Peter Ostroushko A Minnesota Treasure - Inside: Minnesota Bluegrass
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
November 2020
Peter Ostroushko
A Minnesota Treasure
Inside:
From the President 3 | MBOTMA Calendar of Events 4
Meet the Board: Shane Zach 5 | Volunteer Spotlight: Tony Anthonisen 7
Cover Story: Peter Ostroushko 8 | Election Ballot 11 | I’ll Fly Away 18 |
Bluegrass Saturday Morning 21 | Coming Up/Postponements 22 | Tab: Fiddler’s Dream 23
November 2020 Mission Statement:
Vol. 46 To preserve and promote bluegrass and
No. 10 old-time stringband music
Newsstand: $3 in and around the state of Minnesota.
Subscription: $35
www.minnesotabluegrass.org Thank you, MN Bluegrass members
MBOTMA Hot Line 651-456-8919
Membership as of November 2020: 732
(to subscribe and for other information)
info@minnesotabluegrass.org
P.O. Box 16408, Mpls, MN 55416
Twitter: @mnbluegrass Facebook: minnesotabluegrass
We are a Community Fundraiser
Minnesota Bluegrass Board of Directors
President: Laura Cooper - president@minnesotabluegrass.org raises $4275.00
Vice President: Nic Hentges
Treasurer: Robbi Podrug for Minnesota Bluegrass!
Secretary: Shane Zack
Term expires in 2020 - President and Vice President Special Thanks to
Term Expires in 2021 - Treasurer and Secretary
Board Members at Large: Barbara Anton, Cathy Baldwin
Term expires 2020: Dale Gruber - dalergruber@me.com
Stacey Berkheimer
Brett Day, Wayne Hamilton
Term expires 2021: Bill Lindroos - welindroos@gmail.com Douglas Chasar
Rudy Marti - rudolphmarti63@gmail.com Marv Cofer, Jane Conger
Mark Anderson, Jason Juran Robert Copeland
Board Meetings are held the first Tuesday of the month. Con- Cousin Dad
tact info@minnesotabluegrass or call for location. Donna Dauphinais
Board Meeting Minutes are available - szack01@gmail.com or Nathan Fjeld
call: 651-456-8919.
Annette Friedl, Kristina Hess
Minnesota Bluegrass Staff Penelope Hillemann
Executive Director: Darcy Schatz Warren Huff, Jim Johnson
execdir@minnesotabluegass.org Phaedra Johnson
Events Manager: Dave Norell Chris Juettner
eventsmanager@minnesotabluegrass.org Wil Kelley, Janine Kemmer
Mary P Kleven
Minnesota Bluegrass Magazine Rolf Lund
Editor: Doug Lohman, editor@minnesotabluegrass.org
Contributors: Bob Douglas, Wayne Erbsen, Dan Hansen
Jed & Jane Malischke
Phil Nusbaum Mary McSorley
Coming Up: Loretta Simonet, John Brandberg Joe Meyer, Vidya Neni
Wordmark: Katryn Conlin Michael Nepper
Photography: Mason Harris Anna Paul, Tom Peschges
Cover: Neil Schloner Back: Brent Synder Roberta Podrug
Deadline for submissions:
Joe Reynolds, David Sayler
The 1st of the month preceding publication
Thomas Schommer
MinnesotaBluegrass.org
Submit content: editor@minnesotabluegrass.org
Advertising rates/sizes available at: David & Margaret Tousley/Brandes
www.minnesotabluegrass.org/Magazine Jeff Wood
Minnesota Bluegrass is published 11 times a year by The Minnesota Bluegrass & Old-Time Music Association™, a Minnesota nonprofit
corporation, P.O. Box 16408, Mpls, MN 55416. No part of this publication may be reproduced in any form without written permission
from the publisher. The publisher is not responsible for the loss or return of unsolicited photos, recordings, or manuscripts.
©2019 Minnesota Bluegrass. All rights reserved. ISBN 0891-0537.
2 November 2020
From the President Become a Member
The Minnesota Bluegrass & Old-Time Music Association is
open to everyone. Our members include people who love to listen
An article by Jonathan Zecher, “Acedia: the lost name for
to music and people who love to make music. As a member, you’ll
the emotion we’re all feeling right now,” in “theconversation.
be invited to participate in bluegrass and old-time music events
com” introduced me to that very old word. The term acedia and celebrations. You’ll receive discounted prices on admission
emerged from the experience and isolation of monastic monks to events and merchandise, and you’ll receive a subscription to
and referred to a “strange combination of listlessness, undirect- Minnesota Bluegrass magazine.
ed anxiety, and inability to concentrate.” If that sounds familiar, Becoming a member of MBOTMA is easy and affordable.
I encourage you to read the article. Conversations with friends Your membership will not only nurture your own interests,
suggest that many if not most of us are experiencing some de- but will help to ensure that the bluegrass and old-time music
gree of acedia brought on by isolation and being flooded with tradition is sustained and grows in Minnesota.
bad news. I know this seems like a rather odd thing to write
Individual Includes Minnesota Bluegrass, events dis-
about in Minnesota Bluegrass, but because of the Covid isolation
$35 counts for one person, and a free classified
(including the cancellation of MBOTMA events), we don’t real-
ad.
ize others are also struggling. Reach out to friends and family for
them and for you. Family Includes Minnesota Bluegrass, events
On a positive note... due to the generosity of our members/ $50 discounts and a free classified ad.
donors (many of whom upgraded their memberships), the suc- Band Includes Minnesota Bluegrass, advance
cess of the August 2019 festival and the 2020 Winter Bluegrass $75 booking information for MBOTMA
Weekend, and a grant obtained from the Minnesota State Arts events, a free classified ad, and listings in
Board, MBOTMA is in a good position to weather the Covid the MBOTMA member band directory in
storm. I am grateful and amazed, as I certainly would not have print and on our website.
predicted our financial and organizational strength, given how Bronze Level Includes Minnesota Bluegrass, first-class
precarious MBOTMA’s situation was the first two-plus years $100 postage, events discounts, and a free clas-
of my time on the board. Kudos to the staff, volunteers, board, sified ad.
members and donors!
Silver Level Includes Minnesota Bluegrass, first-class
MBOTMA recently sponsored a jam in the park (a small postage, events discounts, and a free clas-
$150
scale event) that was well attended. We hope to offer other op- sified ad.
portunities for people to play and hear music while adhering to
Gold Level Includes Minnesota Bluegrass, first-class
the current Covid guidelines. We welcome your ideas.
$500 postage, events discounts, a free classified
MBOTMA’s annual election is upon us. Your ballot and
ad, and more.
candidate profiles are included in this issue of the magazine.
There is also information regarding the election on the website. Platinum Level Includes Minnesota Bluegrass, first-class
I am very pleased with the slate of candidates running for the $1000 postage, events discounts, a free classified
board. Please vote! ad, and more.
Stay safe and healthy. Add $18 for First Class or foreign postage to individual,
family or band membership.
