If you’ve ever seen the Crying Uncle Bluegrass Band perform live, you surely know what it feels like to grin from ear to ear. The talent is palpable, and the hearty applause from impressed audiences is often resounding. Few groups can match this youthful ensemble in energy or enthusiasm. The band’s website describes Crying Uncle as “a unique mix of Bluegrass, Dawg, Jazz, and original modern acoustic music.” Nominated in 2021 for an International Bluegrass Music Association (IBMA) Band Momentum Award, the band won the Pickin’ the Pines Band Contest in 2018 in Flagstaff, Arizona. The band has opened for notables, participated in myriad festivals, and has been featured in a 2018 TEDTalk with Nashville-based singer/songwriter Phoebe Hunt. John Gooding has provided the guitar for Crying Uncle since the current full lineup came together in 2017, and the things this young man has gotten to do so early in life are impressive. “We’ve done a two-week tour of Finland…we went to France…we have another bluegrass cruise to The Bahamas in January…” he said, rattling off all the cool stuff. “This past summer was our busiest summer so far,” he added. Part of that undoubtedly included preparing the release of a new album, the 13-track recording titled The Thing of Dreams. “It has a lot of original material,” Gooding said. “A lot more than on any of our prior records.” Something else that’s quite original about the record is the building the band used as a “studio.” “It was recorded in an old church,” Gooding said, adding that its “beautiful view” was among the many charms of choosing this spot to record live performances. The Old St. Hilary’s Church in Tiburon, California, elicited the perfect atmosphere of inspiration and sound. They’d performed a show there, and the location stuck with them. “It has really beautiful acoustics,” Gooding said. “We just set up there and got the whole album out in three days,” adding that it is probably his favorite among the ones they’ve released. The guitarist hails from a musical family and believes early exposure to the bluegrass world affected him at his core. His father plays bass and sits on the board of the California Bluegrass Association. His mother is the current president of that same board. “It was inspiring to watch my father onstage,” he said. “I first started taking lessons seriously when I was seven. Then, the first band I joined was 35 Years of Treble…I think I was nine years old. We played together for a good long while, maybe until I started high school. In 2015, we started a band called The Blue J’s,” he said. That band also included his two brothers, one of whom now plays mandolin for The Little Roy and Lizzy Show. Gooding said he had fond memories of a certain Christmas when he and his siblings all got great new instruments as holiday gifts…and they were electric. The boys plugged in and jammed away that Christmas. “I think it was when I was 12 or 13, maybe even a little younger,” he recalled. “That is a nice memory…we were kinda stoked on new gear.” Growing up surrounded by people whom all love music has shaped his world. “It’s influenced just about every part of me,” he concluded.

Almost two decades ago, four men who love playing bluegrass music came together to compete in the RockyGrass Music Competition. This performance at this particular competition sparked something in this group of musicians—a desire to make something of this group and pursue music together in their home state of New Mexico. Before they could move forward, they would need a band name. A friend of the band got creative and came up with over 300 band names, and, ironically enough, that’s all it took for Mystic Lizard to be born. “We each picked a handful of names that we liked, and Mystic Lizard was the only one we all had in common,” said Bob Gray, mandolinist for the band. Known most in the New Mexico area for the wide variety of music they perform, the members of Mystic Lizard pride themselves in their ability to perform progressive and traditional bluegrass, pop, swing, and jazz. They even play a little bit of The Beatles. “As far as bluegrass bands go, we are pretty eclectic,” Gray said. “It’s great when you’ve got great musicians that can play that variety in their music. Bob Goldstein, our guitar player, really does know so many songs. We always try to play a song at every show we’ve never played before by getting requests from the audience.” As versatile artists, Mystic Lizard’s musical influences, such as Bill Monroe, Sam Bush, Earl Munde, and New Grass Revival, are the band members credited with influencing them most in their music. Not to mention, guitarist Bob Goldstein studied with national banjo champion Gary Davis and Grammy Award-nominated jazz legend Gene Dunlap when he was younger, attending many workshops with various artists over the years. “I’m from Indiana, only a few miles from the Bean Blossom Bluegrass Music Festival. I went to the festival in the late 1960s with some friends and got to see Bill Monroe play in the old barn,” Gray said. “At the time, I didn’t even know what a mandolin was. That’s where I got my first exposure.” Known for their progressiveness and versatility but influenced most by traditional greats like Bill Monroe make Mystic Lizard who they are as a band, but with a name like Mystic Lizard, it’s not surprising that audiences most respond to the band’s versatility and personality in addition to their traditional three-part harmonies. “Our goal was never to make it big,” Gray said. “In New Mexico, it can be hard to get people to come to bluegrass festivals, but as a band, we work toward keeping the band going. We play the Southwest Pickers Festival every year as well.” After a few band member changes and the survival of a pandemic, Mystic Lizard is still performing today, doing what they love most. After semi-retiring during the COVID-19 pandemic, the members of Mystic Lizard thought it was time to hang up their hats—or their guitars. But in the last year, the world had something else for them in store. People started reaching out to them, asking them to come to play at a few festivals and semi-regular events, sparking the new start of Mystic Lizard. While keeping it low-key, they are happy to be back on stage doing what they love. “Basically, we thought the band was over, and it was a pleasant surprise that things are coming back together. If someone wants to book us, we are open to performing!” said Gray. What is the one thing they focus on most about being back playing together? Their friendship. “We’ve developed some great bonds and friendships in Mystic Lizard,” Gray said. “It’s nice to get together to play, and it clicks. I also play in a newer band, and it’s so different when everyone knows each other so well. Once you’ve played together so long, you jell differently.” While the band only recorded one album about ten years ago, they have written some original music and instrumental songs over the years that they like to include in their live performances. Some of these live performances today take place at the band’s longest-running regular gig at Range Cafe in Bernalillo, New Mexico, where they perform in none other than the Lazy Lizard Lounge, ironically enough. As the band moves into a new era of hope and possibility, they have one goal: to keep performing together. “We just want to keep things going and hopefully work on some new material,” Gray said. “A few of us are in our 70s, so we just want to keep playing together and see what happens.”

