As the executive director of the Americana Music Association (AMA) for seventeen years, Jed Hilly’s responsibilities include producing the annual awards show and the AmericanaFest Music Festival and Conference. He loves his job because he is passionate about music and artist advocacy. Jed got his start in music in New York. He was in a band, and booking gigs fell on his shoulders. He learned he liked doing it and discovered he was good at the business side of things. Jed spent ten years at Sony Music Entertainment in New York, where he had many diverse experiences as the VP of digital asset management and marketing services. He then moved to Nashville to oversee Roy Orbison's estate before accepting the role of executive director of the AMA. “The AMA started 25 years ago, in 1999,” says Jed. “It started as a reaction to commercial country music not recognizing artists like Roseanne Cash, k.d. lang, Dwight Yokum, or Emmylou Harris. The AMA was formed to recognize all traditional American roots music, including blues, r & b, bluegrass, and contemporary American music.” Jed explained that in the mid-1990s, an FCC ruling allowed the consolidation of radio stations around the country. “There were a few owners with a lot of stations, and commercial country music was king. But there were people who wanted to shine a light on artists who would not otherwise have been heard.” In the Spring of 1999, a group of thirty or so people gathered to discuss how to get grassroots music played. They met again in the fall to organize. “A corporate facilitator helped them define their mission and what they were aspiring to do,” says Jed. “The mission was to foster growth for Americana artists. Before that time, people didn’t really know they existed.” When Jed started at the AMA in 2007, there were just over 790 members and not one major label. When Brandi Carlile won a Grammy for best Americana record for “By the Way, I Forgive You,” she described Americana as “the land of misfit toys.”  The incorporation of American roots music traditions from Gospel to traditional country to blues to rock ‘n’ roll is prevalent today. “The strength and beauty of Americana is its diversity,” says Jed. Since Jed joined the AMA, services have expanded greatly, and the music is gaining more traction. More music supervisors are discovering Americana music for film and television, and the music is being spread through social media. The Americana Music Association Foundation is a 501(c)(3) philanthropic organization that promotes educational purposes and maintains the integrity and continued existence of Americana music. The 23rd Americana Music Honors and Award Show was held in September. “It’s not just an award show,” says Jeb. “It is a very powerful show. There are no hosts – it’s very much about the community of musicians.” Held in the historic Ryman Theatre in Nashville, the show has featured entertainers including Robert Plant, Johnny Cash, Buddy Guy, Brandi Carlile, Milk Carton Kids, Shelby Lynn, and the Blind Boys of Alabama.

Marty Stuart personifies American music, from his modest Mississippi beginnings to his present star-studded life as a successful, award-winning singer-songwriter and multi-instrumentalist. His songs echo the remnants of Lester Flatt, Hank Williams, Merle Haggard, and Johnny Cash. Yet, he somehow managed to remain wholly authentic …to himself. He first picked up a guitar in Philadelphia, Mississippi, where Southern sceneries, cultures, and traditions helped mold him as an individual and budding musician. "I cannot remember a time in my life when music wasn't present," Marty said. "The first memory I had on this earth was being in my mama's arms, and she was holding me and crying. I remember what the fabric on her dress felt like." He described how the sun was dipping below the horizon, and the breeze carried the chime of church bells over East Philadelphia. His mama told him it was music, and the sound enfolded him like her embrace. In that treasured moment, he discovered music and what it could do. That connection forever shaped his life. "Right after that, she took me to a parade where some little backwoods circus troop came through Philadelphia," said Marty. The high school band was first in the long parade line, announcing the circus to the town. "I was standing on the corner, and the band came by with the power of the music again. I just started crying. So, I think that's who I am." At age nine, Marty started his first band with neighborhood buddies Butch and Ricky Hodgins. "At that time (1968 or 1969), young bands in that part of the country all played pretty much covers of British invasion music, The Beatles, The Stones, and The Who," said Marty. He explained how he could find nobody young playing country songs. "I loved country music more than any other kind, so we played songs by Buck Owens, Johnny Cash, Merle Haggard, and the Carter family. We just considered ourselves correspondents for all those stars in the backwoods of Mississippi, and that got me started.” Marty went on the road with the Sullivan family only three years later, a road as long and winding as the Pearl River near his Philadelphia hometown, running endless miles through ever-changing landscapes. Imagine this young boy of 12 spending long hours on a bus, nights in unfamiliar towns, and the pressure of performing night after night. The freedom of the road also meant the absence of home comforts, family, and the weight of responsibility far beyond his years. But Marty Stuart eagerly adapted to the rigors of this life and learned how to navigate the daunting realities of the complex adult world around him because of his love for music. "I didn't see any challenges," he said. "I always saw joy and beauty in it." His music grew organically from the pulsating sounds of bluegrass and country. Still, he pushed those genre boundaries by infusing rock and rockabilly to create his distinct mark on the music world, and he never approached his songwriting with a genre in mind. More than loving music, Marty lived it …and never looked back. "When you cross the state line into Mississippi, the sign says, Welcome to Mississippi, the Birthplace of America's Music." That encompasses many genres: gospel, blues, rock'n'roll, and country. "All those things are a part of our home, our musical heritage as Mississippians. It all kind of bubbles up, and I think that's what follows me to the pen, paper, and guitar. I can't quite help it. This is what comes out, and a long time ago, I made peace with that. I stand on it and use it as a license to make any music I want to be authentic." He's been called a child prodigy and a star, but as a historian who honors and preserves the roots of country music, he's earned the title "keeper of its flame." Reminiscing about when country bands played at the Neshoba County and the Choctaw Fairs, and gospel quartets and bluegrass singers came into Philadelphia to perform, he said, "I'm a fan. They represented a world I wanted to be a part of so badly as a kid." To Marty, it was the Wizard of Oz land, a fairy tale land. "I wanted to have any remnant or any souvenir of that world to take home with me, whether it was a signed record, the guitar player's guitar pick, an autograph, whatever. I took it home after somebody would play in our town, and it was like having Smithsonian treasures in my bedroom. That followed me to Nashville." PRESERVING THE COUNTRY MUSIC LEGACY: Marty's mementos varied from crumpled-up set lists to retrieving the makeup-stained tie from the garbage belonging to Lester Flatt, who Marty had joined in 1972. "In the early 1980s, all these older stars were kind of shuffled off to the pasture because times had changed, and Urban Cowboy had come in