The neck is being steamed out of the guitar using an old espresso coffee maker from Ricky Skaggs bus. The steam melts the old hyde glue in the joint.Steam is blown into the small cavity in the dovetail joint. The fingerboard extension has been loosened and 2 holes drilled through the 13th fret slot. The steam enters through one hole and escapes through the other softens the hyde glue along the way.After about 20 minutes of steam and gentle coaxing the neck comes out revealing the part of the top that hasn’t seen the sun in over 70 years.
Photos and Commentary by Marty Lanham - Nashville Guitar Company

“It’s been up and down the country roads, its’ brought a tear and a smile. It’s seen its share of dreams and hopes, and never went out of style.”

At the present moment, my great uncle Pete Hatton’s 1929 0-18 Martin is in the hands of one of Nashville’s finest vintage instrument restoration craftsman. In the last installment of this story, I promised to discuss how Marty Lanham was chosen to refurbish this cherished, vintage instrument.

Last June, at the Bill Monroe Memorial Bluegrass Festival in Bean Blossom, Ind., my cousin Ray Hatton and I got together. He brought along Uncle Pete’s vintage Martin, which he had inherited. We discussed what a shame it was to have that instrument in such disrepair.

Ray didn’t know who he could trust to do a good job. He certainly didn’t want to ship it through any of the normal freight companies. Ray was at a stand still with the renovation of this wonderful instrument. As you recall, there is a strong emotional attachment to the guitar also.

I have passed around, at various bluegrass festivals, the story of the instrument. This past winter, I got a phone call from Tom Ewing. He wanted to set up a phone interview with me about my grandpa working with Bill Monroe at the Sinclair oil refinery in Hammond, Ind.

For those of you who are unfamiliar with Tom Ewing, he was the guitarist with Bill Monroe’s Bluegrass Boys from 1986 until Monroe’s death in 1996. Tom actually played guitar with Monroe the last time he appeared on the Grand Ole Opry stage, just prior to his death.

Tom has written the wonderful book, “The Bill Monroe Reader,” and is following it with what many are saying will be the definitive book on the life of Bill Monroe.

Tom Ewing is hard at work trying to complete his newest project. As details emerge about when it will hit the shelves, we will keep you posted.

Tom has incredible insight into Bill Monroe’s character and his life. This comes from a man who worked longer with Monroe than just about anybody.

During our enjoyable visit on the phone, I asked Tom where he would recommend getting Uncle Pete’s guitar fixed.
Tom, without hesitation, said Marty Lanham in Nashville, Tenn., does all his guitar repairs.

As soon as I got off the phone with Tom, I did some research on the Internet about Marty Lanham and found nothing but praise heaped on his craftsmanship. I also found out he was the owner of the Nashville Guitar Company, maker of high quality instruments.

I immediately called my cousin Ray and told him about Tom Ewing’s recommendation. Ray did some research and came to the same conclusion, it was time to take the guitar to Marty.

Ray lives about 3½ hours north of Nashville. He had to wait for a day off and he and his lovely wife decided to take an excursion to see Marty.

Marty informed Ray it would take a couple of months to repair the guitar. I asked Ray if we at BluegrassJournal.com could follow the repair of this vintage Martin for our readers. He said he didn’t mind at all. Then I called Marty and asked him if he could keep us posted on his restoration work. He seemed happy to oblige and has been fantastic at sending us pictures and commentary.

We will continue to keep you posted, as details continue to emerge concerning work being completed on the old Martin.

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The Osborne Brothers performing at Sangamon Park in Mahomet IL, June 9, 1968. Photo by Dan Tackett.

In a phone conversation over the weekend I was privileged to talk to Sonny Osborne for the second time in my life. I wanted to check on some details of any Monkees’ recollections he had. Sonny was gracious enough to oblige me.

But I got more than I bargained for and was extremely thrilled.

Sonny continued to tell me how the Monkees’ sessions were the most idiotic he ever experienced. He mentioned that Mike Nesmith’s mom invented Liquid Paper. It was quite evident Nesmith came from money, with many of the stories Sonny heard him tell.

