Posts Tagged ‘shows’

And now for a quick photo-op…

Friday, February 4th, 2011

I just wanted to share a picture with all of you. This was taken when Chris and I went over to a Frank Wakefield concert at Garrett Park, Maryland, several weeks ago. I had no idea this photo existed until a day or two ago, when I found it on Frank’s Facebook page. Click on the pic:

…as you can see, we were having quite a time. Or, to “talk backwards” and put it in Wakefield-ese, Frank and “Leeroy” and “White” didn’t play no music. We didn’t have no fun. And you can’t see it right in this picture!

Red

Murphy Method Sale Going On

Friday, December 3rd, 2010

Red Henry

Folks, I haven’t blogged yet this week, and there’s a good reason: You, our Murphy Method customers, have responded so well to our ongoing telephone sale that I haven’t had time in the morning to even write a few paragraphs. If you are looking for a gift for your Murphy Method family member, remember our special price of 4 DVDs for just $75.00! Murphy Method DVDs are a great Christmas gift for yourself, too! Take a look on our site to see what you’d like to order, and call us toll-free at 800-227-2357. The sale runs for 8 more days, until Saturday, Dec. 13th!

Our band (Murphy, myself, Christopher, and Cousin David) is going out this afternoon to play the first of this year’s Christmas parties. This is a large party held at a local church, and we’re looking forward to playing music. A good time will be had by all!

Professional? Amateur? or Both?

Tuesday, October 19th, 2010

Red Henry

I’m just back from Hiawassee, Georgia, where I was one of the judges at the Georgia State Fiddlers Convention. There were contests for fiddle, banjo, guitar, mandolin, Dobro, and other instruments, so we did probably 15 hours of judging over two days.

The judges, along with contest MC Barry Palmer and friends, played a set of music each day– after all, since we were judging the contest, we needed to show that we could play! Our Saturday set went real well (no surprise, since the five people on stage probably had 150 or 200 years of professional musical experience between them), and afterwards I was talking with Chuck Nation, another of the judges, about how much fun our set was. Chuck expresses himself very well, and he commented about playing in a band: “The difference between amateurs and professionals, is that amateurs are competing with each other, and professionals are helping each other.” Well said!

I’ve talked about it before on this blog, but Chuck’s comment really put it down plainly where we can understand it. If you’re playing in a group– on stage or off– are you listening? Are you trying every second to help the BAND (not just yourself) sound as good as possible? Are you playing so as to support the other musicians, not just to make yourself sound good? Your level of proficiency doesn’t matter, and plenty of people who can play well don’t play in a professional manner, in this respect!

You may be an amateur player, but you can play in a professional way. Think about it.

Red

The Murphy Method at IBMA

Tuesday, October 5th, 2010

Red Henry

Again this year, for I-don’t-know-how-many-years-in-a-row, we set up a booth for the IBMA Fan Fair. The Nashville Convention Center was a busy place, with plenty of bands, dealers, instrument makers, and fans on hand for the weekend. After Lynn Morris won an IBMA Distinguished Achievement Award (see Casey’s post just below) and her husband Marshall Wilburn was voted Bass Player of the Year, we were especially proud to be offering Lynn’s clawhammer-instruction DVDs and Marshall’s bass-teaching DVDs as well.

Red Henry at the Murphy Method IBMA booth.

Red Henry at the Murphy Method IBMA booth.

Casey and I and our friend, festival promoter Patty Pullen, were our on-site staff for the weekend. Folks were picking up Murphy Method DVDs all across the board– banjo, guitar, mandolin, fiddle, bass, and Dobro too. It was a good weekend for us, and it was great to see so many of our DVDs going home with our Murphy Method students, many of whom we met this weekend for the first time.

A special highlight of the trip for me was watching Casey playing banjo for the Dixie Bee-Liners in their showcase set on Friday. The room was full, the band was “on,” and the music was Mighty Fine. (They’d played some showcases after midnight earlier in the week, but I didn’t manage to stay up that late!)