and kind of replaced all of the great stars." That didn't work for Marty because he felt those old stars had raised him. "They were like family." Still, as a much younger musician, Marty was also part of this new world. "I was in Nashville one day, and I bought Patsy Kline's train case or makeup case for 75 bucks in the junk shop because nobody cared," he said. "That's what it looked like to me: nobody cared, and nobody was paying attention." And this became his mission, "to take care of and pick up those kinds of things, costumes, guitars, instruments, and manuscripts, personal effects of people that matter to me." He filled warehouses with around 15,000 artifacts but had no idea what to do with them. In the early 2000s, Marty returned to Mississippi. "I fell back in love with my state and its musical and creative legacy. I wanted to jump in and start doing my part and help tell the story to the world." During that time, B.B. King called Marty to ask if he and his band could put on a show in Indianola to help raise money for the B.B. King Museum. While there, B.B. pointed out everything going on in Mississippi, saying, "You know rock'n'roll is over there at Elvis's place, I've got the Blues covered, and there's the Jimmie Rodgers Museum that puddles along down in Meridian." At that time, there was only talk of a Grammy Museum coming to the Delta. On his way out of Indianola, Marty figured out what to do with his massive collection thanks to B.B.'s coaxing. "Country music needed a home in Mississippi and the land of Jimmie Rodgers, the Old Testament world of country music. When I left Indianola that night, I remember looking up at God and thinking but don't make me do this . It was gonna be like setting a spaceship down in the middle of nowhere and getting people to believe in it." THE CONGRESS OF COUNTRY MUSIC: The Congress of Country Music planned for Marty's Philadelphia hometown culminated from his perpetual love for country music, his determination to preserve its legacy, and "spending the day with B.B. King," he said. Every project starts somewhere. The Ellis Theater was the hometown theater where locals once gathered to watch the latest Elvis movies or classics like The Sound of Music  and Doctor Zhivago . "It was the silver screen in our town, but it had tired like most little theaters in little hometowns that had fallen into disrepair." The Arts Council of Philadelphia owned the theater and was trying to do productions there. Marty decided to do one of his out-of-town broadcasts from The Ellis. He took his Marty Stuart Show from Nashville to Philadelphia. He described it as "spit and glue, walking over broken glass and busted commodes in the alley and praying it didn't rain because of holes in the roof." But there was something about the place," he said, with praise and gratitude. "It sounded great, and one of the things we had not accomplished at the time was finding a permanent location for the Congress of Country Music." The concept had been floating around in the air, and Marty was searching all over Philadelphia to find the right spot. And it just so happened that his longtime friend Butch, that kid in his first band, was on the Philadelphia Arts Council. He called Marty one day and asked how Marty would feel about the Arts Council donating the Ellis Theater to the project and the Council being a partner. Marty thought it was a great idea because it could be the cornerstone to start the whole campus. "So, the first phase was to get the Ellis up and running and beautiful, get people to come there, and turn it into a legitimate stop along the way for touring bands. We've done every bit of that." Marty affirmed that a project starts with the vision, but it also depends on the quality of your partners and how much of your vision can feasibly be accomplished and sustained. "It was a slow sale from the start, and most people thought this ain't gonna ever happen; we don't need this around here, you know the deal. But one by one, they started coming around." And those people finally coming around  were from all around —Boston, Washington, California, Nevada, Florida, Texas—and then fans began pouring from five dollars to one million into the project, "seeing the worth in this thing not just for the cultural significance of what we're doing but also to see the rebirth, the second coming of a town that has had hard times in its past." Marty admits that has been his favorite part—witnessing his Philadelphia hometown return to life. During the shows at The Ellis, people show up, businesses stay open late, and streets are blocked off because of the crowd. "Those are good problems to have as you move forward. These things help develop the hope we all need, especially when our past has been so dark in many places," said Marty. "It really gives the world a sense of hope because it's somewhere in Philadelphia, Mississippi, and so this can happen anywhere. Everyone can come together, you know, across all lines, social, racial, ethnic, religious." Marty hopes Philadelphia will become an inspirational template for other small towns. One of Philadelphia's different dynamics is its triracial communities: Black, White and Native American. “One of the things that has been very important to me at any gathering is that a White prayer, a Native American prayer, and a Black prayer will be lifted into the air." When The Ellis opened, that's precisely what happened: the beautiful pageantry of the Choctaws and a prayer by Philadelphia Mayor James Young, a Black gentleman and "an amazing and incredible guy. Then there were all of us White kids," said Marty. Everybody in the community felt welcomed and embraced, and that's what this is at the foundational level. This matters more than everything else put together." Marty elaborated on the project's educational component and why it is critical to the Congress’s mission. "When I was so on fire as a young musician and my heart was just coming into focus and my passions and my dreams were starting to surface inside of my head and my heart, what I had access to in Philadelphia was a magazine rack at Hamill drugstore that carried the Country Song Roundup and a few paperbacks that pertained to music and the record rack at Morgan Lindsey Dime Store." His only musical classrooms growing up were the Lakeside Auditorium with its gospel singings and the Choctaw and the Neshoba County Fairs when musical acts came through. "If, as a kid, I could have had Dolly Parton or Wynton Marsalis, Dale McCrory, John Anderson, or Connie Smith, all the people we've had at the Ellis in the last year and a half; if Ricky Skaggs and Vince Gill had come to my town, it would have blown my head off. It would have been like watching the Old Testament characters of the Bible come to life." With funding in hand and architectural plans to start by the end of this year, Marty said the continuing challenge will be the location in the middle of a rural state. "Promoting and sustaining the place becomes the issue after getting beyond opening day and cutting ribbons, and the confetti dies down." Other challenges will be keeping programming current and interesting and keeping great events happening there, "where everybody looks at the place as a beacon of hope and light down in Mississippi." Marty hopes the Congress of Country Music will be a place where young musicians can develop who they really are before making their decisions in today's homogenized country music industry. "It used to be that if you were coming out of your hometown, you had to bring your culture with you to get a seat at the table. Now, you have to check your culture at the county line, blend in and be like everybody else. That leaves a lot of people's true selves behind."