Patti Casey is a musical pioneer. Inspired by her love of bluegrass and other traditional genres, Patti has created her unique signature sound that combines her love of storytelling, folk music, and bluegrass into a familiar yet delightfully original genre. Perhaps her unique sound comes from the rural area where Patti was raised. Vergennes, located in western Vermont, was once known as the smallest city in the United States. It had a population of 1,365 in the 2020 census. Like that little city founded in October 1761, Patti is an old soul. “I had a musical upbringing,” she says. “I am one of four kids, and every one of us played an instrument. That was important in our family. If a kid showed an interest in an instrument, my parents supported that one hundred percent.” Patti’s dad was a World War II veteran who played the trumpet in a swing band. “They toured New England, so I was exposed to music through him.” Patti started playing the flute at age eleven. “I loved it, and I got good at it fast.” She played all through high school and college. “I played classical music, and I played every chance I got. I practiced a lot and worked hard at playing well.” Patti was on her own by the time she was in her early twenties. “I loved the female songwriters of the day.” She got a guitar and took lessons, which changed her musical direction. “When I started playing guitar, I started singing. I was really drawn to bluegrass. The Northeast has so many good bluegrass players. I made my parents take me to shows.” While attending Vermont College, Patti took a course on bluegrass history. “I began playing with others early on. I was a founding member of the Bluegrass Gospel Project, and we toured the Northeast.” Patti was a songwriter and signature lead singer for the all-star band. She played with a couple of other bands, Redwing and North Union, and toured throughout Vermont, New Hampshire, and New York. “My contribution was that I brought the bluegrass.” She also did a stint with Colin McCaffrey and the Wicked Fine Players. One of her favorite gigs each year is the Summit School of Traditional Music and Culture’s Spice on Snow Music Festival in Montpelier, where Patti now lives. While music is her passion, like many musicians, Patti had to rely on her education in science to provide health insurance for her son. She studied wildlife biology in college but ended up with a writing degree. “I have been a scientist for a long time,” she says. “I work for the Agency of Agriculture in Vermont, where I run an environmental surveillance operation. I am lucky that I enjoy what I do.” Patti says it was not unusual to play in national and international halls for three weeks on the road when doing music full-time. She toured nationally with The Woods Tea Company, a folk band from Vermont. “Now I do small weekend tours, Friday through Monday. I think my busiest summer was in 2021. Everyone was so starved for music after the pandemic. I played a lot of outdoor gigs.” The pandemic was a good time for Patti in terms of the time she spent songwriting. “I was able to get together with others and write, which was great.” Two songs that came out of that time were “Dandelion” and “What You Think You Know,” released as singles. A young woman, Sidney, the same age as Patti’s son, inspired “Dandelion.” Sidney was homeschooled and lived on the side of a mountain. During the Covid pandemic, she was pretty isolated. When it was time for her to graduate, her mom and dad organized a virtual event in their yard. “It was so beautiful. Her mom asked if I’d perform a song, and I wanted to write one for the event. I asked what her favorite flower was, and she said it was a dandelion. I love dandelions, too!” “What You Think You Know” is a love song for those who haven’t had a Disney-style romance. “I write music for Vermont Stage Company’s annual holiday event in Burlington called Winter Tales,” says Patti. The event features local actors who read funny and heartfelt stories to bring some light into the dark days of winter. Patti writes and performs songs to complement the readings. “What You Think You Know” was written for that event. While her performance and musicianship are magical, Patti has also been recognized time and time again for her songwriting skills, winning several awards in songwriting competitions in Minnesota, Texas, North Carolina, Florida, and Colorado. She released her first album in 1993 and four more since then. Heart of a Waiting Boy was named Best Album of 2010 by the Times Argus/Rutland Herald and was the fourth most-played album in the worldwide folk circuit on FolkDJ Radio. Patti has written soundtracks for award-winning independent films.

