Le Beausset: composed and performed by Jean-Marie Daviaud (mandolin), accompanied by Philippe Colleu (second mandolin) and Yann-Gireg Le Bars (guitar)
“The idea for this instrumental piece, dedicated to Paul Rodriguez, came to me as I was reminiscing about the times I spent playing with Paul Rodriguez in “Le Beausset” (a town in the south of France, near Toulon), where he lived with his wife Isabelle before they moved to “Six Fours”. We often played there—either just the two of us, with ‘South Drive,’ or with Bernard Minari. Once the song took form, it was a pleasure to play it with Philippe Colleu, who’s more organized than I am, as well as with Yann-Guirec and his ‘magical tuning.’” (JMD)
Jean-Marie Daviaud: mandolin Krishot Garnet (Eduard Krištůfek-2014)
Philippe Colleu: mandolin Perrin (2021)
Yann-Gireg Le Bars: guitare Fouilleur (1999)
Recorded & mixed at Coatascorn (Brittany) 10/09/2026 by Yann-Gireg Le Bars. Video Recording: Catherine & Philippe Colleu ; editing: Philippe Colleu
Jean-Marie Daviaud Jean-Marie Daviaud began playing bluegrass in Le Vésinet (near Paris) in the 1970s, with Laurent Amelineau (banjo) and Richard Talbot (guitar). In 1979, he met the band “Crazy Duck”: Philippe Bourgeois (banjo), Hervé Verdier (double bass), and Thierry Loyer (dobro, who was also his mandolin teacher), sometimes joined by Jean Darbois (violin) and Richard Talbot (guitar) as guest musicians
In 1980, Jean-Marie played with the “Woodpickers,” then, starting in 1982, with one of the iconic bands of the 1980s: “Stylix,” consisting of Jean-Marie Redon (banjo, vocals), Thierry Massoubre (guitar, vocals), and Paul Rodriguez (bass and vocals). The band recorded a single in the Paris area in 1983, then performed at the 3rd Toulouse Festival in 1985, before embarking on a tour of the United States in 1986, during which they recorded an EP in Nashville.
However, starting in 1987, the professional obligations of some of us, as well as Thierry’s move abroad, led to a slowdown and sporadic activity for this “semi-professional” band, until 1997. In the years that followed, Jean-Marie played occasionally with several bands, including with Paul Rodriguez, Strings Fellows, and South Drive. In 2017, he contributed to Thierry Massoubre’s album Behind the Strings.
In 2004, Stylix performed in Colombes at a special gig with Jean-Marie Redon, Sharon Lombardi, Jean Darbois, and Paul Rodriguez. After Paul Rodriguez was unable to play due to illness, Jean-Marie played with “Les Misfits,” “Wood’n Steel,” and once again with “Strings Fellows” and “South Drive.”
Jean-Marie was influenced by talented mandolinists, including John Duffey, Ricky Skaggs, David Grisman, Christian Seguret, Jethro Burns, Joe Walsh, and John Reichman.
Philippe Colleu
After beginning his musical career playing the bluegrass banjo (with Loguivy Bluegrass and then Swing Gum), Philippe Colleu took up the mandolin in the early 1980s. His teaching career led him to work in French schools abroad. It was there that he gained extensive musical experience: Homebrood in Kuwait, the Russian Orchestra in Los Angeles, a jazz trio in New York, a guitar-mandolin duo in Saudi Arabia, and many others. Since retiring, he has devoted himself to the mandolin as a member of the band Zi Armorikains (bluegrass/western swing). Zi Armorikains: https://www.youtube.com/@ziarmorikains205
Yann-Gireg Le Bars is a guitarist specializing in the “DADGAD” open tuning. He has been taking his guitar to festoù-noz events in Brittany and beyond for 35 years. He was a founding member of the bands Dibenn, Pellgomz, and Hastan. At the same time, his passion for Irish music led him to make numerous trips back and forth to County Kerry. In 2009, he stepped back from the stage for a while and devoted himself instead to teaching guitar, particularly in contemporary music (pop, rock, blues) and traditional music (DADGAD guitar, tenor banjo, mandolin). He returned to the performing stage more intensively in 2023 with Merry Bellies (an Early Jazz & Swing duo) and Maybugs (Irish music), and has filled in as a session musician across various musical styles, ranging from fest-noz to pop. https://www.merrybellies.fr/
He also created a lecture-performance on guitars (Tout un monde de guitares), combining stage performance, music, and sharing his research. Versatile, he has since added to his repertoire a children’s show (La suite Royale), bluegrass with “Zi Armorikains,” and a tribute to a legendary Irish band (Bothy Band).
