“Curve and Shake” by Walter Salas-Humara

Walter Salas-Humara
Curve and Shake
Sonic Pyramid
4 stars (out of 5)

By Donald Teplyske

I came to the Silos late. The first new album of theirs I heard was likely When the Telephone Rings a decade ago, but I’ve filled in some of the gaps since with their self-titled album of 1990 being a favorite.

I’m certainly no expert on the music Walter Salas-Humara has made—either as the stable core of the Silos, under his own name, or his many other projects—but I do appreciate his creations when encountered.

My first impression of Curve and Shake was that it sounds like an album Lou Reed could have made had he been an entirely different person and artist. I’m pretty sure I know what that means, but have no idea if it connects with anyone else.

Curve and Shake is a rock album, certainly a roots-rock disc. Very different from the personal desperation—and heavy guitars—heard within Florizona, within this set of Salas-Humara’s songs I hear echoes of Warren Zevon’s, Alejandro Escovedo’s, and especially John Mellencamp’s work, which aren’t bad places to land, but not where I normally go when listening to The Silos.

And a reminder, I suppose, that this isn’t the Silos.

The grim reality of the title track is buoyed by heartening percussion, and the simplicity of “I Love That Girl” is reflective of the song’s hopeful, but far too innocent, protagonist. “Uncomplicated” is heavier sonically and spiritually while “Hoping For A Comeback,” again awash with Latin percussion, is optimistic.

In general, positivity rules Curve and Shake. Lyrically and musically, Salas-Humara is seemingly is a good place, and while this album isn’t going to push aside the Silos and Come On Like The Fast Lane, it does encourage me to continue expanding my knowledge of what Walter Salas-Humara offers.

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“Chapter Two” by Carolina Story

Carolina Story
Chapter Two
True Bearing Entertainment
3½ stars (out of 5)

By Larry Stephens

Carolina Story is the husband and wife team of Ben and Emily Roberts. Chapter Two is the followup to last year’s well received Chapter One, reflecting the continuing maturation of their music. One downside to be noted: it is an “extended play” CD, jargon for only getting six tracks.

Their voices blend well together. The lead song is a story about friendship on the road, though I have to admit I’m still trying to match “It’s Almost Over Now” with the lyrics, uncertain about what is almost over. Friendship? Traveling together? Anyway, it’s a pleasant song for listening. Their music is modern country with some tracks not far removed from classic country. “I Won’t Let You Down” is a story about courtship and has the formula for their music. The session band plays backup, throw in a few licks and a kickoff on each song but avoid sparkle of their own. It’s about the singers and the lyrics. The band members are capable musicians, including Chad Cromwell playing drums (and I still wish someone would let the drummer be creative), Billy Panda playing guitar and Michael Rhodes on bass. They’re joined by steel player Dan Dugmore and Darrell Scott playing guitar, bouzouki and mandolin. It’s too bad they never get a chance to express their talent with an instrumental track or extended breaks, but that’s country music, especially modern country.

Their signature is singing as a duo. They sound great together but I think they could add more diversity to their sound by playing off each other, one singing and one responding or some similar arrangement on more tracks. For some reason, constant duoism wears on my ears. Ben does take the lead on “When I Was Just a Boy” and it works well, telling of the warnings he received from his parents and how he hasn’t always listened. “Crash and Burn” is a rocking song and should have a chance at the hot new country market. “I’m Gonna Love You Forever” is another track with Ben taking the lead and Emily joining in on harmony.

They certainly have their fans, including Manuel, the man behind all the rhinestones you’ve seen on the Opry for so many years. They’re averaging over 130 shows a year for the past five years and that’s a lot of wear on your soul and sneakers. Good music and a bright future – they have a lot going for them.

“Live at the Isis” by Town Mountain

Town Mountain
Live at the Isis
self-released

3 stars (out of 5)

By Donald Teplyske

Asheville, North Carolina’s Town Mountain hasn’t released an album since Leave the Bottle broke through in 2012. That well-received disc opened some doors for the quintet, and it appears that they have been on the road for much of the interim.