Jeff and Sheri Easter were born into musical families. “I started singing with the Easter Brothers when I was 13,” says Jeff. Sheri joined her family band, the Lewis Family when she was 16. “My mother was ill and had to be off the road for six weeks, so I filled in for her.” As their website says, Gospel music is genetically programmed into the Easters’ DNA. “It was natural for us to be surrounded by family who would sing praises,” laughs Sheri. Jeff eventually left his family’s Gospel group. He ended up playing bass for The Singing Americans, a popular North Carolina-based Southern Gospel touring group in the 1980s and early 1990s. In August 1984, The Singing Americans played at the Albert E. Brumley Sundown to Sunup Gospel Sing in Arkansas. The Lewis Family was performing as well. Jeff and Sheri were introduced, and soon romantic sparks flew. They got married ten months later, in June 1985. The couple traveled and performed with the Lewis Family band for a time. They left the Lewis Family in 1988, intending to pursue a career independently. “We went on our own full time on New Year’s Day 1989,” says Sheri. Jeff and Sheri never looked back. They have made a life and a living around music, and they wouldn’t have it any other way. “We travel every weekend,” Sheri says. “We put about 100,000 miles a year on our bus.” Covid put a stop to that for a time. “It was the weirdest thing,” recalls Sheri. “ “At first, it was three weeks. It was wonderful being at home because we never have that much continuous time at home. We got projects done that we had put off or not finished because normally we only have a couple of days at home at a time.” But as the pandemic wore on, the Easters decided to work on their beach house in South Carolina. “Then we went to the lake,” laughs Jeff. “We have had rental properties for years, but we were able to really work on them and see what they needed.” Sheri says the pandemic saved them $60,000 on diesel fuel the first year of the pandemic. “I have a Master’s in business,” Sheri says. “If someone had told me that we would have to sit it out for several months, I would have said no way. We lost 101 of the 200 dates we had booked. Yet, we had enough money saved up and the income stream from the rental properties that allowed us to pay every bill. It was such a blessing for us.” The couple lives in Lincolnton, Georgia, near Augusta. They have three children, Morgan, Maura, and Madison. Morgan joined Jeff and Sheri as a vocalist when she was 14. Her husband, Landon, played drums for Jeff and Sheri for many years. He began touring with them when he was just 14 years old. Madison played with the band until he was 26. He married his wife, Shannon, and the couple now resides in Los Angeles. Madison and his wife have two children, and Morgan and her husband are expecting number two. The youngest Easter child, Maura, made her first appearance on stage with the band when she was just eleven days old. She is now a junior in high school. The Easters traveled with the Gaither Vocal Band for thirty years, and they still do cruises with them and shows in Gatlinburg. About fifty percent of the songs they play are originals. “I write some,” says Jeff, “but Sheri writes a lot. She is a really good songwriter.” Jeff says he leans more towards country and Gospel, while Sheri likes a little more pop. The GRAMMY-nominated music is tinged with country, and their harmonies are flawless. Watching them sing is like watching two people who have completed each other’s sentences for decades. Their love for one another and Jesus Christ shines through their songs, many of which describe everyday life events. “We want to encourage people with our songs,” says Jeff. “That’s what we do -- day in and day out, we try to encourage people.” After spending 37 years on the road, Jeff and Sheri say they don’t know how to do anything else. “We are enjoying being grandparents,” Sheri says. But the road calls, so the Easters will gas up the bus and head to the next show. “We are so blessed to do what we love and to do it with each other,” she says. The Easters will have a new album, Treasure, released on February 10 on all retail and digital outlets.

"The American Fiddler" Reaches Pinnacle at Opry Four-time Grammy Award-winning musician Andy Leftwich said he was competitive as a kid; he grew up on the competition circuit. While that killer instinct may be channeled differently now, this prolific musician is always a powerhouse, seeking career highs one after the other. He's fiddled for everyone from Ricky Skaggs, to Dailey & Vincent, to Taylor Swift. His Grammy street cred as an accompanying instrumentalist is more than any musician could ask for in a lifetime. And now, he's recently snagged yet another brag-worthy accomplishment: appearing as a solo artist at the Grand Ole Opry. The set billed as all his, this so-called "competitive" performer couldn't help but add to the special evening by spreading the attention out, sharing it with those he has played with and learned from over the years. He brought along some notable friends for his big night in one of America's most esteemed venues. Leftwich said of his New Year's Eve performance: "As many times as I have played the Opry with some of my favorite artists and friends, I finally got the opportunity to play the Opry as a solo artist. It was a huge honor and an incredible experience. Ricky Skaggs and Sierra Hull joined me as guests for two of my three songs I got to play." The song he did with Skaggs and the number with Hull came from his album released this past fall, The American Fiddler. "I was overwhelmed when I looked up after the performance was over and saw the entire audience on their feet for a standing ovation," he said. "I had a quick interview with the Opry announcer Mike Terry afterward and just couldn't ask for a better Opry debut!" While the Opry is beloved by most musicians and fans, for Leftwich, it's a place with extra-personal meaning. "I met my wife, Rachel, just to the side of the stage when I played there with Ricky [Skaggs] for the first time," he explained, "and have developed friendships that have carried through all these years later." Skaggs is among the musicians he has been friends with and jammed with for a number of years. He toured for years as a fiddler for Ricky Skaggs and Kentucky Thunder starting in 2001. "Ricky was a huge influence on me growing up, and obviously, as a boss," Leftwich explained. He credits the famous performer with introducing him to different styles, including folk, Appalachian, and everything in between. He says that while he loves quite a bit of classical and other violin forms, he considers himself a "fiddler" first and foremost and not a "violinist." "It's kinda like a language," he said. "We all speak English, but there are different dialects." With "The American Fiddler," he aimed to showcase some of those various dialects. One example is a fiddle "accent" that hails from across the pond. "Bluegrass is a direct descendent of Irish music," Leftwich explained. "A lot of the licks you'd play are like Irish music, only a little different." Leftwich has been fascinated with music since he was a child in Tennessee. His father played banjo and guitar and loved bluegrass. A friend of his father's put a fiddle in young Leftwich's hands when he was only six years old. "I learned it that night," Leftwich reminisced. "I remember the feeling of playing and hearing my dad's guitar accompanying that." He was hooked. Before long, the musician, who described himself as "extremely competitive," was winning contests and, by age 15, was already playing professionally. By 19, he had met Skaggs. Since then, he has stood on many stages and traveled to many countries while doing what he loves. Leftwich said his faith is essential to his career. Leftwich said his faith is essential to his career. "I'm nothing without my faith in Christ," he said. "The word of God… I'm nothing without that and my faith." He hopes his performances relay that spirituality. "I want to make sure that the music I play inspires the soul," he said. "I'm constantly praying and asking the Lord for wisdom." There's no telling where that wisdom might take Leftwich in the future. While he won't give specifics, hinting he has an idea for a project he'd like to release at some point. He describes it as "a collaboration with different artists" and said it might include "some mainstream names people would know…some very popular names." Now that he's reached a kind of pinnacle–playing the Grand Ole Opry as a solo act–what does Leftwich still have on his bucket list? Where does he think his ambitious nature might take him going forward? He distills his answer down into…more questions. "Who have I not played with?" he said, listing the things he does, and always will ask himself. "What have I not yet explored?"

