Herb Steiner a "pixie"???

Jason Odd · Post by **Jason Odd** » 5 Jan 2003 6:00 am

Herb is correct (of course), Eric White Jr. was one of the White siblings, he played with the Country Boys (early version of the Kentucky Colonels), the Golden State Boys, Dave & Lu Spencer, Gib Guilbeau & The Reasons, Swampwater (shifted to road manager), later had his own band in the early 1970s, later a road manager for the Gib Guilbeau led Flying Burrito Brothers, and has been active on and off in various mainly acoustic acts through the 1980s to now.

Tom Olson · Post by **Tom Olson** » 6 Jan 2003 9:39 pm

Herb and Jason,

Thanks very much for the info. For some reason I have this curiosity, or maybe you could call it fascination, with regard to the White family and the Kentucky Colonels. To me it's amazing that a group of mostly teenagers from southern California in the early 60's could become one of the best Bluegrass bands (at least in my opinion) of all time.

Herb, I was curious about what Mr. White Sr. did for a living -- do you know by any chance? From what I understand, his ancestors, or maybe he, was originally from one of the maritime provinces of Canada, then ended up in Maine. Then they moved to California when Roland, Clarence and Eric were young kids. I was wondering if this was a career change or a job transfer for Mr. White. I also understand that Mr. White Sr. played the fiddle.

Herb, what you've said about Mr. White being a loving father is consistent with tidbits of info that I've read -- one instance is that Roland said he would sometimes go to his father and offer to help out with various chores around the house, and Mr. White would tell Roland that he would rather Roland practice his mandolin instead.

The story of the White brothers hooking up with Billy Ray Lathum (Latham?) is equally fascinating to me, as well as Leroy MacNees (I've always wondered why Leroy didn't stick with the band for very long). I guess he supposedly became a studio musician(?) I believe that I read that Roger Bush has recently started playing in a band with Leroy.

From what I've read, Eric quit the band early because he got married. Then, when Clarence and Roland got back together as the New Kentucky Colonels (shortly after Clarence did the Muleskinner thing, and Roland quit Bill Monroe(?)), Eric again played bass with them. I believe I read that they did a tour of England or Europe shortly before Clarence died, although Billy Ray was not with them. Alan Munde played banjo in that version of the group (I think).

Are there any books on the Kentucky Colonels, or on that group of musicians that included all the various bands that Roland, Clarence and Eric played with?

One more thing -- I noticed that there is an Eric White listed in "All Music Guide" who is listed as a producer on several recordings. Did the Eric White we're talking about do producing too?

What did Clarence, Billy Ray, Roger, and whoever else was in the band at the time, do while Roland did his two-year tour in the Army? Did they play as a group with another Mando player? Or did they just hang out and wait for Roland to get back from the Army?

What's the connection between Clarence White and Tony Rice? How did Tony end up with Clarence's guitar? I suppose that Tony being from that area of Southern Cali probably knew the Whites and perhaps took lessons from Clarence? Just a guess.

Boy, I could ask questions all night, but I'd better stop. Thanks very much again for the info.

Herb Steiner · Post by **Herb Steiner** » 7 Jan 2003 12:11 am

Tom, you ask some interesting questions, some of which I can answer and some not. You've got an historian's hold on it, whereas I just have 40-plus year-old memories.

The first several times I saw the Country Boys, Roland was in the army and the band was Roger, Clarence, Billy, and Leroy. This is around 1962. Then Roland got out of the army and returned to LA, rejoined the band, and they were still the Country Boys. I began taking mando lessons with Roland around 1964, guitar from Clarence. I think Perlowin may have taken guitar from Clarence also. Roland had been playing an old A-style mando, but got a newish F-5 around this time, and Eric Sr. later took the finish off the top to improve the sound, rather poorly I might add. This is the mando on the cover of "Appalachian Swing," still with the original finish. Clarence is hold "the" guitar, with the extended soundhole.

The band changed also the name to the Kentucky Colonels around the time they got the record deal with World Pacific.

This is the guitar Tony Rice owns. Tony and his brothers Larry and Wyatt had a teenager bluegrass band called "The Haphazards," and they were the protege's of the Colonels. Their dad Herb Rice, and uncle Hal Poindexter, had a bluegrass band in LA called the "Golden State Boys" at that time. Larry Rice, the oldest brother, actually wanted to be a steel player, but dad made him play mando.

As to why Leroy left, I doubt it was to become a studio musician, because no one would be able to make a living as a studio dobroist in those days. My recollection was that he left the band to pursue a lay ministry, or for some religious reason.

