ETA Cruise - Friday at Sea

Days at sea on a cruise ship provide a chance to rest, enjoy the ship’s activities, and hang out with new friends. We had a long, leisurely breakfast being joined at first by Skip Cherryholmes and later by Jerry and Tami Butler. One of the differences between bluegrass cruising and attending festivals or concerts lies in the opportunity to come to know bluegrass performers in new and different ways. Jerry and Tami Butler had moved from mere bluegrass acquaintances to friends over the past several months as we grew to know and appreciate each other. On the other hand, members of the Cherryholmes family have been much harder to get to know.

Bluegrass fans know the story of how the Cherryholmes family, grieving after the loss of the oldest daughter, attended a bluegrass festival, were moved by the music, and moved to the desert to learn to play bluegrass under the tutelage of their mother Sandy Leigh, who has a background in music education. Over time the kids learned instruments and the family began to appear at festivals, first playing at their campsite, then at open mic sessions, and finally as paid performers. Over the next few years their skills increased rapidly and they moved to headliner status, being named Entertainers of the Year at IBMA with Cia Cherryholmes, now the oldest, winning awards as both a banjo player and a singer. Their story is remarkable, but has not been accomplished without very hard work and a good deal of sacrifice. They are a close knit, focused family, not easy to know although always friendly and approachable at their merchandise table. The bluegrass cruise gave us, and others, a chance to come to know them in a much more personal way. Watching eighteen year old Skip, developing as a first rate guitar player, ride the FlowrRider, or seeing Molly Kate, nearly sixteen, clowning with other teen agers opened doors otherwise hard to penetrate. While trying to respect their privacy, we still had opportunities to chat at a more personal level with all members of the family and to appreciate their skill, hard work, and talent at a much deeper level. We also heard more about the plans and aspirations they have for the future. We’ll certainly follow their progress with greater attention and affection in the future.

Every way you look at it Liberty of the Seas is a major operation. Billed as the biggest (cruise) ship afloat, Liberty of the Seas is 1111.876 feet long (338.9 meters) and weighs in at a hefty 154,407 tons. She is 126.64 feet wide and draws a maximum of 29 feet. With this much size, she carries up to 4300 passengers served by a crew of 1400 people coming from 65 countries and cost $800,000,000 to build. During a one week cruise, she can desalinate 233,000 gallons of fresh water a day, and at full speed consumes 11,312 kg of fuel per hour. Each week the food and beverage staff prepares 105,000 meals, 60,000 appetizers, 84,000 main courses, and 90,000 deserts. 85,000 eggs are prepared and consumed weekly. All these superlatives should not be allowed to mask the true value of what actually gets served up on a Royal Caribbean cruise. Every day, despite the fact that the ship was filled with over 4000 passengers including 1200 kids on spring break, the ship was kept spotless and odor free. Crew members, wherever we encountered them, smiled and said hello. When there were problems, and there were a few, the staff at guest relations did their best to solve them. Twice when we had problems the crew member dealing with us had sufficient authority to solve the problem in our favor, even though it cost the cruise company money. In every aspect of shipboard life, our comfort and pleasure seemed to be important to the crew. An entrée not prepared to your liking at dinner? Send it back for another portion or a different choice. Want another one? Order it. Not able to make a choice of deserts? Have ‘em both. Hungry at midnight? Stop at Sorrento’s on the Promenade deck for a slice of Pizza. Want coffee at 4:30 AM? Go to the Promenade Café and there it is. While Royal Caribbean is a corporation operating to make a profit, it achieves its goal through delivering quality.

There were a couple of exceptions to this passenger’s always right and anything a passenger wants approach. Passengers had to pay extra for water and carbonated drinks. We could buy, on the first day out, a bottomless carbonated beverage container for $48.00. This seemed a lot, but people who really like to drink Coke regretted not having bought it soon enough. Even at meals, Coke was a premium item along with specialty coffee drinks. As far as we could tell, there isn’t a single water fountain on the Liberty of the Seas. Water ordered any place but at meals cost extra. You could go to your cabin and draw water from the tap, or obtain ice water at the Café Promenade, but cold water wasn’t available otherwise. As ceaseless activity is encouraged by the cruise line, this seems excessive. The other exception revolves around smoking. Ship rhetoric declares the Liberty of the Seas to be “essentially smoke free.” Then it claims there are certain places (e.g. “smoking in many of our lounges and on open air decks starboard side”) where smoking is permitted. Since the odor of smoke insinuates itself into places not designated as smoking areas, the policy effectively means people may smoke nearly everywhere. This problem was exacerbated by the fact that there was some confusion about which decks permitted smoking and the fact that cigarette disposal was available on the port rather than starboard side. Effectively, unless the cruise line is both willing to enforce its policy and provides powerful ventilation systems in the places where smoking is permitted, there is no anti-smoking policy at all. These days, even on a cruise like this, smokers are in the minority, but the power of the odor they create prevails. It was nearly impossible to go from stern to aft without walking through areas where smoking was permitted. Because crew members are reluctant to confront passengers about their behavior, this problem will continue to prevail.

Galley Tour

On Friday afternoon at 4:00 PM, after packing our luggage and preparing to put it out in the hall for early delivery to the luggage carousel, we presented ourselves at the doors of the Rembrandt dining room with about 30 other passengers. The head chef divided us into three groups and we were given a tour of the kitchen (ship talk = galley) facilities. At four in the afternoon, with dinner to be served in less than two hours, the place was nearly empty and spotless. Stainless steel prep tables gleamed, ovens blinked at a variety of temperatures, and huge soup pots steamed as the soup stocks simmered. At one table a cook had about two hundred sugar free Key Lime pies laid out and was garnishing each with a berry topping. For some reason, three of the most obnoxious passengers on the cruise decided to take this tour. All were apparently restaurant guys, and they talked loudly, opened pots, tasted covered items, ignored the chef giving us a tour, and generally soured this truly interesting presentation. One man took out a covered plate of food. Where he obtained this and who gave him permission remains a mystery. The chef told us that any food remaining for as long as four hours after preparation is destroyed. There is virtually no waste and the ship arrives in port with an empty larder. It is only stocked with fresh food purchased by ship’s agents in Miami. Passengers can be confident that food on Royal Caribbean ships is clean, fresh, and prepared under sanitary conditions. Furthermore, at the entrances to all eating places, in every bathroom, and at other convenient locations hand washing stations dispense anti-bacterial hand sanitizer which everyone (crew and passengers) is encouraged to use frequently. Our final dinner on board tasted even better after this visit as we said farewell to our wait staff and presented them with their tip envelopes. A word about tipping might be in order here. The cruise line suggests a standard for tips, which might seem excessive, but consider. Dinner, for instance, with all its courses is roughly equivalent to a $40.00 dinner in pretty good restaurant. This makes $3.50 a day per person not excessive, especially since the wait staff also works on rotation in other places where they are not tipped. Similarly, the cabin attendant’s suggested tip of $3.50 per day seems more than reasonable.

Three Levels of Dining Rooms

Final Cocktail Party - Jayme Booher and Friends

Staff Captain Henrik Loy and Steve Wallach

The last day’s activities started with a 5:00 o’clock cocktail party in the Sphinx. It gave Steve Wallach a chance to talk to us about debarkation the next day and for all of us to meet together once more informally. After dinner we re-assembled for our final cruise activity, the talent show and band scramble. Lorraine Jordan had been put in charge of organizing this event, and she did a superb job. She had been rushing around recruiting singers and musicians to pick and sing in the talent show. Little did I understand that each person stepping up would have a great backup band. Imagine singing a song with Josh Goforth, Phil Leadbetter, Ben Greene, Beth Lawrence, B.J. Cherryholmes, and Jerry Butler behind you. These guys could make Hilary Clinton sound like a bluegrass singer. Each person or group came up and either sang with the backup band, presented a duet, or in one case performed as a full family band. This group came from Alaska for the ETA bluegrass cruise. Josh Goforth accompanied Lorraine Jordan’s nephew on a jazzy version of Over the Rainbow.

Family Band from Alaska

Some Kind of Back-Up Band

The Yankees and the Rebels
Will the Circle Be Unbroken


Ross Nickerson

Alan Munde

Next up was Ross Nickerson and Alan Munde. Nickerson has combined his bluegrass banjo cruise with the ETA cruise and ran a parallel instructional program daytimes. I stopped in for part of one session and saw several banjo students working with Ross on song kick-offs. On several occasions we jammed with some of Nickerson’s students, who all seemed to be having a great time. His web site is filled with useful information and learning opportunities for banjo pickers, while more information about him can be found here. Alan Munde, recognized in Pete Wernick and Bill Keith’s book Masters of the Five String Banjo has recently retired from his college teaching job and was on Ross’s faculty. I had never heard either play, and it was a real treat as both played virtuoso pieces in the half hour allotted to them.
Band Scramble
You Identify the Members in Each Band

The Band Scramble provides members of all the performing bands to really show their chops as bluegrass pickers. Bands perform using well rehearsed and carefully developed songs, often taken from their CDs. They rarely perform in off the cuff fashion, and it’s important for them to be polished and professional sounding. In a band scramble, members of all the bands are mixed up with no more than two pickers from the same band playing together. Each band is given two songs and two minutes to decide who will kick off the song, who will play breaks, sing lead, sing which harmony, and so-on. They must also come up with a name for their bands. The songs they were given were bluegrass standards that any good parking lot picker knows. Notwithstanding this, each band performed with professional skill, making each song stand alone and showing what bluegrass is truly all about. This is a great idea and shows what good professional musicians can do when forced to meld their skills and work with people they’ve seldom, if ever, picked with before. Great stuff!

