Grace, Sophia, and Hulda Quebe grew up in North Texas. Although they initially studied classical violin, in 1998 the sisters changed to western fiddle when they visited the North Texas State Fair in Denton, Texas. There, they first listened to Texas-style fiddling. Later, they met Joey and Sherry McKenzie, national fiddle champions and organizers of the Bob Wills Fiddle Festival & Contest in Greenville, Texas.
The Quebe sisters became students of the McKenzies and the Quebe family relocated to Burleson, Texas in Tarrant County. The sisters studied with the McKenzies for several years and Joey McKenzie became their arranger and a longtime member of their band.
In 2003, The Quebe Sisters released their first album, Texas Fiddlers, supported by Joey McKenzie on rhythm guitar, Mark Abbott on bass and steel guitarist Tom Morrell.
The Quebe Sisters are currently based in Dallas. The sisters and their band present a distinctive triple fiddle and three-part harmony mix of western swing, jazz-influenced swing, country, Texas-style fiddling, and Western music.
“We differentiate our music as ‘Progressive Western Swing’ from simply ‘Western Swing’ because we aren’t trying to sound just like Bob Wills,” Grace Quebe explains. “Instead, we continue his vision, playing the style he pioneered in an authentic way by incorporating new genres and songs, interpreting them using our own unique voice through Country instrumentation.”
The band continues the traditions once found in Texas dance halls and honky-tonks. Grace adds, “To us, preserving the tradition of Western Swing isn’t about keeping something alive like a relic. Western Swing has always been about innovation.”
The first definition for the
word “swing” that appears in the Merriam-Webster dictionary is as follows:
1a : to
cause to move vigorously through a wide arc or circle
b : to
cause to sway to and fro
c(1) : to
cause to turn on an axis
(2) : to
cause to face or move in another direction
As luck would have it that
is the exact effect that the Dallas-based Texas swing band The Quebe Sisters
have on the body on their fourth recording The Quebe Sisters. So be prepared to
dip, sway, twirl and Texas Tommy across the floor. Western swing devotees will
certainly have acquaintance with The Quebe Sisters so newbies will have to play
a little catch-up with recordings such as Timeless, Every Which-A-Way and Texas
Rather than remaking Western
swing, vocalists and fiddlers Grace, Sophia and Hulda Quebe, along with
guitarist Simon Stipp and upright bassist Daniel Parr put their own stamp on
the genre on this sweetly sassy, smartly sharp recording.
The Quebe sisters define the process by saying, “It was a holistic process, involving every in the band. We’ve never arranged and recorded so collaboratively before, so it’s very rewarding to hear everyone’s musical fingerprint in the final sound.”
With a trio of songs penned
by Sophia Quebe and Daniel Parr, individual solos and tight, neat arranging,
The Quebe Sisters swing in the best sense of the word. Recording together in
the studio space at Austin’s Texas Treefort Studio, as well as using some
vintage equipment, The Quebe Sisters has a cozy nostalgic feel that firmly
steers clear of overpowering the collaborative skills of the group’s members or
coming across as simply a trite copycat recording,
The Quebe Sisters state, “This album came from the curation of our inspirations. We looked at all the styles that we play, and found a single performance that embodied the essence of everything we loved about that style. Then we dug into the mood and feel of those performances, and used them as reference point for how we played the album.”
From the opening strains of
“Always Seem to Get Things Wrong,” western swing will be hooked by just the
utter catchy coolness of guitar, fiddle and double bass and fall head over
heels over the twangy goodness of the vocals on The Quebe Sisters.
Fans get treated to “My Love, My Life, My Friend,” the sweet sisters vocals of “Pierce the Blue,” the brightly chugging instrumental “Load at 7 (Leave at 8)” and a downright dulcet version of Willie Nelson’s “Summer of Roses.”
The bright and shiny tracks of “Lonesome Road” and “Lullaby of Leaves” are real standouts for the unexpected turns of mood and phrasing that speaks to the musical mastery of these musicians. Fans won’t want to miss out on “The Waltz You Saved for Me,” the instrumental “Bluegrass in the Backwoods” or closing track “Twilight on the Trail.”
