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Joe Ross' Home Page -- The Joe Ross Band (with appearance schedule)

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Upated: October 31, 2006

CD REVIEWS
ACOUSTIC ENDEAVORS - On A Farm
ASTROGRASS - Newgrass from New York
BLIND CORN LIQUOR PICKERS - Anywhere Else?
THE BROMBIES - Live at the Spitting Llamas Bluegrass Bar
BISCUIT BURNERS - A Mountain Apart
BLUE HIGHWAY - Lonesome Pine
THE BOYS FROM INDIANA - Good Time Blues
CAPTAIN T (Tom Hunnicutt) - The Hunnicutt Collection
GREG CLARKE - Solo
EDDIE COLLINS - Golden Wings
MIKE COMPTON and DAVID LONG - Stomp
THE COTTARS - Forerunner
DAUGHTERS OF BLUEGRASS - Back to the Well
DEAD MEN'S HOLLOW - Wither's Rocking Hymn
CASEY DRIESSEN - 3D
GRAY SKY GIRLS - Self-titled
JEREMY GARRETT & GLEN GARRETT - Bluegrass Gospel 2005
THE GIBSON BROTHERS - Red Letter Day
J.T. GRAY - It's About Time
GREASY BEANS - Busted
TONY HOLT and the WILDWOOD VALLEY BOYS - Daylight's Burnin'
BUDDY JEWELL - Tales of the New West: Songs of the Coreys and Dennis Kahler
MIKE JONES - Ginny's Calling
LORRAINE JORDAN - Road Trip for the Lord
THE KICKIN GRASS BAND - On The Short Rows
JOHN LOWELL & BEN WINSHIP (Growling Old Men) - Occupational Hazards
CLAIRE LYNCH - New Day
JOHN McCUTCHEON - Mightier Than the Sword
MISTY RIVER - Midwinter: Songs of Christmas
MISTY RIVER - Willow
MONROE CROSSING - The Happy Holidays
MOUNT ZION - My Old Friend
BOBBY OSBORNE & The Rocky Top X-Press - Try a Little Kindness
PINE MOUNTAIN RAILROAD - Heartache & Hope
BRAD PAISLEY - Time Well Wasted
DAVID PETERSON & 1946 - In the Mountaintops to Roam
JOE ROSS - Festival Time Again
JOE ROSS - The Spirit of St. Louis
DEAN SAPP & Harford Express - I Can Hear The Blue Ridge Calling Me
MARK SCHATZ and FRIENDS - Steppin' in the Boiler House
SKYLINE DRIVE - Leavin' Town
FERRELL STOWE - Stobro's Blues
MARTY STUART - Live at the Ryman
SUSHI & GRAVY - Takeharu Kunimoto and The Last Frontier
CHRIS THILE & MIKE MARSHALL - Live Duets
JIM VAN CLEVE - No Apologies
APRIL VERCH - Take Me Back
THE DOC WATSON FAMILY - Tradition
WEST OF EDEN - Four
GORDON WRIGHT - Straight from the Heart


Training Techniques (DVD/Booklets/Tapes)
Band In A Book: (3)
BLUEGRASS BANJO Tunes and Techniques taught by Tony Trischka
Bluegrass Guitar: Know The Players, Play The Music
Bluegrass Picker's Tune Book
CLASSIC BLUEGRASS MANDOLIN taught by Jesse McReynolds (DVD)
Complete Country Guitar
Country Swing Back-up Guitar
Easy Flatpicking Guitar Arrangements...
Flatpicker's Guide To Better Playing
Flatpicking the Blues by Brad Davis
Cody Kilby, Brad Davis, Tim May: Live In Kansas City
New Directions In Flatpicking: From...
Pick Power! Right Hand Workout for Speed, Volume...
String Band Classics (Guitar) Transcribed by Dix Bruce
String Band Classics (Mandolin) Transcribed by Dix Bruce
Super Bluegrass Banjo Picking Techniques - Taught by Alan Munde
Super Mandolin Picking Techniques - Taught by Joe Carr
The American Fiddle Method - Volume 1 (Cello)
The World's Hottest Fiddlers Transcribed by Drew Beisswenger




 
GRAY SKY GIRLS -
Self-titled
American Melody AM-CD-5123
P.O. Box 270, Guilford, CT 06437
(203) 457-0881 or (800) 220-5557
EMAIL Phil@americanmelody.com OR info@grayskygirls.com OR lisa@lisabastoni.com
www.grayskygirls.com OR www.americanmelody.com
            SONGS: You're Running Wild, Sea of Heartbreak, Texas Rain, Daisy, Shady Grove, Sylvie, You Are My Sunshine, Hard to Love You, Just Like Home, Bury Me Beneath the Willow, Alaska, Can't Look Away, Golden Slippers, Oh Susannah
            The Gray Sky Girls (Naomi Sommers and Lisa Bastoni) met in 2004 when a Somerville, Ma. punk rock dive decided to branch out and host a short-lived folksingers' open mic. Discovering that they had much in common (love of traditional music, vegetable juice, oat bran, Bob Dylan, and having no middle names), they decided to form an old-time country "slowgrass" duo. The singer/songwriters are proponents of a simple, basic approach that emphasizes close vocal harmonies with organic, earthy perspectives. While singing in close harmony like a couple of mountain songbirds, their rustic instrumental work (on guitar, mandolin, banjo, flute) works fine to complement their folksy song selection. Their subtlety becomes their strength. The result is very personable and soothing music that is full of charisma. Traditional sensibilities draw on repertoire like Oh Susannah, Golden Slippers, Bury Me Beneath the Willow, You Are My Sunshine, and Shady Grove. Their melodic rendition of "Sylvie" is quiet and soothing, practically classifying as a lullaby.
            On a more contemporary vein, the girls with a shared affinity for organic, dried mango also present three originals apiece. Whether singing emotionally-wrought sentiments ("Hard To Love You" and "Can't Look Away", a soldier's nostalgic longing for home ("Just Like Home", or about abandonment, uncertainty and insecurity ("Texas Rain"). The Gray Sky Girls have a knack for songcrafting in a concise, straightforward, understandable style. For example, Lisa Bastoni's "Daisy" paints a vivid portrait of carefree happiness with a greasy-haired spring wildflower in overalls. Naomi Sommers' "Alaska" is a comforting tale of wanderlust that also captures the duo's pioneering spirit. I'd like to hear more songs about the characters they meet on their itinerant journeys, playing at folk festivals, coffeehouses, or busking in subways. Or perhaps even a song about the lonesome, swooping swallows that they brought home on their forearms from a Kansas tattoo parlor.
            Both Lisa and Naomi have released previous albums, and their self-titled debut album is on Phil Rosenthal's American Melody label. Both have been recognized as up-and-coming folk artists. Naomi is a 2004 Kerrville, Tx. Folk Festival New Folk finalist, and Lisa was featured in the 2002 Falcon Ridge Folk Festival Emerging Artist Showcase. The Gray Sky Girls toured the midwest for two weeks in 2006, and they are now planning a west coast in early 2007. Groups don't need a lot of hot, flashy licks to build a signature sound, become highly sought after, and build a legion of fans. In harmony with nature, the Gray Sky Girls' heartening music is very inviting for audience participation too. Their youthful exuberance and boundless enthusiasm will take them far. (Joe Ross)



 
Joe Ross -
Festival Time Again
Zephyr Records 0429
170 Loredo Drive, Roseburg, OR. 97470
www.cdbaby.com/jross3 OR www.talentondisplay.com/joerosshome.html
Playing time: 46:16
            Joe Ross, best known for his contributions to bluegrass in written form, has a genuine way with words. With over 1,200 published features and reviews during the past three decades, his insightful and thoughtful observations have graced the pages of many publications all over the country.
            Festival Time Again, the all-original music of this multi-talented artist features sounds of traditional bluegrass along with many other diverse influences including some Irish flavored tunes, jazz, Americana, gospel and even gypsy sounding music. To those of us who are looking forward to the festival season, this title means lots of bluegrass, good friends and good times. This music is just that-happy sounding fun music. "Good Deeds," a funky sounding song with an island beat appeals to the good side of all of us. A cut Joe calls "HotQua Nights," inspired by the music of Django Reinhardt, follows with a gypsy flavored funky fun song. Another highlight, "My Home In Old Virginia" sung by James King gets the sound right back to roots bluegrass with great vocals and a old style shared banjo and dobro break. Besides The James King Band on three cuts, other great musicians helping Joe include Ronnie Stewart, Scott Vestal, Tim Crouch, Bryan Bowers, Radim Zenkl, Al Brinkerhoff, and others.
            Whenever an album crosses boundaries and groups play different styles, the risk is always of losing their identity, never really landing in one area, and having a hard time finding their place with fans. Of course, the good thing is to those of us who like different genres of music this is a special treat as these guys really entertain. On this project, Joe mixes it up well, and the results seem well worth the risk. There is something for the traditional fans to enjoy and for the more adventuresome. An awesome musical experience! (Johnny Pearce, staff writer, Bluegrass Now magazine)



 
Joe Ross -
The Spirit of St. Louis
Zephyr Records 0430
170 Loredo Drive, Roseburg, OR. 97470
www.cdbaby.com/jross4 OR www.talentondisplay.com/joerosshome.html
Playing Time: 39:48
            There's a lot to like about this latest effort from Joe Ross. Eleven new original songs cover everything from stirring Gospel, to songs about logging, Mom, Oregon (where Joe calls home), love, even fowl, and, as the title implies, Charles Lindbergh's epic flight across the Atlantic. Al Brinkerhoff's melodious resophonic guitar kicks things off very appealingly on the lively "The Logger's Song," vividly illustrating the life of an Oregon woodsman. "The River In Oregon" is a tribute to the rivers and tributaries, "the lifeblood of the land - please take care of them," Joe writes in the liner notes. "One Legged Turkey," a clever, upbeat instrumental, was written in memory of an actual wild turkey that hung around for a while on the roof of Joe's home. "Mother's Songs" is quite emotive; a beautiful piece that Joe says always choked him up as he sang it. Recorded with the fine Missouri band Cedar Hill, the cut features Mel Besher in a first-rate bluegrass tenor lead vocal backed by Lisa Ray on harmony vocal. The one traditional in the collection, "St. Anne's Reel," is lovely with Joe on hammered dulcimer and mandolin, Bryan Bowers on autoharp, and Radim Zenkl on pennywhistle. "The Church Bell No One Hears" and "His Hand Is Divine" are two very well-crafted Gospel pieces, the latter featuring some excellent fiddle work by Ronnie Stewart.
            Again Joe composes in a nice array of styles - the very bluesy "Streamliner," Calypso on "The River In Oregon," and driving bluegrass. And as usual, he's assembled a fine line up musicians quite equal to the task; the likes of Randy Kohrs, James King, Adam Haynes, Kevin Prater, Tim Crouch, and Scott Vestal contribute masterfully on various cuts. The word sure seems to have gotten out among his peers that Joe is a talent to be reckoned with; it's more than about time this notion catches on with the listening public and bluegrass radio. (Joe Falletta, staff writer, Bluegrass Now magazine)



 
Gordon Wright -
Straight from the Heart
No label, No number
Wrightg@sympatico.ca
Playing Time ­ 31:24
            From Ontario, Gordon Wright is a bluegrass musician who has a special place in his heart for original gospel songs, in an old-time bluegrass style, that celebrate the spirit of God. In 2003, he met Ron Clark, a talented harmony singer and multi-instrumentalist (guitar, banjo, mandolin, bass, fiddle). The two seemed destined to cross paths for a specific reason ­ to create this album as part of their musical ministry. With songs primarily written by Wright in the first three months of 2005, the duo then arranged and recorded this set in Clark's home studio in March of 2005. In fact, I'm told that Wright is so prolific a songwriter that he has written a total of 74 songs during the past year and a half!
            "Straight From The Heart" doesn't have the slick production qualities of a major label, but it does present unpretentious, heartfelt songs that hold special meaning in the messages. Wright's lyrics are direct and to the point, and the duo's rhythm is strong and steady. A simple and basic approach can create strong, memorable pieces, yet it is the lyrics that must touch a person's emotions for a song to fully succeed. If covered by a top-name bluegrass gospel group, some of Wright's songs have the potential to create a long lasting impact. His best ideas appear in those songs that provide direction to us in a turbulent, chaotic world. For that reason, I discovered the most inspiration in "Take the Royal Road," "Do You Take Your Bible," "I'm Telling You," and "We Should Pray For Our Dear Children." (Joe Ross)



