The October 25th benefit show for Eddie and Martha Adcock at Nashville’s Station Inn was a great success. The packed audience at the Station Inn was treated to the sounds of some of the finest in Bluegrass, who donated their services (and also their own funds) to help Eddie and Martha through some difficult times following Eddie’s successful brain surgery last August.

The Nashville Bluegrass Band was followed by Missy Raines and the New Hip. Then Jerry Douglas told how his father’s first experience hearing the Country Gentlemen with Eddie Adcock prompted his father to buy every Country Gentlemen record he could find, which Jerry listened to constantly for the next year. Jerry was joined by Russ Barenberg on guitar for some hauntingly beautiful tunes.

Next the Whites with dad Buck and daughters Cheryl and Sharon demonstrated family harmony at its best. Jerry Douglas joined with surprise guest Ricky Skaggs to round out the Whites’ portion of the show. Jesse McReynolds and his family showed that the Virginia Boys sound is alive and well. Jesse concluded his set with El Cumbanchero, again confirming that his picking is as fast (or faster) and clean as ever — an amazing performance.

Harley Allen sang several of his own songs, showing all why he is one of the world’s best songwriters. He was ably assisted by the Infamous Stringdusters’ Andy Hall on Dobro, David Harvey on mandolin, and Barry Crabtree on banjo. Speaking of songwriters, Dixie and Tom T. Hall were in the audience. Others attending to support Eddie and Martha included Sonny Osborne, Terry Eldridge, Roland White, David Sebring, and many other notable Nashville area musicians.

Sam Jackson handled the emcee duties and “Supe” Granda from St. Louis delivered several of his original songs. The climax was when Eddie Adcock himself took the stage with former II Generation bandmate Gene Johnson (now of Diamond Rio), Missy Raines, and Don Wayne Reno. After a few moments of Eddie’s picking, there was no doubt that his surgery had been a success, and his trademark baritone voice proved as smooth as ever.

It was a magical evening where the excellence of the music mixed with the atmosphere of love and respect, and once again our Bluegrass community stepped up to assist one of our own.

If you would like to add your contribution to assist Eddie and Martha, you may send a contribution to:

Martha Adcock
P.O. Box 219
Lebanon, TN 37088

Andy Hall, resonator guitarist with The Infamous Stringdusters, married Janice Young, agent with Keith Case and Associates. Their wedding was held on May 9 at Riverwood Mansion in Nashville, TN with plenty of bluegrass royalty in attendance.

Janice sent along a couple of photos, and provided this recap.

“Bradley Walker sang a beautiful rendition of Walk Through This World With Me, accompanied by Andy Falco on guitar, Katie Studley on violin, and Hannah Schroeder on cello. Tyler Grant played several classical guitar pieces while the families were being seated, and Dave Peterson and His Old Tyme Country Review played at the reception.

We went to Deep Creek Lake in Maryland for our honeymoon, and stayed at the lovely lake house of Ben and Barbara Eldridge.”

Sounds like a lovely ceremony and a great start for their married life. Congratulations to the happy couple!

The annual weekend of instruction and immersion in resophonic guitar is scheduled for November 5-8, held at the Scarritt-Bennett Center in Nashville, with some events at The Station Inn.

Though they have already accepted advance registrations to fill the number of students they can accept, a waiting list has been set up for those who might still hope to attend. ResoSummit has been able to offer registration to people on the wait list each year, so get on there now if you’d like to make it in ‘09.

The faculty includes Rob Ickes, Michael Witcher, Andy Hall, Sally Van Meter, Dave Giegerich and Jimmy Heffernan. It is hoped that both Mike Auldridge and Cindy Cashdollar will also be teaching in November.

Sign up for the waiting list on the ResoSummit 2009 web site.

Long Story, recently released on Patuxent Music, features 10 original instrumental compositions performed by a group of stellar progressive string musicians. Jordan recorded his first solo project, No Place Better, in 2005 and was part of a trio album (Corbett/Chrisman/Tice) in 2007 with banjoist Wes Corbett and hammered dulcimer player Simon Chrisman.

This new solo release shows not only an obvious grasp of acoustic guitar technique, but a fresh compositional voice as well. It is not presented as a “guitar album” – with track-after-track of fiddle-tuney flatpicking – nor does it incorporate the odd vocal number with an eye towards radio play. In fact, the CD is more of a statement about Jordan’s original music than it is his guitar playing, and it is the tunes that shine, both for their clever melodies, and as improvisational vehicles for Tice and his fellow pickers.

