This was an unique opportunity to have Cindy’s voice heard, especially since the GD book has been released. I had shortcomings (as pointed out by Cindy) in the book, especially with the omission of photos of Rosalie Sorrels. This was a small way to atone for that.

I planned on adding some songs from some of the folks we were to talk about. I worked up Rock Salt and Nails (Utah Phillips, covered by Rosalie), Roseville Fair (Bill Staines), How Legends are Made (John Gorka), Louise (Paul Siebel). I had a few others in mind but circumstances made me change to these songs.

The chat was open and interesting, talking about the early days about the club. It was particularly nice to see Cindy smiling, and, at the end, Cindy said there was so much more to talk about. Indeed, and I hope we have the opportunity to do this again.

Some video: https://www.facebook.com/danielle.notaro.12/videos/1293294011531368

I was looking forward to sharing the Godfrey’s stage with friends Tom and Betty Druckenmiller on Wednesday, rescheduled from a snow date the week before. I am still in recovery from my bladder operation (and cancer diagnosis), and still dealing with some fatigue and depression. I know I can count on playing some music with friends to help me out.

I had decided to focus our session on Family Music, and how we are shaped by making music with spouses and kids and parents. There were some interesting ideas brought up.

We talked about groups like The Carter Family, bluegrass brother acts, and other important folk acts like The McGarrigles, The Roches, Happy and Artie Traum and more, and how those collaborations functioned (or not..). Betty and Tom shared their history of making old time music together, Betty’s journey on taking up fiddle mid-life, and raising their son Nathan in the tradition.

While referencing my own family music history, though I never was able to play with my family members, I did recall singing in church pews with my family, and next to my dad Wayne, an accomplished choral singer in his own right. Though not in the folk tradition, it was an important influence in my singing in public and in a safe space. No small thing, and it was a pleasant reflection on my development as a musician.

As always, Dave’s Night Out was a stimulating experience for us all, and that includes the small audience.

Another stimulating evening with George Hrab, a prolific songwriter, performer and thinker. We’ve been doing these sessions the last week of the year for several years now, and they never fail to amuse and inspire me.

Tonight, we spent a lot of time talking about George’s Ukrainian heritage and he played two songs in Ukrainian. It was quite interesting. We talked about why Eastern European music is always in minor keys. We talked about his dad as a musician, playing in wedding bands and more. The audience seemed to drink it all in. And I loved the sparks.

I chipped in with Don’t Call Me Early and Giant. George liked that it was a waltz and how it is different than a straight 4 beat. There’s a lilt and swing to the 3/4 beat while the 4/4 is insistent.

I asked if he had “The Artistic Moment” when he realized he was an artist, not just a musician, podcaster, drummer, etc. and said he knew early on that he was an entertainer, even as a child. I talked about the moment, driving away from one of the CT Teaching Artist sessions when it dawned on me that I thought like an artist, not just a folk musician.

The series has financial support this year from Bethlehem Fine Arts Commission and it is living up to those standards: talking art.

I was looking forward to spending some time on stage with my friend Joey Mutis, aka The Electric Farm. We have always shared a certain repartee with each other, our musical influences and many times listening to each other’s bands.  We are close to brothers.

Again, it was a small audience with several Joey fans in the house. Joey seemed a little more unsettled tonight, though he came through with several new (to me) songs. I started with Ground Hog, Rosie is a Friend of Mine, It’ll Be Me and closed with We Are Welcomed, with Joey filling some nice leads.

This particular audience had very little to say, and I admit somewhat put off by that. Usually there’s some interesting reflections that spur the artists’ conversation. Joey was a little scattered and I felt that made the audience a little skittery, too.

One interesting question came up at the end: What song would you play as your time ran out? Joey sang a little of “She’s Leaving Home” from the Beatles, among others and I chimed in with Here Comes The Sun, explaining its mystical beginnings for me, playing a really good Martin for the first time. Upon reflection, I also thought that I’d like to play it perfectly for the first time, at the end of my life.

Still, we got some thumbs up from the audience for the evening and the series, but I came away somewhat disappointed. So it goes.

I was a little bushed from a RockRoots doubleheader in the morning, but had some time to recompose for Wednesday’s Dave’s Night Out with my friend Jack Murray. We figured we’d explore the space between Country Music and Folk Music, and it turned out to be very good topic. Jack has a mind and a gift for exposition on stuff like this so he came armed for bear with a great list of songs, and I put some thought into it as well. The conversation was easy between Jack, myself and the audience.

I found out that Mike Duck is helping to sponsor this series by doing sound for free for mention of his Web Foot Digital web-building business. Big thanks, Mike!