Go to minnesotabluegrass.org
Inside: and select the Membership tab to join online
or download a membership form
From the President 3
MBOTMA Calendar of Events 4 Call 651-456-8919 for details
Meet the Board: Shane Zach 5 or if you would like to join by phone.
Volunteer Spotlight: Tony Anthonisen 7
MinnesotaBluegrass.org
Cover Story: Peter Ostroushko 8
Funding for Minnesota Bluegrass is pro-
Election Ballot 11 vided in part by a grant from the Minnesota
I’ll Fly Away 18 State Arts Board, through an appropriation
Bluegrass Saturday Morning 21 by the Minnesota State Legislature, a grant
from the National Endowment for the Arts,
Coming Up 22 and private donors
Tab: Fiddler’s Dream 23
November 2020 3
Minnesota Bluegrass Calendar of Events
Concerts and events presented or supported by
the Minnesota Bluegrass & Old-Time Music Association
The following events are presented or supported in part by the Minnesota Bluegrass & Old-Time Music Association
and made possible in part by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant,
thanks to a legislative appropriation from the Arts and Cultural Heritage Fund.
Complete Info/Tickets at: www.minnesotabluegrass.org
Your MBOTMA Board of Directors is working hard, constantly monitoring the events around
Covid-19. They will make appropriate decisions about canceling events, given the situation
at the time, and will notify membership via the website and email, when those decisions are
made.
2021 Dates
March 5-7, 2021 - Friday-Sunday Contribute to Minnesota
Minnesota Bluegrass Bluegrass Magazine.
Winter Weekend Write a Review of a favorite concert or CD.
Write an article about your favorite jam.
Tell us about how you came to like
August 12-15, 2021 - Thursday-Sunday Bluegrass and Old-Time String Band Music.
Minnesota Bluegrass editor@minnesotabluegrass.org
August Festival
Tom O’Neill Award Nomina-
tions are Open Minnesota Bluegrass
Annual nominations are now open for the
Tom O’Neill Award. This award is presented to Website:
someone who has made an Enduring Contribu- www.minnesotabluegrass.org
tion to the Mission of MBOTMA.
MinnesotaBluegrass.org
Please write two or three paragraphs about Info and news about our events
why your nominee should be selected as the re- Buy tickets on line, Donate, History
cipient of the award and email to info@minne- Complete calendar of Festivals
sotabluegrass.org no later than March 27th. The
Magazine: Members can read current
Board will review the nominations in a blind
review, and the award will be presented at an and past issues
upcoming festival. Links to Member Bands
4 November 2020
Get to Know the MBOTMA Board
Board Member at Large: Shane Zach
How long have you been on the Everything just sort of went downhill
board and what’s your position? from there.
I have been on the board since the How has being a board member im-
Fall of 2017. pacted you?
What is your occupation and what As a board member, you really get to
type of work do you do? see the amount of work, effort, love and
Currently I am the director of En- care volunteers and members pour into
rollment and Tuition Aid for a small, in- this organization. You hear more stories,
dependent school in St. Paul. more perspectives, and see so clearly the
What MBOTMA volunteer role(s) relationship the community has to the
have you held in the past? music but also the people who make up
I have worked the ticket table, infor- MBOTMA. It is harder to see that as the
mation tables, facilitated board retreats average person going to a few festivals a
and offered mandolin workshops. year.
How long have you been part of Do you have a favorite festival or ac-
MBOTMA and what brought you to the tivity at a festival? grass, in my band King Wilkie’s Dream.
organization? Jamming. There is a part of me that I also like to bake, mostly bread, but cake
I am not sure exactly when I start- thinks I should attend more stage shows and cookies too when the mood strikes.
ed attending MBOTMA events. It was at or workshops, but in the end, I can’t resist What’s a fun fact about you?
some point in high school, either soph- a jam. I have a two-year-old daughter and
omore or junior year. I started playing What are some of your hobbies and a five-year-old daughter who don’t seem
bluegrass because I had a mandolin and interests? to be catching on to bluegrass at the
didn’t really know what to do with it. I like playing music, mostly blue- pace I would prefer. I am thinking about
re-recording the Frozen 2 soundtrack as
a bluegrass album to see if that does the
trick.
What excites you about MBOTMA
right now?
At the moment I am both excited
and worried about the pandemic and its
impact on the music. I worry about the
loss of revenue and playing opportuni-
ties for our bands, but at the same time I
am pretty excited by the new and creative
ways people have leveraged social media
and technology to bring bluegrass and
old-time music to larger and more diverse
audiences. Really, this music was made by
and meant for people going through hard
times. The music was built for times like
this, and I am excited to see what it all
looks like on the other side of this pan-
demic.
MinnesotaBluegrass.org
What would you tell a new MBOT-
MA member/volunteer?
Thank you for joining and thank you
for your support. This music and organi-
zation provides meaning and connection
for so many people. It can be life-chang-
ing, and I am not sure where I would be
without it. Thank you for making this
possible.
November 2020 5
Grass Clippings
Minnesota State Fiddlers Association adjusts to new environment
Like everyone else, the Minnesota dle Fest • “Henschien Lake Schottische,” S.
State Fiddlers Association (MSFA) had to This event, funded by the Southeast Ann Schluter
adjust quickly as the pandemic forced new Minnesota Regional Arts Council and • “Herbert Erickson’s Polka,” John
rules and restrictions. Most MSFA events hosted by the Minnesota State Fiddlers Wallace and the Stringbeans
take place at public libraries; when meet- Association, went from a live event in May • “Old Benjamin,” Mary Pat Klev-
ing rooms closed up, the group needed to to a completely online event in November en/Gilmore Lee
make some quick changes. (see article page 17). • “Oles Waltz,” Ann Patten-Lar-
Elmo Wick – Volume 2 MSFA YouTube Channel son and Charlie Knuth
A few years back, the MSFA worked Last year at this time, we had around • “Patrick Co Blues,” Pamela
on Fiddle Tunes from Crow River Coun- 300 views on YouTube, from April 20- Longtine, Lynn Dixon and Dick Kimmel
try: The Music of Elmo Wick. The Asso- July 18. This year, it is almost 14,000 and • “Polka from Sartal,” Carla Man-
ciation had a lot more tunes from Elmo, counting. The big winner is Carla Man- ning and Rob Ross
and always knew there would be a Volume ning, whose recording of “Polka from • “Starlight Waltz,” Gilmore Lee
2. Walter Sigtermans and Scott Gamble Sartal” has almost 12,000 views, so she’s • “Stoltmans Dad’s Waltz,” Walter
took this project on, transcribed around gone viral! Sigtermans and the SloJammers
70 tunes into ABC, and have been recruit- In addition to Elmo Wick, Volume • “Snuff Polka,” Don Jacques and
ing volunteers to learn the tunes and re- 2, we hired professionals to record a tune Gritpickers
cord them on YouTube. The MSFA has lesson for us that we posted in our Online • “Waltz from Fla Hallingdal,”
been releasing them on their YouTube Tune Learning Series. These tunes, along Dempsey Schroeder and Elmo Wick
Channel as they come in for people to with links for the sheet music and chords, Workshop players
learn during their time at home. Volun- are offered free of charge to the public as a • “Wood Choppers Reel,” Michelle
teers are still welcome, as Walter has more service to the community. Stettler Stein
tunes to assign. • “Adrain’s (or Adrian’s) Horn- Fiddle Contests
The MSFA has also released the first pipe” from “Uncle” Bob Walters taught by Due to the cancellation of live events,
Elmo Wick tune book as a free PDF as a A.J. Srubas, Minneapolis. the MSFA has been keeping fiddlers post-
service during Covid. • “Bultedans” taught by Debby ed on online event options and provided
Zoom Jam – The MSFA SloJammers Greenblatt from the Avoca Schoolhouse contest fiddlers with links and resources
and Johnna Lawrence and the PBnJ held a of Music, Avoca, Nebraska. to keep them practicing until events can
couple of socially distanced jams, but Rob • “Gâteaux au Bananes (Banana go live again in 2021.
