Banjo Maestro Ned Luberecki Releases ‘Take Five’ on 3/31 w/ Guests Dale Ann Bradley, Becky Buller, Raines, Garrett, Compton, Grier and more

Banjo Maestro Ned Luberecki Set To Release Take Five on March 31. 2017

Featuring Guest Musicians:
Dale Ann Bradley, Becky Buller, Amanda Smith, Missy Raines, Mike Compton, David Grier, Jeremy Garrett, Shad Cobb, Stephen Mougin, and Chris Jones & The Night Drivers

Nashville, TN —  Described by Steve Martin as “an absolutely joyous, riveting, beautifully syncopated example of the beauty of the banjo,” Ned Luberecki’s new album, Take Five, demonstrates he is a master of his instrument, adept in multiple styles. Recorded at The Rec Room, Ben Surratt’s studio in East Nashville, Take Five will be independently released on March 31, 2017. Self produced, the 14-track album is a mix of originals and covers and clocks in at just under 45 minutes.

“With Take Five, Ned Luberecki offers a full course five-string feast, with savory bluegrass, tasty fiddle tunes, tangy jazz and more. It’s all presented with sumptuous tone, timing that’s just right and a dash of Ned’s irrepressible humor. This is state-of-the-art five-string banjo, cooked up with virtuosity and creativity,” says banjo player, banjo instructor, and author Bill Evans.

Ned Luberecki.  Photo by Shelly Swanger

As banjo player for the award winning Becky Buller Band; one half of the duo Nedski & Mojo, and host of Sirius XM Bluegrass Junction’s Derailed and More Banjo Sunday, Ned is known not only for his banjo prowess, but for his wit and humor. Respected as both a traditional and progressive player, Ned toured extensively in the United States and Europe as a member of Chris Jones and The Night Drivers for over a decade before joining the Becky Buller Band. He’s also been a member of Paul Adkins and the Borderline Band, the Rarely Herd, and Larry Cordle & Lonesome Standard Time, and has appeared with such artists as Jim Lauderdale, Tony Trischka, and Ray Stevens.

Take Five is stacked with a remarkable lineup of guest musicians including Missy Raines and the New Hip, Jeremy Garrett of The Infamous Stringdusters, Becky Buller, The Helen Highwater Stringband (Mike Compton, David Grier, Missy Raines, and Shad Cobb), Chris Jones and The Night Drivers, Dale Ann Bradley, and Amanda Smith. Also appearing on the album, Stephen Mougin, guitarist of Sam Bush Band and the other half of Nedski & Mojo, calls it “a sonic glimpse inside the mind of Nedski.” He goes on, “It showcases Ned’s brilliant banjo skills in a diverse range of material, from old-time to bluegrass to jazz and beyond. Way beyond!”

Tony Trischka weighs in on the album, “At one point, the Siriusly radio-ready voice of Ned envelops us as we prepare to go where no man has gone before. If you love Ned’s ‘Cabin of Death’ – and who doesn’t –  you’re sure to embrace the traditional banjo/fiddle duet on the iconic Star Trek theme. At other times, his rocket–jockey, warp-speed, banjoistic chops propel ‘Adams County Breakdown’ and his own ‘Night Driver’ with impeccable timing. My personal favorite is ‘Cleveland Park”, less of a barn burner, but possessed of a gentle, Celtic beauty. There are several stops for jazzy sojourns as Ned and company employ bluegrass instruments to bring a fresh and welcome outlook to Jobim, Monk and Brubeck. Speaking of 5/4 time, Ned gives ‘Take 5’ a run for it’s money with his ear-worm catchy ‘Earl’s Court’.”

When not performing and broadcasting, Ned gladly shares his methods with banjo students around the world, having taught at Nashcamp, Munich Banjo Camp, Camp Bluegrass, Sore Fingers (UK), Kaufman Kamp, Midwest Banjo Camp and more. Additionally, he is the author of Alfred Music Publishing’s Complete Banjo Method.