To me, this was the first tones of how down-to-earth Sonny Osborne is as a performer and a man. Here is a gentleman who has very little patience for any kind of pretension.

Sonny mentioned that while he was in the studio with Nesmith, he never saw him play a note. Most of the time was spent in the control room, occasionally disappearing from there to vanish to who knows where. This was the beginning of a serious loathing that Sonny gained for session work.

He worked doing sessions for about a 6-month period. During this time, he would do 2 or 3 sessions a day. His final session work was during a Jerry Reed recording. The powers that be asked Sonny to play a chromatic riff on his banjo and he insisted that he didn’t play that way. The assembly ended with Sonny packing up and saying so long to session work.

He recalled a recording with Wade Ray and Floyd Cramer, where Cramer ended up beating on the piano several times, frustrated with the music industry and what a hard life it was.

Several times during my conversation with Sonny, he insisted it was incredibly difficult to put up with the various entertainers’ egos. He stated the trouble began when they would read their glowing press clippings and started to believe the accolades that were being heaped upon them. He felt many of these entertainers would have preferred if you would have bowed before them, much as you would with royalty.

At one point, I told Sonny I grew up in the rock-and-roll era but had a Dad who loved country. Ironically, one of our joint favorites was the Osborne Brothers. When I mentioned this to Sonny, he seemed to very much appreciate it. Sonny said, “We were 25 years ahead of our time. We laid the groundwork for many of the new bluegrass bands who are out there now.”

Our talk came around to Sonny’s health. He has not picked up a banjo since 2003. Last year, he suffered a stroke and when asked how he was feeling, he mentioned he was doing OK. I told him how much I missed seeing him out there on the road and he said, “I sure don’t miss it.”

“Nobody is a legend, we all put our pants on one leg at a time.” - Sonny Osborne

During our phone conversation, he told me a great story that had just happened. During a breakfast conversation with his wife that morning, they discussed something which had happened the night before. Sonny ventured out to see Chris Hillman and Herb Pedersen play at the Station Inn in Nashville.

After the show they all sat around and talked, Sonny told his wife they made me feel like a legend. It is evident, Sonny is thoroughly uncomfortable with this term. He mused that perhaps he shouldn’t have gone to the event. Sonny acknowledged, “Nobody is a legend, we all put our pants on one leg at a time.” He said he just did his job as well as he could. This was a thought he affirmed several times throughout our conversation.

Sonny Osborne let me know that he didn’t do interviews anymore. When I told him I felt privileged with the time he had taken with me, he stated this very well could be the last interview he’ll ever do.

This is a man who appears to not have a pretentious bone in his own body and along with that, abhors anyone who acts as though they are more important or special than warranted. He feels many in the music business are phony. His attitude is, if you want to get along with these super-egos, you have to play the games with those particular individuals.

“These people read the accolades heaped upon themselves and they start believing them as well. We all put our pants on the same,” he said. He grew increasingly tired of playing the games.

Sonny took great pride in the Osborne Brothers being just “down-home boys.” Returning back to the story about Hillman and Pedersen treating him as a legend he says, “I don’t look like a legend.”

I asked him to tell me some of the talent he personally has looked up to in the business. Sonny first mentioned Bill Anderson and was quick to point out that Anderson had made a great deal of money in his life, but was still a down-home boy. He also liked Jim Ed Brown, Ricky Skaggs, the Whites, Faron Young, Merle Haggard, and believe it or not, Jerry Lee Lewis.

Sonny stated Lewis had a little wild side but was still a pretty good guy.

The Osborne Brothers “Live in Germany” (Pinecastle)

The talk also came around to a discussion of the new CD and DVD set of “The Osborne Brothers: Live in Germany.” Sonny told the story about how that video was illegally recorded and was to be sold to whoever wanted it for distribution.

Sonny decided he wanted it done right, so the Pinecastle label bought the video and they worked for a year on piecing it together.

