The Crooked Jades have created a unique sound to "re-imagine" old-time music for today's listeners. It's gritty and real. Dark, even. The band's old-time instruments combine with a unique aesthetic and cross-genre pollination that's exceedingly rare. While the greats of American roots music influence them, the mood is just as informed by the half-rough, half-ethereal worlds of goth, darkwave, and the deeper parts of 1980s post-punk. Strange bedfellows, indeed, for an old-time outfit. It's a unique testament to commonalities, both of the past—for instance, the late 19th century or the Depression Era—and the sonic milieu that shaped the band members' youth—these times brought forth art that explored fear, alienation, and longing. The relentless artistic drive to capture both the horrors and beauty of those eras was sated in genres that might initially seem a huge contrast but share a common emotional core. "My very early influences from childhood were steeped in old-time and folk music," explained Jeff Kazor of the Crooked Jades. "But once I got to high school and college, I was exposed to so many different genres of music, including the alternative music scene of goth, darkwave and post-punk." Kazor saw that the music of his earliest years wasn't actually all that different from cutting-edge trends happening in alternative scenes of the 80s and early 90s. "There is a raw, dark underbelly infused in American traditional roots music that gave me more in common with – and connection to – contemporary artists such as Nick Cave and the Bad Seeds and Tom Waits," he said. "These bands are still huge influences on my musicality, including their powerful and emotive live shows, which ended up influencing my approach to arranging and performing traditional music." At first, the band was taking a risk with a sound that was so…unexpected. "In the beginning, The Crooked Jades' theatrical presentation of old-time music was unconventional in the traditional circles and was not received very well," he confessed. "But as years went by, I felt the criticism became our strength, and indeed, helped us build a wider audience for our music and sound by exposing new listeners to old-time music and traditionalists to some new interpretation and approaches to playing old-time." The San Francisco-based band's most recent album, "Empathy Moves the Water," features 13 tracks, some of which use unexpected instruments such as the Vietnamese jaw harp and the harmonium. "This album reflects what is going on in our community, country and world," Kazor explained. "There is so much fear-based behavior today that devalues empathy, and it is compromising our humanity. We're reflecting on how humans, living things and Mother Earth are mostly water." Water is what connects us, moves through us, and gives us life, He added. "I would argue that empathy is an essential life force, like water, and without empathy, we stagnate. There are so many religious themes around water – cleansing, rebirth and life – and the inconvenience of humanity in a modern world of automation. We are calling out to the great empathy spirit for salvation!" For Kazor, the album's cover art perfectly relays the meaning behind the record. "The imagery of the album cover somehow captures empathy for me…releasing empathy into this world without discrimination," he explained. Music of The Crooked Jades has been used in films before, and another project is coming up soon. "Our music is featured in a soon-to-be-released film, 'Call Me Mule,' by award-winning documentary filmmaker John McDonald," Kazor said. "The Crooked Jades composed and provided music for the feature-length documentary and is expected to have a summer release. The project, filmed over a 27-month period, is the story of one man's struggle to roam freely with his mules, seeking a balance between the manmade world and the natural world. "The film raises issues that concern all of us," he continued. "Preserving open space, individual freedom of movement, access to public land, and the system's treatment of people living outside society's norms." He added, "We love the film and are honored to participate in this amazing project." Kazor said the band is currently in pre-production and "is looking for financial backing" for a new project. "This new album will draw some unexpected connections between the 1880s and 1980s," Kazor said. "It will be an album of 1980s obscure goth and darkwave songs, all interpreted on fiddle, banjo, slide guitar, ukulele and arco bass." For some, it might be hard to reconcile how the 1980s alternative could have so gripped someone who grew up exposed to the greats of traditional music. Those who know both genres well, however, will "get it." "In 1977, My dad took me to my first concert at the Santa Cruz Civic to see Doc and Merle Watson accompanied by Merle's super musician hippy friends," Kazor recalled. "What an amazing performance!" "Little did I know this event would be life-changing," he continued, "leading me to what proved to be my biggest influence, the Folkways album, 'The Watson Family.' Its essence was a primitive mountain music sound that appealed to me because it couldn't really be categorized. It was all over the map and blurred the edges between genres. That concert sparked my desire to study and play American folk music." "It was the genesis of my music-making pursuits," he said, "and the formation of The Crooked Jades, which has been playing and evolving for over 25 years."

Scott Slay was raised in a musical family. Growing up in Walnut Hill, Florida (a small farm town about 35 miles from Pensacola), he played in a bluegrass band with his dad. “When I was four or five, I told my dad I wanted a guitar. Instead, he bought me a mandolin.” By the time he was eight years old, Scott was playing in his dad’s band. “They needed a mandolin player, and I played the mandolin, so they threw me in. If I knew a song, I played it. If I didn’t know the song, I just chopped.” Scott recalls seeing Newgrass Revival at a private festival the Guthrie Trapp family put on. “I was blown away. I loved everything about it.” Music was still important enough to Scott when he went to college, where he majored in jazz performance. But in his senior year of college, he changed his major to music education. It was the right move for Scott, who has taught music for the past eighteen years. “I moved to Virginia right out of college and taught there for four years, then to D.C. for another three years before moving to Colorado to teach six years ago." Throughout his adult life, Scott has continued to enjoy playing bluegrass music. In Virginia, he started a band called Scott Slay and The Rail. But it was during a spring break visit to Colorado six years ago that he found his current band members, now called Slay. “During my vacation to Colorado six years ago, I was hoping to find a bluegrass jam where I could play. I Googled ‘Bluegrass near me,’ and easily twenty to twenty-five distilleries near me popped up with bluegrass jams that night. I learned that there are local bluegrass gigs in the Denver area every day of the