Ross and the South of the River (SOTR) Cake)” taught by Linda Breitag, Minneap- MSFA E-Newsletter
Jam seems to have come up with a great olis. MSFA started by keeping people in-
system for hosting a weekly Zoom Jam. • “Hobb Dye” taught by Pop Wag- formed of cancellations – then turned to
Every Thursday, around a dozen folks ner, St. Paul providing people with information on
gather to play tunes together. Rob and • “Spotted Pony” taught by Cristi- other virtual and socially distanced op-
Walter have an ever-growing list of tunes na Seaborn, St. Cloud tions available for workshops, contests
with sheet music and chords to select • “Weedwalker” taught by Audrey and concerts. This monthly newsletter is
from. One person leads, and everyone else Knuth, San Diego, CA free to anyone; members are welcome to
is muted. It is more of a “play along” than • “Tater Vals” (Norwegian Gyp- submit event and activity information.
a typical jam, but it does keep people en- sy Waltz) taught by Eric Christopher, St. The MSFA has been able to continue
gaged, learning new tunes, and connected Paul. to provide services to the fiddling com-
with other musicians. It will likely be our There is also a playlist of thirteen munity due to the support of members
MinnesotaBluegrass.org
jamming solution as the winter sets in. “Play-along” videos. These are videos and volunteers whose creativity, gener-
Mary Pat Kleven and Walter have from the MSFA “vault” that have been osity and hard work have made this all
been hosting monthly SloJammers using edited so that the fiddler can read the happen. In unprecedented times, fiddlers
a similar format. The MSFA paid for two sheet music/chords while playing along in Minnesota have truly stepped up to the
Zoom licenses to allow more functional- with audio of the various local musicians plate.
ity for the hosts and to avoid a time lim- performing at past MSFA workshops and More information on these projects
it, as these jams typically run about 1 – 2 concerts. is available on the MSFA Website at www.
hours. • “Arlan Erickson’s Schottische in fiddlemn.com or by emailing msfafid-
November 7th Upper Midwest Folk Fid- F,” Down Home Band dlers@gmail.com.
6 November 2020
Volunteer Spotlight: Tony Anthonisen
How long have you been a volunteer roads, particularly on the road up the
with MBOTMA? hill to the performer parking area for the
20+ years stage. We would try to keep reasonably
What current volunteer role(s) do clean at first, but finally just accepted the
you have with MBOTMA? fact that mud was fun.
Organizer of the Twin Cities Ukulele What occupation did you have or do
Club and Great Minnesota Uke Gather- you have now?
ing (held at the Minnesota Fall Bluegrass Management and training back-
Jam). ground. Currently a part time hardware
What MBOTMA volunteer role(s) and software trainer with Apple Comput-
have you held in the past? er.
Chair of the Minnesota Homegrown What’s a fun fact about you?
Kickoff for many years. Volunteer roles at At the festivals, I had a goal of get-
many MBOTMA events. Jam and work- ting to bed early first night (1 to 2 a.m.
shop leader at many MBOTMA festivals or so) to save up my energy for the next
and events, including MBOTMA Fund- night. There were no time limits for the
raiser, Winter Bluegrass Weekend, Min- I’ll stick my neck out and say the Winter final night.
nesota Homegrown Kickoff, August Fes- Weekend. Tons of great jamming. Won- What would you tell a new MBOT-
tival and Minnesota Fall Bluegrass Jam. derful concerts. But then, that’s really all MA member/volunteer?
Was awarded the Tom O’Neill “Lifetime the festivals. Do it! It will be the beginning of a
of Service” Award in 2014. An award I How has being a volunteer impacted wonderful experience, including making
truly cherish! you? some wonderful friends.
How long have you been part of It has brought many good friends and
MBOTMA and what brought you into gratifying times. Why not do something
the organization? that is so easy and fun?
First involved in about 1996. I was What are some of your hobbies and
taking guitar lessons at Homestead Pickin interests?
Parlor, and my instructors (Brian Fesler, When I’m not involved with music -
Bill Cagley and Adam Granger) led me bicycle riding and walking. When I was
into jamming at Homestead. They also younger - bicycle riding, skiing and snow-
told me about MBOTMA. I love the times
I have had with my MBOTMA friends!
boarding. Music - I love playing and sing-
ing bluegrass music. I lead about 100 jams
Ask not what
They have truly become my best friends.
The first event for which I volunteered
and workshops a year for the Twin Cit-
ies Ukulele Club and at Steve Kaufman’s Minnesota
Bluegrass can
was the the August Festival. I helped Paul Acoustic Kamp. Used to live and breathe
Christensen with first aid support at the bluegrass guitar and fiddle tunes on gui-
festival. From then on, I was hooked! tar before tearing both rotator cuffs in
teer?
Why are you a MBOTMA volun- 2012. Since then, just substitute ukulele
for guitar. I often say that if I had taken
do for you,
Music has brought me a great deal
of enjoyment. Volunteering is my way of
up ukulele before guitar, I’m not so sure I
would have taken up the guitar. Ukulele is
but what you
giving back. I most like teaching work- that much fun! And, bluegrass and fiddle
can do for
MinnesotaBluegrass.org
shops and leading jams. Helping and see- tunes work out just fine on the ukulele!
ing people really get into and enjoy music
is the absolute greatest feeling. Watching
Do you have a fun story about be-
ing a volunteer or about MBOTMA that Minnesota
you’d like to share?
Bluegrass
the “light bulb light up” in their music life
makes it all worth while. The mud at El Rancho Manana.
Do you have a favorite festival or ac- Heavy rains brought flooded areas and
tivity at a festival? mud. Lots of mud. I can’t tell you how
Yes, all of them. I’m serious. I would many times we watched cars, trucks and
be hard pressed to name just one. OK, campers slither and slide around on the
November 2020 7
Cover Story
Peter Ostroushko - A Minnesota Treasure
By Dan Hansen
A couple of months ago, I decided
I’d like to interview two local musicians
who had the biggest musical influence on
me when I was right out of high school. I
started with Jim Tordoff for the Septem-
ber issue, and this is my follow up inter-
view/article with Peter Ostroushko.