 
Sushi & Gravy -
Takeharu Kunimoto and The Last Frontier
Shami Records ­ 1003
Dansmusiconline.com
Playing Time ­ 38:19
            As a young "navy brat" growing up in Japan, I often discovered such cross-cultural delicacies as gravy rice, curry rice, squid pizza, or french fries with gravy. "Sushi & Gravy," however, is one item I never concocted, but it was only a matter of time before someone mixed up an appetizing batch. Leave it to shamisen-player Takeharu Kunimoto and The Last Frontier (Aaron Jackson, J.P. Mathes, Ken Thomas, Dan Boner). Joined by Raymond McClain (fiddle, clawhammer banjo) in a varied set recorded after the group's 2005 Japan tour, the unique band demonstrates an open-minded willingness to incorporate Eastern and Western sensibilities into their bluegrass, instrumental and original music. Kunimoto's first instrument was actually mandolin, taken up thirty years ago after seeing Bill Monroe. In 2003, the Japanese musician and storyteller attended East Tennessee State University where he joined the Bluegrass Pride Band. In 2004, The Last Frontier formed and released "Appalachian Shamisen." Over in Japan, Kunimoto is both preserving and pushing tradition as a rokyoku ballad singer who tells historical vignettes, accompanied by shamisen. The innovator incorporates elements of blues and rock music as he explores and revitalizes this traditional art form in his country.
            The fretless shamisen only has three strings strung over its parchment-covered soundbox, but Kunimoto-san is a master at finding a way to fit into a bluegrass context. Purely Japanese, the shamisen first appeared in the sixteenth century. Now played with a large plectrum, the earliest shamisen could have been bowed. It's the quintessential all-purpose Japanese instrument, indispensable to theater, parties, geisha, folk and classical music. Because of the instrument's versatility in Japan, Kunimoto proves that it can also find acceptance in Oriental bluegrass. The shamisen's voices range from robust percussive propulsion ("Tears of the Samurai") to lyrically sweet vocalizing with a feminine touch ("Chinese Caravan"). The latter is a favorite. Four seconds later, Kunimoto is singing a fun, rousing original "A-Jyanaika" that reminds me of rowdy street musicians called "chindonya." The song's title means "Take it easy," and is based on an original "A-Janaika" song dating to about 1867 when the Japanese were nervous about changes in their country, earthquakes, tsunami, flood and other natural disasters. "A-Janaika" performed with a folk dance (or parade) helped the people to think positively.
            The band loses some balance in their fastest pieces that push and challenge each other ("Gonna Paint The Town"), but Jackson & Mathes' "The One Who Leads Me Home" is a pleasurable gospel experience. Burning original instrumentals like "Hikyaku's Love" and "Nanny Goat" keep the melodies simple, direct, with solid rhythmic thrust.
            This album has a distinctive native sound and Japanese character, and the band's Zen-like wisdom emphasizes that there is much joy and fun to be found in each fleeting musical moment. Kunimoto fully realizes the many emotions of his instrument, and his rokyoku storytelling will no doubt now also include some hot bluegrass licks and phrasings to further thrill his enthusiastic Japanese audiences. (Joe Ross)



 
Flatpicking the Blues
by Brad Davis
Mel Bay 2242
23-track CD and 42-track DVD
www.melbay.com OR www.flatpick.com
88 pages
            "Flatpicking the Blues" (with both a CD and DVD) shows how to incorporate a blues feel into our repertoire, specifically flatpicking tunes. Brad Davis defines the blues by concentrating on scales, rhythms, chord progressions, standard blues licks and phrases. He explores the styles of Robert Johnson, Eric Clapton, and Stevie Ray Vaughn, and even Bill Monroe. Thus, he illustrates how many genres of music (bluegrass, folk, rock) have influences of the blues. The DVD shows how to play several different arrangements of 12-bar blues rhythm. Davis then utilizes blues scales to improvise over the chord progression. His step-by-step method is straightforward and easy to follow. With the written examples in the book, a student would then practice with the tracks on the audio CD. It was a good idea to also present ear training lessons. With a solid understanding of the elements of the blues, a student musician will become a better improvisational player. Bluegrassers will especially be pleased because Davis illustrates and teaches "bluesy" arrangements of a number of standard tunes (Nine Pound Hammer, Lonesome Road Blues, Salt Creek, John Hardy). "Petticoat," a traditional blues vocal tune is also taught. Brad Davis has recorded or toured with Sweethearts of the Rodeo, White Water, Marty Stuart, Steven Seagal, Billy Bob Thorton, Daisy Dern, Forester Sisters, Earl Scruggs and Sam Bush. Brad's own solo album, "Climbin' Cole Hill" was released on Raisin' Cain Records, and he is the inventor of The Brad Bender for bending strings on the guitar. (Joe Ross)



 
Bluegrass Picker's Tune Book
compiled by Richard Matteson, Jr.
Mel Bay MB-20233
www.melbay.com
247 pages
            Richard L. Matteson Jr. is a dedicated author and teacher, most known for his books, articles and workshops on fingerstyle guitar. From Winston-Salem, N.C., the president of the Piedmont Classic Guitar Society is also an active performer and director of guitar studies at Winston-Salem State University. He created The Bluegrass Messengers as a vehicle for his students to gain performance experience. Seeing a need for a songbook that includes notes, lyrics, chords and standard notation, Matteson compiled over 200 favorite bluegrass and gospel songs. Some are also considered old-timey (Hog-Eyed Man, Girl I Left Behind Me, Sally Ann, Arkansas Traveler, Skillet Good and Greasy). Matteson even includes his own "Bluegrass Boogie." The Bluegrass Picker's Tune Book easily meets a need for repertoire, emphasizing many songs that date back to the turn of the century and including info on their origin, dating and references for recorded versions. Large print for the lyrics also make them easy to read. While some are certainly included (e.g. Goin' Down This Road Feelin' Bad"), the many hits of Bill Monroe, Stanley Brothers, Flatt & Scruggs, and other bluegrass luminaries are noticeably absent. Matteson says that it was difficult just to pick 213 songs, and he may produce a supplemental volume. (Joe Ross)



 
Band In A Book: Bluegrass Vocals
Band In A Book: Bluegrass Instrumentals
Band In A Book: Gospel Vocal Tunes for Bluegrass Ensemble
by Steve Kaufman
www.melbay.com OR www.flatpik.com
            Years ago, a friend of mine taught "Beginning Bluegrass Band" at a local community college. There were a number of bands that subsequently formed as a result of his efforts. Imagine yourself with a classroom full of beginning and intermediate bluegrass musicians ready to jam and learn songs together. "Band in a Book" would be the perfect textbook to help you organize the disparate group and present a curriculum that will meet everyone's needs. The bound book contains a "conductor's score" with all of the band instrument parts in both standard notation and tablature. In some cases, two scores are shown to differentiate between those instruments typically using capos in contrast to those that do not. Individual instrument scores removable from the book are available for lead guitar, rhythm guitar, bass, banjo, and mandolin/fiddle. The beginner-level solos would certainly assist an entire group in need of some organizatin and direction. Band in a Book's "Bluegrass Vocals" includes Banks of the Ohio, Footprints in the Snow, John Hardy, Lonesome Road Blues, New River Train, Roll On Buddy, Sitting on Top of the World, Tom Dooley, Way Downtown, and Worried Man Blues. The "Bluegrass Instrumentals" book has Bill Cheatham, Cindy, Cripple Creek, Cumberland Gap, Down Yonder, Old Joe Clark, Red River Valley, Soldier's Joy, Turkey in the Straw, and Wildwood Flower. Finally, a book of "Gospel Vocal Tunes" includes Amazing Grace, Angel Band, Bury Me Beneath the Willow, Cryin' Holy Unto the Lord, I Am a Pilgrim, I'll Fly Away, Old Rugged Cross, What a Friend We Have in Jesus, When the Saints Go Marching In, and Will the Circle Be Unbroken. The only weakness seen is that in the case of the two sets of vocal material, there are no scores available for the four vocal parts (bass, baritone, lead, tenor). "Band in a Book" would certainly help a group to become instrumentally solid, but they might still be left struggling to figure out their lead and harmony singing.
            Steve Kaufman, the only three time winner of the National Flatpicking Championship in Winfield, Kansas (78, 84, 86), is one of the more prolific and astute authors for Mel Bay publications. His "Band In A Book" series will be welcomed by beginning bluegrass ensembles, band workshops, and multi-instrumentalists wanting to explore various instruments. (Joe Ross)



 
Complete Country Guitar
Taught by Joe Carr
Mel Bay MB95615DVD
www.melbay.com
155 minutes
            All three volumes of Joe Carr's 1995 "Complete Country Guitar" lessons are now available on DVD. Volume one covers major chords, scales, Nashville numbering system, 1-4-5 progressions, and picking techniques. For the latter, Joe quickly demonstrates upstrokes, downstrokes, alternating pick direction, plucking strings all at once, popping (or chicken pickin'). Volume two addresses harmonized scales, turnarounds, pentatonic scales, and new chords and endings. Volume three introduces more intermediate techniques such as string bends, pedal steel intros and endings, Chuck Berry rockabilly sounds for leads, and special effects (volume swells, harmonics, and using the echoplex with 1-second delay in the style of Albert Lee). Unlike some other instructional material that shows views of both right- and left hands, this DVD focuses on one or the other. Carr's is particularly effective in teaching licks and patterns, something of great use to guitarists who desire to go beyond just techniques. His approach no doubt stems from over two decades as a successful music instructor at South Plains College in Levelland, Tx., as well as his authoring over 20 books or videos for Mel Bay Publishing about playing guitar, mandolin, ukelele, fiddle or banjo.
            "Complete Country Guitar" covers many bases in less than three hours. Fundamentals of chords, scales, and flatpicking techniques are essential. However, it's also nice that attention is given to implementation and application of the ideas with rhythm and charts to play along with. This lesson gets high marks for introducing pedal steel licks, special effects, and various country lead guitar styles. Of course, each of these topics could be an entire DVD lesson of its own so Joe barely scratches the surface. But he does stimulate considerable curiosity about them for further exploration. (Joe Ross)



 
Cody Kilby, Brad Davis, Tim May:
Live In Kansas City
Flatpicking Guitar Magazine
FGM-DVD-1011
www.flatpick.com
            Recorded December 18, 2004 at Jim Curley's Mountain Music Shoppe in Shawnee, Kansas, this concert presents solos, duos, and trios by three flatpick guitar masters. Each performer has impressive credentials and experience. A guitar, banjo and mandolin champion, Cody Kilby has been a member of Ricky Skaggs and Kentucky Thunder since 2001. Originally from Texas, Brad Davis has played with The Forester Sisters, Marty Stuart, Sweethearts of the Rodeo, Billy Bob Thornton, Earl Scruggs, and Sam Bush. Tim May has worked with Pat Flynn in the band Crucial Smith. These pickers present some more standard numbers like Angeline the Baker, Lonesome Fiddle Blues, and Uncloudy Day. Most of the concert, however, is an eclectic and enjoyable mixture of originals that also showcase their talents as songwriters. I was particularly fond of Brad's "Cypress Walls," Tim's "My Heart's An Open Door," and Cody's "Song for Sophie." A few of the vocal numbers have tenor harmony on choruses (courtesy of Brad or Tim), but it was sadly missing in Brad's fine song "All I Need To Know" that also demonstrated his patented string-bending invention known as the Brad Bender. He jokes about having to "have a gimmick to keep up with the other two guys" and having to be "crazy or plumb nuts to play with guys like Sam Bush." The talented trio's strength is their instrumental prowess, and it's also a treat to hear Cody play banjo or mandolin ("Lacrosse" and "Ain't That Just Like Love") and Tim pick some propulsive banjo on the newgrassy "Big Timber." This generous DVD produced by Dan Miller (of Flatpicking Guitar Magazine) offers 18 tunes. Some good close-up videography occasionally shows both right and left hands of the musicians so there are also educational and instructional benefits. I experienced some difficulty getting back to the DVD's main menu with my remote, but this was remedied by just unloading and reloading the disc. Closing the project is the bonus of the commercial video shot of Brad Davis' "I'm Not Through Loving You Yet." All in all, having "Live in Kansas City" available on DVD is a real gift because it captures some special moments when these three consummate players presented an evening of musical magic. (Joe Ross)



 
Pick Power! Right Hand Workouts
for Speed, Volume and Control
Taught by Paul Mehling
Homespun DVD-MEH-PP21
www.homespuntapes.com
110 Minute DVD, includes music and tab
            Professional musician Paul "Pazzo" Mehling is a founder of the Hot Club of San Francisco, a group known for its fine gypsyjazz music in the style of Django Reinhardt. Years ago, when Mehling visited the Django Festival in France, he noticed some others whispering about his playing during jam sessions. He discovered that it was because his solos were not being heard so he obtained some advice from other gypsy-swing players there and then proceeded to retrain himself to incorporate a "radically different" guitar-playing technique using bent wrist at a 45 degree angle. Using this approach will result in improved control, power, tone and speed. Mehling points out that these exercises are for both hand and head because mental thought is also tantamount to good playing. Mehling is a very personable, articulate and knowledgeable instructor. The nearly two hours of instruction are graduated in difficulty and include such things as strums, vibrato, tremolo, single string techniques, chromatic exercises, string crossing, and sweep picking. Advanced techniques address legato, double down, and subdividing. All are excellent "keys" to good playing for more advanced guitarists. A committed guitarist practicing diligently two or three times daily with Paul (for at least 20-30 minutes at a time) will greatly improve their pick power. Not only will one's instrument sound louder and with better tonality, but you'll notice an ability to play faster (when needed) and with greater expression, authority and dynamics. Paul also shares interesting information about his guitars, strings and picks. Mehling's group has released nine CDs, and I would further recommend that, in conjunction with this DVD, you also study his most recent recorded music to fully appreciate the potential of learning his powerful techniques. (Joe Ross)



