Dwight Diller Clawhammer Banjo Music on CD and Tape

Dwight has released eleven albums and five instructional videos. These albums and videos are available for sale at Morning Star Folk Music. Click on a title below to see album details and the purchase link, or scroll down the page and look at them all. Bolded songs with a * have a short sample you can listen to from the order page.

CD & Cassette Tapes

In England with Dave Bing	NEW Jericho Road NEW
Fabulous Festival Favorites Volume I	O Death
Hold On	Papa
Just Banjo 1996	Piney Woods
Just Banjo 1999	Red Rooster
New Plowed Ground	WV Mountain Music

If you want to know more detail about how these tunes go, you might like to check out the list of tunes with tunings and a whole lot of tab. If you are looking for instructional videos, click on Videos to the left.

Jericho Road

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1.Sally Ann 1:48 gDGBD, 2.Sweet 16 3:05 gCGCD, 3.Washington's March 3:53 f#ADAD, 4.Yellow Rose of Texas 1:32 gCGCD, 5.Lost Girl 2:05 gDGBD, 6.Angeline 3:47 gCGCD, 7.Fall of Richmond 2:45 gDGCD, 8.Horny [horned] Ewe 1:26 gDGBD, 9.Sandy Boys 1:52 gDGBD, 10.New Castle/Texas 1:33 gDGCD, 11.Callaway [Lee Hammons] 2:53 eCGCD, 12.Callaway [Maggie,Burl,Sherman Hammons], 2:46 eCGCD, 13.Old Joe Clark 2:19 gDGBD, 14.Sugar Babe 2:23 eEABD

15.Quince Dillon's hi-D 1:52 gCGCD, 16.Chicken Reel 1:25 gCGCD, 17.Sally's a-siftin Sand 1:52 gDGCD, 18.Big Eyed Rabbit 2:14 gDGBD, 19.Green Willis 2:14 gCGCD, 20.Diamond Joe 2:45 gCGCD, 21.Boll Weevil 2:12 f#ADAD, 22.Old Molly Hair 1:45 gCGCD, 23.Soldier's Joy 2:34 gCGCD, 24.Waterbound 2:07 gDGBD, 25.Frosty Morn 2:44 gDGCD.

This recording includes 25 solo banjo tunes which I recorded at Brown's Creek over the summer of 2004. After listening to it, I am able to see that my music has been changing over the recent few years. I think you will like it... Dwight

Red Rooster

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Musicians
Tom King A1, A4, B1, B3, B8, B9: guitar, mandolin, harmony.
John Gallagher A1, B8: fiddle.
David NEmec A3, A8, A10, B7: guitar, bass, harmony.
Bill Blatner A10, B7: harmony.
Middle Mtn. Boys A2, A6, B5: vocals, fun. (J. Simmons, B. McDanials, J. McCarty, B. McKenny, T. Keatly, T. Blankenship, J. Jackson, D. Ames J. Campbell, T. Shirkey.

In the late '70's, I worked for extended periods as a substitute music teacher at my old alma mater, Marlinton (WV) Elementary. We sang old mountain songs exclusively in all 20 classes. Many of the students rallied when offered this fare. The WV educational system, I'm sorry to say, has been generally successful in eliminating everything pertaining to the mountain culture by branding it inferior, ignorant, etc.

However, since Oct. '91 there has been a new twist of events at Marlinton Middle School. A group of ten self-motivated boys from the mountain culture has taken it upon themselves to start learning the old stories, music songs. They have each built a dulcimer and are learning to play it.

My role has been as a volunteer facilitator and has been a labor of love. Seldom in my 20+ years of teaching banjo have I had the opportunity to teach a native West Virginian, especially youth from the mountain culture.

I am thankful for those non-natives who have kept and are still keeping our heritage alive while we have discarded it. I am also thankful for those 12-15 year old young men who have had the guts to go against the flow and instinctively taken ahold of their rightful inheritance. Hold on, boys!

