the Sky" which brought tears to the eyes of Marta, and I knew that we were onto something very special. The album has gone on to be well received – both locally and through Ebay, where I have come to meet some of Kenny and Marta's fans and admirers throughout the world. With the addition of Kenny and Marta's website, their art and music is becoming more known than ever. All three of these treasured albums are on sale at the patio. Stay tuned for more new releases and some re-releases in the near future. In 2003, the Arhoolie Foundation contracted with documentary filmmaker Chris Simon to film Kenny's story. Unfortunately, the production has run into some financial difficulty. However, I was able to secure a film clip of that production, "I See What You Hear." Now, I would like to present to you, as an unofficial first time premiere, an abridged version of this historic movie... The California Autoharp Gathering would like to offer Kenny and Marta Hall this Lifetime Achievement award. Would you please join me in welcoming Kenny and Marta Hall!
California Autoharp Gathering Ron Wall If there ever were a living description of a "southern gentlemen," Ron Wall would be that man. Anyone who has met or visited with Ron will always be struck with his great sense of humor, his ability not to take himself too seriously, and his humble demeanor. I absolutely love his delightful southern accent. It's welcoming and inviting for conversation. You can tell that he is comfortable in his own skin, and walks with kings and common folk with equal ease. I wasn't there in 1994 when he won the International Autoharp Championship, but I'd bet that when he was announced the winner, he probably blushed a bit, gave that great humbling smile of his, and said, "oh...thank you." I wasn't there in 2003 when he was elected to the Autoharp Hall of Fame, but I'd bet he smiled somewhat shyly and said, "why this is just fine." I wasn't there in Nashville a few years back when he accumulated over fifty of the finest autoharpists from all over the planet to produce the landmark "Autoharp Legacy" triple CD project, but I bet he warmly greeted every single one of those artists with hug or a handshake and went on to create an inviting, exciting, and productive environment for all that talent to record that CD project. This is what Ron does. He creates and gives of himself and unless you know what is really happening, you probably would not even notice. That's the way he likes it. It is what makes him a true gentleman in every sense of the word. The world could use more "Ron Wall's." Here is something you may or may not know about Ron – he is probably the most creative person in this room; both in the world of business and in the world of music. He has designed his own harp, composed his own songs, and performed with a skill that is uniquely his own. And skilled he is. The speed of his fingers when he plays his harp is like the Indianapolis 500 while most of us are still in our driveways. That skill creates a sound that is his and his alone. Each time I listen to the Autoharp Legacy CD, I always know when it is Ron playing. I can say that about Evo, about Bryan, about Maybelle Carter, about Kilby and Jim Snow, but really no one else. He is a husband to Ramona, herself an outstanding hammered dulcimer player, and a dad to two great kids. He has embraced the autoharp community like no other and has single handedly contributed mightily to all of us, perhaps something else you did not know. Do you remember Grandpa Jones, that great character on the old "Hee Haw" television show? Grandpa Jones was Ron's father-in-law. In addition, Ron produced Bryan Bowers' latest and maybe his finest CD, "Bristlecone Pine." The skill, the sense of humor, the pleasantry about Ron. Well, we would like to show you some of his highlights. I hope you it enjoy it... Ladies and Gentlemen, for our sixth California Autoharp Gathering Lifetime Achievement Award, please welcome Ron Wall!
