Archive for December, 2008

Mark Panfil on the Dobro at Christmas

Tuesday, December 16th, 2008

Mark PanfilWell, it’s getting a little cold up here in Buffalo this December but time spent with loved ones shopping and singing carols is making it “the most wonderful time of the year”.  My days are full of Christmas concerts and first grade plays at my little elementary school on the shores of Lake Erie. Most mornings, I stand at the door of my classroom with my dobro playing Christmas songs like “Joy to the World” or “Santa Claus is Coming to Town” or whatever they request as they enter the building on their way to their classrooms. The young kids that I teach know my Dobro as “the Sponge Bob guitar” because of the smooth Hawaiian flavored sounds they recognize from the sound track of the popular cartoon.

If you’re shopping for a Dobro player on your list, maybe I can make some suggestions. Andy Hall has a new CD on Sugar Hill Records, The Sound of the Slide Guitar which has been in constant rotation for me since I bought it this year IBMA convention. [Note: it won Instrumental Album of the Year]  It is a very simply produced elegant project that really does present the Dobro in the forefront without a lot of studio bells and whistles.

The new Jerry Douglas CD, Glide is also a must have for all Dobro players. His compositions are some of the most significant modern music across all genres of instrumental composition. Listen to it at Jerry’s MySpace page. [Also worthy of mention is that Earl Scruggs makes an appearance on a lovely version of his classic "Home Sweet Home."]

I happened upon a very cool CD at the local bookstore last month, Charlie Haden, Family and Friends, Ramblin’ Boy. Of course, Jerry Douglas’s playing drew me right in and I sure enjoyed the place I ended up in. Needless to say, this is one of my new favorites. Listen to a sample at Charlie Haden’s website.

If you are looking for a real lasting gift for that special Dobro player, how about the stainless steel Scheerhorn Dobro slide. It is a bit more than other slides, but it lasts much longer. They sell for about $80 at Elderly Instruments.

If your favorite Dobro player is just a beginner, remember the Beginning Dobro DVD that I did for the Murphy Method gets you started on the right foot. I have made some supplemental DVD lessons that you can find at my website.

Hope your Holiday Season is full of music, love and joy.

Mark

New CD

Monday, December 15th, 2008

Sea of Mystery coverAnnouncing: a brand new CD, just barely out in time for Christmas, from Christopher Henry. Sea of Mystery — A Solo Bluegrass Exploration features 30, count them thirty, hand-crafted songs and tunes from the pen of Chris Henry. Played entirely by Chris himself, on guitar and mandolin, these tunes demonstrate the unique talent that he brings to the instruments, as well as to the craft of songwriting. Be among the first to hear these brand new tunes. Order one today!

Connie’s New Banjo

Friday, December 12th, 2008

Casey HenryOne of the gals in my At Least We’re Hot picking group (which I’ve previously written about here) just got a new banjo and we’re all very excited. Connie’s husband Jeremy surprised her with it as a Christmas/Birthday/Anniversary present. Made by Chuck Lee, down in Texas, it is a beautiful instrument that plays wonderfully.

Here are Connie and I at our jam last Saturday… (Photo by Myrna Talbot.)

Connie Garrett and Casey
Connie wrote a nice story about her new prize possession on Chuck Lee’s Blog. Up to now she’s just played rhythm clawhammer (bum-diddy, bum-diddy) but, inspired by this banjo she’s got “Old Joe Clark” down I think, and maybe “Angelina Baker,” which is our biggest hit, by the way. We look forward to hearing them at our Hottie Christmas Party on Monday!

Chuck Lee, coincidentally, says this: “We own a bunch of the Murphy Method videos (guitar-bass-fiddle-mandolin-banjo), most of the older music cassettes by your parents and family.  I learned my first three-finger banjo songs with your mother and I learned my first clawhammer songs with your mother and Lynn Morris.  Your family has had a positive impact on my family.  Thank you.” We’re always happy to spread the music!

I now must go and finish putting up my Christmas tree!

More About Picks

Thursday, December 11th, 2008

Murphy HenrySo now that you know not to share your picks, let me remind you that, generally speaking, those little pointy fingerpicks are not going to be your best choice. (And thanks to Steve for the idea for this blog!)

Steve had read all this talk on Banjo Hangout about these pointy fingerpicks and how good they were, and he thought that he’d try them out. Naturally my first comment when I saw them was, “What are those?” My second comment was, “I don’t think they will give you the sound you’re looking for. They tend to produce a rather thin sound. You’re already getting a really good sound with your other picks. And you’re not having any problem with your tone or your ability to play.”

And after he played one song using those pointy picks my third comment was, “See? I told you so.” He took them off. And put his old ones back on.