O DEATH O Death

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I am particularly fond of the old lonesome southern mountain music from the 19th Century. Central and Southern W. Va. had far and away the most and best of this in my opinion. However, the old people who could play and sing the music are just about gone. I have been blessed with knowing many of them over the past 25 years. Those old tunes are still sometimes played, but generally the heart and soul, the essence, is missing. I went for the essence using whatever tools were at hand. You will have to judge my success. Also, I intended to dedicate this tape to Howard Zane, but was afraid he would write me out of his will. Lastly, after I did my part on this tape, it was taken northward across several state lines for processing. I'm not real sure about all these strange sounds that turned up after Mad Dog got ahold of it.

Other Musicians on Album
David Nemec, Dirck Westervelt, Ms. Mary Maxim, Ruby T. Maide, Mad Dog.
Source of Tunes
Burl Hammons A3; Sherman Hammons A7; Lee Hammons B9; Lee Sherman A8, B3; Maggie Hammons Parker A4, A5, B4; Inez Chandler (NC) A4; Currence Hamonds (G. Milnes) B10; Henry Reed A2, A6, B2; Aunt Jenny Wilson B8; Clay County, W. Va. Fiddlers A1, A3, B1, B7; North Carolina A7, A9, A10.

PINEY WOODS

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John Gallaher (fiddle): I'd like to express my gratitude to those older musicians who were initially drawn to the music for the beauty they heard in it. Keeping sight of that beauty through times of unpopularity and disregard has allowed the rest of us our chance to hear it for the first time too.

Dwight Diller (banjo and vocal): Best known of the old local (Pocahontas County) musicians were the Hammons who had lived and/or worked in the Yew Pine Mountains. When I met them they still remembered the old music and stories which I absorbed with great delight. Then in 1970 I encountered a large number of young adults who were also learnng the old Appalachian music. Though most of their music was different from mine, I enjoyed learning, playing, teaching, and performing it over most of the next twenty years. By the time I visited Ron Mullennex in September, 1990, however, I was weary of the music. One Friday night, Ron stubbornly insisted that I play some Hammons tunes with him. Reluctantly I obliged and rediscovered my birthright.

It has been an honor and a pleasure to share this recording with two powerful musicians who love and respect Central West Virginia music. Our goal was to play to our fullest within the tradition that is now in our hands. I would like to dedicate my part of the album to: 1) My brother Ron Mullennex, the ridge runner who bears the heavy burden of dragging me back into this crooked music. 2) My brother, David Nemec, the flatlander whose skill, equipment, patience, generosity, and savvy made this tape possible. Every tune on this tape was learned directly from the Hammons. Be careful, this stuff is strong medicine. "Hit's good for what ails you if you can keep it down." Marantha.

PAPA

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"Abba" is the Aramaic word for "Daddy" or "Papa." Jesus makes it clear that through Him, not only is it possible to finally have direct access to Yahweh, but it is also possible to address the God of the universe as "Abba"/"Papa."

Personnel contributing huge amounts of assistance: Dan Gardella, unsqueaky fiddle; Frances Harmeyer, flute; Ernestine Hannah, vocal lead; Larry Combs, guitar and complaints; Ginger Must, vocal lead and harmony; Fiddle Bill Blatner, vocal harmony; Doug Van Gundy, recording, art layout, and unsolicited advice; Dave Nemec, recording, executive producer, master-at-arms, vocal harmony, bass, song salvage, and a whole raft of other stuff too numerous to mention; (Diller, clawhammer banjo, vocal lead and harmony).

JUST BANJO Just Banjo

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Dwight Diller has the much-deserved reputation of being one of the country's best old-time banjo players. But he's much more than just a banjo player, he is a force of nature. You think I'm exaggerating? Then give a listen to the rhythm, drive and emotion that Dwight brings to his relationship with the banjo and these tunes. This is music that can change your inner landscape, music that can carry you to the top of a sun-drenched mountain, or to an old-time barn dance or to the bedside of a sick neighbor. The traditional music of central West Virginia has always had the power to transport the listener and on this recording, his seventh, Dwight is firmly in the driver's seat.

While this is traditional music, Dwight Diller is not a reenactor. In his hands, these tunes (some of them quite ancient) are not dusty items in a museum, but rather part of a vital and living musical tradition.

For those of you who already know and love the music of Dwight Diller, this collection of solo banjo pieces is his best yet. And for those of you listening to this powerful musician for the first time, you are about to make a delightful discovery.

