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Freelance Writing
Tom has been a contributing writer to Sing Out! Magazine since 1999, specializing in
CD and Book reviews of traditional based music. He has also written on assignment for
the Martin Guitar Company. Examples are included below.
He also writes a quarterly column for The Outdoor Adventurer called Natural Harmony,
which encourages the reader to bring natural acoustic music into the great outdoors.
For examples, visit www.outdooradven.com.
Tom is always looking for additional freelance writing opportunities.
NORMAN AND NANCY BLAKE
The Morning Glory Ramblers
Dualtone/Plectafone/Western Jubilee 80302-01160-2
It's always fascinating to open a new Norman and Nancy Blake recording. Each is like a
letter describing what they've been listening to in the past few years. Little clues
abound throughout The Morning Glory Ramblers.
Seems they've been listening a bit to the Bollick brothers, otherwise known as the Blue
Sky Boys. "The Sunny Side of Life" opens the recording and the Bollick's
version of "Short Time of Trouble" is a highlight. The Carter Family has
always been a rich source for Blake material. "Dark and Stormy Weather", "Little Log Hut
in the Lane", "When the Roses Bloom in Dixieland", and the beautiful "I Loved You Better
Than You Knew" all come from A.P. and the girls.
But wait, there's more! Among the 17 tracks on The Morning Glory Ramblers are such
classics as "All the Good Times are Over" with traditional "floating" lyrics and some
credited to Norman, and "I'll Rise When the Rooster Crows" from the Binkley Brothers
Dixie Clodhoppers.
Sanctified music is not overlooked with "Going to the Valley" from Smith's Sacred
Singers and Ernest Stoneman, "Elijah's God" from a Stamps Baxter Hymnal (complete with
rain on the studio roof) and "Dry Bones" from the singing of Bascom Lamar Lunsford.
Perhaps the most interesting track on The Morning Glory Ramblers is "Men With Broken
Hearts" from Luke the Drifter/Hank Williams. Nancy performs this recitation with great
sincerity and the in the notes they state that Hank said it was his favorite thing that
he ever wrote.
Recorded live in an empty warehouse/listening room owned by their manager in Colorado
Springs, The Morning Glory Ramblers is a welcome change from the hectic, over-produced
music all around us. Norman and Nancy together, with just their voices and guitars,
share their love of the old music.
Dualtone Music Group
1614 17th Avenue South
Nashville, TN 37212
www.Dualtone.com
www.westernjubilee.com
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HIGHWOODS STRINGBAND
Live
Mudthumper Music MM0055
A few years ago banjoist Mac Benford made a tape for his fellow Highwoods band mates
for Christmas that featured various live renditions of the band's repertoire. He and
guitarist Doug Dorschug had collected these recordings over the years and like many
cassettes they were unlabeled and in a state of confusion.
The sound quality ranged from crisp and clear first generation tapes to renditions
saturated with hiss from so many dubbings, but the excitement of both the band and
the audience members was still palpable. This was a very special time. Joining Mac
and Doug in Highwoods were Walt Koken and Bob Potts on fiddle and Jenny Cleland on bass.
For those who have never heard the old-time wall of sound perpetrated by Highwoods
these recordings will come as a revelation. This is old-time music at its most wild
and wooly, as if Gid Tanner and his Skillet Lickers had grown up in Ithaca New York.
Live opens with a wonderful rendition of "Walkin' In My Sleep" and is immediately
followed by the most primitive of the recordings "Brilliancy Medley" with quality just
barely above that of a 78, but the electricity can't be dampened by a little hiss.
A dance medley follows shortly after with pristine stereo sound and a lively energetic
audience that becomes as much a part of the performance as the band. This is what it
was like where ever the Highwoods band would play in the 1970's. "Dance All Night" is
another highlight with the screaming fiddles and the unstoppable rhythm section. Nothing
subtle about this dance music!
If you missed them the first time or just want to relive some great times the Highwood
String Band Live is for you, heck maybe you're even in the audience.
Mudthumper Records
Box 791
Kennett Square, PA 19311
www.mudthumper.com
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WPAQ: THE VOICE OF THE BLUE RIDGE MOUNTAINS
Radio recordings from Mt. Airy, NC 1947-50
Rounder 0404
When I was a kid back in the '50's my mom had a red radio on top of our refrigerator.