Music teacher and performing artist Janet Feld has an encouraging concept of the role music plays in life. For her, music has many purposes and brings extra quality of life to people of all backgrounds and ages. She focuses on music—and encourages everyone else to do so as well—and the reason is encapsulated in her straightforward comment: “Everyone I know who plays music is happier.”   She explains the benefits for all. It delivers early brain-building oomph to tiny tots and lifelong neurological health to older folks. “There is nothing better for brain development and nurturing brain plasticity than playing music,” Feld explained. “Whether playing an instrument or participating in a general music class in school, it triggers a rockin', neuron-firing dance party in our brains…stimulates traffic between the two hemispheres…and nurtures cell regeneration.”   “One of the ways I like to think of playing music is as an Alzheimer's prevention program,” she added. Music has benefits that are increasingly more difficult to find elsewhere in today’s world, where seniors often live isolated lives.   “For the social aspect, taking classes can be great because then you're hanging out with like-minded souls,” she said. “Lots of people in my classes at The Passim School of Music over the years have made friends with each other and, from time to time, get together to practice and/or jam.” In addition to these in-person lessons in Cambridge, Massachusetts, she offers online classes at her website, Janetsplanetmusic.com .   “My oldest student at the moment is 74, and she just started playing the guitar last year,” Feld explained. “She's also started writing songs and is having a blast.”   While there are clear benefits for seniors, there’s even stronger data supporting immersing kids in music as soon as possible. But…how young is TOO young for music lessons?    “I've taught guitar and piano to kids as young as three years old,” she said. “Their parents weren't sure if they were old enough, but I agreed to teach them because the kids had been begging their parents.” For less-interested kids whose parents want to expose them to music nonetheless, Feld suggests waiting until age five or six.   “It's a good idea for parents to hire teachers for one lesson to make sure the teacher's style is a good fit before committing to a series of lessons,” she continued. “It's best for the child if the experience is fun and engaging. You want a teacher who assumes that if their students don't understand something, it's because they haven't demonstrated or explained it in a way that's best for the student.”   Even before formal lessons begin, parents can do a lot to prepare their children for a lifetime love of music.   “Starting when their kids are babies, it's great to attend programs like Kindermusik or Music Together because these classes nurture children's natural sense of rhythm and melody,” Feld advised. “These classes are not only fun, but they also prepare children really well to begin lessons down the line.”   What about instrument choice? Should they learn to play Feld’s primary instrument – guitar– or is there something else more appropriate for young kids?   “Any instrument is great for a beginner, as long as it's one the person is interested in,” Feld assured. “I teach guitar and piano and get my students playing a song at their first lesson. It's slow and awkward, but they come away from the experience knowing it's possible for them to learn.”   Feld has been playing music herself throughout her entire life. It wasn’t until she had her first experience teaching kids—at a summer camp—that she decided it had to be her life’s vocation.   “The first time I met with a group of kids to sing, I felt like I'd come home,” she reminisced.  “Having taught private lessons and general music to people of all ages since the 1980s, I know that the only thing that has to be true in order to learn is that you WANT to,” she explained. Even if a person believes they do not have talent – or have other “limiting beliefs” – they can still become adept. “My main mission is to help people over those negative belief hurdles so they can get to the fun zone as soon as possible,” Feld said.   One of Feld’s “fun zones” is onstage, where she has performed for decades. “I've been a performing solo artist since the mid-1980s, and at various times over the decades been in groups,” she said. “Being an artist is the foundation of who I am as a person, and teaching music completes the creative circle for me. I perform in clubs, coffeehouses and festivals, nationally and internationally.” Currently, she’s part of a trio called The Secret Sauce, featuring bandmates Esther Friedman and Jackie Damsky.    She teaches private lessons four nights a week, which leaves “plenty of space” for her “artist work.” That work even includes authoring a music education book (“Practicing Safe Music”) and mentoring other teaching artists. She said both give her “music teacher tribe” a “chance to steal from my toolbox and learn from my epic fails.” She continued, “This past year has been the most creative of my life, and that's saying a lot because I've had a very creative life.” And that is EXACTLY what music is about.

Scott Schwebel and Pat Evans, friends since the fourth grade, went out one day searching for a particular album. Driving around their hometown of Bakersfield, California, they hit up five record stores with no luck. Not only did the stores not have the album, but Pat also says no one even cared. By the time they returned to Scott’s house, they had decided to open a record store despite having no idea where to begin. With a tremendous amount of sweat equity and help from friends and family, World Records opened on June 12, 1982. Scott and Pat were just 22 and 23 years old. They kept their day jobs, not positive the store could support them. Three months later, Scott went to dinner with his fiancé and died in a wreck on the way home. Pat was devastated and not sure how he would move forward. He even went to law school, but in the end, he decided that he owed it to Scott to make their dream a success, and he quit his job as a financial analyst to focus on the store. “We both had a love of music and became aware of artists and music we had not previously listened to, including bluegrass,” says Pat. “We carry popular music, but we also carry harder-to-find selections. People enjoy discovering an artist for the first time in our store.” As record sales morphed into CD sales, then streaming became a thing, Pat began to wonder how he could keep the business afloat. The store moved to its second location, closer to CSU Bakersfield. In a 2022 article in SFGate.com , Pat told reporter Andrew Pridgen that he mapped out the new store with great intention. “I designed a store where we have every artist available to listen to. You walk in and there are four or five main rooms with each playing different music. And not just rock or country, but world beat, bluegrass, folk, and jazz – music that young people may not consider otherwise.” The new store became a popular stop for both locals and music lovers traveling between San Francisco and Los Angeles. Eventually, the store’s reputation grew, and touring musicians, agents, promoters, and A&R talent scouts began to stop at the store. Pat realized the local music scene was lacking. “Established artists would come to town and play in the Civic Auditorium, but the smaller acts who play at mid-sized clubs and outdoor venues were passing us by.” It bothered Pat, especially since Bakersfield was once a thriving town for music. In the 1970s, there were nearly fifty music publishing companies in Bakersfield, and the musicians' union had 326 members. The town also supported several small-to-medium-sized music venues. With country music royalty Merle Haggard and Buck Owens as full-time residents, Bakersfield’s Chamber of Commerce promoted the town as the Musical Capital of the West. Determined to bring back that reputation, Pat decided to host a concert. It was 1997, and Fiona Apple, a relatively unknown teenage piano prodigy, was touring to promote her debut album, Tidal . It was a good bet for Pat, as the album produced six singles and sold more than 3.5 million copies. Apple won a GRAMMY the following year for Best Female Rock Vocal Performance. “Our next show in 1997 was Allison Kraus and Union Station,” recalls Pat. “We had to drag people to that show. People around here just weren’t familiar with her. When we brought her back in 2003, the show sold out.” Not all the shows are big-name artists. Pat says when a performer gets on the stage and half or more of the audience doesn’t know them, they have to give it everything they’ve got. “It never gets old watching an artist win over an audience.” The next step was to build a concert venue. Pat purchased a defunct furniture store that opened in 1966. He put his record store in the front of the 8,500-square-foot building, and he built a venue in the back. “The acoustics in the building were surprising. It’s like it was meant to be.” He calls it the best concert hall no one outside of Bakersfield knows about…yet. In addition to music performances, the venue is used for reunions, receptions, and other special events. The venue’s first show was on May 6, 2017, with blues legend Elvin Bishop. Soon, bands, including Spyro Gyra, Los Lobos, and artists Petula Clark, Tommy Castro, Herb Albert, and Petula Clark, came to play in the record store/music venue. Pat promotes his old-school shows with a mailing list and posters hanging in his record store. He sells paper tickets custom-made for each show. There is no ticket in your Apple wallet. You will not find a QR code, a text reminder, or a link on social media. Best of all, you will not see a service charge. Pat says that as a music fan, he hated to pay $30 for a $20 ticket. He sells concert tickets in the store and by phone, and if you don’t have your paper ticket, you can pick it up from the will-call window, most likely from Pat himself. “I work to bring in highly acclaimed artists in order to enhance the culture in my community. Building a venue was the step we needed to take to bring artists to this town. I love what I do, and I think every record store doing their own thing is fantastic.” www.shopworldrecords.com