Bradley Walker and Jim in Schooner Bar

Tim Graves, Steve Wallach and Jim


Debbie Gulley Sings with Jim


Steve and Steve Watch Debbie


The Bluegrass part of the ETA cruise was over…but wait! Many of the group repaired to the Schooner Lounge where for the past couple of nights the bluegrass crowd had, with the acquiescence of the resident piano genius, sung to his accompaniment. Bradley Walker and Steve Gulley both sang. Debbie Gulley, Steve’s wife who sings at Renfro Valley, did a great Patsy Kline song, and Josh Goforth sang while accompanying himself on the piano. Jim, the pianist, worked with each to find the right songs in the best key to showcase their voices from within his own repertoire. This all culminated with Steve Wallach sitting down at the piano and playing a couple of his own compositions, including one song he had written for Josh Grogan. We had no idea of his great skill in this area. We headed for bed shortly after midnight, knowing that tomorrow would be long and that we’d start tired. It was and we did, but the cruise had been a success for us. I’ll be writing an account of the debarkation procedures and a final assessment later in the week.

Josh Goforth Tickles the Keys

Steve Wallach's Last Refrain

ETA Bluegrass Cruise - Thursday - Labadee, Haiti

Liberty of the Seas at Anchor
Tender

Labadee Beach

Haiti is the poorest island in the Caribbean and the oldest island nation there. It has been ruled and mostly destroyed by a succession of brutal dictators who have become rich on the backs of the people. The United States has wooed, bullied, neglected, invaded, and manipulated Haiti without ever seeming to have had a positive effect. Royal Caribbean leases a mammoth beach area called Labadee (Wikipedia profile) on a secluded point as a stopover spot for its cruise ships. In its promotions and preparations for the visit, passengers almost never hear the word “Haiti” and all is focused on enjoying a day of fun in the sun on Labadee (Royal Caribbean’s web site promotion). We were told that Royal Caribbean has a significant beneficial effect on the island’s economy (Wikipedia says the line pays Haiti’s government $6.00 per tourist landing there), but never are passengers faced with the realities of the tragic nation on the island of Hispaniola, one of Columbus’ first stops. Excellent pictures of Labadee and reviews of experiences there can be found here.

Main Activity Area - Labadee

We awoke to find the verdant mountains of Haiti rising above us as we slid into the harbor at Labadee (aerial photo- Google). Haiti has been extensively deforested by natives needing fuel for cooking (no one here needs to heat their home), but Labadee was covered with palm trees, bushes, and shrubs providing attractive plantings as well as plenty of shade for those who want it. There are several small beaches on the Caribbean side of the peninsula and a short walk takes people to the Atlantic side where there is much more space as well as some surf for those wishing it. The central part of the island has rest room facilities and a large, open air cafeteria where a sumptuous luncheon, prepared entirely from food brought from the ship, is served. Each beach has one or more open air bars. Paved walkways lead from place to place, and a free shuttle conducts people to the rather reaches of the area.

The Liberty of the Seas anchors about half a mile offshore and soon a small fleet of tenders, each carrying about 200 passengers begins to conduct the 4200 people on board to shore. This is done with dispatch and efficiency complemented by the different schedules people prefer. I made two round trips to Labadee (assessments from Trip Advisor.com) without ever waiting in line more than fifteen minutes. As passengers board they are encouraged to purchase quart bottles of water ($3.50 charged to your Sea Pass), and it’s a very good idea to buy water sooner rather than later. Other than at meals and in the staterooms, there is no place on the ship where free water is available. (Since staying hydrated is of major importance in the tropics, water sales must be an important profit center for the shipping line, and it approaches the irresponsible for Royal Caribbean not to provide copious amounts of free water at Labadee as well as on St. Martin.) The tender drops passengers at a dock and everyone debarks into the continuing hard sell. Ships photographers are everywhere snapping shots of people with the ship in the background, in front of life rings, on various attractions, and so-on. Later on these pictures appear in a photo gallery on ship where people can purchase various packages to put together showing their experiences. These are high quality pictures and priced somewhat below studio poses, but they also represent another opportunity for commerce.

Steve Wallach

My response to Labadee as a beach is informed by our other beach experiences in the Caribbean. On three occasions we’ve taken Caribbean vacations where we’ve rented apartments or small villas on beaches. We’ve had the freedom to eat when and where we wanted, to travel easily, and to shop widely. Such experience is sufficiently unlike the cruise experience to color my assessment of a place like Labadee. Having said that, numerous activities are offered for ship’s passengers coming ashore. A large area on a beach near the docks is given over to a range of slides, floats, and other constructions suitable for children’s play (SeaTrek Aqua Park - $15.00/hr). There are opportunities to drive a wave runner ($89.00), Parasail ($89.00), ride a speedboat ($42.00), ride a zip line ($80.00) or take a snorkeling adventure ($42.00). Depending on your perspective, these “Explorations” can be seen as expensive luxuries, once in a life-time opportunities, or reasonable vacation expenses. People traveling on a more restricted budget can have a beach chair set up (no tip required) to enjoy the sun, go for a swim and relax. The ship provides a buffet luncheon. About 200 vendors have small shops in a market area where local crafts are sold and tourists encouraged to bargain to their hearts content. We came back early for lunch on the ship and a quiet afternoon, but others we talked to reported a fine time on the best beach they’d ever visited.

Josh Goforth

Passengers returned to the ship and managed to look fresh and happy at dinner, although we noticed plenty of empty seats as man chose to eat in the Windjammer Café, which is open for all three meals and for long hours for those not wishing a tablecloth, waiter service meal. We generally ate breakfast and lunch at the Windjammer and found the food to be tasty, varied, and well-prepared. We were fortunate to have Josh Goforth, the very talented fiddler for Lorraine Jordan and Carolina Road, as well as Todd Meade, bassist for the same band, as our table companions, giving us the opportunity to come to know them better and to gain a deeper understanding of the realities of being a road musician. Josh, at age 26, is a particularly interesting young man. His career has included stints with several other bands, including his own. He often performs with folk historian David Holt (four time Grammy winner) and also makes frequent appearances in the U.S. and abroad as a solo artist and lecturer on old time traditional folk arts. He plays all acoustic instruments as well as, we later discovered, a mean pop/jazz piano. Josh is unusually articulate about his own music and the role of band member in a bluegrass band. His contribution to Lorraine Jordan’s band has been significant.

Lorraine Jordan

Ben Greene

In the evening we assembled for the nightly bluegrass concert. Four bands performed. Lorraine Jordan & Carolina Road led off with another spirited traditional bluegrass set. Lorraine is an impressive woman who has fronted this band for about nine years. She plays an upfront Monroe style mandolin, writes songs, and sings. In recent years the band has seen considerable changes in personnel (what bluegrass band doesn’t?) but has been stable for the past eighteen months as she has molded it into the best of her bands yet. Ben Greene’s playing style on banjo isn’t flashy, but very solid as he plays strong breaks, excellent backup, and contributes a mellow bass voice to gospel quartets. Lorraine has also attracted a strong and loyal fan club who form a significant part of the bluegrass cruise group. Lorraine and her band are eager to interact with their fans and create good will throughout the cruise.

Jerry Butler and Lorraine Jordan

Tired Road Fan

Jayme Booher (Grasstowne)

Grasstowne followed with another of their fine sets. I’ve written so much about this group I find little new to say. While the emphasis about this band has rightly focused on the three principles (Alan Bibey, Steve Gulley, and Phil Leadbetter), who are among the finest at their jobs as any in the field, it’s worth talking about the two sidemen for this band. Jayme Booher is only twenty-one years old, and he’s the only member of the band not an original, having taken up his bass for Grasstowne after its first CD was finished. As with the other members of this band, he’s not a showy player, but his work on bass is better than good. Since bluegrass bands don’t usually (ever?) have drums, the bass provides much of the percussive drive as well as maintaining a solid beat for the entire band. Booher, who played for his family band near his home in Johnson City, Tennessee for many years, plays his role to near perfection. Hidden behind the band and further reducing his presence by hiding himself behind his bass, Booher nevertheless, is clearly in evidence for those who appreciate his seemingly easy but absolutely necessary instrument.

Steve Gulley

Mark Newton

The Mark Newton Band followed. Newton plays and sings well and leads his band with humor and good grace. Beth Lawrence on bass is a standout, offering strong bass play, a pleasant if retiring personality, and a lovely voice in leads and harmonies. Dave Denman is a strong lead guitar player and singer. Tony Wray on banjo is a standout, a player I’d never heard of but came to appreciate more each time I hear him pick. Mark Newton’s band has announced that he is newly represented by the Angela Roberts’ booking agency, Sound Kitchen Productions. One can only hope this new association gets him more bookings and wider recognition.

Beth Lawrence (Mark Newton Band)

Dave Denman (Mark Newton)

Mark Newton Fan

Bradley Walker sang again, once more backed up by the Cherryholmes minus mom and dad. Walker only grows on me as I listen to his mellow voice and very clear diction. Known more as a country singer, Walker has indeed a first rate bluegrass voice. Singing with Cia Cherryholmes’ harmonies, he sounds even better. Although we weren’t there, he later brought down the house singing in the Schooner Bar on deck five after hours.

Bradley Walker

Lorraine Jordan and Fan Club President

B.J. Cherryholmes

ETA Bluegrass Cruise - Wednesday - at sea

Jerry Butler (Carolina Road) and Tim Graves

Cherryholmes

A day at sea provides time to get rested up, a bit. The entire ETA group assembled on the heli-pad on the front-most deck of Liberty of the Seas for a group picture. Passengers and musicians clustered together while one of the ship’s photographers perched on a small platform and held fast by a rope shot some pictures. After the picture we rushed to our cabins for me to change into a swim suit for the first time on this trip.

