Author Archives: Red Henry

About Red Henry

Began playing mandolin, guitar, fiddle, and banjo in 1967-69. I married Murphy in 1974. We led the Red & Murphy bluegrass band, playing professionally, from 1975-87. Since then I've handled the technical side of Murphy Method cassette, videotape, and DVD production. When you call I usually answer the phone, and I'm normally the one who sends out the orders.

Murphy Henry

When son Chris called tonight, March 28, to tell us Earl Scruggs had died, I knew I would want to write some sort of blog about him, but I had no idea what to write. Then it came to me. Casey and I had gotten to meet Earl and Louise, his wife, one time in their Nashville home. I later wrote about that experience for the University of Virginia alumni magazine. Trusting that I own the copyright for that article, I will reprise a part of it now:

Prelude: Early in the article I mentioned that as part of her application for UVA Casey had submitted an essay about the most exciting day of her life: meeting J.D. Crowe! She wrote that meeting J.D. was the “single greatest day of my life. Until a new single greatest day of my life comes along.”

Meeting J.D. got trumped when Casey and I—all by ourselves— got to visit Earl. In his house.

This is what I wrote:

After we had chatted for a while, Louise asked us if we would like to play Earl’s banjo. Would we? Would a blues lover like to play B.B. King’s beloved Lucille? [His guitar.] Would a fiddler like to play Itzhak Perlman’s Strad? I went first, boldly playing one of my own compositions. I sure wasn’t going to try to out-Earl Earl on one of his tunes. Then I passed the banjo—EARL’S BANJO!!—to Casey. She played a tune or two and then Earl got out the little banjo that he keeps beside his chair and started PLAYING ALONG WITH CASEY!!!

The hardest thing I’ve ever done as a parent [up till that point!] was to sit still and let Casey play the banjo with Earl. I’m sure I earned an extra star in my crown for not wrenching the banjo out of her hands. [I think they played Home Sweet Home and Silver Bells together.] If Casey can maintain her aplomb while playing banjo with Earl Scruggs, I’m sure she’ll do fine facing the rigors of life as a bluegrass musician.

Casey and Earl

Things I didn’t put in the article about visiting Earl: Louise offered us some iced tea, which we accepted. The only problem was, after drinking a tall glass of iced tea, I had to pee. Which meant I had to ask where the bathroom was (embarrassing) and then get up and go there (also embarrassing). And the whole time I’m in there I’m thinking, “I’m using Earl’s bathroom!”

Also when Louise asked us if we’d like to play Earl’s banjo my actual reply was, “I thought you’d never ask!”

Another interesting tidbit: Someone had just donated Mother Maybelle’s guitar to the Country Music Hall of Fame Museum so we were talking a little about her. And this is what floored me. Earl said he’d always admired Mother Maybelle’s playing and had tried to copy what she did on guitar but he could never get his guitar playing to sound like hers! Here is Earl Scruggs, disappointed in himself because his guitar playing—his wonderful, fantastic, gorgeous guitar playing— does not sound like Mother Maybelle’s. (Of course hers was all those adjectives, too.) I wondered at the time, “Does it never stop? Wanting to sound like someone else?”

And just one more thing. Here’s the reason I played one of my own tunes (which was Hazel Creek) for Earl when I had the chance to play his banjo. One year, at the IBMA World of Bluegrass, I’d had a chance to sit at a table in the hotel restaurant with Earl and Louise while they were eating supper. No one else was around. I had them all to myself! And, as part of our conversation, Earl said, “I get so tired of hearing the same old stuff all the time.” Right then and there I vowed to myself that if I EVER got the chance to play in front of Earl I would NOT play one of his tunes, but would play one of my own. And I did. And I am proud to say he perked up, took notice, and asked where that tune came from!