week.” Scott went to a jam hosted by Jordan Ramsey, who has won multiple awards for his mandolin playing, including the 2008 RockyGrass Mandolin Competition and the 2016 National Mandolin Contest in Winfield, Kansas. “Other than Jordan, everyone there was younger than me,” says Scott. “That really energized me because I saw a new generation of folks interested in bluegrass.” Deciding that Colorado might be the right place to plant roots, Scott researched and found a school in the area that needed a music teacher. “I went to tour the school and interview for the job. After the interview, I was asked if I would accept the position.” Scott now teaches kindergarten through fifth grade in Arvada, Colorado. “I love it. When the bell rings at 3:00 pm, I’m finished for the day. That gives me time to work on my own music projects.” Scott had already developed a substantial career in music. He started Scott Slay and The Rail in Virginia, and the band was featured at RockyGrass and Telluride Bluegrass Festivals in 2018. He was an artist-in-residence as part of Big Virginia Sky with Sammy Shelor, the frontman for the Lonesome River Band. They were invited to perform at the 2015 IBMA Wide Open Bluegrass Festival in North Carolina. Scott is accomplished on the guitar and mandolin, winning second place for each instrument in the 2018 RockyGrass Instrument competition and IBMA Guitar Player of the Year in 2021. While The Rail has released an album on the Bonfire label, Scott recently released a single, Mine All Mine, independently. “I wrote the song and played guitar and mandolin on the recording,” says Scott. He was joined on piano and vocals by Josh Shilling, frontman for Mountain Heart, along with Jeremy Garrett (Infamous Stringdusters) on fiddle and vocals and Aaron Ramsey (Volume Five) on bass. Fred Donovan produced the single. Scott’s current band includes lead singer and guitarist Travis Stinson, Pete Weber on mandolin, Nick Einterz on banjo, Evan Gohring on bass, and Andy Reiner, known as “the skiing fiddler.” Scott says every band member is fully invested and committed to being their best. “We gather to rehearse every Monday. We also write together. I love to write, but no one can do it like Nick. He writes a song every day.” When choosing a name for the band, the natural inclination was to revisit Scott Slay and The Rail. But Scott wanted a fresh approach to the music they were playing and a band name to reflect that. “Then, twice in one day, different people suggested that we call the band SLAY. I figured that was a sign, so we went with it.” With influences such as The Punch Brothers, The Lonesome River Band, Mountain Heart, Nickel Creek, Dead & Company, Leftover Salmon, and Scott’s bluegrass hero, progressive pioneer Sam Bush, Slay offers a fusion of bluegrass, folk, traditional compositions and country with songs that reflect both real and imagined life experiences. “We are trying to create a real original product.” Scott says the band is working on recording now. “We are looking forward to playing at the Telluride Bluegrass Festival in September. It’s such a great festival and a wonderful opportunity to get the attention of other festival promoters, especially in Colorado.”

It’s hard to believe that three people, with three instruments, can create the sound and energy presented at a Talisk concert. Using only a fuse concertina, a guitar and a fiddle, the three musicians in the band bring a depth that keeps audiences mesmerized. Their multi-layered signature sound makes them one of the most in-demand folk-based groups to come out of Scotland in the last decade. Mohsen Amini, an Anglo-Iranian musical prodigy, founded the trio in Glasgow in 2014. The original members were Mohsen on concertina, guitarist Craig Irving, and fiddler Hayley Keenan. “It was supposed to be a one-time gig,” he says. But the band’s chemistry and unique sound was undeniable. Talisk won the Danny Kyle Award at Celtic Connections two months after their formation. Their self-released debut album, Abyss, was shortlisted at the MG Alba Trad Awards as Album of the Year in 2016, the same award that Talisk named the 2017 Band of the Year. The band began touring Europe, and audiences responded well to the high-energy performances of songs that were modern, accessible, and somewhat faintly pop-oriented. Soon they were touring internationally, playing at some of the world’s largest festivals. Craig and Hayley eventually left Talisk to pursue personal projects. Current Talisk members include Mohsen, Graeme Armstrong, and Benedict Morris. The three band members are more than musicians. They have been described as “three master craftsmen with one unmistakable, bold sound and captivating live show.” The instrument Mohsen plays is an unusual one. “I played the concertina because no one else wanted it,” he recalls. “I took lessons in Scotland and have been playing it for twenty years now.” Mohsen makes the concertina hip, and it’s hard to take your eyes off him when he plays it. While he did not grow up in a musical family, Mohsen says his family took him and his siblings to Irish dance classes. Benedict is the group’s fiddle player. He grew up in an arts organization in Scotland. “I also had some music in my extended family, particularly the fiddle. I got into classical music and studied privately with a violin teacher. I attended the Royal Conservatory’s Saturday classes for six years.” All in with classical music, Benedict studied classical violin at university. His talent was recognized early on when he won the BBC Radio Scotland Young Traditional Musician of the Year, and he has made numerous television appearances. “I grew up listening to great bands but have always used classical music to inform my musical aesthetic.” Graeme Armstrong rounds out the group on guitar. “I always liked the guitar,” he says. “I really liked Jimi Hendrix when I was younger but I also enjoyed national and traditional music. It seems that I was always surrounded by music when I was growing up, mostly in pubs.” Talisk has played around the world. “We have found there are ex-pats all over the world, and because of that, we have been generally well-received wherever we go,” Mohsen says. There is no singing. While the performances are acoustic, the music is enhanced with synthesizer and electric guitar recordings. Mohsen describes the band’s music as ‘Celtic punk’; however, he says he resists putting the band in a box. “Nowadays, bands aren’t described by one genre.” He cites Hans Zimmer and Ludovico Einaudi as his main musical influences. Talisk is probably best categorized as alternative folk. The band released their next album, Beyond, in 2018. Experimenting with a different sound, the album has a tranquil feel - a sort of pensiveness not heard on the first album. They released a single, “Aura,” in July 2021; in February 2022, they released their third album, Dawn. After completing a United States tour in early spring, Talisk returned to Scotland, where they toured the U.K., Spain and France. “Our first trip to America was to play at the Folk Alliance International conference five years ago,” Mohsen says. “We loved it and hope to do more tours in the United States.” Benedict states that he feels very fortunate to play music that is well-received by audiences around the world. “We just continue to grow and grow,” he says. Mohsen adds, “We continue to pay attention to what works on stage. We kind of feel that our first two albums were practice. We have written a lot of music since Covid, and we have a lot of exciting things in store.” The energy is there, and the high-decibel volume encourages plenty of foot-stomping during their concerts. A Talisk concert is anything but tame. www.taliskmusic.com

