New Releases

• DorNel Pratt has released her new CD, In My Prime. The album consists of 16 songs from Ireland, Scotland, and England. Players include Rickie Simpkins, Bob Spates, Bob Josbe, and Danny Harvey. For ordering information, contact DorNel Pratt at P.O. Box 105, Brooke, VA 22430.
• Maggie Sansone has released her new CD, A Traveler's Dream (Maggie's Music).
• Hesperus Early Music Ensemble has released their new CD, Celtic Roots(Maggie's Music). Hesperus is Tina Chancy, Scott Reiss, and Grant Herreid.
• Vincent Franco's CD, Forever Love, is now available at all Olsson's stores, Tower Records, Sam Goody's, and Record Mart, as well as in the gift shops of the American History Museum of the Smithsonian Institution. His rendition of For You appears on the first OasisJazz CD.
• Craig Markley released his new CD,The Lone Raven. The CD contains a CD-ROM track that plays on PCs. Included on the album are Kirk Lynch, Deborah and Karl Colon, Mark Wade, Sue Mogan-Mattison, and more.
• Doug Alan Wilcox has released his debut CD, So It Goes. Co-produced and engineered by David Horsh, the CD is a mix of folk, country, pop and rock. To order, contact Pioneer Productions, 6719 Killdeer Court, Frederick, MD 21703 or e-mail acoustikdw@earthlink.net.
• Dave Dresser's debut CD, Faster Than A Movie Star, was recorded at Walton Recording and co-produced by Scott Harlan. Performers on the CD include Harlan, Gordon Stevens, and Rodney Mathis. For more information, call 703-534-7415 or 703-598-2972.
• Jerry Mierez has released Love Forever, a 9-song CD of original Caribbean influenced music. Recorded at Avalon Sound Studios, performers on the album include Steve Murphy, Steve Locher, Pam Bricker, and Alfredo Mojica. For information, call J-EZ Records at 301-871-8220.
• Ghost of Tom released their first CD, The Clearing, produced by Timm Biery. Ghost of Tom is Megan Wheatley, Dave Hawkins, Joe Gretz, and John Wheatley. For ordering information, contact IG/GOT Records at 301-254-5574 or e-mail iggygot@webtv.net.
• Battery Apple has released their self titled CD. Mixing duties were handled by Drew Mazurek.
• Pete Papageorge has a new CD available that was mixed at Inner Ear with Don Zientara. Duplication was by Oasis. The CD is called Pete Papageorge - Best of Live at the Irish Times. It's a collection of fourteen favorites, guaranteed to enliven any party! Available at gigs.
• WAMA member Stuart Whitford recently released his debut CD, Vertical Land. Joined by 1999 IBMA Bass Player of the Year, Missy Raines, of Claire Lynch's Front Porch String Band, and Brother Boys' Ed Snodderly and Roger Rasnake, Stuart has produced a CD that includes eleven original songs and instrumentals in its fourteen cuts of acoustic music. The songs reflect influences ranging from traditional Appalachian to Southwestern to Carribean to jazz. For information about the CD and upcoming performances, contact Stuart by e-mail at stuwhitf@fls.infi.net or at P.O. Box 566, Fredericksburg, VA 22404.
• The Huge has recently completed it's third CD, Infiltrating The Masses. The CD will be available though The Huge's recently completed Website www.the-huge.com. Infiltratingwill also be available through other Internet Distribution sites. The Album will be available to the public this fall with a kick off CD release party to be held at the Hard Rock Cafe in Washington, Friday, September 24, 1999.
• Glassoline has released their third single Cereal on MP3 format. Check it out at www.mp3.com. This summer Glassoline will begin recording songs for their second, as yet untitled, CD on Xenon Records.
• PC Music is releasing Magnet's third album in August. David Lowery of Cracker produced and helped recruit his Cracker band-mates to play on the album. They joined Moe Tucker, Jonathan Segel (Sparklehorse, Camper van), and Bryan Harvey (House of Freaks).
• The new CD release Heirloomby Norman Evans should be completed by mid-July 1999.
• The Pyrates Royale and Big Bear Productions, Ltd. are pleased to announce the release of the new live cd. The Pyrates Royale Lyve, Behind Barsrecorded live at the Royal Mile Pub in Wheaton, MD and the Maryland Renaissance Festival. This CD features 18 tracks of Pyrate music. The Pyrates web page at http://www.pyrates.com.
• Mid-Atlantic singer-songwriter Linda Nelson, has recently released her first CD entitled Waterdance. She is joined by area producer and Nashville recording artist Billy Kemp, drummer Jack O'Dell (Bill Kirchen), guitarist Barry Sless, and keyboardist Mookie Seigal (David Nelson Band), as well as other featured musicians. For more information, visit her home page at http://crosstownarts.com/lnelson/, call 410-453-0041 or e-mail lonto@home.com.
• DC music scene mainstay, Nap Don't Forget the Blues Turner has released his first cd, Live at City Blues. The Washington Post says Nap "delivers the blues with the emotions and feelings of one who has lived them." The cd is available from Right on Rhythm, P.O. Box 11431, Washington, DC 20008, or http://www.rightonrhythm.com.