Oh yeah. While we were all sitting there, some man brought over something for Earl to sign. I think it was a license plate, but it might have been a banjo head. Earl graciously signed. The man said to me that he had some of my videos. I thanked him for that. Then the man said to Earl that he was getting all his favorite banjo players to sign. Louise nudged me and said, “You’re a banjo player.” But the man hadn’t asked me to sign! So what could I do? Besides, I knew Louise was just yanking my chain.

And the memories just keep on coming: The year I won the IBMA Print Media Award I got to be in an after-award-show media room where pictures were taken. Earl and Louise were in there too. So, naturally, I had my picture taken with them. But just before MaryE Yeomans took the shot Louise said, “Wait a minute.” Then in an aside to me she said, “I’ve got to hold my stomach in.” I wanted to bust a gut laughing, but of course, I couldn’t. I’ll try to find that picture. Casey also had her picture taken with Earl. I’ll look for that one too.

Murphy with Louise Scruggs

But for now, as you see, we are including a picture of Casey’s son Dalton with the Big Earl poster. The Big Earl was a product of the brilliant yet somewhat twisted mind of the Flint Hill Flash, who wrote an amazing column for Banjo Newsletter for years. Casey’s copy (formerly my copy, I believe) now hangs in her office. I thought it was fitting that we take Dalton’s picture in front of it. I just didn’t know at the time that we would use it in a blog in memory of Earl.

Dalton and Big Earl

Dalton and Big Earl

Rest in peace, Earl. Your banjo playing has inspired so many. Including Casey and me. And perhaps one of these years, Dalton.

Dalton Henry

I see that my mama Casey and my Grandma Murphy had a fine time teaching people good things at Banjo Camp. While they were doing that, my Granddaddy and I spent three whole days together, and I had a fine time teaching him good things too. Here are some of them:

1. Always keep a baby-towel around to wipe up incidents. ALWAYS! It is most inconvenient for me to need one, and then find out that Granddaddy does not have one handy.

2. Some people just don't want to take their nap. This shows developing attributes of personal pride, determination, and independence of thought. (Especially in future banjo players!)

3. Keep things well out of my reach while the grownups are having their own supper! (A whole bowl of soup all over the kitchen floor-- along with the broken soup bowl-- was my most impressive accomplishment for the whole weekend! And it was fun to see Granddaddy scrambling around to clean it up.)

I was going to list some more things, but I have forgotten what they were. They will just have to wait until next time. Anyway, my Granddaddy and I had a fine time and we are looking forward to the next one. And I would write more, but 'scuse me now because it's time for my bottle.

Best regards,

Dalton Henry

Murphy Henry

Just a quickie here, folks, to let you know that our second Murphy Method Intermediate Banjo Camp was a rousing success! Sixteen students gathered in Winchester under the watchful eyes of Casey and me to play and play and play! They also did some learning, but I think the playing was the big hit of the weekend. After all, our motto is “Less talk, more playing!”


Intermediate Banjo Campers

Intermediate Banjo Campers

One of the surprise hits of the weekend was the singing of Barry, one of our LA students. (And I don’t mean Lower Alabama!) I’ve known Barry from meeting him at many camps over the years and I had no idea he knew so many songs and could sing so well. And since I caught a cold and could not sing (arrrgh!), he stepped into the breach and really helped out. His song choices were excellent—just plain old three-chord songs, but ones that were a bit unusual. The ones I remember are:

Let Those Brown Eyes Smile At Me
Long Black Veil
Your Love Is Like a Flower
Little Cabin Home on the Hill
Hand Me Down My Walkin' Cane

(Help me out, Barry! There was another one about drinking and the one you sang Sunday that had the word “Wander” in brain is muzzy today!)

Barry also played the banjo as he sang and did the kickoffs to all these songs! The rest of the class then had the opportunity to improvise breaks to the songs, on the spot, and play them solo while everyone else vamped. (But only if they wanted to.)