Although Billy Self had played in a bluegrass band for several years, he says he didn’t know anything about putting on a bluegrass festival. But a desire to help struggling veterans--including a nephew--led him to create a festival in 2019 near Chillicothe, Ohio, that now attracts national acts and continues to grow. Instead of an entrance fee, Self asks attendees to bring six items of non-perishable food that will be used to help feed local veterans. “The best part of it is when you get at the end of it and you see how much food you collected,” Self says. “It’s great to take the food to the pantries so you actually see what you work your tail off for.” 7 Mile Bluegrass is not only the festival’s name, but of the band Self, a guitar player, singer, and songwriter, started in 2013. He and a bandmate lived seven miles from each other, hence the name. A local landowner had asked him to establish a bluegrass festival on his property. Self agreed once he realized he could gather food for veterans. “The first year, we didn't have any support. It was me and my brother and the band. We expected, you know, a hundred people. And I hired what bands I could afford. Me and my brother paid a lot of money out of our pocket to make it happen. And we had some friends that helped sponsor it. And we had close to 1200 people.” Additional sponsors signed up the second year, and attendance more than doubled. “We weren’t expecting a big crowd,” Self recalls. “I'm like, ‘Wow, this, this is pretty cool!’ We raised a lot more food and filled some trucks for the VA.” Now a 501 C-3 has been established to support the festival, and there’s a team in place to make it work. “I didn't think I'd make it this far as an amateur. I didn't know anything about running a festival, but we've got some good bands, and everybody's excited to come out.” Among the artists coming to this year’s festival, which takes place July 27-29, are the Lonesome River Band, Little Roy and Lizzie, Junior Sisk, My Brothers Keeper, Echo Valley, and Prairie Wildfire. “The Prairie Wildfire girls are coming up from Wyoming, and in addition to playing, they're going to give some lessons,” Self explains. “They said, 'We're going to take a donation and put it towards the festival.’ So I thought that was great.” Self says some people come to the festival to help the veterans but don’t know much about bluegrass. And they get hooked. “It's family-friendly, the camping's free, and you can put your camper anywhere you want as long as we can get it in,” Self says. “You can put up a tent in the shade. And the jamming never ends." You wake up at six in the morning to people still jamming.

A rollicking sound, paired with string music. It’s a riotous energy – a sonic rebelliousness – that finds its true soul in something akin to punk. Where punk succeeds in its energy, it often fails in its musicianship and its connection to deep-down roots. The Hogslop String Band steals that wild rock and punk spirit but offers alongside it an acoustic musicianship found only in the hands of capable performers. When this Nashville-based Americana outfit starts playing, you know it. You’ll never be bored watching this personality-filled group do its thing. “The sound, energy, and musical chemistry was there from day one,” explained banjo player and vocalist Daniel Binkley, about what informs the band’s high-energy sound. “We found a common interest in more ‘rowdy’ string band music loaded with energy and often played fast. As we began to write original music, some material didn’t fit neatly into the traditional string band ‘box,’ but we still maintained the energy we loved in old fiddle tunes. What we’re doing now is an extension of that idea.” He added, “The lines of different genres seem to be blurring more and more in general, and we’ve come to think that if the music makes you feel good, that’s all that matters.” An eclectic mix of life experiences and backgrounds amongst the band members no doubt contributed to the group’s sound. The lineup includes Kevin Martin (fiddle and vocals); Gabriel Kelly (guitar, harmonica and vocals); Will Harrison (mandolin, guitar and vocals); Daniel Binkley (banjo and vocals); and the single-named bandmate known as Pickle (bass, dancing and “general foolishness”). “We all began playing as kids, guitar for most of us,” Binkley explained. “We have each been in a variety of bands over the years, ranging in styles from country to punk to blues.” After coming together, they realized their unique combo of talents was worth building upon. “At some point, you do have to decide to go all-in, which can be scary,” he said, “but I think each of us came to realize at some point that music was where we belonged, and other career paths just weren’t for us. That’s when the hard work begins!” The hard work of the band includes both touring and recording. They were on the roster for this year’s Bonnaroo Festival, and their upcoming schedule includes gigs such as the Under the Big Sky Festival on July 14 in Whitefish, Montana; a July 16 show with Elle King at the Old Saloon in Emigrant, Montana; and a July 18 appearance at Britt Festival Pavilion in Jacksonville, Oregon, also as an opener for Elle King. They’ve released several recordings, including the eponymous 11-track album, “Hogslop String Band,” released in 2019. Their most recent release of this spring was the country single “Highs and Lows.” “It’s the story of a classic on-again/off-again relationship and the desire to keep trying even when you know it probably won’t work in the end,” Binkley said. “I think we’ve all known someone in that kind of situation, right?” As far as the future goes, the band wants to keep on keeping on with what has worked so far. Where do these guys see themselves in, for instance, five years? “Hopefully, still doing what we love, putting on fun shows, and making fun music,” Binkley said. “We have a great team and are super excited for what lies down the road. We have had a longstanding idea to put on our own small festival with music friends we’ve met over the years. Who knows, maybe you’ll see the first Hogfest soon!” In the end, it’s the fans getting these musicians riled up enough to bring so much energy to what they do. The fans are clearly their raison d’etre. “The people who come out to our shows are amazing,” Binkley said. “We see repeat faces in many areas of the country, and sometimes they’ve driven for hours to a show. Those people are so encouraging and really keep us going,” he said, “so thank you!”

