Tony Trischka

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Tony Trischka: Hello?
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Shaun Smith: Hey, is this Tony?
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Tony Trischka: It is.
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Is this Shaun?
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Shaun Smith: how you doing?
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I'm sorry about that.
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Tony Trischka: Uh, it's okay.
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Shaun Smith: my phone, uh, thought
you were spam or something.
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It said immediately silenced.
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Tony Trischka: Oh, well, I am SCAM.
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I'd like to sell you an insurance policy.
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Perhaps you'd be interested.
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Shaun Smith: I'll buy, I'll buy whatever,
I'll buy whatever you're selling.
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Tony Trischka: Okay, good.
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Well, I'm selling finger picks.
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So, um, gold finger picks.
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So, the premiums.
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Rare.
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200 a pair.
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So, um, you can Venmo me or PayPal.
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Whatever works for you.
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Shaun Smith: Sounds like a deal.
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It sounds
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Tony Trischka: Oh, Chris.
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Perfect.
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Shaun Smith: are you doing today?
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Tony Trischka: I'm good.
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How are you?
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Shaun Smith: great.
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Thanks.
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I'm great.
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Tony Trischka: You sound great.
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I'm glad to hear that.
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Shaun Smith: Good, yeah, um, so I
really wanted to talk to you about,
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uh, Earl Jam and about the Folkfest,
but was there anything specific
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that you'd like me to ask you about?
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Tony Trischka: No, why don't you after
you ask me your questions and I can, if
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anything, if there's anything else, I will
suggest that you talk about that with me.
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So, yeah,
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Shaun Smith: That sounds good.
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And then how are you on time?
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Usually, uh, an hour is good
for me, but do you have any,
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uh, any, like, time constraints?
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Tony Trischka: I, I do
have some time constraints.
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I've just got a lot of things
on my plate, but, um, you know,
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let's do an hour, but not more.
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Shaun Smith: That sounds great.
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Awesome.
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Tony Trischka: That'd be good.
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Shaun Smith: So I'm
ready whenever you are.
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Uh, I basically just start
with, uh, Tony Triska.
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Welcome to the high note podcast.
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So, uh, yeah.
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Uh, are you ready to go?
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Tony Trischka: I am.
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It is.
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I think you just said Trishka.
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It is Trishka.
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So, yeah,
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Shaun Smith: I'm sorry about that.
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That, I think that might be my, my
South Jersey accent coming through too.
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Tony Trischka: no problem.
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It's no problem at all.
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I've had my, you know,
I got Tony Krishna once.
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So,
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Shaun Smith: Tony Krishna.
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Tony Trischka: yeah, I've got,
I've got, I've got all the
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pronunciations, all the pronunciations.
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Shaun Smith: It's Trish, right?
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Tony Trischka: Trishka.
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Yeah.
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Shaun Smith: Awesome.
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Cool.
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So, Tony Trischka, welcome
to the High Note Podcast.
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How are you doing today?
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Tony Trischka: Excellent.
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Excellently.
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Thank you very much, Shaun.
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It's a pleasure to be here.
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Shaun Smith: Wonderful.
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Hey, so Tony, uh, the reason that we're
talking today specifically is because
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in, uh, in, well, in just a few days,
it seems like we're both going to be
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at the Philadelphia Folk Festival.
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Tony Trischka: That's correct.
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And I'm greatly looking forward to it.
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I've been, I think, 1st time I went was
something like 1965 or something like that
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Shaun Smith: Wow.
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So that
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Tony Trischka: when it
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Shaun Smith: the, that was like the
third, the third or fourth fest.
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Tony Trischka: Something like that.
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Yeah, I know.
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There was 1 in 61.
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so it certainly goes back that far.
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Shaun Smith: So, how,
you grew up in Syracuse.
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How did you find out about the
Philadelphia Folk Festival?
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Cool.
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Haha.
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Tony Trischka: Uh, well, I was.
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I got into folk music, um, I guess in,
I don't know, the early sixties anyway.
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Uh, my parents were into folk music.
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My mother went to school with
Pete Seeger, his wife Toshi.
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And, uh, we had, you know, Pete Seeger
and Weaver's albums around Woody
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Guthrie and various things like that.
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And then I discovered Bob Dylan somewhere
around 1963, et cetera, et cetera.
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And just really got into the whole
folk thing before I got into bluegrass.
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And then, you know, right around 63,
I sort of discovered the banjo, but
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so I was, I was, there was a whole
folk boom going on at that time.
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I got into folk music through the Kingston
Trio, even though it was around with Pete
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Seeger, with my parents and all that.
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Um, anyway, so, uh, and I, and my,
my dad got one of the, he used to
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subscribe to Sing Out magazine.
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Like in the fifties and the early fifties.
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So, uh, my parents are very left wing.
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So, as I proudly say, and, uh, and so
we had these, you know, people's, uh,
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something that came before Sing Out
magazine, but anyway, we had Sing Out
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magazine and then I subscribed to it.
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And, uh, there was an ad for Philadelphia
Folk Festival and me and some friends
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went down there and, um, Yeah, so
that's, that's how I discovered about it.
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Shaun Smith: Wow.
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Wow.
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And I know, so I saw you back in
2009, but, uh, how many times have
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you performed at the festival?
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Tony Trischka: It'd really be
hard for me to say exactly.
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I'd say three or four times.
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I could be wrong about that.
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That's, that's my memory of it.
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I played, I was in the band called
Skyline in the, in the eighties.
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And I know we played there
at least once, if not twice.
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Uh, and then since then a couple of times,
so yeah, I'd say three or four times.
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Shaun Smith: Wow.
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Now, uh, how has the festival,
uh, changed over the years?
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You know, since you started going
in the 60s and then since you
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were last there, uh, in 2009?
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Tony Trischka: Uh, I can't really say, to
be honest with you, uh, because it was so
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long ago in 63 or 64, whenever that's 65.
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And I just don't have a firm memory
of what what it was like back then.
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And, uh, I don't remember it seeming
like it had changed much in the
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times that I was there performing,
and I haven't been there since
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the last time I performed there.
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So I don't really have
a good answer for you.
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I just remember, uh, some, uh.
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One year it was like a mud fest.
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It was, uh, vitamin 70 or 71 or something.
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It's like a hurricane had gone
through something like that.
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Maybe I'm getting the year wrong.
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Maybe it was later.
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But anyway, and I remember
Bill Monroe was there and, uh.
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We were all knee-deep in mud, and he's
there with a beautiful suit on and white.
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He had white shoes on and he walked
from the entrance to the festival
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to this workshop stage and got
on stage and it was immaculate.
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Not a speck of mud on it.
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So I'm not saying anything,
but what can I say?
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You know, it's Bill Monroe.
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He walked on mud.
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And I remember being axle deep in mud
and having to get towed out by a tractor.
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So that's 1 of the strong memories.
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I have of the festival.
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Shaun Smith: I think you, and you
and many other people have that same,
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uh, memory of being axle deepened,
being pulled out by a tractor.
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Tony Trischka: Yeah, that's the only
time that happened to the various times.
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I went, but that stands out my memory.
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Shaun Smith: I believe 2009 might
have been, uh, a mud fest as well.
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I started going in 2008 and uh, I
think, I think 2009 was one of the
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muddier muddier festivals as well.
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Tony Trischka: It happens.
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That's when you put on a
festival, you gotta be ready for
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that sort of thing to happen.
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It's the role of the ice.
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Shaun Smith: So, uh, how did you,
how did you get into, uh, folk
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music, you know, back in the 60s?
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You had mentioned, uh, Bob Dylan.
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We're both Dylan fans, as I understand.
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And, uh, and I think, uh, you're
a Kingston Trio fan as well.
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Tony Trischka: Yeah, well, like I said,
my parents, there was folk music around
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the house, you know, they'd listen to Pete
Seeger or the Weavers and there was some
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Pete, there's a Pete Seeger's children,
children's album on folkways that my
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parents would play for us growing up.
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And I still remember those songs vividly.
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Uh, so that was sort of a,
in the background of my life.
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Uh, but then when I heard the Kingston
Trio, I fell in love with their
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music and I bought their first album,
the very first album I ever bought
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was the Kingston Trio at large.
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And there's a song on there called MTA,
which was about, well, I won't go into
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the details of what it's about, but
it's about a subway system in Boston.
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How a guy paid his fare and they raised
the fare while he was on the subway.
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And so he couldn't afford
it, the extra money.
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So he's going to ride forever
underneath the streets of Boston.
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He's the man who never returned.
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There's a banjo solo
on there by Dave Gard.
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The Kingston Trio's banjo player,
and I heard that, and it was like,
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and I was already playing guitar at
that point, you know, folk guitar,
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as it were, and I heard that.
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I went, Oh boy, I got to do that.
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I was totally enraptured immediately.
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And that's what set me off
in the course of bluegrass.
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Shaun Smith: Wow.
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And you, you put down the guitar and
picked up the banjo and never looked back?
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Tony Trischka: Exactly.
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Exactly.
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That's exactly what happened.
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Shaun Smith: Wow, that, that's great.
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And I understand that you're
also, uh, you're also a bit of a
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teacher, too, that through the years
you've been, uh, teaching banjo.
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How did you get into that?
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Heh, heh, heh, heh, heh,
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Tony Trischka: Well, um, while I was
still living in New York city and sorry,
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and still living in Syracuse, New York,
before I moved to New York city, which
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this was around 1970, uh, Maybe, yeah,
I'd say right around 70, there was an
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all female bluegrass band called the
Buffalo Gals and I was friendly with them.
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And one day their banjo player
said, Hey, uh, Tony, I'd like to,
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can you give me a banjo lesson?
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And I said, well, I don't teach.
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Cause I hadn't, I hadn't started.
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I'd never taught banjo before that.
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I said, I don't teach.
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And she said, well, that's all right.
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I won't pay you.
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So.
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And it sounds like a deal.
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So that's how I gave her the
first lesson I ever gave was
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with this woman, Susie Monarch.
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And the second lesson I gave was to the
guitar player in the band who wanted to
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take some banjo lessons and she wanted
some really complicated tune that I'd
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written and, you know, not being much
of a teacher at that point, I agreed
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to show it to her, although I should
have showed her something much simpler.
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But, uh, she paid me with her
grandmother's chocolate chip cookies.
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So after a while I decided maybe I
should get actual money for this,
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but, uh, that's how I started.
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Shaun Smith: Wow, that's, that's great.
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That's a very, uh, I mean, that, that's,
chocolate, chocolate chip cookies
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definitely sweeten the deal a little bit.
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Tony Trischka: It, uh,
literally and figuratively.
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Exactly, totally.
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Shaun Smith: there's something, I went
to school in Buffalo, and I'm from
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South Jersey, but I went to school
in Buffalo at Canisius, and there's
237
00:09:42,509 --> 00:09:46,319
something magical about Western New
York and upstate New York, isn't there?
238
00:09:46,319 --> 00:09:48,249
I mean, musically and artistically.
239
00:09:48,480 --> 00:09:51,400
Did you tap into that as
an early, at an early age?
240
00:09:52,345 --> 00:09:53,605
Tony Trischka: You said there's
some, I missed the word,
241
00:09:53,605 --> 00:09:55,194
something about upstate New York.
242
00:09:55,319 --> 00:09:56,189
Shaun Smith: magical.
243
00:09:56,605 --> 00:09:57,265
Tony Trischka: Oh, magical.
244
00:09:58,115 --> 00:10:02,835
Yeah, I think, I mean, I didn't feel
that way at the time, but, uh, I mean,
245
00:10:02,835 --> 00:10:06,585
after a while I was really glad to get
out there, you know, uh, just the weather
246
00:10:06,585 --> 00:10:11,035
was just so oppressive at times with so
much rain and cloudiness and all that.
247
00:10:11,035 --> 00:10:15,415
But, um, going back there, I mean,
it's still home for me just because
248
00:10:15,595 --> 00:10:16,645
it's sort of deep in my roots.
249
00:10:16,645 --> 00:10:18,625
I, I lived there till I was 23 and moved.
250
00:10:19,285 --> 00:10:23,085
Moved away in 1973 and moved
back for about six months in 76.
251
00:10:23,105 --> 00:10:26,535
But, uh, but I get back there once
a year or something to play music.
252
00:10:28,325 --> 00:10:28,675
So
253
00:10:30,954 --> 00:10:32,625
I don't know if I would
use the word magical.
254
00:10:32,635 --> 00:10:36,785
I mean, that, that's just me, but,
uh, you know, there's still something
255
00:10:36,785 --> 00:10:39,285
down home about it for me for sure.
256
00:10:40,615 --> 00:10:43,704
And, uh, you know, there was always
a nice musical scene up there.
257
00:10:44,474 --> 00:10:50,034
Uh, so I was very fortunate because when I
first started getting into the banjo, um,
258
00:10:50,045 --> 00:10:51,975
I had two teachers and my first teacher.