Dean Hopper knows as well as anybody that both maturity and struggle often deepen our relationship with music. The long history of The Hoppers spans decades, and that longevity has created a solid, always-evolving devotion to faith through sound. Hopper is the lead vocalist for this multi-generational gospel outfit that has graced the stage of Carnegie Hall, played at presidential inauguration events, and moved audiences in halls and churches across the country. His dad started the group in rural North Carolina in 1957, so Hopper grew up with gospel. Even as a little one, he was fascinated with music, even if it would take some time before he understood its role in his life and the world of gospel. "When I was young, I wanted to play the drums," he reminisced. "I watched from the side of the stage. I was just seven or eight years old. I was just in love with the music." It was all about the sounds, he said. "But as I've grown," he continued, "the messages in the songs take on stronger meaning." It took growing up into an adult–and even more recently, facing serious illness–to further deepen his relationship with this music that infuses his family's heart. He had a series of strokes in 2016 and 2017. Although Hopper was able to sing through it, recovering was tough. "When you go through things," he explained, "it has a way of re-aligning things. Seeing as it helped transform me and my family as a whole, the ministry of the music took on more meaning." This wasn't the first time struggle had added more meaning to the music of The Hoppers. His mother battled cancer long ago, and he recalls how that hardship changed her. "That really transformed her life and my dad's life," Hopper said, "and the ministry of music took on a new meaning at that time." Today, the lineup includes Dean and his wife, Kim; his parents, Claude and Connie; his brother, Mike; and his daughter, Karlye. Whether they're singing about hardships or sharing joys, Hopper sounds as if he loves it all. Performing runs deep, and he thinks it's because his father–Claude Hopper–has always had a passion that made him want to delve into "every aspect of gospel music." The Hopper children grew up immersed in it. In addition to performing, the group's elder patriarch was part of the creation of "Keep on Singing," a 15-volume songbook. He also serves on the board of directors of the National Quartet Convention, a premier event of the Southern Gospel genre. "My dad also started the first gospel cruise in 1974," Hopper added. The Hoppers have withstood the test of time, from record releases that land them on the Billboard charts to their appearances on Gaither Homecoming videos and tours. All group members have their projects and accolades, including prominent roles in the Southern Gospel world, solo work, creative projects such as books, and more. As a unit, however, they have made real waves throughout 60 years of gospel music. "It's been a labor of love," Hopper said, reflecting over the years. "A lot of times when the industry was down, we'd pull up by the bootstraps and keep moving…then the industry goes up again." "We've got to be innovative," he added. "We've got to be always thinking; we've got to be rebranding ourselves." They recently released their first Christmas album in what Hopper guesses is about 22 years. "We went all out on this," he said, explaining they toured heavily in support of the release. He indicated that audiences loved it. "We released a bluegrass album this past year, and it's getting traction now," he explained. "We're out basically every weekend performing the songs and have a few of the singles on the radio." Many of their records are born right on the family's property. For 25 years, they've had a studio. "We have a studio on my dad's farm," Hopper explained. "One of the barns, a third of it is our studio. We'll bring a producer from Nashville…lay down the vocals…lay down the basic parts."Then, they'll take it to Nashville for final production. "We have a lot of songs still to be released," he said, hinting that new music is always on the horizon. What does he see as the group's future; does he see it persisting for more decades? Yes, in some form, he assured. "We've got three generations out there now… there's dad, me and my brother…my daughter…"he said. "My oldest daughter…her interest in what we do has really, really grown." That cohesiveness of family may be part of why the Hopper tradition of spreading faith through music keeps on going after years and years. For Hopper, it sounds like the bottom line is thatthey are successful due to love. "The persistence of my parents through the years," he said, listing the reasons. "The love for the music. The love for the people."