The Colonels replaced him with Bobby Slone on fiddle, who at that time was actually more of a Tommy Jackson style fiddler than a bluegrass fiddler. Slone stayed for awhile, played with the Golden State Boys also, then moved back to KY where he had come from.

Bands were always coming through LA and dropping off members or taking them away from LA. Basically that's how Roland left, Bill Monroe picked him up to replace (Ranger) Doug Green, who was going back to school. Byron Berline got to LA because Monroe dropped him off there. Anyway, the Stoneman family used to come through and finally fiddler Scott just said "screw it, I'm gonna stay in LA and play with the Colonels." He lived with Richard Greene and played some of the most incredible fiddle of his career with that band. I still have tapes I made of this incredible 1965 ensemble.

Things started happening real fast when Roland left to go with Monroe, and Clarence joined the Byrds and did do studio work. At this time I was playing with Ronstadt and lost touch with the bluegrass world, having decided to become a steel player. So things get dim for me at this time since I was concentrating on my own gigs.

By the time I knew Eric Jr., we were both playing country music in the joints around Palmdale and Lancaster CA, circa 1970-72. I never knew him in the bluegrass days, though I've seen pictures of that band when they were quite young teenagers. I got to know Eric through Gib Guilbeau, Wayne Moore, and some of the Palmdale guys.

As I recall, Eric Sr. was in the construction trades of some kind, but I'd have to check with Roland. Roland and I exchange emails every couple of years, still.

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Tom Olson · Post by **Tom Olson** » 7 Jan 2003 12:08 pm

Herb,

Thanks very much for that fascinating info -- I could listen for days and days to stories like that. That must have been a very interesting time for you.

As you mentioned, I find that whole bluegrass/country rock music scene from that time period to be incredibly interesting. It seems that all of those guys must played with each other at some time in one band or another. I wish someone would write a book about that stuff -- perhaps you could? Or you and Jason? That would be quite an interesting book if it were ever written.

What you've said about Leroy seems most probable to me too -- I wouldn't think there would have been enough Dobro session work going on in LA at that time to do it full time. Plus, from Leroy's website, it does appear that he's heavily into the Born again Christian scene and has been for a long time (not that it's a bad thing).

Leroy has some really interesting pics on his site of the Country Boys and Kentucky Colonels (including Eric) as well as pics of just him and Buck Graves. In fact, there are a bunch of Leroy and Buck, and from the pics it appears that Leroy and Buck knew each other quite well (although maybe not).

I always wondered how Scotty Stoneman died. I understand that he passed away in the same year as Clarence (1973). Do you know where he died, and if it was an accidental death or perhaps and illness?

I've seen photos of Roland's A-mando that you refer to -- I always wondered why it looked so rough. Speaking of rough, Clarence's guitar with the big soundhole looked mighty rough too, with the finish worn off in different places. I read that the sound hole was enlarged because the edge of the original hole became jagged due to the metal pick Clarence used. But, even with a metal pick, I still can't imagine how a player could mangle a guitar sound hole so badly just from playing. Perhaps he had a substantially different playing style from most players

Speaking of Bill Monroe, didn't both Richard Greene and Peter Rowan play with Monroe? I might be wrong about that.

If you don't mind me asking, Herb, how did you end up playing steel from Mandolin, and how did you hook up with Linda Ronstadt's band? If I remember correctly what I've read, Chris Hillman was a Bluegrass mandolin player from the same era as the Country Boys. Did Roland and Clarence know Chris from back then before Clarence started playing with the Byrds? One more question (sorry): do you know how Clarence happened to start playing on the Byrds albums? I know he played on several albums before even Sweetheart of the Rodeo, and on some of those, I don't believe he is even credited.

Thanks again for the interesting info.

Bob Blair · Post by **Bob Blair** » 7 Jan 2003 12:34 pm

Fantastic reading! Thanks you guys. And Herb thank you for correcting me - in fact I have a copy of "Hand Sown, Home Grown",which unlike my copy of Silk Purse somehow survived the dreadful Flood of '82 (don't even ask!!) and the Divorce of '88. If I had a turntable that worked worth a darn I would play it in your honour.