The opening melodies are as likely to be presented by the dobro, fiddle or banjo as the guitar, which Tice had in mind when he created the tunes for this album.

“I did write many of the melodies with other instruments in mind. One thing that ties most of the music I love together is that the elements that make up the music are veiled behind the flow of the music. My goal was to make a record with a bluegrass band that accomplishes this rather than to highlight the guitar and ignore the abundance of textures and sounds the bluegrass band is capable of producing.”

Jordan’s tunes range from a fiery fiddle tune form (Sofia) to jazzy, new acoustic ballads (Chincoteague), and even an orchestrated, scored piece (The Colony).

Sofia really jumped out at me on first hearing, and it hasn’t diminished a bit upon multiple listenings.

Listen now:   

“Sofia was written a few years ago pretty quickly. Id say it’s the most straight forward on the record in that its just a tune that we play and improvise on with minimal arrangement. I named it after Sofia, Bulgaria after a visit there last summer. I just liked the simple and pretty sound of ’sofia’ and figured it fit.”

Another tune that aptly demonstrates the character of this CD is The Salad Days, which opens with a cross-picked guitar melody which is soon picked up by the resonator guitar.

Listen now:   

Jordan is finishing his education in music composition at Towson University in Maryland, where he attends on a full scholarship. He has obviously taken this training to heart, as Long Story strikes me as a very musical album, and Tice’s writing for the other musicians is spot-on from start to finish.

Speaking of the other musicians…

Noam Pikelny has finally earned the notoriety he has long deserved for his work with Chris Thile and Punch Brothers. He shines here, as he does whenever he straps on his banjo. On fiddle, Casey Driessen is called on to cover a wide variety of style, which he does with his typical aplomb, and Mark Schatz provides note-perfect bass throughout. Andy Hall is on resonator guitar, and not only states themes and improvises, but also covers much of the rhythmic ground that a mandolin normally would in this sort of ensemble.

Jordan’s mom, Susan Tice, is a fine fiddler and plays on one tune (Song For Leslie), and the sole cut with mandolin features Marc MacGlashan, a fellow Marylander who Jordan claims as one of his favorite mandolinists.

You can hear several other tracks on Jordan’s MySpace page, and samples for all 10 tunes in iTunes.

Great stuff!

The brainchild of Jimmy Ross, the CD came about after a discussion between Ross, and Tim Scheerhorn at and IBMA tradeshow. Tim suggested they bring Kohrs onboard to engineer and produce. The resulting project includes nearly 50 musicians, a supporting a cast of bluegrass’ best, and 15 all-star resonator guitarists who all play Scheerhorn instruments.

Each track features a different resonator player, with only Kohrs and Tim Scheerhorn himself making more than one appearance. 17 tracks are presented in total, ranging from bluegrass numbers such as Wheel Hoss (performed by Rob Ickes) to Hot Toddy’s Snake Oil (a dual track tune, the first track consisting of some funny banter in the studio).

If you like good acoustic music, especially of the resonator sort, this CD should be on your Christmas wish list. From beginning to end the recording quality and acoustic tones of the instruments met the expectations I’ve come to have of a Randy Kohrs produced project. The purpose of the project is to showcase the Scheerhorn instruments, and it hits that mark with precision.

Some of the tracks have a more distinct “bluegrass” sound to them, namely Rob Ickes’ Wheel Hoss, Andy Hall’s Fishtail, Jack Ferguson’s Carter’s Blues, and Jimmy Ross’ Turnaround. Other tracks take different directions.

One of the standouts to my ear was Primo Duetto for Reso and Viola by Billy Cardine. This classically styled piece had incredible tone and depth with only two instruments in the mix. The textures of the tones were quite emotive and the performance was spectacular. Interestingly, this track was followed by a Kohrs’ version of Robert Johnson’s Dusty My Broom. Kohrs performs on a Scheerhorn Koa Lap Steel on this electric blues number. The contrast between the two tracks is pleasant and reveals the breadth of music genres which converge on this CD.

Another tune that caught my ear was the dark and grooving Drivin’ The Nails by Louis Wamp.

To tell the truth, I enjoyed every track on the disc. The variety of musical styles only serves to highlight the impressiveness of the Scheerhorn family, both instruments and players.

