Every bird dog has its own style with nuances that tell a different story in a variety of hunting situations. In this post, I explain the subtleties in the posture and eyes of my oldest Llewellin setter, Finn. What has your pointing dog been telling you over the years?
Training your own bird dog can be a daunting task – especially for the first time owner.
Always remember though, a great bird dog takes 3 simple ingredients – Regardless of your training regime and techniques – Time, Birds and a little bit of Faith.
In our latest Uplander Chronicles post, Uplander writer Brad Trumbo of @tailfeathers_upland talks about how Time, Birds and Faith all play important roles and go hand in hand when developing a young dog.
“I am no professional dog trainer. Hell, I am hardly an amateur trainer. And like many uplanders, I train my own dogs on limited time. Therefore, I am a man who expects results, and quickly. But upon receiving my first setter pup, I was promptly enlightened of the true meaning of “a long road ahead”.” writes Brad.
We live in an era where we demand results instantly. In a world dominated by instant gratifying technology, patience can be tough to hold onto. Check out the full story at Uplander Lifestyle!
“As an upland jack of all trades, my setters have adapted to a variety of situations, most of which (exception = chukar) they handle well, but there is something to be said for those who carve a niche on a particular quarry.”
Primarily a pheasant hunter, I fell victim to an affair with California quail, and have not looked back. The dog work and camaraderie I have experienced in the quail coverts, particularly over the 2018-2019 upland season, has piqued my interest and opened my mind. Jimmy Carter once said that “life’s just too short to go quail hunting with the wrong people.” On the contrary, show me quail hunters and I’ll show you the right people.
During these days of house-arrest, I am lucky enough to telework in my basement “deer room”, yet maintaining sanity within the confines of my own property is largely left to sunny day chores like gardening and tending to our small orchard and food plot. Unfortunately, no matter how enjoyable the chores, when the turkeys are fired up and the walleye staging for spawn, there is much to be desired away from home, among our public resources.
Did I mention the valley quail are paired up? One of my homestead hobbies is enhancing habitat for upland birds. My local quail numbers range between 60-100 birds at any given time. The past few years I have taken a greater interest in quail, having fallen in love with the scurrying little gray ghosts with the top knot that bobbles carelessly as they feed and run. Valley quail are a “gentleman’s” bird, meaning the coveys hold for the dog, they get up two or three flushes per covey, the singles are a hoot to pursue, and they are simply gorgeous. One of the most pleasant upland birds to hunt over a pointing dog.
I began reading up on quail behavior and studying their vocals and soon found myself immersed in a new learning opportunity. Given my science background and upland hunting obsession, and my present state of stir-crazy, the prospect of quail calling piqued my interest. It never before occurred to me that I could call quail, and for several reasons. 1) I had no clue that quail calls existed; 2) I am a miserable failure at calling turkeys, which is an entirely different story of its own; and 3) I run a decent brace of setters in the uplands. Why would I need a bird call?
Being a connoisseur of handcrafted woodwork, I was easily drawn to a Jim Matthews Signature rubber band call. A beautifully crafted tool that allows me to interact with upland birds outside of hunting season was simply too tempting. When my call finally arrived, I rolled the handsome, walnut quail harmonica in my hands and admired the RST 12-gauge brass that Jim embedded for me. It provides a nice touch of bling. Just how in the hell to work the thing was another consideration altogether.
Rather than read up or watch You Tube “how-to” videos, I like to leave an element of mystery to be figured out on the fly with these sorts of endeavors. It’s not because I am stubborn or think I am too intelligent for a little instruction. Trust me, I read the manual when piecing some store-bought gadget together. Rather, I find it part of the adventure to figure things out on my own, particularly when the risk of catastrophic failure is low.