“It all just came down to - take a deep breath and play any damn thing,” says the multi-instrumentalist and recording artist with sixteen albums, including various collaborations. “A lot of us traditional musicians put ourselves in a box; we want to be respectful of the style and not mess it up,” explains Molsky, a two-time Grammy nominee who has teamed up with one of the most influential fiddlers alive, Darol Anger to record their first album together Lockdown Breakdown.  “It’s a really important milestone for me. I have so much respect for what he does,” shares the Bronx-born musician, whose teaming with David Grisman Quintet founding member Anger has forged a deep camaraderie. “He’s become a very close friend. He is like the brother I never had.” He described his experience playing together: "There is nothing like playing music with someone you communicate well with.  This is not just a professional collaboration, it’s pretty personal. I think this is what gives [it] a lot of the energy it has.” Molsky, who has dedicated his decades-long career to preserving the music styles of Appalachia, ragtime, and blues, says that working with Darol has taught him so much. “I made the same mistake a lot of people do when they are first learning to play something, [which] is that I did it to the exclusion of everything else. Darol is not afraid to do anything, and that is an inspiration to me.” Molsky says this is not the first time Anger talked him into experimenting.  During the sessions for Anger’s 1999 Diary of a Fiddler, Anger caught wind of something he was playing. “He knows that I love Jimi Hendrix, and I still do. I think we were just playing one day, and I just played a couple of notes of ‘Voodoo Chile,’ and he said, ‘Okay, we’re playing that.’ That is earlier on before I allowed myself the luxury of playing anything I want to.  I was thinking of myself way more as just an old-time fiddler.” Describing Lockdown Breakdown  as a mix of old-time, old school, new tunes, R&B, and Scandinavian, “We’ve accumulated so much material together over the years performing with Fiddlers 4, The Old Time Koszmic Trio and occasionally sitting in with each other at festivals,” says Molsky who lends his vocal to the 1960’s folk song, “Abraham Martin and John.” “I guess we realized we could make a statement with our respective fiddle styles that could work in different settings.” The album’s title track, “Lockdown Breakdown,” written by Molsky during the pandemic, showcases Anger on the octave violin. “It goes all the way down to low C, which is on a cello, so he plays all the bass lines. We can play freely at the same time and not be in each other’s way.  “For instruments to really sound good they need to ring into each other,” explains Molsky describing the recording process adding, “We worked with Dave Sinko who is a phenomenal engineer.” Other highlights include Swedish composers Magnus Stinnerbom and Ale Moller’s “Kvartetten”/“The Fox Hallin.”  “We had just recorded it,” remembers Molsky, “and out of the blue, Magnus invited us to come to Sweden. That was exciting!” Rounding out the album with a surprising rendition of “Can I Change my Mind,” Molsky shares, “The new recording has some 60s R&B, which is kind of a big thing with me.” Bruce Molsky is one of the premier old-time guitar, banjo, and fiddle masters. When not performing, he teaches at the Berkley School of Music, where he is a Visiting Scholar for the American Roots Music Program. “Part of the thing is to make this early 20th century music available and on the radar for students.” Expressing happiness for his ongoing work, “[Some] end up taking lessons from me for years. I couldn’t ask for a better teaching situation.” He continues, “Teaching other people teaches me. It helps me to focus on my own playing.” Like Darol Anger, who retired from teaching at Berkley, Molsky spent years guiding young musicians. “You have to take one little thing at a time and not be overwhelmed by the totality of all music,” he said, adding that he teaches his students the same way.  “I encourage my students to study one small thing at a time.  The greatest musicians are paying attention to everything. Every note counts.” Molsky says he and Anger are not planning to record in the near future. “Darol has a lot of projects going on. We are looking forward to playing out as much as we can. Not just in support of Lockdown Breakdown but because we love playing together!”

Randall Deaton recalls the long journey from his home in Eastern Kentucky for his pet project to come to fruition. “I started this project in 2012,” he says. And in July, the record he masterminded and produced was finally released. Silver Bullet Bluegrass  is Randall’s ode to Bob Seger and his Silver Bullet Band. “I have been a big Bob Seger fan for a long time,” says Randall. “We had a bluegrass record label,” he explains, Lonesome Day Records. In 2008, Randall had an aha moment, realizing that good songs can be transposed into bluegrass. That year, Ralph Stanley II recorded Elton John’s “Georgia” in his studio. Not long after that, a bluegrass group called Youngstown recorded Bruce Springsteen’s “Blue Moon Rising.” Randall started thinking about Bob Seger's songs and how those could sound played in the bluegrass style. In 2012, Randall says he did a track session for the album in their studio in Eastern Kentucky. “From that point on, pieces gradually fell into place.” Randall met Gary Nichols, who sang with the Steel Drivers, and said he would love to be involved with the project. “He introduced me to Jimmy Nutt, who had a recording studio, The NuttHouse, in Muscle Shoals,” says Randall. “That’s where Gary was from and where Seger recorded a lot.” When Randall asked for suggestions on who to sing “Ramblin’ Gamblin’ Man,” Gary suggested Bo Bice (fourth runner-up against Carrie Underwood in the fourth season of American Idol ). The song, made famous by Seger in 1968, was the first single released from the album; Bo did a gritty, rock-tinged bluegrass version of the song, which was produced and co-engineered by Randall as head of Lonesome Day Records, along with Gary. The track was recorded at Lonesome Day Recording in Booneville, Kentucky, and The NuttHouse Recording Studio. The second radio release from the album was “Long Twin Silver Line,” recorded by Carson Peters. “I was blown away by how good Carson is in the studio,” says Randall. “This is the convergence of a great song, a great vocalist, and great musicians creating a lasting record."   Carson grew up listening to classic rock ‘n roll and always enjoyed hearing Seger songs. Carson was sold when Randall approached him with the idea of cutting a track for the tribute project. “I loved the idea and jumped at the chance to be included with the great artists already on board,” he recalls. The two played around with the arrangement for the fiddle break in the middle, but Carson credits Randall as the brains behind it. As for the rest, Peters says, “I think (and hope) that the youthfulness in my voice and aggressive style of the fiddle playing suits this song well and gives it a nice spin.”    The third single, “Roll Me Away,” was recorded by Bill Taylor. The song features Bill’s smooth vocals along with a beautiful arrangement. The rest of the album has heavy star power as well, with Shona Tucker of Drive-By Truckers (“Hollywood Nights”), Tim Shelton (“Against the Wind”), Keith Garrett (“You’ll Accompany Me”), Jeff Parker (“We’ve Got Tonight”), Ward Hayden (“Betty Lou’s Getting Out Tonight’), Josh Shilling (“Main Street”), Tim Stafford (“Even Now”), Robert Hale (“Feel Like a Number”), and Larry Cordle (“Night Moves”).  “We also used studio musicians from Muscle Shoals, which added a real Muscle Shoals flavor to the album,” says Randall.   By 2015, the album was close to being finished, but Randall and his wife got involved in other things outside of music. “I shelved it, waiting for the right time to release it.” The Deatons purchased a campground in Michigan's upper peninsula, which proved quite time-consuming. Wanting to keep his toes in music water, Randall brought music to the camp in 2021. “We had Black Hawk the first year and Ricky Skaggs the next,” he says. By 2023, Randall was ready to get the Seger project back on track. They returned to the studio in early 2023, and Carson Peters did some tracks. Bill Taylor came in and recorded “Roll Me Away.” In November 2023, Randall started the process of releasing the record. “It’s the first record we’ve put out in nine years,” he says. The release date for Silver Bullet Bluegrass  was July 12. The album has broad appeal and should charm Seger fans and Bluegrass lovers alike. For engineer Jimmy Nutt, the recordings offered a chance to reunite with several players and singers in the studio. “I am so grateful to Randall for letting me work on this. It was an incredible experience.” For Randall, “capturing the power and essence of these classic rock songs in a bluegrass presentation was a challenge. But the result proves that the skills of top-tier bluegrass musicians and vocalists are unmatched. I hope folks enjoy listening to it as much as we all enjoyed making it.”