Jim also came through with some good sing-along songs like Worried Man and I Saw the Light. And on Saturday and Sunday Zac came in to be our guitar man. Nothing like playing Blue Ridge Cabin Home fifty times at a very slow pace, is there Zac? He also played banjo on our Saturday night concert and did a bang up job. Bob Van Metre came in to play bass and provide some comic relief with his off-the-cuff remarks...he also provided the medicinal Jack Daniels and I am forever in his debt for that. I still couldn’t sing but I didn’t feel so bad about it!

If I had to describe what we did during the weekend with one word it would be “improvise.” We divided the class into Beginning Intermediates and more Advanced Intermediates and both sections worked hard on improvising. The BI’s learned about it from the ground up—finding basic licks to use in simple three-chord songs and then using those same licks over and over to play more songs. The AI’s improvised to Barry’s and Jim’s songs and to the version of East Va. Blues I managed to croak out. (Not pretty!) Everyone did fantastic, and no one’s break was the same. The AI’s also improvised a break, on the spot, to Bluegrass Breakdown, altho Roy (back again from England) later said he was just copying me. Hey, that still counts! You were doing it on the fly.

There is much more to tell, but I’m out of time. I’d love it if some of you students would chime in with your impressions.

We are already looking forward to next year’s camp which will be this same weekend in March (we hope). Mark your calendars! We picked up great ideas from the students for improvements we can make for next year and we are already laying the groundwork to implement some of them.

Thanks to everyone for making our second Intermediate Banjo Camp such a great one. And don’t forget about our Murphy Method Beginner Camp this October!!!! See you there.

Folks, the Murphy Method Banjo Camp is coming up this weekend here in Winchester, and guess who is Casey's designated babysitter for the weekend! So while all the Murphy Method students are having fun learning banjo licks from Murphy and Casey and having fun playing together, the youngest banjo player in the family (Dalton Henry, age 7 months) and I will be having fun playing together too!

The music involved, of course, might be a little different. For the Murphy Method students, it will be Banjo in the Hollow and Cripple Creek and tunes like that. For Dalton and myself, the music will include "Go Tell Aunt Roady" and "Way Down Yonder in the Paw-Paw Patch." But a good time will be had by all!


Red Henry
Great show tonight at the Station Inn in Nashville! Chris Henry and the Hardcore Grass play from 8 to 11! Mighty Fine music guaranteed. Y'all come!

Chris Henry and the Hardcore Grass at The Station Inn!!
Wednesday, March 14 at 8:00pm at The Station Inn

Back in January I got a call, pretty much out of the blue, from the director of the bluegrass program at Colorado College, Keith Reed. I had met Keith at RockyGrass last year when I was teaching at the Academy and he mentioned that he wanted to get me up to Colorado Springs sometime to teach at the college. It sounded like a perfect opportunity to get out to Colorado Springs, see some mountains, meet and help some eager young bluegrass enthusiasts, and pick with Keith at the faculty concert.

I left a sunny and fairly warm Nashville and flew to Denver, and Keith scooped me up and we rode through snow dusted plains up to the campus to have a meal and meet with a couple of Keith's students. Keith, an excellent and solid Scruggs style player who had picked with Open Road for years, started teaching at the college about eight years ago and grew the program into a successful enterprise with about 20 students and three different ensembles.

That evening about 7 pm, we met about eight of Keith's students in one of the many music study rooms and I commenced a workshop for about an hour and a half. I've been teaching for about fifteen years, so I have done many workshops and private lessons, but it had been a while and my muscle memory for the experience was a little lethargic. But nevertheless, I set up my webcam to stream the workshop onto my Facebook page and plowed ahead. I figured it would be appropriate to give some background into my own influences and how I came to learn the music and play it the way I do. I always enjoy younger folks in workshops because frequently they have had heaping helpings of more contemporary bluegrass but haven't really studied the classics too much. At least one had heard of Frank Wakefield, so that was encouraging. Keith and I picked a couple of tunes - Bluegrass Breakdown and Farewell Blues.