 
New Directions In Flatpicking:
From Bluegrass to European Dance Tunes
Taught by Beppe Gambetta
Homespun DVD-GAM-GT21
www.homespuntapes.com
90-minute DVD, includes music and tab
            From Italy, Beppe Gambetta originally trained as a classical musician, but he converted to flatpick guitar after hearing bluegrass. While also very accomplished as a fingerpicking guitarist, this DVD presents six eclectic tunes for flatpickers ranging from Hungarian and Italian pieces (Czardas, Iride) to reworked renditions (in DADGAD tuning) of American fiddle tunes like Old Joe Clark, Soldier's Joy and Salt Creek (that Beppe calls "Slow Creek). The founding member of the Italian band "Red Wine" has a very relaxed communication style that succinctly focuses on the relevant, important information needed to learn the tunes taught.
            Beppe's playing on his Taylor guitar can be quite inspiring because of his innovation and creativity. In fact, he says that the most important lesson is "to be personal Š be unique." For that reason, his romantic "Slow Creek" calls for two strings to be re-tuned before he demonstrates a cross-picking technique. "Iride," a mazurka (in _ time) by Italian composer Pasquale Taraffo, dates back to the turn of the 20th century and will challenge even advanced players with its use of triplets. Beppe cautions us to "start slower and with preliminary exercises." Another European piece, "Czardas," requires the guitarist to speed up each time through the song "until the dancers are falling to the floor." Besides his witty advice of drinking 6 or 7 espressos, Beppe does emphasize that the secrets for playing fast are to start slow, practice exercises with hammer-ons and pull-offs, and mentally concentrate on giving power to the left hand. A few of the songs are accompanied by rhythm guitarist Artie Traum, and the chords for those tunes are also provided in the music/tab booklet. Two of the pieces taught (Iride, Mediterranean Dance) can be heard on Gambetta's "Good News From Home" album (GLCD-2117). He closes the DVD with his performance of the title cut from that album. Gambetta is an artist who has achieved excellence in his field. We thank him for sharing some of his song arrangements, and we'll work on the homework assignment he gives us to "be a teacher of yourself as it's an important part of learning." Thanks to his inspiration, the next time we meet I hope to show him my very own DADGAD arrangement for "Sally Goodin." (Joe Ross)



 
Country Swing Back-up Guitar
Taught by Nick Forster (with Tim O'Brien on fiddle)
Homespun DVD-FOR-GT21
www.homespuntapes.com
60-minute DVD, with chord charts
            Originally released on video in 1992 (but now available on DVD in 2006), Nick Forster's "Country Swing Back-Up Guitar" is a straight-forward approach that demystifies the unique style for accompanying western swing or Texas fiddle tunes. Forster, of course, played electric bass in the ground-breaking bluegrass group, Hot Rize, while they were together from 1978-90. We were treated to his swinging guitar when the entertaining band's alter-ego group would appear from the back of their bus. When Red Knuckles and the Trailblazers would take the stage, Nick was known as Wendell Mercantile on the six-string. The keys are to provide a moving bass line and to give the backup a percussive bounce by dampening the strings and eliminating or minimizing sustaining notes. Forster teaches some basic music theory about the notes that make up chords, how chords get their names, and how to make your own chords. Some charts come with the DVD. In the finest form of guitarists like Eldon Shamblin, Hank Garland or Jimmy River, a country swing chord progression is demonstrated at various tempos for the fiddle standard "Sally Goodin." The same progression in the key of E is taught. Chord shapes in the key of F are shown for their application to such songs as "Deep Water" and Bob Wills' "Brain Cloudy Blues" which almost entirely uses 7th and 9th chord voicings. It is important for guitarists to understand how to play in closed chord positions so they can be transferred to other keys on the fingerboard. With the addition of moving bass lines and the percussive effect from dampening strings, you'll be ready to win the accompanist award at the national old-time fiddlers contest in Weiser, Idaho. (Joe Ross)



 
Easy Flatpicking Guitar Arrangements:
A Song for Every Holiday
Taught by Steve Kaufman
Homespun DVD-KAU-FH21
www.homespuntapes.com
80-minute DVD, with music and tab
            Three time National Flatpick Guitar Champion Steve Kaufman knows that guitarists like having "a song for every holiday." In this lesson that was originally released on video in 2000 (but is now available on DVD), Steve teaches eleven songs for various special days from Valentine's Day to New Year's Eve. The majority are in the key of C, but a couple others take us into the keys of D or F. Emphasizing his technique of strumming through chords only up to the song's melody notes but not past them, Steve demonstrates an easy method to provide both rhythm and melody. The ear hears the highest tone in chord's voicing. Therefore, this is good direct approach to learn songs. On the songs for Hanukkah (Dayenu, Who Can Retell?), we're shown how to break out of the chord occasionally and how to provide light strums to fill gaps with time and chord coloring. The videography is very professionally done, but Steve's loose wrist watch does provide a slight annoyance to the viewer trying to concentrate on the multiple screens illustrating both the right and left-hands. Adding holiday songs to one's repertoire is a wise thing to do. It's also good practice for learning new licks, chord shapes, phrasings and patterns. The songs taught include Let Me Call You Sweetheart, When Irish Eyes are Smiling, Dayenu, America the Beautiful, Battle Hymn of the Republic, We Gather Together, Who Can Retell?, Winter Wonderland, Jingle Bells, We Wish You a Merry Christmas, and Auld Lang Syne. (Joe Ross)



 
A Flatpicker's Guide
To Better Playing
Taught by Russ Barenberg
Homespun DVD-BAR-AG21
www.homespuntapes.com
90-minute DVD, with music and tab
            Russ Barenberg, originally from Pennsylvania, is known as an eclectic guitarist familiar with bluegrass, jazz, folk, cajun, celtic, carribean and latin elements. Originally released and titled "Acoustic Guitar Musicianship" on video in 1989, this DVD emphasizes tone, timing, control, rhythm and improvisation for flatpick guitarists. Russ covers very fundamental concepts for getting a big open sound from one's guitar, as well as the best sound textures and shapes possible. Reinforcing the importance of personalized musical expression, Russ addresses such concepts as where you play on the fingerboard, dynamics, ornamentation, syncopation, vibrato, damping, and pick direction. His originals "For J.L." and "Cowboy Calypso" incorporate many of these elements. Barenberg is a master at using slides, hammer-ons, and pull-offs (in a tune like "Prince Charlie" learned from a Cape Breton fiddler) to give emphasis, shape, flow to a song's melody. A contradance tune, "Dominion Reel," illustrates a backbeat pulse. "Oh Susanna" was a good choice of tunes to demonstrate improvisation and how to compose variations that add texture to a melody's phrasing. Russ closes with the significance of letting your ideas come out before summarily rejecting them. Let melodies grow naturally, and get in touch with your own ideas by listening and experimenting. The 90-minute lesson also includes some music and tab. (Joe Ross)



 
MARTY STUART AND HIS FABULOUS SUPERLATIVES
Live at the Ryman
Universal South Records B0004961-02
Fletcher, Van - van.fletcher@umusic.com>
Van Fletcher Sr. VP/GM Universal South 40 Music Square West Nashville, TN 37203
Playing Time - 42:42
            It's been a number of years since I caught Marty Stuart live at a bluegrass festival at the Frontier Ranch near Columbus, Ohio. At the time, I thought his show was a little too country with its electric guitars and drums, but he was still very well received by the large crowd in attendance. This live bluegrass album is a very welcome acoustic treat that takes the consummate entertainer back to his professional bluegrass roots that first began after he heard Bill Monroe & The Sullivan Family at the Natl. Guard Armory in Jackson, Alabama in 1970. By 1972 (at age 13), the Mississippi native was playing mandolin and lead guitar with Lester Flatt & the Nashville Grass. Lester affectionately called him "Little Marty Stuart." After seven years with Lester, he spent six with Johnny Cash. Marty's also worked with Bob Dylan, Crystal Gayle, Anne Murray, Jerry Lee Lewis, Carl Jackson, The Sullivan Family, Travis Tritt and many others.
            Since joining the Grand Ole Opry in 1992, you might catch Marty with his own band, with "The Opry Bluegrass Band" (with Ricky Skaggs, Alison Krauss, Vince Gill & Earl Scruggs), or with the old-time "Tennessee Mafia Jug Band." The versatile Stuart has found his niche on Hillbilly Rock Road that traverses both bluegrass and country territory. On this album, his signature "Hillbilly Rock" closes the set that took place on July 24, 2003 at the historic Ryman Auditorium in Nashville. Marty had just finished touring the nation with his "Electric Barnyard Tour," and he'd somewhat forgotten that he'd agreed to doing a bluegrass show at the Ryman. No matter because fiddler Stuart Duncan, banjo-player Charlie Cushman, dobro-player Josh Graves, and emcee Eddie Stubbs were only a few phone calls away and more than willing to join Marty's Fabulous Superlatives with Kenny Vaughan (guitar), Harry Stinson (snare drum), and Brian Glenn (bass). Marty admits to not having the time to rehearse much or get serious about anything so the group agreed to pick and sing "marquee level songs with a built in fun factor." It wasn't planned for the sold-out concert to be recorded, but after the fact Marty felt that it was magical from the first note to the last. Thus, it was decided to share it with us on CD. Maybe that's why "Live at the Ryman" follows so closely after his "Soul's Chapel" and "Badlands" album releases since the summer of 2005.
            "Live" conveys a great deal of bluegrass spirit and drive. Often, the very best 'grass is played in jam sessions, and these Nashville cats knew exactly how to light the fire. That's where chutzpah kicks in. Marty was clearly in charge, directing the arrangements, and encouraging his sidekicks. The real treat is in hearing the individual instrumentalists tear up standards and impart their own personalities to the likes of Orange Blossom Special, John Henry, Shuckin' the Corn, Train 45, and The Great Speckled Bird. Some of Stuart's hits such as "The Whiskey Ain't Workin' Anymore" and "Hillbilly Rock" are given hard-drivin' bluegrass treatment. Great pickers also know how to impart drive to slower-tempo'ed tune, and mandolin players should really enjoy Marty's licks on "No Hard Times Blues." I was surprised that the liner notes don't credit Marty with any vocals. The notes are remiss in not acknowledging songwriters. A few little things aside, "Live at the Ryman" is a sturdy, confident project with raw energy and brash attitude. Marty and his buds keep the bluegrass coming at full throttle. Kudos to Les Banks for a fine job with recording this show. (Joe Ross)



 
BLUE HIGHWAY - Lonesome Pine
Rebel CD-7512
PO Box 7405
Charlottesville, VA 22906
www.rebelrecords.com
email: tgarber@rebelrecords.com
Playing Time - 43:30
SONGS - In The Gravel Yard, Lonesome Pine, He Walked All The Way Home, Blue Ridge Mountain Girl, Some Day, Cold Frosty Morn,Before The Cold Wind Blows, The Rounder, Between The Rows, Flannery's Dream, Last Dollar Blues, Two Coats, It's A Long, Long Road
            "Lonesome Pine" is a collection of 3-5 cuts apiece from three Blue Highway albums on the Rebel label: It's A Long, Long Road (1995), Wind To The West (1996), Midnight Storm (1998). So this compilation of previously released material is a fine "Best of" retrospective for the band from Johnson City, Tennessee that performed its first gig on New Year's Eve in 1994. It's great to see internationally-renowned bluegrass groups as prolific as Blue Highway releasing projects with their best hits. Blue Highway's original lineup included Tim Stafford (guitar), Wayne Taylor (bass), Shawn Lane (mandolin/fiddle), Tony Brown (banjo/fiddle), and Rob Ickes (dobro). Brown doesn't appear on this album, as Jason Burleson took his place and plays banjo or mandolin on these cuts. In 1996, Blue Highway won IBMA awards for "Emerging Artist of the Year" and "Album of the Year" (for "It's a Long Long Road"). In 1997, they won the IBMA award for "Gospel Recorded Performance of the Year" for the song "God Moves in a Windstorm." I wish that song would've been included in this set of hits. In 1998, Burleson left the band and was replaced by Tom Adams who also doesn't appear in any of these cuts. Burleson returned to the band two years later.
            Over the years, Blue Highway has carved out their own niche in bluegrass. Their musical vision has always incorporated accessible melodies, bright lyricism, and interesting dynamics. They can't go wrong with songs like "Blue Ridge Mountain Girl." Taylor's, Stafford's and Lane's songwriting abilities are showcased. Ickes and Burleson have also penned some groovy instrumentals, but none are included in this set. Instead, they choose the old-time "Cold Frost Morn" and rootsy "Flannery's Dream" for the instrumental offerings here. The band has a side with considerable emotional depth, with moving songs like "Some Day" and "Before the Cold Wind Blows." The former, arranged a cappella, shows clearly how splendid their vocalizing can be. The latter, along with the title cut, are both Wayne Taylor originals and are among the band's most requested numbers. Since this CD features previously released material, I wish that the producers would have given us just a bit more than a 43-minute set. I would have lobbied for inclusion of some other originals such as Taylor's "Keen Mountain Prison" and Stafford's "Find Me Out on a Mountain Top." Being from Oregon, I've always liked Stafford's song called "Clear Cut," another hit that isn't included here. Jack Tottle has contributed a fair amount of material to Blue Highway's repertoire, and I was glad that they included one of his to close the album.
            No slouches on their instruments, the guys in the band are award winners. All told, they've released 6 albums, been nominated for a Grammy, topped the Bluegrass Unlimited chart, won a Dove Award and 11 IBMA awards (either as a band or individually). Blue Highway boasts an impressive track record as a contemporary bluegrass band. "Lonesome Pine" only tells part of the story with its documentation of the wave they rode in that time period from 1995-1998. All three of the individual albums sampled were given my highest marks in the past. However, being a compilation, I'm giving this CD a "B+" only because I simply think it should have included about 17 more minutes of their fine music. "Lonesome Pine" is a very good sampler and great introduction to their music. This 13-track reasonably-priced sampler could very well lead you to purchase all three of the albums from which the cuts are taken. (Joe Ross)