Faithful Blogger

Jerry Butler

Your faithful blogger had decided to challenge the dreaded Flow Rider, mastered by children and adults of all ages. After signing a release form assuring the cruise line would not be responsible for anything happening to me for the remainder of the trip. I think if I had a heart attack and died in bed any time in the next six months, Royal Caribbean would be completely absolved of any possible connection to this relatively harmless, but exciting, water activity. The fact that the person in line ahead of me was a tiny girl just reaching the 48” minimum height and weighing no more than fifty pounds provided no solace. Irene took a convenient seat for photo purposes as I joined the line. Forty minutes later I stood on the rubbery blue surface while tons of water cascaded past my ankles at 35 miles per hour as the life guard-coach gave me final instructions. I placed the butt end of the boogie board against my upper thighs and leaped (well…stumbled) into the void. I slid quickly down to the lower end of the Rider, adjusted my weight forward, and slowly moved up towards the break at the top. More forward pressure brought me sliding toward the bottom, letting it up allowed me to slide upwards. I was riding the Flow Rider! Getting the board marginally under control, I worked it from side to side, once sliding out of the heave water onto the right side where almost no water flows. I pushed myself back into the stream, achieved a bit of equilibrium and rode for a few seconds. My next challenge was to try to do something. The choices include getting up to your knees, doing a headstand on the board, achieving a forward somersault board in hand, pushing the board away from you and hope it catches you before you’re ridden off the top, or doing a barrel roll. I lined myself up, tired to roll over while clutching the board to my chest, lost control, and quickly slid off the top. My ride was over, but it had been great fun. I sat down with Irene, took a quick look at a few of the pictures and waited for Jerry Butler and Skip Cherryholmes to complete their much more aesthetic rides. Jerry managed not only to get to his knees, but to release the board with his hands and flex his muscles before going over when he, too, tried a barrel roll. Skip had a successful, but shorter, ride because he tried the barrel roll pretty quickly. Irene and I headed to the cabin to change for lunch and, later, a much needed nap.

Later in the afternoon we headed to the conference center to see if there was any jamming going on. In one of the rooms we found the Mark Newton band, augmented with guest mandolinist Alan Bibey, practicing for Thursday’s performance. The practice session, which we watched for perhaps 45 minutes, proved to be quite interesting. Under Mark’s direction, but with lots of give and take, the band members worked through the songs in their set, deciding who would sing which parts in the trios, the tempos and keys they wanted for each song, how the pattern of solos would work, and other details. They’d break off a tune in the middle to chat with bass player Beth Lawrence playing a crucial role. Alan, who doesn’t play with this band, is a very quick study and worked out solos as well as back-up licks that fit in perfectly. The band would begin where it had left off and work through the song until Mark was satisfied they were ready. The seeming ease with which each person fit into the familiar bluegrass patterns and blended together into a working ensemble speaks to the high quality of their musicianship as well as providing an example of one of the wonders of watching a playing bluegrass. Bluegrass musicians, particularly in a jam situation, can use the conventions of the music and their familiarity with its patterns to create a sound giving the appearance of years of playing together. As they ended we went off to find the ice rink and get a seat for the ice show.

“Ice show?” you might ask. That’s right, there’s a small ice rink located at the bottom of the ship near the center, presumably a place where the ship’s movement is minimized. We sit down just behind Phil Leadbetter and his wife Lisa. The show, a mélange of familiar tunes, many coming from show music but based on classical repertoire (Carmen, Kismet, Viva Las Vegas) used the music as a forum for the skaters to twirl and jump, lift and spin with surprising speed considering the size of the surface. The skaters, many from Russia, gave an excellent account of themselves. The highlight was a young Russian skater doing a solo routine which began with her twirling a single hula hoop and became increasingly complex and amazing as she added hoops. By the end of her routine she was keeping at least a dozen hoops going while she moved and spun. The rousing finale featured the entire cast skating to a rousing rock medley and bringing the crowd to its feet. The show ended with the crowd on its feet as we headed for the exit to change for formal dinner.

Ten minutes later we walked into the dining room to find our seats taken. Lorraine Jordan had seen us at the ice show, noticed we were still in shorts, and assumed there was no way for us to get to dinner. Fooled her! After some readjustments, we had our seats back with Josh Goforth, Todd Meade, and Susannah, Lorraine’s delightful fifteen year old daughter. Ben Greene, Carolina Road’s very able banjo player, joined us, too. Dinner featured lobster tails, a delicacy which often involves a contest to see who can eat the most of them. We abstained, but there was plenty of lobster eaten. Dinner over, we headed for the music portion of the evening. What had started as a leisurely day ended in a rush to get it all in.

Grasstowne

Grasstowne opened the evening with another great set. Jason Davis on banjo seems to have improved his already fine picking over the past few months. Davis is a man of few words who shows almost no emotion as he plays wickedly clean and accurate banjo at speed. Because there is no pretense or showiness in his play, listeners might miss the extremely high quality he achieves. In fact, Grasstowne as a whole is business-like and straightforward in its play. They banter back and forth some and clearly enjoy making music together, but the excitement they generate lies more in their music than in their show. Alan Bibey plays mandolin with such authority and grace he seems to be making hardly any effort at all as the complex fingerings and marvelous triplets leap from his instrument. It almost seems too easy, but make no mistake, Bibey has paid his dues in sweat and toil to achieve this seeming ease. No one plays the mandolin any better. Similarly, Phil Leadbetter on Dobro seems to be a chatty friendly guy at the left end of the band. His sound soars and dives in and around the melody, helping create what has become the unique Grasstowne sound. Steve Gulley, on the other hand, lets it all hang out as his voice curls around the tunes, showing pain, love, and loss in each note. Together, this band, with Jayme Booher providing the ever solid beat on bass, has forged a sound honoring traditional bluegrass while reflecting contemporary sounds and sensibility. They’re truly a marvelous group.

Alan Bibey

Phil Leadbetter

Steve Gulley

Tim Graves and Cherokee

Tim Graves and Cherokee faced a challenge as the middle group sandwiched between a new super-group that has risen to prominence in a little over a year and a family group that has taken the bluegrass world by storm during the past four or five years. Graves, whose Uncle Josh played Dobro with Flatt & Scruggs for many years, plays his uncle’s more traditional style and sings in a very fine high baritone voice. Supported by Daniel Grindstaff on banjo and Joe Benning on guitar, Graves’ presents a very solid show which should please any fan of traditional bluegrass. Bennie Bolling on bass remains in the background, but is quite evident both for his solid beat and his huge smile. Planted squarely behind the rest of the band, he presents an elfin presence filled with the joy of the music. Tim Graves and Cherokee do a fine job.

B.J. Cherryholmes

Skip Cherryholmes

Molly Kate Cherryholmes

The Cherryholmes Family closed out the evening with a set composed mainly of some new songs being added to their performances and songs requested from their first big CD. BJ Cherryholmes, in the spirit of the islands, wore a Rasta cap with black dreadlocks dangling down. He called himself Billy Bob Marley. Humor, however, can’t mask the intensity of his performances, whether on fiddle, mandolin, or in vocals. His singing has improved greatly in the past year or two, with new timbre appearing in his once reedy voice. Molly Kate, the youngest member of the family, is now nearly sixteen but graduating from home-school with sufficient credits to enter her sophomore year of college. Her play on the fiddle and her much improved stage presence show the intelligence behind them. Skip Cherryholmes is more than a Flow Rider surfer. Both his rhythm guitar and his aggressive flat picking add drive and strength to the band. Cia Cherryholmes, thin and wraithlike with her black hair and piercing red lips, continues her strong vocals and fine harmony. Her harmony work has received great recognition as she sings on many albums fronted by other musicians. Her banjo play remains excellent. Mother Sandy Leigh, who provided much of the early instruction and organization for this band continues to offer her high energy and mature voice, while father Jere emcees and offers what passes for humor with this band. As the interaction between the younger members has increased on-stage, his peculiar brand of humor has become less necessary. One of the real pleasures of this cruise has been the opportunity to interact with the kids in a more informal setting where they can be the enthusiastic young people they are. Their increasing interest in broader approaches to the music will bear careful watching as they continue to grow.

Sandy Leigh and Jere Cherryholmes

Cia Cherryholmes

As the evening ended, a number of fans and musicians retired to one of the shipboard bars for some impromptu music making while we headed for bed. Haiti and the private beach at Labadee tomorrow.

Steve Wallach

ETA Bluegrass Cruise - Tuesday - St. Maarten

As we’re finishing breakfast in the Rembrandt dining room we looked out the window to see jagged mountains rising above white sand beaches interspersed with rocky shore where the mountains rise directly out of the sea. We’ve arrived at St. Maarten, the Dutch end of two island nations, one of Dutch origin, the other French. The islands of the Caribbean curve south from the Bahamas to a series of small islands just off the coast of Venezuela. For want of a certain explanation, I suspect some of these islands were created by volcanic action while others grew on a base of coral over the ages. Thus a variety of shapes and sizes of islands is found. Sail and motor boats flit back and forth. Three large sailboats are tacking back and forth out of the harbor, each loaded with passengers. It doesn’t take us long to figure out these are excursions from the other cruise boat we see standing at the pier.

As we approach the pier Irene notices there are no tug boats about. The wind is blowing hard, but the Captain turns the ship around and carefully backs this 1111 foot long behemoth into its space along the pier. There isn’t even the slightest bump as we come to rest, the two huge screws rotated to pull the ship alongside. Across the pier, Disney Magic is moored. By nine o’clock, the gangway fills as a large portion of the passengers head toward the busses that will take them to Waikiki Beach for a day of fun in the sun and music. We have decided not to go on the excursion because of the price and the amount of sun I’d be exposed to. Later, we will discover that perhaps we made a mistake, but we have decided to take it easy, and I want to get Monday’s experience posted.

We eat lunch in the Windjammer and Jade Café where, despite how few people remain on board the ship provides a sumptuous lunch with a range of offerings from hamburgers, hot dogs, and pizza to Asian specialties, salads and stews. As always there’s a selection of pastries in small enough portions to allow those who wish to have three or four desserts. After lunch we disembark to visit St. Maarten’s capitol city, Phillipsburg. St. Maarten/St. Martin is the smallest land mass in the world shared by two sovereign nations at 37 total square miles. It is 9.3 square miles long and 8 miles wide at its widest point. The highest point is 1392 feet. The mountain sides are studded with homes, some quite stunning from a distance and certainly more so close up. Closer to town and the beaches resort hotels and condominiums can be seen. While French, Dutch, and English predominate, over 100 different languages are spoken on the island.