Jack brought out Four Strong Winds, Last Thing On My Mind, If I Were A Carpenter, Irene Goodnight, Long Black Veil, and Girl From Mexico, a song from Ramona’s dad. Jack gave up early on that one, but I insisted on him reciting it. It turned out to be quite wonderful and I hope he does it again as spoken word. There’s power in that medium.

I brought out Bill Monroe Georgia Rose, Carter Family’s Wildwood Flower, The Byrds’ Farther Along, Bill Staines’ Roseville Fair, Dylan’s Girl From the North Country Fair, even The Temptations’ My Girl.

We were able to mark important shifts in the folk/country continuum like, the Dylan/Cash duet on TV, The Byrds Sweetheart of the Rodeo, the Will The Circle Be Unbroken album, Woody and Leadbelly’s Goodnight Irene, Tom Paxton, etc.

There were a few more in the audience, breaking into double figures for a change. I really am proud of this series for the content and the way it is delivered on this historic stage. Tonight was a perfect example. Thanks, Jack.

This was a flash-back to a DNO that we did four years ago, almost to the day, with my friends Bill Hall and Gregg Cagno. I started with Going Away from Utah Phillips and then passed off to Gregg. Early on, we talked about Jersey songwriters like them (I included John Gorka) who had access to the NYC folk scene and were able to head into the city to see the greats and play the open mikes, as well. As we rotated amongst the three of us, Gregg and Bill did some really fine original tunes. I was able to bring in my new arrangement of Imagine, Branching Out, Rodeo Rider (on 12-string), and my Lessons From Pete.

My friend and now Eastonite Andrew Dunn had chatted earlier.  I said how much I liked his Steel Is Strong song from the recent Bethlehem Steel album, and that I was playing it on my radio shows. He then said that it was based on my Lessons From Pete. I found that amusing, but, in playing it on stage tonight, I caught the reference. No wonder I liked it. Frankly, it was a honor to hear that.

Martin SC-13E

Bill had come in early to do some recording for his Rosie Project and had worked with Gregg already. When I came down around 4:30, things were all set up for my session. I brought my SC-13E down for this one and rolled through my version of Rosie is a Friend of Mine. The Rosie Project plans on having a multitude of version of his song on one album, with the other album Bill’s other material. Since we all set up, Bill suggested I try out a few more tunes so I stepped up with Stan Rogers’ Giant, John Gorka’s Branching Out and Alex Bevan’s Rodeo Rider (on 12-string). Bill and Gregg filled in some vocals on Branching Out. Amazingly, I was able to roll right through the songs on the first take, though the process is pretty exhausting.

Bill bought Indian food from Na Wab down the street, and it served as a nice break between the recording session and the show.

As usual, there was a dearth of folks for the show, but the music and conversation was stimulating and humorous. It was good to be with these good friends.

These Dave’s Night Outs were formed somewhat tongue-in-cheek back when I was gigging quite a bit. Well, not so much anymore as they are evenings when I actually get out of my apartment for some music with friends.

Tonight I got to play with Noah Gibney on his 15th birthday. Noah has been gigging with my good friend Kris Kehr in the Reading area, and is a wildly talented “old soul” kid who sings, plays and performs like someone twice his age (and unlike some folks I know, never get around to). Noah plays piano and guitar, writes some of his own material and, most importantly, listens before he plays.

Noah Gibney

Kris had told me that his instincts are off the chart and I could trust that he could pick up on songs on the spot. So, I had every confidence that I could throw stuff at him and he would respond. He did. Towards the end, I did Stan Rogers’ Giant at him, pretty much in a different tradition, and he added some great sound to the song. He was also open to improvisational techniques that I plopped in front of his ears. (Kris, of course, knows to expect that from me) He started off with a great (though long) version of Stormy Monday. Later on, we did several rondos where we passed leads among the three of us, just like old pros, unspoken on stage.

Kris Kehr

As usual, there were very few folks in the audience, but the conversations were quite interesting, talking about bridges in songs, and other musical esoterica.

It was Noah’s 15th Birthday. Amazing. I love these nights.

Back from two RockRoots gigs this afternoon, I had a chance to reboot for a Godfrey’s gig, a Dave’s Night Out. Tonight was Michael Johnson and Quentin Fisher from our emerging bluegrass stars Serene Green. I dreamed this up a long time ago so I was looking forward to this evening. Que and Micheal have been doing a duo for months, years, as friends and band mates. I asked them to work on Old Time Bluegrass Duos as a theme. They did great!!!