 
CAPTAIN T (Tom Hunnicutt)
The Hunnicutt Collection
(Volume Five)
The Arkansas Years, - Part One, The Natural State Song
White Swan Records
PO Box 20, Williford, Ark. 72482
TEL. (870)966-4858
Tom Hunnicutt - soketom@centurytel.net
Playing Time - 42:39
            Tom Hunnicutt (Captain "T") hails from a small town in northern Arkansas that is only 67 miles from the home of Jimmy Driftwood. It's no wonder that this current "Arkansas Folk Music Ambassador" wrote one of his songs, "Mountain View," to honor the memory of Jimmy and his hometown. In fact, all of Hunnicutt's songs are about Arkansas and his life experiences including service in Vietnam as a Marine. Besides playing guitar and singing, Captain "T" also plays the jaw harp like Driftwood used to do on occasion. For instrumental support, Tom enlisted the inimitable Tim Crouch on guitar, mandolin, banjo, fiddle, and rhythm drum. The Arkansas state champion fiddler fills the country, folk and bluegrass soundscapes with highly accomplished musicality that complements Tom's downhome vocals. The twin fiddles on "Joanie" are perfectly alluring for this slower country number. Doug Driesel also showcases his solid abilities on bass guitar and as the harmony vocalist. A bluegrass arrangement of "The Marines' Hymn" features Ernie Lewis and Kenny Walters.
            Captain "T" is interested in getting his music more widely heard, and a couple of his songs ("Spring River Eulogy" and "Chasing The Fiddle") have been featured on Volumes 80 and 81 of the Prime Cuts of Bluegrass samplers. I enjoyed hearing his stories and visualizing this Arkansawyan's images of home. Folks from that region should especially enjoy this minstrel's uplifting statements about the "land of plenty, land of awe" called Arkansas. Hunnicutt is trying to get the State of Arkansas to make "The Natural State Song" the first state song with that image. Jimmy Driftwood's music eventually became marred by over production that included continual snare drumming and slick Nashville harmonies. Hunnicutt wisely keeps his music more minimalist, and it radiates with a nostalgic glow that emphasizes his love of homestead, hearth, family and God. (Joe Ross)



 
JIM VAN CLEVE - No Apologies
Rural Rhythm RHY-1029
PO BOX 660040, Dept. D, Arcadia, CA. 91066-0040
www.ruralrhythm.com OR www.hollerbackpr.com
Email Donica@hollerbackpr.com
Playing Time - 44:52
            Fiddler Jimmy Van Cleve has made quite a bluegrass name for himself playing with Doyle Lawson, Ric-O-Chet, Lou Reid & Carolina, Rambler's Choice, and Mountain Heart. The latter group, formed in 1998, won IBMA's Emerging Artist of the Year Award in 1999. Now, on his debut solo album "No Apologies," Van Cleve has the support of his current bandmates and other bluegrassers of incomparable talent. The result is supreme 'grass that hits you like a runaway train. The musical thrust of "No Apologies" is simply hard-charging intensity and soulful loveliness that epitomizes the bluegrass spirit. Emphasizing their instrumental and melodic mettle, the formidable pickers treat us with snappy bursts of rhythm, hot licks and consummate radiance.
            The artful approach of "No Apologies" has alluring je ne sais quoi (a quality hard to describe) as it covers a variety of territory. Whether your cup of tea is expressive new acoustic and reverberated pieces like "Highlands" and "Grey Afternoon," or the more traditional sensibilities of a very accessible and expressive "We Can't Be Darlings Anymore," Van Cleve and company show that their music can be both inspired and inspiring. All this from a 26-year-old! On this project, the fiddler also wears the hats of lead singer, harmony vocalist, producer, arranger, and composer. Van Cleve solely penned or contributed as a co-writer to six of the eleven tracks. Jim even displays some luminous vocal quality on "Way It Always Seems To Go," his debut as a lead singer. Written by Dennis McEntire, the barn-burning "Let The Big Dog Eat" has been getting considerable airplay. And if you don't think these guys can pick fast, then buckle up your seatbelts and give a listen to the closer, "Train 45."As a producer, Van Cleve partnered with Mark Bright to create an inspirational pop-influenced "Scars, " sung by Sonya Isaacs with seductive charm. I like the variety; some others may feel a little uneasy at those points in the set with disparateness between songs. Besides the members of Mountain Heart (Adam Steffey, Clay Jones, Jason Moore, Steve Gulley and Barry Abernathy), other top-notch musicians making appearances include Rob Ickes, Bryan Sutton, Ronnie Stewart, Ronnie Bowman and Sonya Isaacs.
            This is a highly energetic and entertaining disc that is deliriously fun and full of kick-up-your heels inspiration. This album is truly a crowning milestone for the eclectic and masterful Jim Van Cleve. (Joe Ross)



 
DAUGHTERS OF BLUEGRASS
Back to the Well
Blue Circle Records BCR003
daughtersofbluegrass.com OR www.musicshed.com
carolinaroad@bellsouth.net
Playing Time - 42:12
            In the excellent opening song, "Back to the Well" (written by Lorraine Jordan & Dixie Hall), the daughters of bluegrass sing about having a story they must tell, and thanking their mothers for paving the way for them. The title track, on Prime Cuts of Bluegrass' Volume 80, achieved the top three position among reporting DJs who listened to that volume. This album project, produced by Lorraine Jordan and Dale Perry, is the sophomore release from an assemblage of 18 women in the bluegrass community. The first release, "Daughters of Bluegrass," hit the streets in 2005 on the CMH label and struck gold with a nomination for IBMA's Recorded Event of the Year Award.
            "Back to the Well" will certainly be met with similar accolades for its mellifluous music from Lorraine Jordan, Gena Britt, Mindy Rakestraw, Frances Mooney, Donica Christensen, Jeanette Williams, Valerie Smith, Becky Buller, Beth Lawrence, Julie Elkins, Angela Oudean, Michelle Nixon, Dale Ann Bradley, Heather Berry, Megan McCormick, and Vicki Simmons. Besides showcasing the superb songwriting abilities of Dixie Hall and Louisa Branscomb, there are also original offerings penned by Buller, Jordan, and Nixon. The contributors for each song are listed, and a paragraph of biographical information is provided for each of the 18 women involved. Bluegrass music continues to grow, and the featured artists are a testament to the wide-ranging interest in the music - the women hail from North Carolina, Virginia, Missouri, Minnesota, Kentucky, New York, and other states. Of course, there are plenty of fine women bluegrass musicians further west too.
            "Back to the Well" has many brilliant moments that revolve around sweetly wistful remembrances such as "Fools Gold," as well as some spirited numbers like "Prisoner Song" and "Grass Angels" that provide plenty of opportunities for the pickers to display their solid chops and understanding of the genre. Both traditional and contemporay stylings are included. Sparer settings are chosen to lend immediacy to story songs like "Never Made it Home" and "Pocket Knives & Fiddle Tunes," while a robust old-time flavor is imparted to Buller's "Come on Down the Mountain." This reviewer imagined hearing a few of the more thoughtful or tranquil numbers embellished with the resophonic guitar of perhaps Sally Van Meter, Cindy Cashdollar or another woman of similar caliber. One song example is Timothy Tew's (Gena Britt's husband and Dobro-player in her band) song, "Still Feel the Nails," that is very pleasantly arranged with guitar and fiddle fills but could've used perhaps a tad more. I did enjoy hearing Heather Berry's autoharp in the mix of the "Picture of Jesus."
            Throughout this very enjoyable project, the vocals are expressive, winsome and warm. And the instrumental work displays clarity, freshness and vigor. For their next release, planned in 2008 on Blue Circle Records, I'll boldly recommend that these bluegrass descendants offer up some more fast and fiery barn-burners to really shake things up. the challenge, of course, being to do so without compromising their alluring femininity. (Joe Ross)



 
TONY HOLT and the WILDWOOD VALLEY BOYS
Daylight's Burnin'
Rebel CD-1813
PO Box 7405
Charlottesville, VA 22906
www.rebelrecords.com OR www.wildwoodvalleyboys.net
email: tgarber@rebelrecords.com
            1 Daylight's Burnin' (3:07) 2 Silver Ghost (3:24) 3 North of the Carolinas (3:09) 4 I Aint' Leavin' (2:57) 5 Sweet Maggie Belle (3:49) 6 I'll Cry Like a Baby (2:17) 7 What Happened to Ann (2:55) 8 Boilermaker (3:55) 9 Cousin Russell (3:00) 10 When the Warden Turns the Key (2:50) 11 Feeling Blue (2:52) 12 Old Granddad (2:22)
Playing Time - 36:37
            From Indiana, guitarist/lead vocalist Tony Holt and the Wildwood Valley Boys continue to carry on the bluegrass family tradition of the legendary Boys from Indiana. Tony is the son of Aubrey Holt, who wrote eight of the twelve cuts on this project. Tony wrote the closer, "Old Grandad," and other songs were penned by Sterling Whipple, Brian Leaver, and Tom Holt. Aubrey Holt sings tenor. The rest of the Wildwood Valley Boys are Evan MacGregor (fiddles, viola, baritone vocals), Jake Brown (mandolin), Matt Despain (dobro), Brian Leaver (banjo, lead guitar), and Paul Priest (bass). Apparently, the band has undergone some personnel changes since their last project, "Songs fromWildwood Valley," but they still sound very cohesive with their instrumental and vocal arrangements. In fact, since the Wildwood Valley Boys released their first album for Rebel Records in 1999, they've had many personnel changes, but they haven't lost any momentum. For their second album in 2000, "I'm a Believer," they reverently presented some soul-stirring bluegrass gospel. On this latest project, I think their new personnel actually step it up a notch in the instrumental department.
            This 12-track project is now the fifth album from the band, and it shows that they've achieved an even greater level of experience and maturity. It builds on their formula for success that revolves around fresh traditional-sounding material, well-blended vocals, and unpretentious yet solid instrumental prowess that stays close to the melodies without grandstanding. Anything but trite, these songs appeal to staunch traditionalists who have certain expectations and enjoy powerful images or messages in their bluegrass music. The tempos and rhythms are varied, and each song has a contemporary personality of its own built on strong traditional foundations. "Daylight's Burnin'" is a lively number with some shuffling fiddle work. Recalling precious old memories is the theme of Aubrey's nostalgic ¾-time songs about Maggie Belle and Ann. "Cousin Russell" is a ballad that recalls younger days when the boys were learning to pick bluegrass and listening to the Opry on daddy's crystal set. "Silver Ghost" is a spooky song of a train without an engineer or crew. The personal tribute to "Old Granddad" is a sweet thoughtful remembrance. Brian Leaver's "Boilermaker" is a rhythmically enticing and expressive instrumental that gives each musician a chance to showcase their picking abilities. Their slower tempo'ed and more evocative songs, like the sad "When the Warden Turns the Key," are their forte. Tony's smooth vocal delivery conjures many images, such as this convict's dark cell and his last lonely mile. "North of Carolina" and "Feeling Blue" get the toes tapping. Overall, I would've enjoyed hearing a few more songs like "I Ain't Leavin'" on this CD to shake things up a bit. To burn a little more than daylight, a couple up-tempo pieces at full throttle would've proven that this formidable band can be as inspired as they are inspiring.
            "Daylight's Burnin'" has expressive vocals, sparkling solos, and well-tailored harmonies. Their traditional approach to the music, coupled with new original material, demonstrates that Tony Holt and the Wildwood Valley Boys know how to entertain bluegrass fans. (Joe Ross)