Now, there may be some good reasons for using the pointy picks. Like if you want to play with a really light touch, or perhaps if you’re playing in the melodic style, or maybe if you like a tone that isn’t particularly Earlish or hard-core bluegrass. But if you’re looking for a big fat bluegrass sound, you need a fingerpick that has more area with which to strike the strings. (IMHO, of course!)

After all these years I’m still using my favorite old-style Dunlop fingerpicks, the kind with three holes and a longer blade than they are offering now. I use the heaviest gauge, 0.025. (I think that’s right….) I know old Nationals are all the rage (or at least they used to be) but those never felt good on my fingers. Ditto a lot of the newer picks, especially those made of heavier metal. They just don’t work for me.

But fingerpicks are a very personal item. Experiment around and see what you like best. Give yourself time to get used to a set and see how you like them. But then, stick with that set! Constantly changing fingerpicks in hopes that THAT will cure all your ills and make you a better banjo player is a pipe dream. And stay away from the pointy picks!

Banjo Christmas Music

Wednesday, December 10th, 2008

Casey HenryThis year is remarkable in that two new banjo Christmas albums were released, and both are wonderful, though you have to have a bit of an adventurous musical spirit to appreciate them. First, Evergreen, from the Alison Brown Quartet. Alison offers up beautiful, somewhat jazzy arrangements of traditional favorites, along with more recent additions to the Christmas canon, such as “Welcome Christmas” from Dr. Suess’s How the Grinch Stole Christmas, and “Christmas Don’t Be Late” from Alvin and the Chipmunks. Her sound is what I imagine the Vince Guaraldi Trio would have sounded like with a banjo.

Next we have Jingle All The Way from Bela Fleck and the Flecktones. This is not your average Christmas album, and it has some stunning playing on it. Their version of “Sleigh Ride” has just been nominated for a Grammy. They do “Twelve Days of Christmas” in twelve different keys, and twelve different time signatures. You pretty much have to hear it to believe it. And Victor Wooten’s solo rendition of “The Christmas Song” is so amazing you won’t believe it is being played on a bass. And Christmas really wouldn’t be Christmas without some Tuvan throat singing, don’t you agree?

And two of my all-time favorite Christmas CD staples are Tony Trischka’s Glory Shone Around, and Bobby Horton’s Songs of the Christmas Season. Tony’s has a great variety of cuts from an all-out bluegrass “Precious Child,” to shape-note singing, to solo minstrel banjo, to a wonderful story, read by John Hartford. Bobby Horton is a musical historian and renders Cival War-era carols on mostly period instruments, as they would have been played in the mid-to-late nineteenth century. It is lovely, peaceful music. I highly recommend it.

Red and Murphy 1982

Tuesday, December 9th, 2008

RedToday, I thought that you’d like to see another view of what we looked like a long time ago. This photo was taken at about the same time as we played a week at the Knoxville World’s Fair, and when I see it, I always remember playing that week in Knoxville:

Red and Murphy and Company, 1982

Band members were (top) Nancy Pate (guitar), Tuck Tucker (Dobro), and Laurie Hicks (bass); (bottom) Red Henry, Murphy Henry.

We had a good time playing at the World’s Fair, even though we played in the summer and the weather was hot. This was primarily because were in a really good performing situation—we’d been hired by Buddy’s Barbeque to play at their tent! So we were in the shade, and our audience was in the shade (and had an incentive to stay there) and was very appreciative, and there was lots of good food to eat. Also, of course, we were very close to plenty of cold drinks, always important for keeping your fluid levels up in hot weather. So you couldn’t ask for a better place to play.

Another advantage of this venue at the Fair was that we could set up a record table right next to the stage. We sold a lot of albums and tapes! — and this added to the experience for us.

The first six days of the gig went great, but the last day ended on a discordant note. Parking had been a problem all week, and unknown to us, while we were playing that last day, our band van got towed away from where we’d left it! I had to go get it from the towing company, about twenty miles away, before we could load our sound system, our instruments, and ourselves in it and leave for home. Between the hassle of all this and the towing fee, playing the World’s Fair suddenly turned into a less-than-perfect overall experience. But you have to take the good with the bad, and we enjoyed the Fair!

Fingerpicks: Word to the Wise

Monday, December 8th, 2008

Murphy HenryShort blog today, folks. Just back from picking all afternoon with David McLaughlin (banjo), Marshall Wilborn (bass), Red Henry (mando), Chris Henry (guitar), and moi (fiddle, and a little banjo after David left). And still need to find time to watch last night’s episode of the Marty Stuart Show featuring Eddie Stubbs as the genial announcer which I videotaped (RFD channel).

Okay, so here’s my Word to the Wise: Do NOT, I repeat, do NOT let anyone borrow your fingerpicks. I’m talking about the set of fingerpicks you use all the time. Most borrowers will take the picks and, without thinking twice about it, bend them to fit their fingers. And even if they don’t bend them, their fingers could be bigger and will stretch them out. So when you get them back (IF you get them back!), they will no longer feel right on your fingers! You’ll have to go through the shaping process all over again.