DH: Where did you come up with the
idea to do a podcast?
PO: Well, let me tell you what hap-
pened. So, two and a half years ago, I had
a stroke—which left my left side compro-
mised. My left arm, my left hand does
not work. Which means that I can’t play
string instruments anymore.
DH: Right, I’m so sorry.
PO: And that has been a very hard
pill to swallow. Anyway, while I was in
rehab, a lot of people visited me. I was
thinking earlier, the last time I saw the Peter Ostroushko, circa 1980
band, Hot Rize, they came to visit me. Photo by Mason Harris
So, anyway—two of the visitors I got were
Sam Hudson and Garrison’s son, Jason.
Sam was the main engineer for the Prai- lot of music. ing to those shows and making notes. It
rie Home Companion Show. Jason hand- DH: Covering maybe forty years? struck me that it was impossible to think
ed me a couple of CDs and said, “I hope PO: Yeah, and I said to him, “You about putting this out as recordings. It
you enjoy your trip in the way back ma- know, this is a great opportunity. There would have been a hundred CD set. Also,
chine.” They were recordings of me on the are so few people in this world who have it would have been totally prohibitive by
Prairie Home show. He was working on their life basically recorded. This would the fact many of these musicians, I would
digitizing the Prairie Home shows from make such a great recording project—to have to get permission from them to use
the tapes and every time he ran across show one musician’s [journey] where he the material and then probably pay them
something that I was on that he liked, he started from and where he ended up at. something for using it—if I put out a re-
put it on a CD. He handed me these CDs You’ve got that totally down in your re- cording like that. A friend of mine came
and I listened to them and two things cordings of the Prairie Home show.” And over, Marian Moore,who used to produce
went through my head: one was, wow! I Garrison said, “Yeah, I think that would a TV show on Channel 2 called, “Night-
don’t have any memory having done half make a good recording project.” time Variety”. It was a weekly show on
the stuff. And two, how good it was—it I should point out that at this point, KTCA, and it featured live music of Min-
was all so good. Shortly thereafter, Garri- Peter was thinking about putting out nesotans, for the most part, and occa-
son gave me a call. One of the first things recordings in the form of CDs. Howev- sionally a national name would come on.
he said was, “Well, when can I expect to er, all that changed when Garrison told Anyway, she came over and said, “Well,
MinnesotaBluegrass.org
hear you play again?” And I said, “Gar- the Prairie Home production team to let me hear some of this stuff.”
rison, that’s never going to happen. That make that music available to Peter. Great! A Podcast?
part of my life is over. But, your son pro- Right? Yes, that sounded great until Peter Upon listening and discussing the
vided me with some great entertainment received a hard drive with every show that music and memories, Marian persuaded
and ideas.” I was thinking, I started play- Peter had ever played on—all 260 shows Peter that what he needed to do was to
ing on the radio show in 1974. I had just with the note, “Have fun listening!”. create a podcast. Here’s where our con-
turned twenty-one years old and I played Here’s where our conversation picks up: versation picks up:
on it pretty much until Garrison gave it PO: So, that’s the way I’ve spent the DH: The podcasts are very well pro-
up. That was a lot of shows—that was a last two and a half years. I’ve been listen- duced. That’s why I thought, “Who’s do-
8 November 2020
ing [producing] these? They’re really well And I would pick it up and try to figure to figure out how to play like him. I would
done. out how to play Beatles songs on it. sit for hours, picking up the needle off
PO: Well, I’m using Steve Kaul. He Peter’s early years the record and putting it back down ev-
owns Wildsound recording studio over in PO: I was totally self-taught. Being ery four or five notes—I would learn. You
Northeast Minneapolis. So, he basically self-taught means a lot of things. It means know, I got a long way, but it wasn’t until
just comes over to my house years later when someone put an
and sets up a microphone and electric guitar in my hands, then
off we go. I said, “God, no wonder he can
DH: Well, they’re fasci- bend notes like that! You know?
nating. They really are. I had no idea!”
PO: Well, thank you. DH: So, as a teenager, you
DH: Peter, I wanted to were playing electric guitar?
touch on something you PO: I played electric gui-
mentioned in the first pod- tar, yeah. It was my desire to be
cast. You said that most peo- a Rock musician. Truly. I mean,
ple didn’t know you were a you can’t make this stuff up.
“guitar-slinger” at one time, The Labor Temple
but I did. In fact, that was my
and Rock and Roll
first introduction to you back
In the late 60s, early 70s,
in the early 70s. I remember
a group of hippies were intent
listening to you and Dakota
on putting on Rock concerts
Dave Hull flat-picking fiddle
complete with psychedelic light
tunes at the New Riverside
shows. The venue was a place at
Cafe and the Cafe Extempo-
the corner of 4th St SE and Cen-
re. In fact, I remember that
tral Avenue called The Labor
you competed at the Nation-
Temple. Because Peter lived five
al Flatpicking Championship
or six blocks away in NE Minne-
in Winfield, Kansas, and that
apolis, he was there all the time—
you took third place back in
taking tickets, relaying messages
1974. I confirmed my memo-
backstage and helping with the
ry by Googling past Winfield
light shows. It was there at the
competitors.
Labor Temple he saw concert
PO: Well, there are peo-
after concert of such greats as
ple who will remember me
The Grateful Dead, Jethro Tull,
that way. When you think of
Jim Tordoff, Dakota Dave Hull, Peter Ostroushko Doctor John the Night Tripper,
forty years on the radio show,
Nicollet Mall, Minneapolis, MN circa 1974 Country Joe and the Fish, Pro-
most of the people that were
col Harum, Savoy Brown, Ten
Prairie Home fans toward the
Years After, the list went on and
end would have known that. I
on. But it was a concert put on by
mean, I still occasionally played guitar—I that you kind of take the onus of putting the Byrds that really caught Peter’s atten-
just used it to back me up singing. I wasn’t in the time, figuring out what works and tion. At one point, Jim (Roger) McGuinn
like a flatpicker anymore. what doesn’t work—you know, it doesn’t wanted to feature their guitar player who
DH: There’s something else you said come out of a vacuum. You’re listening to McGuinn said was also the best Bluegrass
on the first podcast that I wanted to ask a lot of other music. Which is something flatpicker in the world. Yes, it was Clar-
you about: You said back in the early 70s, I did a lot of. I used to go and see people ence White. Clarence exited the stage and
you were just starting to pursue the fid- in concerts all the time—and recordings came back with an acoustic guitar and
dle and mandolin. I was surprised at that
MinnesotaBluegrass.org
too. My older brother George and I both burned the place down by playing “Black
because, all flattery aside, when I hear just got into getting recordings. We stock- Mountain Rag,” or some other such tune.
someone of your caliber I just assume, piled a pretty big collection of music. Back In Peter’s words, “That was mind-blowing
“Oh, he’s been playing the fiddle and then, my hero was Eric Clapton—partic- to hear Clarence White do that.”
mandolin since he was a child”. ularly a recording by John Mayall and
PO: Well, the first instrument I ever Peter’s life takes a new musical
the Blues Breakers. It was the first time I
picked up and tried to play was the man- heard him. And I was just blown away by direction
dolin because my father played the man- his playing. And I sat there with my sis- DH: Was that your first exposure to
dolin—so there was one in the house. ter’s plywood Harmony guitar and tried flatpicking guitar?