They won a couple of IBMA Momentum Awards in 2013, and their name has been mentioned as one that needs to be experienced ‘live’ for full effect. Not surprising then that they’ve put together a set recorded earlier this year to encourage table sales until the next recording is ready to go.

Live at the Isis includes a handful of songs from Leave the Bottle—including the exceptional “Lawdog” and the impressive “Up the Ladder,” a soulful bluegrass song that I quite appreciate. Selections from earlier releases include “Tarheel Boys” and “Texas/New Mexico Line.” Another older song, “5 Shots of Whiskey,” reaches quite a ways past bluegrass into Americana/country-shuffle territory.

Town Mountain features a new bassist with this release as Nick DiSebastian signs on. The core of the band— vocalists Robert Greer (guitar), Phil Barker (mandolin), and Jesse Langlais (banjo) with fiddler Bobby Britt—remains consistent.

The recording does sound a bit flat to my ears, much like a show simply captured off the soundboard often does. Perhaps that is the case here, but one would expect more effort to have gone into the live recording to ensure the dynamic qualities of the band’s performance were fully captured.

I must admit I never need to have another live bluegrass album include “Orange Blossom Special,” no matter how ably it is performed; who are the folks who are actually clamoring to hear that one over and over again?

Hardly an essential recording, Live at the Isis provides those of us who have yet to see the band live a small (31 minute!) sample of their show. That the recording is a bit aurally soft is a disappointment.

 

 

 

 

 

 

LRR’s picks for the 2014 International Bluegrass Music Awards

The 25th Annual International Bluegrass Music Awards show is Thursday, Oct. 2 in Raleigh.

Here are Aaron, Donald, and Larry’s picks from the final ballot IBMA voters were presented with. (Aaron is an IBMA voting member.)

One suggested change: If a someone has won a particular vocalist or instrumentalist award more than five times, why not make him ineligible for future awards in order to give others a chance? I don’t think Del McCoury, Adam Steffey, or Michael Cleveland would mind.—AKH

ENTERTAINER OF THE YEAR

Aaron and Larry’s pick:
Dailey & Vincent

Donald’s pick:
The Gibson Brothers

Other nominees:
Balsam Range
Blue Highway
The Del McCoury Band

VOCAL GROUP OF THE YEAR

Donald and Larry’s pick:
Balsam Range

Aaron’s pick:
Dailey & Vincent

Other nominees:
Blue Highway
The Gibson Brothers
Doyle Lawson & Quicksilver

INSTRUMENTAL GROUP OF THE YEAR

Aaron’s pick:
The Del McCoury Band

Donald’s pick:
Blue Highway

Larry’s pick:
The Boxcars

Other nominees:
Balsam Range
Frank Solivan & Dirty Kitchen

SONG OF THE YEAR

Aaron and Donald’s pick:
“Grandpa’s Way of Life” – The Spinney Brothers (artist), Mark ‘Brink’ Brinkman (writer)

Larry’s pick:
“You Took All The Ramblin’ Out of Me” – The Boxcars (artist), Jerry Hubbard (writer)

Other nominees:
“Dear Sister” – Claire Lynch (artist), Claire Lynch and Louisa Branscomb (writers)
“It’s Just a Road” – The Boxcars (artist), William Keith Garrett (writer)
“The Game” – Blue Highway (artist), Shawn Lane and Barry Bales (writers)

ALBUM OF THE YEAR

Aaron’s pick:
Hall of Fame Bluegrass – Junior Sisk and Joe Mullins (artist), Junior Sisk and Joe Mullins (producers), Rebel Records

Donald’s pick:
Streets of Baltimore – The Del McCoury Band (artist), Del McCoury (producer),  McCoury Music

Larry’s pick:
It’s Just A Road – The Boxcars (artist), The Boxcars (producer), Mountain Home LS