I admire Sonny Osborne. The two times I’ve talked to him and the moments I have been lucky enough to see him perform are incredibly special to me. This is a man who speaks his mind. Sonny is honest and has a problem with phoniness in people and in the music industry. He grew tired of it and who can blame him for that?

After I got off the phone with Sonny, I thought what if this is the last interview he’ll ever do. God forbid if that is true. Then I thought about how much I miss seeing him perform.

Sonny Osborne was and is a unique, one-of-a-kind banjo picker, who in my mind will always be a legend. It is his destiny that this legend status will forever be affixed to him. And finally I miss seeing that wonderful smile of Sonny’s. This is a smile that like the man is bigger than life.

Gosh Sonny, we miss your kind out there.

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Sonny Osborne on stage at Sangamon Park, Mahomet, IL - June 9, 1968. Photo by Dan Tackett.

Bluegrass is one genre of music that totally captivates me. Another period of music I dearly love is the rock of the 1960s. I was a teen when the British invasion landed in America.

Without a doubt, the biggest act from that assault was the Beatles. America countered with a fabricated group, which was on fairly equal footing during the years of 1966 through 1968, the Monkees.

Despite what many critics say, I am fairly reverential when I speak of the impact of the Monkees. One of the four main proponents of the pre-fab four was Mike Nesmith. Many people don’t realize at the time, Nesmith, Gram Parsons and Ricky Nelson were in an unknown race for being deemed the originator of what would later be termed country-rock.

There also is great evidence that Nesmith might have been a little ahead of the pack.

In 1966, Nesmith used Glen Campbell on a country rock track Nez had written. The song appeared on the debut of the Monkees first album, “Papa Gene’s Blues.” In 1967, the Monkees used Doug Dillard for some fine banjo work on a tune for their fourth disc. Michael Martin Murphy had penned this song titled, “What Am I Doing Hangin Round.”

By 1968, Nesmith was in full-blown invention of country rock. In May of 1968 (Wow…it was 40 years ago, this month), Nesmith flew to the RCA studios in Nashville to record with some of the finest musicians Music City had to offer. One of those incredible session banjo pickers hired at the time was a 30-year-old Sonny Osborne.

I got into a conversation with Sonny a few years back at one of Terry Lease’ s festivals at the Crowne Plaza in Springfield, Ill. This was the last time the Osborne Brothers played the event. In cornering Sonny for a few moments, I asked him about the Monkee sessions. Sonny’s face lit up. It appeared to me he had to purge himself of the whole proceedings that had gone on several years prior to our conversation.

I could tell he probably had never been asked about the Monkees sessions for years, if possibly ever. He honestly wanted to talk about it. During our conversation, many people tried to approach Sonny and it was quite evident to me that I had his steadfast attention.

Sonny said the sessions were really weird and idiotic. The whole thing was exceptionally disorganized. Many of the premiere Nashville session players were in the studio: Wayne Moss on acoustic guitar, David Briggs on organ, Lloyd Green on steel, Norbert Putnum on bass, Kenny Buttrey on drums, and of course Sonny Osborne on banjo. As a sidenote, many of these musicians in the 1970s spawned the great eclectic band Area Code 615 and from that group, would evolve into Barefoot Jerry.

The studio had been booked for a week or two, and the sessions were paid for. But, there was no sign of Mike Nesmith. Evidently he was out in Nashville somewhere and these A-team musicians spent much of the day, as much as 8 or 9 hours, awaiting his arrival.

“Nesmith was enthused with Lloyd Greens steel work,” Sonny recalled. “He went down to ShoBud and spent $15,000 to $18,000 on a steel guitar.” This was a great deal of money in the 1960s to spend on an instrument.

On May 28, 1968, Nesmith finally showed up and they recorded the first version of Nesmith’s classic song, “Propinquity.” This version didn’t appear until Rhino Records released it 28 years after the fact, on a disc of Monkees rarities titled, Missing Links Volume 3. It is interesting to note, Nitty Gritty Dirt Band did a wonderful version of the song on their Uncle Charlie and his Dog Teddy album,which happened to yield the band’s hit version of “Mr. Bojangles.”