Stephen Gambrell · Post by **Stephen Gambrell** » 7 Jan 2003 12:40 pm

Tom, there's a lot of stories about "the" guitar. I've read that Clarence would put cigarettes out on the edge of the soundhole, and after it got so buggered up, he carved it out. The fingerboard on that gutar came off an old Gretsch(hence the lack of fingerboard markers), and accordind to some reports, the entire guitar is put together out of parts of different D-28's. Only the serial number on the neckblock identifies it as a 1935. Tony bought the guitar from a liquor store guy back in the 70's, and while he was living in Florida a few years ago, the guitar wa waterlogged in a flood, that wiped out a bunch of Tony's stuff. He's playing a Santa Cruz Tony Rice model now, and the last time I talked to him, he said the old D-28 was pretty well retired.

Herb Steiner · Post by **Herb Steiner** » 7 Jan 2003 2:54 pm

Speaking of Leroy, he had a "protege" also... Skip Conover, himself a fine dobrologist who played with the Golden State Boys and others.

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Tom Olson · Post by **Tom Olson** » 7 Jan 2003 7:18 pm

Hi Stephen,

Thanks for the info. I'm sorry to hear about "the guitar" being damaged. I wonder how the liquor store guy ended up with it? Perhaps Clarence's family sold it? Anyway, it interesting that now Martin has just released a "Clarence White" D28 model that looks a lot like the Santa Cruz Guitar that Tony plays. It has the "Dalmation" tortoise shell pickguard as well as the enlarged sound hole. Each is also signed by Clarence's daughter Michelle and Mr. Martin.

By the way, I also heard that Tony lost his voice somehow recently, and can no longer sing -- that's a shame.

nick allen · Post by **nick allen** » 8 Jan 2003 12:33 am

I'll throw in the couple of things I *think* I do know

Richard Greene and Peter Rowan did both play with Bill Monroe - at the same time I believe... I think it's the Oak "Bluegrass Guitar" book that has photographs of that band in it.
Basically I think Clarence White got into playing on Byrds albums because he was doing a lot of sessions in LA at the time - mentored to an extent by James Burton... although he quite likely did already know Chris Hillman as well, which probably helped.
I'm not sure about the metal pick..? I thought he used a very stiff tortoiseshell one(?).
The enlarged soundhole I understood was partly because of cigarette burns, and partly just an experiment to "let more sound out"...
Herb joined Linda Ronstadt because he wasn't a Monkee...

(one of his stories I read when I first found the Forum - maybe he'll tell it again...)
Nick

Tom Olson · Post by **Tom Olson** » 8 Jan 2003 9:08 am

Hi Nick -- thanks for the info. Sounds like the consensus is that the sound hole deal was from cigarette burns and, like you say, from an experiment. I can't remember where I read about the metal pick, but I also read (as you've pointed out) that Clarence used a heavy tortoise shell pick. I tried a metal pick once (aluminum) and it was very difficult to use because it had a tendancy to "stick" or "bind" on the wound strings for some reason. Perhaps because the aluminum was too soft. A steel pick may have worked better.

I didn't know that James Burton and Clarence worked together -- that's interesting. I had read that Clarence did quite a bit of session work before actually joining the Byrds, such as with the Gosdin brothers (think) and many others, etc. etc.

Speaking of Bill Monroe -- I just happened to think about this -- it appears that all of the members of Muleskinner played with Monroe except for Clarence, although Monroe did ask Clarence to play guitar for him after the Kentucky Colonels broke up (and that's how Roland ended up playing for Monroe). We've already pretty much established that Greene and Rowan played with Monroe, and I'm fairly certain that Bill Keith played banjo for Monroe at one time. I'm not sure about Grisman, but I think I read that he did play with Monroe. Anybody know?

I take it that the fact that Herb isn't a Monkee is more of a figure of speech

and, I'm assuming it has something to do with Mike Nesmith??? Anyway, interesting stuff -- I always enjoy these types of conversations.

By the way, Nick -- what part of France do you live in? I lived in Orleans for several years in the early 60's as a kid -- one of my younger bro's was born there. My Dad was in the US Army and he was stationed with a command unit in Orleans at some fort which I can't remember the name of. I do remember that it was an old French garrison-looking thing in the heart of the city. It took up probably several city blocks and had a wall all the way around it and had a parade ground in the middle.

Stephen Gambrell · Post by **Stephen Gambrell** » 8 Jan 2003 2:05 pm

Naw, Grisman never was a Bluegrass Boy. He jammed with Monroe several times, of course, and named his son Monroe.
Tony Rice has lost his voice, but the loss has allowed him to concentrate more on his playing, which is, of course, out of this world. But he's singing a little bit lately, maybe we'll hear him again someday.