Other nominees:
Noam Pikelny Plays Kenny Baker Plays Bill Monroe – Noam Pikelny (artist) Gabe Witcher (producer), Compass Records
The Game – Blue Highway (artist), Blue Highway (producer), Rounder Records

GOSPEL RECORDED PERFORMANCE OF THE YEAR

Aaron’s pick:
“Won’t It Be Wonderful There” – Dailey & Vincent (artist), Brothers of the Highway (album), Mildred Styles Johnson (writer), Jamie Dailey and Darrin Vincent (producers), Rounder Records

Donald’s pick:
“Love Does” – Darin and Brooke Aldridge (artist), Flying (album), Jamie Johnson, Suzanne M. Johnson and Jenee Fleenor (writers), Darin and Brooke Aldridge (producers), Organic Record

Larry’s pick:

“The Day We Learn to Fly” – Volume Five (artist), The Day We Learn To Fly (album), Stacy Richardson and Leroy Drumm (writers), Volume Five (producers), Mountain Fever LS

Other nominees:
“Wait A Little Longer Please Jesus” – Donna Ulisse (artist), I Am a Child of God (album), Hazel Marie Houser (writer), Bryan Sutton and Donna Ulisse (producers), Hadley Music Group
“When Sorrows Encompass Me Around” – The Boxcars (artist), It’s Just A Road (album), Paul Edgar Johnson (writer), The Boxcars (producer), Mountain Home

INSTRUMENTAL RECORDED PERFORMANCE OF THE YEAR

Aaron’s pick:
“Johnny Don’t Get Drunk” – Adam Steffey (artist), New Primitive (album),  Public Domain, Adam Steffey (producer), Organic

Donald’s pick:
“Thank God I’m A Country Boy”- Special Consensus with Buddy Spicher, Michael Cleveland and Alison Brown (artists), Country Boy: A Bluegrass Tribute to John Denver (album), John Martin Sommers (wrtier), Alison Brown (producer), Compass Records

Larry’s pick:
“Five Miles to Milan” – The Grascals (artist), When I Get My Pay (album), Danny Roberts (writer), The Grascals (producer), Mountain Home

Other nominees:
“Graveyard Fields” – Steep Canyon Rangers (artist), Tell The Ones I Love (album), Mike Guggino (writer), Larry Campbell (producer), Rounder Records
“Skillet Head Derailed” – The Boxcars (artist), It’s Just a Road (album), Ron Stewart (writer), The Boxcars (producer), Mountain Home

RECORDED EVENT OF THE YEAR

Aaron’s pick:
“Keepin’ It Between the Lines (Old School)” – Peter Rowan with Bobby Osborne, Jesse McReynolds, Ronnie McCoury and Del McCoury (artists), Alison Brown (producer), Compass Records

Donald’s pick:
“Martha White, Lester & Earl” – Terry Baucom with Marty Raybon & Buddy Melton (artists), Terry and Cindy Baucom (producers), John Boy and Billy Records

Larry’s pick:
“Wild Mountain Honey” – Junior Sisk and Joe Mullins (artists), Junior Sisk and Joe Mullins (producers) Rebel Records

Other nominees:
“American Pickers”- The Grascals with Dierks Bentley (artists), The Grascals (producer), Mountain Home
“Wild Montana Skies” – Special Consensus with Claire Lynch & Rob Ickes (artists), Alison Brown (producer), Compass Records

EMERGING ARTIST OF THE YEAR

Aaron and Larry’s pick:
Flatt Lonesome

Donald’s pick:
Town Mountain

Other nominees:
Detour
The Spinney Brothers
Volume Five

MALE VOCALIST OF THE YEAR

Aaron and Donald’s pick:
Del McCoury

Larry’s pick:

Buddy Melton

Other nominees:

Tim O’Brien
Frank Solivan
Dan Tyminski

FEMALE VOCALIST OF THE YEAR

Aaron’s pick:
Claire Lynch

Donald’s pick:
Dale Ann Bradley

Larry’s pick:
Rhonda Vincent

Other nominees:
Alison Krauss
Amanda Smith

INSTRUMENTAL PERFORMERS OF THE YEAR

BANJO

Aaron and Donald’s pick:
Noam Pikelny

Larry’s pick:
Ron Stewart

Other nominees:

Jens Kruger
Mike Munford
Sammy Shelor

BASS

Aaron and Larry’s pick:
Mike Bub

Donald’s pick:
Barry Bales

Other nominees:
Missy Raines
Mark Schatz
Darrin Vincent

FIDDLE

Aaron and Donald’s pick:
Michael Cleveland

Larry’s pick:

Ron Stewart

Other nominees:

Jason Carter
Stuart Duncan
Bobby Hicks

DOBRO

Aaron’s pick:

Rob Ickes

Donald and Larry’s pick:

Phil Leadbetter

Other nominees:

Jerry Douglas
Andy Hall
Randy Kohrs

GUITAR

Aaron, Donald, and Larry’s pick:
James Alan Shelton

Other nominees:
Tony Rice
Kenny Smith
Tim Stafford
Bryan Sutton

MANDOLIN

Aaron and Larry’s pick:
Adam Steffey

Donald’s pick:
Frank Solivan

Other nominees:
Sam Bush
Sierra Hull
Chris Thile

“Fiddle” by Smoke Dawson

Smoke Dawson
Fiddle
Tompkins Square Records
5 stars (out of 5)

By Aaron Keith Harris

The violin—or rather, for our purposes, the fiddle—has carried the implication that it is the devil’s instrument long before the Charlie Daniels pop-country operetta “The Devil Went Down to Georgia.” From the legends surrounding Paganini on back to an ancient Greek music critic by the name of Aristotle, the fiddle has evoked suspicion and curiosity.

Some attribute this to apprehension at the debauchery that comes with drink and dance—the skilled fiddler for centuries before turntables and synthesizers performed the function now manned by the likes of Avicii and Skrillex, with wine or moonshine lubricating the proceedings as molly and mushrooms now do for many.

But I suspect that the fiddle is regarded as fiendish because of the visceral reaction only it can provoke. Neither the piano nor the guitar—and certainly no horn—can approach the infinite range of microtones and timbres possible with strings grabbing and scratching and pulling over a fretless fingerboard. Our ears can hear so much from a fiddle, and its sounds are often familiar and frightening in the same moment.

I was playing a digital copy of this reissue of this record—Smoke Dawson’s privately pressed “Fiddle” LP from 1971, with fascinating liner notes by Josh Rosenthal—the other day, and someone in the next room later remarked on the Celtic music they had heard.

It’s more the American folk or Appalachian style of fiddling that Dawson does here, but he’s definitely calling up the ancient tones and voices that poets like Bill Monroe and Van Morrison are always going on about.

“John Brown’s Dream,” “Cacklin’ Hen,” “Turkey in the Straw,” and “The Girl I Left Behind Me”—indeed most of the 17 tracks here—have melodies recognizable to even casual listeners to bluegrass and American folk and country music—sometimes those melodies are known by other names, which underscores the magpie nature of the fiddlers that have passed them along—renaming, stealing, reworking, and reinvigorating at every pass. Dawson’s “Pretty Polly” is every bit as bracing as Ralph Stanley’s version, right down to the plucked-string kickoff that mimics the sound of Stanley’s banjo. If you listened to each version side by side for the first time with no context, you couldn’t say which was older or even when they were recorded.

Dawson also played the bagpipes, which make a striking appearance here on the third leg of the “Connaughtman’s Rambles/Devil’s Dream/Marche Venerie” medley.

“The Minotaur” closes the album with stutters and hums and an unworldly aura made more affecting by the knowledge it’s coming not from Satan but from one of us.