 
THE BOYS FROM INDIANA
Good Time Blues
Rebel CD-7514
Playin Time - 36:23
Good Time Blues, Headin' South, Atlanta Is Burning, How Will I Explain About You, These Memories Of Mine, My Night To Howl, Lady Of The Lake, Feeling Blue, The Sad Wind Sighs, The Girl In The Blue Velvet Band, Play Hank's Song Once Again, My Red River Home, You Can Mark It Down, Little Community Church
            With ten out of 14 numbers penned by Aubrey Holt, how can someone not like the bluegrass sounds of The Boys From Indiana on this sampling of five albums originally released from 1974-77? And, for good measure, we even get to hear them pick a couple Bill Monroe classics (Little Community Church, How Will I Explain About You). Brothers Aubrey and Jerry Holt, and their uncle Harley Gabbard, used to sit around as a family listening to The Grand Ole Opry on their battery-powered radio. Harley once made a fiddle bow from an elm branch, and he obtained hair for it from a cousin's horse. By the 50s, Aubrey and Harley were working as "The Logan Valley Boys." After some stints playing country music, they decided that bluegrass music was their music of choice because "you can play bluegrass to people who listen to the music."
            Shortly after The Boys From Indiana formed in 1973, they were at the top of the bluegrass game. Called "The Top Show Band in Bluegrass Music," their entertaining style and many original songs covered much ground from the annals of bluegrass and country music history. Kentuckian Noah Crase plays exceptional banjo, and his advice was always that timing is the most important thing with music. Noah had worked with Jimmy Martin and Bill Monroe. Paul Mullins was a well-known DJ and fiddler in Ohio who had worked with the Stanley Bros., Charlie Moore/Bill Napier, and The Goins Bros. On his WPFB radio show, Mullins used to refer to the group as "that wild bunch of boys from Indiana." By the mid-70s when this material was released, the band was known as "The Boys from Indiana with Paul Mullins and Noah Crase" to recognize the individual experiences and accomplishments of band members. The collection of this legendary band's early recordings on the King Bluegrass label also feature Frank Godbey on mandolin and Don Edwards on bass.
            Besides entertaining and original material, The Boys from Indiana had that great bluegrass drive. They also concentrated on presenting strong trio harmonies. They also had a lot of fun. That, in turn, caused their audiences to have fun also. They frequented the Grand Ole Opry, and their tragic ballad about a young newlywed Civil War soldie facing death ("Atlanta is Burning") was always a crowd-pleaser there. In 1988, they performed at the White House for President Ronald Reagan. In 1989, they were proclaimed official Ambassadors of Bluegrass by Governor of Indiana. In 2003, Harley Gabbard sadly died on December 29. The rumor is that Rebel may also put out another album of Boys from Indiana material later released on Old Heritage Records. There's also talk of a book, written by Aubrey, that will be full of hilarious Harley Gabbard stories.
            In the meantime, enjoy this album. Being that it's reissued material, I'd sure like to see more than 36 minutes worth. I sure wish that Rebel would've included the title cut from their 1976 "One More Bluegrass Show" album. That song, written as a tribute to Bill Monore, also became a trademark theme for them to convey their strong work ethic,life on the road, and unfaltering dedication to bluegrass. Partly promotional but also because it was what they were about, the words "One More Bluegrass Show" were painted on the side of their bus. When this music was first released, these boys had deep roots. Thirty years hence, the roots just seem that much deeper. Let's just imagine this set of music as "one more bluegrass show" of the highest quality from this consummate group. (Joe Ross)



 
CASEY DRIESSEN - 3D
Sugar Hill SUG-CD-4016
TEL. (615) 525-5303
goodstuffpr@comcast.net (Shari)
Playing Time - 56:13
            "3-D" is a most appropriate title for Casey Driessen's solo project that showcases his great depth and comfort with multiple musical dimensions from many genres. Born in Chicago, this young man of 27 is a grad with honors from the Berklee School of Music, and his music tells me that he's a young innovator with plenty of raw energy and a brash attitude. He hasn't gotten so far out there that I'd call him an impudent, irreverent or disrespectful whipper-snapper. Instead, his creativity emits infectious spunk on complete reinventions of some traditional fiddle tunes (Jerusalem Ridge, Sugarfoot Rag, Snowflake Reel, Done Gone, Cheyenne, Sally in the Garden), as well as plenty of his own surreal and evocative compositions. Based on the old-time "Cumberland Gap," a new tune emerges called "Gaptooth." You may not even recognize the heads of some of the original tunes when they're presented as fiddle and drum duets. The results elevate Casey's status as a visionary who communicates a respect for traditional music in his own uniquely personalized manner with syncopated rhythms and improvisation. Multi-tracking his 5-string (or electric) fiddle creates some deliriously fun polyphonic sprees. Does he get a little too far out there and away from the original melodic inspiration at times? OK, maybe just a tad.
            There are beautifully melancholic (and melodic) moments in "2 A.M.," and there's soulful loveliness in a piece like "Cliff Dweller's Slide." Driessen sings Sugarfoot Rag, Country Blues and Footsteps So Near. The equalization of his vocals is minimalist, and that adds to the overall mystery. The latter number, originally done as a waltz by Hot Rize, is actually a rawboned conversation between just Casey's fiddles and vocals. For "Country Blues," the instruments were tuned down for a little extra grit and growl. Darrell Scott provides vocal harmonies on two pieces, and like the lead vocals they are fairly understated.
            Most of Casey's offerings have percussion (Jamey Haddad) and bass (Viktor Krauss). A few incorporate Darrell Scott's electric guitar, Tim O'Brien's bouzouki, Jerry Douglas' dobro or lap steel, Bela Fleck's banjo, or Jason Lehring's programming. I kind of missed Bryan Sutton's guitar-playing who was a key component of the touring 2005 trio of Driessen, Fleck and Sutton while back. Linus Nagel-Driessen provides vocals on "Good Boy Blues." That 3-minute one-take closer is indubitably for the dogs - Linus is a Staffordshire Terrier, and he really howls, in bluesy call-and-response style, to Casey's fiddle and looped mandotar. Linus has a great sense of rhythm and almost steals the show, but Linus and the rest of us won't forget that Casey is the master ... and also becoming truly known as one of the big dogs in Nashville. (Joe Ross)



 
MARK SCHATZ and FRIENDS
Steppin' in the Boiler House
Rounder 11661-0559-2
One Camp St., Cambridge, Mass. 02140
www.rounder.com
info@rounder.com
Playing Time - 50:37
            With a very nice combination of both boisterous and some more restrained music, Mark Schatz' second solo album demonstrates the great discipline that this purveyor of neo-traditonalism has. Best known as a bass player (he won IBMA's 1994 and 1995 bass player of the year awards), Schatz is also at the top of the game with his proficient clawhammer banjo technique of striking downward on the strings with the back of one's fingers or nails. Generically also called "frailing," the result is what Pete Seeger once called a "bumm-titty bumm-titty" rhythm in his book on how to play the 5-string banjo. When you bring your thumb in to start picking a string other than the fifth to squeeze in additional eighth notes, then you technically get "clawhammer" or "double-thumb frailing."
            Whatever you want to call the playing, the eclectic Mark Schatz (now in Nashville by way of Pennsylvania and Massachusetts) has created a set of affable music that deeply taps his many roots and personal experiences. For example, Mark's first band was a folk dance group called Mandala, and the accomplished dancer serves as musical director for the dance troupe Footworks and even performed in 1996 with the Riverdance show. For a musician of his caliber to so fully understand the dance tradition results in the music being that much more cohesive and in touch with its roots. Lively numbers like "Stay All Night," "Rig Root" and "Last Gold Dollar" will definitely put spirit into your feet. The latter features Tim O'Brien's mandolin and vocals. Beautifully expressive moments are captured in waltzes like "Black Mountain Aire" and "Eileen's Waltz."
            Schatz has also played bass with contemporary and stellar bluegrass, new acoustic, and Americana acts like Tasty Licks, Spectrum, Tony Rice Unit, Bluegrass Album Band, Tim and Mollie O'Brien, and Nickel Creek. Thus, this album taps his experiences to give us an evocative score, both earthy and ethereal. "Cajun Stomp" captures a natural born earthiness. Near the mid-point of the set, "Season of Joy" transports us breezily into a more reflective mood. The title cut, "Steppin' in the Boilerhouse," establishes an alluring, almost funky, groove in the piece that was originally composed to inspire some cloggers. Mark's hambone break is a brilliant and witty ending to the piece. A stylistic departure into high-stepping and melodic newgrassy territory features Tim O'Brien's mandolin and Jerry Douglas' Dobro on "Calgary." Accompanying Schatz on all tracks are Missy Raines (bass), Jim Hurst (guitar), and Casey Driessen (fiddle). They're rock solid, given plenty of chances to shine, they all display virtuoso acoustic musicianship. Hurst sings "The Devil's Game," a song with blues and rock foundations that establishes a nice groove. Stuart Duncan (fiddle) and Bela Fleck (mandolin) also make some fine appearances on the CD. Some of you may remember that Schatz, O'Brien, Douglas, and banjoist Charlie Cushman had a just-for-fun band in 1998 called "The Flatt Heads." So I feel that another strength here is that the artists'long aquaintance and enduring friendships translate into warm, conversational musical arrangements.
            I've heard the clawhammer-style of banjo also referred to, in some local or regional contexts, as rapping, beating, thumping, knocking, flailing, trashing, clubbing or even gun-hammer. Schatz's wildly thrilling ride shows us this technique are all these and more, especially when he presents more melancholic or contemporary moods on a self-penned piece like "The Falling Waters of Arden." To truly describe Mark Schatz' inspired banjo-playing and music, I think I'll simply defer to how Uncle Dave Macon described the technique ... racking, rocking, whomping. I'd merely say that Schatz really knows how to "frame the banjo." (Joe Ross)







 
SKYLINE DRIVE -
Leavin' Town
LRCDS010
424 Hanover Pl., Ridgeway, VA. 24148
TEL. (276)956-1722
Email: rbwright@highstream.net
www.skylinedrivebluegrass.com
Playing Time - 49:41
            Skyline Drive is a solid regional group from the heart of the Blue Ridge Mountains between Roanoke, Va. and Greensboro, N.C. They present classic, gospel and original bluegrass with a relaxed sparkle that is friendly and intimate. Their debut album, "Leavin' Town," provides a nice showcase of the band's musical interests and talents, featuring various lead singers on a diverse set of material. The band includes Ron Wright (mandolin), Belinda Wright (bass), Danny Triplett (guitar), Rick Berkhead (banjo), and Darren Davidson (fiddle). The disc suffers from a few forgettable tracks such as "Tall Grass Blues" and "Sawmill Hill," original instrumental filler that is just too commonplace. However, their voices rise above the routine on their a cappella gospel quartet, "What a Friend We Have in Jesus." Their most memorable moments are with more uptempo original songs written and sung by Ron Wright. His expressive vocals convey a warm, conversational style on enticing numbers like "I'm Going Back to the Blue Ridge Mountains" and "Mary-Ann" Typically, Ron's lead vocals are sandwiched by Belinda's tenor and Danny's baritone. Darren's affable lead on "I'm a Lonesome Fugitive" finds both harmonies stacked above him. Belinda sings lead with enthusiasm on "There is a Time" and "Life Railway to Heaven," but her delivery suffers a tad from being a little too rhythmic and predictable. Skyline Drive's instrumental accompaniment is raw, rootsy, and full of down-home flavor. Staying within their respective comfort zones, the musicians give us pleasant breaks and fills. Unfortunately, they occasionally are a bit disappointing and lackluster. Even so, Skyline Drive has some bright lights in their music that will bring them plenty of offers to play in the North Carolina and Virginia area. "Leavin' Town" will also get their music around, garner some regional airplay, help them build a fan base, and provide a wonderful curio for family and friends. (Joe Ross)



 
Super Mandolin Picking Techniques -
Taught by Joe Carr
Mel Bay MB95998DVD
#4 Industrial Drive, Pacific, Mo. 63069
www.melbay.com/DVDBooklets
Playing Time - 30 minutes
$14.95
            Mel Bay's "Super" series includes a number of DVDs (or tapes) that quickly and efficiently cover basic ground. After getting in tune, Joe Carr demonstrates various picking exercises for the beginner. Building off the A-scale, the DVD shows the right hand strokes, but there is no separate view of the left hand notes. That's OK because the tablature clearly shows where to fret the instrument. However, the tab didn't come with the lesson. Instead, you download the free instructional booklet, as a PDF file, at www.melbay.com/DVDBooklets. That will necessitate your having Adobe or some other similar software capable of reading PDF files. Working with a metronome, Carr's exercises (like "quarters and eights" and "shuffle") are good, standard fare for a mandolin workshop. Pay attention to his down picking, alternating, or combination methods as they form the basis for bluegrass mandolin. He also shows a few techniques for crosspicking. Carr serves on the bluegrass and country music faculty at South Plains College in Levelland, Texas. He has a number of instruction books available, and this one covers the very basic elements to get started. (Joe Ross)



 
Super Bluegrass Banjo Picking Techniques -
Taught by Alan Munde
Mel Bay MB95995DVD
#4 Industrial Drive, Pacific, Mo. 63069
www.melbay.com/DVDBooklets
Playing Time - 30 minutes
$14.95
            Alan Munde's crisp and clean banjo style is always a treat to hear. He immediately establishes a good rapport with the beginner by illustrating his right hand position and demonstrating how to pick against the strings for maximum tone. The remainder of the 30-minute tapes introduces five key rolls - square, forward, forward-reverse, Foggy Mountain roll, and an advanced Foggy Mountain roll. Some examples of variations are also tab'ed out and clearly shown with dual screen views. There's a lot that can be done with these building blocks of bluegrass banjo. The free instructional booklet for this DVD is downloaded directly at www.melbay.com/DVDBooklets A native of Oklahoma, Alan Munde has a relaxed and personable manner that is not intimidating to beginners despite his great talent on the five-string. Since 1986, Munde has taught bluegrass and country music full-time at South Plains College in Levelland, Texas. (Joe Ross)