The next day of recording was even more prolific. On this particular day, Harold Bradley replaced Moss on guitar, Bobby Dyson replaced Putnum on bass and Jerry Carrigan replaced Buttrey on drums. Sonny was still around for more of the action.

On this May date, they recorded another Nesmith-penned tune, “Don’t Wait for Me,” which appeared on the Monkees disc from 1969, Instant Replay. They also recorded the first version of “The Crippled Lion,” which later appeared on, Missing Links Volume 2 issued from Rhino in 1990.

Also from that same May date; there was an early version of a great Nesmith tune, “Some of Shelly’s Blues,” which also appeared on Missing Links Volume 2. Ironically, this song appeared also on the above-mentioned Nitty Gritty album. The final song covered that day was entitled Hollywood, and that recorded version has never been issued.

Sonny continued to stress the idiocy of how the sessions were handled. He thought they were terrible and didn’t enjoy them one bit. To this day, he hasn’t listened to those sessions and doesn’t care to.

My life has been filled with many serendipitous moments. One of those wonderful times was the few minutes I got to pick Sonny Osborne’s brain about being –somewhat reluctantly — a Monkee.

Editors Note: BluegrassJournal.com writer and music fanatic Rickey Lamb contacted Sonny recently to clarify some memories from that conversation years ago and Sonny was gracious enough to talk with Rickey at length about the Monkees Sessions and the music industry. We’ll have that part of the story on tomorrow.

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The story was written by Larche Hardy, freelance bluegrass writer and News Director WMBB-TV, Panama City, Florida. Many thanks to Larche for allowing us to publish this story and thanks to Veniece Kennedy and George Hester for the photos.

Ernie Thacker returned to the stage at Riverbend Bluegrass Festival in Ocilla, GA, for his first show since April 18, 2006, after a devastating accident nearly claimed his life. Photo by George Hester.

Ernie Thacker has been making bluegrass music for more than 30 years and has appeared on hundreds of stages across America. But, he has never been more nervous than he was on stage this past weekend at the Riverbend Bluegrass Festival in Ocilla, Ga. His life changed drastically since he last played bluegrass professionally and now, confined to a wheelchair, he needed to know if he could still do what he loves to do most.

Exactly two years earlier, Thacker was on a winding road near his home in Clinchco, Va. He was heading to his brothers house for a jam session about 8 miles away. As he rounded a curve, CDs on his dash fell in the floor. He reached down to pick them up and that was the last thing he remembered until days later when he awoke in a hospital with his life hanging by a thread.

He had no recollection of the single car crash. He did not remember the good Samaritans that came to his aid and he did not remember the life flight to a hospital several miles away. He did not remember losing more than 50 pints of blood in 13 hours. He would learn in time.

The accident left him with 12 broken ribs, broken collar bones, a ruptured spleen, and a crushed aorta. Doctors cut the nerves to his legs while trying to control blood flow to the upper portion of his body. It rendered him paralyzed from the waist down. He spent more than 100 days in intensive care. His survival was called a medical miracle. Thacker calls it a Gift from God.

Now, with hundreds of hours of hospitalization and rehabilitation behind him, 37 year old Thacker is back on the road. He knows his musical life will be different. One of his lungs was severely damaged and he is learning to adapt to his new disabilities, including confinement to a wheel chair.

Before the accident, Thacker was a rising star in the bluegrass business. As a teenager, he landed the role of lead singer for Ralph Stanley’s Clinch Mountain Boys and traveled with the band for six years.

He later formed his own group, Route 23, and received critical acclaim for his soulful voice and superb musicianship. He has been recognized in the Top 20 Emerging Artists twice by the International Bluegrass Music Association in 1999 and 2000. Some have described him as the George Jones of bluegrass music.