Douglas Van Gundy
Marlinton, West Virginia
August 28, 1996

These tunes were recorded at the Mennonite Church of the Mountains, US 219 North, Hillsboro, WVa (where Dwight is pastor) between 3:20 pm 6:10 pm on 26 June 1996 by David Nemec. He then took it to his home at Naugatuck, CT in a plain brown wrapper for purposes of production.

The photograph was taken donated to the cause by Bates Littlehales, Pendelton County, WVa. The banjo was worked up for Dwight by Lo Gordon of Brevard, NC. Ambiance was provided by trucks (enroute) from Burks' Logging, Maranatha.

HARVEST WV MOUNTAIN MUSIC Harvest

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NEW PLOWED GROUND

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Notes include banjo tunings when they are non-standard. Dwight plays the gourd banjo (made by Bob Thornbug) on They Obeyed and Muskrat.

JUST BANJO '99

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While some of these songs are on Dwight's previously released recordings, all of the material presented here was recorded in late Sept 1998. Then once again a plain brown wrapper was used to transport it by David Nemec to his home at Naugatuck, CT for purposes of production.

"Warning!! This is NOT Background Music This is Music to Listen To listen to it loud driving down the road listen to it soft on a winter's night listen to it studiously to get that tune that you thought was so simple, but now is so complex listen to it thoughtfully and remember the people and the mountains where it came from find the story it has to tell LISTEN! - Tersh McKracken"

BOATSMAN
CLUCK OLD HEN
TURKEY IN THE STRAW
YEW PINE[Y] MOUNTAIN
BLACK-EYED SUSIE
SHOOTIN CREEK
TEXAS
CRIPPLE CREEK
KITCHEN GIRL
JOHN LOVER'S GONE
FALL[S] OF RICHMOND
WEST FORK GIRLS

ARKANSAS TRAVELER
ABE'S RETREAT
CUMBERLAND GAP
THREE FORKS OF REEDY
CALADONIA MARCH
SALLY ANN
SANTA ANA'S RETREAT
REUBEN'S TRAIN
ROCKY MOUNTAIN GOAT
GOD GAVE NOAH
PINEY WOODS

HOLD ON

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1. Diamond Joe, 2. Lizards in the Spring, 3. Cindy*, 4. Put Your Hand to the Plow, 5. Sally Ann, 6. Pretty Little Dog, 7. Yew Pine Mountain, 8. Blue-Eyed Girl, 9. Cluck Old Hen, 10. Stay All Night, 11. Otto Wood, 12. Old Mother Flannegan, 13. Banjo Medley (Walkin in the Parlor, John Lover's Gone, Callaway), 14. Sail Away Ladies

This was Dwight's first recording, and it included Bo Hughes on fiddle, Johnny Burks on bass, Tom King on guitar and vocals, and Dwight on banjo and vocals. It was recorded by Jim Martin of Dry Ridge Studios on Sunday afternoon before deer season opened, 1988. Over the previous 14 years, Dwight had, for the most part, stopped playing the old time music.

In England
Dave Bing and Dwight Diller

Dave Bing and Dwight Diller were well received in England

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Total playing time: 54:34

a quiet moment... Though Dwight and I have known each other for years and often play at the same fairs and festivals, this trip was the first time we had played together for a show of any length. I soon found that the task of finding common tunes was not a difficult one. When playing with Dwight, you scrap away the crud, wipe off the makeup, and find the pure feeling of the tune. You never have to worry about where the beat is or what the main structure of the tune is, which makes it easy to use his foundation to react with your own dynamics and interpretation of the tune. After spending a month together, Dwight and I are still speaking to each other. We are even considering another trip this fall.

Thanks to all those in England, Scotland, and Wales who made this trip so great. Thanks to the dozens of people who housed and fed us, had us play at their folk clubs, took our workshops, and showed us unbeatable hospitality. Special thanks to Keith and Brenda Johnson, and to Phil Tyler, who still drives on the wrong side of the road.