November 2020 9
PO: Yeah, it was. music. Anyway, on one of the last days at the Whole Coffeehouse, Peter asked
DH: Is that what drew you in? of the festival, I was walking through the Vassar if he would play and demonstrate
PO: No, I’ll tell you what drew me in. campground and saw Benny Thomasson his fiddling—real slow. He showed Peter
It was meeting Norman Blake back in late sitting in a truck, in the passenger seat a lot of things, like how he used his dou-
‘73 or early ‘74. and he was playing fiddle. I walked up to ble-stops in particular. What resulted
DH: Well,I remember he played at the truck and I had my tape recorder with was a treasure trove of material for Peter
the Whole Coffeehouse in the Kaufman me and I said, “Benny will you play some to study and learn from. As Peter said, “I
Union at the U of M. tunes for me?” And he said, “Sure, what learned so much from those guys.” What
PO: Yeah, it was the first time that do you want to hear?” Peter shared next, really surprised me.
he played at the Whole. He played there By the time Peter walked away, Ben- PO: I was very shy about playing the
many times. The first time he played ny had sat and played for at least an hour fiddle. I didn’t think I was any good at
there, he was on the it—for years. I mean,
road with a guy named when I started playing
Grant Boatwright who it on stage—I knew
was in a Bluegrass what I wanted to be,
band called, “Red, but I wasn’t there yet
White, and Bluegrass.” and so, I just chose
Norman was actually not to play the fiddle
in that band. And that very often. But once
was amazing to hear I got to a place where
two guys just go at it. it was good—yeah.
But there was some- Now, I would credit
thing about Norman’s Mr. Garrison Keil-
guitar playing that lor for helping make
just—it grabbed me me a fiddler, because
and I said, “I have to he loved fiddle mu-
do that!” sic. It was the excite-
Peter went on to ment that fiddle music
describe himself as a caused. It was exciting
flatpicking neophyte to the audience to lis-
who so emulated Nor- Garison Keiller, Greg Brown, Jean Redpath, Peter Ostroushko ten to people playing
man Blake that he was A Prairie Home Companion, circa 1980 fiddle music, whether
trying to become Nor- Photo by Mason Harris it was on the fiddle or
man Blake. guitar—or, whatever.
DH: From the initial time that you or two—playing every tune Peter request- That’s why we were on the Prairie Home
met him, did you ever dream that you ed. When Peter got home from Weiser, show so much because we [Peter and Da-
would not only become good friends, but he listened to that cassette to the point kota Dave Hull] could provide that with
recording music with him someday? of almost wearing it out—trying to learn our flatpicking duets. And then eventu-
PO: Back then, no. I didn’t think I everything he could. So, Benny Thomas- ally, he would say, “I want you to play a
could possibly be in that league. But that son was a big influence before Peter met fiddle tune—every time you come on the
was true of so many of the people. Vassar. show.” And so, that made me work at it.
Vassar Clements was another musi- PO: Once I met Vassar, that was like Peter went on to tell me that the only
cian in a different league. But before Pe- a whole other world. That was a whole reason he started playing the mandolin in
ter met Vassar, he met the Texas fiddler, other world of technical ability and ideas. earnest was because of joining the Mid-
Benny Thomasson at the National Fiddler Vassar’s fiddle playing—he had a whole dle Spunk Creek Boys. Rudy Darling was
Championship in Weiser, Idaho—1975. different concept of harmony. His sensi- the fiddle player and Peter had high hopes
PO: I went there just because I want- bilities were more oriented toward blues of playing some twin fiddle tunes with
MinnesotaBluegrass.org
ed to get immersed into a world of fiddle and jazz. So, that was a big wake up call. Rudy, but they needed a mandolin player.
music—and that’s what Weiser is. The For Peter’s recounting of perusing the Al Jesperson, the leader of the band,
campground is just full of fiddlers. The fiddle and playing with Vassar Clements, had an old Gibson F-4 mandolin. He
parking lot—fiddlers, everywhere you check out his podcast, episode #3, part 1 loaned it to Peter and told him “You play
go it’s fiddlers. And it just so happened www.peterostroushko.com the mandolin in this group.” In Peter’s
that my girlfriend and I set up our little Peter would do the same thing with words, “So, I became a mandolin play-
tent right next to Benny Thomasson’s Vassar as he did with Benny. With his
campsite, which was always going with tape recorder in hand, in the green room Continued on page 15
10 November 2020--------------------------------------------------------------------------------------------------------- -----------------------------
Fold #1
___________________________________________________________________________________________
Fold #2
PLACE FIRST
CLASS STAMP
HERE
Minnesota Bluegrass
MinnesotaBluegrass.org
Elections
PO Box 16408
Minneapolis MN 55416
November 2020 11Minnesota Bluegrass and Old-Time Music Association
Official Board of Directors Election Ballot 2020
Nominee Bios can be found in this month’s magazine and online at
www.minnesotabluegrass.org
To vote by mail:
Step 1: Remove the ballot from the center of the magazine.
Step 2: Mark the ballot and PRINT your name in the space provided.
Step 3: Fold the ballot in thirds, with vote inside and the address on the outside.
Step 4: Seal the ballot closed, apply a first-class stamp, and mail. Mailed ballots must be
postmarked by November 30th, 2020.
To vote online:
Step 1: Go to www.minnesotabluegrass.org and click the Board of Directors Election 2020 link.
Step 2: View the nominee bios and then click the VOTE link.
Step 3: Mark the ballot.
Step 4: Submit the vote. Online ballots must be completed by midnight November 30th, 2020.
Print name: _______________________________________ City: ___________________
If band membership, band name: ______________________________________________
BOARD MEMBERS: (Vote for 5) PLEASE NOTE
⃝ Brett Day 1. Only current members who
have ACTIVE paid memberships
⃝ Dale Gruber
are able to vote and names on
⃝ Jamey Guy the ballot will be used to verify
eligibility. Ballots cast with
⃝ Nic Hentges
illegible names or by lapsed or
⃝ Penny Hillemann payment pending members
will be discarded.
⃝ Mabel Houle
2. Ballots must be completed
online or postmarked by 12
MinnesotaBluegrass.org
Other (Write-in): midnight November 30th,
_____________________________ 2020 to be counted.
_____________________________ 3. Additional nominee info can
be found on the website
_____________________________
12 November 2020strategic planning committee. Currently,
I am serving my second term as a MBOT-
MA Board Member and serve on the Pol-
icy and by-laws committees. I have served
on other non-profits Boards and have
been on a board of incorporation. In ad-
dition, I have participated on funding and
awards panels for the city of Saint Paul
and for the Metropolitan Regional Arts
Council. Served on Public Information
committees of the Minnesota chapter of
the American Cancer Society. Served
on the Ethics Committee of the Health
Sciences Communications Association.