The Quebe Sisters will
indeed cause one to move vigorously through a wide arc or circle, definitely
cause some swaying to and fro and absolutely cause one to turn on an axis and
we are all the better for it.
Vassar Clements was one the United States’ most versatile fiddle players. His career began at a very early age. His phenomenal ability to virtually play any kind of music (bluegrass, country, pop, rock, jazz and swing) garnered him various awards including five Grammy nominations and a track record that involves multitudes of recording performances.
Vassar was a prolific composer of instrumentals and played seven instruments: violin, viola, cello, bass, mandolin, guitar and tenor banjo.
Vassar’s career spanned over fifty years. His association with Bill Monroe began when he was only 14 years old and still in school. He started with Bill as a regular Bluegrass Boy in 1949 and was with him through 1956. From 1957 to 1961 he performed with bluegrass artists Jim & Jesse McReynolds. In 1962 he took leave from his music to pursue other interests but returned to full time music when he decided to make Nashville his home in January 1967.
Vassar did recording sessions and played tenor banjo in Nashville’s Dixieland Landing club until October 1969. He then started touring with Faron Young and doing occasional solo dates when time permitted. In February 1971 he joined John Hartford and his Dobrolic Plectral Society, initiating a professional association and personal friendship that has grew stronger through the years. After ten months and earning an enormous amount of recognition and popularity, the group decided to disband. Vassar then found himself with the legendary Earl Scruggs and the Earl Scruggs Revue.
During that time, one of the most important milestones in his career was his participation on the Nitty Gritty Dirt Band’s 1972 Landmark album Will The Circle Be Unbroken. This historical event was produced by William McEuen and featured an extravaganza of bluegrass, country and folk’s greatest artists. It was the turning point that re-kindled Vassar’s career and at the same time introduced him to a much younger non-country audience.
Within a few short months Vassar was recording and/or performing with Dicky Betts, Jerry Garcia, The Grateful Dead, The Allman Brothers, Linda Ronstadt, The Nitty Gritty Dirt Band, David Grisman, Paul McCartney, etc. In May 1973, The classic Old & In The Way album was recorded in San Francisco during a live performance. The Sales from this project have exceeded other albums of like kind and has formed staunch cults that still exist after twenty three years.
Since 1973 when Vassar signed his first major label deal with Mercury/Polygram records his personal discography ranged from country, waltzes, swing to jazz. Ironically, in 1992 he recorded his only straight bluegrass recording for Rounder Records titled Grass Routes.
His early experience growing with jazz and swing music left an indelible mark on his style. Vassar said: “bands like Glen Miller, Les Brown, Tommy Dorsey, Harry James and Artie Shaw were very popular when I was a kid. I always loved rhythm so I guess in the back of my mind the swing and jazz subconsciously comes out when I play because when I was learning I was always trying to emulate the big band sounds I heard on my fiddle.” Understandably the form of jazz music created by Clements was a mix of the diverse influences that touched him throughout his career but particularly his affinity for the jazz and swing music of his youth.
Therefore it is no surprise that even though early in his career, as he learned and developed bluegrass and country styles, he also gained respect as a jazz player. Hence classic number two: Once In A While which resulted from a jam session with Miles Davis’s ex-band members Dave Holland, John Abercrombie and Jimmy Cobb. Classic number three: Together At Last. with Stephane Grappelli was produced by Tim Yaquinto and recorded in Vassar’s former studio.
Back Porch Swing was Vassar’s first album to feature the Little Big Band. Recorded between September 1997 and September 1998 at the Historic RCA Studio B in Nashville Back Porch Swing was performed almost entirely live with the exception of vocal and string overdubs.
Vassar Clements participated in Dead Grass (2000) a bluegrass twist on some Grateful Dead favorites.
Full Circle (OMS Records) released in 2001 had Vassar returning to his bluegrass roots with an all star cast that included Sam Bush, Bela Fleck, Bryan Sutton, Peter Rowan, John Cowan, Josh Graves, Jeff Hanna, Jimmie Fadden, J. D. Crowe, Billy Troy, Alan O’Bryant, Ricky Skaggs, Jim & Jesse and Jake Landers.