 
Bluegrass Guitar: Know The Players, Play The Music
By Sid Griffin & Eric Thompson
Backbeat Books, 600 Harrison Street, San Francisco, CA. 94107
www.backbeatbooks.com
151 pp. with 51-track CD Spiral w/CD
15 color, 15 B&W photos ISBN: 0-87930-870-2 $24.95
            Bluegrass Guitar is subtitled "know the players, play the music." The first 79 pages of this spiral-bound book (to get to "know the players") have some interesting narrative and history about, as well as photos of Mother Maybelle Carter, Doc Watson, Clarence White, Norman Blake, Tony Rice, Bryan Sutton, and others. Author Sid Griffin outlines the evolution of the flatpicking style by documenting the influences and motivations of these fundamental players. Much optimism for the future is delineated in the section entitled "why bluegrass is growing," and Griffin boldly states that "bluegrass music via the guitar … has reclaimed its place in the world." Griffin's performing experience includes bluegrass (The Coal Porters), alt-country (Western Electric, Godfathers the Long Ryders). A documentary script writer for BBC Radio, his 2004 "Gram Parsons: Fallen Angel" aired to much critical acclaim, and he's currently working on scripts about The Carter Family and the history of southern country music.
            The "play the music" instructional component of "Bluegrass Guitar" was provided by Eric Thompson, a well-known guitar teacher, workshop leader, and performer with such groups as Bluegrass Intentions, Blue Flame String Band, Todalo Shakers, Aux Cajunals, and Kleptograss (a band that "steals" from various other genres). Thompson's 64 pages (and the accompanying CD) start by introducing basic rhythm patterns. Then we can hear and practice along to licks and runs from Charlie Monroe, Lester Flatt, Jimmy Martin, Edd Mayfield, Red Smiley, The Carter Family and others. The understated guitar breaks for "John Hardy" and "Sad and Lonesome Day" emphasize elegance and efficiency. Flatpicking is introduced with the old standard "Bile them Cabbage Down," and crosspicking is addressed with the straightforward melody for a favorite, "Bury Me Beneath the Willow." One of Thompson's fortes, flatpicking fiddle tunes take us into the territory of Soldier's Joy, Forked Deer, Sally Goodin, Paddy on the Turnpike, Kennedy Rag, Bill Cheatham, Blackberry Blossom, and Dusty Miller. Finally, Thompson demonstrates how to pick breaks to bluegrass songs.
            This collaboration between a Brit and American truly does show that bluegrass guitar has a worldwide following. An offering in Backbeat's Fretmaster series, "Bluegrass Guitar" is a thoughtful treatise that should increase public consciousness about the instrument and its role in the genre. (Joe Ross)



 
String Band Classics (Guitar)
Transcribed by Dix Bruce
MB96690BCD
Mel Bay Publications, #4 Industrial Drive, Pacific, Mo. 63069
www.melbay.com
87 pp. $19.95
SONGS - Been All Around This World, Carroll County Blues, Dance All Night, Devilish Mary,Fire on the Mountain, Free Little Bird, Goodbye Miss Liza, Gypsy Girl, Hawks and Eagles, Lee Highway Blues, Meeting in the Air, Money Musk, My Dixie Darling, Old Jimmy Sutton, Pig Ankle Rag, Sleeping Lulu, Tater Patch, There's More Pretty Girls Than One, Way Down the Old Plank Road, Way Out There, Who Broke the Lock, Wild Bill Jones, You Ain't Talkin' to Me
            If you want to easily play along with the old-time mountain music of the Highwoods String Band, this book includes the standard music notation, tablature, chords and lyrics for 23 classic tunes from their "Feed Your Babies Onions" album on Rounder Records. This Mel Bay publication, written by Dix Bruce, is remiss is not including some information about the band. It would have been interesting for Bruce to examine and relate his own observations about the guitar-playing of The Highwoods' Doug Dorschug, who isn't even acknowledged in this material. John Cohen of the New Lost City Ramblers once attributed Dorschug's powerful playing to an element of ragtime that "lent even more character to an already potent musical sound."
            Dix Bruce does include notes about each song, their arrangements, and guidance on playing them. And you get the CD with the book. Tunes like There's More Pretty Girls than One, Money Musk, Devilish Mary, Fire on the Mountain, Lee Highway Blues, and others have become standard old-time repertoire. Three of the CD's tracks will require you to re-tune to play along as the band is not in standard pitch. Bruce points out that the band may have tuned to each other by ear, they may have intentionally tuned up a half step for a "brighter" sound, or the album's producer may have sped up the master tape to achieve the same result. Full of exuberance, old-time string band music is typically learned by being passed down orally from generation to generation. "String Band Classics," takes a different and more modern approach of giving us each old-time tune to learn for less than a $1 apiece. Quite a deal, I'd say! (Joe Ross)



 
String Band Classics (Mandolin)
Transcribed by Dix Bruce
MB96691BCD
Mel Bay Publications, #4 Industrial Drive, Pacific, Mo. 63069
www.melbay.com
85 pp. $19.95
            San Francisco musician Dix Bruce is comfortable with many styles of music, and he's a good music transcriber. With Walt Koken's and Bob Potts' spirited twin fiddles in The Highwoods String Band, Dix had to pick the dominant melody to write in standard notation and tablature. Also including chords and lyrics, "String Band Classics" gives you everything you quickly need to learn these 23 tunes. The Highwoods String Band was together from about 1972-78, and their generous, somewhat wacky, "Feed Your Babies Onions" album is included as part of this instructional material. The album could have been subtitled "it's all about fun." Having fun, pure and simple, was their simple formula for drawing fans to the music. Koken was known to encourage others to "do it yourself, unplug it, and take it home." Besides Koken and Potts, the classic album on Rounder Records also featured Mac Benford on banjo, Jenny Cleland on bass, and Doug Dorschug on guitar. While there's nothing included in the book about this seminal old-time revival band and the original sources of these tunes, we have to appreciate The Highwoods' entertaining repertoire that drew material from the likes of Uncle Dave Macon, Charlie Poole and the North Carolina Ramblers, Georgia Yellow Hammers, Grayson and Whittier, Narmour and Smith, Gid Tanner & His Skillet Lickers and others. A couple of the tunes ("Free Little Bird" and "Lee Highway Blues") were likely learned from Doc Watson and Clarence Ashley, and "Been All Around This World" could've come from Joe Val's rendition on the Rounder label. All in all, these "Fat City Favorites" are ones that every old-time mandolin picker should know.
            A little research indicates that "Fat City" was the name of the San Francisco group that Potts, Benford and Koken formed in the late-1960s after their respective bands (All-Skate, Dr. Humbead's New Tranquility String Band, and Busted Toe Mudthumpers) broke up. The California, New Jersey and New York natives built themselves a large fan base that enjoyed their infectious music and wild, humorous on-stage antics. A 1971 appearance at the Smithsonian's Folklife Festival in Washington, D.C. increased their visibility. Relocating to Ithaca, New York in 1972, the Highwoods String Band formed when Doug Dorschug and Jenny Cleland were added. After road weariness and family responsibilities led to their disbanding, Benford fronted The Backwoods Band, Mac Benford's Old Time Band and The Woodshed All-Stars. Walt Koken released a couple solo banjo albums in the 1990s.
            An old-time fiddler in Weiser, Idaho once told me that the reason we feed a baby onions is so that we can easily find him in the dark. Pick up this book and CD of The Highwoods String Band's music, and you'll be very comfortable playing these raucous classics in the dark as well. (Joe Ross)



 
The World's Hottest Fiddlers
Transcribed by Drew Beisswenger
MB20281
Mel Bay Publications, #4 Industrial Drive, Pacific, Mo. 63069
www.melbay.com
56 pp. $12.95
            This music came to me for review without the benefit of the accompanying CD by the same name ("The World's Hottest Fiddlers") that was released by CMH in July, 2002. All of the fiddle tunes on the album, except one ("Dueling Fiddles"), are transcribed in detail for this book by Drew Beisswenger of Missouri State University. Drew seems to have done a fine job, but even he notes that "even the best transcription cannot capture every nuance of the music." He transcribed the album by slowing it down to half speed. He doesn't include bowings or hand positions, but he does indicate slurs where notes seemed to be joined by a single bow stroke. The improvised segments and ornaments were also transcribed. I appreciated Drew's inclusion of a few sentences about each fiddler. Benny Martin and Johnny Gimble are the most prominently featured on the project with three tunes from each. The 17 tunes span a considerable variety from old-time (e.g. "Sally Ann" fiddled by Kenny Baker) to bluegrass ("Orange Blossom Special" bowed by Steve Thomas), western swing ("Beaumont Rag" as sawed by Johnny Gimble) to songs ("Blue Moon of Kentucky" played by Benny Martin). Other highlights include the twin fiddling parts for Benny Martin and Buddy Spicher's "Down Yonder," and both twin fiddle parts for Johnny Gimble's "Black and White Rag." Eleven other tunes feature fiddlers Barbara Lamb, Mike Hartgrove, Glen Duncan, Sonny Mead, Ramona Jones, Paul Warren, and Fiddlin' Red Herron. With the exception of a couple (Lamb's "Ramblin' Man" and Duncan's "Hotel California"), the tunes are pretty classic favorites for jamming. If you read music and have a copy of this album, then these transcriptions will certainly be welcome material for enjoying and learning the techniques of these masters. Having standard music notation available for a classic fiddle album like this will certainly allow for the proliferation of these tunes. I just wish that the CD would have also been reproduced and included with the book. (Joe Ross)



 
The American Fiddle Method -
Volume 1 (Cello)
By Brian Wicklund and Faith Farr
MB20604BCD
Mel Bay Publications, #4 Industrial Drive, Pacific, Mo. 63069
www.melbay.com OR www.brianwicklund.com OR www.farrpublications.com
64 pp. $24.95
            From Minneapolis, Brian Wicklund was blown away, as a third grader, when he first heard fiddling. The multi-instrumentalist taught school for awhile but eventually decided to make a career in music instruction, touring, performing, and recording. You may recall that he played with the bluegrass group Stoney Lonesome for seven years from 1987-94 and with The Judith Edelman Band from 1997-2000. In 1999, Wicklund received a Minnesota State Arts Board Fellowship Grant. He created "The American Fiddle Method" to develop a quality, organized, and comprehensive instructional music program that now includes books for fiddle, viola, cello, piano and mandolin. All of the respective books have the elementary tunes in the same keys, and the page numbers all coincide with the same ones in the fiddle book. In this enchanting cello book, I was also impressed at their inclusion of a separate table which has the same tunes from the table of contents rearranged into an "order of difficulty" sequence. The classic tunes include Angelia Baker, Arran Boat Song, Boil 'em Cabbage Down, Bonaparte's Retreat, Buffalo Gals, Camptown Races, Cindy, Crawdad Song, Cripple Creek, Girl I Left Behind Me, Grandfather's Clock, Old Joe Clark, Red Haired Boy, Red Wing, Shortnin' Bread, Soldier's Joy, Turkey in the Straw, and a few more. Various fundamental techniques taught include practice tips, positions, fiddle tune parts, introductions, slurs, bowing, staccato, double stops, slides, and beginning backup. For this book, Brian collaborated with cellist Faith Farr who performs with the Minnesota Sinfonia and teaches at MacPhail Center for Music.
            I'm certain that classical music teachers will find the user-friendly "American Fiddle Method" to be a great motivational tool for student orchestras that need some fun diversions for their amusement, pleasure and entertainment. The most effective learning is that which is fun and inspirational, and Wicklund's well-paced method relies on a combination of ear training and sight-reading. Tune variations show how they can serve as a basis for improvisation. Ensemble skills are taught with chords and lyrics, basic music theory, and demonstrations of such skills as backup and lead playing. Nicely illustrated by Gary Meader and Brian Barber, the book also includes a word game, a review chart, and information on how to arrange the tunes. The accompanying CD has a band playing and singing the tunes. The cello is in the stereo's right channel, so a student can adjust the balance far left and play along with the band. (Joe Ross)