Ned’s interest in the banjo was spurred at the age of thirteen. He asked for a banjo for Christmas, and when one of his other Christmas gifts was a couple of Steve Martin comedy albums, Ned found himself paying more attention to Steve’s banjo playing than to the comedy. The classic Foggy Mountain Banjo was his first foray into the iconic Scruggs style, and while he loved the classic sounds of Earl Scruggs, J.D. Crowe, and Sonny Osborne, somewhere along the way he discovered Tony Trischka, who would become one of his “all-time favorite musicians ever. Bar none.” This discovery—the progressive style of banjo—led Ned to delve into music from Trischka, Alan Munde, Bela Fleck, and their contemporaries. Sam Bush and New Grass Revival were his version of Lennon and the Beatles: transformative and eye opening.

Artists and bands outside of bluegrass influenced his developing musical voice as well. He carries on the banjo tradition of emulating and mimicking guitar licks in his own way, borrowing vocabulary from his favorite players Eddie Van Halen and Stevie Ray Vaughn. Avant-garde bluegrass artists David Grisman and Tony Rice introduced him to jazz greats such as Oscar Peterson and Dave Brubeck. With such a varied musical taste and background, it’s no surprise most fans and banjo aficionados would tell you Ned’s style is perfectly his own – a harlequin combination of the diverse artists, musicians, and genres he’s ingested.

Take Five is a reflection of Ned’s musical diversity, presenting fiddle and banjo tunes, instrumentals, and traditional bluegrass interspersed with jazz standards, classic Buck Owens, and even the theme to Star Trek. Many of Ned’s musical friends from all walks of bluegrass make appearances, making Take Five a sort of retrospective and reminding us that however we know Ned Luberecki – sideman, teacher, on-air radio personality – it all springs from his first love, the banjo.

For more information, please visit www.nedski.com, www.facebook.com/MoreBanjo, Twitter: @NedLuberecki, and Instagram: nedluberecki

Take Five Track Listing & Credits
1. Night Driver             2:29 (Ned Luberecki)
2. Higher Ground         2:46 (Kelley Jones Luberecki & Dale Ann Bradley)
3. Cleveland Park         2:36 P.D.
4. Adams County Breakdown     3:03 (Tom Adams)
5. We’ll Put Out The Fire     2:35 (Jon Weisberger & Vida Wakeman)
6. B-Flat Medley         3:38 (Done Gone, P.D., New Camptown Races – Frank Wakefield)
7. Fiddlin’ Dan             4:10 P.D.
8. Take Five                   3:32 (Paul Desmond)
9. Girl From Ipanema         3:22 (Antônio Carlos Jobim)
10. Earl’s Court             3:38 (Ned Luberecki)
11. Blue Monk             4:00 (Thelonius Monk)
12. Kitchen Squirrel Medley     2:09 P.D. (Kitchen Girl – Squirrel Hunters)
13. Buck Owens Medley*    3:38 (Buck Owens & Don Rich, Buck Owens)
14. Where No Man Has Gone Before (Star Trek Theme) 1:27 (Alexander Courage)

*(Before You Go, Let The World Keep On Turnin’)

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Danny Barnes Awarded 2015 Steve Martin Prize for Excellence in Banjo – New Music on the Way

Danny Barnes. Photo by Jame Curtis.

Danny Barnes Wins Sixth Annual Steve Martin Prize For Excellence In Banjo And Bluegrass,
Set to Release Got Myself Together November 2015 Through Eight 30 Records

“As if dedicating your life to an instrument like the banjo wasn’t sufficiently avant-garde, the winner of this year’s Steve Martin Prize for Excellence in Banjo and Bluegrass is a musician recognized for his experimental approach to that seemingly quaint stringed instrument.”
—The New York Times, Dave Itzkoff

“Saying that Danny Barnes plays the banjo is like saying Lionel Messi kicks a soccer ball. Barnes doesn’t just play the banjo—he plucks it, thrums it, claws it, bashes it, runs it through processors, plays it backward, drenches it in reverb, and layers it over computerized drums, distorted guitars, and weird chicken sounds. His prowess with the instrument makes him a deserving winner…”
—Texas Monthly, Michael Hall

Banjo player extraordinaire Danny Barnes is the 2015 recipient of the 6th annual Steve Martin Prize for Excellence in Banjo and Bluegrass. Described as “one of a kind” and widely acknowledged as “one of the best banjo players in America,” Barnes is recognized for his experimental sound. The raw and unpolished musical breadth of his compositions has propelled him across the industry today. Barnes will be releasing a new solo record, a ten year anniversary re-recording of an earlier album called Get Myself Together [2005]. The new release, Got Myself Together, comes out in November on Eight 30 Records. He will be on the road solo this fall and winter; stay tuned for dates to be announced.