In May of 2004 Runaway Fiddle (OMS Records) came out. This project was a labor of love of two of the greatest American fiddle players of modern times Vassar Clements and Buddy Spicher. Buddy Spicher is one of Nashville’s most recorded session artists and arrangers. On Runaway Fiddle these two legends teamed up to record tunes they grew up loving playing and internalizing but for the most part never recording. Selections include 192’s show tunes Western Swing Dixieland. Several songs are interpretations of songs popularized by country music icon Bob Wills who created the new art form called Western Swing.
His CD Livin’ With The Blues (Acoustic Disc) was released in August of 2004. It was his first blues album. While Vassar Clements has often been considered the ?bluesiest? of the bluegrass fiddlers it wasn?t until producer Grisman asked him what kind of record he wanted to make that the soft spoken septuagenarian replied “I’ve always wanted to make a blues record.”
Livin? With The Blues includes Skip James? swampy “Cypress Grove ” with Vassar’s lonesome fiddle accompanied by Bob Brozman’s slide guitar. Elvin Bishop cleans house with his own “Dirty Drawers” and “That?s My Thing ” while Maria Muldaursings with Vassar on “Honey Babe Blues” and Bessie Smith?s “I Ain?t Gonna Play No Second Fiddle.” Other tracks include Roy Rogers desolate take on Robert Johnson?s “Phonograph Blues ” “Mambo Boogie” featuring Dave Mathews and the Booker T. Jones classic “Green Onions ” given a new twist by Charlie Musselwhite and Vassar. “Rube’s Blues” featured blues guitar whiz David Jacob-Strain (who was 19 at the time) helping Vassar reinvent a bluegrass standard and Norton Buffalo with his unique soul treatment of his own “Don’t Stand Behind A Mule.”
In November of 2004 Vassar Clements joined bluegrass quartet The Biscuit Burners onstage at the Ryman Auditorium in Nashville. Vassar played on two of the band’s original songs “Come On Darlin'” and “Red Mountain Wine”. The surprise appearance was part of the historic Ryman Auditorium’s $1 on the 1th Mystery Artist Series celebrating the 1 year anniversary of the legendary theater’s renovation.
On March 11, 2005 Vassar was diagnosed with lung cancer. He died at his home August 16th, 2005 at 8:25 am. He was 77.
[Biography adapted from Vassar Clement’s official biography].
Vassar (Mercury Records)
Superbow (Mercury Records)
Southern Waltzes (Rhythm Records)
Vassar Clements John Hartford & Dave Holland (Rounder Records)
Crossing The Catskills (Rounder Records 1972)
Vassar Clements (MCA Records)
The Bluegrass Session (Flying Records 1977) Grass Routes (Rounder Records)
Saturday Night Shuffle – A Celebration of Merle Travis (Shanachie Records)
Hillbilly Jazz (Flying Records 1978)
Hillbilly Jazz Rides Again (Flying Records)
New Hillbilly Jazz (Shikata Records)
Together At Last with Stephane Grappelli (Flying Records 1987)
Nashville Jam (Flying Records)
Westport Drive (Mind Dust Records)
The Man The Legend (Vassillie Productions)
Country Classics (Vassillie Productions)
Vassar Clements Reunion With Dixie Gentlemen (Old Homestead) Once In A While, Jam with Miles Davis’ ex-band members (Flying Fish Records 1992)
Live in Telluride 1979 (Vassillie Productions 1979)
Music City USA (Vassillie Productions)
Old And In The Way – Volume 1 (BMG Music)
Old and In The Way – That High Lonesome Sound – Volume 2 (Acoustic Disc)
Old and In The Way – Breakdown – Volume 3 (Acoustic Disc)
An Americana Christmas with Norman Blake (Winter Harvest)
The Bottom Line Encore Collection (Bottom line 1999)
Vassar’s Jazz – Golden Anniversary (Winter Harvest)
Back Porch Swing (Chrome Records 2000)
Dead Grass (Cedar Glen Music Group)
20 Fiddle Tunes & Waltz Favorites
Full Circle (OMS Records 2001)
Will The Circle Be Unbroken – Volume II – 3th Anniversary Edition (Capitol Records)
Will The Circle Be Unbroken (United Artists)
Will The Circle Be Unbroken – Volume III (Capitol Records)
Old & In The Gray (Acoustic Disc)
Runaway Fiddle with Buddy Spicher (OMS Records) Livin’ With The Blues (Acoustic Disc 2004)
The Fiddle According to Vassar (Homespun Tapes). Taught By Vassar Clements. 9-minute DVD or VHS Includes music book
Vassar Clements In Concert – Vassar Swings (Shikata Records)
Vassar Clements In Concert – Ramblin’ 81 (Shanachie Records)
American slide guitarist Cindy Cashdollar was born May 25, 1956. She specializes in steel guitar and dobro.