California Autoharp Gathering Evo Bluestein With Evo, it's hard to know exactly where to begin. He's lived an extraordinary life. He is the son of two remarkable parents, the late Professor Gene Bluestein and his mom, Ellie Bluestein. Both of his parents have made a significant contribution upon our society, always towards a better society, towards justice and truth, and in the best interests of folks like you and me. The Bluestein Family is very musical in nature. All three of Evo's brothers and sister are fantastic musicians in their own right. The Bluestein Family lived in Finland, in Paris; and traveled throughout the world performing, teaching, and inspiring others. It's always a treat to sit with Evo when he tells stories of street performing with his brother Jemmy in Paris, or skiing in Finland. In 1988, I was accepting my first teaching assignment and I could not get out of my head what my fifth grade teacher had given me – exposure to the autoharp. I went to a Fresno based music store to look at harps. I had no previous experience with music at the time, but I thought I'd take a look. After looking at several Oscar Schmidts, the only harp available, I asked the salesman if he knew someone that could show me how to play it. "Oh yeah," he said, "there's this guy named Evo Bluestein who can do it. Here's his phone number." I called and talked to Evo. "Yeah, he said, I charge $20 per hour, I can get you started." I said that I'd think about it. I decided not to do it. I don't know why, I just felt the time wasn't right. Eleven years later, in the late spring of 1999, I was working at Mendota Unified in State & Federal Programs when the Activities Director at the High School called me with a problem. He had hired some musicians for an assembly but did not have the money to pay for them. After letting him know that wasn't a great idea to promise something without the money to pay for it, I told him to send me the invoice and I would see what I could do. The invoice said, "Payable to Evo Bluestein". Evo Bluestein! I knew that name! So I called him! Funny thing, if his name was John Smith, I may never have called him. I asked him to come back to Mendota to do a few summer school assemblies. He brought his cache of instruments and when he played the autoharp I said to myself, "Oh my God!" That's exactly what I want to bring to my school district and something I need to do. With Evo's help, we started working with teachers learning the autoharp, and then the students. We built a fine arts center. Evo taught many students his catalog of instruments, including a young man named Ignacio who was truly gifted. And that's what Evo does, and does best. He teaches, performs, encourages, and tirelessly works throughout the western United States with kids and adults. He's one of most organized artists I've ever known. It's been my honor and my pleasure to just have good conversations with Evo. Our brainstorming sessions should have been recorded; they are legendary in how to combine talents together to create great things. It shows what a team can do rather than just the one. One brainstorming session that he and I had in my small office in Mendota became the festival that all of you are now at – the magnificent California Autoharp Gathering. It would be foolish for me to even try to describe his musical talents. Instead, I'll show you what we have... Ladies and Gentlemen, for our fifth California Autoharp Gathering Lifetime Achievement Award, please welcome the one and only...Evo Bluestein!
California Autoharp Gathering
Ray Frank I hesitate in describing Ray, his life, and his many accomplishments as the film you are about to see will do so. However, it goes without saying that Ray is one of the cornerstones of the California Autoharp Gathering. He's been with us for each festival since our first one in 2003 and has brought his remarkable sense of openness, humor, and talent ever since. Some people, like Ray, are simply born great musicians. His interpretation of the music is one reason that sets him on such a high plane. Technically, he's about as close to perfect as you can get. He just doesn't play music with someone else; he gets into his partners' style and vibe. Ray makes everyone who plays with him sound really good, because Ray brings out the best musicianship you have. Just a few memories – our first two festivals were held at Mendota High School and Ray joined us on that first day in 2003. Ray became soulmates" with one of the local caters, a wonderful chef named Gabriel Argote. Whatever Gabriel made, Ray enjoyed it all, and let Gabriel know just how fantastic he was. Gabriel would come out to the tables, usually with a plate just for Ray and Ray would go....oh....mmmmm...ohhhh. It made Gabriel's day. Behind the cafeteria in Mendota, there is a teacher's lunch room that we used as a green room" for the staff. I found out that Ray and Les Gustafson-Zook had started to jam together and did so all night long. From that jam they eventually found their way into a studio and out came Les' and Ray's Fingerpickin' Pals CD", a collection of autoharp and guitar songs, which includes a beautiful version of Cielito Lindo". Ray's group, Stump Tail Dog" has released several CDs and they are all fun to listen. Ray's workshops are inspirational. No matter your skill level or what instrument you play, Ray's talents will help take you to the next level. You'll get to see some examples of his work in just a minute. You might be surprised to learn about Ray's hometown. You will be surprised to learn some of the great artists Ray has worked with. A better illustration of Ray comes in this short movie, produced once again by Marc Blake and me... Ladies and Gentlemen: please welcome Ray Frank!
California Autoharp Gathering
Carey Dubbert Like Ray, Carey Dubbert is a musician extraordinaire. His roots go back to his hometown of Rochester, Minnesota and his graduation from the University of Minnesota in mathematics and music. Later, he went to New York, where he was a master bassoon player with the Manhattan School of Music. Later he found the hammered dulcimer and then the autoharp, of which he has the rare distinction of winning national championships in both instruments. What's so great about Carey is that he's the nicest fellow you would ever want to meet. You are always comfortable around him. You feel like you are in the company of an old friend. It was this friendliness at our first CAG that also helped set the tone for future festivals. Carey's great! If you find yourself in Occidental, California, you might drop into Careydale Acres, and meet up with Carey and his beautiful wife Ellindale. Don't miss the three cats: Emma, Sparkey, and Mufflin Frogstockings, which would be hard to say if you were mad at him. You'll want to pet the cats and then ask for Carey's two CDs – Thanks, Dad", which features the hammered dulcimer, and One of Mine" which is both hammered dulcimer and autoharp. Carey has been a performer and workshop leader at the Mountain Laurel Autoharp Festival, the Willamette Valley Autoharp Gathering, and of course, here at the California Autoharp Gathering. He has played at the Sonoma County Folk Festival, at senior residences, and for an Alzheimer's Respite program. I sure he would do more, but he charges $25,000 for each performance. We will pass the coffee can around a bit later. And now without any further delay, let's take a peek into the world of Carey Dubbert... Ladies and Gentlemen: please welcome Carey Dubbert!