A Texas native now living northwest of Seattle, Barnes is one of bluegrass music’s most distinctive and innovative performers. He is known for blending together different sounds which defy labeling while redefining the banjo’s perceived image in a wide-ranging and four-decade long career. From his early days as the driving force behind the impressive Austin-based Bad Livers, a band of pioneering Americana missionaries, through a prolific solo career and the development of his trademark approach he calls “Barnyard Electronics” (which is also the name of his 2007 album) that incorporates digital technology and various effect pedals to stretch the tonal range of the instrument, Barnes has always listened to his proudly offbeat inner voice. His live shows involve a computer program he built in max/msp and a banjo.

Recently, he was recording in his home lab when a package arrived from Steve Martin with a letter notifying him that he was the recipient of 2015 recipient of the Steve Martin Prize for Excellence in Banjo and Bluegrass.

“The day that package came from Steve, I had gotten up at like 4am when it’s real quiet and I can get recording done. When FedEx came, I was kind of preoccupied. I saw that it was from Steve and thought, ‘Oh cool… he’s sent me one of his records.’” says Barnes in an interview with John Lawless in Bluegrass Today. “But then I thought… ‘Hey, I never gave him my address.’ I had met Steve earlier this year at a show with the Steep Canyon Rangers, and we got to talk a little bit, but I didn’t remember giving him my address. When I opened it up and saw what it was, I was completely stunned. I was speechless. I’ve never won anything, and it amazes me that anyone knows what I am doing.”

The Steve Martin Prize for Excellence in Banjo and Bluegrass provides the winner with an unrestricted cash prize of fifty-thousand dollars, as well as a bronze sculpture created specifically for the prize by noted artist Eric Fischl. Created to bring recognition to an individual or group for outstanding accomplishment in the field of five-string banjo or bluegrass music, the prize highlights the extraordinary musicianship of these artists and bluegrass music worldwide. The winner is determined by a board consisting of J.D Crowe, Pete Wernick, Tony Trischka, Anne Stringfield, Alison Brown, Neil V. Rosenberg, Béla Fleck, and Steve Martin. Previous winners have included Noam Pikelny (2010), Sammy Shelor (2011), Mark Johnson (2012), Jens Kruger (2013), and Eddie Adcock (2014).

When asked by Bluegrass Today what he would be doing with the honorarium from his Steve Martin Prize, Danny says, “I’m going to invest it back into the art, back into the banjo community. I have a new record coming out in November, and then I’m thinking of doing a straight up banjo record. I’ve never done that, and I’ve started talking to some of the guys I’d like to have play on there with me. I also have an idea for a contemporary piece for banjo, and I hope to finally get to work on that.”

Got Myself Together hits the streets this fall with another in the works this winter for a straight up banjo record, and he’s also working on a suite of contemporary music for banjo and tuba. Barnes has released over ten albums and has been featured on over 50 others. His most recent album, Junior Sampled [June 2014], is available to stream at http://dannybarnes.bandcamp.com/album/junior-sampled.

In addition to the above, Barnes will be releasing an avant garde “kinda” noise cassette coming out on his own label, Minner Bucket Records which specializes in limited run cassettes, for Cassette Store Day (10/17/15). Only 50 will be made.

Barnes says, “I’ve been at this a pretty long time. The main thing I use to get my ideas across has been the banjo. It has an unusual sound and is capable of a wide range of expression, however it isn’t very developed yet, in terms of what is being done with it in a current macro sense. It’s untapped.”