We walk down the long pier to the water taxis which transport us ($6.00 all day fare) to downtown Phillipsburg. Since tourism is the basis of the entire economy of the island, there is little wonder that the down is dominated by small shops. The Welcome Center, located at the head of the pier, distributes free of charge a glossy and thick magazine detailing the stores and brands available. Generally speaking the emphasis of the small shops along Phillipsburg’s narrow streets is on jewelry, loose precious stones, cameras, and liquor. There is a small market in the middle of town selling colorful clothing in island prints. A few blocks away from the crowded beach the shops are more focused on meeting the needs of local people. There’s a market, clothing stores, Penny’s Department Store (not to be confused with J.C.), and smaller shops. The streets are very narrow and there’s a bustling atmosphere. A number of branch offices of international banks are available as well as a couple of large law offices, suggesting the possibility of offshore business opportunities providing tax advantages to American businesses and individuals not wishing to have American tax officials getting too close a look at their books. At mid-day the sun is brutal and we try to stay in the shade of buildings. Since we’re not in the market for anything, we window shop but don’t enter many of the stores. I go into a camera shop to buy a little gizmo and price the camera and lens I’ve been lusting after. I find that if I bought it here, I’d save about $400 under the price at home. The new lens a camera body will have to wait for another day. We head back to the ship for a nap and some quiet time.

Irene wakes me at around 4:30 to go on deck to watch the passengers return. From four stories above we see lots of sunburn, some people staggering from the free rum punches provided at the beach, and lots of happy, tired people. We watch from the deck as the last few stragglers stroll up while the gangplanks are being taken in. One might think they’d be in a hurry since the ship waits for no one, but stroll they do. We head for dinner and are joined by Josh Goforth and Todd Meade from Lorraine Jordan’s band. These two young and talented musicians are delightful dinner companions, and we’re glad to have them at table. Our wait staff, Ronel from South Africa and Selvino from India, is good humored, efficient, and friendly all at once. The dining room is perhaps half full of people tired from their day ashore. Lorraine has bought tropical print shirts for her band members while many other passengers have bought them, too. This makes for a most colorful view as we look out. Susanna Jordan Langdon and Molly Kate Cherryholmes sport trick glasses and are relaxed and coltish as they mug toward other guests.

Silvano

Ronel

Who's This?

Officers and Spouses - Lorraine Jordan Fan Club

After dinner we head down to the Conference Rooms on deck 2 with our instrument for an evening jam. One jam is filled with band members and (mostly) skilled passengers, so a pretty big group has joined them to watch. There are two other jams going on, one pretty skilled and a relatively slow jam for the less experienced. We join that one, picking and singing for a couple of wonderful hours. We feel welcome despite our relative inexperience and are encouraged to lead songs and take breaks along with the stronger musicians. It’s the kind of experience that helps novice musicians improve their skill levels. Keeping up with faster, better pickers and trying to take instrumental breaks in public encourages improvement. The more we participate in this sort of jam, the better we’ll get. Since, in many ways, jamming is what bluegrass is all about, it's really fun to be involved in this on the cruise. Things begin to wind down, and we hit our stateroom around 11:00 o’clock. Tomorrow we’ll be at sea and there’s another formal dinner. We fall quickly asleep to the gentle rocking of the ship.

Jammers

ETA Bluegrass Cruise - Monday - San Juan

el Morro Castle - San Juan, Puerto Rico

The ETA Bluegrass Cruise is an interesting combination of cruise and bluegrass festival. People wanting to maximize their bluegrass experience can attend the Ross Nickerson banjo workshop which also provides private instruction in other instruments. Conducted by Ross Nickerson of BanjoTeacher.com and assisted by the recently retired Alan Munde, this workshop provides beginner, intermediate and advanced instruction. A space on the ship has been set aside for people who want to jam or practice, and we’ve participated in one jam, which was fun but above my head as a picker. Each evening, ETA offers a concert featuring three bands, and there will be a big party at a beach in St. Martin. Cruisers wishing to attend regular shipboard events or participate in the broad range of other activities offered on a cruise ship have plenty of time to do so. When the Liberty of the Seas is in port, people can leave, people can leave the ship on their own to explore or engage in any of the varied activities scheduled by Royal Caribbean. These range from guided walking tours to deep sea fishing, SCUBA diving, and kayak paddling trips. The off-ship activities are relatively expensive, but they provide lots of alternatives. It would take a very jaded person or one with a quite limited range of interests to have time to get bored on a cruise ship.

Liberty of the Seas at Pier

Yesterday I had discovered I could get twenty-four hour coffee at a place called the Promenade Café. On Monday I learned that the food served there is also free. The only charges are for specialty coffees. In the morning you can get pastries and donuts. Later in the day there’re sandwiches just in case you didn’t get enough food in the dining room. A pizza place called Sorrento’s also supplies Panini and other kinds of snacks until 3:00 A.M. A person who stays away from specialty coffees and alcohols can eat almost 24 hours a day. For those wishing something special, there’re a steak house and an Italian restaurant on board where higher end foods can be purchased at a premium. Since the kitchen will supply nearly unlimited amounts of what’s on the menu plus additional foods for those who don’t find what they want on the dinner menu, there’s no need and little incentive to use the high end restaurants. Nevertheless, they appear to do a booming business.

Cobbled Street in San Juan

Residential/Commercial Street - San Juan

Our day began with a crisis as I left my power cord and transformer in a martini bar called Olive 0r Twist where I went to write my blog. I arrived back in our cabin to discover it wasn’t in my bag, blamed Irene for having left it, and ran up elevator and down stairs searching for it. We reported the loss to guest services on deck five, then came back to the bar only to find my equipment neatly wrapped on the bar. After reporting our find to guest services and heaving a great sigh of relief, we headed up to the Flow Rider on the sports deck at the top of the ship for our first planned activity of the day. Think of the Liberty of the Sea as a fourteen story luxury hotel with two elevator cores and a number of hallways providing fore and aft access. All the dining rooms are located towards the rear. The theaters and sport activities lie amidships or toward the prow. Our cabin is aft and passengers must learn to negotiate the system to get to the end of the ship providing access to their destination. Despite numerous ship models with very accurate maps of the elevator and stair systems, it still takes some doing to get where you want to go.

Skip Cherryholmes on Flow Rider

Skip Cherryholmes of the band Cherryholmes and Tami Butler, wife of Jerry Butler from Lorrain Jordan and Carolina Road had decided to venture onto the Flow Rider at 11:00 A.M, so Irene and I found good seats to watch this adventure. We sat in the sun and wind and watched kids and adults try their surfing skills on the Wave Rider. This apparatus provides a well padded surface over which masses of water are sent pouring uphill. The rider starts at the top and jumps onto a boogey board and a small surfboard. Experienced riders can eventually get to their feet and do a variety of surfing moves and the never-ending wave. Neither Skip nor Tami had ever ridden this equipment, although Skip spent part of his youth in California and had surfed. After waiting in line at watching others, their anxiety grew as they headed towards the top of the line. They each had very successful rides, cruise members who came had a good laugh, and the pictures tell the “rest of the story.”

Tami (Mrs. Jerry) Butler

Mission Accomplished

After lunch we went back to our cabin where I finished my blog and posted it before lying down for a nap. It’s worth noting that hand cleaning stations are placed at every eating location, in bathrooms, and at other appropriate locations around the ship. Passengers and crew are encouraged to wash their hands frequently and the ship’s crew is obviously eager to encourage people to do everything they can to avoid the spread of the various ailments that have plagued some ships in recent years. The entire ship is kept scrupulously clean.

Alan Bibey, Phil Leadbetter, and Steve Gulley with Bradley Walker

Irene wakes me around 3:00 PM to let me know we’re coming up on Puerto Rico and soon Moro Castle appears on the port (left) side. Moro Castle is a brooding old fortress dating back to the seventeenth century. San Juan is the second oldest European founded city in the western hemisphere, dating back to 1521. Only San Cristobal in what is now the Dominican Republic is older. Puerto Rico is 110 miles long and 35 miles in width at its widest point. The San Juan metropolitan area has a population of around two million, roughly half the population of the entire island. From our ship we could see the old city come into view and a wharf where three other cruise boats were already berthed. Liberty of the Sea effortlessly nosed into its berth. The propellers of this ship can rotate in a 360 degree arc, allowing the ship’s master to go sideways and obviating the need for tug boats. Watching the docking procedure is an interesting venture each time you reach of leave port. The island itself is mountainous and lovely. San Juan is an old city perched on the edge of a beautiful bay.

Nearly four thousand people eager to hit the shops and walk the streets create quite a crush at the gangways, so we went back to our cabin to wait until the rush to exit was over. We then strolled down the pier and into the city. San Juan features narrow, cobbled streets whose houses are painted lovely pastel colors. As we moved away from the vendors and past the standard tourist stores found around where tour boats unload into a more residential area, we were occasionally able to get a peek into a courtyard or apartment. These buildings present a closed face to the street and then open into spacious courtyards inside. Unfortunately, Monday must be trash collection day, because trash bags littered almost every corner and the odor was strong. We walked across the peninsula past small parks, along the wall of an old fort, and eventually emerged to see Morro Castle spread out below us. It was closed and we wanted to get back to the ship for dinner and the evening’s bluegrass event. I’d like to see something of Puerto Rico away from the immediate tourist area, which is always crowded; even more so because of the picturesque narrow streets of the old city.

Steve Wallach - Host and Emcee

Mark Newton

The evening’s program presented two great bands and an award winning singer. We lingered a little long before getting to the Sphinx Lounge for the evening program where Mark Newton was already on stage when we arrived. We had never heard the Mark Newton Band before. His personnel are all very solid with Beth Lawrence on bass providing a solid beat as well as a lovely singing voice, whether harmony or lead. Tony Wray on banjo is a fine player who has until recently played with the John Cowan Band. Newton played a set which offered bluegrass standards and more recent tunes. His sound is pleasant and provided a good start for the evening.