Food can bring people together. And when it’s in abundance at a local marketplace, food can be the center of the community. Many major cities have marketplaces full of organic groceries and restaurants, like Park Place Market in Seattle or the French Market in New Orleans. Appalachia, too, has its own marketplaces - which offer an inside look at the foods that are central to the community. From canned goods and fresh eggs to pickled vegetables and spice mixes, the foods found in these community markets help tell the story of the people. 1. Capitol Market 800 Smith Street Charleston, West Virginia This year-round market is tucked into a turn-of-the-century train station that features both indoor and outdoor spaces. Inside, you’ll find specialty shops that feature handcrafted chocolates, local coffee, hand-rolled sushi, a high-end wine shop, fresh seafood, a sit-down Italian restaurant and more. Outside, you’ll find seasonal produce and plants from local farmers, including Christmas trees in the winter, hanging baskets full of flowers in the spring and homegrown tomatoes all summer long. The Capitol Market is open Monday through Saturday from 10 a.m. to 6 p.m. and Sunday from noon to 5 p.m. For more information, visit https://capitolmarket.net/. 2. Pittsburgh Strip District Between 11th Street and 33rd Street, from the river to Liberty Avenue Pittsburgh, Pennsylvania The Pittsburgh Strip District is more than a marketplace - it’s an entire neighborhood full of international restaurants, produce merchants, grocery stores, hot food vendors and boutique shops. The area previously served as an industrial center with mills and other production shops before the industry decline. Now, you’ll find streets lined with vendors selling everything from pierogies and pepperoni rolls to pasta and cheese. Don’t forget a stop at the famous Pennsylvania Macaroni Company - or Penn Mac - to purchase all your Italian provisions. Hours for individual vendors and stores vary. For more information, visit https://www.visitpittsburgh.com/neighborhoods/strip-district/. 3. Chattanooga Market 1829 Carter Street Chattanooga, Tennessee Since its opening in 2001, Chattanooga Market has named one of the “Top 10 Public Markets in America” by Frommers. The seasonal Sunday market features over 50 farms, which sell a variety of meats, produce and dairy. In addition, there are over 130 artisans offering their arts and crafts, like hand-blown glass, paintings and more. The market is held April through November on Saturdays from 11 a.m. to 4 p.m. For more information, visit https://chattanoogamarket.com/. 4. The S&W Market 56 Patton Avenue Asheville, North Carolina Ranked as one of “The 10 Best New Food Halls Across the U.S.” by Fodors, The S&W Market in Asheville showcases the region’s local independent restaurants and beer in a 10,000-square-foot space. “Originally built for the S & W Cafeteria in 1929, the reimagined food hall fulfills the market’s original mission by offering affordable, fresh fare, and the energy that made it an exciting destination so many years ago,” the website reads. The food hall features five food stalls, Highland Brewing downtown taproom, event venue and more than 170 interior seats and an outdoor patio. This market focuses on prepared foods and features items central to the food culture of the region: buttermilk fried chicken, pimento cheese, sweet pickle relish, local honey and more. The S&W Market is open Monday and Tuesday from 11:30 a.m. to 8 p.m.; Wednesday, it is closed; Thursday from 11:30 a.m. to 8 p.m.; Friday and Saturday from 11:30 a.m. to 10 p.m.; and Sunday from 11:30 a.m. to 7 p.m. For more information, visit https://swmarketavl.com/. 5. Pizitz Food Hall 120 19th Street North Birmingham, Alabama Birmingham, Alabama, is one of the largest cities in the Appalachian region and contains a diverse assortment of offerings at the Pizitz Food Hall - from an Ethiopian restaurant and Mexican paletas made with local produce to Japanese-Hawaiian poke bowls and Israeli falafels and kebabs. The 30,000-square-foot-space full of 18 different stalls also offers comfort food items, like waffles, fried bologna biscuits and local coffee. Plus, the food Hall also featured a bar, soda fountain and independent movie theater. The Pizitz Food Hall is open Monday through Saturday from 11 a.m. to 8 p.m. For more information, visit https://www.thepizitz.com/food-hall. Notable Nearby Markets: While these markets are located in states that have areas within Appalachia, they are just outside of the general region. Despite that, they still serve Appalachian communities nearby: ● West Side Market in Cleveland, Ohio ● Ponce City Market in Atlanta, Georgia ● Charleston City Market in Charleston, South Carolina ● Findlay Market in Cincinnati, Ohio ● Krog Street Market in Atlanta, Georgia ● Nashville Farmers Market in Nashville, Tennessee ● Reading Terminal Market in Philadelphia, Pennsylvania Markets - whether offering fresh produce or freshly prepared meals - offer insight into the foods important to communities. From global influences combined with local flavors, the food represents the communities and helps tell a piece of their story. Many market spaces carry both new and cherished foods that will satisfy consumer demand. And with each bite, not only are customers contributing to the local economy, but they are consuming a piece of culture, as well.

If Adam Schlenker was surprised to find himself an acclaimed flat-picking guitarist and the director of a university’s innovative roots music program, maybe he should have looked for a sign. After all, it happened once before. “When I was seven or eight, we were going down Robert C. Byrd Drive in Beckley, West Virginia,” Schlenker recalled. “I saw a sign in a music store window for guitar lessons. And I said, ‘Mom, I want guitar lessons.’ And she says, ‘You’ve never mentioned this before.’ And I said, ‘Well, I’ve never seen that sign before!’” He remembers going in for his first lesson and then going home to sit on the back porch to practice, thinking, this is what I do. “And I’ve never looked back. I just love to play the guitar.” Now Schlenker is the one giving lessons, regularly teaching online and at music camps with artists such as Wyatt Rice, Tim May, and Kenny Smith. He’ll soon be performing with legendary guitarist David Grier for the second time in a year. And at Denison University’s weekend bluegrass festival last February, Schlenker and his American Roots Music program students celebrated an important milestone with Peter Rowan. Schlenker grew up in Beckley and, armed with a degree in audio production, moved to Columbus, Ohio. He was always playing the guitar, but a fascination with fiddle tunes captured his imagination. “It was the notion of improvising around the melody line with flat picking and the fiddle tunes--that’s where the light bulb just went on double bright, and it was like, this is it. This is what was missing.” He immersed himself in the work of those who have become his greatest influences: Clarence White, Norman Blake, and David Grier. He played in regional bands, taught during a long residency at an art center, and launched Fifth Fret Productions, his online guitar instruction portal—all the while, he was also developing his teaching philosophy. “I think a lot of times people teach in reverse. They say here’s the end product. Go spend some time getting this down, and then I’ll show you another tune. And to me, that’s just backward. Music is a language, and you have to learn how to speak in that language and put the language together.” Schlenker was working toward creating his teaching studio when he was asked to become a guitar instructor at Denison University in nearby Granville, Ohio. He became the coordinator of the program in 2018. “When I took over, it was a bluegrass major--a Bachelor of Arts in Music Performance with a concentration in bluegrass. We relaunched in 2021 as an American Roots Music concentration, which didn’t take away any of the bluegrass components. This allows us to look at more music, people, and culture. A lot of music led to the creation of bluegrass. We’re trying to create opportunities for the students to look at early blues, early country music, gospel music, and the earlier string band music leading into bluegrass.” The Denison American Roots program has offered a major since 2010. Five or six students major in the program, and about 15 students typically minor each semester. “There’s a cap of 2300 students total at the university,” Schlenker explained. “Most of the programs are relatively small, which is kind of a cool thing because that means that all of your students are getting a lot of one-on-one attention from the faculty.” Twenty-four students are playing in the Denison Bluegrass Ensemble this semester, playing at festivals and participating in workshops and jams. “The majority of them are not music majors or minors,” Schlenker said. “And that’s fine because that means they’re getting the opportunity to play music they wouldn’t play otherwise.” One of those recent opportunities allowed students to share the bill with Peter Rowan at the Denison Bluegrass Festival. Schlenker has long been a fan of Rowan’s innovative band, Muleskinner, and its fabled guitarist, Clarence White. He realized the 50th anniversary of the band’s formation would coincide with Denison’s festival, so he invited Rowan to participate. Appalachian Swing, Schlenker’s band that honors the music of Clarence White and The Kentucky Colonels, would accompany Rowan. Playing with Rowan was a thrill for Schlenker, but not the only one of the festival. Backstage, before the show, Rowan heard a Denison student ensemble running through his song “Dustbowl Children.” “I’ve never heard my song like this,” Rowan told Schlenker. “This is incredible. I’ve never experienced this song from someone else’s point of view in such a way.” Schlenker beamed. “It was a proud dad moment for me because my students had arranged this piece that he wrote, and Rowan’s moved by what they’ve done with it. Here’s Peter Rowan, a legendary musician at 80 years old, and he’s sitting and listening, and his words were, ‘I learned from your students this evening.’”

