Archive for the ‘caving’ Category

I spent the last weekend in the Allegheny National Forest way up over there in north-central Pennsylvania. I had a great time.

I had gone over to count bats. We mid-western cavers have watched entire bat populations disappear over the last few years due to “white nose syndrome” – a fungus pathogen killing bat populations as they hibernate. No one is really certain where white nose comes from or how it migrates from bat colony to bat colony. There is considerable speculation that the fungus is spread by cavers with contaminated gear or clothing. I bleach my equipment after I get home now and so do most of the rest of the grotto members. Another likely explanation for the spread of white nose is that bats are contaminating themselves as they mate, but it is all speculation at this point. In any case it is a bad business and the Cleveland Grotto is conducting bat survey work for several research organizations “doing the science”.

Our grotto Conservancy Chair Eric Topeke asked me to drive over to the Allegheny National Forest and count whatever bats I could find in the mouth of a certain small cave known to be a bat hibernaculum. Eric had GPS coordinates and a description of where the cave was located. The directions involved parking at the very end of a ANF logging access road, finding an abandoned railroad right-of-way and hiking through old growth forest to see if I could find the cave located in the side of a small sinkhole.

Eric’s directions also noted that black bear were reported to “be active” in the area off the logging road and that anyone walking in the area should be very cautious and should carry at the very least “a stout walking stick” as “protection”. Well I decided I would be cautious and I decided to carry “protection” but I decided I sure as heck wasn’t going to be using any walking stick to attempt to reason with a Pennsylvania black bear.

It occurred to me on the drive east that morning that I was rolling along in a jeep full of caving gear, camping equipment, guns, a fiddle and a five string open-back banjo. I was ready for just about anything the Allegheny National Forest could throw at me. With a certain amount of self-satisfaction, for at least a few hours, I thought of myself as probably the most well prepared man in North America.

I found the Minister Creek campground located off Pennsylvania SR (I am not making this up) 666 and I set up camp. Then I headed for the cave.

I found the end of the logging road and I found the abandoned railroad right-of-way. I loaded my 12 gauge pump with some deer slugs. I cradled the shotgun in my arms the way I used to when I hunted with my brother and my dad and set off down the trail to the right. Besides bear, Eric’s directions also noted that wildcats were “active” in the area. I had previously had some experience with Pennsylvania timber rattlers and between bears, cats and rattlers I had lots of opportunity to reflect on my position on the food chain (“dinner”) as I made my way through the wood.

I never could find the sinkhole. I’m dead certain that I must have been within 30 yards of it (and probably closer). And I never saw any bear. Or wildcats. Or timber rattlers. It’s probably just as well. I’ve never been a big game (deer) hunter – I don’t think I have it in me. I actually had to go and buy a box of slugs to take with me. On the other hand, I didn’t see any bats either, dead or alive. I waited till it began to dim a bit – I didn’t want to wait too long as I wasn’t real sure of where I was and I wanted to make sure I could get back to the jeep and back to camp before it got too dark – but didn’t see any bats in the air.

I made it back to the jeep, unloaded the shotgun and packed it away in its case. I headed back to my campsite.

The campground was beautiful. I had pitched my tent within feet of winding, bubbling Minister Creek inside a heavily wooded and secluded site. The campground was located on the Minister Creek Trail hiking loop and I got to say “howjado” to any number of day hikers as they drifted past my campsite when they began and ended the trail. I am going to make plans to head back to Minister Creek later this summer or early this fall to hike the loop myself and camp and enjoy the campsite over a couple of days.

The new/old banjo got a pretty good workout too. I’ve been spending a lot of time on Needle Case and Pretty Little Dog. My banjo is an open-back frailer and does not have a tone ring in it. It is not a loud instrument and I have been trying to teach myself to frail with a pretty light touch. As a result I have been concerned that I am not getting as much sound out of the instrument as I would like. I am learning that there is a technique to getting as much sound as I can out of the banjo without beating it to death. It has its own voice and I will have to adjust myself to that while I try to remember to hold the instrument correctly and frail “firmly and confidently” but without trying to force a volume or a type of tone.