I’ve been working with a “sit-down” format, playing and conversing in chairs on stage. Michael emailed me that they were going to be standing, and working with a central mike, as they do with the full band. I negotiated a combination of the two and it worked very nicely. I trust my folk production instincts. As it turned out, it proved to be a very nice move.

I started out with Truck Driving Man, an old Steppin’ Out! tune that I pulled out of my ass for this one. But, it was a good way to have Q and M add some chops. Established the improvisation to the evening.

These guys are the real deal and they both work really hard on their songs, harmonies and mando/guitar work, with tremendous respect for the tradition. They have my complete respect for what they do. We had great conversations about the role of the instruments, the harmonies, the history of brother duos (Monroe, Delmore, Stanley, Traums, and more). Lots and lots of acoustic porn, actually.

Quentin has really accepted his role as lead communicator for the band, with humor, factual knowledge and a welcoming stage presence. Frankly, I told him I see a lot of me (with my Sheiks/Skiffle Band/Steppin’ Out! duties) in his stage craft. Q’s the real deal.

I pulled out the Delmore Brother’s Deep River Blues. It was good break to the countryish sound, with more of a blues tone. It was appreciated and surprised some of the folks who haven’t heard me play.

After some more sit and chat, I asked the boys to take the single mike set up to the side. , to demonstrate how they usually play. Bang. They played some flawless duo tunes and the audience got to see it done to perfection.

As we settled down again, I pulled out Golden Bird, a old/new tune for me, and one I had run through earlier at the sound check. Again, it was great. I asked to join their band and they asked to join mine. That’s pretty cool. We should do it.

We wrapped up after about two hours, and Q said we could have gone on. I agree. I was pleased to introduce both Quentin and Michael to the concept of a small stage conversation and they both came up big.

It was a very long day on stage(s) but quite a good way to roll.

This was a good one. The topic tonight was Country Blues Guitar and my guest was my good friend Craig Thatcher. I’ve admired Craig’s electric guitar work for decades but he has become a wonderful acoustic player and supporter of Godfrey’s over the last few decades, as well. He now tours the world for Martin Guitar and I can’t think of a better ambassador than him for this legendary company.

I asked my friend Mance Robinson to do a short set in the middle and he knocked it out of the park with a Lightning Hopkins and a Skip James tune. It was a tough set for him in front of a crowd of folks unfamiliar with him but his playing and his patter were spot on. I am proud of the man and the player he’s become. People tuned in.

I started out with a Mississippi John Hurt tune, See See Rider which Craig immediately picked up on. We talked about the blues as a common language and that we didn’t have to rehearse for this. We passed back and forth Robert Johnson, Mance Lipscomb, Blind Willie McTell, Willie Dixon, Rev. Robert Wilkins, Jorma Kaukonen, Woody Mann, and a whole panoply of influences, cultural effects, British rock bands and more. It was an incredibly rich evening of intelligent music and talk. It was a deep dive.

I got to play Charlie James, Delia, Spoonful, Prodigal Son, Fishin’ Blues during the set. All pretty cool songs. I sang them well (so I’m told) and Craig had some great leads on all of them. Again, he knows how to find the spaces.

I particularly felt good with preparing material for the show: a wide spectrum of styles, picking techniques, tunings and accompanying stories and lore. Craig said that we could go on for hours. I agreed.

It is an incredible pleasure to share the stage with Craig. His instincts, his chops and his stage presence are at an incredible professional level. He listens first and plays second. We both had our antennae up tonight and the audience sensed it. I was able to raise my game thanks to his presence. It was a college-level seminar tonight. All for a $10 ticket.

Republic Tri-Cone, on loan from Pete.

It was an almost full house, but with too many no-shows, especially when we announced a sell-out earlier. Drat. The magic of Craig filled the house but I can only hope that folks will come back for future DNO’s. The atmosphere remains electric, regardless of the guests and the size of the crowd.

I realized afterward that I am a “product” driven artist. I had something to prepare for (I could have done more) and developed material that was well-played, interesting and professional. I could count on my fearless banter to fill in the spaces and it worked. But I need a deadline inspiration to put me to work: my Troubadour album, the Steppin’ Out! shows and other public appearances. It’s the kitchen work that suffers when I should be playing for myself and my art. I need to kick myself in the ass to just pick up the guitar and play. I need more gigs to challenge me.

My old Martin 0001-R, a good friend.

Godfrey’s Martin in action.

I got to drag out some of my old instruments (which sounded great tonight) along with a new borrowed Tri-Cone, and I enjoyed playing some of my favorite Martin friends.

I am proud of tonight’s show in this particular venue with my friends on stage. The totality of this situations didn’t strike me until now. Intelligent music in front of an intelligent audience in an intelligent venue. There ya go.