The Mark Newton Band

Cia Cherryholmes

Cherryholmes has been tearing up the bluegrass circuit for three of four years and has moved into a crossover range where they are playing more concerts on the arts circuit as well as Americana festivals. A venue such as this cruise provides more opportunity for interaction with performers than is even available at festivals. Irene and I had a chance to chat with Skip Cherryholmes at length during breakfast. He talked about the band’s move into newer venues and said he thought they were introducing new fans to bluegrass through the diversity and energy of their music. Also, Cherryholmes is working with the Portland Symphony Orchestra to create a work using the breadth and depth of a full orchestra in conjunction with their sound. Cherryholmes, founded after the tragic loss of a daughter when parents Jere and Sandy Leigh wanted find a family activity which would lead to healing from their loss, have been creating an more diverse sound than many bluegrass bands offer. They play straight ahead bluegrass, and have added jazz, swing, and rock-influenced elements to their music. I was floored on Monday night when fourteen year old Molly Kate, BJ, and Skip formed a trio with Molly Kate’s fiddling sounding much like Stephan Grapelli, the legendary jazz fiddler, while Skip’s lightning fast guitar work was reminiscent of Django Rhineheart, a gypsy great. BJ, when I asked him, said he supposed his mandolin playing on this piece was heavily influenced by David Grisman’s playing. Cherryholmes finished their set with an energetic six part harmony to “Oh, Mary Don’t You Weep,” which was a jazzy, black church oriented piece that swung. I was particularly struck during this set with the growth in Molly Kate’s fiddle playing, which showed virtuosity and maturity not so much in evidence a year ago. Both Skip and BJ, on guitar and fiddle, have also grown enormously as musicians. Their singing, too, is much improved.

Molly Kate Cherryholmes

Skip Cherryholmes

Bradley Walker backed by Cherryholmes

The last act of the evening presented IBMA Male Vocalist of the Year Bradley Walker backed by Cherryholmes. Walker is bound to a wheelchair, being a victim of muscular dystrophy. With his painfully distorted body, it seems a miracle that this very talented young man can even get to the stage. When he begins to sing, a new world opens up. I had written after the IBMA awards in October that I thought he was primarily a country singer rather than a bluegrass one. This performance put the lie to my earlier remarks. While a good deal of his work is flavored with country music sounds, Walker is at home with bluegrass music and presented a marvelous performance. Supported by Cia Cherryholmes’ harmonies, he sold his music with verve and skill. The wheelchair and body disappear into the music as his performance goes on.

Bradley Walker and Beth Lawrence (Mark Newton)

After the bluegrass show, there was enough time for us to attend one of the regular performance offered by the cruise line. Held in the Platinum Theater, the largest room on the ship, this piece of formless music, dance, and aerial performance combined elaborate, not to say outrageous, costumes with flying acrobats, land-based dancers, and singers. The less said about this bit of fluff, the better.

Jere Cherryholmes

Sandy Leigh Cherryholmes

We headed for bed around noon and slept soundly as The Liberty of the Seas headed for St. Maarten.

Bradley Walker

ETA Bluegrass Cruise - Saturday and Sunday

The Liberty of the Seas loomed over downtown Miami as we tried to reach the Port of Miami piers. We could see it, standing there against the sky, but the maze of roads leading to the ships lined up at the pier was confusing and there were people trying to get on board while all those arriving from last week’s cruises had not yet debarked. We followed the signs into the parking garage, took the ticket (maximum parking ticket for the garage = $165.00), missed the sign taking us upstairs in the garage and arrived at the checkout booth. The attendant motioned for us to make a U turn and head back against traffic. After some jockeying we found the up ramp and a space. It only took us two trips to move our gear across the street, some to a porter for delivery but our computer, camera, and (most important) instruments carried through customs, immigration, boarding security, check-in, waiting room, another check in, a delay, and with a relatively simple boarding procedure into the ship itself. The crew members told us to find something to do to entertain ourselves, as we wouldn’t be able to occupy our cabin for a couple of hours. We sat for while, found a buffet luncheon, and eventually got to our stateroom several hours before our luggage. All was well, and we were into our new home for the next week.

Our stateroom, down on the third deck, is comfortable with a pretty large window looking out on the sea. It has all the necessary comforts – queen size bed, TV, desk, comfortable though tight bathroom. We cruise the decks, trying to find our way and to do so without having to walk through clouds of cigarette smoke. Royal Caribbean says that “essentially” this ship is smoke free, while at the same time saying that smokers want to smoke. They’ve designated the port (left) side of the ship on the outside decks as smoke-free, but have also left ash trays there. They claim it’s a change of policy about which everyone isn’t quite aware. Furthermore, almost all the bars on the ship permit smoking as does the casino. Where smoking is permitted, the smoke permeates the atmosphere. There are few areas of the ship where the smell of smoke isn’t pretty pervasive. Fortunately, dining rooms and cabins are smoke free.

The ship is brilliantly designed to force passengers to walk through the major commercial portions of the ship several times a day. The merchandising is powerful with many trinkets to be bought, extra side-trips in port to be purchased, seminars and activities invite people to spend more money. We have already paid a significant premium to add the bluegrass component to our cruise, so perhaps we object more to the rest of the sales pitch than we otherwise might. Neither of us can understand why people are buying ice cream (even if it is Ben & Jerry’s) pizza, hamburgers at a premium restaurant, and so on. A dedicated eater could eat breakfast at 7:00 and return for a mid-morning snack before the dining room closed. Same for lunch. Why people would purchase snacks with so much food available they’ve already paid for mystifies us. Perhaps the most expensive “extra” is the cost of Internet access. There are several plans, but the least costly one still sets a person back $.37 a minute for 150 minutes. Nevertheless, much of what I’ve commented on is truly standard operating procedure for cruising, and if I don’t like it, I suppose I shouldn’t cruise.

At 5:00 PM the ETA Bluegrass Cruise group meets in the Sphinx Theater for our welcoming cocktail party and get together. Steve Wallach, tour director, and Tami Newton, his assistant greet us and prime us for the rest of the cruise. There’ve been some changes that are reflected in our packet. The only problem is that our packets haven’t been delivered. They eventually show up mid-afternoon on Sunday. We get our complimentary T-shirts and some hors d’oeuvres as well as drinks. Since this is a bluegrass group, most of the crowd drinks cokes. We greet our friends from Grasstowne as well as Lorraine Jordan and Carolina Road, the two bands we’ve come on this cruise to spend some time with.

After the cocktail party, we head for the dining room for our first regular meal on board. We’re assigned to a table right by a big window with four other folks from the bluegrass group. They’ll be fine as table companions for the week. Getting assigned to table where you have nothing in common with the other people can lead to long and uncomfortable meals. This won’t happen here. The food, as with other cruises we’ve been on, is fairly interesting, pretty tasty, beautifully presented, and better than many cruisers have ever eaten. Service is attentive and pleasant. It astounds me how the kitchens can put out the volume of food they do for two dinner sittings a night while maintaining quality as high as they do. For sure this never happens at hotel banquets or weddings, to which these nightly feasts might be compared.

An hour or so after dinner we head for the Conference Rooms, which have been set aside for jamming. I bring my banjo and join a man with a guitar who I quickly realize is much better than I. After a few minutes another guitar, a banjo, a Dobro, and a bass appear and we have a band. I’m easily the least able picker in the bunch, so I refuse breaks and don’t call songs, but have a good time vamping while the others carry the heavy lifting. I stay for perhaps an hour. The music is good, too fast for me, and fun. I’m sure I’ll get in some more and Irene might even bring out her mandolin. We head for bed shortly after ten after a busy first day.

Sunday began for us as it usually does, around 4:30 AM. Fortunately, there’s a 24 hour coffee pot two decks above us, so coffee and morning reading got us through until breakfast in the Windjammer café on deck eleven. There’re lots of choices from bagels to eggs, waffles, pastries, breakfast meat, as well as cooked to order eggs and omelets. We enjoyed a leisurely breakfast while we watched a low set of islands, maybe the Bahamas slide past about four or five miles west of us.

Alan Bibey at Workshop

Lorraine Jordan teaching at Workshop
Fiddle Workshop

At 10:00 o’clock the bluegrass portion of the cruise really began. A series of one hour instrument specific workshops were scheduled with band members in the conference room area. Teaching and providing workshops requires very different skills from performing, and some musicians are better at it than others. Nevertheless, for people interested in particular instruments, the individual workshops were quite satisfying. Steve Gulley of Grasstowne, Dave Denman of the Mark Newton Band, and Skip Cherryholmes presented a guitar workshop. Steve, who is also an accomplished songwriter, sang one of his songs, as did Dave. There was excellent attendance. Because Irene plays mandolin, we were both particularly interested in that one, presided over by Alan Bibey (Grasstowne), Lorraine Jordan (Lorraine Jordan and Carolina Road) and Sandy Leigh Cherryholmes. Lorraine showed strong teaching skills as she answered questions, demonstrated skills, and provided some practice for workshoppers. There was plenty of teaching. Lorraine was particularly impressive as a teacher when she summarized the content of the workshop at the end. The banjo workshop contrasted strongly with the mandolin group, but was equally as interesting. Four banjo players from four different bands played the same tune in their own quite different styles. Ben Greene (Carolina Road), Jason Davis (Grasstowne), Cia Cherryholmes (The Cherryholmes) and Tony Wray (Mark Newton Band) differ in age and approach to picking the banjo. This approach helped illuminate the great range and subtlety of this sublime instrument. In the Dobro workshop Phil Leadbetter (Grasstowne), well know as one of the very top players of this interesting and fairly recently invented instrument, and Tim Graves (Tim Graves and Cherokee) the nephew of fabled Dobro player Josh Graves answered questions about the instrument and demonstrated thoughtfully the differences between their styles., The bass workshop included Todd Meade (Carolina Road), Jayme Booher (Grasstowne) and Beth Lawrence (Mark Newton Band) talking about playing this important instrument, which in bluegrass substitutes for drums in other bands by playing the solid rhythm line needed to provide structure and form to the music. Finally, at the fiddle workshop, Josh Goforth (Carolina Road), Molly Kate Cherryholmes, and B.J. Cherryholmes (both of The Cherryholmes) jammed on fiddle tunes. It was impossible to attend all six workshops, but together they constituted a master class in bluegrass music.

Cia Cherryholmes waiting for Workshop

Tim Graves and Phil Leadbetter teach Workshop

Meanwhile, the ship kept plunging through increasingly rocky seas toward its first stop in San Juan, Puerto Rico. Moving forward at 22 knots (a knot is a nautical mile or 1.15 statute miles) into a breeze sometimes reaching 25 miles per hour. The effective wind on deck approached 50 miles per hour, which seemed to dampen no one’s enthusiasm for sunning and playing on deck. I’ll write more about these activities with pictures on Wednesday.