Chopping In The Boondocks written, performed and recorded by Jesper Rübner-Petersen
With “Chopping In The Boondocks” Jesper presents an original composition played on only one mandolin without any overdubs, written exclusively for the Mandolin Project 2026. The track skillfully combines his driving Chop Melody Style with some innovative elements such as Floating Style passages and Two-String Cross-Picking
Jesper Rübner-Petersen is a Danish mandolinist, musician, educator and author rooted in Bluegrass and American acoustic music. Born in Aarhus, Denmark, he grew up surrounded by Bluegrass and acoustic music through his banjo-playing father. He started guitar at the age of 12 and played with various Old-Time and Bluegrass bands. He later studied jazz at the American Institute of Music in Vienna, building a strong foundation in harmony, theory, and improvisation.
Around 1994, Jesper discovered the mandolin, which became a central instrument in his musical life. Since moving to southern Germany in 2000, he has worked as a guitar and mandolin teacher and taught at numerous workshops, including Beppe Gambetta’s Summer Workshop and other international acoustic music workshops. His playing combines the traditions of Bluegrass and Old-Time music with jazz and other acoustic styles.
Jesper is also the author of The Mandolin Picker’s Guide to Bluegrass Improvisation, a 200-page instructional book published by Mel Bay.
Jesper currently performs with two bands: Trio Vibracao, a New Acoustic Music trio with Oliver Waitze and Max Scharf, and the Bluegrass band Bunch of Grass. He continues to perform, teach, and share his experience and passion for mandolin and acoustic music with musicians around the world.
Jesper mandolin is a 1996 build (Lou) Stiver mandolin, with the name “Good Ol’ Doc”.
“Murmure des Ombres” (Whisper of the Shadows) written by: Bernard Minari Anouman: Bernard Minari (Mandolin), Patrick Portales (Guitar, Mandocello), Yves Rossignol (Bass) guest: Daniel Portales (Mandola)
Bernard Minari composed “Murmure des Ombres” (Whisper of the Shadows) last year, in 2025. It was the dance of the tree shadows, cast on the walls on a day when the Mistral was blowing strongly in Provence (France)—where Bernard currently live—that inspired the first notes within him.
The spirit of our music is guided by creativity and open-mindedness. This piece draws more inspiration from Brazilian choro, but Patrick’s “GRun” at 3:24 brings us back down to our usual musical background!
The instruments -For the prelude:
Daniel Portales plays his 2024 JM Perrin mandola Patrick Portales plays a 1923 K4 mandocello (owned by Bernard Minari) Bernard Minari plays a JM Perrin 3P mandolin
For the piece itself:
Bernard Minari plays a JM Perrin 3P mandolin; Patrick Portales plays a 1956 Martin D18; In the background, you can see a 1916 Gibson H4 mandola.
*** Anouman: In the late 1970s, Bernard Minari and the Portales brothers played in informal bluegrass bands in the Toulouse area with childhood friends: Fred Simon (banjo), Nam Ngo Thien (dobro), Yves Minari (guitar/vocals), Daniel Portales (mandolin/bass), Patrick Portales (guitar), Bernard Minari (mandolin/bass), and Olivier Christiène (violin). This small group was later joined by Yves Rossignol, who came from a jazz background and had received classical training at the music conservatory.
In the early 1980s, their discovery of David Grisman’s acoustic musical world (Dawg Music) quickly led to the formation of Anouman and a desire to explore these new sounds. Yves Rossignol, Patrick Portales, Bernard Minari, and Olivier Christiène laid the foundation for what would become Anouman. Very quickly, the quartet found its musical identity, blending original compositions with covers of jazz standards.
In 1983, during the first Toulouse Bluegrass Festival edition, the organiser Joël Herbach, did Anouman the honor to perform at the “Halle aux Grains”, on the same stage as legendary American bands such as “Seldom Scene,” “Newgrass Revival,” and “Tony Trischka and Skyline”…
Since violinist Olivier Christienne was unable to perform at this concert, the group initially reorganized as a trio, then welcomed fiddler Jean Darbois— who had previously played with Christian Seguret and “Transatlantic”— for many of the pieces.
After a few years and many good times, family and professional life took precedence for each member, and only Yves Rossignol pursued a musical career, in Spain and Italy. But the personal bonds were never truly broken. Strong friendships are indelible. At the turn of the 2020s, new collaborations emerged, such as “Mando Duo ” (Daniel Portales, Bernard Minari -Coming soon into this project). – Mando Duo
A reunion of Anouman was then considered. Unfortunately, Jean Darbois passed away, and we were deeply saddened by his loss.