 

 

“Headwaters” by Jason Tyler Burton

Jason Tyler Burton
Headwaters
self-released
4 stars (out of 5)

By Donald Teplyske

Some wonderful albums could come from ‘anywhere’, and their universal appeal is one of the things that make them powerful. It matters not whether the songwriter was in Austin or Dublin, on the Spanish Steps or in Florence’s Accademia as his songs germinated, the lyrics and music reach across time and locales to capture emotions and sentiments that transcend something as obvious as setting.

Other albums are so assured in their sense of place they could only be from ‘that place.’ In every word, in each note, the sense of place is so strong that their connection to ‘that place’ is palpable.

Some of my favourite albums have that strength of place. Woodland Telegraph’s Sings Revival Hymns is one of those albums, a creation that is so tied to its genesis in the Canadian Rockies that it seemingly couldn’t have been produced elsewhere. To me, every album from John Wort Hannam and Maria Dunn  share a similar feeling: these are Alberta albums, even if their subject matter, inspiration, and very sound cross provinces, countries, and oceans. If you ask me, Jay Clark’s album’s couldn’t come from anywhere but east Tennessee, and more recently, Josephy Lemay has created music that shares a similar connection to place.

All of which brings me to Jason Tyler Burton’s new album, a disc that overflows with the atmosphere, openness, and clarity of the Utah and Wyoming wilderness that this Kentuckian now calls home. Living in a van and exploring this western land, Burton has created a remarkable album that connects listeners to a place they may never have before experienced.

I come to Burton’s new album Headwaters with no familiarity with his music. With a little research, I came across some live performances including a challenging little number entitled “Caleb Meyer’s Ghost,” in which Burton creates the back story for Gillian Welch’s (still) greatest song; in Burton’s interpretation, Nellie Kane’s assailant had his own troubles in life, but Burton doesn’t let him off the hook and holds him accountable for his actions. There is a little interview with Burton about this well crafted song posted at Murder Ballad Monday. The song is from Burton’s first release, The Mend.

While appealing and creative, this wouldn’t interest me nearly as much if Headwaters didn’t turn out to be such a captivating album. Firmly within the parameters of the ‘singer-songwriter’ oeuvre, Burton has crafted a dozen songs across this intense album. Each of these finds the artist searching and exploring—for truths, for comfort, for meaning…for ‘the headwaters’ that feed our spirits.
As communicated through his songs, Burton’s nomadic existence reminds us that the greatest journeys are within, examinations of our soul, our beliefs. Headwaters encourages this exploration through lyrically rich compositions framed with complementary and crisp instrumentation.

In the encouraging “Fly” he sings of someone “made for much bigger things,” even if that means leaving the singer behind. Searching for where “my headwaters run” in the title track, he vows to “keep moving along” with Katy Taylor harmonizing along, reminding us that life’s journey is (thankfully) seldom solitary.

Augmented by both Jessika Soli Bartlett’s cello and Lynsey Shelar’s violin and especially Steve Lemmon’s percussion, piano, and drums, the songs are complete without misplaced polish and shine, atmospheric without falling into twee faux-intensity.

There was obvious vision for this recording, and Burton and co-producer Dave Tate—who also contributes electric guitar, percussion, piano, and bass—have brought it to life. While individual credits for the songs are not indicated, Ryan Tilby rates mention if only for his obvious steel contributions to a few songs; he also is credited with various bass, guitar, and banjo parts, but so are others including Burton and Tate so it isn’t possible to identify who is playing what where.

Burton explores the inspirational certainly, but he is also realistic, as when he sings “I’ve got silver linings for every one of my dark clouds but yours.” The message seems to be: Sometimes, just  you can’t find a way. In “The Wanderer,” Burton seems to be sharing his own tale, and here the strings truly convey the spirit of the song—wistful hope blurring with stark realism.

The restless intensity of the protagonist of “Thicker Than Water” is tangible; what he is going to do with it, what is going to come of it, is less obvious. This is certainly my favourite song on the album, a performance that—like the Welch/Rawlings song that previously inspired Burton—provides motivation to this writer to explore the dark shadows of the woods.

