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The banjo style and exciting repertoire of Earl Scruggs are frequently cited as motivators for players of Cushman's generation, not to mention banjoists such as Tony Trischka, who were born more than a decade earlier. More commonly, these players first heard Scruggs in the context of themes to mainstream entertainment such as The Beverly Hillbillies television series or the film Bonnie and Clyde, not by becoming addicts of country & western variety programs. These broadcasts stuffed his ears with whining pedal steel guitars, screeching fiddles, and the charismatic philosophy of the country and bluegrass stars themselves, but it was the banjo that really got him going.
Apparently this obsession started as early as the age of four. It was his grandfather who finally went out and bought a banjo for Cushman, but on the sly because other powers in the family dynasty equated musicality with the scum of the earth. As the family Cushman chronicles it, the little boy began taking weekend lessons with a local picker who was the lead guitarist for Webb Pierce, but a pretty basic banjo player. Cushman started picking up his own material off of records and soon scared this teacher away; Pierce would have described it as a case of the "Heebie Jeebie Blues."
His age still in the single digits, Cushman's life was now filled with talent contests and marathon practice sessions alongside his trusty record player. At ten he began performing on the Tennessee Valley Jamboree radio broadcast out of Waverly, TN. A pizza parlor known for a crust that tastes like crackers was responsible for his first paying banjo gig. Cushman's parents made sure he went to bluegrass festivals, however, where he became inspired to do more than play cheesy ragtime knockoffs with a flatpick. At 14 his playing abilities had gotten him a regular spot on The Carl Tipton Show, broadcast on WLAC-TV in Nashville and devoted to bluegrass and country. Cushman became part of the accompanying unit for whatever guests were scheduled, a list that included the regal bluegrass presence of mandolinist Bill Monroe as well as the sculptured voice of Tennessee Ernie Ford. Not every guest wanted or needed banjo: Cushman also had to learn both guitar and upright bass.
Cushman has continued to be based out of Nashville, running a business as well as picking in groups such as James Monroe & the Midnight Ramblers, Jimmy Martin & the Sunny Mountain Boys, and Mel Tillis & the Statesiders. His discography of recording sessions includes backup on an Andy Griffith project. From 1986 to mid-1990 he was part of the Opryland USA house band, featured on all of his instruments. One of his frequent playing partners is banjoist Mike Snider; they have worked together not only on The Grand Ole Opry but in the Mike Snider String Band. Cushman has participated in nearly all of the Pickin' On series of compilations in which bluegrass artists take on the rock and pop repertoire of Jimi Hendrix, Bruce Springsteen, et al. ~ Eugene Chadbourne, All Music Guide
Here, Charlie jams with a pretty fair guitar player but a damn fine banjo player. This only goes to prove that Charlie Cushman is a banjo player's banjo player! Charlie has 4 or 5 Dogwood straps. I just can't get a good photo of him using one.
This is Charlie Cushman's new strap for his signature model Kel Kroydon banjo. It is made from black latigo. The neck end of the strap has Charlie's name with the KK-10 peghead above his name & KK-10 design below. The tailpiece end has the Kel Kroydon logo flanked by two KK-10 designs. Black straps are very hard to photograph. The strap actually looks much better than the photos.
More info on Charlie's Signature Edition Kel Kroydon banjo can be found By contacting: American Made Banjo Co., Inc. , 90341 PO Box , Stoneham, MA 02180 Or treir website at: http://www.americanmadebanjo.com/
Charlie with his new Kel Kroydon signature model banjo & his new Dogwood strap
Another shot of Charlie with a few new Kel Kroydons in the background