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Camp Blodgett

10451 Lakeshore Dr | West Olive, MI

Weekend Camp on the Lakeshore

Thursday 10/11/18 – Sunday 10/14/18

Award Winning Instructors

Live Performances & Ensembles

Limited Camp Registrations

Reserve your spot soon!

About this event

A Unique Musical Experience!

Join us on Michigan's beautiful west coast for a truly inspiring musical experience: World renowned Instructors, Expanded curriculum, New ensemble tracks, Concerts, jams, & performances!
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Camp Mission

Great Lakes Music Camp provides an all-inclusive experience, by: Fostering fellowship with among campers, Carrying on traditional music to younger generations, Channeling love for music into environmental and social good, and making sure everyone has a ton of fun!
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Scholarship Program

We believe in a humble responsibility to pass the torch to younger generations. We provide the opportunity for eager music students, ages 16 and under to take part in what will surely be an unforgettable experience in a family-friendly atmosphere.
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Event Partners

Are you or your organization interested in partnering with Great Lakes Music Camp? See how you can become part of this lakeshore music experience, and how your support can benefit the students, communities non-profits, and fans of this traditional music collective.
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"Great lakes music camp has the perfect combination of professional attitudes, combined with a sense of community building and helpfulness. It's the perfect atmosphere for learning traditional music." – Budd Greenman
"The Great Lakes Music Camp is already proving it's ability to help strengthen the next generation of traditional music in this region, and I am honored to be a part." -- Hayes Griffin
"The small classes allowed the instructors to answer individual questions and give personalized feedback to every musician. The diversity of instructors also meant I was able to learn a wide variety of new skills." – Drew Najor
"The instruction I received during camp was fantastic! Not only that but the environment of friendly support and encouragement was special. I can't wait to go back!" -- Evelyn Timmis
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Instructors & Staff

Bruce Molsky

ABOUT

He’s a self-described “street kid” from the Bronx who bailed on college and big city life for a cold-water cabin in Virginia in the 1970s. His mission?  To soak up the passion that was dramatically upending his parent’s life plan for him  – authentic Appalachian mountain music – at the feet of its legendary pioneers, old masters who are now long gone.

 

Today, Bruce Molsky is one of the most revered “multi-hyphenated career” ambassadors for America’s old-time mountain music. For decades, he’s been a globetrotting performer and educator, a recording artist with an expansive discography including seven solo albums, well over a dozen collaborations and two Grammy-nominations. He’s also the classic “musician’s musician” – a man who’s received high praise from diverse fans and collaborators like Linda Ronstadt, Mark Knopfler, Celtic giants Donal Lunny and Andy Irvine, jazzer Bill Frisell and dobro master Jerry Douglas, a true country gentleman by way of the Big Apple aptly dubbed “the Rembrandt of Appalachian fiddlers” by virtuoso violinist and sometimes bandmate Darol Anger.

 

“Bruce Molsky is one of those great players who ‘gets it’: has all the links to the past but is happy not to be chained to it” – Mark Knopfler


WEBSITE

www.brucemolsky.com


SESSIONS

Fiddle

 

Grabbing Tunes From The Air:  One of the beautiful things about old time fiddle tradition is how the music is passed around by ear. Come hone your ear-training skills as we work through the phrases and bowing of some good old tunes. (for all skill levels)

 

Singing With The Fiddle: We’ll explore combining voice and fiddle through some simple exercises and then work up a song with chord and melody/harmony accompaniment. (intermediate/advanced)

 

Old Time Fiddle Bowing: All the great old time fiddlers like Tommy Jarrell, Luther Strong, Benny Thomasson and so many others had unique and personal bowing styles that really made their playing speak. In this workshop, we’ll work up some tunes with an emphasis on how to move the bow. (advanced)

 

Old Time Fiddle Repertoire:  Bruce will play through some favorites, slow them down for the recorders, and take a few requests (if he knows them!) (beginner/intermediate)

 

Old-Time Fiddle, the Subtle Stuff: Some of the details of ornamentation come from Scottish and Irish music, some of the tonal and rhythmic feeling from African music. Other elements are distinctly American. All of them come together to make the distinctive sound of old-time music. Come and explore the details, and we’ll plug them into a tune or two and see how they work. (intermediate/advanced)

 

Banjo

 

Clawhammer Banjo: We’ll look at some different right hand techniques like drop-thumb, rolls and cross-overs, and work out some nice versions for a tune or two. (intermediate)