• In celebration of the 100^th birthday of Duke Ellington, JazzMont Records has released a new cd titled, Royal Essence: An Evening of Ellington,featuring pianist Sir Roland Hanna and woodwind player Davey Yarborough. The recording is available from the Montpelier Cultural Arts Center in Laurel, MD,.
• Fulbright scholar/pianist James Jelasic has released a new CD, James Jelasic Performs Chopin Waltzes (available from Water's Edge Records 703-532-3000) commemorating the 150^th anniversary of Chopin's death. Performed on a Steinway instrument through Jordan Kitt's Concert and Artist Division selected specifically for these Chopin Waltzes, the critically acclaimed performance is being aired on NPR Radio and GMU/TV.
• Blue Steele's new cd release, One Step Closer to The Blues, featuring blues harp from its namesake Ernie "Hurricane" Steele and guitarist, Joe Chiocca, ranges from originals including country-blues, Who Was That Man?with Jim Alvey on vocals, and slow blues Blues Call Out My Name and the title track (both co-written by Chiocca and Alvey), to boogie, roots rock and swing blues. Recording engineer was Ray Tilken at Ambient Recording Studio with duplication by Oasis.
• Singer/songwriter/guitarist Bill Parsons's new cd release, Special Delivery,including eight of Parsons' songs, a Lu Bango tune and an acoustic rendition of Thomas Dolby's She Blinded Me With Science,features performances of flatpicking champion Stephen Bennett, Nashville session bassist Dave Pomeroy (Trisha Yearwood, Kathty Mattea, David Wilcox), and Charlottesville harmonica ace Gary Green.
• Singer/songwriter/pianist Lizbeth Flood released her debut album, Flood of Emotion, in May. A showcase of twelve original compositions, the cd is a soulful journey through the ups and downs of love. Produced by Grammy Award-winning jazz pianist, Larry Willis, the cd features Flood on piano, guitarist Mike Lessin, The Rick Schmidt Quartet, saxophonist Ron Holloway, Steve Novosel on bass, and drummer Steve Williams. Available at Borders at White Flint, Tower Records in DC, or by calling 301-942-2055.
• Poets in Heat is scheduled to release it's new cd, Heartburn at Crossroads, in July at Crossroads in Fairfax, VA (703-352-1547). The new Poets in Heat lineup including Erich Russek (guitar/vocals), Dave Kline (violin), Pierre President (guitar), Jeff Livesay (easy accordian and vibes), Oliver J. Walker and Bill Grier (bass and rhythms) with harmonies of Andi Keller, Beth Rinaldo, and Candi Blackwell, keeps its range of styles from heavy alternative, funk, to mariachi.
• Diane White-Crane, debuted her new children's CD, Songs for Llama Lovers, Young and Old. at Barnes and Noble in Bethesda last fall. Musical homages to the gentle creatures, Diane's songs contain messages about giving, caring, tolerance and sibling rivalry. White-Crane and friend Dudley (Llama puppet/friend) has toured more than 150 schools nationwide. Contact Aspen Tree Press & Music 301-229-3428,
• Matt and Chris Clark of modern rock band Touch have announced that its first CD is scheduled for release in September. Now being recorded at Recording Arts in Arlington, VA, the project engineer/producer is Marco Delmar. Website for Touch is www.touchrock.com; concert hotline, 202-842-9751.
• Russian emigree songwriter/poet Regina Fisher's debut album entitled, A Secret Told,is a mix of musical styles from Russian folk songs to Latin rhythms, French chansons, to American Jazz and Rock. Fisher's unique tapestry of World Music reflects her childhood classical music conservatory training in the Soviet Union as it evolved through Voice of Americaexposure to Western music of the Jazz and Rock greats. Available on cassette from Lange of Soul Publishing at 202-387-0385.
• Blix Street Records reports great successes with recent Eva Cassidy compilations, Songbird, Live at Blues Alley and Eva by Heart. Cassidy's Fields of Gold reached #4 on the UK's all time hits chart. Blix anticipates release this summer of a new solo project by Grace Griffith, including guest appearances by Dougie McLean, Gerry O'Beirne, Zan McLeod, John Carroll, Al Petteway and others, to be produced by Marcy Marxer and engineered by Jim Robeson at Bias.
• Stuart Whitford's debut CD, Vertical Land, features his original songs and instrumentals reflecting a career as singer guitarist and mandolin player with folk, folk-rock, bluegrass and newgrass bands in NC, S. California, Florida and East Tennessee, including a three-year stint with Our Gang in Johnson City, TN. Missy Raines and Brother Boys Ed Snodderly and Roger Rasnake lend musical support. Vertical Landavailable from Whitford, P.O. Box 566, Fredericksburg, VA 22404, 540-373-8445, or stuwhitf@fls.infi.net.