I ought to send some special thanks to Bob Fehr and the Martin Guitar folks for setting out so many nice new guitars for people to play– there was a particularly-amazing “sunburst” D-28 that showed how Martin is making them as well as ever– and also to Stan Werbin of Elderly Instruments, who invited me to play the A-5 mandolin. (More on that later.)

If you’ve never been to IBMA, you might like to be there sometime. Think about it.

Red

Picking in the Gazebo

Tuesday, September 28th, 2010

Red Henry

Last Saturday I had a good time playing music with family and friends in the gazebo. And, you may ask, just where is that particular gazebo? Well, it’s some distance from here. It’s on the town square in Clarkesville, Georgia. And, in spite of some rain, we all had a good time.

The band for this occasion included, along with myself on mandolin, my old friend and now brother-in-law Mike Johnson, on banjo; Murphy’s #3 sister (and Mike’s wife) Argen Hicks, on bass; Murphy’s #4 sister, excellent singer/songwriter Nancy Pate on guitar; and our friend, multi-instrumentalist Barry Palmer on fiddle. What did we do? We just played music. Well, we did run over some numbers at Argen and Mike’s house beforehand. That was fun, too. Then we went over to the middle of town and set up at the gazebo and played our first set.

Now, I’ve talked before about how good it is when people are really playing together. This can happen immediately, as is did at that party I talked about a few days ago, or it can happen because everybody listens and adapts. On this particular day we had a group that hadn’t ever played together before, and I think we all played with slightly different natural rhythms. When we started practicing back at the house we sounded a bit loose, but by the time we started up at the gazebo, we sounded pretty tight. So how did this happen? It happened because everybody there was a very experienced performer and knew what to do. Everyone was listening and adapting to everyone else, one song after another, and in a short time we were really playing together well.

You don’t have to be a professional picker to do this. You don’t have to have played for 20 (or 30, or 40) years to listen to everyone else and adapt to their rhythm and play what sounds good.

As soon as you are able to play in a group, you can start listening to the other pickers (in fact, those two things go together). You can start listening to the other instruments and to the vocals, and follow your ears in trying to play (or not play) things that help the whole group sound good. If there’s a banjo or guitar player drowning everybody out you usually can’t help that, but if that player is YOU, then you can. Whatever instrument you’re playing, try to play steadily and supportively to the others. (Sometimes this means scarcely playing at all, during other leads or vocals.) When it comes time for you to take a lead, think about it ahead of time– stop playing for a few beats if you need to, to set up your hands and brain to start playing the break at the right time– and then keep listening to the rhythm while you’re playing your lead. That way, whether you’re playing lead or backup, you’ll be playing together with the others. And that can help them do the same thing (more on that later).

Happy picking!

Red

Are You Playing the Song Together? — Or Just “at the Same Time”?

Tuesday, September 21st, 2010

Red Henry

The title for this blog may seem strange, but it’s pretty important. As I mentioned before, Christopher and I played a party Saturday night before last, and we had two fine musicians with us– Mike Munford and Ira Gitlin. All four of us fit together perfectly, and our band dynamics– making the instrument leads stand out, putting the vocals out front, adapting the backup every moment to make the lead sound its best– were excellent.

During our first set break, Ira commented on this. He knew how rare it is for everybody in a band to be paying attention and always playing so as to make the lead instrument or vocal sound its best. He knew how very often, even with good musicians, the guitar player will be showing off his fancy bass runs, or the harmony singers will pay little attention to the lead singer, or the lead singer will be drowned out by a banjo player who’s playing lead all the time, all over everybody else’s vocals and instruments. But the four of us were playing TOGETHER– not just playing the same song at the same time, but listening to each other and playing together. And it was good.

You can pay attention to this too, whenever you’re playing music with other people. Is someone else singing a song? Make sure you’re not the one drowning him (or her) out. Is somebody else playing a lead break? Listen to that person, and play some gentle backup as appropriate to make the lead sound good. LISTEN all the time, and do whatever your ears tell you to, to make the music always sound as good as it can. That way, you won’t be just playing the song at the same time– you’ll be playing it together.