Resonator guitars are the focus of the CD to be sure, but they aren’t the only Scheerhorn creations to be featured on the recording. Already mentioned is the Scheerhorn Lap Steel, but several tracks include acoustic guitars built by Sheerhorn, and one track includes a performance by Scott Vestal on a Scheerhorn Banjo.

Scheerhorn enthusiasts will want this CD for sure, but even if you’re not a Scheerhorn devotee, or even a resonator guitar devotee, if you love great music I would encourage you give this CD a listen. You just might find you’ve become and enthusiast by the end of the last track.

Audio samples and ordering information are available on the Hornography MySpace page.

Hornography serves as a tribute to resophonic guitar luthier, Tim Scheerhorn. Kohrs is joined on the CD by an all star line up of Scheerhorn players.

The CD was recorded at Kohrs’ award winning studio, Slack Key Studio. Each track was produced by the featured musician, each of whom brought their own band to project. Spanning multiple genres, including classical, blues, jazz, and bluegrass, the CD is primarly instrumental (Kohrs contributes the only two vocal cuts) and revolves around instruments build the luthier whose name the project adopts.

Track 1 on the CD is Rob Ickes performing the Monroe classic, Wheel Hoss. Musicians on this cut include: Dave Pomeroy, Ron Block, Andy Leftwich, Adam Steffey, and Aaron McDaris.

Randy tells us the CD will be released before Christmas, and that he will have 200 advance copies available at the upcoming ResoSummit in mid-November.

Players featured on the CD are:

• Randy Kohrs
• Rob Ickes
• Andy Hall
• Justin Moses
• Todd Livingston
• Bruce Bouton
• Billy Cardine
• Scott Vestal ‚Äì playing the only Scheerhorn banjo
• Mike Witcher
• Shannon Hayes ‚Äì playing a rare Scheerhorn acoustic dreadnought guitar
• Lee Hiers
• Jimmy Ross
• Lou Wamp
• Sally Van Meter
• Jack Ferguson
• Tim Scheerhorn himself

He is joined by his bandmates in The Infamous Stringdusters for most of the tracks with special guests David Grier, Tim Stafford and Rob Ickes making appearances as well. You can read more about the new CD – including some comments from Andy – in our earlier post about this release.

Sound Of The Slide Guitar is available for download in iTunes or on Andy’s MySpace page, and CD copies can be purchased from Andy at ‘Dusters shows.

Sound Of The Slide Guitar features 11 tracks, 8 of which are original pieces Hall wrote for this project. The Dusters serve as the core band, but four tracks are cut as duets, performed with David Grier and Tim Stafford on guitar, Jesse Cobb on mandolin, and Rob Ickes on dobro.

Andy said that he had wanted to complete this recording quickly, reflecting his writing and playing over a certain period of time. Unlike his first solo project, Redwing – which took almost two years to finish – this one was recorded in four months at Hall’s home studio.

Dusters fans will recognize Deep Elem Blues, which Andy sings with the band on their live shows, and Norman Blake fans will enjoy hearing the reso-version of Green Light On The Southern and Bony Crossing The Alps which closes the CD.

“I chose the title, ‘The Sound Of the Slide Guitar,’ because I heard so many people use that phrase. Like ‘I love the…..’ or ‘ ……….is a haunting sound.’ I had heard it used so much, I thought it would be an appropriate title. Seems to be pretty accurate in describing the record!

I used my mahogany Meredith guitar on a lot of the tracks and my my Koa Harper in D tuning for C-Bops. For a few of the softer tunes, I used my Hawaiian. There’s some bluesy stuff too, like Deep Elem, where I used an old style 2 square neck tri-cone.

I wanted to get some different sounds on there, as per the album title.”

Sound Of The Slide Guitar will be released on January 22 from Sugar Hill, but is available for download purchase now on Andy’s MySpace page, where you can hear audio for several tunes. It will appear in iTunes on the 22nd, and will be available for CD purchase from Andy’s site at that time as well.

UPDATE 1:55 p.m. – Andy will be a guest on Cindy Baucom’s Knee Deep In Bluegrass show this week, talking with Cindy about the new CD.

Issue #1 featured Andy Hall, of The Infamous Stringdusters, as the cover story. The story is a lengthy, multi-page article/interview that covers Andy’s history with music and the dobro in particular. The issue also includes tab to one of Andy’s tunes, Last Chance Getaway.