Jere Cherryholmes at Captain's Gala

Sunday dinner featured the Captain’s gala, one of the three formal dinners of the cruise. According to the written material provided by Royal Caribbean, “formal” means tuxedo for men and cocktail dresses for women. This practice hearkens back to the glory days of transatlantic passenger ships when the folks who could afford such luxuries commonly wore such dress to dinner. These days the demographic of cruising people has changed as have the times, making the word “formal” a somewhat daunting challenge to many cruisers. In the end, some people appeared in full formal attire, while everyone choosing to attend the gala dressed above and beyond the normal for cruise attire. Most men wore ties; all had jackets and most ties while women looked attractive and showy. The food for the dinner was a cut above its usual high quality.

Steve Wallach: Host and Emcee

The bluegrass crowd reassembled in the Sphinx Lounge for the first bluegrass show of the week. There are about 270 people on the bluegrass cruise most had time to change back into more comfortable clothing in keeping with the usually informal dress of a bluegrass festival, which after all, this looks very much like, even if it’s taking place at sea. Promoter Steve Wallach served as emcee, combining his usual combination of corny stories, long experience running this cruise, and familiarity with many of the people who have taken this cruise a number of times kept the proceedings moving forward in good humor. Tonight three bands performed. Tim Graves and Cherokee opened, followed by Lorraine Jordan and Carolina Road with Grasstowne closing the evening as midnight approached. The response, even from this rather stuffed and tired crowd, was enthusiastic, too say the least. The performers, struggling with a sound system not designed for the demands of the acoustic instruments of a bluegrass band, acquitted themselves very well, and the music was of a very high quality, even though it was sometimes difficult for the musicians to keep their feet as the ship’s rolling increased into the evening. Many of the people on the cruise chose to come because they are friends or fans of particular band. One large component of the cruise is quite loyal to Lorraine Jordan and shows it. I’ll have much more to say about the individual bands as the week goes on. Suffice it to say that despite a few minor problems, the cruise is off to a roaring start and will certainly end much too soon.

Steve Gulley (Grasstowne)

Phil Leadbetter (Grasstowne)

Lorraine Jordan and Carolina Road

Lorraine Jordan, Benny Greene, Jerry Butler (Carolina Road)

Lorraine's Daugher Susanna

Carl Hiaasen: Lucky You - Review

Carl Hiaasen’s 1997 novel Lucky You holds up quite well eleven years after it was published. Hiaasen’s satire becomes more pointed and true the longer the reader drifts around Florida, soaking up local color and observing the contrasts between tourist hype and rural, red-neck desperation. Hiaasen has a perfect ear for these differences, particularly where they intersect with often disastrous effects.

The story of Lucky You is less important than the targets Hiaasen takes on. JoLayne Lucks has won a fourteen million dollar lottery which is stolen from her by a couple of stupidly avid skin-head Aryans and their equally stupid, but somehow bumblingly sweet recruit, Shiner. Meanwhile, Tom Krome, intrepid reporter, assigns himself to investigate the story of the beautiful black veterinary worker who has suddenly become rich. Along the way we meet a mafia lawyer, a love-struck federal agent, a group of down at the heels folks seeking to make a living by creating and exploiting phony miracles, forty small turtles, a mafia lawyer, a crooked judge, and a couple of beautiful women. Somehow, all these characters come together to help create a hilarious story which still manages to make sense and to skewer the money lust and phoniness that dominate Florida. See, I told you the plot isn’t what’s important.

People familiar with coastal Florida and the fast-growing and degrading lakes region dominated by Orlando often miss the truth about Florida. The state is huge. Away from the coasts, travelers encounter mile after mile of cattle strewn plains, orange groves losing their value in the face of often ugly development housing, the huge Lake Okeechobee, which once fed the vast Everglades, a moving river which once enriched the vast coastal marshes, a rich ecology for fish, birds, and other wildlife. Sugar farming interests, dominated by U.S. Sugar Corporation have drained much of the Everglades and, with the willing support of Congress, kept the price of domestic sugar high enough to increase farm land at the expense of any sort of rational planning to provide water for the coastal development. It’s these battles – farmers and developers vs. the environment and ecology, religious hucksters, righteous truth seeking newsmen vs. corporate exploiters, good sense vs. craziness that provide Hiaasen with a seemingly endless cast of characters and plots to weave his web.

Hiaasen’s greatest asset is his familiarity with his subject matter and genuine affection for the good ones coupled with disdain and understanding of the less savory characters. His books are great reading at many levels, and they don't wither with age. His characters remain robust, real, earthy, and fun. The problems of Florida are so pervasive the books don't age. I would not recommend reading them one after the other as they wear better when separated. Otherwise, don’t miss Carl Hiaasen.

Palatka BGF - Review and Saturday Pictures

The 4^th Annual Palatka Bluegrass Festival ended successfully on Saturday night with a 90 minute set by Dr. Ralph Stanley and the Clinch Mountain Boys. Ralph, at age 81, no longer plays three finger style banjo and only played two songs using his more traditional clawhammer style. Nevertheless, the many people who remained to hear his set, despite the relatively late hour, got their money’s worth, as Ralph sang with gusto, led the Clinch Mountain Boys through a set of solid Ralph Stanley standards, and gave his son Ralph II and grandson Nathan platforms to seek to establish their own bluegrass credentials. Characteristic of many of Promoter Norman Adams’ festivals, Palatka began and ended with performances by two of the old timers, men whose careers extend back to the very beginnings of what we now know as bluegrass music. Paul Williams and the Victory Trio opened the weekend with their all gospel set. Williams’ wonderful tenor voice is perfect for this format.

The Palatka Festival is experiencing growing pains, but both the bluegrass promoters, Norman Adams and Tony Anderson, and the folks from Rodeheaver Boys Ranch are working hard to alleviate them by next year. The cooperative good cheer of Jeff King, ranch director of development, and his large and helpful staff, did much to forestall problems. Rodeheaver boys ranch is a 790 acre cattle ranch located about 15 miles south of Palatka, Florida in the northeastern part of the state, about 25 miles west of St. Augustine. It houses a little over 50 boys who have been sent there, usually by the courts, because their parents, for a variety of reasons, cannot properly care for them. At Rodeheaver, they receive kindly but firm discipline, live in family-style cottages, attend the local public schools, and work on the ranch. During the festival the boys are very much in evidence, when not in school, and they help provide the volunteer staff with huge support around the large campus. The ranch has built a very efficient concession stand and country store building just behind the main performance area, making fast food readily available. While Norman Adams was unwilling, or unable, to estimate the crowd, it was clearly much larger than in the past two years, perhaps approaching 5000 on Saturday, by my estimate. A projection TV system, set up about two thirds of the way back in the performance shed, helped those far away from the stage to see better, and Gene Daniel’s always very fine sound made it possible for everyone to hear. He was ably assisted by his wife Johnny and Madison Gibson. Adams’ plan to organize seating next year on a first come, first seated plan based on arrival at the gate with only one seat allowed for each wrist band may help alleviate the crush to put down seats. This year there was something of a controversy when early arrivers were allowed to place their seats before the published hour.

Nothin' Fancy Warming Up

Because this festival’s lineup was jam-packed with headliners, I’ll only comment on bands and events that really stood out for me in one way or another. The new Dailey & Vincent Band has been very hot on the bluegrass circuit this winter and didn’t fail to impress. Jamie Dailey’s high tenor and his solid wit kept the crowd entertained, while Darrin Vincent’s harmony and lead singing was terrific as was his role as straight man for Dailey. This band delivers very good singing and picking combined with a delightful stage patter. They were very well received by the audience with their mix of secular and strong gospel music. They provide no surprises in their performance, and there isn’t anything new, progressive, or innovative about their presentation. This will satisfy the majority of people who attend their shows. Jokes at the expense of Doyle Lawson will pall pretty quickly. On the same day, Blue Highway, a long established band came out and proved once again why they are an enduring band. Their musicianship was impeccable. Tim Stafford’s songs and picking were excellent. Blue Highway remains one of the finest bluegrass bands around. Rob Ickes, on Dobro, was a particular standout.

Keith Arnessen (Country Current)

On Friday, Doyle Lawson proved once again that no one in his band is irreplaceable as his newly reconstituted group came out and gave the kind of polished, professional performance his fans expect. I had never heard the Isaacs before and was looking forward to my first experience. They didn’t disappoint with their combination of great singing, high energy, and first rate instrumentals. I had never thought to see a group on a Norman Adams stage with a drum, but Norman assured me the percussion instrument was a box, not a drum. I took him at his word. The Isaacs music has a very high emotional content that grabs listeners. Essentially, their music makes their very strong gospel content acceptable to some audiences that might not be looking for it while their message makes their progressive sounds acceptable to others who might not relish it coming from a different group. Sonia Isaacs concluded their evening performance with one of the most beautiful renditions of the national anthem I’ve ever heard. The Gibson Brothers’ two performances were a revelation to people who had never heard them before or who thought that great bluegrass could only be performed by those hailing from south of the Mason Dixon line. Their tight harmonies, which challenge many people to know which brother is singing, combine with interesting and creative songs they themselves have written. They go to some unusual sources to rearrange songs into bluegrass formats that Wow an audience. A good example is their version of The Band’s Ophelia. The Gibsons will be seen at three other Adams and Anderson festivals this year.

