Heartbroken and stunned. That’s about all I can say or feel at this moment with the tragic passing of singer-songwriter and guitarist Neal Casal. 

It’s one of the most recognizable voices in all of American music.

When Richard Sterban famously coined the “oom-pa-pa-oom-pa-pa-mow-mow” bass solo during The Oak Ridge Boy’s crossover 1981 smash hit “Elvira,” he not only forever solidified his tone in the halls of country music, he also became a lifelong pop culture icon in the process. 

It was 50 years ago this past weekend that Max Yasgur, a 49-year-old conservative Upstate New York farmer, stood onstage at Woodstock in front of 400,000 youthful faces of the counterculture and simply proclaimed, “You’ve proven to the world that a half million young people can get together and have three days of fun and music and have nothing but fun and music …”

Now syndicated on PBS stations from coast to coast, “David Holt’s State of Music” has become a beacon of traditional music and worldwide exposure for countless local, regional and national acts hailing from Western North Carolina and Southern Appalachia.

It’s around midnight, early Tuesday morning. Just sitting here, thinking. Finally getting around to drinking a cold beer on a recliner in an apartment that I’ve barely called home this spring and summer. 

In bluegrass, there are pioneers and there are pillars — Becky Buller is both.

A beloved singer/fiddler, the Minnesota native left the Midwest as a teenager for Southern Appalachia, all in search of that “high, lonesome sound.” And in her lifelong quest to immerse herself in bluegrass music, Buller has become a legend in her own right.

Persistence and gratitude. Those are two key words and concepts in life, personally and professionally. But, for this specific post, I’m referring to the professional aspect of the words. 

At 72 years old, singer-songwriter Jim Avett is a modern-day Renaissance man. Avett is a beloved Appalachian folk musician. Up at the crack of dawn farmer. Served in the Navy during Vietnam. A social worker for a period. And a welder for almost four decades. He’s traveled across the country and around the world, and never once losing that childlike wonder that resides at the crossroads of curiosity, discovery and adventure. 

In its 36th year of cultural exchange through song and dance, Folkmoot remains a moving target, one that constantly evolves in its programming, but never once forgetting its core values.

Bordering the bustling Patton Avenue in downtown Asheville, you wouldn’t know where Echo Mountain Recording is unless you were told. 

An old church turned into a state-of-the-art production studio, the property is purposely minimal, this sort of physical doorway into a melodic universe of potential and possibility.