During my career I was a Contracting
Officer’s Technical Representative and
Brett Day participated on inter-agency committees.
Please describe your volunteer ex-
perience Jamey Guy
I have been a proud MBOTMA volunteer
for 35+ years. I have served on several
of our event committees over the years Please describe your volunteer ex-
including the August Festival, Winter perience
Weekend, State Fair and fund raisers. My Volunteering for most of my life has
first volunteer experience with MBOT- taught me to work with people, to accom-
MA was at Wildwood Campground and plishing goals for bettering something I
I, along with many others, helped build care deeply for. I began at 19 years of age
our stages at Camp-in-the-Woods and El volunteering for the United States Forest
Rancho Manana. Service, and the Washington State DNR.
Over the years I have volunteered for oth- That’s when I truly felt the impact of giv-
er music events, charitable and health or- ing back. Since that time I’ve volunteered
ganizations, and arts programs. with several organizations from photo-
Thank you members and thank you vol- graphing homeless individuals to send
unteers for being the heart of our Asso- photos back home during the holidays,
ciation. Habitat for Humanity, and Atlanta Soci-
Why are you interested in serving ety for the Prevention of Cruelty to Ani-
on the board? mals to name a few.
I am asking for your vote as an At-Large Why are you interested in serving
Board member for our Association. We Dale Gruber on the board?
continue to take positive steps to strength- MBOTMA is a key factor in my discovery
en our Association’s policies, processes, Please describe your volunteer ex- of Bluegrass and Old-time Music. I was
and leadership so that members can par- perience introduced to the organization in 1999,
ticipate in and enjoy and benefit from op- I have been on the June festival staff and and It’s been a keystone in my life ever
portunities to be a part of our Old-Time August festival staff for 15 years. I have since. As a Minnesota acoustic musician,
and Bluegrass music community. Our been on the board directors for four years. MBOTMA has been the source of most of
selection of a new Executive Director has I have been a sponsor for many years. my friendships, late night laughter, and
MinnesotaBluegrass.org
seen our organization become increas- Why are you interested in serving family here in The Cities. I want to help
ingly efficient, timely, and financially sta- on the board? preserve our wonderful organization, and
ble. As a Board Member I will work with I love the organization and want to help give back to the community that has giv-
others to continue to focus efforts for the bring it in to the future. en me and my family so much.
benefit our members. Please describe any Board experi- Please describe any Board expe-
Please describe any Board experi- ence, especially with nonprofits rience, especially with nonprofits
ence, especially with nonprofits I have been on the MBOTMA board for No experience in working with nonprof-
I served on the MBOTMA Board in the four years and enjoy it very much. I want its other than in a vendor or volunteer
late 1980s and participated on our first to help make it the best it can be. capacity.
November 2020 13Just Food is a cooperative, not a nonprof-
it, but it’s a mission-driven organization
responsible to its member-owners.
River Bend Nature Center (Faribault)
board, 2013-2018
Northfield Healthy Community Initiative
board, 2008-2015 (served as co-chair)
Also, in my current position as Executive
Director for Rice County Area United
Way I report to a board, so I have seen
both sides of that dynamic.
Mable Houle
Penny Hillemann Please describe your volunteer ex-
perience
My volunteer experience began at a young
Please describe your volunteer ex- age, as our family vocal group visited the
perience local nursing home each week to sing for
Much of my volunteer experience has the residents. That tradition has contin-
been serving on boards (see below). I’ve ued as I join bluegrass musical friends to
also done some conservation volunteer play at the Minnesota Veterans Home on
work with River Bend Nature Center and a regular basis. I have volunteered at ev-
the Carleton College Arboretum -- buck- ery Minnesota Bluegrass Festival that I’ve
thorn removal, seed collecting, etc., in attended, and more recently serve as a key
recent years. I have done a few volunteer volunteer as the Vendor Coordinator.
shifts at MBOTMA festivals: checking Why are you interested in serving
on the board?
wristbands, front gate at last year’s Au-
gust festival, and loading in. I understand
Nic Hentges The MBOTMA organization has been a
the importance of volunteering and enjoy valued part of my life for decades. Along
working as part of a team. Please describe your volunteer ex- with my kids and grandkids, we have
Why are you interested in serving perience benefited from the musical inspiration
on the board? I have volunteered at MBOTMA festivals and lifelong friendships that have been
MBOTMA is essential! As someone who teaching mandolin workshops, working forged through our shared love of blue-
is learning to play bluegrass banjo I’ve just the merch table, and serve on our nomina- grass, American roots and old-time mu-
discovered this community in the past tions, policy, and executive committees. I sic. I want to contribute to the future of
couple of years, but it has already brought also volunteer at my church coordinating the organization.
me a lot of joy and I want it to thrive. I like the Audiovisual technology required for Please describe any Board expe-
to give back to organizations whose mis- hosting virtual worship services. rience, especially with nonprofits
sions are important to me. I have a back- Why are you interested in serving Served on the board of a security indus-
ground in strategic communications, on the board? try local chapter nonprofit of MNASIS for
nonprofit leadership, and fundraising I take pride in serving our mission and many years during my career.
MinnesotaBluegrass.org
(plus, way back in time, a law degree and a membership. My focus has been on pol-
few years of legal practice), as well as a lot icies and succession planning to help us
of board experience that may be helpful. build a stronger future and I hope to con-
Please describe any Board expe- tinue that work.
rience, especially with nonprofits Please describe any Board expe-
Just Food Co-op (Northfield) board, rience, especially with nonprofits
2012-2019 (served as vice president and I have served on the MBOTMA Board of
president, served on Outreach Committee Directors for the last five years and been
and General Manager Search Committee). Vice President since 2017.