259
00:10:52,360 --> 00:10:54,100
Was not really much of a banjo player.
260
00:10:54,100 --> 00:10:55,350
He's more of a folk singer.
261
00:10:56,040 --> 00:10:59,140
And, uh, but he could, he was trying
to show me some claw hammer, a
262
00:10:59,189 --> 00:11:02,729
downstroke style of banjo playing,
which is not what I wanted.
263
00:11:02,730 --> 00:11:05,459
I want to learn how to pick,
but my parents found this guy
264
00:11:05,459 --> 00:11:06,800
who supposedly played the banjo.
265
00:11:06,800 --> 00:11:09,020
So that's what I tried to learn.
266
00:11:09,510 --> 00:11:16,000
But, uh, the good news was that, uh, when
I first showed up for my first lesson
267
00:11:16,020 --> 00:11:19,500
with this guy, I went to his apartment
in Syracuse and off in the corner was
268
00:11:19,500 --> 00:11:21,050
this album by a guy named Bob Dylan.
269
00:11:21,050 --> 00:11:21,659
Yeah.
270
00:11:22,780 --> 00:11:24,360
Or at least that's how I
thought it was pronounced.
271
00:11:25,220 --> 00:11:28,760
And I picked it up and looked at it,
and it said, To John, my teacher's
272
00:11:28,760 --> 00:11:32,750
name was John Gaines, and it
said, To John, from Bob, whatever,
273
00:11:32,760 --> 00:11:34,210
whatever the inscription was.
274
00:11:34,230 --> 00:11:37,390
Because this, my teacher knew Bob
Dylan from the village, like from
275
00:11:37,390 --> 00:11:42,619
6100, you know, early on before,
uh, before it became Bob Dylan.
276
00:11:43,290 --> 00:11:49,170
And so, uh, we went to see
him in 1963 in Syracuse.
277
00:11:49,370 --> 00:11:53,449
Dylan came to do a, um, do a
concert benefit for the community.
278
00:11:54,030 --> 00:11:56,579
Her core, which is the
concert on, uh, sorry.
279
00:11:57,199 --> 00:12:02,300
Uh, it, it was a, you know, trying
to get, uh, it was Congress on
280
00:12:02,300 --> 00:12:05,150
Racial Equality or something like
that was what Core stood for.
281
00:12:05,150 --> 00:12:09,880
Anyway, Dylan gave an an amazing show,
which to this day I can still picture it.
282
00:12:10,030 --> 00:12:14,370
And, uh, afterwards I got to go
backstage with my teacher and meet
283
00:12:14,370 --> 00:12:17,790
Dylan and he sort of had the dead fish
handshake, but I got to meet Bob Dylan.
284
00:12:18,800 --> 00:12:19,530
Shaun Smith: Wow.
285
00:12:19,900 --> 00:12:22,930
Tony Trischka: And afterwards, we went
across the street to Dylan's hotel
286
00:12:22,930 --> 00:12:29,459
room, and I got to go over there with
my teacher, and, uh, and Bob asked me
287
00:12:29,460 --> 00:12:32,919
if I'd like something to drink, and I
went, well, I'll have a Coke, and he went
288
00:12:32,919 --> 00:12:37,089
down the hall and bought me a Coca Cola,
so, that's, you know, if nothing else
289
00:12:37,089 --> 00:12:38,609
happened in my life, that was pretty cool.
290
00:12:39,820 --> 00:12:42,460
Shaun Smith: That's very cool, and
lucky, lucky for all of us, uh,
291
00:12:42,489 --> 00:12:45,280
music fans, there's a lot more that's
happened in your life since then.
292
00:12:46,490 --> 00:12:47,250
Tony Trischka: Yeah, yeah.
293
00:12:47,250 --> 00:12:49,940
I mean, that was at his height as
the whole protest thing at times.
294
00:12:49,940 --> 00:12:53,220
There were tangents blowing in the wind
and hard rain's going to fall and, you
295
00:12:53,220 --> 00:12:57,180
know, all those songs that they were
all swirling around at that point,
296
00:12:57,250 --> 00:12:58,819
he had just written all those tunes.
297
00:12:58,820 --> 00:13:04,010
And it was amazing just to so powerful
his presentation and his stance and,
298
00:13:04,020 --> 00:13:05,769
uh, his charisma and the whole thing.
299
00:13:05,780 --> 00:13:06,600
It was just blazing.
300
00:13:07,420 --> 00:13:08,690
So I was very fortunate.
301
00:13:08,700 --> 00:13:08,990
Indeed.
302
00:13:10,249 --> 00:13:13,489
Shaun Smith: Was it around that time
that you decided that you wanted to do
303
00:13:13,489 --> 00:13:17,710
this for a living, that you wanted to,
to play music, uh, you know, as your job?
304
00:13:18,960 --> 00:13:21,270
Tony Trischka: I never
decided that I just did it.
305
00:13:21,700 --> 00:13:22,440
And that's true.
306
00:13:22,440 --> 00:13:24,250
I never was like, well,
what am I going to do?
307
00:13:24,250 --> 00:13:24,810
Should I do this?
308
00:13:24,850 --> 00:13:30,660
No, I just, I think, I think the first
money I earned was probably when I was
309
00:13:30,660 --> 00:13:35,190
14, again, taking bachelor lessons from
this first teacher who introduced me
310
00:13:35,190 --> 00:13:42,100
to Bob and he, we did, uh, at Syracuse
university for some university club.
311
00:13:42,190 --> 00:13:45,810
And, uh, I got paid 15 for,
uh, playing for 15 minutes.
312
00:13:45,810 --> 00:13:47,050
So I got a dollar a minute.
313
00:13:47,770 --> 00:13:50,280
I thought, well, that's
pretty good pay for 1963.
314
00:13:51,520 --> 00:13:57,240
Um, uh, Anyway, and then I would, you
know, I ended up meeting these two guys,
315
00:13:57,690 --> 00:14:00,080
uh, who were college, college guys.
316
00:14:00,220 --> 00:14:04,309
And, uh, and I ended up playing
with them after I took lessons with
317
00:14:04,309 --> 00:14:08,750
my second teacher, Hal Glatzer,
who, uh, was a big college guy.
318
00:14:08,809 --> 00:14:12,320
He was 17 at the time and I was
14, but he completely, I went to a
319
00:14:12,320 --> 00:14:16,329
hootenanny at Syracuse university
where my dad taught physics, actually.
320
00:14:16,990 --> 00:14:20,230
And, uh, there's this guy up there
playing in a duo with a guitar
321
00:14:20,230 --> 00:14:22,349
player and he's Scruggs style banjo.
322
00:14:22,675 --> 00:14:23,775
That's what I want to learn.
323
00:14:23,775 --> 00:14:26,474
So I contacted him and started
taking lessons from him.
324
00:14:27,474 --> 00:14:28,264
And we're still in touch.
325
00:14:28,264 --> 00:14:29,435
He lives in New York City these days.
326
00:14:29,454 --> 00:14:31,234
So from time to time we
get together for dinner.
327
00:14:31,234 --> 00:14:34,855
But he set me on this path
to perdition as it were.
328
00:14:35,595 --> 00:14:38,244
And, uh, sort of opened the door.
329
00:14:38,484 --> 00:14:42,710
And he played in this band that, uh,
Rehearsed about two blocks from my
330
00:14:42,800 --> 00:14:44,210
house where I grew up and was living.
331
00:14:45,860 --> 00:14:48,780
And there are a couple of guys in
the band who, after that band broke
332
00:14:48,780 --> 00:14:52,890
up, I got to start a band with, we
were called the down city ramblers.
333
00:14:53,809 --> 00:14:58,869
And, uh, and so I was the high
school kid and they were like
334
00:14:58,869 --> 00:15:00,139
freshmen in college or something.
335
00:15:00,960 --> 00:15:05,420
But, uh, it treated me as an equal and
it was, it was a great experience to
336
00:15:05,490 --> 00:15:07,330
have a really good band to play with.
337
00:15:08,810 --> 00:15:11,020
Shaun Smith: Now was that your
first introduction to Earl Scruggs?
338
00:15:11,020 --> 00:15:11,034
Yes.
339
00:15:12,630 --> 00:15:16,610
Tony Trischka: Um, I'm trying to
think, uh, well, I mean, once I
340
00:15:16,610 --> 00:15:20,350
heard Charlie, Charlie and the MTA
and heard Dave guards banjo solo,
341
00:15:20,370 --> 00:15:24,939
he was a wonderful banjo player,
by the way, uh, I've asked someone,
342
00:15:24,939 --> 00:15:26,040
well, who else should I listen to?
343
00:15:26,060 --> 00:15:27,680
And they said, oh, listen to Earl Scruggs.
344
00:15:27,699 --> 00:15:34,379
So I bought, uh, a flannel Scruggs out
called folk songs of our land, which.
345
00:15:34,650 --> 00:15:38,660
You know, Earl's wife, Louise, as
I found out later years was the
346
00:15:38,660 --> 00:15:40,150
one that sort of positioned them.
347
00:15:40,540 --> 00:15:44,530
She was their manager, uh, for
many years, and that's why they
348
00:15:44,530 --> 00:15:47,280
were so successful because she
had a really good business sense.
349
00:15:48,099 --> 00:15:51,949
And I got friendly with Louise in
her later years, and she told me this
350
00:15:51,949 --> 00:15:55,970
story about how when she was booking
Flatt Scruggs and managing them, in
351
00:15:55,970 --> 00:15:57,540
the mid 50s, people would call up.
352
00:15:58,285 --> 00:15:59,624
Talk to Earl Scruggs.
353
00:15:59,624 --> 00:16:01,834
talk to Earl and she would pick up
the phone and someone would say,
354
00:16:01,834 --> 00:16:02,935
Hey, I'd like to talk to Earl.
355
00:16:02,944 --> 00:16:05,275
And she'd say, what's it about?
356
00:16:05,484 --> 00:16:07,624
And they'd say, well, I want
to book Flatt and Scruggs.
357
00:16:07,624 --> 00:16:09,714
And she'd say, oh, you
can talk to me about that.
358
00:16:09,724 --> 00:16:11,795
And they'd say, well,
I'd rather talk to Earl.
359
00:16:11,805 --> 00:16:15,458
And she'd say, well, you'll talk to
me or you won't get Flatt and Scruggs.
360
00:16:15,458 --> 00:16:20,524
And so in various points in their career,
she did really important things for them.
361
00:16:20,534 --> 00:16:24,905
Like when they played at Carnegie
hall in 1962, it would have just been
362
00:16:24,905 --> 00:16:27,844
a footnote, an important footnote,
but just a footnote in their career.
363
00:16:27,844 --> 00:16:29,004
And she said, Hey, why don't.
364
00:16:29,649 --> 00:16:31,770
Let's have Columbia Records
record this, because they run
365
00:16:31,770 --> 00:16:33,450
Columbia, so she calls up Columbia.
366
00:16:34,765 --> 00:16:36,705
And so I was saying, Flatt and Scruggs
are going to be at Carnegie Hall.
367
00:16:36,725 --> 00:16:37,345
Let's record it.
368
00:16:38,025 --> 00:16:39,824
And they said, well, how do we do that?
369
00:16:39,925 --> 00:16:44,135
And she said, well, you gotta get a
tape recorder and run some wires and
370
00:16:44,255 --> 00:16:46,064
some mics up there and you just do it.
371
00:16:46,535 --> 00:16:51,154
And anyway, Columbia Records did it and it
became one of their most beloved albums.
372
00:16:51,194 --> 00:16:51,964
It's a great album.
373
00:16:52,884 --> 00:16:57,210
And when the, uh, the ballad of Jack
Lampin, Became a hit through the movie,
374
00:16:57,210 --> 00:17:02,790
the Beverly Hillbillies, you know,
people wanted to have the music to
375
00:17:02,790 --> 00:17:05,750
listen to on their record players, you
know, they wanted to get the single.
376
00:17:05,750 --> 00:17:06,989
It didn't exist.
377
00:17:07,670 --> 00:17:12,480
So Louise called Columbia Records
again and said, Hey, uh, let's have
378
00:17:12,480 --> 00:17:13,900
Flatt Scruggs record the theme.
379
00:17:15,645 --> 00:17:18,315
The ballad is just clamp it and they did.
380
00:17:18,315 --> 00:17:23,044
And it came out within two weeks
and wrote at the top of the charts.
381
00:17:23,095 --> 00:17:25,175
So she had a lot to do
with positioning them.
382
00:17:25,175 --> 00:17:28,664
So I think she had a hand in saying,
okay, let's do folk songs of our
383
00:17:28,664 --> 00:17:30,294
land because folk songs are big.
384
00:17:30,764 --> 00:17:34,815
This would have been around 1962
or 63 when this album came out.
385
00:17:35,415 --> 00:17:35,715
So.
386
00:17:36,765 --> 00:17:37,285
Shaun Smith: Wow.