His skills as an instrumentalist and his open embrace and infectious love of music for music’s sake, have brought him to share the stage and record with a wide array of marquee artists that reads like a who’s who among broad musical landscapes, ranging from bluegrass greats Bela Fleck, Del McCoury, and Sam Bush, newgrass stars Yonder Mountain String band, to Americana artists Robert Earl Keen, Lyle Lovett, and Nickel Creek, to Jam friendly Gov’t Mule, Leftover Salmon, and Keller Williams, to jazz and blues instrumentalists Bill Frisell, Chuck Leavell, and John Popper, to members of the punk and metal Butthole Surfers, Dead Kennedys, and Ministry. He’s collaborated and shared stages with the likes of Bill Frisell, Yonder Mountain String Band, Robert Earl Keen and Dave Matthews, as well as wailed on a flying V guitar with members of the Butthole Surfers.

Stay up-to-date with news from Danny Barnes at www.dannybarnes.com, twitter.com/Wildknees, and Facebook.com/DannyBarnesBanjo.  Also feel free to ask him a question at http://dannybarnes.com/ask-barnes.

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Doc Watson Biography ‘Blind But Now I See’ by Kent Gustavson: A Definitive Biography of an American Icon

Doc Watson Biography ‘Blind But Now I See’
by Kent Gustavson
A Definitive Biography of an American Icon

“A touching story about overcoming life’s obstacles…”
–Vintage Guitar Magazine

“Musicologists will appreciate the chapters on Doc’s singing style and guitar work… Music fans will delight in the book as a whole, a splendid recounting of Doc Watson as man whose ‘…approach to folk music on a guitar was like Horowitz’s approach to the piano…”
–Gary Presley, The Internet Review of Books

“This is a highly informative, fascinating biography of the great Doc Watson. What a life. It’s a page-turner that will keep you up past your bedtime. Don’t miss it.”
–The Inland Northwest Bluegrass Association

“This is a valuable, anecdotal work anyone interested in Doc’s music and life will enjoy reading.” –Bluegrass Unlimited

***   ***   ***

Award-winning author Kent Gustavson was born immersed in a rich musical heritage. As the son of peaceniks, he grew up with family sing-alongs. From Pete Seeger, Joan Baez, and Bob Dylan, he darted to classical, jazz, and avant-garde jazz, before circling back to the Greenwich Village folk canon and tracing that music back. In singer-guitarist Doc Watson, Gustavson found a treasure of American music. His biography of Watson, Blind But Now I See (Sumach-Red Books) is the definitive biography of an American icon.

The Tulsa, Oklahoma-based author is uniquely qualified to write a book that merges myth, musicology, and American history. He holds a PhD in classical composition from Stony Brook University in New York, where he taught leadership, writing, literature, music and German for ten years. He’s an active musician with 14 critically acclaimed albums, and his music has been featured on National Public Radio’s All Songs Considered. He also hosts a radio show, Sound Authors, where he has interviewed hundreds of award-winning authors and musicians.

Blind But Now I See is the first comprehensive biography of Doc Watson. It was written over 6 years, culled from meticulous archival research and well over a hundred interviews. The book brims with insights from such legendary musicians as Bela Fleck, Ben Harper, David Grisman, David Moultrup, Jerry Douglas, Jonathan Byrd, Marty Stuart, Michelle Shocked, Mike Seeger, Norman Blake, Ricky Skaggs, Tommy Emmanuel, Tony Rice, Tony Trischka, and Warren Haynes, among many others. It is a winner of a Next Generation Indie Book Award, and finalist in the Foreword Book of the Year Awards. The book has sold 5,000 paperbacks and 25,000 e-books. Vintage Guitar Magazine praises it as: “A touching story about overcoming life’s obstacles.” Blind But Now I See is now available in its expanded second printing, with a third and even more expansive edition already in the works.

Two-time Grammy Award winner Ben Harper says in his Blind But Now I See interview: “There was a sense of grace, effortlessness, and fluidity to Doc Watson’s musicianship and singing that is nothing short of miraculous.”