14 November 2020er and spent the next four or five years you what they are: number one, You are show. It wasn’t until May of 1980—when
playing at Dulono’s on my birthday.” So, in total control of your learning process. the show went National. And the other
that’s when he really launched into play- You decide when you pick up your thing that happened in 1974—and I’m
ing the mandolin—in Peter’s words, “just instrument to play and to learn and that leading back to your question about read-
because I had to, there was no other man- covers a lot of ground including playing ing music...
dolin player and I just told them, ‘I’ll do in front of people. You control your des- Peter went on to describe something
it’ and I did it.” So, at this point in our tiny in that [your musical development]. that occurred in the last week of 1974. By
conversation, I came back to my question Number two, You gotta be really lucky— “a total fluke” he ended up at the Sound 80
about when Peter learned how recording studio recording with
to read music. Bob Dylan to play on his, Blood
DH: So, how did you on the Tracks album. In retro-
learn how to read music, or spect, Peter found himself think-
when did you learn? ing, “Those two things happened
PO: Well, eventually I re- for me.” It was the first recording
alized that I needed to learn session Peter ever did, but not his
how to read music if I wanted last—to say the least. Out of this
to go further in music. experience, Peter received more
The $64,000 ques- and more requests to record on
tion other people’s projects and he
At this point, Peter ex- became a session player. This
plained that he would answer also included commercial work
my question (about learning in which oftentimes, a writer was
how to read music) by telling hired to compose music that he,
me a long, convoluted story as a musician, had to be able to
about his new fiddling hero, read and play. One time, Peter
Johnny Gimble. While teach- was doing a session when they
ing mandolin at a music camp put a piece of music in front of
in West Virginia, alongside him to which he replied, “I can’t
Johnny Gimble (who was play that—I can try playing some
teaching fiddle), one of the other stuff,” which he did, but he
students asked Johnny the lost the gig to another violinist
proverbial $64,000 question: who could read. That taught Pe-
in essence, “how do I become ter a lesson: “Maybe you should
a professional like you?” Pe- The Middle Spunk Creek Boys: Alan Jesperson, put in some time to learn how to
ter cringed as he knew it was Rudy Darling, Alan Struthers, Peter Ostroushko read.” he told himself.
an impossible question to circa 1974 DH: Peter, when did you
answer—or so he thought. start composing music? You’ve
Fortunately, Johnny had an answer. After but number two won’t happen without composed a ton of music.
chuckling to himself, he responded, “You number one.” As Johnny went on to de- PO: Again, I credit Garrison for that
know, I’ve thought a lot about that and scribe his lucky breaks, Peter was think- too. He always wanted us to play anything
I’ve got it down to two things and I’ll tell ing. original and he really kind of pushed us
PO: As he was telling the story, I was to do that—even though I wasn’t sure I
thinking to myself, “Yes, in 1974 I met could, but I did, over the years.
LaPlant Instruments Garrison Keillor and he brought me with DH: I’m particularly drawn to your
maker of fine him on his radio show.” waltzes. Where did all those beautiful
mandolins & guitars DH: It’s obvious that being invited by melodies come from?
Garrison onto his show was a huge break PO: I have no idea. The waltzes basi-
MinnesotaBluegrass.org
Buy - Trade for you—musically. Being on that show, as cally came from a piece that I heard Nor-
Sell - Repair a regular member, gave you tremendous man Blake play on the mandolin, the first
(stringed instruments) exposure to many, many musicians over time I saw him, called, “The Nine Years
the years—right? Waltz.” It was the most beautiful thing I
31751 LaPlant Road PO: Yes, absolutely. had ever heard and I wanted to be able to
DH: And you as a musician were be- do that. So, later on I kind of focused on
Grand Rapids, MN 55744
ing heard across the country. waltzes.
218-326-4456 PO: Well, at that time it was a local We then started talking about some
November 2020 15of the tunes Peter had written. I asked Pe- PO: It’s too hard for me to describe—
“Dawg music.” So, after a show, people
ter to name some of his personal favorites, it’s something that I’d have to show. would come up and say to me: “Gosh, that
but he said he liked everything he’s ever My last question piece you played sure sounds like Dawg
done. He’s able to listen to old recordings DH: What is “Sluz Duz music”? music. And I’d say, “What’s that?” And
he’s made with no regrets of how I just came up with “Sluz Duz”
it went down. But after pausing music. Sluz Duz comes from a say-
a bit, Peter said he’s probably ing that my mother used to say in
played “Heart of the Heartland” Ukrainian. It basically means one
more than anything he’s ever French fry short of a picnic bas-
done. Here’s what he had to say ket [or Happy Meal]—describing
about that tune: someone who has flipped their
PO: Often, while I was play- mind.
ing it I would start crying be- DH: Thanks so much Peter.
cause it was so beautiful. It’s like PO: You are welcome. Thank
I would become overcome by the you.
melody of it. Now, where does DH: My wife and I are praying
that come from? Where does for you. You’ve been a big inspira-
that music come from? Well, to tion in my life.
be honest with you, here’s what PO: Thank you for saying so.
I believe: I believe it comes from DH: Thanks again, Peter.
the Holy Ghost—I do. Thus ended our conversation.
DH: I agree. While I was hoping for thirty min-
PO: I believe it’s God talking utes, Peter graciously gave me an
to us. I think God talks to us hour and twenty minutes. Here, all
through music—through in- these years, I thought he just was
strumental music. If you go hear naturally gifted and didn’t have to
the Minnesota Orchestra, the St. Becky Reimer, Peter Ostroushko, work very hard at producing mu-
Paul Chamber Orchestra or any- Powderhorn Park, Minneapolis circa 1975 sic. Truth be told, he’s worked very
one who is playing instrumental hard at honing the skill and ability
music—what goes through your he’s been gifted with and as a re-
mind is totally different for every person PO: [laughter] Well, at the time, sult, his many years of producing wonder-
who is sitting there listening. And to me, “Dawg music” was king. Everyone was ful music have been a great gift to us all.
that is the voice of the Holy Spirit talking talking about David Grisman and his Peter truly is a Minnesota treasure.
to everybody.
I did ask Peter about a few other
tunes, but I did want to touch on one as-
pect of his technique: his unmistakable
tremolo. I thought maybe he practiced
Armadillo
it against a metronome, but he said no,
it was always something that he was just
able to do—naturally. He never really
thought about it—it just came. Maybe it
was a result of years, as a young person,
Sound & Design
Minneapolis, MN
listening to the older people playing the
mandolin. They all did tremolo. When he Serving the acoustic music community for over 35 years.
started teaching, that was a big question
from his students: “How do you do it?”
Complete audio production services:
MinnesotaBluegrass.org
That forced Peter to really sit down and sound - multi-track recording – live/studio.
analyze how it was that he came to a point
You know Doug’s attention to audio detail.
in his ability to produce a good tremolo.
Let him help you craft your next recording project!
Peter told me that he thinks he finally
came up with the solution. He believes Equipment: Midas, Behringer, dbx, Shure, AKG, AudioTechnica,
he’s helped a lot of students in developing Crown amps, RCF speakers, Countryman, Radial, Protools
their tremolo. Doug Lohman - 612-306-3490
DH: And...? douglohman@aol.com - armadillosounddesign.com
16 November 2020Upper Midwest Folk Fiddle Fest history, and many of their tunes were
published by Mel Bay in the book Uff Da!
Saturday, November 7 Let’s Dance – Scandinavian Tunes and
House Party Music by Bruce Bollerud.
At 5:30 p.m., the bands will perform
Last fall, the Minnesota State Fid- • “Clawhammer” Michael Sawyer a free virtual concert, and at 7 p.m. there
dlers Association received their first recently published “The Stoltman Tune will be an Upper Midwest Folk Fiddle Jam
Southeastern Minnesota Arts Council Book – Fiddle Tunes Played in Northwest on Zoom.