387
00:17:37,655 --> 00:17:40,295
Now, when did you, when
did you first meet Earl?
388
00:17:40,295 --> 00:17:42,655
I understand that you got a
chance to, to meet him and become
389
00:17:42,655 --> 00:17:43,774
friendly with him later on.
390
00:17:46,115 --> 00:17:49,254
Tony Trischka: I don't remember exactly
the year probably would have been
391
00:17:49,254 --> 00:17:54,975
somewhere in the 80s at some festival and
I was playing and he was on the bill and
392
00:17:54,975 --> 00:17:58,054
I just remember sort of being in a food
line or something and he was in front
393
00:17:58,054 --> 00:18:00,655
of me and we just chatted for a moment.
394
00:18:00,975 --> 00:18:03,135
You know, nothing too serious,
395
00:18:05,145 --> 00:18:10,835
but trying to remember, but I would
call him on his birthday years later.
396
00:18:10,835 --> 00:18:11,715
I got his phone number.
397
00:18:11,715 --> 00:18:16,145
I would call him on his birthday and
just say, Hey, Earl, happy birthday.
398
00:18:17,785 --> 00:18:21,905
And, uh, in fact, I was giving
evangelist, this was many years ago.
399
00:18:21,905 --> 00:18:25,995
I was giving evangelist to somebody
on Earl's birthday on January 6th.
400
00:18:26,245 --> 00:18:29,745
And I said, Hey, let's call
Earl Scruggs and my student.
401
00:18:30,270 --> 00:18:31,040
Yeah, okay.
402
00:18:31,100 --> 00:18:31,620
Yeah.
403
00:18:32,200 --> 00:18:35,220
So I called up Earl and said, happy
birthday and chatted for a moment.
404
00:18:35,840 --> 00:18:42,200
My student got to talk to Earl
Scruggs, which is a pretty big deal.
405
00:18:42,700 --> 00:18:46,639
So a nice, a nice, uh,
bonus to the lesson.
406
00:18:48,630 --> 00:18:52,990
But when I've, I think when I first
spent some time with him was, uh,
407
00:18:53,030 --> 00:18:56,680
put out, put out an album, I don't
know, maybe 12 years ago now called
408
00:18:56,690 --> 00:18:58,380
Double Banjo Bluegrass Spectacular.
409
00:18:58,534 --> 00:18:59,305
Shaun Smith: Oh, sure.
410
00:18:59,850 --> 00:19:02,829
Tony Trischka: And, uh, just had
all these banjo players on there
411
00:19:02,829 --> 00:19:04,090
and I wanted to get Earl on there.
412
00:19:04,090 --> 00:19:07,049
So, uh, we worked it out.
413
00:19:07,049 --> 00:19:11,699
I spoke to Louise and, uh, he agreed to
do it, which was like beyond thrilling
414
00:19:11,789 --> 00:19:16,839
and, uh, and, uh, went into the studio
and Earl showed up with Louise and.
415
00:19:17,745 --> 00:19:21,245
He worked on Farewell Blues, and I
was sitting knee to knee with Earl
416
00:19:21,245 --> 00:19:25,254
working up a double banjo part to
this tune that Earl had recorded on
417
00:19:25,254 --> 00:19:28,194
Mercury Records back in 1949 or 50.
418
00:19:29,670 --> 00:19:35,489
And, uh, and, and then, uh, you know, I
had chances to come over to the house.
419
00:19:35,489 --> 00:19:39,899
I actually went over to the house before
that 1990, uh, with a friend of mine, we
420
00:19:39,900 --> 00:19:45,409
were going to this banjo gathering, uh,
near outside of Nashville in Lebanon,
421
00:19:45,460 --> 00:19:49,480
Tennessee, and, uh, I'd gotten in touch
with Earl and said, Hey, Earl, would it
422
00:19:49,499 --> 00:19:51,849
be okay if we stopped by to say hello?
423
00:19:51,850 --> 00:19:52,469
And he said, sure.
424
00:19:52,500 --> 00:19:54,279
So we stopped by and.
425
00:19:54,915 --> 00:19:56,094
Early answer the door.
426
00:19:56,444 --> 00:19:56,764
Wow.
427
00:19:56,775 --> 00:20:02,855
It's Earl Scruggs and we sat down and, you
know, there was no agenda and Earl was not
428
00:20:02,855 --> 00:20:04,444
the most talkative person in the world.
429
00:20:04,444 --> 00:20:08,694
So I just sat there on the couch
with my friend and Earl was this
430
00:20:08,694 --> 00:20:11,964
big overstuffed easy chair and, uh.
431
00:20:12,699 --> 00:20:16,520
I was, I sort of joke how it
was like being with a pope.
432
00:20:17,909 --> 00:20:22,130
It's his finger pick or, you know, I, I
don't know, but, uh, anyway, we talked
433
00:20:22,139 --> 00:20:24,579
about the weather for four or five
minutes and that wasn't going anywhere.
434
00:20:24,639 --> 00:20:27,759
Then I started asking about the
good old days and he started
435
00:20:27,759 --> 00:20:29,569
telling some great stories.
436
00:20:30,639 --> 00:20:34,770
About how, uh, after the Beverly
Hillbillies, Paul Henning, who was the
437
00:20:34,770 --> 00:20:40,670
producer, started putting together a
TV series called Petticoat Junction.
438
00:20:41,460 --> 00:20:48,039
And since Flatt Scruggs had been on the
Beverly Hillbillies, uh, Paul Henning
439
00:20:48,039 --> 00:20:51,189
decided, well, let's get Earl to be
the engineer on Petticoat Junction.
440
00:20:52,469 --> 00:20:56,009
And, uh, he called up Earl and
Earl said, no, I can't do that.
441
00:20:56,009 --> 00:20:57,750
I wouldn't break a plant in Scruggs.
442
00:20:58,690 --> 00:21:02,949
And so, uh, Paul Hennig said, well,
we'll fly you back to Nashville over
443
00:21:02,960 --> 00:21:05,100
the weekend so you can do the Opry.
444
00:21:05,380 --> 00:21:07,519
And, uh, anyway, Earl demurred.
445
00:21:08,069 --> 00:21:10,479
And Banjo History would have been
different if Earl hadn't been the
446
00:21:10,480 --> 00:21:12,639
engineer on Petticoat Junction.
447
00:21:13,014 --> 00:21:13,594
Shaun Smith: Wow.
448
00:21:13,634 --> 00:21:14,955
Yeah, definitely would have.
449
00:21:16,489 --> 00:21:19,139
Tony Trischka: and then also he was
talking about how banjo heads, you know,
450
00:21:19,259 --> 00:21:23,639
hit skin banjo heads, uh, when he, you
know, in the fifties, when he was playing
451
00:21:23,639 --> 00:21:28,190
it, they had them, of course, all the way
back, but he had a basket, sorry, a skin
452
00:21:28,190 --> 00:21:35,500
banjo head uh, You know, when the weather
when, when you needed to tighten up the
453
00:21:35,500 --> 00:21:40,319
head, uh, you know, when the weather got
hot, he would put a fire in the fireplace
454
00:21:40,329 --> 00:21:42,139
and put the head near it to dry it out.
455
00:21:42,139 --> 00:21:43,120
So it would tighten up,
456
00:21:43,514 --> 00:21:44,014
Shaun Smith: Wow.
457
00:21:45,350 --> 00:21:46,759
Tony Trischka: you know, things like that.
458
00:21:46,770 --> 00:21:49,120
Just these little really amazing stories.
459
00:21:49,819 --> 00:21:53,130
So anyway, um, so that was the 1st time.
460
00:21:53,509 --> 00:21:57,820
That I really kind of hung out with him
and then did the double banjo thing.
461
00:21:57,820 --> 00:22:00,520
And again, if someone had said, when
I was a kid, you know, someday Earl
462
00:22:00,520 --> 00:22:02,209
Scruggs will record on your album.
463
00:22:02,209 --> 00:22:06,210
I go, ah, so I've been very blessed.
464
00:22:07,040 --> 00:22:09,124
And then over the years, uh, I would.
465
00:22:09,404 --> 00:22:10,304
Spend time with him.
466
00:22:10,375 --> 00:22:16,294
He would play at BB King's club
on 42nd street in New York city.
467
00:22:16,294 --> 00:22:17,895
And I would go down
there to see him there.
468
00:22:17,995 --> 00:22:21,254
And then afterwards, you know, right
after the show, the band would go back to
469
00:22:21,254 --> 00:22:25,814
my hotel and Earl's son, Gary, who I was
friendly with and say, you know, you go
470
00:22:25,814 --> 00:22:29,904
backstage and Gary would say, why don't
you hang out with dad while I go get paid.
471
00:22:30,024 --> 00:22:33,944
And so I just hang out in the dressing
room with Earl for 20 minutes or whatever.
472
00:22:33,944 --> 00:22:36,364
And we just chew the fat as it were.
473
00:22:37,920 --> 00:22:42,409
I think I did that twice, but one time
when we did this, this woman came in
474
00:22:42,409 --> 00:22:46,150
while we were talking and she was kind
of drunk and she worked there and she
475
00:22:46,150 --> 00:22:48,679
was coming to pick up her paycheck.
476
00:22:48,779 --> 00:22:51,460
And she was complaining about how
they didn't have the paycheck yet.
477
00:22:52,439 --> 00:22:54,239
What a pain it was to be working there.
478
00:22:54,250 --> 00:22:54,590
Whatever.
479
00:22:54,590 --> 00:22:55,139
She was kind of.
480
00:22:55,280 --> 00:22:59,179
Grouchy and kind of drunk and she,
she came in and said, who are you?
481
00:22:59,219 --> 00:23:01,880
And I introduced myself
and then said, who are you?
482
00:23:02,040 --> 00:23:02,920
Well, I'm Earl Scruggs.
483
00:23:02,920 --> 00:23:05,809
And I'm going, that's Earl Scruggs.
484
00:23:05,809 --> 00:23:08,589
You know, anyway, she's going
on for four or five minutes.
485
00:23:08,589 --> 00:23:11,340
And I was about to stand up and just
do something to get her out of there.
486
00:23:11,360 --> 00:23:13,290
I didn't want Earl to have
to deal with this woman.
487
00:23:14,259 --> 00:23:17,429
And I wasn't even sure what I was going
to say as I was about to stand up.
488
00:23:17,900 --> 00:23:21,250
Earl looked, looked her right in the
eye and said, very nice to meet you.
489
00:23:21,920 --> 00:23:23,580
And she said, very nice to meet you.
490
00:23:23,610 --> 00:23:24,870
And she turned around and left.
491
00:23:25,529 --> 00:23:29,409
I sort of think it was like an Obi
Wan Kenobi moment, where these are
492
00:23:29,409 --> 00:23:30,879
not the droids you're looking for.
493
00:23:31,900 --> 00:23:35,549
He just kind of said this
thing and she just, okay, bye.
494
00:23:35,790 --> 00:23:37,190
So anyway,
495
00:23:38,014 --> 00:23:40,205
Shaun Smith: Now, I understand
that you got a chance to, uh, to
496
00:23:40,205 --> 00:23:42,935
hold the banjo and play the banjo.
497
00:23:43,235 --> 00:23:45,494
Uh, and you'd mentioned it was
like sitting with the Pope.
498
00:23:45,494 --> 00:23:50,005
How did it make you feel to, to hold, uh,
the legendary Earl Scruggs instrument?
499
00:23:51,040 --> 00:23:53,779
Tony Trischka: yeah, this was, uh,
in a different, a different time.
500
00:23:53,850 --> 00:23:54,420
I was, uh.
501
00:23:56,290 --> 00:24:00,100
Producing Steve Martin's second album
of recent times, which was called
502
00:24:00,100 --> 00:24:01,929
rare, but became rare bird alert.
503
00:24:02,145 --> 00:24:04,024
Shaun Smith: Which is a
fantastic album, by the way.
504
00:24:04,024 --> 00:24:09,235
And I, and I love, uh, uh, Steve
Martin and the Steep Canyon Rangers.
505
00:24:09,295 --> 00:24:10,425
I just have to mention that.
506
00:24:11,219 --> 00:24:13,909
Tony Trischka: yeah, no, it's a
great band and just a great album.
507
00:24:14,069 --> 00:24:18,339
And, um, anyway, I wanted to
do some pre production work.
508
00:24:18,339 --> 00:24:23,779
So Steve was playing out in, uh,
out in Missouri at this, it was
509
00:24:23,790 --> 00:24:27,010
sort of a concert series and Earl
Scruggs was opening up for him.
510
00:24:27,020 --> 00:24:29,730
So, uh, I was out there
and we did a little.
511
00:24:30,025 --> 00:24:33,214
Running down concepts for,
uh, arrangements for some of
512
00:24:33,214 --> 00:24:34,924
the tunes before the show.