I’m working through Salt Fork/Salt Creek/Salt River (what is the right name for that tune, anyway?) now. I’m playing it out of a G modal tuning and I’m getting it all by ear – no tab. I’m kind of surprised that I am beginning to be able to “hear” the tunes with my fingers enough that I am able find them on a fingerboard. Progress!!

Onward! Upward! Excelsior!


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devil with fiddle
I attended a song circle last weekend at at the Canalway Lodge in the Cleveland Metroparks’ Ohio and Erie Canal reservation. Hank Mallory, an Interpreter at the reservation was our host. Hank is also a caver who used to work at Mammoth and who picks a pretty good flattop when the mood strikes him.

I run hot and cold on open song circles. There are usually lots and lots of really shiny, cheap guitars that absolutely cannot and will not go in tune. But you can never tell who is going to show up and you can never tell what type of tunes they will bring with them. I always enjoy the opprotunity to meet and listen to acoustic musicians. This session was no exception.

There was one fellow who showed up and introduced himself as “Gary ‘The Guitar Guy’ from the Rock and Roll Hall of Fame” – I’ve seen him around and heard him play several times. Gary has stenciled “This Machine Recycles” on the front of his guitar.

I’m a great admirer of the iconic Woody Guthrie series of “This Machine Kills Fascists” photos. They speak loud and clear about the man, his music and the historical framework in which he practiced his art. The one photograph in particular I’m looking at now has Woody standing with a slot-head classical slung low over his shoulder with his weight on one side of his hip, a harp and rack around his neck and a cigarette dangling from his mouth. He is lean and mean and staring confrontationally right into the camera lens; “This Machine Kills Fascists” is hand printed across the front of both bouts of his ax. He looks like nothing less than some deranged gun slinger – Billy the Kid with a six string pistol.

The photo is startling and arresting. Whatever else you think you might know about “folk music” you know that you‘re going to at least have to take this man very seriously. There is absolutely no question in my mind that That Machine would in fact Kill Fascists or just about anything else that moved.

But, as Lou Reed reminds us, “…those were different times…”

“Gary ‘The Guitar Guy’ from the Rock and Roll Hall of Fame” also brought a made-in-China 5 string banjo with him. He tuned it like a guitar and strummed it with a flatpick “like Pete Seeger”. He lectured the circle about how “in Colonial America if you played forbidden scales on your lap dulcimer you would be burned at the stake as a witch”.

That was news to me. I regret that I don’t have the rigorous academic background of scholarship and historical prospective provided by the Rock and Roll Hall of Fame, but evidently we were to take from this that the members of the colonial Dulcimer Star Chamber were barely one step removed from contemporary Christians or gun owners. Oh, wait… Well, anyway, I bet they didn’t even use the blue bin for their glass and aluminum.

It takes all kinds, I guess. But that’s what makes circles endlessly fascinating.

I had the great good fortune to learn to play in oldtime and bluegrass circles. Beyond chops, you pick up a real good sense of “jam manners” real quick. The great advantage is that when a given circle becomes too much “artiest oriented” or just plain dumb (“Hey…let’s play Rocky Top…”), you can always move on to the next circle. Or the next. Or the next. I’ve spent lots of festivals floating through the parking lots for hours on end.

The bluegrassers don’t suffer fools gladly, and I have seen plenty of people shouldered right out of a circle; the oldtimers don’t have any problem at all with “putting it in the case” until the participation in a given circle improves dramatically – usually by subtraction. But generally those are extreme responses to severe and aggressive ill-mannered assholery.

A silly old lady autoharp player stepped right up into the middle of a circle at a Pennsylvania oldtime festival I attended several years ago. She couldn’t play a lick but insisted that the “authentic” American folk tradition evolved from autoharp repertoire. She hadn’t learned banjo/fiddle tunes or if she knew them they were in her own “correct” key. That circle dissolved in under twenty seconds.

Circles are ephemeral and have their own “vibe” – very literally their own vibration. The best ones feel like some sort of reptilian, pre-verbal mental telepathy; everybody on the same wavelength communicating simultaneously and with absolute clarity with every other member.