Appalachia is known for one hard liquor: moonshine. It is a high-proof, unaged whiskey typically made from corn mash and originally distilled illegally. Moonshining in Appalachia is a tradition that has been passed down for generations. The first moonshiners in Appalachia were likely Scotch-Irish settlers who brought their distilling methods with them. It is a way of life for many people in the region that played a significant role in the area's history. The illegal distillation of alcohol has played a role in Appalachian culture for centuries because it provided a livelihood for many to make ends meet due to the region's isolation and rugged terrain that made it difficult for authorities to track down and stop the activity. Moonshining has significantly impacted Appalachia and has been the subject of many stories and songs that helped to shape the region's identity. However, Appalachia is home to a number of distilleries now producing everything from brandy and bourbon to vodka and gin. While these spirits may not be traditionally associated with the region, many high-quality beverages make a name for themselves in this part of the country - often using locally sourced ingredients native to the region, such as honey, berries and herbs. Appalachia has a rich history of producing high-quality spirit beverages. The region's distilleries continue to innovate and create new and unique flavors that reflect the area's unique culture and heritage. Smooth Ambler Spirits West Virginia In the Appalachian Mountains of West Virginia, Smooth Ambler is a craft distiller of artisan whiskies. "At Smooth Ambler, tradition isn't a recipe we follow. Our company is literal proof of solid Appalachian know-how. That's when the hard-working, creative, and resourceful folks of West Virginia come together to make something beautiful (and damn good) that no one else thought possible," according to its website. Smooth Ambler produces a range of spirits, including bourbon, rye whiskey, gin, vodka, and rum. The distillery sources its grains and other ingredients from local farms and suppliers whenever possible and uses traditional distilling techniques to create unique and flavorful spirits. One of the most popular products from Smooth Ambler is its Old Scout bourbon, which is a small-batch, single-barrel bourbon aged for at least eight years. The distillery also produces a range of other bourbons, including a wheated bourbon and a high-rye bourbon, as well as a variety of limited-edition releases. Eda Rhyne Distillery North Carolina Eda Rhyne Distillery is a craft distillery located in Asheville, North Carolina, and produces a variety of spirits, including gin, whiskey, and brandy. The distillery sources its grains and other ingredients from local farmers and suppliers and uses traditional distilling methods to create unique and flavorful spirits. One of the most popular products from Eda Rhyne is its Asheville Gin, which is a small-batch gin made with 12 botanicals, including locally sourced juniper berries, coriander, and citrus peel. The distillery also produces a range of whiskeys, including a bourbon-style whiskey and a rye whiskey, as well as a variety of brandies. The distillery is committed to sustainability and has implemented several eco-friendly practices in its production processes, such as using locally sourced renewable energy and recycling its spent grains as animal feed. Woodford Reserve Distillery Kentucky Woodford Reserve Distillery is a renowned bourbon distillery located in Versailles, Kentucky, and produces small-batch bourbon using traditional distilling methods, including copper pot stills and sour mash fermentation. The distillery is known for its attention to detail and focus on the entire bourbon-making process, from selecting the grains to aging the whiskey in charred oak barrels. Woodford Reserve has received numerous awards and accolades for its bourbon, including being named the "World's Best Bourbon" at the San Francisco World Spirits Competition in 2016. The distillery's products are now available in over 50 countries worldwide, and the brand has become synonymous with high-quality, small-batch bourbon. The distillery is a National Historic Landmark — according to Woodford Reserve, the "art of making fine bourbon first took place on the site" in 1812. Wigle Whiskey Pennsylvania Wigle Whiskey is a craft distillery in Pittsburgh, Pennsylvania, known for producing high-quality, organic spirits using locally sourced ingredients. The distillery is named after Philip Wigle, a key figure in the Whiskey Rebellion, a protest against a tax on whiskey in the late 18th century. Wigle Whiskey produces a range of spirits, including bourbon, rye whiskey, wheat whiskey, and gin. They use a variety of grains, including organic rye, wheat, and corn, which are milled on-site and then mashed, fermented, and distilled using traditional methods. The spirits are aged in charred oak barrels to give them distinctive flavors.

