1984 February Frets - Vintage Magazine - New Acoustic Music

Description: Yes we combine shipping for multiple purchases.Add multiple items to your cart and the combined shipping total will automatically be calculated. 1984 February Frets - Vintage Magazine - New Acoustic Music - Roy Clark On Stage WORKSHOPSFEATURESDEPARTMENTS12 Margie MirkenThe Good Old DaysStudents never had it so good.14 Ed SchillingPre-shrunk AmpsBig sound in handy packages.48Rick GartnerMusic’s Road SignsCan you pass your “driving test”?49Dan CraryBluegrass BrotherhoodLet’s get on with the music!51Chet AtkinsLeft-hand ‘Rolls’Stretching yourself for speed.52Alan MundeThree-finger ExerciseWays to master picking flexibility.53David GrismanGet AbstractedFar-out music from the LP.54Byron BerlineWriting Fiddle TunesHow to unleash your creativity.55Mike SeegerSummer Music CampsVacations for learning.59Rob WassermanNew Acoustic BassistsBuell Neidlinger, Todd Phillips.60George GruhnNashville Cash Register“Acoustic” is finally back in style.62 Charles HoffmanSlots And DovetailsTricks of the lutherie trade.64 Roger H. SiminoffLloyd Loar On OvertonesAn expert voice from the past.18 New Acoustic Music ByJimHatloDavid Grisman and Tony Trischka, veteran movers andshakers in today’s most eclectic string music style, talk abouthow it began, what it is, where it’s going.20 New Acoustic Music SamplerSelections from original tunes by banjoist Bela Fleck, mando-linist Sam Bush, and multi-instrumentalist Mark O’Connorhelp you to experience the style firsthand.22 The Family TreeThe amazingly varied heritage of New Acoustic Musicextends back to the ancient traditional music forms of fourcontinents. And some of the ancestry will surprise you.25 Nashville Action By Rick GartnerNew Acoustic Music is infiltrating the country music capitalof the world, co-opting the brightest young session men.Here’s a candid talk with four of its most influential agents.29Roy Clark On Stage By Roger H. SiminoffHe’s added two fiddlers to his act, acquired a recording studio,bought into a record company, and broadened his audience sinceFrets last talked with him. Now Roy dreams of building an elitebluegrass group within his talent-laden road band.30Jimmy HenleyFrom seven-year-old banjo prodigy to touring pro, young JimmyHenley admits his career has been a Cinderella story. He owes hisbiggest break to Roy Clark — and faith.37 Pickups vs. Microphones By Ed SchillingYou’ll find hardcore partisans on both sides, but the real question iswhich works best for your instrument. Industry pros and playersgive you answers you need to make your decision.40 Inside The JEMF By Herschel FreemanThree decades ago a young Australian began collecting Americancountry records. Today the John Edwards Memorial Foundationhas thousands of historical items available to musicians.44 Frets’ 5-Year IndexHere’s our anniversary present to you: A list of all the major articlesand feature music we’ve published since Vol.l, No. 1.11 LettersButtons from Britain; feedback onbanjos; kudos for “Rock” issue.15Frets Looks At...Michael Cone classical guitar.16Frets Looks At...J.D. Lawrence monitor.17Frets Looks At...Zeidler “Carrara” mandolin.50 BulletinboardThe musical mobile dome, violinsynthesis, concerts and classes.56 On RecordWhat’s the latest on the NewAcoustic Music scene?58 QuestionsTremolo signposts, promo photodo’s/dont’s, turning the screws.61 BookshelfStriding with Guy Van Duser,charting on paper, watching TV.63 Accessory Close-upThe Swanay instrument stand.65What’s NewCapo, recorder, pickup, micro-phone, $5,500 classical guitar ...66Picking TipsHow to keep your nails in shape.66 Advertiser IndexNeed a product? Go to the source.31 Frets Giveaway #17This month you’ve got a chance towin a new Franklin OM-1 koa bodyguitar, with case — worth $900!Cover: From a concept by violinistDarol Anger. For the story onwhy Anger went to bat to makeNew Acoustic Music a householdword, turn to page 18.W JT THEN DID IT BEGIN? HOW LONG AGO was it thatW/W/someone first turned an ear to a small group of artists and▼ ▼bands within the world of acoustic string music and said insurprise, “Hey — something different is going on here!” Perhaps itwas 15 years, perhaps 10; certainly, five years ago when Fretspublished its debut issue, nobody questioned that a major move-ment was doing exciting, even outlandish things to traditionalconcepts of ensemble string music. Only, nobody quite knew whatto call it.Today it has a name: “New Acoustic Music” — although evenamong its leading practitioners, you won’t find agreement on whatproperly comes under that umbrella. Mandolinist/bandleaderDavid Grisman probably is considered the archetypal New Acous-tic musician, yet he is one of the artists least comfortable with thelabel.It is easier to be clear about where the name comes from than tobe clear about what it means. “New Acoustic Music” formalizes aconcept that has been around at least since 1979, when banjoistTony Trischka — writing the liner notes for the first album of hisformer pupil Bela Fleck — used the term “nouveau acoustic music”in describing the material on Fleck’s innovative Crossing TheTracks. Three years later, Grisman opted for the variation “acous-tic nouveau” as he penned the notes for Fleck’s sequel, NaturalBridge.“Nouveau” never quite caught on, but the idea stuck. It wasGrisman Quartet violinist Darol Anger, a solo recording artist in hisown right, who last year fired the first deliberate shot aimed atmaking New Acoustic Music a household word.Not only did he sanction the name, he even designed a catchylogo to go with it — which is reflected on the cover of this issue, andin the graphics throughout this special section. Anger’s effortsweren’t purely art for art’s sake. Necessity — specifically, economicneccessity — helped birth the plan.Anger and other New Acoustic artists were keenly aware thatfor years, record stores — and the industry at large — had been... And much more! 12920

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