Two years ago I played fiddle in a 3:00 AM circle at Clifftop with Mike Seeger at the center. The circle was better than 100 people around and we played in pitch darkness. That circle was a perfect and complete self-contained universe. We played some crooked version of Shaking Down the Acorns on and on and on for thirty minutes or longer until my psyche was lost in pulse and drone and completely absorbed within the group.

The pulse and drone open you up to all sorts of influences and I think the fiddle’s role in this kind of traditional dance music is one of the reasons the fiddle is known as the “devil’s box”. I honestly believe this is when competent oldtime musicians with an inclination toward that sort of thing can begin to call spirits.

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I’m tired of all the political and corporate scoundrels and I’m tired of all their mischief. My brains are roiled and I am otherwise distressed. I believe my circuits are overloaded and I am in danger of blowing a fuse.

I am forcing myself to take drastic measures.

I’m returning to First Principles; caves and American traditional music. Here’s a great way to enjoy both – Vernon Dalhart’s Death of Floyd Collins.

In January, 1925 Floyd “The Greatest Cave Explorer Ever Known” Collins became trapped in Kentucky’s Sand Cave in a narrow crawlway 150 feet from the entrance. Efforts to save him became a worldwide media sensation, and many would say it was the media circus surrounding the event that eventualy killed him. After four days where he could be fed, a cave-in closed the entrance passageway to everything except voice contact. Collins died of exposure and starvation after about fourteen days underground, three days before a rescue shaft could reach his location. His body (minus a leg) was recovered two months later.

His embalmed body was displayed as an attraction at Crystal Cave in a glass coffin for many years before the body was stolen. The body was eventualy recovered and buried at last in a private Flynt Ridge cemetary.

Dalhart documented the affair with a number of recordings for various labels. I have a copy of a Columbia recording pressed under the pseudonym “Al Carver (Caver?)” in my own collection of 78’s. Vernon took vocals and harmonica duty while his regular collaborator Carson Robison performed on guitar.


The folk and Americana purists among us (and you know who you are) consistently wrinkle up their dainty noses at the odor of commercial success surrounding poor Vernon. The rap against him was that he was a little too popular and that his vocal delivery was a little too polished due to his conservatory training and that he sold a few too many records (over 400 titles for Edison, Victor and Grey Gull) to completely qualify him as a ‘folk artiest’.

But to my ears, Vernon Dalhart contributed hundreds of great performances in the service of hundreds of great tunes (The Wreck of the Old 97′, The Prisoner’s Song and the wonderful depression tune Eleven Cent Cotton and Forty Cent Meat come quickly to mind).

Vernon had a huge hit in 1925 with The Wreck of the Shenandoah. To those of us here in Ohio the crash of the dirigible Shenandoah was the stuff of legend for our parents and grandparents. The great ship went down in Nobel County not far from my Grandmother’s childhood home and I can remember her telling of how my great-grandfathered drove out to survey the wreckage strewn over many acres. Vernon and Carson Robison wrote the tune and published the song under the pseudonym “Maggie Andrews”.

wreck of the shenandoah

I went on the Mammoth Cave wild tour a few weeks ago with some members of the Cleveland Grotto. After we finished the tour we took a short side trip to Sand Cave where Floyd met his maker.

There is an observation deck built to look over the cave and the rescue site, but you cannot see the actual cave shaft from the deck. Curt, Phil and I walked down what was left of the path to the cave and found the shaft sealed with a steel grate in the back of the cave. The pathway down to the cave was overgrown and covered in poison ivy.

It is a dirty, muddy, dark and an awful place. The sealed shaft is filled to about five feet from the top with leaves and garbage. My imagination could make out how the shaft wound down to its intersection with destiny.

That’s Phil on the left and me on the right. We are standing on the grate.

phil and gary at sand cave -1

There’s a solid streak of populism and down home charm that shows itself all the way through the Dalhart catalog. Vernon built a twenty two year recording career by capitalizing on tragic topical stories and by combining morality tales with wry observations of the world around him – in short, by using the palette of the American folk musician.


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me squeezing through muddy old Casparis

me squeezing through muddy old Casparis

I took an Honorable Mention (tie for third) and a Merit Award (tie for second) in this year’s National Speleological Society cave ballad competition. I am flattered and don’t know exactly how to act in the company of some insanely talented people. The fact that they are all cavers too is just icing on the cake.