The Ebony Hillbillies strive to evoke the spirit of joy wherever they perform. “It’s important to feel and experience this music,” says Henrique Prince. “This is music that gets you free. It connects people.” Henrique didn’t start his musical career playing in a string band. Far from it, in fact. He came from a musical family. “My parents are from the Caribbean. I grew up with calypso music in our home, and there was a party with dancing every weekend during the 1940s and 50s.” But Henrique studied classical music, starting with the violin. He made his way from New York to the west coast, where he studied music. While immersed in classical music, even playing in a symphony orchestra, his heart led him to play the kind of music he heard while growing up. He began listening to old music. “The musicians in the 1920s and 30s were so good for the time. There are not a lot of recordings, and the ones I have heard were really good. Their instrument work was fairly sophisticated, surprisingly so, and I believe that speaks to the era. Many were rural players, and the music they created was jazz.” While all the musicians in the Ebony Hillbillies are accomplished professional musicians, each had an interest in the more ancient music. “We are a string band,” says Henrique. “What we do is original music while extending the idea of ancient music. A lot of styles of string music encapsulate the survival technique. It was originally music played for the musicians’ own sanity; then it became music audiences paid to hear.” Henrique got wind of a 1930s guitar/fiddle group called The Mississippi Shieks. “I was so impressed with their sound.” He then discovered the Altamont Recordings of Black String band Music from the Library of Congress. Soon Enrique met his musical partner, Norris Washington Bennett, after auditioning for a New York City bluegrass band. “Norris played banjo, mountain dulcimer, guitar, and he was an excellent vocalist.” He was also a full-time “busker” in Europe. Things began to gel when, on a whim, the duo were busking together in Grand Central Station. “We played “Shenandoah” and realized how powerful that was,” Enrique says. “We brought together a string band tradition that pre-dates jazz and a song that came from another century.” The Ebony Hillbillies formed, and other musicians joined the band. William “Salty Bill” Salter joined on shaker percussion and vocals. His musical pedigree is impressive, with multiple Grammys as co-writer of pop hits including “Just the Two of Us” and “Where is the Love.” Also in the band are Gloria Thomas Gassaway, Allanah Salter, Newman Taylor Baker, and Ali Rahman, all of whom brought a fresh perspective to the band. “Even with the other things we have accomplished individually, the music we play together as The Ebony Hillbillies helps our collective experiences add to the richness of our lives,” says Henrique. While they started playing in the streets, The Ebony Hillbillies have risen to great heights, playing in venues like Carnegie Hall and the Lincoln Center. They have had many television appearances and collaborated with visual artists at The Whitney and The Smithsonian Museum. Their genuine passion is sharing music with others, especially children. Before Covid, the band presented music workshops for children through their foundation. “Kids just naturally get it,” says Enrique. “And I mean kids all over the world. We did a workshop for children in Bulgaria, and their reaction to the music was the same. Kids take on music like it is their own. It’s refreshing and inspiring, and it keeps us going.” Unfortunately, during the Covid pandemic, Norris Bennett passed away. But Henrique says the band will still play on. “The music we play together as The Ebony Hillbillies makes our collective experiences add to the richness of our lives.” Henrique describes the music that The Ebony Hillbillies play as “rawkus, rowdy, and celebratory. It should inspire people to get up off their bottoms. That’s what we try to achieve. We want to connect with everyone we play for on a deeper level.” The Ebony Hillbillies have released four CDs, Sabrina’s Holiday (2004), I Thought You Knew (2005), Barefoot and Flying (2005), and Slappin’ A Rabbit – Live! (2015). Their last album, Five Miles from Town (2017), features eleven tracks with an additional three skits. It’s a musical journey with twists and turns. From a down-home fiddle jam with “Hog Tied Man” to a hauntingly beautiful tale with a cautionary warning, “Fork in the Road,” the album showcases the broad range of talent in the band. Listening to their version of “Wang Dang Doodle” makes it hard to stay seated. Socially conscious, soulful, funky, and even a bit romantic, don’t try to pin down the eclectic musical styles performed by The Ebony Hillbillies. Look for more brilliant music coming soon – they are currently working on a new project in the studio.