513
00:24:34,924 --> 00:24:38,775
But anyway, at some point, I'm walking
around backstage and Earl's road
514
00:24:38,775 --> 00:24:42,054
manager comes over to me and says,
would you like to play the banjo anyway?
515
00:24:42,725 --> 00:24:48,415
Yeah, so, um, I went to Earl's dressing
room and he hands me his banjo.
516
00:24:48,659 --> 00:24:52,089
Played on it a little bit and it
felt terrible and it sounded worse.
517
00:24:52,520 --> 00:24:53,810
I couldn't get a sound out of it.
518
00:24:53,810 --> 00:24:57,169
I'm playing a real Sproggies banjo on the
one he recorded all this amazing stuff
519
00:24:57,169 --> 00:25:00,219
with and Steve Martin was back there too.
520
00:25:00,219 --> 00:25:04,779
And I handed it to Steve and he put it
into this double C tuning, which is a.
521
00:25:05,460 --> 00:25:09,839
Standard kind of old time claw hammer
tuning, but very unusual for bluegrass.
522
00:25:09,909 --> 00:25:13,510
But Steve liked that too, because he
also was a wonderful claw hammer player.
523
00:25:13,819 --> 00:25:16,119
Anyway, he played on that a little
bit and hands it back to Earl.
524
00:25:16,149 --> 00:25:19,949
And then Earl played a tune called
Brown's Fairy Blues and this double C
525
00:25:19,949 --> 00:25:21,569
tuning, which I'd never heard him play in.
526
00:25:21,790 --> 00:25:27,009
Ever, ever recorded anything
in that tuning and gloomy way.
527
00:25:27,029 --> 00:25:30,859
And when he played his banjo, it sounded
like Earl Scruggs sounded amazing.
528
00:25:31,429 --> 00:25:33,119
I just couldn't get a sound out of it.
529
00:25:33,875 --> 00:25:34,534
Shaun Smith: Wow.
530
00:25:34,560 --> 00:25:37,029
Tony Trischka: So, uh, but I've talked
to people since who had a chance
531
00:25:37,029 --> 00:25:40,120
to play the banjo and said it was
just terribly set up, you know, just
532
00:25:40,120 --> 00:25:43,899
didn't have a good setup to it, but
Earl could get the sound out of it.
533
00:25:43,909 --> 00:25:44,560
That's all it counted.
534
00:25:45,065 --> 00:25:45,554
Shaun Smith: Yeah.
535
00:25:45,585 --> 00:25:46,025
Yeah.
536
00:25:46,085 --> 00:25:50,284
And that's a, that's a great segue because
Brown's Fairy Blues is the, uh, the
537
00:25:50,284 --> 00:25:52,705
first song off of your album, Earl Jam.
538
00:25:52,964 --> 00:25:57,974
Um, yeah, tell, tell me a little bit
about, uh, about this mythical USB that
539
00:25:57,974 --> 00:25:59,725
you got with all of these songs on it.
540
00:26:01,290 --> 00:26:07,060
Tony Trischka: Well, um, I'd worked on
the, there are two Earl Scruggs books.
541
00:26:07,060 --> 00:26:11,889
One is the first one that came out
in around 67 or 68, which had a whole
542
00:26:11,889 --> 00:26:13,609
bunch of his tunes all transcribed.
543
00:26:13,689 --> 00:26:16,899
There was, they were transcribed
originally by a guy named Bill
544
00:26:16,909 --> 00:26:20,159
Keith, who was a very influential
banjo player, one of my big heroes.
545
00:26:20,909 --> 00:26:23,170
Uh, but a lot of stuff
was left out of that book.
546
00:26:23,170 --> 00:26:24,670
You know, you can only
put so much in a book.
547
00:26:25,209 --> 00:26:27,959
So many, many, many years later,
they put out a second book.
548
00:26:29,634 --> 00:26:34,054
Uh, all the stuff that should have
been in the first book, but apparently
549
00:26:34,065 --> 00:26:37,895
it was transcribed, or those solos
were transcribed by guitar players
550
00:26:37,904 --> 00:26:39,324
that knew nothing about his style.
551
00:26:39,335 --> 00:26:42,185
The notes might've been correct, but they
were all in the wrong places on the neck.
552
00:26:43,185 --> 00:26:48,085
And, uh, anyway, so I was asked by, uh,
this gentleman I know from Syracuse,
553
00:26:48,114 --> 00:26:53,174
New York named Bob Pico, who's a banjo
player, uh, to help do the corrections.
554
00:26:53,415 --> 00:26:57,454
So he and I, and this third banjo
player, Tom Adams, we chose like, I
555
00:26:57,455 --> 00:27:00,444
don't remember, 15 or 20 tunes each and
went through them and corrected them.
556
00:27:01,455 --> 00:27:03,344
And here and there, Bob Pico.
557
00:27:03,690 --> 00:27:09,580
Would send me a tune, uh, from these
jam sessions with John Hartford and Earl
558
00:27:09,580 --> 00:27:14,479
Scruggs, you know, he'd email me these,
these tunes, these tunes that we've never
559
00:27:14,479 --> 00:27:18,130
heard Earl Scruggs play before, or tunes
that we've heard him play before, but
560
00:27:18,280 --> 00:27:22,710
never playing these crazy, amazing licks
in them that we know from recordings.
561
00:27:24,150 --> 00:27:27,429
Uh, and so I said, what are, what's this?
562
00:27:27,480 --> 00:27:30,970
And he said, well, he, Bob said he
was at some of these jam sessions that
563
00:27:30,970 --> 00:27:35,110
Earl and John Hartford would do from
the mid eighties to the mid nineties.
564
00:27:35,989 --> 00:27:40,639
And, um, at some point he said John
Hartford got in touch with him and
565
00:27:40,639 --> 00:27:46,920
said, you know, and John Hartford had
recorded all these jam sessions with, uh,
566
00:27:47,050 --> 00:27:48,849
cheap tape, you know, cassette machine.
567
00:27:50,370 --> 00:27:53,510
And so he had piles of tapes from all
these, you know, all these jam sessions.
568
00:27:53,520 --> 00:27:57,179
So John got in touch with Bob
at some point and said, someday,
569
00:27:57,179 --> 00:27:59,830
if my house were to burn down,
all this music would be lost.
570
00:27:59,889 --> 00:28:01,790
I want to send copies of
all this music to you.
571
00:28:01,840 --> 00:28:06,170
And he did, and, uh,
Bob Pico digitized it.
572
00:28:06,380 --> 00:28:08,250
And after sending it, these individual.
573
00:28:08,969 --> 00:28:13,259
One tune at a time, he'd sent me a
thumb drive of over 200 of these tunes,
574
00:28:14,520 --> 00:28:19,520
and I started delving into them and,
uh, just hearing, wow, I've never
575
00:28:19,520 --> 00:28:21,870
heard Earl Scruggs play this tune.
576
00:28:21,909 --> 00:28:27,249
And, uh, I was just blown away by some
of the things he was playing, you know,
577
00:28:27,269 --> 00:28:31,739
just that he was playing this weird tune
or look what he's playing on this tune.
578
00:28:31,739 --> 00:28:34,750
So I started transcribing them, I'd
slow them down to half speed, write
579
00:28:34,750 --> 00:28:42,445
them out in banjo And then at some point
I decided, well, I should just record
580
00:28:42,445 --> 00:28:48,965
these tunes and, uh, you know, some,
you know, record a bunch of these tunes
581
00:28:49,005 --> 00:28:53,895
and have every single note that I play
on them for solos be these note for
582
00:28:53,895 --> 00:28:56,085
note girl solos that I've transcribed.
583
00:28:57,004 --> 00:28:58,185
And that's what I did.
584
00:28:58,975 --> 00:29:04,130
And we approached this guy, Ken Irwin,
who, uh, had, uh, He was the, one of the
585
00:29:04,139 --> 00:29:08,090
three original Rounder Records folks,
the others being, uh, Bill Nowland
586
00:29:08,090 --> 00:29:12,370
and Marion Layton, and the two of them
and Ken started Rounder Records around
587
00:29:12,370 --> 00:29:17,500
1970, and I, all my solo albums, with
exception of one, have been on Rounder.
588
00:29:18,239 --> 00:29:20,409
So I'm a longtime Rounder artist.
589
00:29:21,559 --> 00:29:24,540
And, uh, anyway, they got out of the,
the Rounders got out of the record
590
00:29:24,540 --> 00:29:28,179
business, sold the company, and
then, well, these many years later.
591
00:29:29,284 --> 00:29:33,514
Maybe three years ago now, they started
a new company called down the road.
592
00:29:33,594 --> 00:29:38,014
They asked me to be their first,
uh, first artist as it were.
593
00:29:38,935 --> 00:29:40,915
And, uh, they were interested.
594
00:29:41,784 --> 00:29:46,214
Take taking on this Earl
jam project and they did.
595
00:29:46,435 --> 00:29:51,965
And, uh, that's the first
album, uh, of two albums.
596
00:29:52,074 --> 00:29:56,048
Uh, there's will be,
I've recorded 26 tunes.
597
00:29:57,645 --> 00:29:58,945
uh, somewhere around that.
598
00:29:59,055 --> 00:30:02,965
Anyway, the first 15 ended up on
this first Earl Jam album, which
599
00:30:02,965 --> 00:30:05,065
came out, I think, in March.
600
00:30:06,085 --> 00:30:12,905
And then, uh, the last, uh, 11 songs plus
a few more will go on Earl Jam 2, which
601
00:30:12,905 --> 00:30:15,755
will come out, uh, sometime next year.
602
00:30:16,940 --> 00:30:17,830
Shaun Smith: Wow, I can't wait.
603
00:30:17,860 --> 00:30:21,250
I can't wait for the next one because
I absolutely love this album and you
604
00:30:21,570 --> 00:30:23,450
You put together a hell of a lineup.
605
00:30:23,510 --> 00:30:27,370
I mean, um, honestly, I think
you've gotten just about every
606
00:30:27,370 --> 00:30:31,239
single one of my favorite, uh,
bluegrass, uh, performers on there.
607
00:30:31,520 --> 00:30:37,110
Uh, Del McCoury, uh, Molly Tuttle, of
course, Billy Strings, Sierra Farrell.
608
00:30:37,110 --> 00:30:40,340
How did you put together this band and,
and choose these folks to play with you?
609
00:30:41,605 --> 00:30:45,685
Tony Trischka: Um, well, I just try
to find the best people I could find.
610
00:30:45,685 --> 00:30:49,975
And I knew that I'd sat in
with Billy Strings, uh, sat
611
00:30:49,975 --> 00:30:51,205
in on a couple of his gigs.
612
00:30:51,780 --> 00:30:55,630
So we were friendly and, and
he and I were both on a tune on
613
00:30:55,690 --> 00:30:57,800
Baleflex, my Bluegrass Heart album.
614
00:30:57,800 --> 00:31:00,310
So we had spent some time in
the studio and he'd just blown
615
00:31:00,310 --> 00:31:02,010
me away with his playing.
616
00:31:02,810 --> 00:31:04,470
And, uh, just a really sweet guy.
617
00:31:04,480 --> 00:31:07,060
So anyway, I got in touch and asked
a few people to be on the album.
618
00:31:07,060 --> 00:31:08,330
And he said, yeah.
619
00:31:08,470 --> 00:31:12,480
And he recorded Brown Story Blues,
which I knew he'd, I'd seen him do that.
620
00:31:12,820 --> 00:31:15,360
You know, in concert, that was
one of the tunes that he did.
621
00:31:15,360 --> 00:31:20,050
So, and I, and it's one of the tunes
that Earl did, uh, in his jam session.
622
00:31:20,050 --> 00:31:22,180
So I figured, well, Billy
would be perfect for this.
623
00:31:23,485 --> 00:31:28,805
And, uh, we also recorded, um, Gentle on
My Mind with the John Hartford tune, which
624
00:31:28,845 --> 00:31:30,815
Roland John did it in one of these jams.
625
00:31:31,415 --> 00:31:33,025
So, that'll be on the second album.
626
00:31:34,115 --> 00:31:37,985
And Molly Tuttle, I've known, uh,
I used, and still, in fact, teach
627
00:31:37,985 --> 00:31:39,335
at the Berklee College of Music.
628
00:31:40,215 --> 00:31:45,270
Uh, as a sort of visiting professor or
what, I don't even know what my title is.
629
00:31:45,890 --> 00:31:49,780
And I work with some of the, you know,
these great younger musicians who are in
630
00:31:49,780 --> 00:31:53,430
the roots music program there in Boston at
the Berkeley College of Music, as I said.
631
00:31:55,020 --> 00:31:57,290
And that's where I first
met Molly Tuttle was there.
632
00:31:57,925 --> 00:32:00,735
And I had a Christmas show I did
every year, and I asked her to
633
00:32:00,735 --> 00:32:01,955
be part of the Christmas show.
634
00:32:02,565 --> 00:32:04,145
This was a bunch of years ago.