I received two beautiful “flow stone” art glass trophies as awards. I have them up in a window seat in the dining room where they can catch some afternoon sun.

This year’s winners are posted here on the NSS salon site. I think overall the quality of the entries is WAY up from last year in terms of composition, musicianship and presentation.

I also notice that there are hardly any obvious “cut and paste”, software driven type of presentations this year. Mostly, it sounds like real people playing real instruments in the service of real tunes – and that is very encouraging. This was beginning to be a sore point with me especially in a competition with a Technical Recording criteria.

Grotto Past-President Curt Harler came up with the lyrics to “Caving Blues” and asked me to see what I could do with them. Fortunately for both of us, music for lyrics this good almost writes itself and I finished the tune for the lyric in a few days. I wrote and recorded the guitar part using a 1964 Airline acoustic archtop guitar. Airline is the brand Harmony Guitars used for their product line distributed through the Montgomery Ward mail-order catalog.

This tune is a perfect example of one vintage “airhead” playing another.

I ran into Mickey Skowronsky (our grotto Equipment Chair) singing and playing at the Barking Spider Tavern for BobFest, our local Bob Dylan 67th birthday celebration. I knew he would be just the man to bring some “beatnik cool” to the bass part. I couldn’t have been more right; there is no question in my mind that Mickey’s bass playing makes “Caving Blues” well and truly “swing”.

I started writing notes for Randolph County last September or so. Randolph County, West Virginia is one my most favorite places on this earth, it is so beautiful. The Cleveland Grotto gets down through Randolph at least once a year and I look forward to it every time.

I knew I wanted a melancholy, “high lonesome” Appalachian feel to the song, and I think I came pretty close.

I recorded the guitar parts using my own 1973 Gibson J-50 flattop. I used a borrowed Lou Stiver ‘A’ mandolin for the mando track.

Dale Walter is a wonderful traditional musician (banjo, fiddle, mandolin and guitar) and it has been my great pleasure to make music with him over many years. Dale recorded the banjo track using an open back Bart Reider Whyte Laydie.

We recorded, edited and mixed both songs in my basement over about six weeks on a $400.00 used Dell Latitude laptop pulling a Tascam 428 mixer into Cubase LE under Windows XP (SP-3).

With the exception of Mickey’s electric 1958 Fender Precision bass on Caving Blues, we recorded all instruments “acoustically”; mic’d, not plugged in. We used a Shure 57 and 58 with a “pop ball”.

I acted as my own recording engineer for this project. If you ever need advice on how to run Cubase LE on a Windows machine, let me know. I can save you at least four weeks of “building character”. Despite my early frustrations with the software, Curt, Mickey and Dale all managed to keep their expressions of artistic and aesthetic concern directed at me personally (sarcasm, insults, threats, shouting matches and fist fights) down to a really very modest level, all things considered.

While we tried to exploit the software to record, edit and produce as worthy a salon entry as we could, there is absolutely no digital sampling in my submission and there are absolutely no previously recorded copyright materials, or “cut and paste” commercial “jam tracks”, or “band-in-a-box” tracks or recycled karaoke tracks in this submission. All tracks are “real” performances played on “real” instruments by “real” musicians physically present for the purposes of this project.

Steve Boehm, this year’s winner has floated around the Honorable Mention/Merit Award categories now for the last several years and I believe he has won one or two in the past. IMHO Steve does know how to construct a tune and how to record a decent, honest, no frills presentation. His earlier entries are textbook examples of straight ahead production. On one of them you can hear him reach over and turn off the recorder at the end of the tune.

My favorite part of this year’s entry was building “Caving Blues” with Curt and Mickey. I think the performances were top shelf; the tune does in fact “swing” and it is rhythmically solid as a rock from one end to the other. The lyric is straight ahead, accessible and full of good humor. Those are the things I listen for whenever I hear a piece of new music. I still think the tune is everything a salon entry should be and I had it pegged as this year’s champion. Three heads, six hands and one heart – you just can’t add any of that after the fact even with all the software in the world.