Today, Anouman are once again working on a repertoire of old and new songs; in doing so, we’ve noticed that the compositions from the 1980s have a very distinctive style… *** Bernard Minari is also playing with Uzer Trio https://www.youtube.com/playlist?list=PLT2ouYv3jPoM Daniel & Patrick Portales also playing in “Catch the Goat” (Coming soon into this project)
”Kingfishers” Written by: Bruno Garreau (mandolin: F5 PERRIN), accompagned by: Hervé Lelou (fiddle) William Garreau (guitar)
Bruno Garreau became a professional musician in 1997. At the time he was the mandolin player in the bluegrass quartet led by banjo player Philippe Bourgeois with whom he worked five years (festivals and gigs all over France and Europe, album “Uncle Sam Down The Road”).
In 2009, Bruno created a new recital, designed around music he composed for mandolin to be given as a duo, a trio, or a quartet.
”Kingfishers” is one such creation, born upon the banks of the river “Loire” (France), so dearly cherished by Bruno.
Mandolins Catalog Gibson 1920s + Mandolines Krishot Garnet F 2014 & A17 2018 by Jean Marie Daviaud
The “Mandolin Project 2026” aims to create a YouTube playlist of unreleased videos featuring European mandolinists who are actively contributing to the growth of the American (or Celtic) mandolin. Videos from this project will be posted online from mid-September through the end of 2026 on the “fretdreamer” YouTube channel.
Fifty years ago, the “Paris Banjo Session” project brought together leading French banjo players alongside American banjoist Bill Keith to record an album at the “Acousti” studios in Paris.
Upon the album’s release, the project participants gave a special concert at the Théâtre Présent (Paris), which drew a crowd of nearly a thousand people.
Half a century has passed, and we have decided to launch a new project centered on the American mandolin, to promote this unique instrument and its players. Influenced by David Grisman, Mike Marshall, Sam Bush, John Reischman, Tim O’Brien, and a few others, the American mandolin (bluegrass, dawg, Celtic, or other styles) has grown significantly in Europe since the 1970s.
A project steering committee has been formed, under the patronage of Christian Séguret. It includes Denis Phan, organizer of the 1975 “banjo” project, and mandolinists who have agreed to contribute to the project: Philippe Bony, Jean Marie Daviaud, Bruno Garreau, and Bernard Minari (Mando Duo)
This project is open to French mandolinists as well as our friends from neighboring European countries. Its immediate goal is not to produce an album but, initially, to create a YouTube playlist featuring videos of original compositions submitted by the participants.
Twenty-four mandolinists have already expressed interest in the project, and eight videos are already awaiting publication. If you are not part of this initial group, you can still contact us and request to join the Facebook group “Mandolin Project 2026” if you have an original project—preferably one of your own compositions.
The first publications have been posted online:
Saturday, September 12, “Murmures des ombres”(“Whispers of the Shadows”), written by Bernard Minari, performed by Anouman. Description (in English) on this blog
Between 1975 and 1978, Musigrass diffusion, managed by Denis Phan, produced directly three Bluegrass Albums. In addition, Denis Phan was executive producer for Jean Marie Redon’s album “banjoistiquement votre” for Cezame Records, and was assistant in the production of Bill Keith and Jim Collier’s Hexagone album.
1980 – Rowan, Keith And Rooney – Hot Bluegrass (Waterfront Music – WF 016) Live recording by Jacobs Mobile at Amberley, West Sussex, England, UK on 24/11/1980. Released in 1985 in the UK. Banjo: Bill Keith, Double Bass, Producer: Dave Hatfield, Guitar, Vocals, Producer: Jim Rooney, Mandola, Guitar: Peter Rowan.
1981 – Fiddle Tunes for Banjo-Tony Trischka, Bill Keith, Bela Fleck Rounder Records – 0124 (1981) – CD 0124 (1999)
In early 1980, three generations of banjoists came together for the album “fiddle tune for banjo”, following in the footsteps of the innovations introduced by Bill in the early 60s. In addition to Bill (b. 1939), there was Tony Trischka (b. 1949) and Trischka’s former pupil, the young Béla Fleck (b. 1958), who was destined for a dazzling career. All three are influenced not only by bluegrass, but also by jazz, classical, and various world music genres.