Mari Black, who has won multiple awards for her fiddlin' prowess, says she came by her talent naturally. "I grew up in a musical family. My mother, Bonnie Black, is an amazing classical cellist – a pedagogue, to be exact. She is something else. I grew up watching her teach, and being around music was awesome for me." Mari was born in New York, grew up in Portland, Maine, and moved to Boston when she was eight. Being exposed to her mom's music made it a natural for Mari to want to play music as well. "The violin chose me," she laughs. "When I was a toddler, I would use anything I could find to simulate a violin. I would use chopsticks, garden trowels, or anything else I could rub together. My mom got me a 1/16th scale violin that was so tiny – I still have it. I can't remember a time when I didn't play music. I used to play along to my mother's records and even with her students." One thing Mari says she didn't do was listen to her mother's advice. "I was determined to do my own thing. But at around twelve or thirteen, I got serious. I had to schedule lessons with my mom." Attending fiddle camps exposed Mari to different types of fiddle music, from Irish and Scottish to Texas-style fiddling. "I heard Mark O'Conner, and he blew my mind." Mari entered her first fiddle contest in 1993. "It was the Skowhegan State Fair in Maine. All the country fairs had fiddle contests." Mari learned about contra dances and fell in love with the Maine French Fiddles. "And I loved spending time with the older fiddlers – we called them the 'fiddle geezers,' who were like grandparents who taught and mentored us. The fairs were like a meeting of the musical community, and they took place from May through December, every weekend if you were willing to drive a few hours." Mari's website describes the fiddler as a teacher, composer, dancer, competition judge and musical ambassador. "I was super fortunate to be raised by artists. My mother has been a teacher, performer and scholar, the trifecta with all three entities of an artist. Then I had the honor of studying under Willie Ruff at the Yale School of Music, who taught me to follow the stories behind the music to learn more about others and about myself." Mari teaches workshops when on the road, and during the Covid pandemic, she became a self-proclaimed "Zoom hipster," teaching seminars online four times a week. Now she teaches in a small private studio with just a few students. "I have to schedule lessons between performances." Mari doesn't use the term "composer" for the music she creates. "I don't always have a vision. I do what I call 'catching tunes.' I hear beautiful, wonderful music, and I have to learn it from my head before it flies off to another fiddler." The dancing component comes from Mari's exposure to contra dancing. "I grew up as a contra dancer, and that goes back to French musicians. I found my tribe music world through contra dancing." In college at Yale, Mari decided to learn to do the Argentine tango. "I don't know why I chose something so difficult to try to master." But that led to swing dancing, blues, and finally, romance. "I met my partner through dancing." Mari says she loves any kind of dance music. "It is designed to make the human body move, and that's always a good thing." Being a competition judge comes naturally to Mari. "Growing up as a career competitor, I learned so much from the judge's comments. I took them all to heart. Now I love being able to judge. I feel it's an educational opportunity for the young fiddlers coming up behind me." Finally, Mari says "musical ambassador" is a catch-all phrase. "I feel music is a medium for trying to connect people to learn about other folks." Mari has connected with folks all over the world. She has received numerous awards and accolades, including being named Scotland's Glenfiddich Fiddle Champion, Canadian Novelty Fiddle Champion, and first prize in American Protégé International. Mari's performances are dynamic, and her sense of playfulness and her love of the history behind the music come out on stage. She brings her music to life with driving dance tunes. It's not unusual for the audience to be on their feet and dancing with Mari before her show ends. I f you can't see Mari live on stage, listen to either of her two albums. Released in the spring of 2014, Flight is Mari's debut album that features her favorite dance-inspired fiddle styles. The album includes songs from Ireland, Scotland, Cape Breton, Canada and the Americas, as well as a few original tunes that Mari was able to "catch." Her most recent album, Unscripted, is a collaboration with three-time world accordion champion Cory Pesaturo. Filled with spontaneity, improvisation, and the unexpected, the album contains jazz tunes, klezmer horas, Celtic reels, Argentine tangos and American rags and was named one of the Top Ten Albums of 2020 by "Gord's Gold" at the Folk Music Notebook. Mari says she is "cooking up" a new album and is looking forward to playing at the Acadia Festival of Traditional Music and Dance in June. "People are getting back to touring in this post-pandemic world, and I'm really excited to get back in it." Gaming aficionados can also hear Mari's music. She has music on the video game "BioShock: Burial at Sea." She also has a YouTube channel and enjoys making videos for her "Mari's Tune of the Month" features. "Hopefully, I'll have a lot more tunes in my future." www.mariblack.com

Today, folk music is fascinating, broad and inspiring, but it continues to be the music of the people, locally and globally. “It connects us to others and ourselves, uplifting and inspiring us to action, creating a more empathetic world,” said Alex Mallett, Development Director of Folk Alliance International (FAI). He explained that our stories have infinite variations but also many commonalities. “Sharing those unique stories and traditions enables folks to express their emotions and cultures, learn about each other, and find common ground among differences. “The voices from diverse communities within the U.S. and internationally make us infinitely richer as a community and a global movement.” The FAI mission is to genuinely represent folk music, ensuring that all from various traditions, backgrounds, and experiences can weigh in as leaders and participate across our programs. Mallett believes that in the North American context, folk music is sometimes considered relatively narrow and as being the music of a few 1960s icons. However, he added, “As a phenomenon, it reaches millennia before recorded music and across every culture.” FAI uses behind-the-scenes methodologies and activities to achieve the organization’s goals, incorporating critical tasks like tracking data, building relationships, and setting a welcoming culture. “Starting with the data, we carefully assess where we are in the goal of being more inclusive across a range of diversity goals, including culture, ethnicity, race, musical style, gender identity