I have been playing a lot in Nashville and so I really didn't think too much about it when I kicked off Bluegrass Breakdown at close to 180bpm. The students seemed entertained with the offering. There are many great styles of hardcore bluegrass mandolin, so I demonstrated, as best I could, tones of Red Henry, Bill Monroe, Frank Wakefield, David McLaughlin, and how my style was a mixture of those influences plus some innovations of my own like the circus-style ascending and descending blurs of mandolin motion (cheap licks as I like to call them), also integrating some unusual intervals that are more likely to be heard in eastern European, Klezmer, and Middle Eastern music.

Before long, one student asked me what I thought about Chris Thile. I expressed that beyond the obvious - his formidable technique, creativity, and overall contributions to the awareness of the mandolin in popular culture, he has an outstanding dedication to what he pursues, be it classical, or nuvo-grass, or the blend of pop and acoustic music in his most recent band. I also told them that he also provides me with a great contrast stylistically. If there were hundreds of young mandolin pickers who were all super deep in studying Monroe, then what I do would not be as unusual, so I appreciate that.

After dusting off two or three original mandolin tunes, I invited the students to pick, and we had two guitars, about four or five mandolin pickers, Keith on banjo, and a bass player. There was an excellent contingent of four young women, all very sharp and capable, with mandolins and so the gender balance was quite respectable. We started with a blues number which I figured was a good place to begin to get everyone improvising a little bit. At first go round, everyone played well, although with a couple of exceptions, fairly quietly. I like it when pickers really bear down and get good volume and projection out of their instruments. So, on the second round I asked them to all play as loud as they could, and they really could be heard a lot better the second time, and by my estimation, the music itself was more engaging and interesting. We sang some songs and passed some good fiddle tunes around for about a half hour with various students having to come and go as their hectic academic schedules allowed.

I demonstrated a few different guitar styles as well. The strums or licks of folks like Bill Monroe, Jimmy Martin, Del McCoury, Carter Stanley, and David McLaughlin were something that they had not spent much time studying, so I was happy to help them add a few tools to their toolbox in terms of different guitar strums for different songs.

We had a little pizza and then went to relax for a while. That evening a friend of some of the students offered to have us over to pick some. So Keith and I went over and joined a few early 20s fellows playing an ice hockey game projected on to a white wall. We picked a couple in the kitchen, running over Groundspeed, which was going to be one of the tunes for the faculty concert the next night. The video game was finished and so we moved into the living room to pick some more. I was playing guitar, Keith was on banjo, and the most proficient mandolin student, Charlie, was picking his mandolin. Before long there were about twenty young folks in the room sitting wherever they could, a fairly large but well behaved snake being passed around, and three more mandolin pickers. We picked for about two hours and had a great time.

The next day we got to the college about noon, and had a great lunch from the cafeteria before Keith went to take a swim and I went to teach some one-on-one lessons. First up was Charlie, and he was a true sponge and quick on the pickup which is always great for lessons. We looked at staggered sixteenth notes like Bill Monroe used many times. I showed him how to play one sixteenth note with a downstroke, and then continue up the arpeggio on an upstroke, then a downstroke on every next note, and then how to change chords at the top to go to a C chord from G, and then also how to go from G to D and back down. He picked it right up.

Being curious about how I approached tremelo, I demonstrated how I pat my foot and play down-up-down-up for every foot pat so it keeps the tremelo even and uniform. He's got a good handle on what I might call the spastic tremelo which is more haphazard but when used properly can be powerful. The spastic tremelo is basically playing as fast as possible but without an even regularity to the pick strokes in relationship to the beat. I employ that technique myself frequently as well, it's more along the lines of Buzz Busby's style.

Next up was Mattie, a young woman that wanted to learn some practice techniques that would help here clean up her playing while developing speed. So I showed her my usual regimen of three patterns of the major scale in G and A. I start off with the regular two octave scale with alternating up and down pick strokes. Then we played two pick strokes (up and down) for each note up and down the scale, then triplets, and finally sixteenth notes. We did that in both G and A.