Skipping the tutorials, I stepped outside and rasped on the call. And, as expected, lessons were learned immediately. 1) There are two sides to the call; rounded and square. Both produce sound, but the rounded side is much louder and activates a “sound chamber”. 2) A little cheek pressure wasn’t going to cut it for these calls. I am talking full diaphragm engagement to hit the right pitches and timing of the three part “Chi-ca-go” call (which I will explain in a moment). 3) The call was raspy like an old hen turkey. Like all animals, quail have unique voices, but I am certain every quail within earshot went silent as my caterwauling drifted across my property.
The beauty of the rubber band call is that its adjustable on the fly. Pulling an end tightens the band and changes the pitch and rasp instantly. You can actually imitate multiple birds. Having mastered this in a matter of moments, I belted out a few acceptable “Chi-ca-go” calls and called it good on disturbing the peace for an evening.
“Chi-ca-go” is the most identifiable call a valley quail makes and is used to “assemble” the covey. Anyone having experience with these birds can picture the male standing tall atop a fence post or tree branch, watching over the covey as they feed, and vocalizing the “Chi-ca-go” call. Also of note, this call was documented in literature as “cu-ca-cow” back in the early 1900s. I found it only recognized as “Chi-ca-go” in literature from around the 1970s and later. I am left to believe the phonics of “Chi-ca-go” more closely resemble the “syllable” enunciation of the call relative to human interpretation and description.
I typically carry my call when working around home because the quail are always about and calling, except midday when they loaf in the brush piles and blackberries. Recently, while building new brush piles, I took a seat on the hill overlooking the property and broke out the call. With the elegance of a pro, I cut lose a superb “Chi-ca-go” call and was answered almost immediately by a male down by the pond.
This time of year, as the quail break into pairs and sub-coveys, I like to whip out the call and sneak in between groups. Mimicking the number of calls in a sequence as those calling around me, I most always elicit a conversation. Taking a seat for a moment to enjoy the interaction, I usually spot a few quail poking their way through the brush, working in to my call. Additionally, when calling to a covey in plain sight, I have noted the senior male is the only bird that takes notice and returns the call. The remainder of the covey continues its business, uninterested. That is, unless I am too close. The call volume alone can blow the entire covey into the nearest thicket.
While calling quail is not quite like following that high-tailed setter in search of a covey held tight to a creek-bottom snarl, calling is delivering quite a social education. As fall approaches, I will to try my hand at locating coveys afield. Calling in a busted covey can be quite effective, so I hear. Regardless of a covey’s affinity to vocalize with strangers come hunting season, I travel in the good company of three Llewellin setters with a knack for working over the silent type. In the meantime, I’ll continue to enjoy small talk and social distance with my covey at home.
I must admit I am my mother’s son, and apparently that of her mother as well. Both enjoy collecting beautiful things to display, as well as practical materials that may be of use at some unknown (and inexplicable) point in time. I am not a collector, per se, but I am guilty of keeping things like useless wood scraps and old nails and bolts. And I just can’t bring myself to discard antlers, handsome game hides or upland bird plumage.
Art is a recurring theme among my tales and reflections of venturing into our natural world. Whether wielding a fly-rod or chasing my setters across the autumn bunchgrass, the poetry of interaction with our ecosystem, and the brilliance of the autumn canvas, upland bird plumage and the rich colors of high mountain trout always provide fodder for my pen. I find the beauty in these things so significant that I feel responsible for somehow preserving the memories of fin and feather through practical application and admiration.
While I enjoy crafting varied upland bird displays and shadow boxes to perpetually capture experiences, a friend of mine takes the artistic side of the uplands to a new level.
I met Janet Marshman during my graduate school days at James Madison University’s Edith J. Carrier Arboretum. I was a staff arborist and Janet arrived as a welcome volunteer. And it wasn’t long before her talents turned up in our visitor center.
Channeling her creative side, Janet decided once upon a time to make a drama-style mask as a birthday present for her sister-in-law, an art teacher. Clearly impressed, she encouraged Janet to sell her masks. Running with the idea, Janet sold her first lot to an art gallery in Charlottesville, Virginia. That was 1983.