Not to give the impression that the album is overly brooding—although Headwaters does have a bit of a minor key feel if not in actuality—”Evergreen” may be the album’s most lively number, coming close to being a mountain stomper. “Being ten thousand feet above this town” as he is in “Tightrope Walker” brings additional lightness to the album.

Headwaters has a strong, evident sense of place, but like all great albums of this nature it bridges the distance to allow listeners to become immersed in situations and experiences far from their comfort zone.

And, as an aside, if you haven’t listened to Guy Clark’s Dublin Blues in a couple of years, do that today; damn, that album is great!

“Dear Jean: Artists Celebrate Jean Ritchie” by Various Artists

Various Artists
Dear Jean: Artists Celebrate Jean Ritchie
Compass Records
5 stars (out of 5)

By Donald Teplyske

Spending time with the music of Jean Ritchie quickly sends one down a rabbit hole of interpretations, variations, fragments, and re-imaginings of Scotch-Irish-English story songs. It can be fascinating to trace a tendril of one ballad to the chorus of another and the thread of a re-worded version of a third.
It can also be exhausting.

Rather more pleasant is allowing Ritchie’s unvarnished voice sweep one away to a world of Unquiet Graves, Maids Freed from Gallows, Rosewood Caskets, House Carpenters, and Orphaned Children. Whether singing a cappella or accompanied by her own dulcimer, by Doc Watson’s guitar and banjo, or by folks like Eric Weissberg (who nicely accompanies Judy Collins here on “One I Love”) and Marshall Brickman, Ritchie takes listeners to places that—within the most popular contemporary Americana performers—only the likes of Iris Dement does today.

As did Hazel Dickens and Ola Belle Reed through their original songs, Dement and (as I learned living with this collection) dozens of unheralded mountain and hill singers, Ritchie transports the listener to a long ago place that only tangentially bears relevance to contemporary times.

Or, it would appear upon first listen.

Because woven into Ritchie’s ballads of courtship, disaster, crime, wonder, sentimentality, and loss are cautionary tales, tragic ballads, and ‘sparking’ songs that connect with motivated modern listeners by the very power of their antiquity and timelessness.

What is sometimes (frequently, perhaps) neglected when considering Jean Ritchie is that standing alongside the “ballads from her Appalachian family tradition,” to borrow a phrase, have been dozens of amazing, timeless creations—among them “The L & N Doesn’t Stop Here Anymore,” “West Virginia Mine Disaster,” “Blue Diamond Mines,” “Thousand Mile Blues,” and “Black Waters”—that are original compositions inspired by the realities of Ritchie’s experiences.

Dear Jean: Artists Celebrate Jean Ritchie is a two-disc, 37-track labour of love from producers Mick Lane, Charlie Pilzer, and Dan Schatz augmented by performers who not only have been influenced by and admire Ritchie, but many who have more than passing connection to the Kentuckian who was awarded a National Endowment For The Arts National Heritage Fellowship in 2002.

The set contains a blend of traditional and contemporary ‘folk’ approaches to the material, with a decided emphasis on presenting performers who may not be widely known within the broadly defined folk and Americana fields. Providing further balance, the producers have elected to feature many of Ritchie’s lesser known compositions alongside the many traditional songs for which she is well regarded.

Some who have contributed to this collection are familiar and contribute the expected exceptional performances. Robin and Linda Williams with John Jennings (“The L & N Doesn’t Stop Here Anymore”) Peggy Seeger (“Young Man Who Wouldn’t Raise Corn,”) and John McCutcheon (“The Bluebird Song”) are among the most well-known of the performers.

Select songs have a contemporary presentation. The always formidable and impressive Janis Ian, supported here by Andrea Zonn, Alison Brown, and Todd Phillips, serves up a memorable version of “Mornings Come, Maria’s Gone.” An all-star lineup of John McCutcheon, Tim O’Brien, Stuart Duncan, Bryn Davies, Suzy Bogguss, and Kathy Mattea perform “Black Waters” capturing the emotional, physical, and geographical impact that brutally evasive and injurious coal mining practices have had on the southern United States.