 

Wade Ward’s Banjo Style: Benjamin Wade Ward, who was recorded by Alan Lomax in the 1930s, was one of most respected of the old style Virginia players. His playing had great rhythm, drive and sheer musical guts. We’ll look at what made it so strong, and learn some of his tunes. (for all skill levels)

 

Name that Tune!: This course is for everyone who just wants to expand their ears, hear some cool old recordings hand-picked by Bruce, and we’ll discuss styles, history of the tune, etc. (for all skill levels)

Bruce Molsky

Lead Instructor – Fiddle

John Mailander

ABOUT

John Mailander is an acclaimed multi-instrumentalist who moves listeners in concert halls, festivals, and music camps at home and abroad. A sought-after performer, teacher and recording artist, John is known for his deeply rooted voice on the fiddle, mandolin, and other stringed instruments.

 

He has toured and performed with some of the greatest names in the acoustic music world and beyond, including Billy Strings, Darol Anger, Molly Tuttle, Tony Trischka, Col. Bruce Hampton, Joe K. Walsh, Lee Ann Womack, Missy Raines, Danny Paisley, Laurie Lewis, and John Reischman, to name a few. He was the featured fiddler for Steve Martin & Edie Brickell’s musical, Bright Star, for its debut run in Poughkeepsie, New York.

 

As a teacher, John has been on staff at some of the most prestigious music camps in the Americas, including the Puget Sound Guitar Workshop, Augusta Heritage Center Bluegrass Week, California Bluegrass Association Music Camp, and Nimblefingers Old Time & Bluegrass Music Workshop. He also keeps a busy private instruction schedule, teaching students all over the country in person and online. His first instructional book, A Fiddler’s Guide to Moveable Shapes, was published in Fall 2017. He is a graduate of the Berklee College of Music in Boston, MA.

 

“John Mailander is a wonderful fiddler, with great improvisatory and compositional skills. He’s rooted in tradition but can stretch in many other areas. He’s diligent and focused and one of the nicest people you’ll ever meet.” – Tony Trischka


WEBSITE

www.johnmailander.com


SESSIONS

Moveable Shapes: An approach to playing double stops and melodic ideas in different keys. (beginner/intermediate)

 

The “Hey” Game: Fun times with listening-based group improvisation. (for all skill levels)

 

Accompanying Singers with the Fiddle: A discussion of tasty and not so tasteful ways to back up vocalists. We’ll even have a rhythm section on hand for this so you can try what works and what doesn’t for yourself! (intermediate)

 

Chop chop: Rhythmic accompaniment techniques on the fiddle explored and demystified (beginner/intermediate)

 

Listening session: Relax, listen to and discuss a diverse selection of inspiring music from the bluegrass world and beyond. (for all skill levels)

 

Let’s Learn an Obscure Bluegrass Fiddle Tune Together:  Splan Expelfatory (intermediate/advanced)

 

John Mailander

Lead Instructor – Fiddle

Kenny Smith

ABOUT

Kenny is in great demand at guitar workshops and master classes, teaching at the renowned Roanoke Bluegrass Weekend series, Kaufman Kamp, Acoustic Music Camp, Augusta Bluegrass Camp and at guitar workshops at major events such as IBMA. He has released a two-DVD instruction set on AcuTab Publications.


WEBSITE

www.kennysmithguitar.com


SESSIONS

How to be a solid rhythm player: We will work on a basic pattern and add embellishments to our strum. We will talk about various G runs and the role it plays in bluegrass guitar. (beginner/intermediate)

 

Fine tuning your technique: Right and left hand discipline. Tips on playing cleaner. Working on playing at faster tempos. Insights on what I practice at home and things you leave the camp with to improve your technique. (for all skill levels)

 

Ideas for a solo:  In this session we will pick some common tunes and I will stop and explain what I just played. What was I thinking? Students will get a chance to solo, ask questions, and we’ll break down simple concepts that help us develop as an improvisor. (beginner/intermediate)

 

How to keep your playing fresh: Ideas to keep you from playing the same old thing. Thinking with your right hand instead of being on autopilot with the left hand. (intermediate/advanced)

 

How to take an arpeggio and turn it into music:  Dive in and learn how to take four notes and make them a part of your playing vocabulary. We’ll develop musical ideas so our notes have meaning and emotion. (intermediate)

Kenny Smith

Lead Instructor – Guitar

Don Julin

ABOUT

Don Julin, author of the best-selling Mandolin For Dummies (Wiley 2012), and founder of Mandolins Heal The World is regarded as one of the most eclectic mandolin players and top mandolin instructors on the scene today. Julin’s patient yet detailed teaching style is appreciated by students of all levels. His workshops, classes, or private lessons feature a hands-on approach focusing on developing good left- and right-hand skills, along with a dose of ear training and music theory.