635
00:32:04,395 --> 00:32:06,565
And she did, she did
for two years in a row.
636
00:32:07,175 --> 00:32:11,215
And one of the years, we recorded it
at the Yvonne Helms Barn in Woodstock.
637
00:32:12,145 --> 00:32:16,835
Uh, and so, you know, I've toured
with Molly, and she has now,
638
00:32:16,835 --> 00:32:18,425
of course, become Molly Tuttle.
639
00:32:19,935 --> 00:32:21,065
It's really great.
640
00:32:22,310 --> 00:32:25,040
up and coming star of acoustic music.
641
00:32:25,410 --> 00:32:30,420
And, uh, anyway, so I asked her if she'd
be on the album, uh, and she agreed.
642
00:32:30,690 --> 00:32:31,000
So.
643
00:32:32,555 --> 00:32:35,795
And on and on, Del McCurry's on there,
and I've known Del since, uh, kind of
644
00:32:35,795 --> 00:32:40,685
the later 70s, a friend of mine, and I
would drive down from Syracuse and go to
645
00:32:40,685 --> 00:32:45,455
see a show at some small country music
park in Pennsylvania just to see Del, and
646
00:32:45,595 --> 00:32:50,495
I've been friendly with him for years,
and so, uh, and he's just the best, and,
647
00:32:50,505 --> 00:32:52,885
uh, and he agreed to be on it as well.
648
00:32:53,510 --> 00:32:57,090
with his band, minus his son,
who's the banjo player, Robbie,
649
00:32:57,710 --> 00:32:59,860
because I'm the banjo player.
650
00:33:00,680 --> 00:33:04,160
So it was great to just plug into
his band and have such a deep groove.
651
00:33:04,740 --> 00:33:10,060
Him and his son, Ronnie on mandolin
and, and, uh, Jason Carter on fiddle.
652
00:33:10,060 --> 00:33:11,980
And they've been playing
for so many years.
653
00:33:11,980 --> 00:33:14,570
It's like getting into a warm
bath is how I would describe it.
654
00:33:15,320 --> 00:33:19,330
Just, it's so comfortable and the
groove is so deep and it's just
655
00:33:19,360 --> 00:33:20,480
effortless playing with them.
656
00:33:20,480 --> 00:33:22,250
So it was really a joy to do that.
657
00:33:23,930 --> 00:33:26,840
Shaun Smith: And I for, I forgot
Vince Gill, my, my, my apologies.
658
00:33:26,840 --> 00:33:28,860
I forgot him on my, on the list too.
659
00:33:28,920 --> 00:33:31,050
Uh, but what a, what an amazing lineup.
660
00:33:31,635 --> 00:33:35,125
Tony Trischka: Yeah, yeah, Vince, uh,
he was suggested by Ken Irwin, the guy
661
00:33:35,125 --> 00:33:37,335
that started this Down the Road Records.
662
00:33:38,535 --> 00:33:39,895
And I said, sure.
663
00:33:39,955 --> 00:33:43,635
And I'd met Vince a couple of times
really just in passing over the years.
664
00:33:44,510 --> 00:33:49,120
Uh, but, uh, Ken got in touch
with Vince's management and they
665
00:33:49,120 --> 00:33:50,380
said, yeah, he's, he's a go.
666
00:33:51,110 --> 00:33:56,060
So we gave Vince a call to, uh, you know,
set up some logistics, what tune would
667
00:33:56,060 --> 00:33:57,400
he like to play, this sort of thing.
668
00:33:58,330 --> 00:34:00,850
And he picks up the phone
and says, hey, banjo man.
669
00:34:01,690 --> 00:34:06,500
And, uh, it was immediately puts you
at your ease and he's just like a nice,
670
00:34:06,510 --> 00:34:12,820
he's really nice guy, really fun and
just really cool and just chill and
671
00:34:13,230 --> 00:34:18,660
an incredible singer and great rhythm
guitar player and a great electric
672
00:34:18,670 --> 00:34:20,400
guitar player, you know, lead player.
673
00:34:21,050 --> 00:34:26,200
And in between takes when we're doing, um,
Daring Me Beneath the Willow, which is the
674
00:34:26,200 --> 00:34:31,360
tune he sings on the album, uh, you know,
in between takes, he'd be sort of, he'd
675
00:34:31,360 --> 00:34:33,030
be messing around with the guitar break.
676
00:34:33,940 --> 00:34:37,090
And I would, I would say, Hey, Vince, do
you want to take your tire break on this?
677
00:34:37,250 --> 00:34:38,100
No, no, that's okay.
678
00:34:39,590 --> 00:34:41,080
Messed around with some
more of a guitar break.
679
00:34:41,150 --> 00:34:43,510
I said, you sure you don't
want to take a guitar break?
680
00:34:43,550 --> 00:34:44,750
No, no, that's okay.
681
00:34:45,480 --> 00:34:49,380
And he didn't, he didn't take a guitar
break and I wish he had, but, uh, it
682
00:34:50,270 --> 00:34:53,680
wasn't in his flow or whatever, for
whatever reason, he didn't want to do it.
683
00:34:53,760 --> 00:34:57,160
But, uh, his voice is enough
because it's so incredible.
684
00:34:57,525 --> 00:34:58,955
Shaun Smith: Yeah, it's a
great, it's a great tune.
685
00:34:58,955 --> 00:35:02,635
And I really, I love every minute of the
album and I'm really looking forward to
686
00:35:02,635 --> 00:35:04,325
seeing you perform this at the festival.
687
00:35:04,325 --> 00:35:05,765
Are you going to bring a band with you?
688
00:35:07,120 --> 00:35:08,370
Tony Trischka: I certainly am.
689
00:35:08,820 --> 00:35:12,755
Um, I've got a guy named Duncan
Wickle on fiddle, who's a
690
00:35:12,755 --> 00:35:13,925
great, great fiddle player.
691
00:35:13,925 --> 00:35:17,615
He can play totally out modern stuff,
or he can play straight ahead bluegrass.
692
00:35:17,675 --> 00:35:18,865
He's got great energy.
693
00:35:19,775 --> 00:35:24,985
And the guy named Jared Angle on bass, who
I call him slap happy sometimes because
694
00:35:24,985 --> 00:35:26,855
he slaps the bass like no one else.
695
00:35:26,865 --> 00:35:31,055
He's really amazing, really sweet
guy and a great, great bass player.
696
00:35:31,490 --> 00:35:34,820
And he also can play straight
ahead bluegrass, or he can do all
697
00:35:34,820 --> 00:35:36,000
sorts of other things as well.
698
00:35:36,000 --> 00:35:38,670
He's not just a one
trick pony, as they say.
699
00:35:39,680 --> 00:35:41,240
Uh, not that there's
anything wrong with that.
700
00:35:41,240 --> 00:35:43,960
If you're just a bluegrass bass
player, that's great too, but he can
701
00:35:43,960 --> 00:35:45,440
stretch and do all sorts of things.
702
00:35:45,520 --> 00:35:47,240
And, uh, again, named Michael Daves.
703
00:35:48,220 --> 00:35:53,090
Uh, on guitar and vocals, who's
just ridiculous and monstrous on
704
00:35:53,090 --> 00:35:54,950
all levels as a guitar player.
705
00:35:55,050 --> 00:35:56,270
And he's got his own sound.
706
00:35:56,320 --> 00:36:00,570
He doesn't sound like Tony Rice
or Clarence White or Doc Watson,
707
00:36:00,610 --> 00:36:02,680
or he just sounds like himself.
708
00:36:03,160 --> 00:36:07,070
And he'll throw like Dillman
Rowe licks in on the guitar.
709
00:36:08,310 --> 00:36:12,870
Uh, you know, just see the really high
powered, high energy player, which is
710
00:36:12,870 --> 00:36:17,060
exactly the kind of people I want to
play with, and he's a monstrous singer.
711
00:36:17,060 --> 00:36:18,340
Just incredible singer.
712
00:36:19,480 --> 00:36:20,790
Uh, he has a.
713
00:36:21,385 --> 00:36:26,245
There's a company called ArtistWorks
that, uh, I work with also, and
714
00:36:26,345 --> 00:36:30,015
it's a, it's an online music school,
basically, and there's a whole
715
00:36:30,025 --> 00:36:31,565
bluegrass component that they have.
716
00:36:32,365 --> 00:36:36,555
And so Michael teaches bluegrass
vocals and I teach, uh,
717
00:36:36,715 --> 00:36:38,265
bluegrass banjo, surprisingly.
718
00:36:39,135 --> 00:36:40,825
And, uh, that's all, sorry.
719
00:36:40,865 --> 00:36:45,555
So anyway, Michael is really just
rock solid and incredible musician.
720
00:36:45,875 --> 00:36:46,695
On all levels,
721
00:36:48,855 --> 00:36:49,505
Shaun Smith: Oh, that's great.
722
00:36:49,515 --> 00:36:50,545
Did you mention a drummer?
723
00:36:50,555 --> 00:36:53,174
Cause I understand that you play
with your, uh, your son sometimes.
724
00:36:54,065 --> 00:36:57,335
Tony Trischka: yeah, no, uh,
he, he moved to North Carolina,
725
00:36:57,335 --> 00:36:58,445
which he wasn't supposed to do.
726
00:36:58,525 --> 00:37:02,825
You can't leave us, but he
anyway, so, um, he was living in
727
00:37:02,825 --> 00:37:04,145
Brooklyn, New York for a long time.
728
00:37:04,705 --> 00:37:08,445
But anyway, uh, yeah, I do
again with this Christmas show.
729
00:37:08,885 --> 00:37:11,935
He usually works with me for
the Christmas show, but, uh,
730
00:37:11,955 --> 00:37:13,425
yeah, I don't have terms on.
731
00:37:13,970 --> 00:37:16,109
Yeah,
732
00:37:16,905 --> 00:37:17,385
Shaun Smith: Got it.
733
00:37:17,424 --> 00:37:17,845
Got it.
734
00:37:17,895 --> 00:37:18,585
That's great.
735
00:37:19,095 --> 00:37:19,304
Yeah.
736
00:37:19,304 --> 00:37:22,044
I'm, I'm really excited to see you
bring this to life because I, I,
737
00:37:22,114 --> 00:37:26,525
the start to finish and I'm not, you
know, how does it feel to see this?
738
00:37:27,090 --> 00:37:30,090
This bluegrass revival, it's
kind of like you were part of
739
00:37:30,090 --> 00:37:32,080
the folk revival in the 60s.
740
00:37:32,350 --> 00:37:36,940
And I feel like that bluegrass with
people like Billy Strings and, uh,
741
00:37:36,940 --> 00:37:41,070
and other, you know, kind of jammy,
uh, bluegrass bands, uh, there's
742
00:37:41,080 --> 00:37:43,159
more of a bluegrass revival and.
743
00:37:43,290 --> 00:37:44,830
You know, you're, you're
right in the heart of it.
744
00:37:47,270 --> 00:37:49,320
Tony Trischka: I, you know, I
don't know if there's a revival.
745
00:37:49,320 --> 00:37:54,530
I mean, Billy Strings is doing
amazing things like he sold out
746
00:37:54,530 --> 00:37:58,290
the Nassau Coliseum a couple
of years ago here in New York.
747
00:37:58,340 --> 00:38:04,360
And, uh, he, I was talking to a fiddle
player who used to play with us.
748
00:38:04,935 --> 00:38:08,985
Alex Hargraves, because he lived
in New York and we could have,
749
00:38:09,235 --> 00:38:12,635
he's one of the best fillers in
the world is incredible fiddler.
750
00:38:12,705 --> 00:38:17,555
And, uh, you know, we had access
to him because he wasn't that busy
751
00:38:17,555 --> 00:38:18,465
and he lived here in New York.
752
00:38:18,465 --> 00:38:20,125
And if I got a gig, Hey,
Alex, can you do it?
753
00:38:20,125 --> 00:38:20,675
He said, yeah.
754
00:38:21,655 --> 00:38:25,085
And of course that Billy strings
climbed onto him and that was
755
00:38:25,085 --> 00:38:26,005
playing with Billy strings.
756
00:38:26,015 --> 00:38:29,055
So it was much harder to get because
Billy's on the road all the time.
757
00:38:30,005 --> 00:38:32,535
But, uh, I was talking to Alex about it.
758
00:38:33,035 --> 00:38:34,985
I don't know, maybe six months
ago on the set, everything
759
00:38:34,985 --> 00:38:36,305
is still building for Billy.
760
00:38:36,355 --> 00:38:37,755
And he said, yeah, they are.
761
00:38:38,335 --> 00:38:44,115
I think he said, we just sold a 17, 000
seat place in Denver and, uh, you know,
762
00:38:44,365 --> 00:38:46,085
he's a bluegrass musician basically.
763
00:38:46,675 --> 00:38:49,765
And selling that kind of, you
know, he has those kinds of seats.