I am learning that, in fact, there is no accounting for people’s taste. They (judges) like what they like, and you can not “go personal” or try to figure out the mechanics of what or why they like what they like. I think what I am doing is building some kind of melodic Rorschach test even when I think I am being as straight forward and literal as I know how to be…

I like to think of this whole Cave Ballad Salon exercise as a caver/singer/songwriter Special Olympics where, at the end of the day, “everyone is a winner”.

Thanks so much again to Steve Wilson, Jim Snively, Curt Harler, Mickey Skowronsky, Dale Walter and Victor Fowler for their help, advice and spiritual guidance.

Ars Grotto Artis

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March all ready, and “in like a lion”! Every year about this time I begin to believe that we here in northeastern Ohio will be eating whale blubber and seal flesh until sometime in mid August…

Saturday – 03/17/2007
Six Steps Down Bookstore
– “Directly north of the West Side Market”
1921 West 25th Street – Cleveland, Ohio – 44113-3418
1:00 PM to 3:00 PM – See you there!!

Saturday – 03/17/2007
Phoenix Cafe

15108 Detroit Avenue – Lakewood, Ohio
8:00 PM – 10:00 PM

Tuesday – 03/20/2007
Shelter From the Storm Tour
– Walton Avenue Volunteers of America Shelter
2710 Walton Avenue – Cleveland, Ohio
7:00 PM

Thursday – 03/22/2007
Moocha Dreams Arabica

20672 Center Ridge Road – Rocky River, Ohio
8:00 PM

I heard a great new-grass show last evening at The Winchester; a local venue over in Lakewood, Ohio. Eskimo Taylor, the opening act was a hardcore, old-school traditional country duet who 1000% nailed a repertoire ranging from original material to Carter Family to Hank Williams. These are guys who truly ‘get it’

Next up were J.P. and the Chatfield Boys who stretched between Jimmy Martin style traditional bluegrass, reggae and stringband rock. The Rumpke Mountain Boys from “Cincinnasty, Ohio” topped the bill with a blistering jam set of, well heck, I guess you’d call it “grass-grass” for a wildly appreciative house.

I spent Friday evening at the Lafayette United Methodist Church down in Lafayette, Ohio. They regularly manage to get about 300(!) people out in the middle of a bitter cold winter evening for a Friday evening bluegrass jam and open stage. The open stage is consistently of high quality and every room is shoulder-to-shoulder with singers and musicians who have sheets of flame dripping from each hand (I think that is a mixed metaphor…but you get the idea).

Here is a picture from this year’s Crawlathon down in Olive Hill Kentucky. I think this was Saturday evening in the Lewis Caveland Lodge just after dinner and before the evening program.

gary at crawlathon, 2007

Some old guy with his ’73 Gibson J-50.

Stop in at the Bookstore on West 25th or the Lakewood Phoenix Cafe for a cup o’ Joe St. Patrick’s Day evening and say “How-ja-do”.

This will be another St. Patrick’s Day without my good friend and folk mentor G. Thomas Barney. Thomas was one of the first musicians I met when I moved to Cleveland 19 years ago. He was an absolutely fearless barroom and traditional Irish singer who knew more tunes than I could count.

He was exactly what you would picture a laker Irish singer to be; big, brawling, loud and larger than life – a rascal, a rake and a ranconteur with a sharp wit and and a sharper tongue. Thomas knew all the old tunes and kept a keen ear out for the new ones. He introduced me to De Dannon, Paul Brady, Silly Wizard, The Bothy Band, Mary Black, The Wolf Tones, The Clancy Brothers, Tommy Sands, Patrick Street and way too many others to list.

I can hear him now singing “The Old Bog Road”, “The Boston Burglar” and “The Galway Shawl” with enough heart to bring a tear to the toughest rounder.

When he wasn’t singing Irish, he was listening to Bluegrass. Thomas was a great fan of The Hot Mud Family, Tim O’Brien and Hot Rize, Steve Earle and Raymond Fairchild. I spent many a summer evening with Thomas floating through festivals and jams.

We would frequently enjoy a game of darts and a drink or two together. Later as the bar closed, and many times long after the bar was closed, Thomas would sing a bit and then lecture all of us who remained (and there was always a crowd) at length regarding his thoughts on the two great concerns of his life; the temptations of the flesh and the true nature of spirit.