He chose the Riverbend Bluegrass Festival on the two year anniversary of his accident to stage his comeback. It was also a way to show his appreciation to Veniece and Dale Kennedy, with the Riverbend Bluegrass Band, for helping his family after the accident.

Our little business of bluegrass isn’t that big but when somebody is in need it seems like everybody pulls together. If it hadn’t been for people like Veneice and Dale, my wife and I would have probably lost everything we had.

Hundreds of musicians and Thacker Backers participated in fund raising events all over the country to help the Thacker family with expenses over the past two years.

Ernie Thacker and Route 23 perform at the Riverbend Bluegrass Festical in Ocilla, GA. Photo by Veniece Kennedy.

Flanked by his band, Route 23, he made his way to the stage for his first show since April 18, 2006. About three hundred friends and fans gathered at the Riverbend festival site to hear him perform. He followed groups like Grasstowne, The Sullivans, and The Chapmans who were also on the weekend line-up.

Thacker dedicated his show to his wife who he says stayed by his side while he was in a Bristol, Tenn. intensive care unit.

I love her to death and I am glad she is here with me, he said.

He performed a couple of songs from his Chill of Lonesome CD then spoke directly to the crowd.

I lost half a lung during the accident and I just don’t have the breath to push it like I used to but I’m going to work and work to get it back down to what it used to be. I have to learn to sing all over again.

Even though his voice was weaker, it did little to curb the enthusiasm of the audience. At one point during the performance he received a standing ovation.

Folks you don’t know. Ive been playing music for twenty years and I guess this is the most nervous I have ever been on stage. I appreciate you so much. I love all of you.

As a testament to his popularity, Pinecastle Records contracted in February to release a new album entitled The Hangman. No date has been set but the label expects to release it by the fall. The project was nearly complete before the accident but some work has taken place since.

Though Thacker has come a long way with his recovery, he admits there is still much work to do. Building his strength is one of his priorities. He knows,however, it will be a long process. Support from fans will be a big part of the recovery. The enthusiasm and reception from the crowd at Riverbend moved him to tears.

This music gets in your blood. When you cant do it, that’s all you think about. My goal was to just get back out and see everybody and play again. Words cant describe how you just made me feel.

It may not have been the performance he wanted but he accomplished what he set out to do. He was back on stage doing the thing he loved most. For his many fans, it was more than expected. Ernie Thacker is a miracle minstrel destined to share his gift with those who love the music.

He performed two sets during the festival. According to his website, www.erniethackerroute23.com, he will appear at more venues this summer and fall.

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Sierra Hull on stage during a showcase at Edgehill Studios Cafe in Nashville, TN March 31, 2008. Photo by Travis Tackett. Sierra Hull & Clay Hess on stage during a showcase at Edgehill Studios Cafe in Nashville, TN March 31, 2008. Photo by Travis Tackett.
Sierra Hull “Secrets” (Rounder) due out May 6, 2008
Website:
www.SierraHull.com
Upcoming Dates

• Apr 25 - MerleFest - Wilkesboro, NC
• Apr 26 - MerleFest, Wilkesboro, NC
• Apr 27 - MerleFest, Wilkesboro, NC
• May 14 - The Station Inn - Secrets CD Release Party, Nashville, TN
• May 17 - Bellbrook Bluegrass Jamboree with Ron Block, Bellbrook, OH
• May 25 - Silver Dollar City, Branson, MO
• May 30 - Graves Mountain of Music, Syria, VA

Small town girl. Sweet 16, in fact.

A stellar student, judging by her membership in the Beta Club, a national organization for the cream of the crop among America’s youths.

All that, and a bluegrass recording artist to boot. Rubbing elbows and picking in studios with some of the genre’s hottest picker,

And now, filming scenes in a movie. Not to mention, being part of its soundtrack.

That’s the whirlwind life of Sierra Hull, a Tennessee teenager with all the makings of becoming a bluegrass mandolin master. She is on the verge of releasing her first CD for Rounder, titled “Secrets.”