Herb Steiner · Post by **Herb Steiner** » 8 Jan 2003 2:55 pm

The "Monkee" thing is basically this: I was friendly with Mike Nesmith, because I played music with Michael Murphey and Boomer Castleman, who at that time were writing songs for the Monkees at Screen Gems.

When Ronstadt, who'd hired me as a dobro player asked me to play steel, I didn't have one. Mike Nesmith graciously loaned me a Fender 2000 until my first Sho-Bud arrived from Nashville. I have high regard for Michael Nesmith and the things he's accomplished. He always wanted to be a country singer, incidentally. Michael told me he really wanted to play steel with Linda, but he loaned me the guitar anyway; and I consider Nesmith to be one of the guys that helped me get started in this crazy career.

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Tom Olson · Post by **Tom Olson** » 8 Jan 2003 3:44 pm

Herb -- thanks for the Monkee story

! I'm tellin' ya -- you should write a book. I'll be the first to buy one. I've been reading things hear and there lately about Michael Nesmith and that he made some really good country music after the Monkees were over. I'm going to make a point of trying to get ahold of some of his music to listen to.

Stephen -- You're right. I guess if I'd thought about it hard enough, I'd have realized this: of course Grisman wouldn't have played in Monroe's band since they both play mandolin!! Now why didn't I think of that? Too busy yappin' I guess

nick allen · Post by **nick allen** » 9 Jan 2003 12:51 am

The way Herb told it a few years ago was that when Nesmith loaned him the guitar, he also mentioned that he wouldn't mind playing steel for Ronstadt himself... to which Herb replied "Mike, *I* got the call - and besides, you're a frigging Monkee!"
I always loved the image - in those days, a Monkee playing steel in Linda Ronstadt's band would have been real strange...
Tom, definitely check out whatever you can find of Mike Nesmith's post-Monkee stuff. Also, use the Forum "search" function and search on either Nesmith or Red Rhodes (his steel player on most of the records).
I'm just outside Paris - I've been to Orleans a couple of times, but don't remember the fort - I'll have to look next time I'm down there.
Nick

Jason Odd · Post by **Jason Odd** » 9 Jan 2003 2:59 pm

Clarence was pretty tight with James Burton all right, James got him onto a Ricky Nelson session in 1966, and in 1967 he played a showcase gig with Nelson, the band included Bob Warford on banjo (ex-Golden State Boy), Lynn Russell on bass (not Leon Russell as some have written), Glen D Hardin and Burton. Oh yeah, and ex-Hank Thompson drummer Junior Nichols was on the gig as well, would have been June '67 at the Shrine Auditorium. Anyone got tapes of that one?

In 1966 the Kentucky Colonels actually reformed with Jimmy Crane (fiddle), Eric White, Roland White, Dennis Morris and Bob Warford. Clarence worked with them on and off and rejoined for a stint in 1967, while Jimmy left a while later. At the time Clarence was working with the Roustabouts, Gib Guilbeau's band (aka Gib and Gene, The Reasons, the Gary Paxton Band when in Bakersfield, and Nashville West), as well as part of the studio crowd at Gary Paxton's studio in Hollywood, then Bakersfield. Thsi was all in 1967.

Clarence started geting into the session scene as an electric guitar slinger in 1966, and basically three people helped. Session guitarists David Cohen (not the guy from Country Joe & The Fish), James Burton and Chris Hillman from the Byrds.
Hillman started using Clarence on sessions in 1966 (Gosdin Brothers, Gene Clark and the Byrds), and I think Hillman's career as a Byrd and Flying Burrito Brother has rather overshadowed his work as a pioneer of country rock before there was even countr-rock.
In a 1965 interview Hillman and the rest of the Byrds were asked what music they listened to, the others mainly listed classical, jazz and other rock acts. Chris said "John Lee Hooker and Buck Owens."

David Grisman as perviously stated was not a Bluegrass Boy, but Bill wasn't impartial to the occasional mandolin duet onstage. He also did this with one time manager Ralph Rinzler who was a picker as well.
As noted Grisman would sit in with Bill, and at Bill's 1966 Annual Bean Blossum concert, Grisman and Monroe did a mandolin workshop together which attracted a massive crowd.

There's writer/historian who's got a book on the Golden State Boys and related groups, he's looking for a deal at the moment and might have something lined up with a University Press, but I can't say anything more as yet.

The thing is with Californian Bluegrass, there was exposure on shows like Cal's Corral and great venues like the Ash Grove, The Icehouse in Passadena and a series of places in North Ca. But overall the record industry in California failed to really support the genre.
Capitol Records dabbled with a few acts, and only released albums on more established Southern groups.