She contended that it received only one station. I believed her. From that red radio
poured a collection of music in those wonderful pre-formatted days. Rock and roll
resided next door to country with swing and gospel as frequent visitors to that
Silvertone on top of the Kenmore.
Along with recorded music I was fortunate to hear the tail end of classic live
broadcasting. Local groups that played at ice cream festivals and fire company carnivals
had live shows. These were usually broadcast in the early morning hours or on Saturday
afternoon. These musicians and entertainers became hometown heroes to many of us.
Eventually with the groves closing and garage rock and roll bands replacing accordion
propelled country bands at local festivals these wonderful programs were dropped from
the stations line-up. I have to admit by the time I heard Ricky Nelson and others I
lost interest in these local country-western groups and their fancy duds and radio
programs.
In 1948 Ralph Epperson built a radio station in Mt. Airy North Carolina. Christened
WPAQ Ralph and his father built most of the shell for the station alone finding many
of the local workers unreliable. On the electronic side much of WPAQ was wired with
war surplus electronics, readily available and relatively inexpensive. On Groundhog
Day 1948 WPAQ AM 740 signed on for the first time.
From the beginning community service was the philosophy of WPAQ and remains to this day.
In his FCC application Ralph made a pledge to reflect the cultural and musical values of
the region which meant featuring local talent playing the music of the Blue Ridge
Mountains.
Many of these musicians were featured on the Merry-Go-Round program, which was initially
broadcast from the WPAQ studios, but with the popularity of the show moved to a downtown
theater. Later the program retreated to the studios again with rock and roll and
commercial country on the rise. Recently the program has returned to the theater setting
being sponsored by the local arts council. WPAQ has always had an open door policy for
performers to come in and appear live on the air. If only those studio walls could talk!
This recording, a collection compiled to celebrate the fiftieth anniversary of WPAQ, was
produced by Paul Brown along with the help of Ralph Epperson. Paul, a fine old-time banjo
player and fiddler, was a long time employee of WPAQ. He was the perfect choice to compile
this collection having searched the basements of WPAQ and the Epperson home many times
for rare and obscure classics. It is a wonderful sampling of the recordings made at the
WPAQ studios between 1948 and 1950. They are taken from transcription discs made for
broadcast on the air when the performers were not available due to a variety of reasons.
The sound quality varies from selection to selection with the most popular recordings
being the most worn. Over-all the sound quality is just terrific. Digital processing was
used to remove some surface noise, pops and clicks allowing this classic music to live as
new once again.
The collection is representative of programming on WPAQ in the late 40's into the early
50's. A mixture of gospel, cowboy and early bluegrass is well represented on the generous
twenty-five selection cd. Significant in its absence is any trace of the Round Peak sound.
Paul suggests in his highly informative liner notes that in 1948 many listeners found
that sound to be somewhat archaic. Many Round Peak musicians did appear on WPAQ but no
recordings from this period were discovered.
Some of the curiosities on this highly entertaining collection include early recordings
from future bluegrass star Jim Eanes, Lee Moore before his long association with WWVA,
and the banjo playing of Benton Flippen in strong 3 finger style. Benton is known today
as the Grand Master of Surry County fiddlers. Also included are many wonderful gospel
ensembles including the Mount Zion Quartet, the Hall Sisters and the Gospel Four Quartet.
Long bow fiddlers Esker Hutchins and Pete Martin represent the traditional old-time
fiddle sound of Surry County; the Carolina Sunshine Trio presented close 3 part cowboy
harmony. The lone recording made before WPAQ signed on is Charlie Bowman's rendition of
"Weeping Willow" which was recorded in 1947 at another studio and brought to WPAQ. It
remains a much requested number to this day.
It is important to know that allowing for a short period when WPAQ changed it's format
to rock the sound typified on this retrospective is pretty much what you'll hear today.
Old-time and bluegrass music interspersed with local preachers and public announcements
are the daily fare.
When Ralph chose the broadcast format for WPAQ he decided "If people are doing the same
thing in 25 places up and down the radio dial, why should I be number 26". We can all
benefit from this philosophy. The CD cover photo of the WPAQ studios by night says it
all — the station stands as a beacon sending out the Voice of the Blue Ridge
Mountains to listeners all across the region. Happy fiftieth to Ralph Epperson and WPAQ.