Mandolinist, guitarist, vocalist and songwriter Darren Nicholson is no stranger to success. As a solo artist and former member of Balsam Range, Nicholson has achieved what is only a dream for many. He’s a Grammy Award nominee, a 13-time IBMA award-winner, has had multiple #1 charting singles, and has appeared numerous times on the Grand Ole Opry stage. For him, this is all great, but several years ago, he realized some things in life are much more important. He discovered that happiness isn’t found in commercial achievement; it resides in 100 percent honest contribution to both the inner creative self and the contentment of others. He spoke candidly about his path out of alcohol addiction and how that path—and being sober for four years now—has brought tremendous new insight.   “Because I’m in recovery, I’m in a program that’s an ego deflation program,” Nicholson explained. He said this has resulted in him not chasing the same goals and finding himself “further away from commercial music.” He now strives for what he refers to as “facilitation music.” It’s no longer about his goals but about trying to bring joy and meaning to the lives of others. That means focusing less on high-profile appearances and more on community events, private affairs, and smaller things where he can connect to people in a real way with truly authentic music. He and his backing band now play “music that matters.”   “The way our music is showing up is as part of a community. The goal is to share joy through music,” he said.   Nicholson now eschews the old ways of chasing the spotlight. If those bright lights shine on him, he’s grateful, but it should be a byproduct of making honest music that speaks directly to people; attention, validation and profit shouldn’t be a goal.   “Most musicians, they want to win,” he said. “They want to get a nomination…they want to play this or that stage.”   He said he used to be that way but is no longer. He wants to put his heartfelt music out there, and so be it, “as opposed to trying to force my plan on the music industry.”   “I don’t want to be a star anymore,” he said. “I want to make music that enriches other people’s lives.”   By all measures, this new path is resulting in unintended positives. Since ending his 15-year stint with Balsam Range in 2022, he’s already released two albums with Mountain Home, with a third on the way. He garnered positive reception to those records, notably his solo debut, “Wanderer,” spawned two #1 charting singles.    “After 15 years, they [Balsam Range] kept doing fewer and fewer shows,” he said. “During that last year, I did 20 dates with them and 180 dates on my own.”   He decided to embark on solo work, and it sounds like he is grateful for the experiences he has been given since taking the plunge.   “After getting sober, all of a sudden, I had all this free time,” he said. “I threw myself into music. I wanted to write new songs…I feel like I’ve kind of had a rebirth – mentally, emotionally and physically.”   He’s written at least two songs addressing his path to soberness and the minimization of ego-driven career impulses. His gospel song “Leave it in the Hands of the Lord” – which reached #1 on the gospel charts – addressed feelings close to his core. Another tune – “I’ve Been Down, but I’m Not Out” – is upcoming on his next album and co-written by Becky Buller. It is also about the struggle faced by so many.   Nicholson is excited to have recently announced a lineup change to his Darren Nicholson Band, including the additions of Avery Welter (guitar, vocals) and Aynsley Porchak (fiddle). They join Nicholson with bandmates Kevin Sluder (bass, vocals) and Richard Foulk (percussion).   Nicholson’s forthcoming album—expected to drop in dribs and drabs as singles over the coming months—is as yet untitled, but Nicholson said the already completed album will feature 13 tracks and, in addition to Buller, includes contributions by Kristin Scott Benson (banjo), Deanie Richardson (fiddle), Zachary Smith (bass), Colby Laney (guitar), David Johnson (dobro), Kevin Sluder (vocals), and Jennifer Nicholson (vocals).   “This is the third record where I’ve written or co-written every song,” Nicholson said.    The performer said he is filled with gratitude for a life path offering enriching lessons and opportunities for personal growth and the good fortune of growing up in western North Carolina. It’s a genuine hotspot for making a living in acoustic music. On Friday and Saturday nights at his childhood home, he said, “There’d be a pot of coffee on, and 10 or 12 musicians picking.”   “Here in western North Carolina, we kind of consider ourselves as stewards and ambassadors for old-time mountain music,” he added. It sounds like Nicholson now embraces that role with a new seriousness, striving to build even more friendship and community through music.

As Appalachian food rises in popularity, the chefs at the forefront of the movement are being recognized for their contributions to the industry. Historically, Appalachia food was often overlooked in culinary circles, but in recent years, beloved ingredients rooted in the region’s foodways—ramps, morels, and more—have begun to make their way onto menus. Many chefs driving the seas of change have earned prestigious nominations for the James Beard Awards, often called the "Oscars of the food world.” Only a select few have won the award. The award highlights their exceptional talent and the unique flavors and traditions of Appalachian cuisine they bring to the national stage. These accolades are a testament to the region's rich culinary heritage and the innovative spirit of its chefs. Paul Smith: West Virginia’s First Winner For the first time, a chef from West Virginia won a James Beard award this year. Paul Smith, of 1010 Bridge in Charleston, West Virginia, won the James Beard Award for Best Chef Southeast (GA, KY, NC, SC, TN, WV) and during his acceptance speech, he noted two words that had never been said on that Chicago stage: West Virginia. Smith’s menus are a testament to the rich agricultural bounty of West Virginia, the only state located entirely within the Appalachian Mountains. He works closely with local farmers, foragers, and artisans to source the freshest and most flavorful ingredients. Dishes like ramp pesto pasta, trout with sorghum glaze, and heirloom corn polenta reflect his commitment to showcasing the best of Appalachian flavors. These creations honor the past and push the boundaries of what Appalachian cuisine can be. Terry Koval: Champion of Sustainable Dining Terry Koval, the chef behind The Deer and the Dove in Decatur, Georgia, has gained recognition for his commitment to sustainable dining and local sourcing. Koval’s dedication to quality and sustainability earned him a James Beard Award for Best Chef Southeast in 2023, highlighting his influence in the culinary world. At The Deer and the Dove, Koval creates dishes celebrating the Appalachian region's flavors while incorporating influences from his travels and experiences. His menu features wood-fired meats, seasonal vegetables, and house-made charcuterie, all sourced from local farms and purveyors. Koval’s approach to cooking not only honors the traditions of the region but also pushes them forward, creating a dining experience that is both familiar and innovative. Adam Evans: From Alabama Roots to National Acclaim Hailing from Muscle Shoals, Alabama, Adam Evans deeply appreciates the South's culinary traditions. In Birmingham, Evans opened Automatic Seafood and Oysters in 2019. The restaurant quickly became a culinary hotspot, earning rave reviews for its