Lions and Tigers and Bears, Oh My…

Tuesday, September 14th, 2010

Red Henry

You know, there are some things in early bluegrass recordings that are impossible to beat. One of our favorites is on Flatt and Scruggs’s early version of Foggy Mountain Breakdown, where the whole band (except for Earl) is playing the “wrong” chord.

Let’s review the chords in FMB: you start out with eight beats of G, and then you go to an E chord for a certain number of beats. Nowadays, most folks change to an E-minor chord for four beats, to match what the banjo is playing. That’s how Murphy teaches it, because it’s what almost everybody plays now. But on that old Flatt & Scruggs record, the band plays SIX beats of E-MAJOR! It’s a wild and woolly sound. It’s incredible. It’s a hair-raising moment. It’s lions and tigers and bears…

Murphy and I have played FMB with that 6-beat E-major chord for over 30 years. The first time we played FMB that way was at Diamond Jim’s, a bar in Gainesville Florida. When we heard how the E-major sounded, we both about fell off the stage. Oh, my.

Not many other people play Foggy Mountain Breakdown that way. However, Christopher and I found a couple of people who do, when we were playing for a party in Baltimore last Saturday night. I was playing mandolin. Chris was playing guitar. Our band for the evening was a couple of outstanding area musicians, Mike Mumford on banjo and Ira Gitlin on bass. And guess what? When Mike kicked off FMB and hit that first E chord, EVERYBODY went to the E-major chord. For six beats. Automatically. It was a wild and woolly sound. It was incredible.

Listen back to that old Flatt & Scruggs record a few times, and then try it yourself. It’s great. Lions and tigers and bears, oh my!

Red and Murphy’s old recordings — planned for download

Friday, August 6th, 2010

Red Henry

We’ve had some requests in the last few years for us to make our old Red and Murphy and Co. LP records available again. In this day and age, we plan to post the tracks for inexpensive download on our website.

Here’s a look at our band. We played bluegrass full-time for 11 years, mostly around the Southeast in Florida, Georgia, and Alabama, but also playing festivals up the Atlantic seaboard as far as Canada.

This photo of Murphy and myself with her singing-and-songwriting sister Nancy dates from 1979 (There’s a lot of nostalgia here. Those were ‘tight’ times. By the end of the recession in 1981-2, most of these instruments were gone!):

1979

-and this one is of our big six-piece band in 1985 (Tuck Tucker, Bill Baker, Bob Higginbotham, Nancy Pate, Murphy, and myself):

1985

These are the seven LP albums we made in the olden days, and the year each one was released. (The albums all featured a lot of original material, and as you can tell from this list, most of them were named for one of Murphy’s songs!):


“Riding Around on Saturday Night”
, 1977

“Fast Picks and Hot Licks”, 1978

“Pall Mall Reds”, 1979

“My Everyday Silver is Plastic”, 1980

“I Ain’t Domesticated Yet”, 1981

“Just Remember Where You Could Be”, 1983

“Real Time Reel”, 1985

-and in addition, we produced two family band cassette tapes by Red and Murphy with their Excellent Children, Casey and Chris:

“Granny Don’t Dance”, about 1994

“My Dixie Home”, about 1995.

As I mentioned, we’d like to post this music on our site so that it will be easily available. That’s the plan, and we hope to be moving on it this year. So this is just a “heads-up” for all you Red and Murphy fans out there, that some Mighty Fine bluegrass music is going to be heard for the first time in a long while!