Upon learning of my hunting and fishing hobbies, Janet asked if I had anything furred or feathered that I could part with. And, given my tendency to hang on to such items, I returned with a variety of material from whitetail and mountain goat hide to eastern fox squirrel tails and thought nothing more of it. Until the day Janet presented me with a shadow box containing a mask made largely of moose hide, tree bark, shelf fungi and lichens. Its natural beauty was so striking, the shadow box was one of the few “natural displays” that made the living room wall after I got married.
When asked why she appreciates natural items like fungi, Janet replied “There is so much beauty in natural materials.”
Fungi and lichens are among the common “fauna” I have noticed in Janet’s masks over the years. But what draws her to these materials so readily?
“I love fungi, lichens, moss, and textures of bark. The colors are often muted and blend well with colors of feathers, but provide variation in texture to the mask.”
While Janet’s affinity to use natural materials has always spoken to me, her tastes and innovation dive far deeper and include mechanical and electronic items like sprockets, wires and mother boards, even digital camera parts used for her husband, Frank, who once owned a camera repair service. Abstract, eclectic, organic.
She never took it full-time, but has sold at shows across the eastern U.S. from New Orleans to Philadelphia, and regularly donates to charitable causes. Interestingly, somewhere in there she took a 20-year hiatus to raise her family. An experience that she claims brought her “…visual maturity and creativity into bloom” and contributed to the depth and intricacy of her later pieces.
Janet has collaborated costume design with the James Madison University dance theater. Her masks have been on display in various galleries and restaurants, as well as the Hirshhorn Museum in Washington D.C. She has even won a Halloween contest or two. But she doesn’t stop there, keeping her fingers in photography, sculpture and mixed-media.
“I believe a true artist continues to grow in their art and see things differently. I don’t believe in finding a niche and staying there.” Janet says.
This past winter I sent Janet a few pheasant capes, only to unexpectedly have them partially returned in March, stunningly crafted in dramatic whimsy. Her use of lichens, rooster tail and body feathers, corn husks, dried brome, and river birch bark delivered multiple complex layers of the environment in such a way to compliment themselves to their utmost potential.
Clearly, I feel a bond with Janet’s masks; her tie of my passions to true artistic talent and conception. She captures my eternal desire to immortalize the memory of those who have blessed my home and table.
Additionally, Janet’s creativity exemplifies the beauty and elegance of our natural world, cast in the glow of perfect complement between flora and fauna. Her masks emphasize the intrinsic value of the natural world to human existence and emotion, portrayed through the eyes of an esteemed artist and her theatrical design.
Collapsing my tenkara rod, I reflected on the brilliant California golden trout I had just released back into the trickle of a mountain stream dropping from a series of high lakes in the Ansel Adams Wilderness. The September sun shone golden and warm against my back as dappled light streamed through the forest canopy. That fish put a bow on one of the most memorable weeks of my fly-fishing career, traipsing through the scenic Sierra Nevada Range in search of a trout I had dreamed about for decades.
Descending from 10,000 feet, the trail meandered through various cover types including old-growth pine and small pockets of yellowing aspen. Approaching a unique knob around 8,500 feet was a minute stand of sagebrush, appearing entirely out of place and displaced from the lowland scrub and chapparal. The faint scuffling and whistling of a quail covey piqued my interest.
Climbing the knob, the covey scurried across the trail ahead and levitated above the sage, sailing elegantly into the safety of a nearby snarl. Mountain quail. That first encounter left me mesmerized and wishing to exchange my fly rod for a setter and double gun, and added another hunt to my bucket list. Researching mountain quail habitat and their distribution across the west, I was pleasantly surprised to learn of Oregon’s populations and conservation efforts.
Mountain quail are a North America native, distributed throughout the Oregon Cascades and California’s Sierra Nevada, with a sprinkling in Nevada, Mexico and Washington. Southeast Washington, eastern Oregon and western Idaho historically were home to mountain quail, but over time, their habitat and populations dwindled. In Oregon, mountain quail were once found in every county. Since about 1950, land use practices and fire suppression have contributed to their decline.
Mountain quail are the largest native quail in North America. They are uniquely monomorphic, meaning both sexes are virtually identical in size and appearance, each boasting their most peculiar feature, a black, needle-like “top knot” growing over an inch long from the top of the head.
Preferred habitat consists of dense brush, such as manzanita thickets, chapparal and scrub, in wooded foothills and mountains. Features like burns and clear-cuts are important for providing the appropriate balance of cover and food sources, and water within about one mile. Riparian habitats with an adjacent brushy, upland slope are favorable.
The mountain quail diet consists mainly of vegetation during spring and summer, seeds and berries during fall and winter. Insects are important for spring and summer brood rearing. Mountain quail also exhibit a robust reproductive strategy. Females lay seven to fifteen eggs in two separate nests within about 600 feet of each other. Both adults incubate clutches independently, males typically having greater hatch success.
In 1996, Oregon State University (OSU) began a study to compare life history characteristics between the larger, stable lower Cascades population, and that of a remnant population in Hells Canyon. Additionally, quail were translocated from the Cascades to Hells Canyon to compare life histories of the separate groups in the same habitat.
The OSU study results informed a sixteen-year follow-on translocation study to reintroduce mountain quail to historic eastern Oregon habitats. The Oregon Department of Fish and Wildlife (ODFW) teamed up with OSU and the U.S. Forest Service beginning in 2001, translocating and radio-tracking birds in the Freemont, Deschutes and Malheur National Forests and the Steens Mountain Wilderness.
A total of 2,574 birds were translocated across years. Forty-five percent (1,156) were radio-tracked to obtain habitat selection, survival and nesting success information. Overall, nesting and brooding was successful across sites and years. Survival ranged from approximately sixteen percent to nearly sixty percent, depending upon year and release site. Survival rates and trends observed were similar to those of the Cascades population from which birds were translocated.
Concluding the study in 2017, it appears the translocation efforts were at least marginally successful. Mountain quail appear to be maintaining small populations where translocated and are considered an “occasional” species in Wallowa and Union Counties while the lower Cascades population remains strong. Detailed annual reports of the translocation study are available from ODFW online.
Oregon offers hunting opportunity with the eastern Oregon season running October 10th through January 31st this year, including California quail and overlapping the forest grouse season. The lower Cascades season opens September 1st.
Mountain quail are a peculiar and secretive species, and a treasure to the State of Oregon. There is something magical about their presence on the landscape. The memory of flushing a covey over manzanita or juniper scrub will remain etched in your cache of extraordinary upland experiences. Whether pursuing with dog and scatter gun or hiking stick and camera, the marvel of this distinctive native quail and their habitat that we are blessed to have on our public lands is reason enough to seek adventure in the high desert.
I don’t know when dad purchased the gun or from whom or where, but one of its few outings captured on film was in 1977. My brother was a toddler and dad had hunted a gray squirrel on his parent’s farm in what used to be the middle-of-nowhere Appalachia.
The Herrington and Richardson Topper Model 158 (H&R) was the shotgun built for everyone. An ordinary, functional firearm built for the budget-minded. Overly simplistic yet wholly reliable described the H&R firearms line from 1871 to 1986 under the parent company.
Dad’s H&R saw its last hunt somewhere around 1992 when a zealous child acting crafty with a gray squirrel failed to properly lock the action. I secured provisions for Brunswick stew and learned a frightening lesson in the process. The top-break action blew open, ejecting the casing and busting the gun’s forearm. Miraculously, I did not suffer the same consequence. As a pre-teen, I had little use for a busted gun or the ability or knowledge to repair it. I left it to rust in an attic for nearly thirty years.