The next pattern I showed her was a little more complex. It starts on the first note in the scale then jumps up to the third note in the scale, then back to the second, then up to the fourth and so on. She picked it right up and we went through the permutations of one pick stroke through four pick strokes for each note in the scale. We did that in G and A.

Finally, when she had a good handle on all that we moved on to the hardest pattern which, in my experience, is the most beneficial for developing speed. It, like the previous scales is all up and down, starts by playing the first three notes in the scale, then going back to the first note and playing the next four notes in the scale, then back to the second note in the scale and playing three more scale notes, then going back to the third note in the scale and playing three more scale notes and so on all the way up and down. It's a lot easier to understand if you can hear it! We did that in G and A as well.

My third lesson was with Nicole, who wanted to learn some alternate up-the-neck picking ideas for one of her singing songs, so we picked Blue Night. She had an outstanding ability to pick up what I was showing her and in about a half hour's time she had a great handle on a difficult Bill Monroe-style break out of what I call first position, up-the-neck C. It was bluesy and melody based and was a good complement for her usual approach down low. I was tickled she was picking Monroe style so quickly.

The last lesson was with Esther, a final year student, who wanted to learn a particular strum pattern. She had been at the workshop the day before and had seen me do a strumming/picking rhythm lick but she didn't exactly know how to describe it or remind me what it was. So, I played this one and that one and she made leading suggestions such as "it connects to itself" and "it's more rounded", until finally we hit on something that was at least fairly close to what she was looking for. It was a rhythm lick that was very similar to the syncopated way Bill Monroe would frequently play on Muleskinner Blues or Rawhide. So we worked on getting the nuances and pick strokes until we were playing the same thing, and then I grabbed the guitar and sang the Rocky Road Blues so she could play her new rhythm lick, which she did quite well.

That evening was the faculty concert which was the main reason Keith had me fly out. There were opera singers, a wonderful harpist, and a wind ensemble among the other performers, and then Keith and I were scheduled to close out the show. About an hour before the concert we sat down and picked the tunes - Groundspeed and Sally Goodin. The arrangement was that he would kick off Groundspeed, and we'd both take a couple of breaks and then he would finish it and a similar deal with Sally Goodin' except I was starting and finishing that one. It was an interesting experience playing for that academic crowd. I'm not sure they were too familiar with bluegrass, but they laughed supportively when I invited them to get up and dance the buck 'n wing if they felt to inclined. We picked the tunes and they went off without a hitch. I had one of the students holding my Macbook so I could stream it to my Facebook page like I try to do whenever I can these days. The stream went out, we got a rousing applause at the end and then several of the other performers were favorably complementary towards our efforts which was especially nice considering the diversity in our musical paths.

After the concert we went to a local pub where two of the students have a regular gig. It was a tight spot, but comfortable with so many enthusiastic young listeners who were responding well and exchanging some good energy with everyone who was picking. I used my iPhone to look up a lyric I had forgotten to Roving Gambler, and we had some good trios on Sitting Alone in the Moonlight, All the Good Times Are Past and Gone. Keith let me pick his nice pre-war banjo for a tune and I picked one of my favorites, Clinch Mountain Backstep. It was interesting because as I was starting it off I was patting my foot on the off beat as I like to do sometimes, and due to the volume in the room, the guys picked up on the foot tap more than the melody and came in backwards, but it was quickly remedied and we had a good time with it. We picked until about eleven o'clock and headed for the house.

As I look out the plane window right now I see a whole lot of what I reckon is Kansas on the way back to Nashville. I'll get to town with a couple of hours to spare before heading to the Station Inn to sound check with Shawn Camp and his band. Till next time!

Folks, we just wanted to mention that we're starting the video editing for our upcoming harmony singing DVD, and it's looking (and sounding) good. Target date for availability is April 1st! We'll see if we make it!