Dave Bing
26 August 1999

Fabulous Festival Favorites: Field Recordings Volume 1
Dwight Diller and Friends

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June Apple [1] (3:40), Sugar Hill [1] (2:58), Tempy [1] (4:07), Julie Ann Johnson [1] (2:53), Forked Deer [3] (3:33), Cotton-eyed Joe [2] (2:42), Liberty [3] (3:28), Hawks and Eagles [1] (2:44), Hang Me [1] (4:30), The 8th of January [1] (2:55), Mississippi Sawyer [1] (3:48), Ducks on the Millpond [1] (1:32), Year of Jubilo [4] (3:04), Blue Eyed Girl [4] (5:08), Sweet 16 [4] (3:53), Lost Indian [4] (5:13).

[1] Bo Hughes [2] Dave Keller [3] Doug Van Gundy [4] Johm Morris and Larry Combs

I had started trying on my own to seek out the music of my home here in Pocahontas county during the late '60's. The old music was virtually dead at that time in this area. Having a good notion, I went digging around and found some old people who still remembered the real music. Their last names were Hammons, Carpenter, Coffman, and Waugh. My attempts to learn the instrument amounted to nothing during that period. It only served to ingrain a bunch of poor habits that would have to be unlearned which is a neverending process once absorbed. Take heed, you who attempt to teach yourselves.

After spending time with the local people and internalizing their music, I attended my first festival in June '70. It was a real eye opener. That winter had been an extremely dark one for me, and when I met all those old musicians of southwest Virginia and North Carolina, the world again brightened up. There were also many young college kid musicians attending these festivals who were trying to play the music of that regioun. I fell right in and started trying to learn it too. What has become known as the "round peak" music was, for me, very seductive, and I enjoyed working on it. Up to that point, I had been a "voice crying in the wilderness" here in Pocohantas County. So, not only was I being challenged, but there was finally a crowd that I could mix with socially. With the help of the old folks and young folks and college work, my life was stabilized somewhat for about a year and a half.

Late May '72, John and Dave Morris gave me a call to come and play banjo for them. With only two years playing experience under my belt, I was very much a fledgling banjo player. The winter of '72 was another that had been long and extremely dark. This opportunity to be in their band was literally used to keep me alive for a while longer. John and Dave had received a Rockefeller Foundation grant to set up 5 small festivals in Kentucky, Virginia, North Carolina and West Virginia. From this, my indoctrination into Clay County music began. John and Dave, as young musicians, had the fire also. Playing music with their approach is what I really cut my eyeteeth on. Establishing these festivals gave me the chance to spend time with Lee Tripplett, Ira Mullens, Wilson Douglas, Glen Smith, Doc White, and Gruder Morris. It also provided the occasion to meet many fine folks in other Appalachian regions such as the friends we made in Sodom Laurel, Madison County, North Carolina. Sheila Kay Adams was the main young mountain native that we met at those gatherings that when on to become a really well known spokesperson for traditional Appalachian culture and a professional musician. She is known everywhere that the old music has infiltrated.

John and Dave practiced the "catch-as-catch-can" method of playing the music: Never practice as a group, walk on stage and learn new material while there, often changing keys and tunings from one tune/song to the next. This style insists that the musician stay loose, listen closely, react quickly, learn patterns, overlook mistakes, learn to retune "on the fly" amidst a lot of background noise while keeping the rhythm driving very hard whether the music is slow or fast, whether you know the music or haven't a clue, and live on about $20/week. This experience has served me well over this 30 years (May '72 - May '02).

After being confronted directly by Jesus and accepting His offer, I have never again had to depend on old time music to keep me alive.

The question might arise: "Why are you recording these tunes since you seldom, if ever, play them anymore?" Here are four possible answers: One: These are fellow musicians with whom I very seldom play music although I enjoy and respect their music highly. They easily cover my mistakes. Second: In recent years, I have been asked how I would play such and such tunes if they were put in front of me. This allows me to play them so I can show rather than tell, and it releases me from playing them again if need be. Third: Hopefully there will be music here that the listener can enjoy and learn from. Fourth: mercenary motives and mercantilism.

Thanks for my friends who donated a minidisc recorder to the cause. These are all field recordings set up in a dining area. It just worked out that way. Go figger. No attempt was made to "clean up" the recordings. They are just what they are" out of the studio and into the homes among friends where old time music was meant to be played. I thoroughly dislike to record in studios.

I would like to thank Russ and Gail Hatton for passing along the recordings from the John Morris, Larry Combs and Diller session at the Cass retreat "echo chamber" 14 Oct 99. Blame John for most of the singing. As you can hear -- "a good time was had by all!" All other recordings were made in Feb/Mar '02.