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C.F. MARTIN AND HIS GUITARS, 1796-1873
By Philip F. Gura
University of North Carolina Press
ISBN 0-8078-2810-7, 352 pages, hbk., $45.00
MARTIN GUITAR MASTERPIECES
A Showcase of Artist's Editions, Limited Editions, and Custom Guitars
By Dick Boak, Foreword by Steve Miller, Introduction by C.F. Martin IV
Bulfinch Press
ISBN 0-8212-2835-8, 144 pages, hbk., $40.00
The Martin guitar is standard equipment in folk music circles. The pre-war Herringbone
D-28 is the cannon cherished by Bluegrassers, the OM series is highly sought after by
fingerstyle masters and the more contemporary players appreciate the onboard electronics
that the company has available in every model to help its sound leap out amid the din of
a myriad of styles from country to rock and roll.
These two magnificent books help explain where these marvelous instruments emanate from
and perhaps where they will continue to go long into the future.
The early days of the company formed by C.F. Martin in 1833 in New York City have been
virtually undocumented. Mr.Gura, known for his research on the banjo in his previous
book: America's Instrument: The Banjo in the Nineteenth Century (North Carolina Press)
has written the early history of the company from correspondence, invoices, company
records and letters from performers and simple customers alike.
The success of the Martin guitar can be summed up in two areas-superior craftsmanship
and skillful marketing and distribution.
The reader is shown how C.F. Martin immigrated to America from Germany, started an
instrument repair company in New York City, apprenticed himself to master luthier Johann
Georg Stauffer and eventually in 1839 moved his company away from the hubbub of the big
city to the tiny Eastern Pennsylvania community of Nazareth.
The history of the guitar in Europe and its subsequent redefinition in America is very
clearly documented, as well as the post Civil War marketing of the Martin brand
throughout the East.
Almost 200 black and white and full color illustrations of the guitar's development
through the years from the earliest European designs to the more modern styling of the
latter 1870s support the fascinating story. Included are interesting reproductions of
pages from catalogs and advertising ephemera relating to the Martin guitar.
Mr. Gura has truly created a book, which can be enjoyed on a number of different levels.
For the instrument collector the illustrations alone are well worth the price of
admission, for the historian the description of life in the early to mid 1800s is
engaging and for any student of marketing, there are universal truths to be learned
from the principles used in the creation of a company still going strong for nearly
200 years.
The same consideration and dedication to the player/customer described so clearly in
Mr. Gura's book becomes even more apparent in Mr. Boak's eye opening page-turner Martin
Guitar Masterpieces.
Dick Boak describes in the preface how he came to be employed at the Martin factory on
a suggestion from then CEO C.F. Martin III. Over the years he has held many different
positions but this book details his work in Artist Relations and as coordinator of the
Limited Edition Signature Models offered by the guitarmaker.
Those started with tenor banjoist Perry Bechtel and his desire for a guitar with more
available frets. This led to the development of the 14 fret neck, meaning 14 frets free
of the body to ease playing in the higher registers. Up until then Martins had only 12
frets free and though this was a one-off custom guitar it led to the subsequent
development of the large body 14 fret Dreadnought, the flagship of the Martin line.
Jimmie Rodgers and Gene Autry were two of the first player-celebrities to order custom
Martins with their names inlayed in pearl on the neck and additional pearl inlay which
would become the treasured 45 series of instruments. Through the 1970's Martin proceeded
to live on its past, continuing to produce a line of instruments considered to be well
crafted, but rather old-fashioned.
Coincidentally, it was during a tour of Gene Autry's Museum of Western Heritage by Chris
Martin IV that the germ of an idea was born. Autry was less than willing to part with his
prized D-45 but when Chris approached him with an offer to recreate the guitar and offer
it to the public with a portion of the proceeds going to the museum, the celebrity line
of limited edition Martins was begun.
The book is filled with story after story like this one and jam-packed with simply
gorgeous color plates of some of the most desirable Custom Shop, Limited Edition and
Celebrity models.
Through Mr. Gura's tireless research and the tenacity and dedication of Mr. Boak the
Martin Guitar Company now has a published record of their past, and a chronicle of
present achievements and developments which will insure a rosy future for America's
greatest guitar builder for generations of players yet to come.