 
CLAIRE LYNCH -
New Day
Rounder 11661-0563-2
One Camp St., Cambridge, Mass. 02140
www.rounder.com OR www.clairelynch.com
info@rounder.com
Playing Time - 42:06
            Claire Lynch has carved out her own niche in the bluegrass and acoustic music field. The New York native, who relocated to Alabama at age 12, emerged on the bluegrass scene in 1974 when The Front Porch String Band (originally called "Hickory Wind") was formed in Birmingham. That was her beginning. She and her husband Larry, an accountant, disbanded the group in 1980 to start a family.
            Another "new day" occurred when a reorganized Front Porch String Band toured again from 1990 to 1997, the year that Claire won the IBMA Female Vocalist of the Year Award. Claire's vocal presence is also noteworthy on various others' albums from such artists as John Starling, Dolly Parton, Kathy Mattea, Emmy Lou Harris, Linda Ronstadt, Pam Tillis and Patty Loveless. The mature and soulful singer keeps good company.
            "New Day" is Claire's sixth solo album and represents another refreshing new journey for the petite woman with big voice. She now surrounds herself with some folks who are far from everyday average pickers. Lynch's hypnotic voice seems perfectly balanced with the praiseworthy support of Jim Hurst (guitar, vocals), David Harvey (mandolin, vocals) and Missy Raines (bass). Depending on the song selection that ranges from blues to ballads and bluegrass to swing, we also hear the able assistance of Charlie Cushman or Alison Brown on banjo, Stuart Duncan or Andrea Zonn on fiddle, Rob Ickes on dobro, and Larry Atamanuik on drums. Their buoyant groove makes for a pleasant ride.
            Their repertoire comes from a variety of sources but always accentuating accessible melodies and bright lyricism. The opener, "Be Ready To Sail," reveals much emotional depth. "Train Long Gone" is a very catchy ditty. The funky beat of "Up This Hill and Down" conveys strength. A sensual midtempo swing number, "Fallin' in Love," is breezily romantic. A message of hope and inspiration is key to one of her Claire's own collaborations with Pat Alger called "Long After You're Gone." A savy uptempo bluegrass number, "Leavin' on that Evening Train," comes from the pen of Scott McAleer, a songwriter whose material is getting recognition as a result of being featured on recent albums from The Greasy Beans. Claire Lynch boasts an impressive track record, and she closes this album with a song, "I Believe in Forever," that epitomizes the spiritual glow that radiates from her entire performance. (Joe Ross)



 
DAVID PETERSON & 1946 -
In the Mountaintops to Roam
635759170928
PO Box 68197, Nashville, TN. 37206
EMAIL ptrsn1946@aol.com
www.1946band.com
Playing Time - 47:41
            With all the various contemporary and stylistic departures appearing in bluegrass music, it is always a treat to hear a band that conjures shades of the genre's exciting roots. David Peterson and 1946's signature elements include those that characterize the heart and soul of traditional bluegrass music. There are vibrant vocals sung with uplifting spirit ("Bluebirds are Singing for Me"). There's emotional realism in the lonesome messages (David's original, "In the Mountaintops to Roam"). There are twin and triple fiddles ("You'll Find Her Name Written There" and "I'll Still Write Your Name in the Sand" and "A Good Woman's Love"). There's gospel fervor ("Prayin' Shoes"). Peterson also does a credible job with a classic country novelty number ("The Golden Rocket"). And let's not forget the downhome grit and authentic enthusiasm of the traditional bluegrass sound ("In Despair" and "Red Rockin' Chair"). Peterson sings with a rich, distinctive timbre, and the song arrangements feature solos, duos, trios and a quartet on material from Mac Wiseman, Delmore Brothers, W.C. Handy, Hank Snow and, of course, Dave's own pen. A soothing "Put Me on the Trail to Carolina" even features some yodeling in harmony. This album has more originals than any other that David has done.
            Born and raised in Massachusetts, David was first introduced to bluegrass by the deacon at his family's church. While pursuing a career as a minister in Texas, David eventually was called by music, he released a gospel CD entitled "Jesus Use Me," and his 1995 move to Nashville launched his pro career. The band was formed in 1999, and their debut album was self-titled as "David Peterson & 1946." Their "Howling Blue Winds" project was a landmark album that showcased their formidable sound. Being nominated for IBMA's Emerging Artist of the Year Award was a feather in their caps. The band received the sponsorship of Gibson Original Acoustic Instruments, and they also provided the music for a nationwide Pringles Potato Chip ad campaign. The fiddlers really make this album, and those contributing include Aubrey Haynie, Buddy Spicher, Stuary Duncan, Michael Cleveland, Casey Driessen, and Aaron Till. David is also instrumentally joined by Charlie Cushman (banjo), Mike Compton or Mickey Boles (mandolin), Rob Ickes (dobro, Wabash Avenue guitar), and Kent Blanton (bass). Harmony vocalists include Mickey Boles, Larry Marrs, and Shelton Feazell. Cushman, Boles and Blanton are all regular members of 1946. Aubrey Haynie was a founding member of the band, but he is no longer a regular member.
            David Peterson & 1946 have a big musical vision, and their engaging songs are traceable to a specific era of bluegrass spark. While their music may seem derivative, they also have their own distinctive, moving, and entertaining original style. This band deserves a lot more exposure. (Joe Ross)



 
THE BROMBIES -
Live at the Spitting Llamas Bluegrass Bar
Adina 1001
3464 Adina Dr., Los Angeles, CA. 90068
TEL. (323)874-0213
EMAIL brombies@aol.com
www.thebrombies.com OR cdbaby.com/cd/brombies
Playing Time - 43:19
            1. We're Findin' Our Way Back Home, 2. Anywhere Is Home When You're With Me, 3. Little, Bitty Piece of God, 4. Midnight Blues, 5. I Call Him Honey, 6. Water Into Wine, 7. Bar-b-que, 8. Reprise/We're Findin' Our Way Back Home, 9. It's Better to Have Loved & Lost, 10. Mcphearson's Reel, 11. Restin' in Your Arms, 12. Escondido, 13. For My True Love, 14. Closer to the Throne, 15. Reprise/We're Findin' Our Way Back Home
            Neither recorded "live" or in a bar, this album is a varied and richly rewarding project that introduces The Brombies, a Los Angeles group that features Jo Ellen Doering (guitar, vocals), George Doering (mandolin, vocals), Doug Livingston (dobro) and Pete Harrison (bass). Guest fiddler Gabe Witcher appears on over half of the tracks. Jo Ellen and George have been making music together for over 25 years, and their first band was formed in 1989.
            The Brombies give us 15 exhilarating contemporary originals that were inspired by the bluegrass of Bill Monroe, Stanley Bros., Flatt & Scruggs, and others. There's no denying the excitement on the bluegrass-flavored "Anywhere Is Home When You're With Me" and "For My True Love." Both could have been enhanced with some banjo. Since recording this album, they have informed me that there is now a banjo player in the band. The Brombies sing their gospel numbers like "Water into Wine" and "Closer to the Throne" with truth, never losing sight of faith, hope and "everlasting eternity." They create love songs with many moods. The Doerings evoke shades of the Louvin Brothers with an original like "It's Better to Have Loved and Lost." "For My True Love" is one for all their nieces and nephews. "Anywhere is Home When You're With Me" emphasizes the "sweet harmony" they sing together. "I Call Him Honey" is a touching and loving message between Jo Ellen and George, known to each other as "honey" and "sweetie pie."
            In a similar vein, "Restin' in Your Arms" is a simple, conversational sentimental statement of romanticism. "Bar-B-Que" is a clever novelty tune with a lilting melody that doesn't seem to suffer from the band's absence of five-string banjo. Two of the songs, "We're Finding Our Way" and "Little Bitty Piece of God," were chosen for performance at the 2005 IBMA Songwriters' Showcase. The only instrumental offering, "McPhearson's Reel," was written for the sound track of a documentary called "Adventures of the Old West." Being from California gives the group the freedom and license to explore other genres such as slow swing ("I Call Him Honey"), and even something as disparate as Mexican Mariachi sounds ("Escondido") showcasing the Doering Clan Fiddles (Susan, Michael and Mark Doering).
            I enjoyed The Brombies' album for three primary reasons. First, they create a friendly and relaxed sparkle with their original music. Secondly, while their bluegrass foundation on the CD is without banjo and only highlights vocal duets, their sheer creative audacity is typically crafty californian. They build upon their band's strengths, arrangements, and their own enlightened perspective. Finally, their messages are uplifting, and occasionally humorous, expressions of affirmation and romanticism. The Brombies have an ingenious design and vision for their music. They play many festivals in southern California and will be attending the IBMA festivities again this year. Perhaps we'll see them again as part of the songwriters' showcase there. (Joe Ross)



 
BLIND CORN LIQUOR PICKERS -
Anywhere Else?
Blind Corn 1105
PO Box 150391, Nashville, TN. 37215
TEL. 1-866-626-6261
EMAIL Rob.Hill@Harpringhill.com
www.blindcorn.com
Playing Time - 43:39
            1.Bad Tom Smith, 2. Hi-Ball on a Roll-By, 3. Little Enis, 4. Europe on $15 a Day, 5. Puttin' Up Hay, 6. River of Blazing Bourbon, 7. Eyes of Dawn, 8. The Grindstone, 9. Once in a Lifetime, 10. Anywhere Else, 11. Field Cred, 12. 8-Ball
            The "slamgrass" of the Blind Corn Liquor Pickers is a slamdunk success for those who enjoy a musical fusion supercharged with bluegrass and rockabilly spirit. Purists will have a harder time tuning into and appreciating their songs about working, drinking, and traveling. The band has some fanciful moments, but the album lacks genuine show-stoppers that reach real awe-inspiring heights. However, they come close with the opener, "Bad Tom Smith," about a real bad man and his appointment with the hangman. "Hi-Ball on a Roll-by" has a unique flair for a train song. Similar to Yonder Mountain String Band, my guess is that the band is quite loud and successful working a youthful crowd into a frenzy at a live show. At blindcorn.com, you can sample some of their live performance from their October, 2005 appearance on Red Barn Radio.
            From Lexington, Ky., this quirky quartet has the support of Grammy-winning producer Bil VornDick for a two-album deal. On a positive note, "Anywhere Else?" remains true to working class sensibilities with plenty of up-tempo down-home flavor and playful arrangements. Without any fiddle or dobro featured, the band depends on Joel Serdenis' mandolin, Todd Anderson's bass, Travis Young's banjo and Tom Fassas' guitar for their rhythmic drive and melodic propulsion.
            The band's eccentricity is their redeeming value. "Bad Tom Smith" tells the story of a murderer in eastern Kentucky who confessed to some of his crimes as he was on the scaffold ready to be hung in 1895. With its boogyin' and swinging beat, "Little Enis" is a tongue-in-cheek reference to Elvis the Pelvis' twin brother. Anderson's walking and slapping bass lines make some outlandish musical statements. "Europe on $15 a Day" and "Puttin' Up Hay" are earthy compositions with copious amounts of paradoxical humor. The whimsical "River of Blazing Bourbon" refers to a "twenty foot tidal wave of whiskey" that rolls into town. I'm not sure if there's an implied and novel analogy to alcohol abuse, or if the Liquor Pickers are just simply declaring their affinity for bourbon, booze, bongs and buzz. "Once in a Lifetime" is a cover from the Talking Heads.
            The most enlightening song about these guys, however, and their sardonic sense of humor is "Field Cred." Self-admitted "bluegrass wannabes," they sing "ain't got the country credibility to pen a bluegrass song." Now things become a little clearer. The mu-grass (aka mutant grass) of BCLP harnesses energy from their other musical influences. They seem about a quarter each alt-country, Texas outlaw, folk-pop, and bluegrass. With a little infectious punk spunk and rousing rockabilly thrown in, the result is some lively numbers that surely will put some spirit into a youthful crowd's feet. I like their raw energy and brash attitude. I wonder if they drink Red Bull. (Joe Ross)



 
GREASY BEANS -
Busted
Double Ought DO-041
825-C Merrimon Ave., Box 347, Asheville, NC 28804
TEL. (828)242-4223
Charley@greasybeans.com OR josh@greasybeans.com
www.greasybeans.com
Playing Time - 37:32
            SONGS - Cain and Abel, Country Song, Busted, Betty Jane's Mule, Good Bye My Love, On My Mind, Just The Other Day, Don't Know If I'll Stand the Pain, Hey Senorita, Raleigh Dormin (Lament For Pete), Truly True
            The music of the Greasy Beans is pretty slick, but I sure wish they would've lubricated their songs with a little fiddle or dobro also. If bands are going to choose a bluegrass format for their original acoustic music, then go all the way. Get down! Get glaborous! Now I have nothing against the fine, smooth picking of Josh Haddix (guitar), Charley Brophy (mandolin), Danny Barnes (banjo), and Keith Lowe (bass). I just hear their greasy music more enhanced with some hot, slippery resophonic guitar or slimy fiddle. Maybe they could've called on a former bean, Cailen Campbell on fiddle. Charles Brophey's old-timey instrumental "Betty Jane's Mule" just brays for this kind of embellishment. Although not credited as such, I wonder if that is Haddix and not Barnes who is frailing the banjo on this one as I understand that Josh is a pretty decent clawhammer banjo player.
            While all the band members are credited with vocals, liner notes don't identify who is singing when. The most prominent lead singer displays plenty of melancholy. If you don't mind a few wavering notes, then a solo songs like "Good Bye My Love" and "Truly True" are wistfuly expressive. Their gifted tunesmith friend, Scott McAleer, had a hand in writing these two, as well as three other, songs. Personally, I found more vocal radiance from the Greasy Beans in their carefully cultivated "On My Mind" and "Cain and Abel" with their straighter and narrower bluegrass sensibilities. Jenny Benford also appears as a guest vocalist, my guess as a harmony singer on "Just the Other Day."
            "Busted" is this touring band's third album, following their "Real Live Music" project that was engineered by Grammy-winning producer Bil VornDick. "Busted" was produced by Danny Barnes and recorded by Garey Shelton in Seatlle, Wa. The band's strength is their emphasis on original compositions. In the 2-chord opening ballad, "Cain and Abel," Cain kills Abel with a .44 gun. I could hear the Nashville Bluegrass Band covering a tune like that. At track three, the title number written by Ty Gilpin is a bluesy tale about wearing out the old highway to get one's baby back.
            They also convey a type of vocalizing that is also kind of appealing as a result of its very lack of polish. The core of the band, Haddix and Brophey, have picked together for 12 years since they formed on the campus of Warren Wilson College. I enjoyed their breezy jaunts through midtempo arrangements that share guitar and mandolin passages. Spare setting can lend more immediacy to story songs like "Hey Senorita." Besides touring, the Greasy Beans have also performed several seasons of traditional music with ballet as part of Jean-Pierre Bonnefoux's "Under Southern Skies: An Exploration and Celebration of the South" in collaboration with North Carolina Dance Theater. Greasy Beans are prominently featured in a piece entitled "Shindig." Currently touring with Greasy Beans are Brad Hutchison (banjo) and David Brown (bass).
            Greasy Beans might tell us that they want their music to be left more organic. But I would counter that it will be around longer, be more accessible, and make more of an impact with a few preservatives. The band from the mountains of Asheville, N.C. shows some clear potential, and I'd just like to see them package their music with some more coloring and spirited and rootsy old-time spunk. While they like taking bluegrass down roads less traveled, I think they're on to a good thing. Just as when they were matched with ballet, the band gives us an "alt-grass" product that presents considerable fascination and intrigue. (Joe Ross)