Wayne Taylor (Country Current)

Little Roy Lewis

Marty Raybon

Matt Leadbetter (Marty Raybon)

When I first heard the Lewis Family, I didn’t like them much, finding them to be rather corny and their gospel music uninspiring. Over the years I’ve come to like and admire Little Roy Lewis and his sisters. Now, with his sisters ill and no longer performing anywhere near their top, it’s time for him consider letting them stay home. On Saturday their performances lacked spark and life. It’s truly sad to see this legendary group fall to this state. Marty Raybon performed with verve and energy. Another singer I’ve not heard before, I enjoyed his show. Matt Leadbetter has been given greater latitude to play his own distinctive brand of Dobro and performed with distinction. The U.S. Navy Band Country Current gave its usual very high quality performance. Wayne Taylor, their distinguished lead singer and guitarist will be retiring from the service within a couple of months. He will be greatly missed by this band, but I’m told a replacement is already waiting in the wings. Banjoist Keith Arnesson and mando picker Frank Sollivan II are both truly fine. Arnesson’s banjo playing is elegant – clean and fast with glistening arpeggios. Sollivan plays fast and accurate mandolin as well as contributing on double fiddle numbers. Rhonda Vincent and the Rage have only been improved by the addition of Darrell Webb on guitar. He brings fast flat picking and versatile singing to this most popular and hard touring group. I particularly admire Rhonda’s willingness, after her hard working performances to stay and talk to fans and submit to endless photos and chats with marvelous graciousness. She never fails to come on stage radiating high energy and to perform at the top of her game.

Rhonda Vincent and the Rage

Kenny Ingram (Rhonda Vincent)

Rhonda with Darrell Webb

The Palatka Bluegrass Festival maintains a high standard of music, the Rodeheaver Boys Ranch insists on being good hosts, while fans and field pickers can be sure of finding plenty of what they want at a festival. Norman Adams takes very few risks with the groups he books. He knows his audience prefers their bluegrass to be mostly traditional and laced with plenty of gospel music, and that’s what he provides. If you’re looking to be surprised by new bands or progressive bands, look elsewhere. But if you want to be sure of high quality, a strong regard for tradition, and fine music, these festivals are for you.

Frank Sollivan II (Country Current)

Is this Dr. Tom Bibey?

Lewis Phillips (The Lewis Family)

Miggie, Janice, and Polly Lewis

Hunter Berry (Rhonda Vincent)

Mickey Harris (Rhonda Vincent)

Rhonda Vincent

Dr. Ralph Stanley

Palatka BGF - Friday - Pics

Friday at Palatka was huge! It’s crowded, the bands were exceptional, the response enthusiastic, and the weather nearly perfect. Several family bands appeared during the Open Stage period. This provided them with a showcase they wanted and needed. One father kept his kids outside performing in the hot son for several hours afterwards. Not much comment is needed. The Steep Canyon Rangers hit the stage with their usual energy and style. Our friends The Gibson Brothers followed. In their first Palatka appearance they were very enthusiastically received and can be seen at three more Adams and Anderson events this year. Doyle Lawson once again showed that he can replace seemingly irreplaceable elements of his band seamlessly. I don’t remember his ever having a Dobro in his band before, but it fits perfectly. His blend of humor, traditional bluegrass, and gospel pleases his audience. The big surprise for me was the Isaacs. I had never seen them before and was blown away by their style, their intensity, and their willingness to challenge the boundaries of a traditional bluegrass festival and to get away with it. Their content makes their music acceptable to certain bluegrass fans, while their music makes their content acceptable to others. I’ll be reviewing their new CD within the next few weeks. This festival continues to be a huge success. I’ll let the pictures speak for themselves for now.

Lonesome Meadow Band (Open Stage)

Red Haired Express (Palmer, Alaska)

Carolina Sonshine

Doyle Lawson

Alan Johnson (Doyle Lawson)

Joey Cox (Doyle Lawson)

Eric Gibson (Gibson Brothers)

Leigh Gibson (Gibson Brothers)

Rick Hayes (Gibson Brothers)

Mike Barber (Gibson Brothers)

Clayton Campbell (Gibson Brothers)

The Isaacs

Isaacs

Isaacs

Woody Platt (Steep Canyon Rangers)

Graham Sharp (Steep Canyon Rangers)

Nicky Sanders (Steep Canyon Rangers)

Charles Humphries (Steep Canyon Rangers)

Leigh and Eric Gibson

Palatka BGF - Thursday - Pics

Thursday at Palatka kicked off this weekend of headliners with fine performances from everyone. I want to write at greater length about the festival, the bands, the crowd, and the scene here, but I haven’t time enough or Internet access enough to do the festival justice. Instead, I’ll post a few selected pictures and wait until early next week to write a more thoughtful piece. Suffice it to say that the Dailey-Vincent Band’s performance was filled with fine singing, good humor, and genuine expression of deep faith. They are certainly one of the two hottest new bands on the circuit. Nevertheless, Blue Highway takes the honor for being the best band we saw on Thursday. Their tight singing, fine songs written by band members, and tasteful humor carried the day for us. The festival itself is showing some growing pains, but promoters Norman Adams and Tony Anderson, along with the fine people from the Rodeheaver Boys Ranch are striving hard to find workable solutions.

Tim Stafford (Blue Highway)

Wayne Taylor (Blue Highway)

Rob Ickes (Blue Highway)

Jamie Dailey (Dailey-Vincent)

Darrin Vincent (Dailey - Vincent)

Jamie Dailey and Darrin Vincent

Is this Dr. Tommy Bibey?

Gene Daniel (Master Soundman)

Gary Waldrep

Mindy Rakestraw (Gary Waldrep Band)

Terry Eldridge (The Grascals)

James King (James King Band)

Paul Williams (Paul Williams & The Victory Trio)

Sorry to only provide a teaser here, but we'll be down in the Everglades by Sunday afternoon, and I should be able to post a much more comprehensive account of the event and many more pictures then. Meanwhile, look for pictures of Friday's events on Saturday morning.

Snobird & Cracker BGF - Saturday - Review

On Saturday morning the generators coughed to life at 7:00 AM sharp and camp life began slowly to emerge from motorhomes, trailers, and tents. The mobile bluegrass community was preparing for the last day. The sky was clear and nearly cloudless with a rather dense ground fog that would soon burn off. We ran errands, found a campground to stay in next month for a week or so, and posted a blog entry for the last two days. Concern for our sick, elderly cat Frank took first place in our focus. He hadn’t slept well so neither did Irene.

Mike Robinson

Our friend, bluegrass gospel preacher Mike Robinson, would be handling emcee duties. Mike, in addition to meeting the spiritual needs of the community and conducting a Sunday morning bluegrass gospel jam, always does an excellent job as emcee. He prepares carefully, keeps the focus on the music and the musicians, calls attention to the vendors, and manages to keep the festival on schedule with rare good humor and by calling almost not attention to himself, a rare attribute in festival emcees.

In the morning there were several workshops conducted by band members. Workshops are a very worthwhile feature at many bluegrass festivals. Band members meet with attendees to help them understand their instrument better, talk about music, and demonstrate specific skills. Some musicians are particularly good at this. They demonstrate techniques, answer questions, and sometimes play requested solos. Sometimes there are song writing workshops and even events designed to help groups build band skills, a special knowledge area many jammers never master.

The music began at noon with both host bands presenting creditable sets as people, responding to the fine weather, began filling the day parking area. Many people coming in wore Cadillac Sky or Chapmans t-shirts demonstrating their loyalty to favorite groups and swelling the camping audience. Friday night, despite being quite warm and comfortable, had ended with many fans deserting their seats soon after Cadillac Sky took the stage. Many hard core traditional bluegrass fans object to the use of electrified instruments, with the possible exception of the bass. All of Cadillac Sky’s instruments are miked and their sound, although played on acoustic instruments has an electronic edge to it. This, coupled with rather high volume, sent many home early. The fact that many of these traditional fans are getting up in age and often go to bed early also contributed the shrinking of the audience.

Ernie Evans, co-promoter of the event along with Alan Colpits, is committed to maintaining musical diversity at bluegrass festivals. He knows that unless bluegrass bands featuring younger pickers who grew up in rock, punk, and even hip-hop are integrated into the bluegrass scene, the music will be further relegated to a niche music that will eventually be more interesting to music historians than to living fans. Cadillac Sky is one of the bands at the forefront of this progressive movement, and their personnel is almost all quite young and filled with brash confidence. Ernie and Mike Robinson have worked carefully with the members of the band and Daniell Rice, their very competent sound man who is also running the board for the festival. I’ve chatted a good deal about this whole situation with Robert Wilson, himself a very traditional picker, who recognizes the charisma and musical quality of Cadillac Sky and wishes them well. He, too, sees volume and audience awareness as being important issues for them to master.

Tyler Williams and the East Tennessee State University bluegrass band kick off the featured bands for the day. Tyler Williams, physically limited by cerebral palsy and blindness, is a student majoring in broadcasting and bluegrass music at ETSU. Supported by fellow college students Chris Wade on banjo and Alex Tibbets on mandolin, Williams has a nearly perfect bluegrass voice and a pleasant, self-deprecating stage manner. He must be nearly carried to his seat behind the microphone. He adjusts the microphone so he knows exactly where it is, and his band kicks off the first song. His voice quickly makes the audience forget his disabilities and leads them to focus instead on his very great strengths. It would be doing this fine young man a grave disservice to focus on his conditions. Tyler Williams is no bluegrass novelty. Rather, he performs with confidence and grace, quickly helping audiences transcend his disability and appreciate his gifts. Ernie Evans, surprising strong on his flat picking breaks fills in on guitar. Clint Wilson, on bass, has now played every bluegrass instrument at this festival with skill and confidence. Not yet eighteen and headed for college next year, this young man should be watched as his bluegrass instrumental, singing, and composing skills develop. All this being said, the spotlight shone on Tyler Williams through both his sets.

The Chapmans are a family band with a twist. Three men in their late twenties and early thirties supported by their father Bill on banjo. Bill Chapman is a taciturn man of few words. He plays marvelous banjo on stage and says very little, leaving the byplay and humor to his talented sons. John Chapman, on mandolin, plays the part of emcee for the band. Brother Jeremy on guitar, who is an able picker and rhythm guitar player, sings lead. John plays bass and sings harmony parts. On their web site the Chapmans bill themselves as “America’s Favorite Dysfunctional Bluegrass Family.” Based on the obvious good vibes emanating from this group, the claim is hard to support. Their banter emphasizes mild brother bashing and friendly banter. They also suggest their tone and tunes act as an audience depressant which can only be eliminated by their sponsor, the drug company Pfizer. Irony and mild sarcasm is their humorous tool, which they use with skill and wit. Their singing and play can easily get lost in the wit of their presentation. The Chapmans are a very tight band. Their instrumentals are skillful and their vocal harmonies superb. Their music shows an unusual amount of diversity for a bluegrass band. Ranging from a kind of western swing, through jazzy interpretations to solid blues to complement their very good traditional and modern bluegrass work, this band should be treasured and encouraged.