University of North Carolina Press
P.O. Box 2288
Chapel Hill, NC 27515-2288
www.uncpress.unc.edu
Bulfinch Press
AOL Time Warner Book Group
www.bulfinchpress.com
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NORMAN BLAKE SIGNATURE MODEL 000-18
There are few musicians that can be instantly recognized by their first name alone and
a smaller number yet by simply hearing a few notes. Norman Blake is such a musician.
He has blazed the path for many fans of acoustic music to discover the fine art of
flat-picking through rare song gems, highly original compositions and solid instrumental
playing. Through the years he has recorded or performed with a wide variety of Bluegrass
and Country music stars, as well as making a series of wonderful recordings on his own
and with his wife Nancy, chock full of quality picking and sweet southern harmony.
Martin is very pleased to once again partner with Norman in the creation of the Norman
Blake Special Signature Edition 000-18 guitar. Through the near half-century that Norman
has played professionally he has altered his playing style as well as changed his guitar
preference. Early in his solo career his playing was swift with a veritable stream of
notes spilling from his vintage Martin D-28 and D-18 models, but as he has matured his
playing has become more intimate and his array of Martin guitars has evolved and expanded
as well. He is presently playing a unique smaller bodied instrument and that guitar was
the basis of the initial offering of the 000-28 and 000-28B Norman Blake Signature
Edition guitars.
These two signature models have been extremely well received. This is due in part to the
fact that Norman was very much involved in all aspects of their unusual design, from the
appointments to the interior bracing and the decision to utilize a 14 fret 000 body with
a 12 fret neck. The idea for offering a version with genuine mahogany back and sides was
Norman's as well, and using his suggestions once again, Martin has developed the Norman
Blake Special Signature Edition 000-18 guitar.
For this guitar, mahogany was chosen for its wonderful breathy tone, great volume,
clarity and crispness. It is a natural contrast to the rosewood-bodied instruments with
their warm bass notes and sustain. The new mahogany edition shares many of the same
appointments as the previous models as well as the comfort of a 000 size body and the
world famous Martin tone.
As with the initial rosewood offerings, the 000-18 Norman Blake Special Signature Edition
will feature the standard 000 (14 fret) body with a 12 fret neck. This permits the top
braces to be shifted forward, crossing just below the sound hole, placing the bridge
lower on the Italian Alpine Spruce top. This allows for greater vibration of the
soundboard. The sound hole is the diameter of a 00 model with the Golden Era style
rosette with black and white wood inlays with ivoroid in the center. The decreased size
of the sound hole along with the 1/4" scalloped Sitka spruce bracing allows for
accentuated bass response. The back and sides are constructed of genuine mahogany with
style 18 back purfling and tortoise colored binding. The body and top are finished in
polished high gloss and the top is left natural with no aging toner added to the finish.
The pyramid bridge is genuine black African ebony and features a drop-in bone saddle,
with 2 5/16" spacing and plain ebony bridge pins. The polished and beveled 000
sized pickguard is crafted from newly developed and vintage inspired cellulose nitrate
laminate, but unlike its nitrate predecessor, there is no risk of shrinkage or associated
top cracks.
The neck is satin-finished and crafted from genuine mahogany. The genuine black African
ebony fingerboard features a wider 1 13/16" spacing at the nut which is fashioned
from genuine bone. The scale length is 24.9" with 12 of a total 19 frets clear. The
fingerboard is adorned with long pattern abalone diamonds and squares at the 3rd, 5th,
7th, 9th, 12th and 15th frets. Once again, in keeping with the more simple classic style
of the 18 model, there is no binding on the fingerboard but position markers are supplied
at the 3rd, 5th, 7th, 9th, with double at the 12th, 15th and 17th frets. The headstock is
the Martin traditional solid square design (an alteration from the previous two models
which featured the slotted style) with an East Indian rosewood headplate, large size
Golden Era decal, C.F. Martin & Co. stamping on the back and premium Waverly #4073
nickel plated tuners with ivoroid butterbean knobs.
The guitar is protected by a custom sized vintage Geib style #532C hardshell case.
Electronics are optional at an additional cost, though left-handed versions are
available at no extra charge.
Each Norman Blake Special Signature Edition 000-18 will be personally signed by Norman
Blake and C.F. Martin IV and numbered sequentially (without total) and will be sold on
an ongoing basis. Authorized C.F. Martin dealers will begin accepting orders for the
new Norman Blake Special Signature Edition 000-18 immediately and participating dealers
will be posted on the Martin website at
www.martinguitar.com.
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