Other performances are more reminiscent of the stark sounds and performances Ritchie grew up immersed within, such as Sally Rogers and Howie Bursen’s “Lord Bateman,” the Starry Mountain Singers “I’ve Got a Mother,” and Archie Fisher’s “Jackaro.”

While a handful of the performers have considerable name recognition, the overwhelming majority are less familiar—at least to me-—but their contributions provide substantive flesh to the beautiful skeleton that would have existed had only ‘stars’ been included. Traditional singers like Magpie (“Farewell to the Mountains,”) the incredible Molly Andrews (“Now Is the Cool of the Day”) and Elizabeth LePrelle (“Fair Nottamun Town,”) Riki Schneyer (“Blue Diamond Mines,”) and Kathy Reid-Naiman (“Pretty Betty Martin”) continue the art Ritchie has inspired for the past fifty and more years, and kick no small amount of major vocal arse in doing so.

Sam Amidom (“The Cuckoo,”) fiddler Matt Brown (“Golden Ring Around the Susan Girl,”) and Rachael Davis (“One More Mile,”) and others including LePrelle, bridge the generations between themselves, Ritchie (who is now 92) and the original inspiration for these songs.

Tying things together, Kathy Mattea performs “Jubilee” with Ritchie’s sons Jon and Peter Pickow, who also appear with Kenny Kosek on “Last Old Trains A-Leavin’.” Suzie Glaze, who once appeared as Ritchie in a stage production, performs a telling version of “West Virginia Mine Disaster.” The Ritchie Nieces contribute “Twilight A-Stealing,” a song Ritchie writes that her family always sang together at the close of their evening porch sing-a-longs.

Ritchie herself appears twice. A delightful 1985 rendition of “Who Killed Cock Robin” (with contemporary Oscar Brand) is light and companionable. A final ’round’ of “The Peace Round” from 1992, augmented with the voices of many who appear throughout this wide-ranging tribute, closes the album on more pensive notes.

For those so inclined, Schneyer’s “Black Diamond Mines” isn’t the only song that includes a taste of bluegrass, but it is the one that most strongly embraces the sound. Cathy Fink and Marcy Marxer’s “My Dear Companion” flirts along the edges.

Like Ritchie, Dale Ann Bradley is from Berea, Kentucky, and the five-time IBMA Female Vocalist of the Year can’t help but have some ‘grass in her approach. Here, Bradley teams with Alison Brown and the Bankester vocalists for a take on “Go Dig My Grave,” and this take should find favour with those who appreciate Bradley’s approach to traditional material. (I have another paragraph or three about this fragment of “The Butcher’s Boy” available, but I had best leave that treatise to scholars.)

One can be forgiven for believing that Jean Ritchie only sang traditional folk music. ‘Folk’ is now a near meaningless catch-all, but descriptive musical terms once meant something. Ritchie herself once quite ardently distinguished her traditional mountain, folk, and old-time music from modern sounds that emanated from southern cities. In her liner notes to the 1962 album Precious Memories, Ritchie wrote:

But, my friends will say, is this folk music? Perhaps not, by the strictest scholarly definition. Some have known authors, some have not changed essentially from their original forms; I would call them valuable and interesting period pieces, the natural outgrowth of the older folk music of the region… But these songs are more than that; they are brimming over with the simple basic emotions that touch us all.

Ritchie was writing about her set containing “new hillbilly” and “city” songs like “The Great Speckled Bird,” “The Wreck on the Highway,” and “Bury Me Beneath the Willow,” songs that would—through their very pervasiveness, and no matter who originated them—become standards of country and folk repertoires, as ‘folk’ as any song that had traveled from Europe.

Strange then that some fifty years later she might have just as accurately been writing about this uniformly outstanding tribute.