Cindy Cashdollar grew up in Woodstock, New York. She improved her skills playing with bluegrass musician John Herald; blues icon Paul Butterfield; and roots rock musicians Levon Helm and Rick Danko of The Band; and many other artists who lived in the small mountain town in the Catskills.
For eight years she performed with one of the leading western swing bands, Asleep at the Wheel. This opportunity opened the door to collaborations with country music artists such as Willie Nelson, Merle Haggard, Dolly Parton and The Dixie Chicks.
Her debut album Slide Show includes an impressive lineup of American roots artists such as Sonny Landreth, Marcia Ball, Mike Auldridge, Redd Volkaert, Herb Remington, Jorma Kaukonen and Steve James.
Cindy was inducted into the Texas Steel Guitar Hall of Fame in 2011 (the first woman to be instated) and The Texas Music Hall of Fame in 2012.
In 2017 she appeared in Mamadou Kelly’s album Politiki (Clermont Music CLE 016CD, 2017)
Based in Austin, Texas, and propelled by fiddles, steel guitar, and the warm, smooth vocals of Ray Benson, Asleep at the Wheel is the United States’ longest-lived western swing band, the reigning kings of this jazz-infused, danceable style. They’ve honored western swing founder Bob Wills by performing his music even longer than he did.
Asleep at the Wheel is much more than a dance band. They’re an institution: an ever-shifting lineup (80 members to date) of like-minded musicians united under Ray Benson’s drive to carry the torch of big band Western Swing music far into the 21st Century. It is a mission that has won the band and Ray nine Grammy awards to date.
Benson’s love of music began in Philadelphia, Pennsylvania – far, far away from the city of Austin, Texas, which the Wheel has proudly called home for the last twenty-eight years. “I was born in 1951, and big band music was still very much around and in my community, it was still very much the thing,” Benson explains. “I played bass in my school stage band in tenth grade, and my musical director introduced us to Count Basie. And I knew jazz, because Philadelphia is a great jazz city. I was also into folk music, Chicago blues and country. My goal was to be more different than anybody, and that’s what Asleep at the Wheel was all about: doing roots music that was different and eclectic.”
Finnish trio Southpaw Steel’n’Twang delivers another superb set of musical pieces inspired by American roots music. The signature sound of the band is based on pedal and lap steel guitars performed by maestro Ville “Lefty” Leppänen. On this occasion Leppänen also uses the regular electric guitar more often.
On “Stat(u)e of Mind”, the power trio display a mix of blues, western swing, country, Hawaiian, rock and roll, jazz, a zany song about water and more. The majority of the album was recorded in St. Louis, Missouri in the United States.
The lineup on the album includes Ville “Lefty” Leppänen on steel, resonator and electric guitars and vocals; JP Mönkkönen on bass, acoustic and baritone guitars; and Tero Mikkonen on drums, percussion, ukulele and haw-ho. Guests include Jouko Aramo on trombone; Pekka Grohn on keyboards; Jermu Koivukoski on trumpet; Perttu Pannula on saxophone.
“Stat(u)e of Mind” will delight fans of the twangy guitar sound with its feel-good hooks and retro Americana vibes.