WEBSITE

www.donjulin.com


SESSIONS

Easy Classical Duets: Explore the world of duets with simple minuets written by the masters. Each session will learn one minuet. Half of the class will play part one and the other half will play part two. Music is in standard notation and tab. Come experience the joy of playing in a mandolin ensemble.

(for all skill levels)

 

Building a Traditional Bluegrass Style Mandolin Break: So you have learned a bunch of fiddle tunes and can strum chords fairly well but still are not sure how to approach an instrumental break in a bluegrass song. By using the simple method shown in this workshop, you will be able to construct great traditional sounding mandolin breaks. This method is demonstrated with the classic bluegrass song “Long Journey Home.” (intermediate)

 

Playing Some EZ Fiddle Tunes: Five fiddle tunes that every mandolin player should know. In addition to sounding great on the mandolin, fiddle tunes are a great way to hone your left and right hand skills. Flop-Eared Mule, Red Haired Boy, Soldier’s Joy, Golden Slippers, The Girl I Left Behind Me. (intermediate)

 

Get Rhythm Pt.1: Don’t underestimate the power of the mandolin as a rhythm instrument. With simple chord forms, rhythm patterns, mutes, and more, Get Rhythm workshops will turn your mandolin into a serious rhythm instrument. Explore a variety of rhythm patterns used in folk music, old-time, traditional country, bluegrass and some pop music styles. (beginner/intermediate)

 

Get Rhythm Pt.2: As great as the four finger bluegrass style “chop” chord is when playing traditional bluegrass, there are better choices when playing other styles of music on the mandolin. Whether you are into Jazz, swing, old time, bossa nova, rock, blues, or pop music, this workshop will expand your mandolin rhythm and chord vocabulary and get you playing great rhythm mandolin in a variety of styles including, swing and jazz, bossa nova/sambas, clave patterns, and more. (beginner/intermediate)

 

The Art of The Tremolo: Tremolo can be defined as a rapid reiteration of a note causing a sustained effect. This is one of the defining techniques of the mandolin but can be one of the most difficult to master. This class will help unlock the secrets of developing a smooth tremolo and demonstrate how it can be used in a variety of settings. (intermediate/advanced)

 

Intro To Blues Mandolin: A wise old musician once told me “There are only two songs ever written; one was the blues, and one wasn’t”. This class will introduce mandolin players to the basic 12 bar blues progression, the use of “blue notes”, shuffle rhythms, the minor blues scale and more. Once you gain a basic understanding of blues harmony, you will be able to add some “blues” into anything you play. (beginner/intermediate)

 

Don Julin

Lead Instructor – Mandolin

Joe K Walsh

ABOUT

Roots music isn’t made in a vacuum. It’s the creation of a community, of a circle of friends, of a teacher and a student. It’s something to be passed back and forth to be treasured. As an acclaimed master of American roots music, mandolinist and songwriter Joe K. Walsh knows this better than most. He’s toured with countless artists, collaborated with other master musicians like Darol anger and the Gibson Brothers, founded progressive stringband Joy Kills sorrow in the early 2000s, and is currently on faculty at the prestigious Berklee College of Music. His new album, Borderland, is an exercise in subtlety and careful creation. Turning through songs he wrote, or setting the words of Yeats to music, and picking out instrumental tunes of his own creation, Walsh plays and sings with the kind of ease that comes from years of practice and creation.

 

The touch of sawdust in his vocals, or the buzz of the mandolin strings may hint at the deep rural roots of this music, but what he’s creating now is a new kind of tradition. His first inspiration came as a teenager when he heard David Grisman, and then again when first hearing Del McCoury. The music he heard at that young age opened a window to new harmonic possibilities, and started Walsh exploring how to create new American roots music. What’s surprising then is that his new album is no act of wild fusion. Instead, it’s a joyful exploration of just why he loves this old music so much in the first place. With mastery comes restraint. With nothing left to prove, Walsh has dived deeper into the tradition, seeking to craft new music from old roots.