Tennessee-based musician Josh Gooding recently (in July) got a great gig as the mandolin player with The Little Roy and Lizzy Show. While he’s been a performer for many years, it sounds like the new band is perfect for this time in his life. “It’s been great,” Gooding said. “I’ve never worked with a band that plays as much. We go out every weekend. We’ve also played on the Mike Huckabee TV show. That was cool; everybody was enjoyable to work with.” The devoted player hails from a musically-inclined family. His father, Dave Gooding, is a musician of many decades. His brother, John Gooding, strums and picks guitar with Crying Uncle Bluegrass Band. He recalls some early childhood memories of growing up around bluegrass in California. “Dad had already been playing and going to festivals and playing in regional bands,” he said. Some of his earliest memories were of a band his father played bass for years ago, The Donner Mountain Bluegrass Band. “They used to rehearse at the house, and I was influenced by it,” he reminisced. He picked up his mandolin at the tender age of six, and unlike many who take some time to figure out which instrument will become a devoted and soothing partner through the twists and turns of life, he just… knew. When his heartstrings were plucked, they made the sound of the mandolin. It was the instrument played by his heroes, such as Bill Monroe. “I’m just gonna start playing mandolin now,” he remembers saying to himself one day. And that…was that. It wasn’t long before he was jamming for real with his siblings in a band they created named The Blue J’s. Gooding eventually moved to Tennessee, where he performed with various musicians, including the Alex Leach Band. He was with Alex Leach for two years, during which he recorded music and had his first foray into being on the road as a musician. When not playing with The Little Roy and Lizzy Show, Gooding loves appearing as a part of the entertainment roster at the Ole Smoky Moonshine Distillery in Gatlinburg, Tennessee. “They have live bluegrass music almost every day, for ten hours a day, and at several locations,” Gooding said. He primarily plays with one of the house groups, Dreamcatcher, but will also perform on a fill-in basis with other groupings and ensembles, including Midnight Run. Gooding said he’s excited about a special event this spring: The Little Roy and Lizzy Music Festival, which is happening May 4, 5, and 6. “We’re looking forward to that; it’s down where they live in Augusta, Georgia,” he said. “We play every day. There’s gonna be a lot of bands booked there.” The lineup now includes acts such as Marty Stuart and Rhonda Vincent. His brother from Crying Uncle Bluegrass Band, John Gooding, is also supposed to come out for the festival. “I’m excited to have him out here and see what opportunities we can pursue together,” he said. When asked about Christmas memories he’d like to share, Gooding said he has a particularaffinity for the holiday compositions accompanying the well-known animated “Peanuts” Christmas shows. “Me and my brother loved the Christmas music of Vince Guaraldi,” he said, explaining that he thinks those holiday classics are so good he’ll listen to them year-round. “I’ve been learning a bunch of those songs on mandolin.” He enjoys the holiday season at his home in Elizabethton, Tennessee. He said it’s especially nice when snowing during the holidays. “I live on a hill looking down on the town, so it’s really picturesque,” he said. When asked about the future, Gooding sounds unable – or unwilling – to speculate. Part of the reason is he seems mighty satisfied with the present. “I’m pretty happy with the way things are going now,” he said. “I’m really lucky and blessed. I’m fortunate.”

Bluegrass musician Dave Gooding is delighted that his passion for music passed on to all three of his sons, two of whom have become members of well-known bluegrass groups. While Gooding has been the bass player with the Central Valley Boys for 13 years, his son Josh plays mandolin with the Little Roy and Lizzy Show, and his son John is a guitarist for Crying Uncle. You could say that music flows through the veins of this family. Gooding had been making music professionally since the 1990s with various groups before the Central Valley Boys became his main gig. After his second son was born, he asked his wife whether or not he should slow down in performing. They both decided he should keep doing what he loved, and they should incorporate their sons into the warm and welcoming bluegrass world. "It's pretty much illegal to leave your kids home alone when you go to festivals," Gooding joked, "so we just started dragging them to the festivals. They were around a lot of picking." While one of his sons learned to play music and has had his life enriched by it, he didn't opt to make music professionally. The other two grabbed on, and now young men, they've followed directly in their father's footsteps. Gooding says being raised on bluegrass has been a substantial asset to all his sons' lives. "I'm very fortunate they developed a passion for bluegrass and love it as much as I do," he said. "Our kids have learned so much," he explained. "Social skills…self-discipline… it's proven that math skills improve in school." He adds, "This is what we do as a family, and our vacations have always been centered around music. Even in the roughest times," Gooding explained, "we still have this commonality between us." Music is the tie that binds. He is reluctant to take all the credit for creating this passion in his kids; he also gives credit to the entire bluegrass community. Believing in the value of bluegrass and paying it forward to the genre that gave his family so much, Gooding serves as a board member of the all-volunteer California Bluegrass Association. "My wife [Theresa Gooding] is now also the president of the California Bluegrass Association," he said. "We felt that we owed so much back to the community." Not only do the Goodings think investing in kids is important in creating tomorrow's musicians, but the organization they support believes so. "They [California Bluegrass Association] invest a lot in the youth programs," he said. While it's doubtful he will get all his sons together this Christmas; he still has a hopeful wish. It is a wish tempered with the understanding that The Little Roy and Lizzy Show and Crying Uncle touring schedules will probably dominate the holidays. That simply goes with the territory. "Hopefully, everybody will make it home for a few days for Christmas," he wishes, knowing the odds are against it. When performing is in your blood, you "get it" and find a way to accept what comes with being a working artist. Gooding hopes "what comes" amounts to more of what he's done for decades. "I'd like to think I'm gonna do this 'til I fall over dead after a set somewhere,'' he laughed. It's pretty clear, though, that his joke holds more than a small element of truth.

