Mandolin legend Herschel Sizemore may be retired from active touring, but he hasn’t stopped writing and the recording the sort of clever instrumentals that have so endeared him to the mandolin world.

His latest CD, B-Natural, has just been released. It’s a self-produced project with 12 new Sizemore compositions with Terry Baucom on banjo, Jimmy Haley on guitar, Ron Stewart on fiddle and Mike Bub on bass. Alan Bibey also adds some lead guitar and harmony mandolin parts.

The CD title comes from the lead track, a sly reference to the stylistic innovations that Herschel introduced to bluegrass mandolin some years ago. The mandolin style that Bill Monroe developed quite commonly involved playing in the key of B, but Monroe’s playing was position-based and often relied on stock licks and phrases. Sizemore found a way to play complex melodies in B, an unforgiving place for uncapoed stringed instruments, and it won has him quite a stable of admirers among his peers.

What Herschel introduced is now standard fare in the bluegrass mandolin repertoire, and it’s a sad fact that many young 8-stringers have little awareness of the straight line that runs from Herschel Sizemore through Sam Bush, Alan Bibey and Adam Steffey.

Of course, he plays comfortable in most any standard bluegrass key, and his new tunes demonstrate a variety of the breakdowns, reels and waltzes for which he is known. The sound here will be quite familiar to long-time Sizemore fans, with straightforward, no frills arrangements and crisp, clean playing all around. Here are a few audio samples:

Monroe’s Dream is one Herschel wrote a few years ago, reflecting on his old friend Bill Monroe. Big Mon was always a supporter of what Herschel was doing with teh mandolin, and Herschel has always believed it was because he wasn’t copying Monroe’s music, but making his own statement with teh instrument.

Derrington Express is dedicated to another dear friend, Charlie Derrington, formerly with Gibson in Nashville. Charlie was killed by a drunk driver almost exactly 3 years ago (8/1/06) while he was riding his motorcycle near his home.

B-Natural was produced with support from The Virginia Foundation For The Humanities. Ordering in enabled from Herschel’s web site.

With the annual IBMA World Of Bluegrass convention coming up (9/29-10/2), a number of instructional workshops have been scheduled in Nashville during that same time frame. Students of bluegrass instruments can take advantage of these opportunities during their visit, especially those who will travel some distance to Nashville for IBMA.

The week just prior to the IBMA events will see a workshop offered by FiddleStar Camps. It will run September 25-28 just outside of Nashville and will feature instruction from several renowned bluegrass artists.

This one includes 6 time National Fiddle Champion Megan B. Lynch, Lonesome River Band bassist and harmony singer Mike Anglin, Sam Bush guitarist and singer Stephen Mougin, former Sunny Mountain Boy bassist and harmony singer Kip Martin, and Lonesome River Band mandolin player and high lead singer Andy Ball. There will be formal instrument classes, jams and jam classes, Nashville field trips, band scrambles, many more activities, and tons of fun!!

Full details can be found on the FiddleStar site.

During IBMA week, both Herschel Sizemore and Roland White will offer mandolin workshops at Big Joe’s Guitarworks in Nashville. Roland’s workshop will be on October 2 running from 10:00 a.m. until 1:00 p.m., and Herschel’s on October 3 will offer two sessions, 10:00-1:00 and 2:00-4:00 p.m.

Registration to these mandolin workshops is limited to 20 students each, so interested participants are urged to contact Big Joe right away to secure a spot.

After 7 years of offering 3 day multi-instrument bluegrass seminars, Roanoke Bluegrass Weekend is calling it quits. Jointly hosted since November of 2002 by mandolin legend Herschel Sizemore and our own John Lawless, RBW has fallen prey to the many demands of John’s work with AcuTab, and Herschel’s retirement interests.

The event got its start in 1998 as an an all-banjo event, The AcuTab Banjo Seminar, which John hosted on his own. In 2000, Dan Miller, publisher of Flatpicking Guitar Magazine joined as co-host, and they added mandolin and guitar to the mix. During that period, they welcomed such esteemed artists as Sammy Shelor, Wayne Benson, David Grier and Chris Thile as instructors.

When Dan pulled out after two years, Herschel and John teamed up to continue operating the event, adding fiddle as well as bass, dobro and voice at various times since 2002. They were proud to see legends like Kenny Baker, Bobby Hicks, Roland White, Allen Shelton and Eddie Adcock as members of their faculty, plus younger “impact players” like Ron Stewart, Aubrey Haynie, Rob Ickes, Kenny Smith, Tim Stafford, Adam Steffey and Don Rigsby – just to name a few.

There is a statement from Herschel and John on the RBW web site about the event’s demise.

In all things, there comes a time to say goodbye, and so it is with our Roanoke Bluegrass Weekend. We both find our time stretched thin, and are unwilling to continue with this event absent our full attention and concentration. It has not been an easy decision, but we feel that it would be unfair to hold the weekend with so little time to dedicate to making it beneficial for the registrants.

Ultimately, it has been the students who have attended that have had the biggest impact on RBW, and we thank you all most particularly for supporting this event over the years. Your suggestions and feedback helped us to shape and modify RBW from one year to the next, and it was seeing your exhausted but beaming faces as things came to a close each year that kept us going when the time commitment seemed too severe.

Please don’t blame The Bluegrass Blog! John says that it is his other commitments and plans that have him in a time bind.

We got a new CD recently that will appeal to folks who like to hear simple old time and folk melodies played on stringed instruments, in an unassuming, relaxed style. It’s called Straight From The Porch, and comes from Curt Baker and Greg Honeycutt, two fine players from southwestern Virginia, who play resonator slide guitar and flatpick guitar respectively.

Greg says that he and Curt have nothing against more modern string music, and follow it closely, in fact. He says that some of his favorite music comes from artists like Blue Highway, Kenny & Amanda Smith and Alison Krauss & Union Station.

“We love the more arranged and produced sound they get, and respect and admire their artistry. What we wanted to do with this CD, though, was record something more sparse and unornamented, that would really let the melodies shine through.

That’s where the title came from – we wanted it to sound like what you would hear when a couple of guys sit together on the porch to pick a few. That’s where this music came from, in earlier times, and we just wanted to recreate that sort of sound, as best we could.”

To help get that sound, they recorded primarily on older instruments, but not the high dollar ones now so prized by collectors. Curt and Greg instead used the Depression-era instruments more likely to be used by “regular folks,” the off-brand guitars sold through mail order catalogs like Sears and Montgomery Ward.

Much of the material will be familiar, though a few newer songs and a couple of originals are included as well. Greg and Curt brought in some well known pickers to help out, with both Mike Auldridge and Herschel Sizemore lending their skills to the recording. Mike joins Curt for a dobro duet, and Herschel joins the guys on an old timey cut of Big Sciota.

Both Curt and Greg have bluegrass backgrounds, and that influence shows throughout. Shannon Wheeler also guests on fiddle, and Lee Dunbar on banjo.

You can hear samples from all 15 tracks on CDBaby.