WEBSITE

www.joekwalsh.com


SESSIONS

Easy tunes that sound good on solo mandolin:  We all play by ourselves at home quite a lot. It’s always nice to find a tune or two that can sound like a complete story while played on one mandolin. In this class we’ll check out one or two of these. (beginner/intermediate)

 

The Golden Eagle, or the perfect learning vehicle: The Golden Eagle, a twisty tune played all over the country, is a great vehicle for learning about arpeggios, for working on non-diatonic sections, for checking out different ways to play triplets, and for working on our right hand string crossing chops. Plus it’s a fun melody. We’ll learn the tune, and then learn some larger concepts that the tune demonstrates.  (intermediate/advanced)

 

Dawg mandolin: David “Dawg” Grisman has written some of the most classic mandolin and string band melodies, and his tunes are loved and played everywhere. We’ll learn a couple of the friendlier Dawg tunes. (intermediate/advanced)

 

Fingerboard layouts:  We will develop our knowledge of fingerboard pathways, using arpeggios patterns, working towards being able to play a simple blues in every key. (intermediate)

 

Moveable and changeable chord shapes: How G C and D can give you all the chords you’ll ever need – The three simplest chord shapes (G C and D) that we learned way back when we first picked up the mandolin can be moved and modified to give us all other chords that we might eventually need. In this session we’ll work on moving and changing these chords, working our way up being able to play chords on a simple jazz standard.  (beginner/intermediate)

 

Doublestops: Doublestops (two note chords) are a huge part of the mandolin sound, and are hugely helpful in informing our knowledge of how and where to find chord tones. We’ll learn some simple recurring patterns that will open up doublestop options to us in every key. (beginner/intermediate)

 

Improvising on a fiddle tune: In this class we’ll learn a simple diatonic fiddle tune, and then we will use this fiddle tune as a vehicle for exploring various ways of improvising melodically. (intermediate/advanced)

Joe K Walsh

Lead Instructor – Mandolin

David Benedict

ABOUT

Originally from South Carolina, mandolinist David Benedict is a Boston-based performer, composer, and instructor seeking to blend tradition and innovation through his music. Alumnus member of Missy Raines & The New Hip and producer of the popular weekly Mandolin Mondays video series, David is now a part of the IBMA Momentum Award-winning New England bluegrass band Mile Twelve.

 

In 2013, he graduated with a unique degree in mandolin music performance from Bryan College in Tennessee, where he studied with Grammy-nominated mandolinist Matt Flinner. Since then, David has played at venues and festivals across the southeast including the Savannah Music Festival and TEDx Conferences–sharing the stage with such musicians as Casey Driessen, Matt Flinner, Julian Lage, Mike Marshall, Tim O’Brien, Darrell Scott, Tommy Emmanuel, and others. In 2017, he was nominated for the International Bluegrass Music Association’s Momentum Award Instrumentalist category.


WEBSITE

www.davidbenedictmusic.com


SESSIONS

Geeking out on Groove: In this course, we’ll be listening to some sample recordings of different acoustic bands ranging from trad to modern to dissect the nuances of group rhythm—honing in on the specific roles of each instrument in the band. (beginner/intermediate)

 

Jiving on the Jigs: In this course, we’ll be jumping into the deep end of the Irish jig pool—learning repertoire, building comfort and versatility with the new right hand jig picking pattern and Irish triplet techniques, as well as exploring ideas for melodic variations with each tune. (for all skill levels)

 

Notes on Chords – In this course, we’ll be learning some chord theory in addition to discovering movable chord shapes for bluegrass, swing, and other genres to expand your harmonic vocabulary and help you feel more confident in different accompaniment styles. (intermediate)

 

One Stop Double Stop Shop – In this course, we’ll be launching into the bluegrass double stop idiom, learning the tricks of the trade to locate movable shapes and to play familiar melodies in a bluegrass style in various keys. (for all skill levels)

 

Waltz Warehouse – In this course, we’ll get you started on a couple classic bluegrass waltzes and check out the unique techniques of measured waltz tremolo and other embellishments to make your waltz playing really dance. (for all skill levels)

 

Revuegrass Revival – In this course, we’ll be taking a few looks at the progressive instrumental side of Newgrass and New Acoustic music, getting hip to the tunes and techniques of the great masters Bela Fleck, David Grisman, and others. (intermediate/advanced)

 