If you’ve not had this happen to you yet, great! You can’t imagine how much you will notice the smallest change in your comfortable, well-fitting picks.

So, what to do? Carry a spare set of fingerpicks that will be your “loaners.” If someone asks to borrow your picks, give them these.

And, by the way, you should also be breaking in a spare set of picks for yourself. This is for when your thumb pick breaks or for when you lose your fingerpicks.

So at the very minimum you need three sets of fingerpicks in your banjo case: your regular and favorite set, a spare set, and a set that you can lend.

Thanks to Chick for suggesting this blog. Of course, the fact that he had loaned out his best set of picks and had them bent all to pieces and was having to reshape them gave him a good excuse for missed notes at his lesson!

Jingle Bells

Sunday, December 7th, 2008

Casey HenryThis is quite possibly the best version of Jingle Bells ever! Check out Earl’s syncopation on the melody, and he does some pretty nifty backup, too! You can hear the banjo great all the way through.

Snapshot from 1979

Friday, December 5th, 2008

Red HenryToday, I just thought you folks would like to see an old photo of us from 1979. This picture was so colorful and entertaining, with all the instruments in it, that we used it on the front of a 33 1/3 record album (remember those?) which we recorded that year.

red, murphy, nancy with instruments

The permanent band members at the time were just Murphy and myself and her sister, Nancy Pate. For the photo we surrounded ourselves with all the bluegrass instruments we had– and there were a lot of them. The five banjos include Murphy’s old Gibson Style 4 which she played for 20 years, and also my then-recently-completed Style 11 conversion which belongs to Casey now. (She was almost two when this picture was taken—imagine that!) The guitars include four Martin D-28s of various ages, and the mandolin-family instruments include Randy Wood F-5 #1, an old 1916 Gibson F-4, and my Gibson H-2 mandola. There are plenty of fiddles of various kinds, too.

Sadly, hard times were about to hit the bluegrass world and the rest of the country too. In the recession of 1979-81, we sold many of these instruments and they went to other homes. But in the meantime, we sure did get a good picture!

To Look or Not To Look

Thursday, December 4th, 2008

Murphy HenryMark, who has been taking banjo about six months now, and I had an interesting discussion at our lesson tonight. Mark said he’d been watching clips of really good banjo players picking on U-Tube and he noticed that all of them look at their left hands and none of them look at their right hands. Mark, on the other hand (no pun intended, I swear), looks at his right hand exclusively. He told me that he thinks this is hindering him from picking up speed. He’s afraid he’ll never be able to play fast if he keeps looking at his right hand. I told him I knew what I’d be blogging about tonight!

Initially I wasn’t too concerned. After all, he’s still a beginning player and he’s really doing well. He’s a little over the one song a month average and he can vamp and come in off the vamp for his breaks. What’s not to like?

But then he told me that when he’s looking at his right hand he’s actually thinking of the strings he’s hitting, as in 4,2,3,1/5,3,4,1. (That’s the double square roll, usually in C chord.) Then I got concerned. Because if he’s thinking of the individual strings, then, he’s right: he’ll never be able to play fast. You don’t want to be doing the Cripple Creek lick and thinking 3,2,5,1.

So, of course, I then asked him to play something easy and NOT look at his right hand. He played “Banjo in the Hollow” and, while it was really hard for him not to look at his right hand, he could do it. Ditto “Cripple Creek” and even “Foggy Mountain Breakdown.” The songs even sounded smoother to me.

I told him that since he obviously could play the songs without looking at his right hand, what he was doing was pure habit. Is it a bad habit? I’m not sure. But since Mark was concerned, I told him to start out with easy songs, play them slow, and make himself look only at his left hand.

He told me that in just trying not to look at his right hand on those three songs he was already experiencing quite a bit of anxiety.

I told him that he shouldn’t do anything that would disrupt his playing, since even looking at his right hand he was already doing very well. I reminded him that this was supposed to be fun, not torture.

He told me that he thought he’d try not looking on some songs. But that for the rest of the lesson he was going to have to look.

I told him that would be fine.

So, I think Mark has a legitimate concern. I relate it to you as something to think about. DO NOT, I repeat, DO NOT get yourself all tied up in knots if you, too, happen to look at your right hand. DO NOT ruin your playing by trying to fix something that might not need fixed (as we say here in the Shenandoah Valley). In Georgia we say “might not need to be fixed.”

Although I have not run any kind of study, I suspect that most people who play banjo long enough eventually stop looking at their right hands.

Stay tuned to the Murphy Method Blog for updates on Mark and the question “to look or not to look?”

And me? I look at my left hand!