One full page in the magazine is dedicated to instruction in the art of rolls. Another column, entitled In Theory, discusses the use of the Nashville Numbering System. Tablature is presented, both in an easy arrangement and a more advanced one, for the song Cherokee Shuffle.

All of that is in the first issue. Issue #2, which is soon to come out, will feature Tim Graves on the cover, new topics and songs, and more.

The layout is clean and simple with a minimum of clutter. The tabs look nice and easy to read. This should be a valuable resource for dobro players who are interested in learning new tunes, and reading about their heros.

Mike Evers, the editor/publisher of Resonance says the magazine is long overdue.

The professionals I have talked with believe such a newsletter is long overdue. I know I wish there had been one around when I started learning 21 years ago.

Resonance will be featuring interviews with players and luthiers, CD and product reviews, dobro news, theory & technique, and plenty of tablature for both beginners and intermediate/advanced players.

Subscriptions can be ordered online for the print version, at just $15 per year, and the web version, for only $12 per year. Single web issues can also be purchased if you’d like to look one over before subscribing.

Mike tells me he will allow new subscribers to backdate the beginning of their subscription to include the premier issue until the end of September. After that, it will be available only as a back issue.

A couple weeks ago Wichita had Mac Wiseman, then Doc Watson, and last week Alison Krauss. He sure seemed excited about having Andy on the show though.

Each week Wichita and a guest host visit with each other, play some music, and get in The Grand Old Time Machine and travel back in time, stopping in the 30’s, 40’s, 70’s or where ever the guest wants to go. There they meet some bluegrass stars of yesteryear and hear some great music.

Last week, at the beginning of the show featuring Alison Krauss as a guest host, Wichita and Alison went over the rules for the audience about not taking pictures, recording, smoking, etc. I’m glad Alison straightened Wichita out and told him it was OK for the listeners to eat sausage gravy and biscuits, but she never did tell him the audience wouldn’t be able to take pictures since they were just listing to the radio!

The Grand Old Time Machine comes on at 5 PM EST every Friday and 12 AM EST every Saturday night. It can be found on XM Channel 14, Bluegrass Junction.

You can find more information about the show online at TheGrandOldTimeMachine.com.

Last night here in Roanoke, they packed a trendy, downtown nightspot and proceeded to demolish the assembled throng of music lovers and fans. The two sets mixed cuts from their Sugar Hill debut, Fork In The Road, with new band compositions, some bluegrass classics, and even a few songs they had just been working up backstage.

What strikes me as rare with this bunch is their ability to mix genres so smoothly, with enough progressive/modern/newgrass edge to attract younger listeners, and a sufficient amount of unadulterated grass to please the hard core purists. I saw them go from a long, jammy instrumental with a rock flavor, to a smooth and wholly traditional take on The Stanley Brothers Lonesome River.

They are clearly comfortable in this small club environment, and worked both the early evening “meet and greet” bunch and the late night stragglers with just the right vibe. The highlight for me was the very end of the show, where they encouraged everyone to leave their seats and join the band in front of the stage for a three song, unamplified conclusion. This kicked with Uncle Pen and closed with Blue Night, both showing that despite their occasional wandering from the trail Bill Monroe blazed, they are right at home with his music in a straightahead style.

The Infamous Stringdusters are Chris Pandolfi (Panda) on banjo, Jeremy Garrett on fiddle/vocals, Chris Eldridge (Critter) on guitar, Travis Book on bass/vocals, Jesse Cobb on mandolin and Andy Hall on Dobro/vocals.

Each is a superb musician, worthy of a good many pixels of praise, but I am consistently impressed in particular by the ChrisDusters – Eldridge and Pandolfi. Chris Eldridge is already an important voice in the flatpick guitar world, and is likely to be even more of one as he continues to develop as an artist. We saw him last fall as a member of Chris Thile’s How To Grow A Band, and he shone there among some of the most exceptional string musicians ever assembled.

Pandolfi is a master of understated banjo, and excels on his instrument in ways that may escape an uninformed observer. He and I talked last night about our mutual distaste for flashy, “look at me” banjo playing, so I don’t suppose it’s surprising that I enjoy his picking. With so much of what he adds to the band being designed to hold things together rhythmically, he doesn’t stand out as much as the other first rate soloists in the band, but be sure to keep an ear and an eye on the banjo when you see them live.