Watson’s influence has been recognized by presidents and by heroes of modern music such as Bob Dylan, Jerry Garcia, Ben Harper, Robert Plant, and Gillian Welch, but little is known about his personal life, his complex relationship with his son, Merle, his mythical rise to prominence, and his awe-inspiring musicality. Watson was a blind boy from the small town of Deep Gap, North Carolina who grew up in the Depression, then lived in abject poverty until being brought into the 1960s folk scene. For over 52 years, Watson mesmerized bluegrass, folk, and rock audiences with his soft baritone and fiery guitar licks

Gustavson’s congenial but probingly insightful interview skills help piece together a powerful and honest character mosaic. His vibrant, erudite, and enthusiastic prose demystifies Watson’s astounding musicality and dissects the paradoxes and complexities of the man with bold sensitivity.

In an interview with esteemed alt-country publication No Depression Gustavson said: “I stumbled across a copy of The Watson Family by Folkways records. Watson’s voice was so rock-solid in those family hymns that I still sing the bass part today, because it’s stronger in my mind than the melody! He pointed me towards the blues, early rock and roll, traditional Appalachian fiddle music, and balladry. He literally started a brush fire in my musical mind.”

In 2004 Gustavson began writing Blind But Now I See, and nearly 10 years later and three editions in he’s emerged an authority on the enigmatic icon. He told No Depression: “Countless close friends and family members of Doc have come to me over the past two years and thanked me for writing this biography, and for really framing the reality surrounding his life.” Besides the plaudits from insiders, the biggest reward is bringing this journey back home. “In the new edition I finally got a chance to speak to Pete Seeger,” Gustavson says. “I called my parents and told them ‘Pete Seeger just spoke to me!’ What an honor.”

Biography Written By: Lorne Behrman

www.kentgustavson.com

Great review by Professor Puppet

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John Driskell Hopkins & Balsam Range Release ‘Daylight’ TODAY Jan 22nd

John Driskell Hopkins teams up with Balsam Range,
to Independently Release Daylight on January 22, 2013

Available on iTunes and at www.JohnDriskellHopkins.com

“...what a great sound for John! I’m excited for people to hear him in this raw and broken-down format, his unique voice front and center!”
—Oliver Wood (of the Wood Brothers)

“John Hopkins’ new album, Daylight, has rich vocals and excellent pickers that are wrapped around well-crafted songs. What’s not to love?” —Jim Lauderdale

“A voice huskier than Charlie Daniels after a hard night.”
—Jim Farber, New York Daily News, #5 in Top 10 picks in music for this week

…………………………………………………….

John Driskell Hopkins has walked the musical path for the last 20 years. As a bass player, guitar player, singer and songwriter for several bands of the rock variety, Hopkins rooted himself in the Atlanta, GA music scene in 1995, producing records and touring with his band Brighter Shade and later becoming a founding member of the Zac Brown Band to this day. Now he has teamed up with North Carolina-based band and Mountain Home Recording artists, Balsam Range, to record and independently produce a new album, Daylight, set for national release on January 22nd.

John is thrilled to have included several special guests on the album, including Zac Brown on “I Will Lay Me Down,” a sweet and sacred song; Levi Lowrey on “How Could I?” a song co-written by the two, and the heavenly Joey Feek of Joey + Rory on the autobiographical “Bye Baby Goodbye.” And of the musicians featured on Daylight, John could not have done better: the unmatched Jerry Douglas opens the record with dobro on “Runaway Train,” and Tony Trischka brings his banjo mastery to the title-track, “Daylight,” a longtime song in Hopkins’ repertoire about breaking through life’s troubles into brighter times.

Of performing with with BR, John says “Being on stage with Balsam Range is like body-surfing in warm butter-cream icing with hillbilly cherubs. Smooth…” Balsam Range is Buddy Melton (fiddle, vocals), Darren Nicholson (Mandolin, vocals), Marc Pruett (Banjo, Vocals), Caleb Smith (guitar, vocals), and Tim Surrett (bass, dobro, vocals).

Balsam Range’s Marc Pruett says, “John Hopkins is a serious student of all kinds of music, and I think it comes through well in the songs he writes. He really runs the gambit from soft, Gospel-sounding acoustic, to hard, driving rock-swing things. John is a ‘power singer,’ and man he can deliver.”

If you’re a Zac Brown Band fan, you’ll hear a couple familiar songs, though most tracks are newly penned with BR’s talent and magic in mind, and a couple songs are some of John’s oldest tunes, written with his band of many years, Brighter Shade, and beautifully reworked for this special new project.