Fleshing Out Fiddle Tunes: In this class, we’ll take a look at how to expand your playing on fiddle tunes, using the melody as a way of exploring the fingerboard, making creative variations, and improvising in the moment.  (intermediate/advanced)

 

Transcribe, Transcribe, Transcribe: In this class, we’ll develop the skill of “grabbing notes out of the air,” equipping you with the tools and confidence necessary to learn solos note-for-note from recordings, to analyze these breaks theoretically, and to practically apply them to your own improvisation. (advanced)

David Benedict

Lead Instructor – Mandolin

Bill Evans

ABOUT

A professional player for over thirty-five years, Bill has spent a lifetime learning and sharing knowledge one-on-one with such bluegrass banjo masters as Sonny Osborne, J. D. Crowe, Alan Munde, Tony Trischka, Bill Keith and Ben Eldridge.

 

Bill’s students include a new generation of banjo masters: Chris Pandolfi (The Infamous Stringdusters), Greg Liszt (Crooked Still & The Deadly Gentlemen), Jayme Stone, Wes Corbett and Erik Yates (Hot Buttered Rum). However, Bill equally enjoys teaching the adult learner who wants to just have fun playing with others in jam sessions and amateur bands.

 

“The banjoist has a world view shared by a precious few. It shows in the breadth of his own bluegrass playing and, especially, through his composing. Evans infuses his work with hints of jazz, classical and music of other realms, all fitting snuggly into his conception of the bluegrass sound. ” David Royko, The Chicago Tribune


WEBSITE

www.billevansbanjo.com


SESSIONS

Bluegrass Trio Harmony Crash Course: No prior experience necessary (for all skill levels).

 

Banjo Jam Survival Skills: All you need to know to have a blast at your next jam or band rehearsal (for all skill levels).

 

Melodic Banjo: Concepts, strategies & practical applications (intermediate/advanced).

 

Single-String Banjo: Concepts, strategies & practical applications (intermediate/advanced).

 

Working Up Scruggs-Style Solos: Finding melody notes, using rolls & licks to create a bonafide sounding solo (beginner/intermediate).

 

Banjo Backup: Accompanying up and down the neck on all kinds of songs (intermediate).

 

Fretboard Explorations for Banjo: Moving beyond standard chord shapes using thirds and sixths and altered chords. (intermediate)

 

Making Your Band Sound Great: could be an ensemble class topic, discussing sharing backup, choosing keys and tempos and arranging songs. (all skill levels)

Bill Evans

Lead Instructor – Banjo

Keith Billik

ABOUT

Keith Billik is best known for his recordings and concert performances with Lindsay Lou & the Flatbellys, Mark Lavengood’s Bluegrass Bonanza, and many other groups in his nearly twenty years playing 3-finger banjo. You may also recognize Keith from his ten years as Showroom Manager and teaching banjo lessons at the world famous Elderly Instruments, or because of his longstanding role as the soundguy and faculty member at the Midwest Banjo Camp.

 

Keith is also the creator and host of The Picky Fingers Banjo Podcast, launched in early 2018, which is listened to by banjo enthusiasts worldwide. Although banjo has been his primary instrument since picking it up (pun intended) in college, Keith has also performed on various other instruments such as the saxophone, keyboards, and guitar, which gives him a broad range of influences to incorporate into his playing. Keith currently lives with his family in the Detroit area, and is proud to be part of the inaugural banjo track at the Great Lakes Music Camp!


SESSIONS

Live Podcast Recording with guest Bill Evans (for everyone)

 

Right Hand Boot Camp: improve your strength, timing, accuracy, and speed (for all skill levels)

 

Using basic passing chords: in I-IV-V progressions (beginner/intermediate)

 

Chord inversions: How to use them in lead & backup playing (intermediate/advanced)

 

Using the 5th string: We’ll look at ways to spice up your playing and make the most out of your banjo (beginner/intermediate)

Keith Billik

Lead Instructor – Banjo

Hayes Griffin

ABOUT

Hayes was raised in central Ohio and started playing guitar at the age of nine. Inspired by the sounds of Bill Monroe, Flatt and Scruggs, and Tony Rice, Hayes completely immersed himself in the world of bluegrass and acoustic music at a young age. As a teenager, Hayes gained recognition playing in local bluegrass bands and winning local flatpick competitions. Around this time his musical interests started to broaden, and Hayes began studying bluegrass and jazz music under the supervision of Andy Carlson, Tom Carroll, and Casey Cook at Denison University, where he eventually earned a B.A. in Music Performance in 2010. After his time at Denison, Hayes became an active member of Boston’s vibrant acoustic music scene while pursuing a master’s degree in Contemporary Improvisation at the New England Conservatory under the instruction of the late, great John McGann.