fresh, locally sourced seafood and inventive dishes. Evans’ commitment to quality and sustainability shines through in his menu, which features a blend of Southern and Appalachian influences. Dishes like wood-fired Gulf shrimp and roasted oysters with Benton’s bacon are a testament to his ability to elevate regional ingredients to new heights. Evans’ dedication to his craft and innovative approach to Southern cuisine earned him the James Beard Award for Best Chef South in 2022. Dolester Miles: The Sweet Soul of Southern Desserts Dolester Miles has become a legend in the world of Southern desserts. With over three decades of experience, Miles has been the pastry chef at Highlands Bar and Grill in Birmingham, Alabama, where she has worked alongside renowned chef Frank Stitt. Her dedication to her craft and exceptional talent were recognized in 2018 when she won the James Beard Award for Outstanding Pastry Chef. Miles is known for her ability to blend traditional Southern flavors with refined techniques, creating nostalgic and innovative desserts. Her famous coconut cake, lemon meringue tart, and pecan pies are a testament to her skill and creativity. Miles’ desserts perfectly embody Appalachian and Southern culinary traditions, showcasing the region’s ingredients and flavors in a sophisticated manner. Allan Benton: The King of Country Ham No discussion of Appalachian cuisine would be complete without mentioning Allan Benton, a legendary figure in the world of charcuterie. Benton’s Smoky Mountain Country Hams, located in Madisonville, Tennessee, has been producing some of the finest cured meats in the country for decades. Benton’s dedication to traditional methods and high-quality ingredients has earned him numerous accolades, including a James Beard Who’s Who of Food & Beverage in America Award 2015. Benton’s journey began in the 1970s when he took over a small ham-curing business. He quickly gained a reputation for his exceptional products, which were made using time-honored techniques and meticulous attention to detail. Benton’s hams and bacon are now revered by chefs and food enthusiasts nationwide, and they play a crucial role in many Appalachian dishes. Joseph Lenn: Elevating Tennessee’s Culinary Heritage Joseph Lenn, a native of Tennessee, has become a prominent figure in Appalachian cuisine through his innovative approach to traditional Southern dishes. Lenn’s culinary journey began at The Barn at Blackberry Farm, a luxurious resort in Walland, Tennessee, where he earned a James Beard Award for Best Chef Southeast in 2013. At Blackberry Farm, Lenn focused on showcasing the region’s bounty, from locally sourced produce to heritage meats. His dishes, such as braised rabbit with heirloom vegetables and Benton’s bacon-wrapped quail, reflect a deep respect for Appalachian ingredients and culinary traditions. Lenn’s philosophy centers on “farm-to-table,” a deeply rooted concept in a region where farming and food preservation are integral to daily life. Christopher Hastings: A Culinary Pioneer Christopher Hastings, chef and co-owner of Hot and Hot Fish Club in Birmingham, Alabama, is a pioneer of farm-to-table dining in the South. Hastings’ culinary philosophy centers on using the freshest local ingredients and celebrating the seasons. His dedication to this approach earned him the James Beard Award for Best Chef South in 2012. Hastings’ menu at Hot and Hot Fish Club is a reflection of his commitment to local sourcing and sustainability. Dishes like tomato salad with Benton’s bacon, Gulf seafood, and locally foraged mushrooms highlight the rich bounty of the Appalachian region. Hastings’ ability to blend traditional Southern flavors with contemporary techniques has made him a standout in the culinary world. Frank Stitt: The Godfather of Southern Cuisine Frank Stitt, often referred to as the godfather of Southern cuisine, has been a pivotal figure in the culinary renaissance of the South. As the chef and owner of Highlands Bar and Grill, Stitt has played a crucial role in bringing national attention to Appalachian and Southern cuisine. His contributions to the culinary world were recognized in 2011 when he won the James Beard Award for Who’s Who of Food & Beverage in America and in 2001 when he won the James Beard Award for Best Chef Southeast. Stitt’s approach to cooking is deeply rooted in the traditions of the South. He emphasizes the importance of using fresh, local ingredients and honoring the region’s culinary heritage. Dishes like stone-ground grits, farm-fresh vegetables, and locally sourced meats are staples of Stitt’s menus, showcasing the best of Appalachian flavors. His work has inspired a new generation of chefs to explore and celebrate the region's culinary traditions. Scott Peacock: Preserving the Past Scott Peacock, a celebrated chef and food historian, has dedicated his career to preserving and promoting the culinary traditions of the South. Peacock’s dedication to this cause earned him a James Beard Award for Best Chef Southeast in 2007 for Watershed in Decatur, Georgia. He is known for his meticulous attention to detail and commitment to using heirloom ingredients. Peacock’s dishes, such as buttermilk biscuits, fried chicken, and seasonal vegetable plates, are a testament to the simplicity and beauty of Southern cooking. As these chefs continue to celebrate and elevate the flavors of their heritage, they are preserving the past and shaping the future of American gastronomy. Through their work, the rich and diverse culinary traditions of Appalachia are gaining the recognition and appreciation they have long deserved.

Bob Kogut recently finished making fiddle number 291. “I am trying to think of a name for her,” he says. “It’s a quirky thing I do, where I have to name each fiddle I make.” The naming started with the seventh or eighth fiddle he made. “I sold it to a lady in Orlando. She called and said she loved it. “It’s a bella,” she said. “I’m going to call her Bella.” From that point on, Bob has been christening all his fiddles with a name ending in the letter A. At nearly 300 fiddles in, it gets harder to find new names. It makes sense to Bob, who says the old grand steamships- hand-built and riveted- were christened with a name. “The workers were proud of them and named them a woman’s name that ended in the letter A.” A native of Philadelphia, Pennsylvania, Bob’s early exposure to music was doo-wop bands on street corners, singing in four-part harmony. When he graduated from high school in 1967, Bob wanted to attend college, mainly to avoid going to Vietnam. “I didn’t get accepted into college, but I did get a letter from the government telling me to report for my physical.” Bob passed his physical, and he was drafted into the Marines. But before he could report for duty, he was hit by a drunk driver. “It was the worst and best thing that happened to me,” he says. A head injury left him with a hand tremor. “My doctor told my parents to go to a pawn shop and get me a guitar. He said that would help with the tremors." While he recovered, Bob laid on his back and taught himself how to play the guitar. When he got off his crutches, Bob joined a rock band. “We played at the waterfront bars around Philly.”  Bob never thought he would like bluegrass music. “But I got hooked,” he laughs. It happened when his brother invited Bob to join him on a trip to Sunset Park for a bluegrass festival. Bob was skeptical. “Then Bill Monroe and His Blue Grass Boys stepped on stage with their matching suits and brimmed hats, and I heard Kenny Baker. He was just dripping with emotion and played beautifully.”  