The Wilson Family Band led off the evening session with their only set of the day. Beginning before everyone had returned from dinner break, the audience built as the set moved along. Katie Wilson, still just twelve years old an only having played fiddle for about a year and a half, brought the crowd to its feet with her rendition of “Five Pound Possum.” The band also featured a new song called “Family Ties” which spoke volumes about them as a band and had great appeal to the audience. Although this band performs mostly in Georgia and Florida so their kids can be in school, they are worth traveling to hear. Promoters of larger festivals in the mid-South and the Northeast will find them equally appealing outside their home area and should give serious consideration to booking them. Clint, Katie, and bassist Drew Jones are hugely appealing and the warmth of this close knit family is easy to see and inspires people to reach for a higher standard.

Brian Simpson (Cadillac Sky)

Cadillac Sky had the last afternoon slot before dinner break and would later close out the evening as the festival’s major headliner. After going through their too lengthy changeover of microphones, hookups, and sound checks, they kicked off their performance and won back the audience. They played with a little less volume and showed a more genuine feeling for and appreciation of their audience. This resulted in a much more listenable set which held a significantly larger portion of the crowd in their seats. I’ve heard Cadillac Sky at least two other times. This set was the first one they offered in which I could truly understand the lyrics of their songs. Since their lyrics are powerful and their voices, especially Mike Jump’s, very good, this stood as a significant improvement for me. Apparently the audience agreed, because they were greeted with great enthusiasm. Their evening set, beginning shortly after 9:00 PM held a slightly smaller, but highly enthusiastic crowd. While somewhat more amped up than earlier, Cadillac Sky showed a continued awareness of their audience, suggesting a new maturity. This band has a great future bluegrass, Americana, and indie rock festivals and can build their reputation by proving themselves flexible enough to appeal to all audiences. They made a big step up at Snobird & Cracker.

Snobird & Cracker is a small festival with larger ambitions. Evans and Colpits forged a lineup with something to offer almost any bluegrass fan. The venue, while not offering hookups of any kind, is comfortable and enjoyable. When whether permits, there is usually very good jamming available, and the bands jam with fans. If you missed this one last year, consider it as a pleasant stop next year.

Matt Menafee (Cadillac Sky)

Mike Jump (Cadillack Sky)

Robert Wilson (Wilson Family Band)

Katie Wilson (Wilson Family)

Snobird & Cracker at Craig's - Review - ThF

Craig’s RV Park, about seven miles north of Arcadia, FL is an interesting combination of a couple of different RV and music venues. Its major front section is a typical, although somewhat nicer than, central Florida place for snowbirds to spend the winter. It is paved, has full hookups (for you non-RVers, that means electricity, water, and sewer as well as, sometimes, cable TV), an active program of activities, and mostly retired people from pretty far north as seasonal residents. The rear portion is a bluegrass music park. Music parks are a strange species of venue. Some provide limited hookups (water and electric only. Sewer systems are expensive and complex to install and maintain.) Many of them are only open a few weekends a year to host festivals. Others encourage bluegrassers to stop and camp, but aren’t listed as campgrounds in the major campground guides. Craig’s insures a continuing income from its seasonal residences and year-round usage by hosting small festivals and monthly drive-in jams for the Southwest Florida Bluegrass Association, which sponsors a very active schedule. Since we were first here two years ago, Alan Wickey, owner of the park, has added a cinder block snack bar with attached bathrooms featuring hot showers to the performance section of the park. This reduces weekend pressure on the bath facilities of his seasonal section, increases income through the food concession, and makes the whole place snazzier and more welcoming. This facility is added to the already high quality stage and performance shed, which gives good sight lines and cover from inclement weather.

The camping field is grass covered, gently sloping and spacious. There’s room for hundreds of RVs, but no hookups except for a water and electric reserved for the performers and a few people whose handicaps are significant enough to require electricity. This weekend the campground doesn’t appear overly crowded. The only complaint I would have about the whole camping setup is that there’s a shortage of sufficient porta-johns in the field area. Not all campers, even those with self-contained units wish to use the facilities they have with them, particularly if they’re on site for even a slightly extended period. Half a dozen more portable toilets would relieve congestion in the facilities and make the entire experience more comfortable.

The annual Snobird & Cracker Reunion Bluegrass Reunion held at Craig’s this weekend began on Thursday at 6:00 PM with an evening of local and pickup bands. Craig’s is well known as a venue friendly to jammers and makes sure that time is provided for jam groups to take the stage during the hour before the scheduled music session begins. Many local semi-professional bands first came together as jammers at festivals. Here it is common to find members of professional bands jamming around the field with the fans, and this is a quality setting bluegrass apart from other musics. Imagine Garth Brooks or Toby Keith out in the field or parking lot after one of their shows, let alone Celine Dion. But Bela Fleck, Danny Paisley, the Infamous Stringdusters, Little Roy Lewis, and many other headliners do just that.

Three local groups featuring members of other bands to be performing later played on Thursday evening. Harbor Drive, Generations Band, as well as Roger Bass and the Hillbillies all played sets to the enjoyment of early arrivers. With the exception of Roger Bass, who’s a regionally well-known country and bluegrass singer, you won’t find these groups on the Internet or on MySpace, but they sing together and enjoy performing. The music is traditional bluegrass and the enjoyment is genuine as old friends gather to make music and listen to it together. Everyone has a good time and goes home happy.

Friday, a started as a bright sunny day, became cloudy and blustery as a Florida cold front rushed through, and finished clear and slightly chilly. Smokey Greene opened the day and then took the set immediately after the dinner break. Smokey is an old campaigner, a man in his late seventies who has been playing and singing country and bluegrass music for probably fifty years or more. He plays his ancient Martin guitar well, has an easy to listen to, mellow baritone voice, and sings classic country, bluegrass, and a variety of funny novelty songs, many of which he wrote himself. His music is very familiar to the senior crowd who make up a large part of bluegrass festival audiences in Florida. Listening to him is like putting on a comfortable pair of old shoes. The crowd makes many requests, and Smokey is happy to oblige. Smokey is followed by Swinging Bridge and then Ernie Evans & Southern Lite, the bands of the two promoters of this event. Alan Colpits as promoter takes on the major effort of organizing, providing for facilities, selling tickets, and making sure the necessary details of bringing off a bluegrass festival are taken care of. His band, Swinging Bridge, is pleasant listening. Ernie Evans takes on the job of booking bands and organizing the entertainment. Building a bluegrass festival’s schedule requires the promoter to balance many often conflicting factors. The cost of bands, the tastes of the audience, variety of offerings, and more all need to be considered. The audience here is generally older and prefers its bluegrass traditional and all acoustic. Ernie Evans has a deep commitment to showcasing young and upcoming musicians as well as expanding the tastes of those who attend, attracting a younger fan base, and broadening the audience. The crucial issue is to keep enough people happy that they stay for the shows, support the vendors, and return next year.

The Wilson Family Band

For Friday evening there are two featured bands that seek to provide exactly the sort of balance Evans likes to schedule. The Wilson Family band comes from Folkston, GA, features two talented children playing with their parents, and plays a delightful mixture of traditional bluegrass, gospel music, and tunes written by all of the family members. A friend, Drew Jones fills out the band on bass. Son Clint is a high school senior who is an accomplished banjo player with rapidly improving skills on guitar and mandolin. He writes songs, too, and this weekend debuted a delightful song titled “My Old Kentucky Home,” which he co-wrote on-line with an acquaintance he may never have met face-to-face. He’s a real comer and will make a solid contribution. Daughter Katie, a twelve year old sprite filled with energy and charisma, plays fiddle, sings solos and contributes very good harmony vocals. Her rendition of “Five Pound Possum” always brings down the house. To watch father Robert Wilson, whose very strong voice and rhythm guitar provide very solid undergirding for this band, is a real joy as he beams on his kids’ accomplishments. Robert Wilson, and his wife Melissa on mandolin, stand as models for those who wish to be on the road with a family band. Always keeping church, home, and family above performance and success, they have managed to provide real pleasure to their audience while never putting their kids or family in jeopardy.

Brian Simpson and Mike Jump (Cadillac Sky)

Cadillac Sky is a progressive bluegrass band coming out of Texas. All their instruments are miked and their presentation is strongly rock influenced. The five men in the band are each accomplished musicians and fine singers. Their performance is strong and well-choreographed. This band is part of the Ricky Skaggs stable of performers and recording artists and have received considerable attention over the past two or three years. They are currently working on their third CD. The audience for a festival like Snobird & Cracker vastly prefers listening to traditional bluegrass. The challenge facing a band like Cadillac Sky when they appear before such a crowd is to win the crowd over before moving into their preferred mode. This can be done by taking the stage and opening with several pieces of hard-driving bluegrass music from the Monroe/Flatt & Scruggs era to show both respect for the founders and then the ability to reproduce this music. After such a showing, the band can move towards its preferred music and probably keep the audience in its seats. By taking this posture, Cadillac Sky could broaden their appeal and remain true to their preferred tone, pace, and sound. Cadillac Sky chose not to take this route and early lost much of the audience to volume, electrified instruments, and their brashness. Many people left before they gave this excellent young band sufficient chance to show its stuff. In the middle of their set, for instance, they produced a very fine version of “How Mountain Girls Can Love” which, had they chosen to open with it, might have done the trick. To ignore or disdain the audience is self defeating for Cadillac Sky and deprives them of a part of the audience they could capture by showing them greater respect. Individual musicianship and singing in this group is of the highest quality and they deserve widespread recognition. At present, they have chosen to go for a younger, more hip audience. Those people were present on Friday night and very much enjoyed the show. It’s a little sad they weren’t joined by the older contingent who went home.