If it wasn't for World Pacific Records there would hardly have been any Ca. Bluegrass recorded for vinyl at all.
The rest appeared on smaller labels like Toppa or Crown (a real low budget bunch), or tiny indies and in some cases out of State stuff. The Dillards recorded for Elektra, while Vern & Ray from Nrothern Ca. recorded briefly for Starday in Nashville, even relocating there for a time.

The last real burst for Ca. Bluegrass before the 1970s was Aunt Dinah's Quilting Party who recorded for Ca. based Rual Rhythm in the late 1960s. The group included Larry White.

Scotty Stoneman died after several years of poor health, even back in the KC days he started showing signs, and the story is that he left the group due to his health. He went through periods when he could barely play.
Scotty turned Richard Greene onto Bluegrass, beofre that Greene was an old timey style fiddler.
Scotty had an album in 1967, it was on some tiny label and mainly consisted of recordings made in Washington in 1962.

There's been talk of adding that material to the reissue of the "Live In L.A." album of the Stoneman era Kentucky Colonels. Whether or not it will happen is another thing.

Tom Olson · Post by **Tom Olson** » 9 Jan 2003 3:51 pm

Jason -- thanks for you post. Interesting stuff. Do you know how James Burton and Clarence came to know one another? I'm assuming that they would have known each other before Clarence broke into session work and also that Burton and others, as you say, were how Clarence got first started in session work.

Also, I'm not familiar with the "Live in LA" Kentucky Colonels album. Is this currently in print and available?

I knew that Grisman was more well known for jazz-style fusion or whatever you want to call it, and as being one of the founders of Dawg style, but he seemed to do a pretty good job at Bluegrass in the Muleskinner group, although it was pretty short-lived.

Who is Larry White? Is he related to Clarence, Roland and Eric?

Stoneman must have been sick for a long time, since I believe he left the KC's in the mid 60's and passed away in '73.

Where should we look for the book you refer to assuming it is eventually published? I'm assuming Amazon will carry it? If you find out if it is published, that would be great if you could post a notice here. Thanks again for your posts -- great stuff!!!

Bobby Flores · Post by **Bobby Flores** » 12 Jan 2003 10:18 am

Wow. Some very interesting reading guys. Would that be the same Richard Greene that played with a group called "SeaTrain" in the '70's?

Bobby

Tom Olson · Post by **Tom Olson** » 12 Jan 2003 11:30 am

Bobby -- yes, I'm nearly positive it's the same guy. I think, but I'm not sure, that Peter Rowan also played in Seatrain.

Herb Steiner · Post by **Herb Steiner** » 12 Jan 2003 7:15 pm

Larry White and David Cohen were both very good friends of mine. Larry was an old time picker who met Byron Berline in the army. David was a blues guitarist, basically, who lived around the corner from the Ash Grove, off Melrose Ave. He got into an LA session career through his friendship with Don Peake, at the time lead guitarist for Sonny and Cher. Don dug country, though, and he produced the "Live at the Palomino" album for Red Rhodes.

I was at the Shrine Concert in 1967. I went with my running buddy Steve Levere, who also took me to the 1967 Buck Owens/Hank Thompson concert in Anaheim that featured Mary Taylor, Buddy Cagle, and Roy Clark. The Shrine concert, as I recall, had Rick Nelson in his debut as a country singer and had James B and Clarence in the band. It was a big package show and George Jones was also on the bill. I forget who all else was on that show.

Steve Levere later got a job archiving blues recordings for... was it Liberty Records?

Trivia, trivia, trivia...

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Stephen Gambrell · Post by **Stephen Gambrell** » 12 Jan 2003 7:37 pm

Bobby, Tom, yes, Rowan and Greene both played in Seatrain. I believe Larry Atamanuik was the drummer, but I'm not sure. Let's fill in the whole band________________

Tom Olson · Post by **Tom Olson** » 12 Jan 2003 8:32 pm

Herb -- thanks for another interesting post. I hope somebody's writing all this down

Do you know by any chance if Byron Berline played in a group with Roland White? Reason I'm asking is that I have a copy of that video tape of Clarence on Bob Baxter's guitar workshop that was broadcast in April, 1973 on KNXT, Los Angeles. Later in the show, both Roland and Byron join in with Bob and Clarence in a jam session. So, I figured Roland and Byron must have at least known each other.