After the concert, Bob and his brother wandered around the camping area, where Bob observed mini jam sessions all over the grounds. “I asked my brother, ‘Where are the amps? Where is their sheet music?’” When he returned home, Bob purchased a student violin from a local music store. He learned to play, and over the years, he traded and changed fiddles, looking for the perfect-sounding instrument. He moved to Orlando, Florida, where he met violin expert Bob Bragg. Bragg sent Bob home with different fiddles to try, and he even taught Bob how to do some of the setup and small repair jobs. That led to bigger jobs, and soon Bob was working on fixing up old fiddles. Bragg encouraged Bob to make a fiddle. “He said I was already doing repair jobs that required the same skills as making an instrument.” Before he became a serious fiddle maker, Bob worked as a physical therapist. “I worked in an assisted living facility, and I would take my fiddle in on Fridays and stroll through the dining hall. People loved it.” Making fiddles is his passion, and Bob can’t imagine doing anything else. He moved to Western North Carolina in 1999 and set up his workshop in the basement of his home. “I love to have people visit when I’m working in the shop,” he says. “I have a corner where people jam. I never listen to recorded music when I’m working.” His attention to detail may have come from his early desire to be a car mechanic. As an Eagle Scout, Bob took up whittling. Now, he does elaborate carvings on the back plates of his fiddles. “I don’t do commission work,” he says. “I do what I want, and when it’s finished, it’s finished.” His fiddles are now owned by fiddlers across the United States and many countries worldwide. Bob keeps track of his instruments and their players. He moved to western North Carolina in 1999 after playing several gigs at Merlefest. “I fell in love with the area.” He has played fiddle with local bands, including The Neighbors and The Kruger Brothers. “I have a contradance band, and the Krugers love to join us when they are home. They call themselves the Wurst Brothers, saying they are the “best of the wurst.” Bob says he uses those performances to test out his newest fiddles. “Fiddle tunes were designed for dancing,” Bob explains. “The structure matches the dances.” In addition to making fiddles and playing music, Bob teaches violin setup and repair classes, demonstrations, and workshops. He is passionate about young musicians and does violin adjustments and setups for the Junior Appalachian Musicians (JAM). “It’s an arts council-funded program for kids to learn to play instruments to preserve old-timey and bluegrass music. It’s a program that is well-supported by the community here.” Bob actively supports music and is now a sponsor of MerleFest. He donates one of his violins each year to be auctioned off. He is a board member of the Blue Ridge Artisan Center, where he serves on the standards committee. Bob’s work as a luthier was recognized with his induction into the Blue Ridge Music Hall of Fame in June 2021. As a musician, he is accomplished in bluegrass, old-time, jazz, swing, and Italian folk music, and he not only plays the fiddle but the mandolin, bass, banjo, and guitar.

The Mountain Dulcimer is a unique stringed instrument that reached out one day and grabbed Bing Futch’s attention when he least expected it. As a longtime teacher of this uncommon folk instrument, he strives to spread his love of music to kids and adult learners alike.   “I was working in parking control at Knott's Berry Farm theme park in southern California in 1986,” he reminisced about first becoming acquainted with the Appalachian Mountain Dulcimer. Walking through the park one day after a lunch break, he heard a musical instrument he’d never heard before. “When I walked around the corner to see the source, that's when I saw a lady playing it.”   She told him she could have him playing it after just five minutes of instruction. Coincidentally, that’s exactly how much time Futch had left of his lunch break.   “After strumming it and following her direction, I promised to return on Friday with my paycheck,” he said. “I purchased my first mountain dulcimer, a teardrop shape which I still own to this day. A month later I transferred out of parking control and into merchandise, so I could work at the dulcimer shop.” The name of that company was Cripple Creek Dulcimers.   “The mountain dulcimer is so unique, but it's diatonic, meaning that it doesn't have all the notes and chords that fully chromatic instruments do, so I was unsure what to do with it for many years,” Futch said. “I finally fully committed to it as my main instrument in 1999 when I formed the band Mohave.”   Futch said that the unique mountain instrument got him noticed. “While cutting my teeth as a performer in bars, clubs and resorts, the mountain dulcimer often bought me a second look when people walked into the place because it wasn't a guitar or something common like that,” Futch said. “So, I do think that playing the dulcimer helped me to stand out in the early years. Though there are quite a few players of the instrument out there, practically none of them are using the dulcimer as I do for writing and performance, so that has also helped me to stand out a bit from the pack.” The mountain dulcimer’s history in North America stretches back about 285 years, “and it's the only native stringed instrument created here. Settlers to this country often couldn't bring their instruments from overseas, or they got broken in transit, so the mountain dulcimer is the result of design work based on old-world instruments like the Swedish hummel, German scheitholt, Hungarian citera [zither], Norwegian langeleik, and other similar creations, but nothing like them at the same time.”   Initially, it had three strings, Futch explained, “with the frets running only under the melody string closest to the player. The other two strings served as drone harmony for the melody, and the instrument was played using a wooden dowel called a note and a plucked feather quill for strumming and picking.” The primary scale fret pattern locked the instrument into a particular tuning “and had to be re-tuned frequently to play with others in different keys.” He added that since then, more modern versions of the instrument, “including fully chromatic fretboards, have been created as its popularity increases.”   Futch began teaching the instrument at festivals in 2006 and has toured yearly.   “The folk music community is full of performances, but you're also expected to teach your craft, and some festivals feature more classroom time than stage time,” he explained.   In addition to teaching at festivals and folk music schools, the M.O.D.E. (Mastering Our Dulcimer Experience) includes four workshops and a concert. He’s on the road a lot, providing this across the country. He also created his line of instructional books.   “I've got a number of instructional books on mountain dulcimer, including ones focused on blues music and jam tunes with backing tracks to teach folks how to play with a band,” he said.   Futch also presents “educational and inspirational programs” in schools, libraries, churches, and for non-profit organizations such as Head Start, Boys and Girls Clubs of America, and Children's Miracle Network.   Futch recently made his entire back catalog of streaming and downloadable lessons available for a small fee on the online platform Patreon. He adds new content weekly. For more information on Bing Futch and getting started with the Appalachian Mountain Dulcimer, visit Patreon.com/BingFutch .