(SEMAC) grant to put on the first Upper Minnesota.” The Upper Midwest Folk If people want to attend, but cannot
Midwest Folk Fiddle Fest in spring, 2020, Fiddlers have been studying these tunes make these times, they may register to re-
in Cannon Falls, Minnesota. The idea was and will tell stories and play the tunes ceive the links that will be accessible after
to have a day of workshops, jams and a from this rich tradition. November 7th.
concert focused on the fiddling tradition- • Hoof on the Roof has been div- MSFA Members can register for free;
al from the region, with a long-range goal ing into the real background of one of as well as any interested musician age 21
of making this an annual event. the best-known Upper Midwest fiddlers, or younger. The fee is $15 for all others.
Then came Covid; and the event was Charles “Pa” Ingalls from the “Little To register, send your name and email to:
rescheduled for November 7, 2020. House in the Prairie” series. Using cur- msfafiddlers@gmail.com for links and (if
Now, it’s going to go completely vir- rent research, Mary Pat Kleven will talk necessary) payment information.
tual. about the musical life of “Pa” and share This activity is made possible by the
The event, featuring The Lakeside her insights as to the dance tunes he likely voters of Minnesota through a grant from
Ramblers (Milwaukee), Upper Midwest played, and the band will teach and play a the Southeastern Minnesota Arts Coun-
Folk Fiddlers (St. Paul) and Hoof on the few of them. cil, thanks to a legislative appropriation
Roof (Cannon Falls) will be on Saturday, • The Lakeside Ramblers will play from the arts & cultural heritage fund,
November 7, 2020, with programs begin- and teach tunes collected from the icon- and is sponsored by the Minnesota State
ning at 1 pm. ic band “Goose Island Ramblers” from Fiddlers Association – “Keeping the Heri-
Workshops on YouTube and Zoom Madison, Wisconsin, featured in the book tage of Fiddling Alive.”
will cover a wide variety of Upper Mid- Polkabilly published by the University of
west fiddling. Wisconsin. This band has a fascinating
MinnesotaBluegrass.org
November 2020 17I’ll Fly Away
by Wayne Erbsen
There are many ways to close out a in nearby Hartford, Arkansas. Bartlett would do our own repair work to get
bluegrass show, but I always favor ending was already gaining fame for writing a little further down the road to a real
an evening’s entertainment with a rousing such songs as “Everybody Will Be Happy mechanic.
version of “I’ll Fly Away.” This song is the Over There,” “I Heard My Mother Call Albert sang low bass and take turns
perfect choice because everybody knows My Name” as well as “Take an Old Cold at the piano with fellow singer Burgess
it and they love to sing along. Recently, I Tater and Wait,” which was later made Bell. Albert never considered himself
started digging into the origins of “I’ll Fly famous by Little Jimmy Dickens. With much of a singer. In later years, after he
Away,”and here’s what I found. the burning desire to to learn to compose became famous he was constantly asked
“I’ll Fly Away” was among the earliest gospel music, in 1926 Albert walked the to sing, but he always refused, saying
compositions of Albert Edward Brumley, thirty miles from Spiro, Oklahoma to “I can carry a tune all right, I just can’t
who was born in Indian Territory near Hartford, Arkansas. There he met E.M. unload it.”
Spiro, Oklahoma, on October 29, 1905. Bartlett, who soon asked Albert if he had In their performance they mixed
Growing up in a family of sharecroppers, the $5 to enroll in the singing school. gospel songs with comedy. One of their
Albert knew from an early age that he had When Albert told him he only had $2.50 favorite comedy songs was “Take an Old
bigger plans than chopping and picking in his pocket, Bartlett accepted him into Cold Tater and Wait” written by their
cotton. With a natural bent toward music, the Institute and even invited Albert to mentor Eugene Bartlett. It was later made
in 1922 Albert attended his first singing live with him and his wife at no cost. famous by Little Jimmy Dickens.
school when he was just a teenager. As For Albert, this was a dream come true. On one of his trips home, Albert
it turned out, these classes were a water- Before long, Albert was not only studying started to compose the song that he
shed moment in young Albert’s life. As music but was also working for Hartford would eventually call “I’ll Fly Away.”
he later wrote, “in one lesson the teacher Music, making songbooks and eventually Here’s how he explained it: “I thought
wrote out a scale on the blackboard and teaching in their traveling singing school. of the theme and started working on it
explained that all the songs that have At one singing school Bartlett introduced while I was picking cotton in 1928. I was
been written and all the songs that will Albert by saying that “Albert was so skin- out in the field by myself-or at least there
ever be written could be found on that ny that he wore a double barrel shotgun wasn’t anyone close to me- and I got to
little scale. That set me on fire! That’s for a pair of britches.” humming this old song, “The Prisoner’s
when I decided that if other people could Brumley returned to school with Song.” Where it says ‘If I had the wings
do it [compose music], I could do it too.” Bartlett in 1929, and at the end of the of an angel over these prison bars I would
Early on, Albert realized that writing term Bartlett put Albert and three other fly,’ it suddenly dawned on me that I
a good song was more than just having students on the road as the Hartford could use the world for a prison and heav-
a catchy melody. He instinctively knew Quartet. They covered the country sing- en for freedom when we pass on. And
that the words and the music were a team ing gospel music on behalf of the Hart- I started working on that theory. You’ll
that must work together. Even though ford Music Co. The salary for quartet notice in one stanza of “I’ll Fly Away” it
cash was scarce in Albert’s family, he members was $50/mo. They traveled in says ‘when the shadows of this life have
spent what little money he had saved and a T-Model Ford touring car. The old car grown, I’ll Fly Away, like a bird from
bought a number of paper backed gospel didn’t have side curtains, so the quartet prison bars has flown.’ I paraphrased that
songbooks. By comparing the words and often arrived at their destination wet and from the ‘Prisoner’s Song.’ Actually, I was
melodies of the songs that people “sung muddy from their journey over dirt roads dreaming of flying away from that cotton
the tar out of” with those songs that were in an open car. Albert said they spent as field when I wrote ‘I’ll Fly Away.’” Even
rarely sung, Albert was gradually figur- much time cleaning themselves up before though Albert started writing the words
MinnesotaBluegrass.org
ing out what made a great song different a performance as they did performing. to”I’ll Fly Away”in 1928, he worked on it
from a poorly written one. Determined They usually performed at rural off and on for the next three or four years,
to be a gospel song writer, at the age of churches and country school houses. searching for the right phrasing and the
sixteen he penned his first complete song, Roads were bad, especially after rains, right melody. Eventually, Hartford Music
“I Can Hear Them Singing Over There.” and it seemed that every destination was Company” published it in 1932. The song
One of Albert’s favorite gospel song- far out in the country on the worst road has been recorded by thousands of artists
writers was E.M. Bartlett, who owned in the country. Albert later remembered and has sold millions of copies. Today
the Hartford Music Company and was that “we were lucky to make 50 miles there exist over 5,000 licensed recordings
director of the Hartford Musical Institute without having a flat. A lot of time we of the song.
18 November 2020You can also read