Returning home in 2020, I finally decided to grab the old H&R from the attic and haul it back to Waitsburg. Given their basic style and seemingly low-grade stocks, H&R firearms don’t carry much monetary value. Given the gun was useless otherwise, I decided to try my hand at a home restoration job, finding my first experience to be as terrifying as expected.
Ordering a Burchwood Casey complete re-bluing kit, I went to work one afternoon in the shop, thinking the directions were straightforward and simplistic. I learned quickly, however, that our hot, dry summer climate play a major role in the complexity of the endeavor, so much so that I basically enjoyed doing the job twice.
The first crucial step was stripping the rust and bluing from the barrel and action. Using a kit-provided swab and applying the rust and blue removal chemical was easy, as was using steel wool to gently rub off rust and debris. The kerfuffle came when the stripping chemical began drying into a sticky paste on the barrel in the 90-degree heat.
Using the supplied degreaser, I quickly removed the gunk from the barrel, performing a second and third coat of rust and blue remover in some cases, quickly working the steel wool and sand paper to remove everything, then promptly cleaning.
Lesson 1: Perform your firearm restoration in a climate-controlled area.
During the rust/blue removal step, the directions say to clean the metal until it shines, taking great care in the process. Simple enough. The problem occurs where interpretations of “shine” may vary. My cleaning job resulted in what appeared to be a rust-free, lustrous surface, yet later during the bluing step, I learned otherwise.
Lesson 2: Sand and polish the metal at least twice again once you think you have it “shiny” using the rust removal chemical and degreasing thoroughly when finished. You want as near a mirror finish as possible.
Degreasing is another critical step as bluing will not work with unclean metal. Grease and oil prevent the bluing chemical from contacting the metal surface, creating a blotchy appearance. Be sure to use latex or nitrile gloves during the process as fingerprints can show plainly from skin oils. As with the rust and blue removal, once you think the parts are clean, degrease at least twice again, scrubbing diligently. Sanding tough areas when removing rust and bluing can help tremendously, the gun action being the most difficult area.
Sound fun so far? The above steps are simply tedious. Bluing is utter madness. Bluing is a clear chemical that reacts with the steel, darkening it to the rich, almost black finish most guns bear. The directions say to apply quickly, and thoroughly, with an optimal 30- to 45-second soak and no longer than 60 seconds. This could not be stressed enough, which led me to believe the gun would self-destruct at 61 seconds. I decided to blue the H&R barrel in three sections, similar to what the direction recommended.
Lesson 3: Blue the barrel one or two inches at a time. By the time I had the area evenly coated, the starting point had been sitting for 20 seconds, leaving an uneven soak time before washing in cold water and breaking the chemical reaction.
Although it would have been excruciatingly slow, wiping a single blue streak around the barrel at a time would have been far better in the long-run for creating an even finish and would have required about the same amount of time. Thankfully, the finished darkened as it “cured” over 24-hours.
Lesson 4: Coating many small areas is preferable over fewer large areas providing a better finish.
With the metals finally finished, I turned to the stock. The original wood was light and wide-grained with an orangish tint when finished. The replacement forearm was beautiful walnut. How to match them up?
Once sanded clean, I used “special walnut 224” stain from the hardware store for the stock, matching with the new forearm as close as possible. Wiping on two light coats with a rag, I then applied teak oil to both stock and forearm. Finally, a light wipe of clear furniture urethane gave gloss and superior weather protection that looked good to me.
Lesson 5: I am a better carpenter than metalsmith.
Overall, I was pleased with the outcome. The barrel finish could be better and the process simpler, knowing what I know now, but the result was far better than the prior condition. And, I suppose learning a new skill requires starting somewhere.
Regardless, the H&R heirloom found its way back into action, plucking a plump collared dove on its first outing as a reborn small game scattergun. A bird I doubt my dad had ever even heard of.