 

Upon graduating from NEC, Hayes was given the opportunity to tour for nearly four years with renowned Canadian fiddler April Verch, where he hit the road nearly 250 days a year, playing in over 12 countries and 38 states. In 2015 Hayes left the April Verch Band to pursue teaching opportunities in Columbus, OH. As of 2016, Hayes lives in Grand Rapids, MI and tours with the Lexington, KY-based bluegrass band, NewTown.


WEBSITE

www.hayesgriffin.com


SESSION

If You Can Sing It, You Can Play It: This course will provide players with a step-by-step approach to bridging the gap between hearing a sound and reproducing it on your instrument using common

ear training techniques. Similar to the improvisational techniques used by Johnny Gimble, Lester Young, and other great jazz improvisers, this skillset is applicable to all styles and instruments. (intermediate)

 

Swing Rhythm Guitar Styles: This course is designed for guitarists looking to expand their chord vocabulary and learn general techniques for accompanying early jazz, gypsy jazz, and western swing. Inspired by the playing of Freddie Green, Django Reinhardt, and Eldon Shamblin. (intermediate)

 

Tools for the Improvising Guitarist 1:  This course is designed to introduce intermediate guitar players to techniques essential to improvising in bluegrass, swing, and other related genres. The first class will focus on applying triads and pentatonic scales. (beginner/intermediate)

 

Tools for the Improvising Guitarist 2: The second course will focus on more advanced topics like extended arpeggios,harmonic superimposition, and octave displacement. (intermediate/advanced)

 

Arranging Fiddle Tunes for Flatpick Guitar: This class will explore techniques that exploit the guitar’s strengths as an instrument to spice up your fiddle tune arrangements. Material will cover how to

use drone strings, alternative chord voicings, and how to embellish a melody without losing its original character. (for all skill levels)

 

The Major Scale and Why It Is Important: Have you wondered what actually makes a major scale? What about how common chords are constructed? Or why some people use numbers to describe chord changes? This class will explore the origins of the major scale, and how important it is to almost every facet of the music of the Americas and Europe. (beginner)

Hayes Griffin

Guitar Instructor

Bruce Ling

ABOUT

Bruce Ling was born in Chicago, and began playing guitar at age four under the tutelage of his father and uncle, semi-professional musicians involved in Country/Western and Rock and Roll, respectively. He says, “My earliest memories are of picking the melody lines to Hank Williams and Ferlin Husky records on a 1930’s Kay arch-top guitar”. He still uses this guitar when playing Delta Style slide guitar blues.

 

Admired for his musicianship and vocal range, Bruce has shared the stage with guitarist Jerry Reed, singer Bobby Goldsboro, guitarist Harvey Reid, blues man Peter “Madcat” Ruth, saxophonist Boots Randolph, and Grammy Award winning Reggae band Gizzae, and has opened for folk singer Anne Hills, and Cajun fiddler Michael Doucet with his band Beausoleil. He has performed with national award winning dulcimer player Rick Thum, and Jazz greats Chris Brubeck and Bill Crofut, and has fiddled for the moving feet of internationally known dancer Ira Bernstein, and Michigan hoofer/caller/instructor Dan Gorno. The first dance he fiddled for was at the prestigious Wheatland Music Festival, Michigan’s largest traditional arts festival.

 

He took 1st place in the first fiddle contest he entered, the Wild Rose Moon Festival, in northern Indiana in 1993,and again in 1995.  In 2001, at Michigan’s largest contest festival, the Shady Grove Fiddle Fest, Bruce took 1st place in Mandolin, 2nd in flatpicked guitar, and 3rd place in fiddle. He has since been asked to, and has been participating as, a contest judge at FiddleFest.

 

Since 1997 Bruce has fronted his own band “Hawks and Owls”, playing a mix of acoustic based Country blues, Bluegrass, early Swing, Appalachian, Irish, and original fiddle tunes and songs. He has also performed and spoken on many radio programs, stage productions, media interviews, and televised spots. His understanding of the evolution of traditional music is  expressed in his performances, where the audience is treated to colorful facts about the  homegrown music of the 18th and 19th centuries in America, and the immigration of music from the British Isles in those periods.