and sexual orientation, age, and ability.” FAI also tracks diversity in official showcase acts, panelists, and board and monitors annual progress. That baseline of knowledge directs determination in where to maneuver correction and target key people to participate. When Folk Alliance was founded in 1989, early members realized the many views of folk music as a genre and phenomenon. “We use the genre list rather than a definition to say that folk music is what you think it is and many surprising, wonderful things that you haven’t considered before. That excites me most about the folk music movement - traditions aren’t finished,” he said, but are being explored, preserved and reinvented. Mallett said getting to know folks from diverse communities and building genuine relationships has taken many years of outreach. The FAI staff and board attend events worldwide to meet with folks to gain broader perspectives, opportunities, and concerns. “The staff and board trained together in diversity, equity, inclusion and access (DEIA), and a Cultural Equity Council sought feedback to guide our strategic plan.” To build a diverse community, FAI strives to create a space where people feel safe and welcome. “We make decisions small and large to make that happen. On a policy level, that means a publicly available and signed safe community pledge that lays our commitment and a standard of conduct that people agree to when registering for the conference. We also have affinity groups within the conference where people of shared identities can get together. There are dozens of adjustments that we’ve made to make our programs more welcoming, from closed captions on all videos to subtle variations in the language that sends a strong message that all are welcome in the folk music community.“ Mallett shared that COVID-19 greatly impacted FAI. In March 2020, members stopped renewing and halted the plans for future in-person events. “We had to reinvent ourselves online and extended all memberships at no cost.” FAI provided webinars to help folks navigate those times, created community relief grants through The Village Fund, and produced a virtual conference at a pay-what-you-can price point with sessions covering numerous industry topics and presenting showcases from artists around the globe virtually. Like many other arts organizations, paycheck protection loans, generous support of our sponsors and donors, and grants helped save them, but FAI is still rebuilding from the pandemic. “In 2020, we had over 3,300 attendees at our conference. In 2023 we had about 2,000 people. With increased costs, we are facing a financial loss this fiscal year (ending June 30) and are actively raising funds through donations and sponsorship to make up for shortfalls,” said Mallett. Artists and professionals in the folk world are also recovering, with many canceled and re-booked tours in 2020 through 2022. This year was the first with meaningful work for the independent music sector, but rising costs also impact tours. “It really helps artists to sell tickets early, so I recommend buying tickets to shows as soon as you can so your favorite acts can know that their shows will be a success.” FAI showcases feature 120 jury-selected acts, and in 2023, 161 tour-ready musicians represented diverse cultures, languages, and sounds. “Artists apply through an open call, are scored by a jury, and then the final programming is curated by the Folk Alliance staff based on those scores as well as internal tracking to present a diverse and truly exceptional lineup.” Artists must be excellent and unique because the jury looks for talent first and foremost. Therefore, artists should represent themselves professionally in live performance videos and recordings they provide and how they are tour-ready by sharing current plans and show schedules. Programming is broad, so no one feature or category renders an artist ineligible or garners an automatic yes. He recommends readers peruse the official showcase acts on the FAI website and search “Folk Alliance” on Spotify for the official playlist. “Bluegrass Standard readers should rest assured that they will hear stellar bluegrass at an FAI conference, at times from far-away places like Estonia or Venezuela,” he said. Jams and song circles are vital for musicians and are a natural way to network. Some find like-minded strangers, teach each other tunes, or share a common repertoire. “Sometimes friends will see each other once a year at FAI and want to reconnect musically. Sometimes unknown performers will get discovered by elders and enter mentorships.” Most conference jams are organic, but FAI formally organized a few at the 2023 conference. “The Sonidos Latinos jam was led by the amazing Mireya Ramos,” said Mallett. FAI has five separate North American regional organizations, plus the Nordic Folk Alliance that serves Europe’s Nordic countries. Each holds a regional conference and year-round events that benefit the music community within their specific region, tackling critical issues and supporting live performance networks. “Our new Executive Director, Neeta Ragoowansi brings a depth of experience and music industry networks that will inspire an era of growth for this organization, starting with a newly-updated strategic plan,” said Mallett. “Combined with a long-standing team, we are poised for growth in our current programs and new activities.” FAI offers year-round webinars and networking events and has resumed local public programming in Kansas City. The registration and official showcase applications are open for the February 21-25, 2024, conference. More information is on our website: folk.org/about/regions SWRFA (Southwest Regional Folk Alliance) Conference: September 27 – October 1, 2023 Austin, TX SWRFA serves Arizona, Colorado, Mexico, New Mexico, Oklahoma, and Texas. FARM (Folk Alliance Region Midwest) Lisle/Naperville, IL FARM serves Illinois, Indiana, Iowa, Kansas, Manitoba, Michigan, Minnesota, Missouri, Nebraska, North Dakota, Nunavut, Ohio, Saskatchewan, South Dakota, and Wisconsin. SERFA (Southeast Regional Folk Alliance) Black Mountain, NC SERFA serves Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Virginia, and West Virginia. FAR-West (Folk Alliance Region West) Woodland Hills, CA FAR-West serves Alaska, Alberta, British Columbia, California, Hawaii, Idaho, Montana, Nevada, Northwest Territory, Oregon, Utah, Washington, Wyoming, and Yukon Territory. NERFA (Northeast Regional Folk Alliance) Asbury Park, New Jersey NERFA serves Connecticut, D.C. (and its metro area including the counties of Loudoun, Fairfax, and Prince William (Virginia), Delaware, Maine, Maryland, Massachusetts, New Brunswick, New Hampshire, New Jersey, New York, Newfoundland & Labrador, Nova Scotia, Ontario, Pennsylvania, Prince Edward Island, Quebec, Rhode Island, Vermont Nordic Folk Alliance Roskilde, Denmark This region includes the five Nordic countries of Denmark, Finland, Iceland, Norway, and Sweden.