The morning after a first birthday bash for the Boulder studio. Airshow staff gathered in the lounge. From left: Matt Sandoski, Assistant Engineer, Boulder Engineer James Tuttle, Virginia Engineer/Owner Charlie Pilzer, Owner/Studio Manager Ann Blonston, Founder/Chief Engineer David Glasser, Boulder Engineer Paul Blakemore. Photo by Tim Murphy, Foto Imagery.

Airshow

Springfield mastering projects include Greens in the Garden by Corey Harris for Alligator Records, Marian McPartland's Portraits for NPR Classics, and restoration and mastering for two volumes of the Time-Life Music series, Living the Blues. Smithsonian Folkways releases include Headlines and Footnotes, a Pete Seeger collection of topical songs, children's collections by Ella Jenkins, Ledbelly and Coco Kallis and Taquachito Nights, a conjunto collection recorded in Texas and produced by Pete Reiniger. Charlie edited producer Tina Chancey's Concord Ensemble Spanish Rennaissance project for the Dorian Group.

Engineers in both studios are engaged in collection, restoration and mastering of folk songs recorded in the ‘40s and ‘50s from the Frank and Ann Warner collection for two CDs to be issued on Appleseed. Transcriptions of many of the tunes in this collection have become regarded as the definitive versions of American folk classics; the Appleseed releases are the first time the recordings will be commercially available.

• Steve Lindsley of MRM Productions has recently released his second CD, While I'm Here. A hybrid of acoustic folk and alternative, Steve has been recognized as "a versatile singer/songwriter whose music conveys his heart and soul." For more information contact MRM Productions, P.O. Box 783, Lexington, NC 27292, or email at SteveLindsley@bigfoot.com.
• California-based singer, John Bankston's new cd, Better in The Morning, co-produced with DC-based keyboardist John Connerly, is receiving considerable air play on stations in the Golden State.
• Jeff Talmadge's new cd, Secret Anniversaries, featuring some of Austin, TX finest - bassist Glenn Fukunaga, Gene Elders on fiddle, Beth Galiger on flute and vocals, percussionists Chris Searles and Freddie Krc, and cellist Frank Kammerdiener, has been receiving extensive airplay on folk stations throughout the U.S., Canada and Europe. Distributed by Redeye and Texas Music Round-Up, Secret Anniversaries is available through Amazon.com.
• Singer/Songwriter, Glen Carr (Shadow Box Music, Santa Fe, NM) recorded and produced his own debut CD, Surrender, released in April. The CD is available through Paul Starr 1-800-545-2775, Rock Bottom 770-448-8439 at Groove House Records.

Letters

Sara Landymore here. Cruising the WAMA web site I was reminded that suggestions were sought regarding WAMMIES voting procedures.

As far as the ska question is concerned, I'm kind of on the fence. When I hear ska I think of it as swing or jazz. But I suppose one important question would be whether there are enough ska bands currently playing in the area to justify adding the category without some bands feeling that there's no real competition. I don't know enough about the local ska scene to have an opinion about it.