Our three – now legendary- banjoists open the album together with ‘Bill Cheatham‘, combining different styles. The CD version also contains 2 bonus 3-banjo tracks: ‘John Hardy‘ and the classic ‘Salt Creek’, originally composed & recorded by Bill with Monroe in 1964.
At the age of 22, Béla Fleck already has a solo album to his credit, featuring Russ Barenberg and Sam Bush and , but he also plays in the group Spectrum with Glenn Lawson (guitar) and Jimmy Gaudreau (mandolin). These last three musicians and his sidekick Mark Schatz (bass) accompany him on this album. Béla Fleck contributes five tracks, including two of his own compositions.
Tony Trischka contributes four tracks, including 2 compositions of his own. He reunites with his New York accomplices Andy Statman (mandolin) and Russ Barenberg (guitar) and Kenny Kosek (fiddle). Californian Darol Anger (fiddle), founding member of the David Grisman Quintet, plays on two tracks.
Bill Keith is accompanied by Kenny Kosek, with whom he has toured Europe and the USA and who recorded on the Keith & Collier album; Russ Barenberg, who toured with him as a duo in Japan; and Gordon Titcomb, a multi-instrumentalist who plays mandolin here, and with whom he collaborated on the Woodstock Mountains Revue (1978), and who would appear on Bill’s subsequent solo albums.
Bill contributes four tracks, including two of his own compositions: “Clinging Vine” and “Mead Mountain Blues”, an unconventional Celtic-style piece featuring a subtle dialogue between Bill’s banjo and Kenny and Larry Campbell‘s fiddles. “Jolly Waffle Man” features an interesting chord progression from major to minor, offering subtle variations between the instruments. Finally, in more traditional fashion, Bill Keith and his partners (Matt Glaser replaces Larry Campbell) give a superb rendition of Monroe’s “Panhandle Country”.
In a review of this album twenty years after its release, writer Chet Williamson declares: “For the banjo pickers and lovers among us, this is a must have, as much a summit meeting of banjo players as “The Three Tenors” is a summit meeting of, well, tenors. (..) It’s also a hoot to hear young Bela Fleck on the threshold of his career, as well as the pickers who inspired him ”. In its context, this is certainly the most innovative banjo record I’ve ever heard.
1981 –‘Carolina In My Mind’ – Woodstock Mountains Revue : Back to Mud Acres (Rounder Records – 3065) Banjo: Bill Keith, Bass: Roly Salley, Fiddle: Caroline Dutton, Guitar, Lead Vocals: Happy Traum Harmony Vocals: Andy Robinson, Mandolin, Pedal Steel Guitar: Larry Campbell – Recorded August 10-12, 1981 Grogkill Studios, Mt. Tremper, NY
1984 – Bill Keith – ‘Banjoistics’ (Rounder Records – 0148)
This album is Bill Keith’s fourth album, following “Bluegrass Livin’ on the Mountain” (1962, with Jim Rooney), the legendary “Something Auld, Something Newgrass, Something Borrowed, Something Bluegrass” (1976, featuring Tony Rice, David Grisman, Jim Rooney, Kenny Kosek, Tom Gray…), and Bill Keith and Jim Collier (1978, recorded in France, with Kenny Kosek, Christian Seguret, Lionel Wendling…)
It contains many little gems, including Celtic-flavored tracks like “Morrison’s Jig” (which was supposed to have been recorded in 1978 with the Bothy Band) and Pierre Bensusan’s “Sunday’s Hornpipe.”
Session 1, recorded in New York, also features a new instrumental by Bill: “Pentachrome.” The presence of the great jazz bassist Ron Carter lends a distinctive swing to all these tracks. This session also features Bill’s regular collaborators: Eric Weisberg, Kenny Kosek, and Jim Rooney—who would soon form the “New Blue Velvet Band”—as well as the excellent mandolinist Gordon Titcomb, who would co-produce the next album (Beating Around the Bush, 1992). Session 2, recorded in Nashville, features a new version of “Nola,” previously recorded in Paris in 1975 with Pierre Bensusan. A must-have!
Session 1: Rick’s Americana Studio, New York City. Credits: The New Blue Velvet Band(Jim Rooney (guitar, vocals), Bill Keith (banjo, vocals), Eric Weissberg (guitar, vocals), Kenny Kosek (fiddle), Guest artists: Russ Barenberg (guitar), Gordon Titcomb (mandolin/vocals), Ron Carter (bass).