WEBSITE

www.hawksandowls.com


SESSION

Flatpicked Fiddle Tunes for Guitar: We will explore Tablature, an easy shorthand method of musical notation, and apply that to flatpicking some common fiddle tunes that you’d hear at music sessions and Contra/Square Dances. Flat picks are required and will be provided. (beginner)

 

Guitar Rhythm Accompaniment for Fiddle: Every fiddler desires a solid rhythm guitar accompaniment, and we will explore the possibilities from simple strum patterns to the more complex walking bass lines and ornamentation. Flat picks are required and will be provided. (beginner/intermediate)

 

Common Fiddle Tunes: We will explore some common fiddle tunes that would be encountered at community music get togethers. Music notation will be provided. (beginner/intermediate)

 

The Fiddle Playing of Henry Reed: I will have notated music for a couple of the tunes that Henry Reed gave us that hadn’t been in circulation since the 19th century, and were resurrected thanks to Alan

Jabbour’s recordings during the Folk Revival of the 1960’s. Henry Reed, a rural Virginia fiddle player, was extensively recorded by Musicologist Alan Jabbour from 1966 to 1967 when Mr. Reed was over 80 years old. There are 184 recordings by Henry Reed in the “Fiddle Tunes of the Old Frontier: the Henry Reed

Collection” located in the Library of Congress. This is a Musicologists and Oral Traditionalists gold mine! (for all skill levels)

Bruce Ling

Multi-Instrument Instructor

Drew Najor

ABOUT

Drew Najor is a Grand Rapids based musician who primarily enjoys playing old time, bluegrass, and swing music. As a student at Michigan State University, Drew discovered his passion for traditional acoustic music while jamming with The Pretty Shaky String Band, an East Lansing institution of old time musicians who have been jamming together weekly for more than 25 years. These formative experiences fostered Drew’s commitment to passing on traditional music.

 

Though mostly self-taught, Drew has been attending camps such as Earful of Fiddle and workshops at the Augusta Heritage Center in West Virginia in order to learn from the masters of our time. A working public school educator, Drew greatly values education and has a deep commitment to community building. He is tremendously excited to be the jam facilitator and jam with campers at this year’s Great Lakes Music Camp.


 

SESSIONS

TBD

Drew Najor

Jam Facilitator

Jason Wheeler

ABOUT

A touring musician, instructor, and Executive Director of The Great Lakes Music Camp, Jason Wheeler has been immersed in the mandolin for nearly two decades, focusing on old-time and bluegrass music. Having performed with several outfits such as Hawks & Owls String Band, Junior Valentine, Mark Lavengood, and Fauxgrass over the years, Wheeler has developed a love and appreciation for old music and a drive to reinvent himself as a human and instructor with each note.

 

Wheeler has studied under Don Julin, Don Steirnberg, Bruce Ling, and several notable instructors as well as having attended countless music camps throughout the last decade. Jason has performed more than 100 shows a year for more than seven years with Fauxgrass and still manages to maintain a steady teaching schedule. He will be at several Michigan festivals through 2018 hosting workshops, jam sessions, and performing.

 

With a practical approach to instruction, Wheeler encourages students to enjoy the learning process and get as much time playing and learning tunes as possible. Workshops will be focused on learning tunes and discovering different ways to express and improvise on the mandolin.


WEBSITE

www.fauxgrassmusic.com


SESSIONS

Here’s Your Big Break: In this hands-on course we are going to get busy right away with a tune using a common progression and quickly identify chord tones and a couple shapes that we can use to solo. We’ll pass the tune around so everyone gets a chance to work on their rhythm and soloing techniques. You will be soloing, improvising, and working in a group setting just like in a “jam session”. (for all skill levels)

 

Deconstructing the Dominant Chord: What makes a dominant chord? How does it function in a typical setting? What shapes are most accessible? How do I use it? We’ll figure these things out by playing through tunes together and taking turns playing over changes! (intermediate/advanced)

Jason Wheeler

Executive Director

Bob Phillips

ABOUT

Pedagogue, composer, and teacher trainer, Bob Phillips taught strings for 27 years. An expert in the use of large group pedagogy and alternative styles, he has presented clinics throughout the world. Phillips has authored many books including Alfred’s new method, Sound Innovations. He has had over 140 pieces and 19 book series published for orchestras and bands, is an award winning ASCAP composer, and has a broad conducting resume. Currently Bob is the Director of String Publications for Alfred Music. He has served as president of ASTA and, in 2013 Bob was inducted into the University of Michigan School of Music Hall of Fame.