I remember him singing on exactly the same barroom floor boards where the Clancy Brothers literaly “sang for their supper” fifty years ago.

Thomas knew every bartender by name in each and every Mick bar up and down Lorain Avenue. Thomas’ songs made him welcome wherever and whenever he appeared.

Thomas had busked all through Northern Ireland many times. He constantly asked me to make plans for a trip up and through County Antrim with him, but to my great misfortune and everlasting regret I never had the time and money both at the same time.

Thomas had the great good fortune to leave quickly. He was cutting the grass, fell over and was evidently gone before he hit the ground. Thomas was a force of nature. He was in this world before I got here and I just assumed he would be here long after I left. I thought he must be like an oak tree or a rugged, rocky mountain.

He came to me in a dream about a month after he passed. We were walking through a fairground as the carneys and roughnecks were tearing down their stalls and tents – they had “packed it in”. Thomas led me to a hole in the fairground fence and motioned for me to follow him to the outside. I followed him through and we walked a while “on the other side” all the while Thomas never speaking a word. At last Thomas brought me to the middle of a craggy and mysterious towering standing stone circle surround by field, forest and mist. Thomas turned to me and smiled and that is all I remember of the dream…

Happy St. Pat’s to ya, Thomas. I’ll have the fiddle with me all this month. We should make some music together.

G. Thomas Barney - Ohio Irish Festival
G. Thomas Barney – Main Stage – Ohio Irish Festival – 2003

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Saturday – 01/13/2007
Six Steps Down Bookstore – “Directly north of the West Side Market”
1921 West 25th Street – Cleveland, Ohio – 44113-3418
1:00 PM to 3:00 PM – See you there!!

Friday – 01/19/2007
Shelter from the Storm Tour – The Cleveland Lakeside Men’s Shelter
2100 Lakeside Avenue – Cleveland, Ohio
7:00 PM – 9:30 PM

Josh Kanary organizes the “Shelter From the Storm” tour for the Northeast Ohio Coalition for the Homeless. Josh is doing the Lord’s work here by putting together a troupe of gospel, folk and blues musicians to play the numerous homeless shelters here in N.E. Ohio. The “Storm” tour is beginning it’s second year under Josh’s unflagging enthusiasm and encouragement.

Friday, Saturday and Sunday – 01/26/2007 – 01/28/2007
The Carter Caves State Park Crawlathon

Carter Caves State Park – Olive Hill, Kentucky.

I wont’ be playing here, but I sure will be a-crawlin’!

Crawlathon is more fun than anybody should ever be allowed to have. This is a great once-a-year chance to get muddy and wet with a bunch of old friend cavers from Indiana, Pennsyltucky, and TAG (Tennessee, Alabama and Georgia).

If you’re lucky while charging around through the darkness you might bump into David Foster; a fine Bluegrass and traditional acoustic musician . David is also Executive Director of the American Cave Conservation Association out of Horse Cave Kentucky.

Gary and Steve in Laurel Caverns
Steve and I repair Steve’s lamp and helmet mid-crawl. You’ve just got to love Duct Tape (a.k.a “The Caver’s Friend”).

If you’re in N.E. Ohio and you think you’d like to learn more about caving, here is an invitation to attend the next Cleveland Grotto meeting. We are the local affiliate of the National Speleological Society and the oldest active grotto in the United States.

Carter Caves State Park also hosts the J.P. Fraley’s Mountain Music Gatherin’ festival each September the first week after Labor Day. Besides Clifftop, this is one of my favorite festivals. I can honestly say I have played more music and had more good times in the Carter Caves campground than almost anyplace else on this earth.

J.P.’s Wild Rose of the Mountain is one of the most wonderful old time fiddle tunes I can think of. J.P. was and continues to be such a huge influence on us traditional musicians. His music is beautiful, haunting and subtle. I believe it can call spirits…

For me this festival is a little slice of Hog Heaven as I can pick, fish, play golf, hike, cave and float from campsite to campsite finding lots of old friends in the process. I’ll post more about the festival as we approach September, but it’s not too early to start making plans!

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