Six White Horses (Traditional)
Morrison’s Jig (Traditional, instrumental)
Should We Tell Him (Everly Brothers: Phil & Don)
Pentachrome (Bill Keith, instrumental)
Busy Body (Winston S. Sharples)
Sunday’s Hornpipe (Pierre Bensusan, instrumental)
Lay Down Sally (Eric Clapton)
Session 2: Dreamland Studio, Bearsville, NY. Credits: Bill Keith (banjo), Bobby Farris (guitar), Dick Kniss (bass), Larry Packer (fiddle).
You Came A Long Way From St. Louis (John Benson Brooks)
Mood Indigo (Barney Bigard, Duke Ellington, Irving Mills)
Nola (Felix Arndt)
session 3: Jack Clement’s Cowboy Arms Hotel And Recording Spa, Nashville, TN. Credits: Bill Keith (banjo), Jim Rooney (guitar), Pat Alger (guitar), Mark Howard (guitar), Bill Kenner (mandolin), Junior Huskey (bass), Buddy Spicher (fiddle)
Banjo Boy Chimes (Sonny Osborne)
Bully Of The Town (traditional)
1985 – Peter Rowan – ‘The First Whippoorwill’ (Sugar Hill Records – SH-3749) ‘The First Whippoorwill‘ is a tribute album by Peter Rowan to Bill Monroe, featuring only the latter’s compositions. Produced by Peter Rowan and Jim Rooney, it is accompanied by a first-rate band, including Alan O’Bryant (2° guitar, Tenor vocals), Buddy Spicher (fiddle – harmony vocals), Sam Bush ( mandolin, Baryton vocals), Roy Huskey Jr. (bass) and long-term partners: Bill Keith (banjo) et Richard Greene (fiddle – lead, Bass vocals).
A1 I’m on My Way Back to the Old Home (Bill Monroe)
A2 I’m Just a Used to Be (Bill Monroe)
A3 I Believed in You, Darling (Bill Monroe)
A4 Sweetheart You Done Me Wrong (Bill Monroe, Lester Flatt)
A5 When the Golden Leaves Begin to Fall (Bill Monroe)
A6 I Was Left on the Street (Bill Monroe)
B1 Goodbye Old Pal (Bill Monroe)
B2 When You Are Lonely (Bill Monroe)
B3 The First Whippoorwill (Bill Monroe)
B4 Sittin’ Alone in the Moonlight (Bill Monroe)
B5 Boat of Love (James W. Smith – a Bill Monroe alias)
B6 It’s Mighty Dark to Travel (Bill Monroe)
21th Cambridge Folk Festival, left to right : Jim Rooney, (guitar lead vocals), Dave Hatfield (bass), Mark O’Connor (fiddle), Richard Barret (mandolin), Bill Keith (banjo). Images : courtesy of Roger Liptrot, https://folkimages.com
1985 – 21th Cambridge Folk Festival: Bill Keith, Jim Rooney, Marc O’Connor
Soldier’s Joy/Rickett’s Hornpipe/Turkey In The Straw (Traditional)
Six White Horse (Traditional, Jim Rooney, Vocals)
Opus 57 (David Grisman)
1989 – David’s Rounder Album Band – ‘Live at Grass Valley’ (Bluegrass festival, Ca July 30 1989) – (David Grisman (mandolin) , Tony Rice (guitar), Bill Keith (banjo), Vassar Clements (fiddle), Jerry Douglas (dobro), Mark Schatz (bass)) . Acoustic disc/Acoustic Oasis Downloads
01 – Intro / My Walking Shoes 02 – Someone Took My Place With You 03 – Vassar Intro 04 – Kissimmee Kid 05 – On and On 06 – Bill Keith Intro 07 – Shenandoah Breakdown 08 – Dawg Raps 09 – I’m My Own Grandpa 10 – Blue Ridge Cabin Home 11 – ’T’ Introduces Dawg 12 – Ralph’s Banjo Special
13 – More Intros 14 – Don’t Let Your Deal Go Down 15 – White Dove 16 – Toy Heart 17 – You’ll Find Her Name Written There 18 – Paddy on the Turnpike19 19 – Little Maggie 20 – Pig in a Pen 21 – Raw Hide 22 – Orange Blossom Special
The New Blue Velvet Band : Jim Rooney, Bill Keith, Eric Weissberg, Kenny Kosek 1990-1992
source: https://www.jimrooneyproductions.com/blog/ posted on April 15, 2020
1992 – Bill Keith – ‘Beating Around the Bush’ (Green Linnet GLCD 2107) Recorded in three sessions: – Session 1: Clement’s Cowboy Arms Hotel And Recording Spa, Nashville, TN, with Junior Huskey (bass) – co-produced by Bill Keith & Jim Rooney – Session 2: RBY Studio, Southbury, CT, with Roger Mason (bass) – Session 3: NRS Recording Studio, Kingston, NY, with Midge Pike (bass) Sessions 2 & 3 Co-produced by Gordon Titcomb & Bill Keith
Credits: Bill Keith (banjo), Jim Rooney (guitar, vocals), Eric Weissberg, (guitar), Kenny Kosek (fiddle), Gordon Titcomb (mandolin sessions 2 & 3, overdub pedal steel on (2.)). Guests: Mark Howard (guitar), David Grier (guitar), Craig Vance (guitar), Ed Diehl (guitar), Sam Bush (mandolin), , Mike Cuglielmo (percussion), Mark O’Connor (fiddle), Larry Packer (fiddle), Tony Trischka (banjo on Old Hickory).