“… in a song like ‘I Will Lay Me Down,’ Hopkins’ raw vocals turn to sweet honey with the picking beneath and the soft, high harmony of Zac Brown lifting him up. But no track rocks harder than ‘Runaway Train,’ as Jerry Douglas blazes on the dobro and Hopkins howls over the top like an old-time tent revival.” –Devon Leger, Hearth Music, No Depression First Spin

For more about John Driskell Hopkins and Daylight, visit www.JohnDriskellHopkins.com.

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John Driskell Hopkins & Balsam Range Asheville Album Release Show at Isis Music Hall on Fri, Feb 1st

John Driskell Hopkins has walked the musical path for the last 20 years. As a bass player, guitar player, singer and songwriter for several bands of the rock variety, Hopkins rooted himself in the Atlanta, GA music scene in 1995, producing records and touring with his band Brighter Shade and later becoming a founding member of the Zac Brown Band to this day. Now he has teamed up with North Carolina bluegrass band, Balsam Range, to record and independently produce a new album, Daylight, which is set for national release on January 22nd. They will be performing an Asheville album release show on Friday, February 1st at the NEW Isis Restaurant and Music Hall.

A lifelong fan of bluegrass and gospel music, John became an instant fan of Balsam Range, an award-winning and unstoppable 5-piece hailing from Haywood County, North Carolina. As John’s plans for a solo record took shape, he realized that BR’s authentic style and approach could bring his songs new life, and a vision for his record became clear.

Of performing with with BR, John says “Being on stage with Balsam Range is like body-surfing in warm butter-cream icing with hillbilly cherubs. Smooth…..” Balsam Range is Buddy Melton (fiddle, vocals), Darren Nicholson (Mandolin, vocals), Marc Pruett (Banjo, Vocals), Caleb Smith (guitar, vocals), and Tim Surrett (bass, dobro, vocals).

Over the course of a year, the collective made use of their sparse days off the road and arranged to pow-wow and track basics at John’s home studio in Atlanta, GA or at Crossroads Studio in Arden, NC, eventually bringing the songs to form. John utilized the Zac Brown Band’s amazing new Southern Ground Studios in Nashville, TN for the final engineering and mixing, and in the middle of September 2012, the album was completed.

John is thrilled to have included several special guests on the album, including Zac Brown on “I Will Lay Me Down,” a sweet and sacred song; Levi Lowrey on “How Could I?” a song co-written by the two, and the heavenly Joey Feek of Joey + Rory on the autobiographical “Bye Baby Goodbye.” And of the musicians featured on Daylight, John could not have done better: the unmatched Jerry Douglas opens the record with dobro on “Runaway Train,” and Tony Trischka brings his banjo mastery to the title-track, “Daylight,” a longtime song in Hopkins’ repertoire about breaking through life’s troubles into brighter times.

If you’re a Zac Brown Band fan, you’ll hear a couple familiar songs, though most tracks are newly penned with BR’s talent and magic in mind, and a couple songs are some of John’s oldest tunes, written with his band of many years, Brighter Shade, and beautifully reworked for this special new project.

Show Details at a Glance:
John Driskell Hopkins and Balsam Range
Album Release Show for Daylight
Isis Restaurant & Music Hall
Friday, Feb 1, 2013
8pm doors, 9pm show; $12 ADV, $15 DOS; All Ages
828-575-2737
743 Haywood Rd. Asheville, NC 28806
www.isisasheville.com

For more about John Driskell Hopkins and Daylight, visit www.JohnDriskellHopkins.com.

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Happy Holidays 2012 from John Driskell Hopkins! DAYLIGHT due out January 22, 2013

Happy Holidays 2012 from John Driskell Hopkins! DAYLIGHT due out January 22, 2013

John Driskell Hopkins has walked the musical path for the last 20 years. As a bass player, guitar player, singer and songwriter for several bands of the rock variety, Hopkins rooted himself in the Atlanta, GA music scene in 1995, producing records and touring with his band Brighter Shade and later becoming a founding member of the Zac Brown Band to this day. Now he has teamed up with North Carolina bluegrass band, Balsam Range, to record a new album, Daylight, which debuted at the Southern Ground Music and Food Festival in Charleston, SC in October 2012. Daylight was independently produced and is set for national release on January 22, 2013 and features an array of special guests including Zac Brown, Levi Lowrey, Joey Feek of Joey + Rory, Tony Trischka, and Jerry Douglas.
.
For more about Daylight, visit http://www.JohnDriskellHopkins.com.