764
00:38:50,385 --> 00:38:54,595
I mean, you can fill those kinds of seats,
17, 000 people asked for a bluegrass show.
765
00:38:55,005 --> 00:38:57,515
It's not just a bluegrass show,
obviously, cause he jams out.
766
00:38:58,495 --> 00:39:00,155
And, uh, you know.
767
00:39:01,200 --> 00:39:03,250
There's a lot of things besides,
I mean, it's, it's, it's all
768
00:39:03,250 --> 00:39:08,500
bluegrass oriented, but I'll extend
out to just jam out on it for fun.
769
00:39:08,560 --> 00:39:11,690
So, uh, anyway.
770
00:39:13,160 --> 00:39:13,490
Shaun Smith: Yeah.
771
00:39:13,530 --> 00:39:16,100
I, I, I think that there is
kind of a bluegrass revival.
772
00:39:16,100 --> 00:39:19,300
I mean, it's like, uh, string cheese
incident is one of those bands.
773
00:39:19,300 --> 00:39:20,729
It's been around for a long time.
774
00:39:20,729 --> 00:39:24,830
And then, you know, it's, uh, with the
folk, uh, kind of that has come back
775
00:39:24,830 --> 00:39:29,100
around with the luminaires, uh, bands
like that, you know, kind of have like,
776
00:39:29,100 --> 00:39:34,190
uh, almost like a Kingston trio kind
of a sound to them and, uh, it's, it's,
777
00:39:34,200 --> 00:39:37,840
and even Mumford and Sons, you know,
you hear banjo a hell of a lot more,
778
00:39:38,120 --> 00:39:40,040
uh, now than you did in the nineties.
779
00:39:40,080 --> 00:39:40,880
That's for sure.
780
00:39:42,305 --> 00:39:43,795
Tony Trischka: Yeah, I would
tend to agree with that.
781
00:39:43,795 --> 00:39:44,145
Yeah.
782
00:39:44,595 --> 00:39:46,525
I mean, bluegrass is
never going to get huge.
783
00:39:46,795 --> 00:39:50,885
Billy is huge, but bluegrass is, you
know, it's not going to be like rock
784
00:39:50,885 --> 00:39:56,095
or pop or whatever, ever, but it always
just moves along and, you know, there's
785
00:39:56,095 --> 00:39:59,965
certain things that really help it along
like, oh, brother, where are thou or
786
00:39:59,965 --> 00:40:05,925
doing banjos or getting people interested
in the banjo and bluegrass in general.
787
00:40:06,615 --> 00:40:10,545
But, uh, you know, and Steve
Martin taking up the take.
788
00:40:10,675 --> 00:40:13,065
I mean, he'd been playing the banjo
since high school, but really.
789
00:40:13,485 --> 00:40:18,305
Focusing more on that as he did some
years back with, uh, Steve Canyon
790
00:40:18,305 --> 00:40:23,145
Rangers and putting out those couple
of albums, uh, really turned a lot
791
00:40:23,145 --> 00:40:24,895
of people onto the banjo bluegrass.
792
00:40:26,125 --> 00:40:30,475
So, uh, yeah, so yeah, I guess, you
know, things are pretty strong right now.
793
00:40:30,475 --> 00:40:33,135
And, you know, again, Billy strings
being forefront, Molly total
794
00:40:33,155 --> 00:40:36,785
coming right up behind, you know,
she's really, uh, attracting him.
795
00:40:37,150 --> 00:40:39,810
New younger audience, because
bluegrass audiences tend to be
796
00:40:39,810 --> 00:40:43,650
older and it's great to see younger
people getting into it as well.
797
00:40:44,280 --> 00:40:44,750
Shaun Smith: Yeah.
798
00:40:45,090 --> 00:40:45,810
Yeah, absolutely.
799
00:40:45,810 --> 00:40:46,100
Yeah.
800
00:40:46,160 --> 00:40:50,010
I imagine you're going to see a, um, a
whole, a lot of different generations
801
00:40:50,020 --> 00:40:53,460
at the folk festival, uh, when you're
up there on the Martin main stage.
802
00:40:55,430 --> 00:40:56,410
Tony Trischka: Yeah, I hope so.
803
00:40:56,410 --> 00:40:57,050
I hope so.
804
00:40:57,740 --> 00:41:01,440
Because, uh, you know, keeps the
music alive, carrying, carrying
805
00:41:01,440 --> 00:41:02,760
it on through the generations.
806
00:41:03,190 --> 00:41:03,640
Shaun Smith: Yeah.
807
00:41:03,780 --> 00:41:05,479
And it's, and that's something
that you're doing too.
808
00:41:05,480 --> 00:41:09,915
I mean, by bringing the Earl Scruggs,
uh, songs to life again, uh, Um, these
809
00:41:09,925 --> 00:41:13,285
old recordings, you know, you're kind
of introducing them to a whole other
810
00:41:13,285 --> 00:41:17,994
generation and with, you know, the
tablature to, uh, transcribing everything,
811
00:41:17,994 --> 00:41:23,025
you're really setting things up so that a
whole nother, a flock of banjo players can
812
00:41:23,025 --> 00:41:24,865
pick them up and play them in the future.
813
00:41:25,940 --> 00:41:30,750
Tony Trischka: Yeah, I hope it has
that effect because, again, um.
814
00:41:32,070 --> 00:41:36,640
You know, people would ask me from time
to time, Oh, can I get copies of that
815
00:41:36,750 --> 00:41:41,460
thumb drive, you know, with all these,
these over 200 tunes and I'd say, I don't
816
00:41:41,460 --> 00:41:42,850
know, it's not really mine to give out.
817
00:41:42,850 --> 00:41:44,020
I did feel right.
818
00:41:44,060 --> 00:41:47,630
And then I talked to this guy who
played with John Hartford for a few
819
00:41:47,630 --> 00:41:51,720
years in John's later years, kind of
Bob Carlin, who's from Philadelphia,
820
00:41:51,870 --> 00:41:56,460
originally, I think, and, uh, Philadelphia
folk festival, a bunch great climber
821
00:41:56,460 --> 00:41:58,440
player living in North Carolina now.
822
00:41:58,440 --> 00:41:59,030
But anyway.
823
00:41:59,410 --> 00:42:04,760
Uh, I, I talked to him about these
recordings and he said that, he said
824
00:42:04,760 --> 00:42:09,000
that Earl had told John Hartford
that he didn't want any of these
825
00:42:09,000 --> 00:42:12,160
recordings to ever get out there,
you know, to the public at large.
826
00:42:13,450 --> 00:42:16,500
So, that's great to know that because
I don't, you know, I don't want to go
827
00:42:16,500 --> 00:42:20,200
against Earl's wishes, even if I felt like
I had the right to get them out there.
828
00:42:21,030 --> 00:42:24,385
But, again, it's not my
They're not my recordings.
829
00:42:24,385 --> 00:42:26,125
I have access to them,
but they're not mine.
830
00:42:26,145 --> 00:42:26,845
I didn't make them.
831
00:42:26,935 --> 00:42:32,295
And, um, to do these record, to do
the Earl Jam album, uh, I got in
832
00:42:32,295 --> 00:42:38,395
touch with John's daughter, uh, Katie,
who's, uh, in charge of his estate.
833
00:42:38,415 --> 00:42:42,055
And I got in touch with Earl Scruggs son.
834
00:42:42,915 --> 00:42:46,525
Uh, Earl Scruggs grandsons, because Gary
Scruggs was the last surviving member
835
00:42:46,795 --> 00:42:48,585
of the Scruggs family, direct member.
836
00:42:49,445 --> 00:42:52,245
Uh, he passed unexpectedly
from a heart attack.
837
00:42:52,465 --> 00:42:55,765
Uh, and I just spoke to him two
weeks earlier, asking him if it'd
838
00:42:55,795 --> 00:42:57,805
be okay if I did this album project.
839
00:42:57,805 --> 00:42:59,475
And he said, we had a long conversation.
840
00:42:59,475 --> 00:43:01,195
He said, well, as long as
you do it respectfully.
841
00:43:01,195 --> 00:43:04,355
And I said, of course, but I
didn't have anything in writing.
842
00:43:04,355 --> 00:43:08,095
So I had to get in touch with,
with Gary's sons and they gave me
843
00:43:08,095 --> 00:43:09,325
permission to go ahead and do this.
844
00:43:09,325 --> 00:43:16,545
So, um, anyway, so, um, But just the fact
that Earl did not want these recordings
845
00:43:16,555 --> 00:43:20,844
to get out there, which, you know.
846
00:43:21,555 --> 00:43:23,785
It's his his right to have wanted that.
847
00:43:23,785 --> 00:43:25,485
So I'm going to certainly obey his wishes.
848
00:43:25,665 --> 00:43:28,125
I'll never let them get
into anyone's hands.
849
00:43:28,955 --> 00:43:30,425
As wonderful as these recordings are.
850
00:43:30,425 --> 00:43:33,595
And the thing is about these recordings.
851
00:43:33,615 --> 00:43:36,065
There's just, hey, how about this?
852
00:43:36,205 --> 00:43:36,995
Okay, let's do that.
853
00:43:37,005 --> 00:43:37,645
How about this?
854
00:43:38,095 --> 00:43:38,925
Okay, let's do that.
855
00:43:39,465 --> 00:43:40,545
And it's never like.
856
00:43:40,805 --> 00:43:42,885
It seems like they knew all these songs.
857
00:43:42,925 --> 00:43:44,325
You could just play them effortlessly.
858
00:43:44,375 --> 00:43:48,635
There was never like, I mean, I can't
remember that any recording I've heard out
859
00:43:48,635 --> 00:43:52,465
of these 200 songs where Earl just kind
of lost it in the middle or something,
860
00:43:52,465 --> 00:43:55,615
or was having trouble playing something
because he'd never played it before.
861
00:43:55,725 --> 00:43:58,315
Every single thing he played
was practically flawless.
862
00:43:58,865 --> 00:44:03,815
His timing, and this was, it was, Later
years towards the end of these recordings,
863
00:44:03,815 --> 00:44:08,115
I mean, you know, I'd say the sixties
and then it was maybe early seventies,
864
00:44:08,165 --> 00:44:13,265
maybe somewhere in that neighborhood
and he could play really fast.
865
00:44:13,785 --> 00:44:18,435
And really clean and just great
ideas, really creative things.
866
00:44:19,135 --> 00:44:23,445
Um, no matter what it was, he
was just on fire for all of this.
867
00:44:23,475 --> 00:44:26,935
And, you know, I'm going down these
list of tunes on this thumb drive and
868
00:44:29,165 --> 00:44:31,555
suddenly I see, here
comes the bride, what?
869
00:44:32,110 --> 00:44:35,860
They did Here Comes the Bride, Here
Comes the Bride, and they did it.
870
00:44:35,870 --> 00:44:40,440
They just did one take, one, one try
at it, and it's just John and Earl,
871
00:44:40,710 --> 00:44:45,590
presumably at Earl's house, they're just
jamming on Here Comes the Bride, and
872
00:44:45,620 --> 00:44:49,840
John Hartford played fiddle in it, just
about every tune that I've heard, and
873
00:44:49,840 --> 00:44:53,300
so it's just a fiddle banjo duet, and
there's no audience, it's just the two
874
00:44:53,300 --> 00:44:54,560
of them just sitting around playing it.
875
00:44:55,635 --> 00:44:59,265
And Earl just plays the simple melody,
but up the neck in a really cool way.
876
00:44:59,885 --> 00:45:04,245
And you hear John dancing as he would,
uh, in parts of a show, he would do a
877
00:45:04,245 --> 00:45:06,405
little buck and wing on a plywood board.
878
00:45:06,405 --> 00:45:11,055
And so here he is in this, in
this, um, just jamming with
879
00:45:11,055 --> 00:45:12,095
Earl, just the two of them.
880
00:45:12,195 --> 00:45:13,165
And he's dancing.
881
00:45:13,375 --> 00:45:15,445
You can hear him dancing
directly to the music.
882
00:45:16,365 --> 00:45:21,115
And so I recreate, recreated that in the
studio and it'll be on the second album.
883
00:45:21,795 --> 00:45:24,135
I got, I got Michael Cleveland is just.
884
00:45:24,465 --> 00:45:28,865
Awesome, as the kids say, just
ridiculously amazing fiddle player.
885
00:45:28,905 --> 00:45:33,065
And he played John Hartford's,
you know, played the part of John
886
00:45:33,075 --> 00:45:35,865
Hartford playing Here Comes the Bride.
887
00:45:35,985 --> 00:45:40,635
And, uh, I played Earlsburg, of course,
playing his stuff, note for note.
888
00:45:40,705 --> 00:45:46,860
And, uh, Mark Schatz, great, great bass
player, great clogger too, to do the
889
00:45:46,860 --> 00:45:49,970
dancing part, to do John's dancing on it.