Beating Around The Bush (Bill Keith, instrumental ) (session 3)
Don’t Let Your Deal Go Down (Jim Rooney, vocals – Trad. first recording by Charlie Poole and the North Carolina Ramblers, in 1925.) (session 2)
Cherokee Shuffle 2:59 (session 3)
Liebestraum 3:36 (session 3)
Bay State Bounce 2:22 (session1)
Step Lively 2:59 (session 3)
Drop In The Bucket 2:47 (session 2)
Little Old Log Cabin 3:32 (session1)
Old Hickory (Tony Trischka, banjo) (session 3)
Ready For The Times (Jim Rooney, vocals) (session 3)
Bending The Strings (Allen Shelton, with Keith’s Pegs) (session1)
Hornswoggled 3:23 (session 3)
Crab Waltz (Bill Keith, first recorded in 1978 on Keith & Collier with Kenny Koseck on fiddle and Henri Texier on bass) (session 3)
1995 – The Grass Is Greener: Richard Greene (fiddle), Bill Keith (banjo), David Grier (guitar), Kenny Blackwell (mandolin), Tim Emmons (bass) – ‘Traditional Bluegrass Instrumentals’ (Rebel Records – REB-1714)
The Methodist Preacher (Bill Monroe, arr. Richard Greene)
Home Sweet Home (John Howard Payne, PD arr. Earl Scruggs, Bill Keith, Richard Greene)
The Virgin’s Lament (PD arr. Richard Greene, David Grier)
Northern White Clouds (Bill Monroe, arr. Richard Greene)
Whiskey Before Breakfast (Traditional, arr. David Grier)
Stoney Lonesome (Bill Monroe, arr. Richard Greene)
The Cannonball Blues (A.P. CArter, arr. David Grier, Richard Greene)
Panhandle Country – Guest: Chris Thile, mandolin (Bill Monroe, arr. Richard Greene)
Faded Love (Bob Wills John Wills, arr. Richard Greene)
The Kentucky Mandolin (Bill Monroe, arr. Kenny Blackwell)
The Brown County Breakdown (Bill Monroe, arr. Richard Greene)
The Beaumont Rag (Traditional, arr. Richard Greene)
1999 –Bill Keith, Tony Trischka, Eric Weissberg, Kenny Kosek, Stacy Phillips, Molly Mason – ‘Footprints In The Snow’ in Song Of The Hills: Appalachian Classics (Shanachie – 6041, track 5)
2005 – Gordon Titcomb – ‘The Last Train Rising’ (Son Records):
The Road That Never Ends (Bill Keith: Banjo)
2008 – Tony Trischka, Bill Keith – ‘Trompe De L’oreille‘ (‘Territory’ – Smithsonian Folkways · SFW CD 40169) feat. Paula Bradley, piano
In the spring of 1975, at the height of the folk movement in France, the “Banjo Paris Session” album brought together Americans Bill Keith and Jim Rooney and the leading French bluegrass musicians of the day, including banjoists Jean Marie Redon, Daniel Olivier, Jean Yves Lozach, Gilbert Caranhac and François Vercambre.The recording sessions took place at Studio Acousti (Paris VI°), with sound engineer Bruno Menny. The album was first published in 1975 by Pony (P-20.001), in an original version that has become a collector’s item, with a photo of a “Great Lakes” banjo on a sepia cover.
It was reissued the same year by the “folk” label Cezame (CEZ 1005) with a different cover (old-fashioned Paris metro entrance, with a country-style banjo player). it was also distributed in other European countries, in particular Spain by “Guimbarda”.