Murphy Henry

Now that I’ve told you about content of the Harmony Singing DVD, let me tell you about the fun stuff! I picked Janet Beazley and Chris Stuart up at the airport on Saturday night about 7:45. I’d originally told them I’d meet them curbside, but of course by the time I’d made the almost two-hour trip (primed by a Starbucks Tall Americano and oatmeal cookie!) I needed the visit the “loo” as they say in Jolly Olde England. So I met them inside at baggage. I’d told them they could use our instruments, so all they had was two suitcases. (“And no merch!” as they both exclaimed.)

When we stepped outside the terminal, they were both stunned by the cold (22 degrees) which was made even colder by the brisk wind which was making the flags stand straight out. Yikes! We didn’t waste any time getting in the car and cranking up the heat.

I figured they would want to eat something so I told them they had three choices: eat junk food at the airport, eat fast food when we got to Winchester (about an hour’s drive), or wait till we got home and eat some of the food I had fixed. Bless their hearts, they opted to eat at home.

With Janet in the front seat, she and I talked all the way home, with Chris occasionally chiming in from somewhere in the back. She and I had met (and bonded) a few years ago at Mid-West Banjo Camp over a beer at a local tavern and the book Eat, Pray, Love. Deeply engrossed in conversation, we didn’t realize a huge summer thunderstorm had arisen and that we were due back on campus to perform real soon. The only thing to do was to make a dash for it through the pouring rain with lightning flashing all around and “thunder roaring, bursting in the clouds.” We arrived at our dorm drenched to the skin and looking liked drowned rats. We had just time to towel our hair day and change clothes before jumping on stage to sing Love Come Home as a duet. It sounded great. We’ve been buddies ever since.

Arriving back at the house, I warmed up bowls of a slow-cooker roast/stew I had concocted based on my friend Robyn’s recipe which included dumping in a bottle of beer and ¼ cup of brown sugar to the roast and adding onion, carrots, apple, apricots, prunes, and cranberries. By the time I’d added all that there was no room for the sweet potatoes! So it goes. They said it was yummy and I had to agree! (Could have used a tad more salt...)

Meanwhile Bill Evans was making his way to the house in his rental car. (He’d flown in earlier in the week to visit his sister in Richmond and to do a banjo workshop.) I called him and he said he’d be there at precisely 10:26. So of course, at 10:27 I called and told him he was late! He had a good excuse: he was almost in sight of the house when he found the road blocked and a “blue light special” (police cars) surrounding a truck which had run off the road and had “fetched up” with its front tires in the lake. The cops had rerouted him up the mountain which was taking longer than he had expected. I was aghast at the police cars because Chris and Janet and I had passed that same truck on our way in. (No police cars at the time.) I had laughed about it because there was a can of beer sitting by the truck and had said, laughingly, “Welcome to our hillbilly subdivision!” The truck looked abandoned and I certainly didn’t think anyone was in it. (And I hope to goodness I was right). But still, I realized as Bill was telling the story that we should have stopped to make sure.

Anyhow, Bill arrived safe and sound, and joined us in our evening meal and conversation. We batted around a few ideas for the DVD, talked about what time we’d like to start filming (11ish) and then....what do you think we four banjo pickers did? Did we rehearse? Did we break out four old fives and get down with some Earl? Some Ralph? Some Sonny Osborne (one of Bill’s favorites)? No, we did not. Sad to say, being the Baby Boomers that we are, we all went straight to bed. (Okay, Bill probably stayed up a while and did Facebook and email from his bedroom.) But, maybe, being Baby Boomers, we just realized that we had work to do tomorrow and that the RESPONSIBLE thing to do, was get a good night’s rest. I prefer to think of it that way!

And now, as my grandmother would say, “Mouse is run, my story’s done.” At least as much as I can tell now. Now it’s time to go record a few extra introductory clips for the DVD. When you get the DVD, you can check closely to see if you can tell which ones I added today! The clothes will be the same, the earrings and necklace with be the same, but the hair never turns out the same way twice!