Some foods simply taste better when crafted in the seasoned hands of local church ladies. Whether chocolate-covered eggs filled with peanut butter sold as a fundraiser or a communal dinner set to celebrate an occasion, meals rooted in church traditions have created comfort for centuries. And while certain foods - like wine or communion wafers - continue to have close ties to religion, other communal celebrations centered on food formed independently and expanded beyond faith-based partnerships. Enter: The potluck—or covered dish. Or spread. A potluck is a “communal gathering where each guest or group contributes a different, often homemade, dish of food to be shared,” according to Wikipedia. The term derives from the situation in which a surprise guest turns up at dinner time, and they receive the “luck of the pot,” or whatever the family prepared that evening. Others credit Native American indigenous peoples’ “potlatch,” a communal meal. The more modern definition likely came from the Great Depression when people gathered, and each brought a shared dish. Potluck dinners are often associated with religious or community groups for a few reasons: 1) They are more cost-efficient because they spread the meal costs amongst the participants, and 2) Meal planning and options are varied yet simplified, so there’s something for everyone. For these reasons, potlucks are also popular at work events, weddings, and family reunions. No matter the celebration, some quintessential potluck dishes in Appalachia complete the feast. Check out some of the most popular dishes and put your spin on them for your next potluck invitation: Deviled Eggs - This classic picnic dish can be found at all gatherings: hard-boiled eggs are halved, and the center yolks are scooped out and mixed with mayonnaise, vinegar, mustard, and other condiments before being piped back into the eggs. Some cooks top their deviled eggs with paprika, relish, hot sauce, or chives. The culinary term “deviled” refers to food prepared with hot or fussy spices or condiments. In Appalachia, you might find some chow- chow on top. Casseroles - Filled with meat, vegetables, and some starch, a casserole is baked in a deep dish, usually topped with cheese. The combinations are endless: tuna noodles, green bean, cheesy chicken & rice, broccoli & cheese, beef pot pie, tater-tot hot dish, and many more. Paired with classic Campbell’s cream soups, casseroles are versatile and can include any number of ingredients - even wild game. Salad - Prepared salads such as potato salad, macaroni salad, and pea salads are a mainstay at gatherings. While some salads are often made with green leafy vegetables, the mayonnaise-based versions are classics. Chicken salad, tuna salad, egg salad, and ham salad are all Mayo-based spreads often eaten as sandwiches. And then there’s pasta salad, which can be either mayo or vinaigrette based and include chunks of cheese, pepperoni, olives, vegetables, and more. Fried chicken - Chicken is often the main entree at events because it can be homemade, made on-site, or even picked up at the local convenience store if needed. Plus, with the options for legs, wings, breasts, or thighs, there’s something for everyone - except the vegetarians. Dips - Like casseroles, dips vary widely by ingredient, layers, and more. But the general premise is that it’s created for the dunking corn chip, tortilla, or cracker. From a 7-layer dip with Mexican ingredients to a buffalo chicken dip with some heat, dips can have a vegetable or protein as the main component. Other favorites include spinach artichoke, caramelized onion, and roasted corn dips. Bonus points if the ingredients are local and, in Appalachia, may contain some foraged items like mushrooms or ramps. Cheeseball - As a cousin to the dip, the cheeseball is another similar potluck dish with cream cheese as a primary component, along with nuts, chicken, pimientos, bacon, and other spices to be eaten with crackers. It tends to be more solid and shaped into a ball or log, so it’s less of a dip but more of a scoop. These dishes are just a sampling of the dishes found at various gatherings where folks bring a course from home. When putting them together, the result is a multi-course meal with everything from appetizers to desserts. Not only does potluck food fill the tummy, but it can bring a community - no matter the kind - together to break bread. These meals nourish the attending event members but also nourish partnerships, friendships, and relationships.

Molly Tuttle is on fire. It wasn't that long ago that Molly won the 2016 IBMA Momentum Award for up-and-coming artists and the Instrumentalist of the Year award. The following year, she was awarded the 2017 IBMA Award for Guitarist of the Year, the first-ever woman to receive that award. In 2018 she received the award again along with the Collaborative Recording of the Year award for Swept Away, an album she recorded with Alison Brown, Becky Buller, and Sierra Hull. The Americana Music Association named Molly the Instrumentalist of the Year that same year. So, it was no surprise that in 2022, Molly was nominated for five IBMA awards, and at the awards gala in late September, she walked away with the Female Vocalist of the Year trophy. The same night Molly was on stage at the North Carolina Duke Energy Center for the Performing Arts in Raleigh more than she was off it. She played "My Bluegrass Heart" with Bela' Fleck, "Walls of Time" with Peter Rowan, and "Crooked Tree" with her band, Golden Highway, the title cut of her third and latest album. Molly describes Crooked Tree, her debut release for Nonesuch Records, as her dream bluegrass album. Born and raised in San Francisco, Molly now makes Nashville her home, and it is in Nashville that she has met many of her bluegrass heroes. "I decided I would ask some of them to join me on this album, and to my delight, they did. I wanted to make all original songs for this album because I felt a void in bluegrass for people like me." Molly has had a lifelong love of bluegrass, thanks to her father, a music teacher, and multi-instrumentalist, and her banjo player grandfather, who lived on a farm in Illinois, a place Molly often visited during her childhood. Molly's dad listened to bluegrass albums at home and took Molly to many bluegrass festivals when she was young. Growing up in the California bluegrass scene, Molly says she and her friend Melody Walker felt different. "I developed alopecia as a kid and lost all my hair. Melody had scoliosis and wore a back brace. I guess you could say she was like a crooked tree, the song we co-wrote together." Based on a quote