BluegrassJournal.com had an opportunity to hear her skills and visit with her during an industry showcase for “Secrets” at Edgehill Studios Cafe in Nashville, Tenn.

The interview follows:

Bob Dieterlen - With your upcoming album “Secrets” on the Rounder label due out on shelves May 6, what has 2008 been like for you?

Sierra Hull - It has definitely been a whirlwind, that’s for sure! I’m still in high school and with classes and my music, it gets pretty crazy.

Bob Dieterlen - So, you’re still in a public school, no home school or private tutors while your on the road?

Sierra Hull - Yes, I still go to public school. Actually, I have been off for a week attending the Beta Club convention in Nashville this week. ( The National Beta Club is a club that recognizes academic achievement, promotes character, develops leadership skills, encourages service involvement, and provides technological advantages to students in grades 5-12.)

Bob Dieterlen - Your 16 now. What grade are you in?

Sierra Hull - I’m a junior in high school. So, I have a whole other year before graduation, but I see the light at the end of the tunnel!

Bob Dieterlen - Some in the profession get out of school early to pursue their music. Do you think that’s something you would be interested in?

Sierra Hull - No, I don’t have any plans on quitting or getting a GED or anything like that. I plan on finishing what I started and toughing it out. I really like school and it is important for me to finish. But, it’s hard when I am missing so much school to try to stay caught up. I do look forward to getting out though so I can concentrate fully on playing my music.

Bob Dieterlen - Where are you originally from?

Sierra Hull - I’m from a town about two hours north east of Nashville called Byrdstown in Tennessee. It’s a small town where I still live.

Bob Dieterlen - How did you get into playing bluegrass?

Sierra Hull - My dad always liked bluegrass, but it was not unusal to hear a rock station playing on the boom box. Actually, when he started getting into bluegrass, it was kind of a shocker for my mom because he went from listening to rock to buying tapes of Larry Sparks. Larry is pretty hardcore traditional bluegrass, so I guess that was a pretty big jump! My brother and I also sang in church, but it was when I was eight that my dad bought a mandolin for himself and started taking lessons that really sparked my interest in playing bluegrass.

Bob Dieterlen - You also have a band, right?

Sierra Hull - Yes, Sierra Hull & Highway 111.

Bob Dieterlen - Will you be touring this summer promoting your new album “Secrets”?

Sierra Hull - Yeah as much as possible, with school still going on it’s kind of hard, because I feel like I have to try to promote a record in half the time that most people get because of my schooling. But, we are going to try to tour as much as we can. Actually, we are going to Japan to play, around the end of July. It should be real fun and interesting. I have never had the chance to do anything like that before, so I’m really looking forward to it.

Bob Dieterlen - Ron Block (AK & Union Station) produced your album, and played banjo and guitar with you tonight. Because Union Station is not touring this summer, will Ron be playing with your band?

Sierra Hull - Well Ron’s doing his own shows this summer, and sometimes if one of us is not busy, we will sit in together, but no, Ron will not be touring with us. Actually, Corey Walker plays banjo in my band Highway 111. He also did most of the banjo work on “Secrets”. Corey is 18 years old and from Florida. He is a great, great banjo player, and I’m not just saying that! He truely is one of the best on the scene today. I’m lucky to get the opportunity to play with him.

Bob Dieterlen - What’s coming up for you as far as professionally?

Sierra Hull - Well actually, I recently was asked to be a part of a new movie being made about the life of Billy Graham. It’s a movie being directed by Robbie Benson. Anastasia Brown from Nashville Star called me about a small part in the movie. I am playing Billy Graham’s sister, Catherine Graham. The movie is called “Billy Graham, The Early Years.”

I also just recorded for the (soundtrack) album at John Carter Cash’s studio. He’s kind of producing the music side of the movie. I was in the studio with Ronnie Bowman, John Cowan, Ronnie McCoury and two or three others. It was a blast. I recorded “Just As I Am”. It was kind of Billy’s theme song. I’m real excited about the whole thing.

Bob Dieterlen - Have you filmed anything yet?