Murphy Henry

Wow! What a weekend! On Monday evening, we finished recording our brand-new Harmony Singing DVD! (Not yet titled and not yet for sale!) Bill Evans, Janet Beazley, and Chris Stuart (all from California) joined Red and me in the studio to record a DVD that’s all about teaching folks to sing harmony. It was way too much fun, and we put down some amazing lessons.

And of course we did it totally by ear, the Murphy Method way, with no talk about theory or use of big phrases like “five chord,” “parallel thirds,” or “sing a B note.” In fact, I made Bill go back and re-do a clip in which he referred to an E chord as a “five chord.” That’s a no-no, Bill!

We chose six songs that are fairly easy to sing and are well-known, standard bluegrass numbers: Will the Circle Be Unbroken, Bury Me Beneath the Willow, All the Good Times Are Past and Gone, Don’t This Road Look Rough and Rocky, Amazing Grace, and Just Over in the Gloryland.

It is our firm belief that you learn to sing harmony by singing harmony! (Just as you learn to sing lead—which is the melody—by singing lead.) So, for every song, we sang the lead part and each harmony part separately (with guitar accompaniment) so you can hear that part clearly and practice singing along with us.

And here is beauty of our approach: We demonstrated the first song, Will the Circle, in three different keys so that no matter what your vocal range is, you can sing with us! So, Murphy sang lead in the key of A, Janet sang lead in the key of C, and Bill sang lead in the key of E. We also demonstrated and sang the harmony parts (tenor and baritone) for each key. We also did the second and third songs (Willow and All the Good Times) that way.

For the fourth song, Rough and Rocky, which is longer (verse and chorus in harmony all the way through), we used just one arrangement with Chris singing lead in G. And the last two numbers we performed as quartets so all you bass singers can get involved!

Since this DVD concentrates on singing, we kept the instrumentation minimal (usually Chris on guitar) so you could always hear the singing. Then, at the very end, we closed out with a rousing quartet of Over in the Gloryland with Bill and me both playing our banjos. We were cooking!

[Then there was that extra footage we shot with the strange rabbit, but I don’t want to say too much about that yet....]

I am so excited about this DVD! We’ve never done a singing DVD so this is a totally new venture for us. I started thinking about this (with some prodding from Bill!) after he and I did a harmony singing workshop with Janet at Mid-West Banjo Camp this past June. She was the workshop leader and she did an amazing job of teaching a class of 30 adults to sing three-part harmony to Don’t This Road Look Rough and Rocky. (All Bill and I had to do was sing what she told us to!) It was her ability to talk about bluegrass harmony singing in simple terms—and sing all three parts herself with ease (although not at the same time!)—that made me want to record this DVD and open up the sometimes mysterious world of harmony singing to everyone.

So, stay tuned for more info on the release date. (And the title!) We’re hoping to have the DVD out in a couple of months. And, believe me, you’ll be the first to know!

PS: And what did we do after our long days of recording? Sunday night we watched the PBS Masterpiece Classic Downton Abby (two blissful hours!) and Monday night we watched the screamingly funny (and extremely risqué) movie Hall Pass. (Not recommended for kids! Or grandkids! I might consider letting Dalton see it when he gets to be 21...or 30! Oh! I guess that would be Casey’s decision! Or, by that time, his! Hey, this grandmothering is harder than you think!)

PPS: And speaking of mothering, happy birthday to son Chris whose birthday is tomorrow, Feb. 15th!!! As Mr. Spock would say, Live long and prosper!

Yes, folks, as we mentioned last week, Christopher's song "Walking West to Memphis" is up for the "Song of the Year" award at SPBGMA. (That's the Society for the Preservation of Bluegrass Music in America.) Everybody attending the convention is eligible to vote, so if you're going to SBBGMA, PLEASE VOTE!

"Walkin' West to Memphis" is getting lots of airplay, and is now #3 in the National Bluegrasss Survey in the new edition of Bluegrass Unlimited Magazine! I believe that's up from #4 in January.

For those who enjoy good songs and original mandopicking, here's Chris singing and playing W.W.T.M. with Shawn Camp at the Station Inn in Nashville: