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This profile was last updated on 8/24/15  and contains information from public web pages and contributions from the ZoomInfo community.

Fred Bartenstein III

Wrong Fred Bartenstein III?


Phone: (937) ***-****  
Email: f***@***.com
Fred Bartenstein & Associates LLC
725 Wright Street
Yellow Springs , Ohio 45387
United States

Company Description: Fred Bartenstein & Associates, LLC is an organizational development consulting firm based in Yellow Springs, Ohio that provides strategic planning, meeting...   more

Employment History

Board Memberships and Affiliations

184 Total References
Web References
Bartenstein & Bluegrass: Another Bluegrass Bio, 6 Aug 2015 [cached]
Don Reno, Fred Bartenstein, Carlton Haney, John U. Miller.
Fred Bartenstein - Bringing Us All Together
The bluegrass version of that movie might well be titled Bartenstein. The difference, of course, is that while the character Zelig is fictional, Fred Bartenstein has had a very real influence on the people, history, and growth of bluegrass music.
Among his many accomplishments, Fred’s been a bluegrass DJ since 1966; helped promoter Carlton Haney get the first bluegrass festivals off the ground; started one of the early bluegrass magazines, Muleskinner News; promoted and publicized countless concerts; co-founded a regional bluegrass association in Boston; serves as chair of an organization dedicated to the history of bluegrass music in southern Ohio; conducted the first market research on bluegrass; and wrote songs, played guitar, sang, produced, and recorded with the likes of Don Stover, Tex Logan, Vassar Clements, Del McCoury, Mac Wiseman, John Hartford, Joe Isaacs, Katie Laur, and Dorsey Harvey.
In 1997, Pete Wernick, then President, suggested to Executive Director Dan Hays that Fred would be a good person to lead a strategic planning retreat, something that was sorely needed to create a shared vision for the future of IBMA.
Pete knew this was Fred’s specialty, but also knew that Fred had a rich and varied background in bluegrass and could speak the insider language of the diverse members of the board of directors.
Pete had known Fred from his days in New York City, when Pete had a bluegrass radio show on WKCR at Columbia University.
After the show, Fred would call in and they’d talk bluegrass. They eventually got together (Pete was surprised at how young Fred was), played for a time in a band, and stayed in touch through the years.
Pete knew that Fred was the perfect person to bring into IBMA’s challenging situation.
Pete Wernick: "I think Fred completely aced that situation.
Fred would say, ‘All right, that was already said,’ and we’d move on. But he kept encouraging everyone to say everything they could think of–and everything they said, he was writing down on flip charts. We had tons of paper, and he said, ‘Okay, now pick five out of the fifteen points.’ He kept distilling the ideas in completely democratic fashion until everyone was basically in agreement. All that energy was now behind a freight train instead of going off in different directions."
Pete also credits Fred for encouraging him to start his Colorado-based banjo camps, among the first multi-day workshop retreats.
Pete says that Fred wrote him shortly after the success of the first camp with a short note, "Hello muddah, hello faddah, how are things in Camp Granada?..."
Fred says, "When I facilitated that first strategic plan for IBMA, I was surprised. Back in the 70s bluegrass couldn’t organize itself, but I saw it happen at that first strategic meeting. And ever since I’ve been excited about what IBMA can do. Since the first IBMA strategic retreat, Fred has facilitated two more, in 2001 and 2004, as well as a similar retreat in 2003 for the International Bluegrass Music Museum in Owensboro.
And he’s contributed even more to a program started in 2000–Leadership Bluegrass.
For anyone who has taken the class, it is hard to imagine it being as successful without the work of Fred Bartenstein. His presence is not intrusive, but he is there to make sure discussion stays on track, schedules run on time, and that no one is excluded from the process. Beyond this, however, he helps the Leadership Bluegrass committee prepare for each year, and suggests ideas for tweaking the class, ensuring the days are balanced and effective.
But while many good facilitators could do this, Fred brings the added perspective of someone who has been in the bluegrass business for 40 years. He knows the history and the personalities. As Dan Hays says, "There are three things that Fred brings to the table–a high level of understanding of the music and its history, a way about him of fostering consensus, and an ability to quickly grasp both the big picture and the details."
Back in New Jersey, where his father worked as a business executive, Fred listened to Folkways records by Woody Guthrie, Lead Belly, and Pete Seeger, and around 1961 his cousin Susie told him about the Carter Family and Flatt & Scruggs.
His father taught him one chord on a guitar; Fred had to figure out the rest from an Oak publication, The Folk Singer’s Guitar Guide. Then, in 1964 at a country music show at New York City’s Madison Square Garden, he heard Bill Monroe play. He exclaimed to his Dad, "That’s it!"
In 1965, on Roanoke radio, Fred heard about a bluegrass event being planned at Cantrell’s Horse Farm in Fincastle, Virginia. He got a ride down and was present for the first bluegrass festival.
The next year Fred was able to land a summer job at WREL in Lexington, Virginia, doing everything from the agricultural show, women’s show, country, classical, bluegrass, rock-n-roll, R&B and news. He logged many hours and learned the business of radio. (He also learned that he wasn’t allowed to properly pronounce "bedroom suite" or "chaise longue" in commercials for a local furniture store.)
Fred Bartenstein and Carlton Haney at 40th Reunion of 1st Bluegrass Festival, Fincastle, VA, 2005 (Photo: Marcia Goodman)
When Haney’s Labor Day festival moved to Berryville, Virginia, Fred was there again, and when Haney was called away because of his mother’s illness, Dick Freeland asked Fred to take over emcee duties.
When Haney’s Labor Day festival moved to Berryville, Virginia, Fred was there again, and when Haney was called away because of his mother’s illness, Dick Freeland asked Fred to take over emcee duties.
Haney remembers, "It was in Berryville, I’m sweeping the stage and a young boy came up and said ‘I’m Fred Bartenstein and I want to help you.’ And I said, ‘Alright.’ I knew just as good as anything in the world that I had a man who could do these festivals right.
During the school year, Fred was still in high school in New Jersey, and listened to bluegrass programs on WBAI and WKCR out of New York City. Fred soon met Dave Freeman, Bill Vernon, Charles Faurot and Peter Wernick, early collectors and disciples for bluegrass and old-time country music.
Occasionally, Fred was able to DJ WBAI’s "Country Music" on Sunday evenings, by taking a bus from his home in the countryside of New Jersey to New York City.
During his teenage years, then, Fred was building connections between the northern and southern bluegrass scenes, moving comfortably in both worlds, and learning the music and the business of radio, promotions, and festivals. It was a split that reflected his parents’ combination of southern heritage and northern experience.
Fred edited the bi-monthly, then monthly, magazine until January 1975, all while he was going to college. The March 1974 issue included a summary of the first market survey of bluegrass music. The research had appeared in full in the Journal of Country Music in the fall of 1973, included information on the demography of readers of Muleskinner News, and was a precursor of the more extensive market research done by the IBMA years later.
In 1969, Fred entered Harvard University.
Fred co-founded, along with Nancy Talbott, the Boston Area Friends of Bluegrass and Old-Time Country Music, one of the first regional bluegrass associations.
In 1974, Fred left Boston with a B.A. in Social Studies for Dayton, Ohio, as a procedural analyst in the police department, and then served as assistant to the city manager. His move to Ohio was influenced, just as his previous move to Boston, by the presence of a dynamic bluegrass scene. "I wouldn’t move somewhere that wasn’t a bluegrass area."
While in Dayton, he had to decide whether he was going to pursue playing bluegrass on the road as a musician or serve bluegrass in the background. He also met his future wife, Joy, who he married in 1976.
Since 2002, Fred has been involved with Bgrass, Inc., a non-profit organization formed to honor musicians who played in the Dayton to Cincinnati area of Ohio from the 1940s to the 1970s. Katie Laur formed the group and asked Fred to be on the board.
Fred says, "There’s a risk that this music will be forgotten, which is a shame because this area was one of the most important areas for bluegrass. It’s where the music first moved north and evolved from the original rural sound. The organization has recently finished work on a two-hour radio special on the Osborne Brothers.
Bassist and writer, Jon Weisberger, who served on the Bgrass, Inc. board and who has also worked with Fred on IBMA committees, says of Fre
Fred Bartenstein & Associates, LLC: Services and Experience, 1 Jan 1981 [cached]
Fred Bartenstein Organizational Development Consultant
Yellow Springs News Online, 31 July 2003 [cached]
Local resident Fred Bartenstein working in his studio at his home on Wright Street.
Fred Bartenstein, right, with mandolinist Bob Applebaum at Harvard in 1970.
Most local residents know Fred Bartenstein as a reasonable, low-key organizational consultant, the guy often called in to facilitate public meetings and local conflicts.He's the picture of calm, the one in the middle who keeps people on track and lowers rising tensions and deepening voices.
But Bartenstein has another life, and there's nothing reasonable or low-key about it.It's a life fueled by his lifelong passion for something not often associated with straightlaced organizational consultants, or with CEOs, which he used to be.More than anything, Bartenstein loves bluegrass music.
"It's a gift I have, a knowledge I have," Bartenstein said in a recent interview."I had the good fortune to have been involved young with bluegrass at a central place where a great deal of music was happening.Now I'm trying to teach the rich story of where the music came from and where it's going."
Bartenstein has recently begun sharing his love of bluegrass in a local venue.Since early July his radio show, "Banks of the Ohio: Music from the Homeplace of Bluegrass," has aired each Saturday evening from 6 to 9 p.m. on 91.3 FM, WYSO public radio.
Produced in the WYSO studio or in Bartenstein's home studio, "Banks of the Ohio" has for a year been broadcast on, a 24-hour Internet music stream from WAMU in Washington, D.C.The show is also an outreach program for the International Bluegrass Museum in Owensboro, Ky.
While villagers may be unfamiliar with Bartenstein's bluegrass expertise, through his Internet program bluegrass fans worldwide know his name.Regularly, he hears from listeners from many countries and continents, from Australia to Ireland, from a farmer in Kansas to a woman living alone in a remote cabin in Alaska.
"It's really fun - it's addictive - to know that something I'm doing is reaching all these odd corners of the world," said Bartenstein, who answers all e-mails.
Bluegrass music is currently experiencing a resurgence, Bartenstein said, explaining that he believes many people find in it a heartfulness lacking in some other music forms.
"Bluegrass evokes a sense of the genuine in an era where a lot of art is about image or pose," he said."It talks about nature and home and family in ways that resonate with people.Bluegrass songs tell stories."
When they hear bluegrass for the first time, many people feel an immediate attraction to the sound of the music, Bartenstein said.The "keening" quality of bluegrass seems to connect to some at a deep level, he said, and sounds similar to bluegrass can be found throughout the world in music as diverse as Hungarian folk music and Japanese koto music.
"There's something about the rhythm and the sound of the banjo, mandolin and fiddle together," he said."It's a driving, exciting rhythm.It appeals to people viscerally."
Bartenstein can't remember the first time he heard bluegrass - he just always remembers loving it.Raised in New Jersey, he spent summers on his grandparents' Virginia farm, where he remembers hearing Red Smiley and the Bluegrass Cut-Ups every morning on the radio.His father and an uncle played in a guitar-mandolin duo, and a cousin from Tennessee taught Bartenstein at a young age the songs of the famous Carter family.
His years at a private New Jersey high school coincided with a thriving bluegrass scene in New York City, where, in Washington Square Park, Bartenstein played bluegrass-style guitar with musicians such as Tex Logan, Bob Applebaum, Pete Wernik and David Grisman.
While still in high school, Bartenstein hosted a bluegrass radio show out of Lexington, Va., where he also gave the farm report.
Bartenstein's connection with bluegrass became even more personal when he attended at age 15 the nation's first bluegrass festival, which took place in Fincastle, Va.His love for the music deepened even after an experience that might have turned off some fainthearted music lovers, recounted in an article on Bartenstein in Bluegrass Unlimited magazine.
Sitting around jamming with other musicians, Bartenstein was confronted by a drunk who stumbled toward him and waved a gun.The drunk insisted the musicians play "Foggy Mountain Breakdown," and threatened to "blow our heads off" if he didn't like it, according to Bartenstein.Thankfully, the music met with the man's approval.
Through a series of coincidences, at the next year's festival, Bartenstein was called upon to emcee the show.For the next several years he helped run a variety of bluegrass festivals, working as program director, emcee and sometimes running the sound as well, the magazine reported.
When it came time to attend college in the late 1960s, Bartenstein chose Harvard University, largely due to its location in the middle of a thriving bluegrass scene in Boston, according to the magazine.
"It was a strange time to be doing bluegrass but then, as now, it was my community," Bartenstein said."It was a college subculture and compared to the drug scene, it was a healthier, smarter and generally a much better alternative."
His love of bluegrass also shaped Bartenstein's professional plans, when he chose in 1975 to settle in Dayton partly due to the city's reputation as a place that drew bluegrass to an urban area.Bluegrass proliferated in the Dayton area when Appalachian natives looking for work began settling here, bringing along their preferences for mountain music, he said.
After Bartenstein decided he didn't want the life of a professional musician and chose to work in the corporate world, he held a series of high-visibility jobs, as the director of the Victory Theater, Books & Company and the Dayton Foundation.But he maintained his passion for music and hosted a series of bluegrass radio programs at stations such as Dayton's WONE, WYSO and WBZI in Xenia.
Having one foot in the corporate world and the other rooted firmly in bluegrass often made Bartenstein feel slightly schizophrenic, he said.Once he was walking down the street in Dayton, dressed in a suit and tie, when he was stopped by an acquaintance who was a business executive.The man marveled that he had just heard a man on the radio, with the same name and same voice as Bartenstein, hosting a bluegrass show.The man never even considered that the radio host might actually be him, Bartenstein said.
The discomfort of leading a double life diminished after Bartenstein and his family - his wife, Joy, and two daughters - moved to Yellow Springs in 1990.Purposefully getting off the corporate fast track, he opted to train as an organizational consultant, and has since worked with many local and regional businesses.Bartenstein said he especially appreciates the variety of his latest work and having the opportunity to spend more time with his wife.He also appreciates being able to live almost within view of cornfields in a town he considers lively and stimulating.
And of course, there's bluegrass.His flexible work schedule gives Bartenstein more free time, but his bluegrass passion eats that time right up, he said.Currently, he estimates that he spends about 20 hours a week working on his WYSO show, including researching material, programming, writing promotional copy, editing and doing post-production work.
"I haven't figured out a way to make it pay diddly," he said with a shrug."It soaks up a huge part of my week."
But Fred Bartenstein doesn't really sound as if he minds all that much.
"I feel like I have a wonderful life," he said.
Untitled Document, 1 Mar 2003 [cached]
Fred Bartenstein is President of Fred Bartenstein and Associates of Yellow Springs, Ohio, organizational consultants to nonprofit, government, and business clients.He was previously CEO of The Dayton Foundation, Victoria Theatre Association, and Books and Company.Fred Bartenstein has more than twenty-five years of experience in strategic management development.
Welcome to Bartenstein & Bluegrass, 6 Aug 2015 [cached]
Welcome to Fred Bartenstein’s Bluegrass Pages
Growing up in bluegrass, Fred Bartenstein had the privilege of knowing and working with virtually all of the music's first generation. The editor of Muleskinner News from 1969-1974, he has also been a broadcaster, musician, festival MC and talent director, composer, record producer, compiler of the first bluegrass market research, founder of a regional association, and a lifelong fan.
IBMA Member In his professional life, Fred has been a manager and CEO for nonprofits, government and business. He currently manages an organizational development consulting practice from Yellow Springs, Ohio, helping groups (including the International Bluegrass Music Association and International Bluegrass Music Museum) shape and adapt to change.
Fred Bartenstein was named a Distinguished Achievement Award recipient by the International Bluegrass Music Association in 2006.
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