890
00:45:50,030 --> 00:45:53,820
And then I got, and Sam, Sam Bush was
in the studio and I got him to sing Here
891
00:45:53,820 --> 00:45:58,430
Comes the Bride in the voice of Harry
Carey, the voice of the Chicago Cubs.
892
00:45:59,230 --> 00:46:03,390
And, uh, it's pretty, pretty
amazing track, if I do say so,
893
00:46:03,635 --> 00:46:04,105
Shaun Smith: That's so
894
00:46:04,380 --> 00:46:05,210
Tony Trischka: Sam sing that.
895
00:46:05,310 --> 00:46:06,840
And then again, that'll
be on the second album.
896
00:46:07,465 --> 00:46:10,225
Shaun Smith: And do you see,
and from this album, you know,
897
00:46:10,235 --> 00:46:12,015
the recordings were just jams.
898
00:46:12,015 --> 00:46:17,425
Do you get that as somebody who has
composed, um, and I understand that you've
899
00:46:17,425 --> 00:46:21,784
even, uh, played classical music when
you were first started playing banjo, do
900
00:46:21,784 --> 00:46:23,965
you get that kind of energy from jamming?
901
00:46:23,984 --> 00:46:28,355
Do you think that there's that kind
of, uh, seamless fluidity that comes
902
00:46:28,355 --> 00:46:29,925
when you're playing with other people?
903
00:46:31,190 --> 00:46:35,250
Tony Trischka: Yeah, I mean, it can sure,
you know, everyone, everyone's relaxed.
904
00:46:35,250 --> 00:46:38,270
You're not trying to prove anything
and you're not on stage having to
905
00:46:38,390 --> 00:46:39,590
play something really difficult.
906
00:46:39,600 --> 00:46:44,060
I mean, once in a while, someone
will call a tune that, you know,
907
00:46:44,100 --> 00:46:46,940
you're not that familiar that I
might not be that familiar with.
908
00:46:46,960 --> 00:46:50,230
And I might, you know, struggle
a little bit to get through
909
00:46:50,230 --> 00:46:51,290
a part of it or something.
910
00:46:51,720 --> 00:46:53,250
And that's, what's
amazing with these tunes.
911
00:46:53,250 --> 00:46:56,530
I say every single tune I've heard
there, it was all effortless.
912
00:46:56,540 --> 00:46:59,500
It all sounded like they'd been
playing these tunes for years.
913
00:46:59,810 --> 00:47:00,990
And I don't imagine Earl had.
914
00:47:02,470 --> 00:47:06,170
You know, work had been playing
here comes the bride very often.
915
00:47:06,910 --> 00:47:10,220
Um, and I spoke to again, my friend,
Bob Carlin, who was friendly with
916
00:47:10,220 --> 00:47:14,900
John Hartford, and I said, I can't
imagine that they sat down and said,
917
00:47:14,920 --> 00:47:16,240
okay, let's do, here comes the break.
918
00:47:16,540 --> 00:47:17,630
Give me five, 10 minutes.
919
00:47:17,630 --> 00:47:19,300
Let's work on it and
make sure we can play it.
920
00:47:19,910 --> 00:47:21,700
He said, no, no, I'm
sure they didn't do that.
921
00:47:21,700 --> 00:47:22,120
They would just.
922
00:47:22,605 --> 00:47:23,455
Start playing it.
923
00:47:24,265 --> 00:47:27,725
And, uh, they were just on such
a high level of musicianship.
924
00:47:27,725 --> 00:47:29,695
They could just do it
without even practicing it.
925
00:47:31,205 --> 00:47:33,020
Shaun Smith: That's, uh, That's amazing.
926
00:47:33,320 --> 00:47:36,030
Now I have to ask you about one other
legacy if you don't mind talking
927
00:47:36,030 --> 00:47:37,970
about your Emily Dickinson project.
928
00:47:37,970 --> 00:47:39,169
Ha ha ha
929
00:47:39,465 --> 00:47:39,715
Tony Trischka: Yeah.
930
00:47:39,715 --> 00:47:44,665
This is a very extremely
glacial, uh, project.
931
00:47:44,745 --> 00:47:45,005
Uh,
932
00:47:45,450 --> 00:47:45,620
Shaun Smith: ha
933
00:47:46,065 --> 00:47:50,825
Tony Trischka: I had a chance to, um, go
to Emily Dickinson's house in Amherst,
934
00:47:51,505 --> 00:47:56,815
mass, uh, bunch of years ago, uh, they
were doing a podcast up there and they
935
00:47:56,815 --> 00:48:01,995
wanted to, they wanted to bring creative
people into her bedroom to record.
936
00:48:03,480 --> 00:48:09,360
Poets, dancers, singers, banjo players
to get creativity back in that space
937
00:48:09,360 --> 00:48:11,140
where she wrote all of her amazing poems.
938
00:48:12,840 --> 00:48:17,790
So, I was invited to come up and
just play some banjo, uh, in her
939
00:48:17,790 --> 00:48:19,710
room, like, wow, this is cool.
940
00:48:20,160 --> 00:48:23,780
And I was never like deep into Emily
Dickinson or anything like that, but
941
00:48:23,780 --> 00:48:25,260
I, you know, read some of her poems.
942
00:48:26,560 --> 00:48:26,840
Cool.
943
00:48:26,840 --> 00:48:30,940
She was, she was so ahead of her time
writing poems that didn't always rhyme and
944
00:48:30,950 --> 00:48:33,120
just no one was doing what she was doing.
945
00:48:33,150 --> 00:48:35,740
She was a very progressive poet.
946
00:48:35,750 --> 00:48:39,240
So we say, and anyway, so, uh,
my wife wanted to come along.
947
00:48:39,240 --> 00:48:43,520
So we drove up and my wife,
uh, had a Fiat at that point.
948
00:48:43,540 --> 00:48:46,790
So I decided, why don't I write
music to one of her poems?
949
00:48:47,310 --> 00:48:49,000
So here I am in the Fiat.
950
00:48:49,750 --> 00:48:55,800
As we're driving up to the, to do the
podcast, barely able to fit the neck
951
00:48:55,880 --> 00:49:00,470
around her head while I'm trying to
play and she's trying to drive and
952
00:49:00,700 --> 00:49:04,860
came up with a music for a tune that,
for a poem that Emily Dickinson wrote
953
00:49:04,880 --> 00:49:06,670
called frequently, the woods are pink.
954
00:49:07,440 --> 00:49:08,460
I just love that title.
955
00:49:08,460 --> 00:49:09,340
And so I chose that.
956
00:49:09,420 --> 00:49:13,550
And, um, anyway, I've put music
to four or five of her tunes and
957
00:49:13,550 --> 00:49:15,190
I've recorded four of them so far.
958
00:49:16,050 --> 00:49:18,600
Um, mostly to Anjo.
959
00:49:18,600 --> 00:49:18,614
So.
960
00:49:19,405 --> 00:49:23,955
Uh, vocal duets, but, uh, and I'm not
sure when this will come to fruition
961
00:49:23,965 --> 00:49:28,665
because I'm focusing on, still focusing
on promoting this first Earl Jam album.
962
00:49:28,715 --> 00:49:30,645
And then the second one's
coming out next year.
963
00:49:30,645 --> 00:49:35,975
So certainly for the next couple of
years, I'm just doing Earl stuff, you
964
00:49:35,975 --> 00:49:39,215
know, just some, some things on the side,
but in terms of putting out an album,
965
00:49:39,745 --> 00:49:44,875
this, uh, Emily music, plus I have to
write music for some more of our poems,
966
00:49:44,875 --> 00:49:49,335
I don't, I have like two or three other
poems that I've put music to that I
967
00:49:49,335 --> 00:49:50,995
haven't recorded yet, but I've done it.
968
00:49:51,425 --> 00:49:54,365
Come up with more music, but it's
something, you know, off in the
969
00:49:54,365 --> 00:49:57,385
future that that will hopefully
see the light of day at some point.
970
00:49:58,000 --> 00:49:58,770
Shaun Smith: That's so cool.
971
00:49:58,790 --> 00:49:59,469
I can't wait.
972
00:49:59,550 --> 00:50:00,770
Uh, honestly can't wait.
973
00:50:00,980 --> 00:50:04,789
Well I know, uh, we don't have a ton of
time left, um, I ask every guest three
974
00:50:04,790 --> 00:50:08,290
questions, but before I do, Uh, is there
anything that I should have asked that
975
00:50:08,290 --> 00:50:10,070
you think that, uh, I should have asked?
976
00:50:11,285 --> 00:50:15,185
Tony Trischka: Um, again, just, uh,
mentioning this artist works, uh,
977
00:50:15,265 --> 00:50:18,955
I've got this Tony Trischke school
of banjo, which is, uh, something
978
00:50:18,955 --> 00:50:20,675
I've been doing for 15 years now.
979
00:50:20,945 --> 00:50:23,775
And that said, Michael Davis has done it.
980
00:50:23,795 --> 00:50:27,055
They've got a whole bluegrass
program with Alex Hargraves, who I
981
00:50:27,055 --> 00:50:29,925
mentioned before, Brittany Haas and
another incredible fiddle player.
982
00:50:29,975 --> 00:50:35,455
I play with from time to time and
Daryl anger and Mike Marshall and, uh.
983
00:50:36,875 --> 00:50:40,115
Alison Brown is doing a
banjo series there, too.
984
00:50:40,175 --> 00:50:46,835
And Noam McKelney, uh, and Brian
Sutton, and, uh, Chris Eldredge.
985
00:50:47,315 --> 00:50:50,715
They've just got an incredible
bunch of folks, you know, creme de
986
00:50:50,715 --> 00:50:58,335
la creme of, of, uh, uh, you know,
just, I'd say somewhat younger.
987
00:50:59,160 --> 00:51:03,090
The rest of the musicians
that teach, um, anyway.
988
00:51:03,090 --> 00:51:07,200
And so, as I said, Michael Davis will
be with me at Philly and myself do it.
989
00:51:07,210 --> 00:51:12,830
And the deal is, um, you go in and you,
you film three camera shoot of, it's
990
00:51:12,830 --> 00:51:18,165
not four camera shoot kind of thing of,
uh, You know, you do, I did 300 lessons
991
00:51:18,165 --> 00:51:21,455
to start with and something like that.
992
00:51:23,015 --> 00:51:27,095
And, uh, and you can add to them,
you know, every year I go out and
993
00:51:27,115 --> 00:51:28,695
film more lessons and add to them.
994
00:51:29,025 --> 00:51:29,675
I'm sorry, I'm wrong.
995
00:51:29,675 --> 00:51:31,445
I, I did a hundred lessons at first.
996
00:51:31,455 --> 00:51:33,555
It's, it's burgeoned to about 300 now.
997
00:51:34,485 --> 00:51:37,815
And so, uh, they used to be based in
Napa, California, and I would go out
998
00:51:37,815 --> 00:51:40,955
there once or twice a year and film
your lessons, it's not like a book
999
00:51:40,955 --> 00:51:44,695
where once it's done, it's done with
this, you can just keep adding to it.
1000
00:51:45,060 --> 00:51:49,930
And, uh, I've done over 50 interviews
that are all there and available.
1001
00:51:49,930 --> 00:51:51,140
It's a subscription sort of thing.
1002
00:51:51,140 --> 00:51:53,540
You can subscribe for three
months, six months, a year.
1003
00:51:54,260 --> 00:52:00,180
And I've got interviews with again,
Alison Brown, BB Boundless, this really
1004
00:52:00,180 --> 00:52:02,130
great up and coming banjo player.
1005
00:52:02,280 --> 00:52:03,050
She's amazing.
1006
00:52:03,100 --> 00:52:05,960
And Earl Scruggs, John Hartford,
not John Hartford, sorry.
1007
00:52:06,560 --> 00:52:11,110
Earl Scruggs, Sonny Osborne, Bela
Fleck, uh, on and on just Steve Martin.
1008
00:52:11,110 --> 00:52:12,460
I interviewed him for it also.
1009
00:52:14,395 --> 00:52:17,735
What's nice about it is people can
send in a video and I respond to it.
1010
00:52:17,745 --> 00:52:23,135
It goes into a queue um,
and then I respond to it.
1011
00:52:23,175 --> 00:52:27,075
And I've done, I think, 12, 000 of
these video exchanges as they're
1012
00:52:27,075 --> 00:52:32,195
called over the last 15 years and,
uh, critique people in a friendly way.
1013
00:52:32,935 --> 00:52:38,145
And then, uh, I usually do a, a,
um, a variation on whatever tune
1014
00:52:38,195 --> 00:52:41,005
they're working on at the end, so
they have a little extra information
1015
00:52:41,005 --> 00:52:43,225
that they can mess around with.
1016
00:52:43,225 --> 00:52:49,515
So anyway, uh, that's, that's something
that, uh, When all gigs and workshops
1017
00:52:49,515 --> 00:52:53,575
went away during the height of
COVID, I had this online school that
1018
00:52:54,445 --> 00:52:55,805
kept earning me money throughout.