 

Pam Phillips has a broad background in arts management and production. Her career includes booking and producing concerts for professional artists as well as school groups, organizing student camps, tours, and teacher workshops. In her role as an editor she has worked on production of instructional DVDs and audio CDs as well hundreds of orchestra pieces and instructional books. In 2017, along with Andrew Surmani, she authored Copyright Handbook for Music Educators and Directors. She ran the Saline Fiddlers for eight years. Pam is the Suzuki editor for Alfred Music and was the project coordinator for Alfred Music’s revolutionary new method Sound Innovations.

Bob Phillips

Camp Advisor

May Erlewine

ABOUT

Some people might call May Erlewine “Michigan’s Songbird”, but her songs have traveled far beyond her home state. One of the most prolific and passionate songwriters of her generation, May’s music has touched the hearts of people all over the world. Her words have held solace for weary hearts, offered a light in the darkness and held a lot of space for the pain and joy of being alive in these times. When she starts to sing, there’s no way around it. Welcome to the moment, everyone.

 

Raised in a family rich with art and music, May began writing songs and playing them for the people at a very young age. Her journeys have taken her all over the world, from street corners to renowned stages, May has performed for all walks of life. In her travels Erlewine came to know the land and the pulse of the people. Her songs show a very real connection and concern with everyday folk.

 

“May Erlewine has the sort of soul-baring voice that moves the Alan Lomaxes of the world to abandon the ivory tower for the back roads of rural America.”  – The Harvard Independent

May Erlewine

Songwriting/Vocal

Accommodation Options

Camp Blodgett

If you’re attending the Great Lakes Music Camp, Camp Blodgett is a natural choice. Their lakeshore campus offers great lodging accommodations only steps from classroom sessions, dining hall, and inspiring lake views and beach experiences.

Lakeshore Inn

Less than a mile north of Camp Blodgett on the shores of Lake Michigan, this fully restored 6,500 sq.ft. mansion was built in 1941 on 200 feet of private Lake Michigan beach frontage. This classic estate exudes charm, style and ambiance too rich to describe.

Grand Haven Hotels

If you’re looking for more traditional lodging options, there are a variety of hotels in the beautiful town of Grand Haven–less than 10 miles from Camp Blodgett. Check out our list of reputable hotel and Bed & Breakfast options in the links provided.

RV/Camper Parking

Camp Blodgett offers a limited number of RV parking options with electric hook ups (no water hookups available at this time).  For more information, please contact us at info@greatlakesmusic.org

Camp Registration

A variety of class options to fit your needs and preferences

Weekend Camper Deluxe
SOLD OUT
1 person
  • Weekend (Thursday - Sunday) of Classes, Jams, and Activities
  • King Bed, Private Room, Private Bath
  • Daily Breakfast/Lunch/Dinner Meals
Get Started
Roommate Camper Plus
SOLD OUT
1 person
  • Weekend (Thursday - Sunday) of Classes, Jams, and Activities
  • Two Campers to a Shared Room (pay separate)
  • Two Queen Beds per Room, Private Bath
  • Daily Breakfast/Lunch/Dinner Meals
Get Started
Weekend Camper
$550
1 person
  • Weekend (Thursday - Sunday) of Classes, Jams, and Activities
  • Single bed, bunkhouse in main building
  • Daily Breakfast/Lunch/Dinner Meals
Get Started
Musicians Hostel
$400
1 person
  • Weekend (Thursday - Sunday) of Classes, Jams, and Activities
  • Twin Bed in Bunk Hall (Bring you own linens)
  • Separate Bunk Hall Buildings for Men and Women
  • Daily Breakfast/Lunch/Dinner Meals
Get Started
Day Camper
$350
1 person
  • Weekend (Thursday - Sunday) of Classes, Jams, and Activities
  • Lodging not included
  • Daily Breakfast/Lunch/Dinner Meals
Get Started
Saturday Only
$250
1 person
  • Saturday Activities
  • Admission to benefit concert
  • Daily Breakfast/Lunch/Dinner Meals
Get Started

Contact Us

  • 10451 Lakeshore Dr | West Olive, MI

  • (616) 437-1519

  • info@greatlakesmusic.org