To celebrate the album’s release, a unique “Banjo Festival” was organized in Paris at the Théâtre Présent on June 2, 1975.
A number of the pieces played on this disc were published in tablature by Jean-Marie Redon (Tablatures pour banjo 5 cordes Chappell 1979) and/or by Jean-Marie Redon and Bill Keith in their Méthode de Banjo 5 cordes (Chappell 1977). Many banjoists have learned to play the banjo with this disc.
1.
A1 Blue Ridge Mountain Blues (Trad.)
2 min 51 s
2.
A2 Blackberry Blossom / Turkey In The Straw (Trad.)
2 min 34 s
3.
A3 Acadie (Jean-Marie Redon)
2 min 26 s
4.
A4 Importune (Jean-Marie Redon)
2 min 26 s
5.
A5 Reason To Believe. (Tim Hardin)
2 min 30 s
6.
A6 Palomito (Daniel Olivier)
4 min 40 s
7.
B1 Nuage Rouge (Jean-Yves Lozac’h)
2 min 54 s
8.
B2 Greensleeves (Trad.)
3 min 18 s
9.
B3 Flashy Freak (Gilbert Caranhac)
2 min 19 s
10.
B4 Nola
2 min 58 s
11.
B5 Hubert Breakdown (Francois Vercambre)
2 min 16 s
12.
B6 Ein Feste Burg (Trad.)
48 s
13.
B7 Ce N’est Qu’un Au Revoir (Trad.)
1 min 00 s
14.
B8 C’est Bon ! (Jean-Yves Lozac’h, Mick Larie)
10 s
Credits
Banjo : Gilbert Caranhac (B3), Bill Keith (A1, A2, B4, B6, B7); Jean-Yves Lozac’h *(B1, B2, B8); Daniel Olivier (A6), Jean-Marie Redon (A3, A4, A5), Francois Vercambre (B5).
Acoustic-guitar (rythm) : Christian D’Amato (B8), Christian Poidevin (A4, A5), Claude Samard (tracks: A1, A2), Eric Kristy (B3), Jean-Claude Druot (B5), Jim Rooney (en) (A1, A2), Pierre Bensusan (A3, B7)
Guitare acoustique (Lead) : Pierre Bensusan (A3), Claude Lefebvre (A6)
Electric -guitare (Telecaster) : Eric Kristy (B3)
Harmonica : Jean-Jacques Milteau (B3)
Bass : Dominique Dumont (B5) ; Christian Poidevin (A6) ; Hervé de Sainte Foy (A1, A2, A3, A4, A5, B8).
Electric-bass : Pascal Arroyo (B1, B2) ; Martin Fretfield (B3).
Dums : Clement Bailly (B1, B2).
fiddle : Pierre Marinet (B5) ; Claire Liret (A4, A5).
vocals : Christian Poidevin (A5, Lead), G.B. Morisson (A1), Jean-Marie Redon (A5, tenor), Jim Rooney (en) (A1, Lead), Mick Larie ( A5, barython).
Playlist : Banjo Paris session Vol.1 – 1975
In memoriam : Mick Larie(1947-2007), Bill Keith (1939-2015), Eric Christy (1951-2016), François Vercambre (1951-2022)
The Berkshire Mountains Bluegrass Festival 1976: Peter Rowan Jam Session – “Panama Red” avec Bill Keith: Banjo, Frank Wakefield: Mandolin, Ricky Skaggs: Fiddle, Jerry Douglas: Dobro, Bobby Slone: Bass – Pigeon Roost Records – PR 0001- 2xLP, Released in 1985.
In May 1976, a circumstantial band named “The Bluegrass Quintet” turned in Japan, with a lineup between Muleskiner and these two Rounder albums. the member are: David Grisman [mandolin, vocals], Tony Rice [guitare, lead vocals], Bill Keith [banjo vocals], Richard Greene [fiddle] and Todd Phillips [bass].
A Live Album from this tour includes Caravan and a new tune by Bill Keith named: Beating Around The Bush. It includes also Opus 57, from Muleskinner and soon to be covered by the D. G. Quintet (1977). In the summer of 1977, the same concept band toured Europe with more members of the D. G. quintet, including Darol Anger on fiddle in place of Richard Greene.
Darol Anger, David Grisman, Tony Rice, Bill Amatneek & Bill Keith, Courville Folk Festival 1977
Between 1975 and 1978, Bill Keith toured Europe extensively, gaining a strong reputation in France. At the beginning, Bill is accompanied by Jim Rooney.