California Autoharp Gathering Kathy & Carol I have a pretty good collection of CDs, including one that is from the Newport Folk Festival. There is a unique sounding song on it, called The Swallow Song" by this duo named Kathy & Carol. The song, done a capella," really stuck into my mind, but I could not find anything else about this special team. Just who are Kathy & Carol? I got word that their 1965 Elektra album was being reissued on CD and I immediate went to the local record store and found a copy. And hey! They play autoharp! An Internet search got me to Carol's website, and soon I found myself on the phone with her. Hi, my name is Mike Mueller." OK..." Well, I found this CD, and it sounds like you play autoharp, and well, I was wondering if you'd like to come to the California Autoharp Gathering..." Oh..." But I have to ask...do you know where Kathy is? And, if it is ok to ask, do you guys get along?" Yes, in fact we've been talking about reuniting and performing again. That sounds great!" Hey! I have the just the venue for you!" And the rest is history. Kathy and Carol reunited and came to the California Autoharp Gathering in 2005 and they sounded just like they did in 1965. It's a uniquely beautiful sound. They are beautiful ladies. They sing like angels. Kathy & Carol met at high school classmates in Vista, California. I'm always amazed on how these chance meetings go onto create such vivid artistry. They began to sing and perform their own rendition of old ballads, some hundreds of years old. After touring in the west coast, and through a series of meetings, they found their way to record producer Paul Rothchild, who later produced records for the Doors, Joni Mitchell, and Janis Joplin. After the record was completed, Rothchild called it "the most beautiful Renaissance ballad record I ever heard...Joan Baez times two." It's haunting, soulful, and tranquil. It's a must CD to own. I hope they will record again. I'm thrilled that Kathy & Carol are with us again. I'm glad Carol will still take my calls. And now, let's take a closer look at...Kathy & Carol... Ladies and Gentlemen: please welcome Kathy & Carol!
California Autoharp Gathering Pete Daigle I first met Pete at our first California Autoharp Gathering in 2003. Since then, he's been with us for each of our festivals and we are fortunate that he is a partner with the California Autoharp Gathering. I first noticed how wonderfully attractive his autoharps were that first year and Pete handed one to me and said, "here, play it!". And I did. I found it very hard to put it down. Not only was it a beautiful harp, it sounded fantastic, too. From his beginnings in a small workshop, Pete is now the proud owner/operator of a fully operational store called: "Daigle Autoharps and Folk Instruments." He is perhaps the finest builder of autoharps anywhere in the world. He's intuitive, curious, and always looking for an improvement. It's a treat to see such a sharp mind combined with a pair of brilliant hands. Pete is always kind, generous, and helpful to anyone that asks him for assistance. You can't miss his impressive booth in the lower dorm lodge. I hope that all of you can spend some time at his display and try out one of his harps. Pete is more than happy to answer any question you might have or help you with needs with your own harps, no matter the type it might be. He'll also facilitate great workshops in autoharp maintenance. For several years, many other autoharp festivals that feature contests have custom made autoharps as prizes for the top 3 winners. The champion always gets to pick first from the lot of 3. And every time, the winner picks a Daigle Harp. I'm sure many of you subscribe to the Autoharp Quarterly, the magazine for us harpers that is published four times per year. The previous editor in chief, Hall of Famer Mary Ann Johnston, had to retire from the Quarterly due to illness. Pete stepped up to the plate and assumed responsibility for publishing it. It's just like Pete – willing to help, willing to take a lead position in our community. And for all of this, we'd like to honor Pete here tonight with the California Autoharp Gathering Lifetime Achievement Award. But before we do that, let's take a closer look at the life of Pete Daigle. From the production computer of Marc Blake (and my help, too), let's now see our tribute: Ladies and Gentlemen, will you please join me in honoring Pete Daigle! |
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