All three vocalists are terrific, with different styles that complement one another perfectly. I especially enjoyed Travis Book’s singing last night, as well as wondering when Jeremy Garrett’s face would explode when got to soaring in the ether. Andy Hall’s dobro work is always a joy, as is Jesse Cobb’s mandolin – both in accompaniment and taking the lead.

The band is about to embark on a whirlwind six-week tour, taking them all over the US from late June through early August, including a show at the North Shore Jazz Festival in Vancouver, BC and the Telluride fest in Colorado.

Check their schedule online, and catch this exciting young band if the opportunity arises.

They will be interviewed on GAC TV’s The Edge of Country show on Saturday (3/17). The show is hosted by Kylie Harris, and airs at 1:00 p.m. with a rebroadcast at 11:00 p.m. The show will also be shown on Monday (3/19) at 1:00 p.m., and again on Tuesday morning (3/20) at 3:00 a.m. All times are eastern.

Banjo picker Chris Pandolfi shared some thoughts on taping the segment with GAC.

“The Edge of Country was some of the first real ‘national’ media attention we have received, and the show went really well. We do many press opportunities as a full band, so it was a challenge to get everyone involved, but we did, in turn showcasing one of our greatest assets – we are a band.

It’s hard to classify exactly what we do, genre-wise, but ‘edge of country’ seems an appropriate catch-all for our music.

I asked dobroist/vocalist Andy Hall what is was like for them, with a new CD out on a major independent label after actively performing without label support for almost two years. He responded with high praise for the folks at Sugar Hill, and said that all was right with his world.

“This is a great time for us, as we have a full touring schedule and a brand new first record. What more does a picker need?”

Andy also mentioned that The ‘Dusters recently recorded a live segment for AT&T blue room, which showcases artists online with both in studio performances and interviews. We’ll be sure to post an update when that is available on the blue room site.

On Monday, the band will be in Knoxville for a live radio broadcast from the studios of WDVX. The show will air from noon to 1:00 p.m. (3/19) on 89.9 FM, and will also be available online via streaming audio.

If you just can’t get enough of The Infamous Stringdusters, you could listen to the WDVX audio stream from noon to 1:00, and then tune in to GAC and catch the interview.

“Stringdusters” is fairly easy to figure out by itself, it’s probably a reference to keeping the strings clean by playing all the time. But where did the “Infamous” part come from? Andy Hall was kind enough to relate the story to me. Here’s what he had to say.

Actually Ben Eldrige came up with it. We had been through quite a naming crisis at the beginning. We started as Wheelhouse, but that was a metal band from L.A. Then we were Broken Drought, which is the title of a Robert Frost poem. Noam Pikelny suggested that, so we’ll blame that one on him. The Stringdusters was a band that Jethro Burns was in, but wasn’t around anymore. We added the “Infamous” to help distiguish from that. Hopefully we will eventually earn that description!

Coming up with band names is so hard. The ridiculous ones come easy. Sabertooth, Six On A Stick, The Free Radicals to name a few. Ironically these are probably all taken. I like where we ended up. The other cool part of The Infamous Stringdusters is that it’s acronym is IS.

I would guess we might be seeing that on a T-shirt sometime later this year!

Instructors tapped to participate in addition to Rob are Mike Auldridge, Phil Leadbetter, Randy Kohrs, Michael Witcher, and Andy Hall, plus luthiers Tim Scheerhorn and Paul Beard.

Things kick off on Thursday (11/8) with a concert at The Station Inn by The Infamous Stringdusters. Classes then run from Friday (11/9) through Sunday (11/11). Here’s how Rob describes the weekend’s activities:

From Friday through Sunday, we’ll have a full menu of workshops, jams, “dobro speed dates,” faculty fave song deconstruction, and other creative approaches designed to ramp up your playing rapidly and enrich your creativity. We’ll be tapping some truly gifted teachers and players to make all this happen, and we’re going to make sure everyone has lots of fun in the process. We’ve found a great campus right off Music Row – The Scarritt-Bennett Center – for all our daytime activities. This beautiful Gothic campus will make you think you’re in college (except no exams!), and will put you in just the right mood for a high-energy learning experience. And a nearby recording studio will be available for a hands-on recording experience, for those who dare!