Live show in Antwerp recorded and broadcasted on the Belgian radio. Others backing players was J.B. Morisson on mandolin and bass player Winny Nuyens. From the Thierry Schoysman’s YouTube Chanel: @BillKeithBanjoStyle. Many thanks to share it. Later, in 1975-1976, Bill and Jim recorded in studio some of the songs played on this tour for the albums Banjo Paris session 1 & 2.
In France, Bill & Jim recorded 4 tracks on the album “Banjo Paris Session vol.2”. Other partners are Pierre Bensusan on Mandolin, Phil Richardson on fiddle, and Hervé de Sainte Foy on bass.
In Switzerland, Radio Télévision Suisse Romande recorded their concert at the Festival d’Epalinges (near Lausanne) and two tracks were included by Pierre Bensusan in his Live album “Encore”.
In 1976, Bill also accompanied guitarist Marcel Dadi at the Olympia. Dadi dedicated a song to Bill, recorded in Nashville in 1976: “Billy The Keith”
Later, in 1977, Bill Keith recorded in the U.S.A. with Bill Clifton, and Company. In addition to Bill Keith on banjo, this backing band included among others Red Rector [mandolin & vocals], Mike Auldridge [dobro], and Tom Gray [bass].
In 1977, Bill Keith joined forces with singer Jim Collier and French mandolinist Christian Seguret.
Patrick Ciocca (bass), Jim Collier (guitar, vocals), Christian Séguret (mandolin, vocals) and Bill Keith (banjo, vocals) . Recorded in Folkclub Prisma, Jazzkeller, Pforzheim Germany, 1977 by Hese Schröter. From the Thierry Schoysman’s YouTube Chanel: @BillKeithBanjoStyle. Many thanks to share it.
They were joined later by Kenny Kosek on fiddle and Lionel Wendling on bass. An album was recorded in France by Hexagone, released in 1978.
Playlist : Bill Keith & Jim Collier -1979 – Hexagone 883020 – Artwork [Drawing] – Alain Trebern recorded and mixed at Studio Frémontel by Bruno Menny. Produced by Jacques Subileau assisted by Denis Phan – The band: Bill Keith : banjo, pedal steel guitar, vocals ; Jim Collier : guitar, lead vocals ; Kenny Kosek : fiddle ; Christian Seguret : mandolin, vocals ; Lionel Wendling : bass. Guests: Nicole Wills vocals, Jacques Paris : Drums ; Henry Texier : bass.
The Bill Keith & Jim Collier album contains 6 tracks sung by Jim Collier. Three of them are written by him: “I Think About You All The Time“‘, “There’ll Come A Day“, “Two Twenties“; two are country standards: “Smoke, Some Smoke” (Travis, Williams) & “Texas Cowboy” (Hank Snow) the last one is a couple of traditional songs arranged by Bill Keith & Jim Collier (“Height of January” and “The Twelth of Never“). There are 5 instrumentals: one adapted from a Bach bourrée (banjo accompanied by guitar and bass), 4 composed by Bill Keith: “Phlebitis” and “Would You Believe It” appear only on this album, while two other tunes will be included on Bill’s next album (“Beating Around the Bush” and “Crab Waltz“).
Other records sessions include instrumentals such as:
“My Love Is But A Lassie Yet”, an old 17th-century country dance (quadrille) imported to the U.S. from Scotland and Northumbria in the 19th century (in: Woodstock Mountains: More Music From Mud Acres, Rounder – 3018, 1977)
Dizzy Gillespie’s “Night In Tunisia“, with Alan Munde on 2nd banjo, Joe Carr on mandolin and Sam Bush on fiddle, in Slim Richey’s Jazz Grass album (Ridge Runner – 09, 1977)
Christian Seguret’s “Hot Mandolin N°17“; in Paris Banjo session vol. 2 and in Christian Seguret’s album: “Old Fashioned Love” (Cezame 1035, 1977).
“Steel Banjo Rag” in Jean-Marie Redon’s album “banjoistiquement votre” (Cezame 1049, 1979)
In 1978, Bill plays on 6 of the 10 tracks of the Woodstock Mountains Revue’s Pretty Lucky Album (Rounder Records – 3025)
Some of these tracks were later included in the compilation: Music From The Mud Acres (Rounder Canada, CD 11520, 1987)
Banjo: Bill Keith: Banjo, Fiddle: Caroline Dutton, Lead Vocals, Guitar: Happy Traum, Pedal Steel Guitar: Gordon Titcomb – Written-By: Woody Guthrie.