Stephen -- here's a blurb about Seatrain from All Music Guide:

Roots-fusion combo Seatrain formed from the ashes of the Blues Project -- following the exits of the New York-based group's other members. Flutist/bassist Andy Kulberg and drummer Roy Blumenfeld relocated to Marin County, CA, forming a new lineup with vocalist Jim Roberts, ex-Mystery Trend guitarist John Gregory, former Jim Kweskin Jug Band violinist Richard Greene, and saxophonist Don Kretmar. Though the group's 1968 album, Planned Obsolescence, was issued under the Blues Project name out of contractual obligations, the sextet immediately rechristened itself Seatrain to release a self-titled 1969 LP highlighted by their unique blend of rock, bluegrass, folk, and blues. A series of roster changes plagued the group in the months to follow, however, and in 1970 Seatrain -- now comprising Kulberg, Roberts and Greene in addition to keyboardist Lloyd Baskin, drummer Larry Atamanuik, and former Earth Opera guitarist Peter Rowan -- released their second album, also eponymously-titled, scoring a minor hit with the single "13 Questions." The George Martin-produced Marblehead Messenger followed a year later, with Greene and Rowan soon exiting to join Muleskinner; Roberts and Atamanuik left Seatrain as well, with the latter eventually resurfacing in Emmylou Harris' Nash Ramblers. The remaining duo of Kulberg and Baskin recruited guitarist Peter Walsh, keyboardist Bill Elliot, and drummer Julio Coronado for one final LP, 1973's Watch. -- Jason Ankeny

I'm pretty sure Rowan formed a group after Muleskinner, but I don't know for sure -- do you know Stephen?

Jason Odd · Post by **Jason Odd** » 13 Jan 2003 5:15 am

I'm hoping to talk to Burton one of these days, if I do ... well maybe we'll get the skinny on the whole thing.
Burton did like to go down tot he clubs and play with certain singers.
While he was still with Ricky Nelson he used to go to the Palomino Club and sit in with the Gene Davis band.
He also sat in with Dave & Lu Spencer who were friends on White and Bob Warford.

For the Kentucky Colonels stuff, check out Sierra Records.
Most of the albums that came out in the 1970s as a memorial to the group are currently out of print.
Vanguard had a live CD, there's a bit of stuff out there, but not as much as there was back in the late 1970s. (strangely enough)

Stoneman didn't seem to really record after 1965, and pretty I'm sure he didn't rejoin the family band the Stonemans, so one would suspect that he had some serious health issues.

In regards to my book, I have some fairly tentative offers, but nothing I could really say yes to anyway.

Richard Greene played with: The Coast Mountain Ramblers, the Dry City Scat Band, the Pine Valley Boys, Bill Monroe's Blue Grass Boys, the Jim Kweskin Jug Band, the Blues Project, Seatrain, the Blue Velvet Band, Muleskinner and a group with Grisman before Grisman had his solo group in 1975.

And that was just the early years.
There was a rumour of 1973 recordings for Warner Brothers (they got the Muleskinner album and an aborted Clarence White solo LP).
I'm a massive Seatrain fan, but mainly the second and third album on Capitol Records in 1971-1972.

Herb's right about Don Peake, a real forgotten guitar champ of Hollywood. Don was also the lead guitar for the Everly's until 1964, as well as the Sonny & Cher thang.

Tom, Byron and Roland were in Bill Monroe's Bluegrass Boys together. Byron moved to Hollywood in 1969, and although he lived Tennessee Roland would see most of the Ca. pickers via the Kentucky Colonels annual Ash Grove reunions and informal jam sessions at Clarence White's place in the late 1960s and early 1970s.
Berline was in Country Gazette as a founder member, Roland joined in late '73 or so.

Jason Odd · Post by **Jason Odd** » 13 Jan 2003 5:36 am

Herb, was that Steve LaVere who produced the reissue series stuff on Liberty/Imperial in the late 1960s?
Example, "Rural Blues, Vol. 2" from 1969?

Some of the Canned Heat guys (probably just Al Wilson) used to have the same gig.

Earnest Bovine · Post by **Earnest Bovine** » 13 Jan 2003 6:54 am

Richard Greene is working the "Big River" show at the Mark Taper Forum in downtown Los Angeles.

Tom Olson · Post by **Tom Olson** » 13 Jan 2003 10:08 am

Jason -- thanks very much for the info. I'm keeping my fingers crossed that your book gets published -- I'd sure like to read it.

As a distantly related topic -- I think I read somewhere that Peter Rowan recently released an album with Norman Blake and some other cats whose names have escaped my memory. That should be a good one.