Each night during the ResoSummit, we’ll head back to The Station Inn for some great performances by bands featuring faculty members, including Three Ring Circle. And for the grand finale on late Sunday afternoon, we’ll have a closing performance at the Harambee Auditorium at Scarritt-Bennett.

By the end of the Summit on Sunday evening, you’ll be loaded up with enough inspiration and “homework” to keep you busy for the next year!

There is no web site for the event, but Rob encourages anyone with an interest in ResoSummit to contact him by email for registration forms. Full tuition is $350, which includes all workshops and evening concerts.

His influence on me, and all Dobro players can’t be overstated.

I’ve spent many hours pouring over his songs, listening to every detail. Trying to figure out how he played so cleanly, and just the right notes. His versions of all the great Dobro songs are still the best. Maiden’s Prayer, Fireball, Home Sweet Home, Flatt Lonesome, and many others make up the standard Dobro repertoire, and Josh is the one who made them sound so good.

We all, as musicians, strive to find the best tone, and the best timing. I think any player, of any instrument, can learn a lot from hearing Josh’s Dobro playing. Not to mention the presence he had when he stepped up to the mic.

What warms my heart is to see how popular the Dobro has become. All over the country, everywhere I go, young kids are playing the fire out of the Dobro.

Whether they know it or not, Uncle Josh started it all, and his impact on music is being felt now more than ever.

Photos by Tami Roth © 2006

Jeremy Garrett	Chris Pandolfi	Andy Hall	Chris Eldridge
Jesse Cobb	Chris Pandolfi	Downhill Bluegrass Band	Frankie Nagle
Audie Blaylock	Michael Cleveland	The Lovell Sisters	Rhonda Vincent
Donica Christensen	Daughters of Bluegrass	Becky Buller	Dale Ann Bradley

This GrassCast is a bit shorter than most, coming in at 6 minutes, with a download size of 6.8 MB (for the MP3 file).

Below is an mp3 file which you can hear now, or download to your computer. The GrassCast is also available in the iTunes music store as an enhanced podcast containing photos and hyperlinks relative to the subject matter being discussed in the interview.

Listen now:
Direct Download: ep39_andy_hall.mp3
Subscribe with:
Free Download: The GrassCast iPodder software

To subscribe with your own podcatching software, copy and past this url into the appropriate entry box in your software: http://www.thegrasscast.com/rss

I knew at the time that most of the members had recently taken gigs with other bands, and feared that this promising new act might simply vanish from the scene. In fact, Andy Hall went on tour with Dolly Parton, Alan Bartram went with Kenny & Amanda Smith ( and now Del McCoury) and Chris Pandolfi ended up touring with Bering Strait.

When I spoke with Pandolfi on Monday afternoon, he told me that the group had not only reformed (with Travis Book on bass), but they had all made a commitment to focus their efforts together as a band, and had changed the name to The Stringdusters. They have a debut CD nearly completed (produced by Tim Stafford) which they are shopping to labels.

Chris invited me to their showcase Monday night, which I was fortunately able to attend. Just as I had remembered, the show was powerful and vibrant with an interesting combination of stage personalities. Andy Hall fronts the show with a loose, comfortable style and Chris Pandolfi stands almost motionless – until his banjo solos, where the quirky rhythmic twists in his playing are reflected in his body movements. On the other extreme is Chris Eldridge (son of Ben), whose facial and physical contortions when soloing on guitar are as unique and creative as his music. Yet another extreme can be found in watching Jeremy Garrett sing, where the intensity of his delivery makes you fear that his head may explode!

The music they play is largely original, and with a modern edge that should appeal to listeners close to their age, while staying close enough to the traditional music that informs their sound to keep more mainstream bluegrass audiences entertained.

There is tremendous interest in this new band at IBMA this week, and their few showcases are likely to become must see events. We noticed that Ken Irwin of Rounder Records arrived for Monday night’s showcase and took a front row seat. I expect that representatives of other independent bluegrass and acoustic music labels will make a point to see this group as the week progresses, and anyone interested in hearing a strong young contender in the bluegrass world would be advised to do so as well.

We have included a few photos from their Monday night showcase for the Huck Finn Festival folks. The lighting wasn’t ideal so we apologize for the grainy images. The photos are by Tami Roth, and we will have more of her images up later this morning, and throughout the week. Tami is a terrific photographer, and I’m sure you will enjoy seeing her images of IBMA 2005.