Music has been proven to bring people together; in doing so, they discover more similarities than differences. The International Council for Traditional Music (ICTM) was formed for that reason. The ICTM supports the notion that music acts as a bond among peoples of different cultures and thus contributes to the peace of humankind. Since 1947, delegates from countries around the globe have gathered to study, practice, document, preserve and disseminate information on traditional music and dance. The formation of the organization is credited to Maud Karpeles and Steuart Wilson. Maud served as the honorary secretary of the International (Advisory) Folk Dance Council. She organized the International Conference on Folk Song and Folk Dance in London at the Belgian Institute in September 1947. Twenty-eight countries appointed delegates to attend the two-day event funded by the English Folk Dance and Song Society. On the last day of the conference, the vice chairman, Steuart Wilson, proposed to form the International Folk Music Council (IFMC), which was approved unanimously. That same year, the officers and Executive Board members appointed 140 music and dance experts from 35 countries and regions as correspondents. The first IFMC conference was held a year later in Basel, Switzerland. The organization's name changed to the International Council for Traditional Music at the 26th World Conference in Soule in August 1981. The ICTM publishes an annual journal, Yearbook for Traditional Music. Conferences held biannually offer both the ICTM membership and the general public opportunities for exchanges on a broad range of issues. ICTM study groups allow members to gather for Study Group Symposia. There are currently 27 Study Groups that focus on various scholarly topics. Svanibor Pettan of Slovenia currently serves as the ICTM President and has an impressive history with the organization. He has served as the ICTM national representative of Croatia and Slovenia; Chair of the Program Committee of the 38th World Conference; co-founder and Chair of the Study Group on Music and Minorities, founder and Chair of the Study Group on Applied Ethnomusicology, member of the Executive Board, Secretary General, Vice-President; and been the guest editor of the Yearbook for Traditional Music. He has also twice served as President of the Cultural and Ethnomusicological Society Folk Slovenia, which serves as ICTM's National Committee for Slovenia. "Our organization is truly international, with representatives in 128 countries and regions on all continents. Our primary/official language of communication is English," he said. "My professor of ethnomusicology, Jerko Bezić at the University of Zagreb, raised my interest in ICTM during my BA studies in Zagreb (Croatia, then Yugoslavia), and I became a member as an undergraduate student a bit more than four decades ago, in the early 1980s. My principal professional areas of interest include music and politics on a war-peace continuum, music of the world, music and minorities, music and gender, and applied ethnomusicology. My past and present fieldwork sites include central and southeastern Europe, Australia, Egypt, Norway, Sri Lanka, Tanzania, and the USA. The scholarly frame of ICTM continues to be broad enough to accommodate such diverse interests and inspire further research, intellectual exchange, and use of our knowledge, understanding, and skills in music and dance to make our world a better place." Catherine Foley, Emeritus Senior Lecturer in Ethnochoreology, The Irish World Academy of Music and Dance, at the University of Limerick in Ireland, has been a member of the ICTM Executive Board since 2017, where she is responsible for managing the workings of the ICTM. "I am also involved in a number of the Executive Board's Committees, and I was the elected Chair of the ICTM's Study Group on Ethnochoreology for two terms (2014-2018; 2018-2022). In addition, I was co-chair of the 44th ICTM World Conference at the University of Limerick, Limerick, Ireland, in 2017; I was also Chair of the 27th Symposium of the ICTM's Study Group on Ethnochoreology, again at the University of Limerick, in 2012," she said. Catherine got involved with the ICTM in 1996 when she started to present my research at ICTM events, including world conferences and Study Group in Ethnochoreology symposia. "I took up a position at the University of Limerick in 1996 to design and lead the Ethnochoreology program; this was the first program of its type at any university in Europe. My involvement with the ICTM provided me with a valuable professional network." The 47th ICTM World Conference will be in July 2023 in Legon, Ghana. "As president of this remarkable scholarly community, I will have multiple obligations in Ghana," says Svanibor. "My special wish is to see many colleagues from different African countries actively participating in our major gathering in 2023." Catherine will be attending the conference in Ghana as well. "I am looking forward to meeting up with other ICTM colleagues and to hearing their research presentations. I am also looking forward to visiting Ghana and being exposed to Ghanaian culture." http://ictmusic.org/

Mandolin player and vocalist Lorraine Jordan has been a Pinecastle recording artist for two decades. She's put out seven projects, including the Country Grass record, a collaboration of country and bluegrass artists, which featured 12 Grand Ole Opry stars. She prides herself on the fact that her project, co-written by Tom T. Hall, "That's Kentucky," snagged a number one slot on the charts. She said in 2021, "Bill Monroe's Ol' Mandolin" also scored as a chart-topper. Her "True Grass" project remained number one on the Bluegrass Unlimited chart for five months. When she was interviewed for this article, the band had recently released "Patriot Grass" to honor veterans. "Our new project is now in the top five of singles on several charts and has been the number one video on The Bluegrass Standard," Jordan said in April. These stats make it clear: Lorraine Jordan and Carolina Road are as legit as legit can be when stacking up hits in the bluegrass world. In addition to the music, she's actively showcasing other artists through her "Live at Lorraine's" concert series. This longstanding music powerhouse has recently faced some personal sadness, but her commitment to her art continues. Jordan explained, "2023 has been a difficult year for me, losing my husband to a blood infection while in the hospital after bypass surgery. Tom was a musician himself and played dobro and sang baritone for the Gentlemen of Bluegrass. We met through music and were big fans of the original Seldom Scene. We followed them around and became friends through bluegrass." Jordan had fond words for her spouse, who was instrumental in helping her to succeed the way she has. "I know there are lots of women who stay home and keep the house and children while their husband is out on the road," she said, "but turn that around and imagine the husband doing it with a daughter. Well, that's what my situation was. He called me while I was on the road, telling me he was at a dance recital and had to stop and buy pantyhose for Susanna for the recital." In loving tribute, Jordan added, "I respect and appreciate him for letting me live out my dream while he kept the home fires burning," Her venue that offers live performances – including the Live at Lorraine's series – took shape due to an idea of her husband's. "Tom is the one that suggested I open a venue in our hometown to bring the music back home," she reminisced about the origins of Lorraine's Coffee House and Cafe in Garner, North Carolina. "He loved Lorraine's Coffee House, and the building was dedicated to him in 2014 when we opened." The venue offers online streaming of performances, and in addition to everything else he did, Jordan said her husband served as a cameraman for the video streaming for years. Jordan carries on; she is now back to work and back out on tour. In April, she oversaw a new event in Kingsport, Tennessee: Bluegrass in the Blue Ridge. She's got a tour schedule this summer that will find her in her expected gigging states of the Carolinas and Tennessee, plus dates in Pennsylvania, Ohio, Kentucky and more. By November, she plans to continue a tradition with which she and the band are heavily involved. "I'm in my 12th year with Bluegrass Christmas in the Smokies, located in Gatlinburg, Tennessee," she said. "This is an all-traditional festival featuring 20 bands from traditional music. Carolina Road oversees this festival." She said more new music is also forthcoming. "We are currently working on a project of Michael Martin Murphy tunes and a second 'Country Grass' project," she said. By all appearances, despite a tough year, Jordan seems as committed as ever to her music. Part of her success is due to Carolina Road, and she's quick to give credit where credit is due. "I'm very proud of this Carolina Road band," she said. "I call them the 'nicest band in bluegrass.' I have some very nice and helpful boys. All the fans love them." ### Word count: 696