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John Driskell Hopkins & Balsam Range Release DAYLIGHT on Jan 22, 2013

John Driskell Hopkins & Balsam Range Release DAYLIGHT Jan 22, 2013

Founding Member of the Zac Brown Band, John Driskell Hopkins, teams up with Mountain Home Recording Artists, Balsam Range,
to Independently Release Daylight on January 22, 2013

John Driskell Hopkins has walked the musical path for the last 20 years. As a bass player, guitar player, singer and songwriter for several bands of the rock variety, Hopkins rooted himself in the Atlanta, GA music scene in 1995, producing records and touring with his band Brighter Shade and later becoming a founding member of the Zac Brown Band to this day. Now he has teamed up with North Carolina bluegrass band, Balsam Range, to record a new album, Daylight, which debuted at the Southern Ground Music and Food Festival in Charleston, SC in October 2012. Daylight was independently produced and is set for national release on January 22, 2013 and features an array of special guests.

A lifelong fan of bluegrass and gospel music, John became an instant fan of Balsam Range, an award-winning and unstoppable 5-piece hailing from Haywood County, North Carolina. As John’s plans for a solo record took shape, he realized that BR’s authentic style and approach could bring his songs new life, and a vision for his record became clear.

Over the course of a year, the collective made use of their sparse days off the road and arranged to pow-wow and track basics at John’s home studio in Atlanta, GA or at Crossroads Studio in Arden, NC, eventually bringing the songs to form. John utilized the Zac Brown Band’s amazing new Southern Ground Studios in Nashville, TN for the final engineering and mixing, and in the middle of September 2012, the album was completed.

John is thrilled to have included several special guests on the album, including Zac Brown on “I Will Lay Me Down,” a sweet and sacred song; Levi Lowrey on “How Could I?” a song co-written by the two, and the heavenly Joey Feek of Joey + Rory on the autobiographical “Bye Baby Goodbye.” And of the musicians featured on Daylight, John could not have done better: the unmatched Jerry Douglas opens the record with dobro on “Runaway Train,” and Tony Trischka brings his banjo mastery to the title-track, “Daylight,” a longtime song in Hopkins’ repertoire about breaking through life’s troubles into brighter times.

Of singing on stage with BR, John says “Being on stage with Balsam Range is like body-surfing in warm butter-cream icing with hillbilly cherubs. Smooth…..” Balsam Range is Buddy Melton (fiddle, vocals), Darren Nicholson (Mandolin, vocals), Marc Pruett (Banjo, Vocals), Caleb Smith (guitar, vocals), and Tim Surrett (bass, dobro, vocals).

If you’re a Zac Brown Band fan, you’ll hear a couple familiar songs, though most tracks are newly penned with BR’s talent and magic in mind, and a couple songs are some of John’s oldest tunes, written with his band of many years, Brighter Shade, and beautifully reworked for this special new project.

Hopkins met Zac Brown in 1998 at an open mic hosted by Hopkins. Over the next several years, they remained friends and with Hopkins lending a production hand, they released the first Zac Brown record, “Home Grown,” in 2004.

Hopkins became a founding member of the Zac Brown Band in 2005 and has enjoyed engineering and songwriting credits on hit songs such as “Toes,” “It’s Not OK,” and “Sic Em On A Chicken,” from the multi-platinum selling record “The Foundation,” as well as “Nothing,” “I Play The Road,” and “Settle Me Down,” from the platinum selling record, “You Get What You Give.”

As the ZBB continues to garner critical and public success through Grammy, CMA, and ACM Awards, Hopkins continues to share the spotlight on stage with his band of fellow songwriters and friends and is excited to share his collaboration with Balsam Range with the world.

For more about John Driskell Hopkins and Daylight, visit www.JohnDriskellHopkins.com.

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