On the other hand, Punk Rock or Techno/Ambient genres probably don't get numerous votes on the ballot and they're also small scenes. Yeah. I'm on the fence on that one.

I talked to Mike Schreibman in years past about the nagging issues of national fame, sometimes flexible geography, and whether someone is nominated for jobs they no longer do. So let's dive into those issues, shall we?

Around WAMMIE nomination time I have a habit of chatting up local players to get their opinion of WAMA and the awards to see if they'd be open to joining. I hear a lot of gripes and most of the time I can answer them and sometimes sway people. There are a couple of gripes I can't logically defend, though. I'm not terribly upset about them, but they're issues that come up in nearly every conversation.

One, of course, is Mary Chapin Carpenter. While Mike asserts that having someone as notable as Chapin on the ballot raises the profile of WAMA and its members, for many years it created a glass ceiling that no gal in town was ever able to break until last year when Ruthie was voted Country Female Vocalist. Chapin is a great talent and created opportunities for her management team and the guys in her band, pretty much changed the rules of country music, raised the profile of folk music, and her success is a source of great pride among many area women including myself. At this point, however, she literally has more WAMMIEs than any woman (or person) on the planet, and with the number hovering around 49 awards it seems like an embarrassing case of overkill.

Popular opinion holds that when she reaches 50 awards she should be inducted into the Hall of Fame, which really is the highest honor and frankly I don't understand why this hasn't happened yet. The prevailing attitude is that WAMA has been important to her career, but playing The Barns and the Birchmere every year doesn't make her a local act since she doesn't play here with the frequency as the guys and gals in the local clubs. WAMA empowered her, helped educate her, encouraged her, and lauded her. She's become an icon, and it seems silly to continue to give her awards year after year. She should be properly honored.

Another common gripe is about Dave Matthews because many people I talk to feel that he really was considered a Charlottesville act before he gained national attention. Unlike Chapin, who has been nominated overwhelmingly from the start of her very local career, Matthews seemed to be a sudden arrival on the ballot. In his case his inclusion on the ballot has been interpreted by some as an opportunistic grab at more high profile exposure on the part of the WAMA board.

The third point is a pretty simple one. As much as I love Billy Wolf, he's really not doing live sound anymore and I've heard from some folks (other engineers, of course) that they're pretty bent out of shape that he could be nominated for or win an award for work he's no longer involved in.

So, those are the issues that people cite when I approach them about joining WAMA. I feel that the issues need to be addressed if they're preventing local players from considering WAMA membership. Mike has carefully explained the board's position on most of these issues, but since I hear them intelligently argued regularly by members and non members I'm left with the impression that they are legitimate concerns and not the usual static that comes from local petty jealousies.

While WAMA can't please everyone all the time, the membership should feel that their concerns are reaching the board and are seriously considered. I'd also feel a little less like a parrot in the course of my proselytizing. Thanks very much for your time
Sara Landymore, http://www.pressroom.com/~landymore.

Opinion

The following opinion was not written as a response to the letter above . Neither writer was aware of the other's comments.

Responsible Wammies Nominations

By Maria Villafana

When will the Wammies Ballot reflect a greater cross-section of the possible performers and professionals that are worthy of recognition? Not until the WAMA membership takes responsibility for nominating and voting choices it makes.

Several cyclical debates heat up about this time each year and I'd like to add fuel to the fire. Every October I argue against what I consider to be incredibly bad choices made by the membership. I grit my teeth at the Wammies and wait for member complaints to flow my way. So here are my contributions to this year's debate on our three favorite and seemingly timeless issues.

Why do the same names appear consistently on the ballot?
A great many WAMA members steadfastly nominate only themselves and members of their band. This mind set only dilutes the strength of the vote. They waste their nomination vote - it takes more than a few to place a person on the voting ballot. In essence, those that nominate only their own camp are the ones responsible for placing the same people on the ballot, over and over. All members should please note that for several years now the nominating ballot has had two lines in each genre category. Members can still promote themselves there is nothing wrong with that but do also nominate those that you consider the best. Friendly competition is a good thing. Do it!