by Tom Waits where he talks about how a crooked tree might look strange, but in the end, it's still growing after all the other trees get chopped down, Molly says she wrote the song while thinking about the clear-cutting of forests where she grew up. "I also thought about carving your path in life and taking the road less traveled. I want to encourage people not to be afraid to do the unexpected." Her live band, Golden Highway, includes Dominick Leslie, Kyle Tuttle, Bronwyn Keith-Hynes, and Shelby Means. Still, the album also features her studio band, including Jerry Douglas (who also produced the album), Ron Block, Mike Bub, Jason Carter, and Tina Adair. She was also joined on the album by Billy Strings, Old Crow Medicine Show, Gillian Welch, Margo Price, Dan Tyminski, and Sierra Hull. "It has been so inspiring working with such incredible artists. I'm excited that bluegrass music is going through a real resurgence now." While nodding traditional bluegrass stylings, this album is uniquely Molly, with poignant and personal lyrics. Each album track showcases Molly's guitar skills and vocals for which she has been recognized. There is a thread of wild-hearted women throughout Crooked Tree, especially during the album's opening song, "She'll Change," which she co-wrote with Old Crow frontman Ketch Secor. In the song "Side Saddle," featuring Gillian Welch, Molly writes about being a cowgirl, but she says it is also about how she feels about being a female guitar player. "There is some defiance," she admits. "I just want to be taken seriously for what I do instead of getting attention for being the only woman in the room." Especially personal is the final track of the album, "Grass Valley," an autobiographical look back on going to bluegrass festivals with her father. She had the idea to have her dad sing on the song, which became one of her favorites on the album. For now, Molly says she's taking time off the road and planning her next record. "I don't want to give it away; it's more fun to keep people guessing," she says. "I will be releasing some new stuff not too long from now. But first, I have to get ready for the GRAMMY Awards," which has nominated Molly in two categories, Best New Artist and Best Bluegrass Album for Crooked Tree. To repeat—Molly Tuttle is still on fire—and that flame ain't going out any time soon. All photos were taken at The Center For The Arts on January 25, 2022.

Where Her Heart Lies ... As the first woman ever featured on the cover of Flatpicking Guitar Magazine, guitarist, singer, and songwriter Rebecca Frazier has crafted a career doing what she loves. From traditional music to influences such as The Grateful Dead, Frazier seems well aware of where her heart lies. "I've always loved acoustic and traditional music," she explained. "As a kid, I'd sing old songs at a summer camp in the Blue Ridge Mountains and connected with bluegrass musicians in college. It was hearing Tony Rice and then Jerry Garcia's work with David Grisman…those were the lightning moments that made me drop everything else and dedicate myself to this music. And nothing has changed! I'm still dedicated to bluegrass after all of these years." Frazier plays it. She teaches it. She writes it. She writes about it. She listens to it. "I live and breathe this music," she said. "I just love it." Frazier said over the past year, she's worked "to finalize the mixing and mastering" of her first album in a number of years. As of now, it's slated for a release sometime during late spring of this year. "The record features my songwriting and flatpicking and a host of A-list musicians," she said. "This record also includes details that are new for me…some tracks will offer my clawhammer banjo playing and a string section arranged by myself and producer Bill Wolf." "I've been really focused on this project and can't wait to get it out into the world," she said. Frazier understands the importance of visuals; she enjoys creating videos for her music. "In the past few years, I've found great creativity in putting my music to video," she explained. "I have six cinematic videos released for my previous album and at least three more coming for my new album." Lately, The Grateful Dead's music has again become prominent in her life. "My dad had a great record collection, and he introduced me to The Grateful Dead when I was a kid. I was instantly hooked," she reminisced. "I was in a Grateful Dead-inspired band in college, so I've been singing and playing Dead songs as long as I've been playing bluegrass. Recently I've been lucky to connect with local musicians who are also inspired by this legacy, and I've especially enjoyed listening to my producer, Bill Wolf, tell stories about his work with the Dead as we've worked together on this new record." Before seeing herself as a music act unto herself, Frazier toured for many years with her band, Hit & Run. It took a while before she saw herself as a solo artist. "It never occurred to me that anyone would think twice about me as a solo artist or guitar player," she said. Then, Flatpicking Guitar Magazine decided to put her on their cover because she was essentially "the first woman out there touring full-time as a bluegrass flatpicker. "Looking back, it never occurred to me that I was a 'trailblazer' in this way. I was definitely too busy touring and rehearsing to notice or think about that. But people mention it to me now, and I appreciate the recognition for my work." Just as her father's record collection influenced Frazier's life as a musician, she seems to be handing down this passion for music as well; her kids have embraced it in a big way. "Both of my kids started fiddling in 2018 through a wonderful program founded by Meredith Watson, Nashville School of Traditional Country Music," Frazier said. "I took the fiddle class with them, so I could help them to practice at home. It's been rewarding to see their progress as they absorb the canon of old-time and bluegrass traditions." "When I took them to a bluegrass concert recently, they were singing along with all of the songs! I brought them both to New York when I taught at the Ashokan Center this summer, and they were thrilled to play 'Ashokan Farewell' with Jay Ungar, the composer of the tune," she explained. "Yet my biggest thrill has been working up three-part harmonies and performing bluegrass gospel with them at church, gigs, and retirement communities. Their voices blend with mine, and they have an ear for my vocal innuendoes." "However, I think they probably won't fully appreciate these experiences until they are older," she added. "Right now, it's just daily life for them."