 
JOHN LOWELL & BEN WINSHIP (Growling Old Men) -
Occupational Hazards
EMAIL Bigmon9979@aol.com
www.johnlowell.com OR www.kanesriver.com
Playing Time - 52:56
            SONGS - Rake and Rambling Blade, Weary Day, Old Black Coat, Road Agent's Lament, Georgia Buck, Callin' Like the Wild Things Do, Billy Taylor, Blackberry Rag, Peg & Awl, East Virginia Blues, Crooked Jack - Tarbolton Reel, Last Hill Before Home, Somewhere Down The Road, Hobo's Lullaby
            Also known as The Growling Old Men, guitarist John Lowell and mandolinist Ben Winship recorded "Occupational Hazards" over the course of three weekends at Ben's own backyard studio affectionately called The Henhouse. They noticed that many of their songs had to do with occupations (or avocations) often fraught with risks. Realizing that "peril makes for good song fodder," this thematic set of traditional and original folkish fare features two-part harmonies backed by mandolin and guitar. Lean settings lend an immediacy to the story songs, whether they be a cover from the Delmore Brothers ("Weary Day"), Lowell's wistful "Road Agent's Lament," or Winship's affable "Old Black Coat" and "Last Hill Before Home." Their roots-based and raw-boned folk music makes for a compelling set that emphasizes plaintive story songs. John wrote "Road Agent's Lament" a number of years ago. He's an avid student of old west history so many of his songs touch on that theme.
            Playing bluegrass together in the band Kane's River for several years has allowed them to understand each other's muse and vision, but this isn't bluegrass. No banjo and fiddle here. However, these neofolk traditionalists have a knack for understanding and harnessing the heart and sentiment of the American musical spirit. I especially enjoyed the precise imagery that the duo can create with only 14 strings and two voices. Their straightforward stories or simple declarations about life and work are interweaved with some country blues (Blind Lemon Jefferson's "Callin' Like the Wild Things Do"), Celtic flavors ("Billy Taylor" and "Crooked Jack"), a lullaby ("Hobo's Lullaby"), and rootsy picking ("Blackberry Rag"). All in all, the songs have a seductive and relaxed charm, and the two troubadours bring out their soulful beauty.
            Winship and Lowell sing with smooth, leisurely phrasing. They pick with precision and carefree excitement. Their rendition of "East Virginia Blues" may be one of the most mellow and restful versions I've ever heard. In a handful of tunes, Winship's octave mandolin imparts an evocative mood. Some trivia about Ben is that he took second place in the 1989 National Mandolin Championships in Winfield, Ks. As one small suggestion for some enhancement on "Occupational Hazards," it might have been nice for him to pick some of that old-time banjo that he can do so well. And, some trivia about John Lowell from Montana is that he's worked with the bands, Wheel Hoss, Deep River and Loose Ties before joining up with Kane's River.
            Although John Lowell's "Somewhere Down the Road" is a new tune about returning home, it's the same kind of vivid and resonant music that folks have made for generations on their front porches. The song came out of a particularly fun tour with Kane's River, and John clearly conveys that traveling around and playing music with friends is a good thing. A nice thing about two masters playing stripped-down arrangements is that it gives listeners a set full of understatement, thought, and intimacy. Winship's Snake River Records label also distributes the albums of Loose Ties (that Ben played with from 1986-96) and his celebrated solo album, One Shoe Left. (Joe Ross)



 
FERRELL STOWE -
Stobro's Blues
SPC 0001
Ferrell Stowe
TEL. (615)763-0776
http://www.ferrellstowe.com OR www.cdbaby.com/cd/ferrellstowe
Playing Time - 34:42
            SONGS - 1. Stobro's Blues, 2. Two Coats, 3. I Must Tell Jesus, 4. Making Believe, 5. Mary, Did You Know?, 6. Carroll County Blues, 7. Next Door In Heaven, 8. Precious Memories, 9. Wayfaring Stranger, 10. Jewels
            Although it was 1928 when the Dopera Brothers first created the Dobro guitar, it was the mid-1950s when Flatt and Scruggs really started to popularize the instrument with Buck Graves' inclusion in the band. As a result, their bluegrass was smooth and impressionable. Now, with his Harlow resonator guitar in hand, Ferrell Stowe (aka "Stobro") captures his own carefree, restful, and comfortable sound. "Stobro's Blues" and "Carroll County Blues" and "Wayfaring Stranger" have some evocative melodic licks, and the unhurried renditions of various gospel tunes are also great showcases of Stowe's skill. Coupled with the vocals of Toni Otts, Stephen Mougin and Rick Otts, Ferrell's guitar on his own composition, "Next Door in Heaven," makes a powerful statement. Same goes for the vocal trio of Randy Kohrs, Stephen Mougin and Glenn Lawson on "Making Believe," and of Lowell Appling and Kevin Schults on "Two Coats."
            Mike Scott's banjo only appears on one track (the opening title cut), and it is relegated to a subordinate role in the mix. I actually thought the guitar was a little too heavy in that mix. The album, however, settles into a nice relaxed groove with the help of such splendid and experienced musicians as Stephen Mougin (guitar, mandolin), Jesse Cobb (mandolin), Jeremy Garrett (fiddle), Dennis Crouch (bass), Tim Crouch (fiddle, mandolin), Dave Maraville (guitar), Ron Pennington (mandolin), and others. Tim Crouch's triple fiddles on "Precious Memories" are especially noteworthy. It can also be a bit tricky to properly mix and equalize the sound of the resophonic guitar. Stobro's album does a commendable job of capturing the highs and lows of the instrument to give it a full-bodied richness, intensity and flavor.
            In his liner notes, Randy Kohrs acknowledges that Stowe was a mentor from the first time he heard him, and Kohrs was "consumed with his brilliance and uniqueness." Originally from Lebanon, Missouri, Stobro now makes his home in Nashville. He's performed with many great bluegrass acts, done a great deal of session work, has five albums out, and is a multiple award winner from SPBGMA. Through the years, Stowe has played with a very young Ricky Skaggs and Vince Gill, Josh Graves, Jerry Douglas, Randy Kohrs, James Price, The Sidemen, Dierks Bentley, John Prine and Susie Boggus. One of Ferrell Stowe's five albums is called "Homage" and is a tribute to Uncle Josh Graves, one of his own mentors. Graves was in the audience at the Station Inn in Nashville on 12/6/05 when this CD was released. Stowe's poignant playing will no doubt inspire another generation of resonator guitarists. His bluesy and expressive techniques are definitely worth checking out, if you haven't already done so. (Joe Ross)



 
LORRAINE JORDAN -
Road Trip for the Lord
LRS 005
3751 Junction Blvd., Raleigh, NC 27603
TEL. 919-779-5672
Email carolinaroad@bellsouth.net
www.carolinaroadband.com
Playing Time - 35:23
            SONGS - 1. Dancing With The Angels, 2. Lessons of the Book, 3. Soldier's Farewell, 4. He's My Rock, 5. I Like The Old Time Way, 6. To Be Near Mom and Dad, 7. Jesus Teach Me To Pray, 8. I'm Ready To Go, 9. Jesus Hold My Hand, 10. Road Trip For The Lord, 11. His Name Is Jesus, 12. Amazing Grace
            When I heard Lorraine Jordan's solo debut, "Mandolin Rose," a few years ago, I concluded that this consummate performer and songwriter was ready for emergence into the national bluegrass spotlight. She has the necessary skill, personality, energy and charisma to go far. "Road Trip for the Lord" is a very pleasant bluegrass gospel project that presents a large body of new material in an old-styled way. "The Soldier's Farewell" recalls the days of brother duets like the Blue Sky Boys, and "He's My Rock" incorporates some tasty fingerpicked guitar into the arrangement. "Jesus Hold My Hand" has the gospel feeling and spirit that will surely elicit a rousing crowd response in live performance. Their leisurely, yet masterful, approach to bluegrass gospel music may best be captured in the band's quartet rendition of "I Like the Old Time Way." Even Lorraine's notes about this song emphasize, "I like the old time worship of the Lord and the old time songs."
            Half of the songs on this album were penned or co-penned by Jordan, an accomplished songwriter. The title cut is a slow song of longing for home and family but reinforcing her desire to be out on the road picking and singing for the Lord. "Jesus Teach Me To Pray" is a ¾-time song written after 9-11. "Lessons of the Book" was gospel winner at Merlefest's Chris Austin songwriters contest.
            Hailing from North Carolina, Jordan formed the band Carolina Road in 1998 that was nominated for an IBMA Emerging Artist of the Year Award. The band was also a finalist for Vocal Group of the Year and Entertaining Group of the Year at SPBGMA. On this album, mandolinist/vocalist Jordan is very ably assisted by Tim Massey (guitar, bass, vocals), Dale Perry (banjo, vocals), Kim Gardner (dobro), Dewey Brown (fiddle), and Jamie Dailey (vocals). The playing and singing are first-rate.
            There's plenty on this inspired and inspiring album to enthuse fans of old-style bluegrass gospel who also like a few new twists. The set is a nice combination of old favorites and new originals. Lorraine and her band are booked by Tom West & Associates (tewest@adelphia.net), and they'd be great to hear on a Sunday morning gospel show. (Joe Ross)



 
BUDDY JEWELL -
Tales of the New West: Songs of the Coreys and Dennis Kahler
Corey Productions, no number
147 W. Rt. 66 636
Glendora, CA. 91740
EMAIL SHAROMARMUSIC@aol.com
Playing Time - 40:38
            With over 25 years of songwriting experience, brothers Arthur and Alton Corey also pen tunes with Alton's wife (Sharon), Arthur's wife (Margie), and long-time friend David Kahler. This 2003 release entitled "Tales of the New West" is a nice showcase of their abilities. Well-known Nashville-based tenor vocalist Buddy Jewell was enlisted to sing the songs, and he's got the perfect voice for this material. He's a former Nashville Star winner. Musicians and arrangers contributing to this project include Marty Rifkin, Denny Martin, Steven Cooper, Ed Tree, Joey Scarbury, Eddie Cunningham, and C. Girard. Guitars, bass and drums are supplemented with fiddle, dobro, mandolin, and pedal steel.
            The Coreys' eclectic country set covers many bases. While some of the songs are more memorable than others, they are very deserving of being recorded by top name country artists and heard by larger audiences. A song like "Oh, Justine" might have just started with some potential melody and a snippet of lyric, but hard work and collaboration eventually saw it to final completion. "Parrothead Paradise" incorporates some Jimmy Buffett touches, while "Rosa Danced" was written in a Marty Robbins vein. Some western swing sensibility is built into "Mama Della," based on a poem written by Sharon as a teen growing up in Corpus Christy. The song was a quarterfinal winner in the American Song Contest in the late-1970s. "One Time We Cared" started as a song written about Art's father and his grieving about the passing of Art's mother. Says Art, "We brought in Dennis Kahler, and the song changed for the better by Dennis making the tune commercial. Dennis is the best for when we have written ourselves into a corner and need to get out!" Dennis did the same thing with "Come Back Angel."
            Stories are paramount to having a good song. "Pancho Villa's Gold" tells one about an unholy trio who searched for the treasure like they were insane until they discovered its truth. The Corey's positive song about Howard Hughes, "Silver Wings in the Stars," was submitted for consideration in Martin Scorsese's film The Aviator, but the music director was only interested in period material from the 30s and 40s.
            "I Get the Bird" is a novelty tune about breakup and who gets the flamingo in the yard. The references to a "pink bird on a stick" and his momma's dying words ("Son, you get the bird!") emphasize the importance of catchy hooks in country music. Art told me that to date, that "silly little novelty tune" is the one that many people remember about this album. "Cold & Lonesome Life" was the very first country song they ever wrote, a simple and traditional-sounding three chord diddy that works because of its simplicity and conversational tone. "The Downtown Matinee" is a great closer for this album of original songs because it's a personal statement about the Coreys growing up in the 50s near Pomona, California and their close life-long relationship. T