Sierra Hull - Not yet. I go in April and in May for the filming, so I have’nt got to do all that yet. It should be a very interesting experience!

Bob Dieterlen - Do you listen only to bluegrass or have other types of music had an influence on you?

Sierra Hull - I think it’s good not to be closed minded to just one type of music. Some people get caught up into saying “bluegrass, that’s the only type of music there is.” and I understand where they are coming from, cause bluegrass is really where my heart and sole lie. I love bluegrass and I love playing it, but I think it’s good to pull influences from every kind of music.

It kinda helps you (as a musician) to find your own voice, find you. I’m really still working on that some, still workin on me. I mean I’ve listened to everything, Journey, Air Supply, Def Leppard, and things like that. Even one of dad’s favorites, ZZ Top! In the same breath, I listen to people like Larry Sparks and Doyle Lawson.

We used to drive to and from church listening to Doyle sing gospel on the car radio. My brother and I always tried to sing like Doyle Lawson and Quicksilver in the car. I feel like I’m just now finding my singing voice. I mean, I’ve been playing mandolin for eight years, and I have always been thought of and thought of myself as just a mandolin player. I did sing harmonies with my brother, but mostly worked on mandolin. In the last couple of years, I have really tried to work more on my singing because it has totally become a big part of me and a big part of what I want out of my music. I really want people to be able to think of me as a singer who can also play mandolin, rather than a mandolin player that can sorta sing! (Laugh)

Bob Dieterlen - You’re a heck of a guitar player to, let’s not forget that!

Sierra Hull - Well thanks! I’ve been playing guitar a little less time than mandolin.

Bob Dieterlen - Anything else in the arsenal?!

Sierra Hull - No not really. Well actually fiddle really was the first instrument I tried to learn to play, but I had a full size and it was too big for my hands. But because my dad was learning to play mandolin, he showed me a couple of tunes on the mandolin. Because the mandolin and fiddle are tuned the same, he thought that would help me learn the fiddle. I’ve been playing mandolin ever since! I still play fiddle a little bit, but I would not consider myself a fiddle player.

Bob Dieterlen - I noticed by your style of picking that you must have listened to alot of Adam Steffey. What others are your biggest influences?

Sierra Hull - Yeah definitely Adam. I listened to alot of Chris Thile of course. He’s really turned some heads and made people say “wow, you really can do that, you can do that on a mandolin?” Andy Leftwich is another, Sam Bush, Wayne Benson, Alan Bibey, and of course Doyle Lawson. But I would have to say influence-wise definitely Adam Steffey and Chris Thile.

Bob Dieterlen - Have you ever had the chance to play with Chris Thile at all?

Sierra Hull - Yeah, I met Chris the first time at MerleFest. See I was and still am a huge Allison Krauss fan. She, hands down, has had the biggest influence on my music. My parents found out Allison would be at Merlefest, and decided to take me. We had no idea how big the festival would be. We had never been to a festival like that before.

Bob Dieterlen - Let me interrupt, how old were you at the time?

Sierra Hull - I was 10 and really hadn’t done much traveling to festivals or anything at that point. I remember how big the festival was and thinking there is no way I will ever get to meet Allison.

My parents and I ended up running into Chris Thile right after he got off stage, and I asked him to sign my mandolin strap. Afterward, another little girl that was there asked me to play a song for her, so I started playing a song and Chris walked over and knelt down to listen to me, and said “holy crap your good, do you want to play?!” He was really great! He jammed with me for almost two hours the first time meeting me. He was just really nice. It was really cool that someone like Chris would take the time out to stop what he is doing and sit and play that long with a little kid. What was really cool was he ended up taking me backstage to meet Allison. It was a dream come true! It is a great memory.

Bob Dieterlen - What is it about bluegrass that you love the most?

Sierra Hull - There’s just something about bluegrass and the people involved that makes it such a great environment to learn music and play. I would never have gotten as far as I have, had it not been for all the people I have met along the way. I feel so blessed to be a part of this music.

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