Should Mary Chapin Carpenter be retired from the ballot?
Whether through hard work or simply blind luck at the gene pool, Mary Chapin Carpenter is as good a writer as anyone can ever hope to be. She was as good while still playing at Food For Thought eons ago as she is today. Wouldn't life be grand if we could ask that those better than us , just be eliminated from the race ? It is up to us to improve as writers/performers, and not to expect that the competition be made easier. Why should the honor of receiving a Wammie be diluted? After 10 years of consistently dominating the ballot in the Country genre, Carpenter did not make the cut last year. Why? In my opinion, she had not released any noteworthy material nor toured enough to stay on people's mind during that voting year. Ruth Logsdon earned that Wammie because her work during that same span of time seized voter attention.

The membership has control over who the Wammie goes to. If you don't want Carpenter to receive the award, then don't vote for her. I don't think she'll hold it against us. Vote for who you think has earned it.

Why does Dave Matthews appear on the ballot?
There is a logical reason for this I suppose. Matthews' connection to WAMA is predominately through John Alagia's work as producer/engineer for the Dave Matthews Band. Also, the DMB has had a band membership in the past and currently a key member of Matthews' management team is a WAMA member. However, the above affiliation does not in itself generate enough votes to place Matthews on the ballot nor earn him the Wammies he receives. Why the WAMA membership as a whole insists on voting for Matthews even though it sees his Charlottesville address as too removed from the area's scene, is something I can't understand. There is an easy way to solve this. If you don't think Matthews should appear on the ballot; then don't vote for him.

The WAMA board should and does verify the eligibility of those nominated, perhaps some years more effectively than others. However, in general, I do not think it is board's responsibility to police the membership. When the majority vote goes to Carpenter, Matthews, or the same person that won the Wammie last year, the board can only assume that the membership really wants that result. Should the board play Big Brother and make a better choice? There are 1100 plus WAMA members. The decision should come from the membership. Members should take pride in their work and take responsibility for the vote they cast.

Open Letter to the
Washington Post Ombudsman

Enclosed please find printed copies of 460 email responses to the announced firing of Music Critic, Richard Harrington. These email responses were forwarded by email and in book form to Publisher Donald Graham, and Editors Len Downie, Stephen Coll, Eugene Robinson and John Pancake.

I have also attached the insulting one-sentence response from John Pancake. ["Thank you for forwarding the many messages about our music coverage."] Pancake's note purposely dodges the point of the letters, and substitutes an arrogant euphemism for the actual subject of the letters. Many of those who sent in the original emails view his response as a gesture of contempt on the part of the Post for its readers and also for the music industry.

The emails are not just those of music fans, but instead represent organizations and leaders in the music industry. People such as Mary Chapin Carpenter, Bonnie Raitt, Tom Paxton as well as the American Federation of Musicians, the National Academy of Recording Arts & Sciences (NARAS), NPR, and the Recording Industry Association of America (RIAA) are represented.

They are not only letters of protest they should also be treated as letters to the editor. They warrant a response. Would the Post react to the top business leaders in Washington if they contacted the Post about firing a prominent "business" reporter from the Business section, in the same way Pancake reacted?

In my opinion, one or two people in the Style section, wishing to put their own mark on the section, have made a terrible error in judgement. They obviously couldn't care less about their readers or the quality of the newspaper they publish.

Michael Schreibman
WAMA President

Editor's Note:
WAMA has not received a response from the ombudsman.

Seminars, Workshops, and Conferences

NxNW

Fair for Pop Music & Entertainment
August 19-22, 1999 Cologne, Germany

SXSW annouced their participation in the US Pavilion, a trade show area focusing on the industry resources available in the United States. POPKOMM is the largest international forum for the constantly shifting, changing, and growing music and entertainment industry. Stop by http://www.popkomm.de for more information about the event.

Cutting Edge
August 25-29 1999 New Orleans, LA

The 7th Annual Music Business Conference is a 5-day event that draws together established and aspiring music industry professionals from around the nation and the world. It is held concurrently with the Roots Music Gathering which provides a variety of forums and live performances to educate the community about roots music. The 1999 conference will expand the professional series to include CPA credits and a special record label management series. There will also be the Continuing Legal Education (CLE) forums available to attorneys in the music business. The Roots Music Gathering will include a "Roots to Rock" showcase as well focus on international roots music and the Zydeco music scene. There will also be an art exhibit, a film symposium and screening.

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