Award-winning and much-acclaimed banjo player Jens Kruger—and his accomplished brother and guitarist, Uwe Kruger—have always been influenced by the serene but epic beauty of the Swiss Alps in their native home. Along with their music partner Joel Landsberg, The Kruger Brothers have made decades of music and brought many albums, stage performances, and richly inspired bluegrass compositions to listeners worldwide.   “Our parents were German and immigrated to Switzerland,” Jens Kruger said of his and his brother’s heritage. They started “playing for money” in the 1970s, and at some point, Jens caught the eye of the leading patriarch of the bluegrass genre.    “In 1982, I got to play several shows with Bill Monroe,” he recalled. Kruger holds the honor of being the first European to ever play at the Grand Ole Opry. He’s also won the Steve Martin Prize for Excellence in Banjo and Bluegrass, and in 2021, was inducted into the American Banjo Hall of Fame. These are just a few of his notable accomplishments.   “Bill Monroe really encouraged me to write my music,” Kruger said, adding that Monroe told him, “Americans will appreciate your take on playing the banjo.”   Bluegrass appealed to Kruger and his brother both because it reflects a landscape similar to the one they experienced in their youth and allowed for evolution and individual personality as the genre grew over the decades.   “What I really appreciated about American folk music is…it’s open to influences,” Kruger said, explaining that people such as Monroe – or Tony Rice – took the music and shaped it to their visions while retaining the flavor of its roots.   “Like Tony Rice once said: Do 80 percent tradition, then do 20 percent your own.”   He said they first started playing music in the mid-1960s.   “I learned from albums,” Kruger said. “American folk music felt familiar to us in a way…it’s the way it’s put together, similar to a North German folk song.” He said he and his brother probably had a more varied music exposure in Switzerland than did many in the rural U.S., so the Kruger take on bluegrass might have added something new.   “I grew up in a different music environment than someone who grew up in Kentucky,” he explained. Kruger said he was exposed to “lots of bluegrass, classical, Swiss mountain music, Irish music” and more. He said he had exposure to “lots of sounds and harmonic structures.”   He said even today, his writing is inspired by symphonic compositions. He said a symphonic orchestra composition is “almost an impersonal sound,” meaning that it can be experienced the same in Japan, China or South America. But the banjo… “the banjo reminds you of America.” When that banjo sound is combined with the orchestral composition techniques that Kruger said “can be used to enhance emotions,” something unique emerges.   “That’s why my composition style is very much based on classical ideas,” he said, adding that this still, of course, “does not mean its classical music.” It is…and no doubt always will be…bluegrass.   “My brother writes the lyrics, and I’m responsible for the arrangements of the tunes,” he explained.   It’s not just a two-man show, however. A vital part of the band is bass player Joel Landsburg, who Kruger said joined up with them around 2003. He was from New York City. In the years previous, Kruger and his brother had been touring extensively across the U.S. following an invitation to play at the 1997 MerleFest; that appearance lit the fuse that propelled them into the spotlight. Around the same time that Landsberg came on board in 2003, the brothers decided to move to the States.   “It was too much back-and-forth,” Kruger said, of gigging so much in the U.S. while still living in the Alps. They resettled in Wilkesboro, NC and chose the location because “it is a beautiful place, right in the foothills of the Blue Ridge.” It was also a convenient location because most areas where they performed were within a 12-hour drive.   Kruger said his faraway native country still inspires the music of The Kruger Brothers.   “The forests, waterfalls, trees, valleys, nature, animals, deer…the banjo seems to fit perfectly in that landscape.”   “There’s something mystical about the smell of sap,” he added, “or walking barefoot in pine needles.”

photo by Mike Melnyk Riley Baugus grew up in a home filled with music. “I was raised on old-time music,” he says. Born and raised in Walkertown, North Carolina, Riley was surrounded by the music of the Appalachians. “My dad loved records, and when I was growing up, he had re-issues of field recordings of old-time musicians. In the late 1970s and early 1980s, many musicians were still living, and those who wanted to learn more about our Appalachian music would seek them out.” The first instrument Riley played was a violin. “I had an opportunity to take violin in school when I was ten years old,” he recalls. “I thought I was going to learn to play the fiddle, but I was wrong.” Riley saved his money and ordered a guitar from Sears and Roebuck. “I didn’t know how to play it but spent hours teaching myself.” Riley wanted a banjo that same year, but his dad said they couldn’t afford one. “He said we could try to build it.” They found instructions in the Foxfire 3 book. “There were different banjo ideas in the book. My dad brought home scraps of wood from work, and we got started. He laid the neck of the guitar on a piece of wood and traced it, then used a hacksaw to make the slots. We bought fret wire from a music store, and I hand-whittled the tuning pegs from a piece of maple stove wood I found on the porch. It had a solid wood head and back. Dad was an idea man, and the banjo turned out pretty good. It sounded like an electric guitar without an amp, but it was perfect for learning to play.” Riley honed his skills with fiddler and neighbor Kirk Sutphin. They traveled around the area to visit with elder and traditional musicians in Grayson County, Virginia, and Surry County, North Carolina. Soon, he began playing guitar and clawhammer banjo in bands and traveling around the area. But he decided to have a career outside of music. “I went into welding and did that for twenty years. I was a certified welder, fabricator, and blacksmith. When the owner of the shop died, I hung around for a while, but in 2003, I had an opportunity to sing on the soundtrack of Cold Mountain . I realized music was what I really wanted to do, so I left my toolbox behind and walked away.” He got the Academy Award-winning Cold Mountain gig through fellow musician Dirk Powell. Not only did Riley sing on the soundtrack, but he also built the antebellum-style banjos that were used in the film. In addition to Dirk, Riley had many mentors on his musical journey, including fiddler Tommy Jarrell in Mount Airy and banjo player Dix Freeman. “I was 16 the first time I went to Tommy Jarrell’s house, and Alice Gerrard was there. It was amazing. I’ve also spent a lot of time with fiddler Wilson Douglass from West Virginia, Robert Sykes, Greg Hooven, and Benton Flippen.” It wasn’t until he was older that Riley realized the importance of the old-time music he was playing. “Because I was from Appalachia, and that’s the music I grew up with, I suppose I thought everyone everywhere listened to it as well.” Only when he started traveling outside Appalachia did Riley realize how special the old-time music is. “The first time I went to Washington D.C. was to play old-time music at the Library of Congress.” Riley has traveled all over the world to play. “Music has taken me to some incredible places.” When I caught up with him for this interview, he was packing to go to the Netherlands. “I just love to play music and tell good stories. This is music in the true rural tradition, played as it has always been played.”   Over the years, Riley has played with several old-time string bands, including The Farmer's Daughters, The Konnarock Critters, The Red Hots, Backstep, and the Old Hollow Stringband. He currently plays with the Dirk Powell Band and Polecat Creek. Riley has played with Robert Plant and Alison Krauss on their Raising Sand album  and with Willie Nelson. He is friends with banjo player Rhiannon Giddens, who grew up near Riley's home in Greensboro. In 1995, Riley wanted a good banjo, so he ordered one from well-known banjo maker Kevin Enoch in Maryland. “I guess it was a good thing he was very backed up because I decided I’d make my own. A friend gave me some 4 x 4 boards – two walnut and one cherry – from pallets he found. I put them in a barn loft for about six months, then made a banjo.” Just like potato chips, Riley couldn’t stop at just one. “I made a few more, and by the end of 1995, I sold ten to 15 banjos.” Each banjo is made by hand. “I do all the work.” Now, about 200 banjos are in, and Riley has taken a break from banjo-making. “I don’t have to make them, but I have  to play the banjo. I never take orders, only requests, and honestly, if I started making banjos again today, it would take me three years to catch up on all the requests I have. I’m not a banjo factory. I make them because I enjoy it.” He still tinkers on banjos in his shop, but he doesn’t go in there every day. He doesn’t have time. “I teach banjo three days a week online, and I teach two days a week for P.I.C.K. – Piedmont Instrumental Classes for Kids – a non-profit in Eden, North Carolina, with a mission to empower children through musical heritage.” Riley also teaches at numerous banjo, guitar, and fiddle music camps nationwide. Riley has recorded three solo albums: Life of Riley , Long Steel Rail  (Tim O’Brien produced), and Little Black Train’s a Comin’ . He also sits in with other artists. Riley also acts. “I do theatre projects here and there, and I was in a short film by Tom Krueger, Deep on Hog Mountain , with Dirk Powell.”