Red

Picking with Dale Crider at White Springs

Tuesday, June 22nd, 2010

Red Henry

Red Henry

Folks, I just thought you’d like to see this photo of Red & Chris and Their All-Star Band performing with Dale Crider at the Florida Folk Festival a couple of weekends ago:
DSC02475

(Pickers: Jenny Leigh, Chris Henry, Barb Johnson, Dale Crider, Red Henry, John Hedgedcoth.) As you can see, we have a good time playing music with Dale. That’s because he’s such a great performer with plenty of charisma on stage, and his shows are always unpredictable. Dale’s an entertaining MC, and he’s liable to bring out lots of his original songs, and he may put a song in a different arrangement or in a different key from the last time we played it. He may even change into a new key, or change the tempo from 3/4 to 4/4 in the middle of a song, so we have to be on our toes. So enjoy this action shot!

Red

Florida Folk Festival — Day 4 — Sunday, May 30th

Tuesday, June 15th, 2010

Red Henry

Red Henry


Sunday was another long and musical day at White Springs. The morning dawned high and dry, with no sign of the deluge we’d had the previous evening. After begging some morning coffee (essential for survival), I tuned up my mandolin and guitar and contemplated the day. We had a set to play at the River Gazebo, specified to be primarily of Florida songs. We have quite a few of those in our band repertoire, so I started picking out a few. There were some I rejected. “Abraham Washington”? — maybe too grim for Sunday. “Gospel Snakes”? — Dale had performed that one on Saturday. But we had plenty more up our sleeves.

By “we” I mean Red and Chris Henry and our All-Star Band, which includes John Hedgecoth (banjo), Jenny Leigh (fiddle), and Barbara Johnson (bass), all three of whom are great pickers. In spite of only performing together a few times per year, we have plenty of material worked up and are always learning more– we managed to play two hour-long sets at Gamblefest without repeating anything– and we have a good time playing music together.

First thing on the day’s program was to back up our friend Dale Crider for his set on the Old Marble Stage. We all traipsed over there at the appropriate time, and Dale launched into his set.

Now, Dale’s mind works quickly and creatively. (I have already mentioned his “Mangrove Buccaneer” song posted by Ron Johnson at http://www.youtube.com/watch?v=18-Kt4UKmII , in which Dale’s cat-like powers of recovery are demonstrated.) But after Dale arrived a few minutes late for his own set on Friday, and was only prevented from singing one of his own songs which we’d already done by the kindness of a vocal audience member, he’d gotten skittish about repeating a song. Before singing one of his songs at the Old Marble Stage, he paused and asked the audience, “Have I already done this one?” — it’s a good thing he asked them instead of us. I leaned into my mike and said, “Dale KNOWS that if he’d already sung it, WE would stand right here and let him sing it AGAIN!” – but correctly reassured by the audience that he hadn’t done it yet, Dale sang “Mangrove Buccaneer” to end the set. Good job, Dale.

After a break back in the campground, it was time for us to go down to the River Gazebo and play. Before our set I chatted for a while with distinguished Florida folks Larry Mangum and Frank Thomas, and also met Nancy Crockford, an accomplished violinist who was interested in learning fiddle. I’ll send you a couple of our Murphy Method fiddle-instruction DVDs, Nancy. Then it was time for us to play.

Since Christopher and I like playing double-harmony mandolins together so much, we started out with a fine Bill Monroe tune called “Tallahassee”. Chris and Jenny contributed Florida songs of their own, and then John sang his “Florida Sunshine” tribute to White Springs in olden days. The crowd really liked all these but at that point we were running short on time, so we did a quick guitar-harmony rendition of Will McLean’s “Osceola’s Last Words” and finished out with an abbreviated double-mandolin version of “Rawhide” — not exactly a Florida song, I suppose, but to get five out of six isn’t bad.

Last on our day’s schedule was a set by Dale at the Gazebo, alternating songs with Jeannie Fitchen. We had a good time playing, and listening to Jeannie, and playing, and listening, until it was time for Frank Thomas to take center stage and lead us all in “Old Folks at Home”. What a good day, and what a great festival!

After the set John needed to get back to Nashville, but the rest of us loaded up our stuff and drove down to Dale’s place at Windsor, on the shores of Lake Newnan. The thunderstorms were threatening as we set out, and let go some gully-washing rains as we drove. On Monday, we’d be recording with Dale!

Next time: Day 5!