1019
00:52:55,805 --> 00:53:00,225
So it made it easier to
survive the pandemic.
1020
00:53:01,225 --> 00:53:01,995
Shaun Smith: That's so cool.
1021
00:53:02,005 --> 00:53:04,495
I think the interactivity, like
you said, the responding of the
1022
00:53:04,495 --> 00:53:07,555
videos and I've heard, I've heard
other people speak, speak about,
1023
00:53:07,625 --> 00:53:09,465
um, you responding to their videos.
1024
00:53:09,485 --> 00:53:13,215
And, uh, I think that's absolutely
amazing and so cool to be able to
1025
00:53:13,225 --> 00:53:17,595
interact with somebody of your caliber
and to learn, uh, on such a deep level.
1026
00:53:17,645 --> 00:53:18,715
I think that's amazing.
1027
00:53:18,715 --> 00:53:22,285
And, and really, you know, good on you
for, uh, for sharing your knowledge
1028
00:53:22,295 --> 00:53:25,775
with people to encourage all of
these musicians throughout the world.
1029
00:53:25,775 --> 00:53:26,965
I think it's absolutely amazing.
1030
00:53:28,115 --> 00:53:31,585
Tony Trischka: Yeah, it's great
because it is, it's worldwide.
1031
00:53:31,915 --> 00:53:36,845
I had one guy who was in Moscow who
was a really good Scruggs player.
1032
00:53:37,355 --> 00:53:41,245
I've had people from South Africa,
Japan, all over Europe, all of, you know,
1033
00:53:41,415 --> 00:53:42,845
every state in the union, practically.
1034
00:53:43,365 --> 00:53:48,265
I had someone who was a soldier who was in
Afghanistan, uh, when things were really
1035
00:53:50,515 --> 00:53:51,885
pretty fraught over there.
1036
00:53:52,455 --> 00:53:55,185
And then he had his banjo with
him and he would, he would send
1037
00:53:55,185 --> 00:53:56,735
in a video from Afghanistan.
1038
00:53:57,415 --> 00:54:03,455
So it's just, it's really crazy, you
know, and music can save one's life,
1039
00:54:03,585 --> 00:54:07,015
not literally, but, uh, you know,
in really difficult circumstances
1040
00:54:07,015 --> 00:54:10,495
as the soldier was, I'm sure the
banjo gave him a lot of comfort.
1041
00:54:11,485 --> 00:54:11,945
So,
1042
00:54:12,385 --> 00:54:14,045
Shaun Smith: Absolutely, that's beautiful.
1043
00:54:14,285 --> 00:54:15,335
Absolutely amazing.
1044
00:54:15,705 --> 00:54:18,625
Well, my final three questions, uh,
Actually, it's probably really going
1045
00:54:18,625 --> 00:54:21,784
to be two, because you already answered
the first one, but maybe you can give
1046
00:54:21,784 --> 00:54:23,515
me a little bit more info about it.
1047
00:54:23,815 --> 00:54:26,205
Uh, what was the first
album, uh, that you bought?
1048
00:54:27,540 --> 00:54:29,690
Tony Trischka: The very first album,
as I actually mentioned earlier,
1049
00:54:29,690 --> 00:54:34,040
was the Kingston Trio at large on
Capitol Records somewhere around 60,
1050
00:54:34,040 --> 00:54:38,460
61, 1961, 62, somewhere in there.
1051
00:54:39,110 --> 00:54:40,570
That was the very first album.
1052
00:54:41,644 --> 00:54:43,144
Shaun Smith: Yeah, what
made you want to buy that?
1053
00:54:44,540 --> 00:54:47,940
Tony Trischka: Uh, I'd, I'd heard
their music on the radio or something
1054
00:54:47,940 --> 00:54:53,780
and I just, uh, saved up my allowance
to go down to the store and buy it.
1055
00:54:54,130 --> 00:54:59,710
And, uh, I just was a fan and I'm
not sure why I chose that particular
1056
00:54:59,710 --> 00:55:01,580
album, but it was kismet because.
1057
00:55:02,175 --> 00:55:04,655
Happened to have the song on
there that made me play the banjo.
1058
00:55:04,655 --> 00:55:08,495
And if I'd gotten a different Kingston
Trio record, it might not have, there
1059
00:55:08,495 --> 00:55:10,945
might not have been a tune on there
that would have the same effect on me.
1060
00:55:10,945 --> 00:55:15,145
So, and I hadn't even thought
about that before, but why did
1061
00:55:15,145 --> 00:55:16,285
I choose that particular one?
1062
00:55:16,285 --> 00:55:20,585
I'm imagining there were probably other
Kingston Trio albums in the stacks there.
1063
00:55:21,215 --> 00:55:23,665
And I just happened to choose
that one because they had,
1064
00:55:23,705 --> 00:55:24,745
it was not their first album.
1065
00:55:24,745 --> 00:55:27,235
They had a couple, two or
three other albums before that.
1066
00:55:28,945 --> 00:55:30,645
Shaun Smith: Wow, that's so cool.
1067
00:55:31,090 --> 00:55:33,440
Tony Trischka: Yeah, Live with
Hungry AI, and then there was a red
1068
00:55:33,440 --> 00:55:35,190
cover one called The Kingston Trio.
1069
00:55:35,520 --> 00:55:37,730
Maybe this was their third
album or something like that.
1070
00:55:38,340 --> 00:55:41,120
So, anyway, it was all meant to be.
1071
00:55:41,385 --> 00:55:41,995
Shaun Smith: Wow.
1072
00:55:42,145 --> 00:55:44,115
Uh, what was the first concert
that you ever attended?
1073
00:55:46,730 --> 00:55:48,650
Tony Trischka: Boy, that's
a really good question.
1074
00:55:48,970 --> 00:55:51,840
Uh, I did see The Kingston Trio
at the Syracuse War Memorial.
1075
00:55:52,135 --> 00:55:53,715
That would have been
an early one for sure.
1076
00:55:54,735 --> 00:55:58,685
Uh, that was when Jon Stewart had
replaced Dave Gard in the band.
1077
00:55:58,755 --> 00:56:01,225
That would have been like
62 or something like that.
1078
00:56:01,225 --> 00:56:01,695
Maybe.
1079
00:56:02,495 --> 00:56:06,075
Uh, but there were a lot of, I
don't remember exactly, but a lot
1080
00:56:06,075 --> 00:56:07,755
of people came through Syracuse.
1081
00:56:07,755 --> 00:56:12,014
There was the Unicorn Coffeehouse
that was there and, uh, the New
1082
00:56:12,015 --> 00:56:13,825
Oss City Ramblers played there.
1083
00:56:13,825 --> 00:56:16,485
I saw them, Reverend
Gary Davis, Tom Paxton,
1084
00:56:16,600 --> 00:56:17,190
Shaun Smith: wow.
1085
00:56:17,515 --> 00:56:19,085
Tony Trischka: uh, Jose Feliciano.
1086
00:56:19,085 --> 00:56:21,415
In fact, we opened up for Jose Feliciano.
1087
00:56:21,665 --> 00:56:27,475
When I was 14, me and my band teacher,
John Gaines, and I remember it was, I
1088
00:56:27,485 --> 00:56:28,995
think it was the second gig I ever did.
1089
00:56:29,005 --> 00:56:31,165
The first one being that
one at Syracuse university.
1090
00:56:32,025 --> 00:56:36,805
And there was a low, there was a low
stage and Jose Feliciano was just sitting
1091
00:56:36,805 --> 00:56:42,385
in the audience with his, with his,
uh, seeing eye dog who was at his side.
1092
00:56:43,065 --> 00:56:46,625
And as I got off the stage, I'd
never been on stage before, and
1093
00:56:46,985 --> 00:56:48,615
I'd never dealt with lights.
1094
00:56:49,135 --> 00:56:51,955
Coming at you, you know,
to light up the stage.
1095
00:56:52,535 --> 00:56:55,955
And I got sort of lost in the
lights and tripped off the stage.
1096
00:56:55,955 --> 00:57:00,555
I didn't realize it was, you know, it
wasn't on ground level, so I, I just sort
1097
00:57:00,555 --> 00:57:02,655
of tripped and fell down with my badge on.
1098
00:57:03,335 --> 00:57:06,245
And, uh, and I wasn't the
one that was blind and I but
1099
00:57:06,245 --> 00:57:07,385
I was blinded by the light.
1100
00:57:08,475 --> 00:57:11,175
So, uh, so that was, anyway,
1101
00:57:11,560 --> 00:57:12,520
Shaun Smith: That's really cool.
1102
00:57:12,610 --> 00:57:16,160
And, uh, last, last question
is, uh, what is your favorite
1103
00:57:16,170 --> 00:57:18,180
score or soundtrack from a movie?
1104
00:57:19,915 --> 00:57:22,495
Tony Trischka: uh, favorite
score, soundtrack from movie.
1105
00:57:23,125 --> 00:57:24,145
These are great questions.
1106
00:57:25,045 --> 00:57:25,975
Um.
1107
00:57:27,330 --> 00:57:31,380
Well, exodus for many years, uh,
about the founding of Israel, that
1108
00:57:31,380 --> 00:57:37,950
was, uh, I saw that movie with
Paul Newman, uh, even Marie Saint.
1109
00:57:38,470 --> 00:57:42,190
Anyway, I, I loved that movie when
it came out and saw it many, many
1110
00:57:42,240 --> 00:57:45,070
times and I loved that soundtrack.
1111
00:57:45,130 --> 00:57:46,570
And I still listen to
it from time to time.
1112
00:57:46,570 --> 00:57:50,740
So I would say that and the
guns of Navarone, uh, another
1113
00:57:50,740 --> 00:57:52,090
one of my favorite films.
1114
00:57:52,785 --> 00:58:01,475
Of all time Gregory and David and
others, Anthony, anyway, and I
1115
00:58:01,475 --> 00:58:02,715
really like the soundtrack to that.
1116
00:58:02,725 --> 00:58:05,305
I guess those 2 what are my choice?
1117
00:58:05,520 --> 00:58:06,070
Shaun Smith: That's great.
1118
00:58:06,080 --> 00:58:09,309
Those are, those are two soundtracks
I'm gonna, uh, go listen to when we're
1119
00:58:09,310 --> 00:58:10,870
done, when we're done chatting here.
1120
00:58:10,870 --> 00:58:13,650
Well, Tony, thank you for being
so gracious with your time.
1121
00:58:13,910 --> 00:58:16,680
And, uh, thank you for coming to
the Philadelphia Folk Festival.
1122
00:58:16,870 --> 00:58:18,950
I really look forward to
seeing you on the main stage.
1123
00:58:19,525 --> 00:58:21,395
Tony Trischka: Well, I'm looking
forward to it too, and I appreciate
1124
00:58:21,395 --> 00:58:24,705
it sounds great talking to you
and I'll see you next week.
1125
00:58:24,875 --> 00:58:25,695
Shaun Smith: Absolutely.
1126
00:58:25,835 --> 00:58:26,365
Yeah, Tony.
1127
00:58:26,375 --> 00:58:28,075
And, uh, thank you again.
1128
00:58:28,085 --> 00:58:30,315
And this will be out probably by Monday.
1129
00:58:30,315 --> 00:58:32,285
So people will be able to
listen to this, uh, hopefully
1130
00:58:32,285 --> 00:58:33,305
on their way to the festival.
1131
00:58:34,015 --> 00:58:34,675
Tony Trischka: Oh, wonderful.
1132
00:58:34,685 --> 00:58:35,105
Wonderful.
1133
00:58:35,155 --> 00:58:35,695
That'd be great.
1134
00:58:35,755 --> 00:58:36,915
So, thank you again.
1135
00:58:36,955 --> 00:58:37,995
It's a pleasure talking to
1136
00:58:38,185 --> 00:58:38,584
Shaun Smith: Thank you.
1137
00:58:38,584 --> 00:58:40,995
If I get a chance to see you
backstage, I'll introduce myself.
1138
00:58:41,365 --> 00:58:42,275
Tony Trischka: Please do please.
1139
00:58:42,315 --> 00:58:43,505
It'd be great to meet you in person.
1140
00:58:43,605 --> 00:58:44,444
Shaun Smith: Yeah, same here.
1141
00:58:44,505 --> 00:58:45,005
All right, Tony.
1142
00:58:45,005 --> 00:58:46,005
We'll have a great weekend.
1143
00:58:46,525 --> 00:58:46,865
Tony Trischka: Thanks.
1144
00:58:46,915 --> 00:58:47,325
You too.
1145
00:58:47,555 --> 00:58:48,005
care, Shaun.
1146
00:58:48,195 --> 00:58:48,515
Shaun Smith: too.
1147
00:58:48,575 --> 00:58:49,035
Bye bye.
1148
00:58:49,525 --> 00:58:49,615
Tony Trischka: Bye.
1149
00:58:49,615 --> 00:58:49,835
Bye.