I would like to thank the Bodie Silver Sound for their financial support. Each Bo.S.S. member insists on being a CEO but refuses to be held accountable for anything (shades of Enron) nor even give their full names. They are: Bob, Ernie, Ian, Jerry, Kevin, Stewart. I will say that they are all from west of the Mississippi, if that will help.

For the record (no pun intended), no musicians were abused, and no documents were shredded during the whole process.

Bo Hughes: From Lexington, VA. A good friend of 22 years, Bo was the fiddler on my 1988 recording, HOLD ON! Bo and I have only played music together a handful of times since 1984. However, the day we sat down in his dining area to record these tunes, it felt as if we had played together once a month over the past 18 years. For my ear, Bo may possibly be the only classically trained violinist (who has also continued to play in an orchestra) to successfully make the transition into becoming a top of the line old style fiddler. Bo made the necessary sacrifice to learn the old music that touched him deeply. Bo's music is always honest; he has never given in to playing music that is affected. No cloning. Bo has at this time taken on the task of sharing his investment by teaching others in the Rockbridge County, Virginia area on banjo and fiddle. I also want to say that he has been a real support for me and my career over the years. Keep in mind, however, behind that quiet demeanor beats the heart of a 440 Mopar.

Doug Van Gundy: Raised in Elkins, WV. After living everywhere, he settled in Marlinton, WV (my home town) from 1991-02. He is presently back in Elkins like Brer Rabbit in the briar patch. Being the great poet that he is, Doug's work helped me develop more appreciation for poetry. Doug was blessed to have had an opportunity to spend several months with Mose Coffman ('92 - '94). Mose ('05 - '94) was a fine WV fiddler from Greenbriar County, WV and can be heard on the SHAKING DOWN THE ACORNS album (now included on the Library of Congress two CD Hammons family release through Rounder Records). Doug is a fiddling, banjo-thumping, guitar picking, singing member of a three piece old time band, THE YAHOES (w/ long 'A') stationed in central WV. They stay in demand because of their obvious respect for the music, their ability to present it well, and their creative zingers. I selected the speed for his tunes.

Dave Keller: Alien-in-residence in Lansing, Michigan. He started working on the fiddle about four years ago. His music brain has been mostly influenced by head-banging metal and Fiddlin' Glen Smith of Elizabeth, WV. Dave has the world's largest collection of holograms. This helps his music immensely. With this great combination, Dave is making tremendous strides in the music.

Larry Combs: from the southern end of the Yew Pine Mountains, near Hillsboro. Larry has so much old time music in him that it just spills out when he picks up the guitar. His "feel" for the music puts him in the same genre as Doc Watson's ability to speak the mountain speak on the guitar. More of Larry's fine guitar work can be heard on my PAPA recording. The tunes we were playing on this recording were a lot of fun, but don't do justice to Larry's ability to play the music that requires a very sensitive touch. As far as old time music on the guitar, Larry can do it all.

John Morris: From Ivydale, Clay County, WV. John, and his brother David, were literally raised in the old time music tradition. Those raised in the real mountain music tradition from infancy are virtually extinct. Their Morris family old time music festivals from '68 - '73 had a tremendous influence on the so called "revivalist" movement in traditional Appalachian music from the '60's to the present. Their festivals introduced many, many flatland city kids to the indigenous music of central WV which is a music with great depth and fire. Their Ivydale festivals served the same purpose as the many such as those at Galax, Independence, VA and Mt. Airy, Union Grove, NC in the late '60's and early 70's. It is a shame that no credit is given where credit is due. Those thousands that flocked to their festivals and drank from the fountain of central WV music seem to have forgotten to acknowledge that they were nurtured at Ivydale also. Many, or probably all, of those who sing praises about the widely known Clifftop, WV festival have no idea that the mother of that festival lived in Ivydale decades ago.

A few comments: Jerry: ''.....After hearing this music just one time I lost weight, my skin cleared up, and now animals and little children like me better. ....." Ian, one of my students, says that upon hearing these 'peaky' tunes, they make him want to 'strum' up on the neck of the banjo. Stewart, of the real north, says: History repeats itself. Has to. Nobody listens. LISTEN