“A Dotted Line” by Nickel Creek

Nickel Creek
A Dotted Line
Nonesuch Records
2 stars (out of 5)

By Aaron Keith Harris

It’s been a decade and a half since Nickel Creek released their self-titled third album, the one that introduced them to music fans outside the bluegrass festival circuit that Chris Thile, Sara Watkins, and her brother Sean Watkins had been popular on since they were kids.

Now in their thirties, each is rightly considered among the very best musicians on their instruments—especially Thile, who is nothing less than the Babe Ruth of the mandolin. But their sum here on A Dotted Line is considerably less substantive than their parts.

Twee is the word that kept coming to mind as I listened to this one several times. Rather than trusting their talent to just play, the trio can’t get out of their own way when it comes to writing, choosing and arranging material.

Even on what could have been a simple and beautiful instrumental track like “Elephant in the Corn,” they have to throw in a couple of bits that are—to copy and paste from my dictionary app—”affectedly quaint.”

I suppose Thile thinks he’s being Byronic on “Rest of My Life,” “Love of Mine,” and “You Don’t Know What’s Going On,” but he’s really still just doing John Mayer’s tired act. What’s worse is that Sean tries the same thing on “Christmas Eve.” You’d think a couple of grown men would know how to talk to women more effectively, but I guess when you’re in a band, you can let that part of your game slide.

Sara comes through with lead vocals on the disc’s only two listenable tracks, the self-penned perfect pop of “Destination” and a gorgeous take on Sam Phillips’ “Where is Love Now.” Her voice is as sweet as it was on “The Hand Song,” but she’s got the maturity that her bandmates don’t.

The most important track here is the cover of “Hayloft,” by Canadian indie rockers Mother Mother. It took great skill to play and produce a track so awful, which makes it so disappointing that these three seem so intent on proving their hipster bona fides when they should just relax and play (see the Infamous Stringdusters).

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“Taproot” by Three Tall Pines

Taproot
Three Tall Pines
self-released
3½ stars (out of 5)

By Aaron Keith Harris

Taproot is a six-song, 23-minute EP, the third studio effort from New England bluegrass/Americana quartet Three Tall Pines.

Dan Bourdeau (guitar, vocals), Nick DiSebastian (bass, guitar, vocals), Joe Lurgio (mandolin, vocals), and Conor Smith (fiddle, vocals) are joined by guest banjo picker and producer Ron Cody on five bluegrass standards and one fine Bourdeau original—the decidedly Welchian “Stonewalls.”

TTP won’t be mistaken—especially vocally—for most of the bluegrass bands that include “Walls of Time,” “Crying Holy,” and “Angel Band” in their repetoire, and that’s a good thing. Their arrangments have a hint of the rock/jam band sound to them, getting the right mix of reverent and refreshing.

Smith’s playing throughout is especially good, and he’s joined on two tracks by a couple of fellow fiddlers to great effect: Britanny Haas on a soaring “Raleigh & Spencer” and by Haas and Lauren Rioux on “With Body & Soul.”

This was my first notice of TTP, and I’ll be looking forward to more material, especially original compostions as good as the lone example here.

“Silver Ladder” by Peter Mulvey

Peter Mulvey
Silver Ladder
Signature Sounds
4 stars (out of 5)

By Donald Teplyske

Admittedly, I’ve not been as familiar or as enamoured with Peter Mulvey as I am others of his lonely-folk ilk.

I find that what appeals to any individual listener is the personal connection one has made with an artist. For every John Wort Hannam, Dar Willians, Martyn Joseph, or Mark Erelli that I’ve related to, there are a hundred others with whom—usually through no fault of their own—I’ve failed to align.

To my ears, there has been little to distinguish Mulvey from the hordes of ‘sages on stages’ making their living performing songs in coffee shops and folk clubs across North America.

Although I’ve purchased one of his albums—2007’s acoustic envisioning of his catalogue, Notes from Elsewhereand heard a couple others—including the very impressive Boston subway covers album Ten Thousand MorningsI’ve never connected with his music on an ongoing basis.

I’ve enjoyed his albums while they were playing, but I don’t recall ever going to the shelf and thinking, “I need me some Mulvey.” Maybe it would be different had I experienced a concert, but I haven’t, or if I spent time in Milwaukee, which I don’t.

All that changes now with Silver Ladder. Maybe it was the whimsical cover art. It could have been seeing Chuck Prophet listed as producer. Perhaps it was that the album was assigned to me for review and so I was forced to listen to it a bit more judiciously than I might have otherwise.

But, I think this is what it was that pulled me in: I never realized how much Mulvey shared—in cadence, outlook, and themes—with Phil Lynott’s spoken blues, rock poet stylings and on a pair of tracks here (“What Else Was It?” and “Copenhagen Airport”), Mulvey could be giving voice to long-forgotten demos from Solo in Soho or an unreleased Thin Lizzy album. Continuing the classic rock allusion, I could hear Ian Hunter singing “Sympathies” and “Remember the Milkman?”

Maybe I’m the only one who hears it. That’s okay.

Whatever it was that got me here, I’m glad it did. Turns out Silver Linings—released in a year of amazing Americana recordings from the likes of Rosanne Cash, Eliza Gilkyson, Jeff Black, and Laurie Lewis—stands with the best of them.

“And I’ll greet all the good people

With my head held high and my wide open hand

And I’ll wait for you down by the willow

But just once a year”

is just one of the discordant sets of lyrics populating these songs, those from “Josephine,” one of the album’s most striking moments.

“You Don’t Have To Tell Me” and “Back to the Wind” are free-wheeling rockers buoyed by considerable wordsmithery:

“In the middle of a lifetime the road gets a little squirrelly

You might lost your sense of humor for a year or two.”

Like the best songwriters, Mulvey doesn’t allow smugness to weed his garden of words. While clearly betrayed by “Lies You Forgot You Told,” his anger is tempered by a realization that he is not without fault. Still, “with any kind of luck by now, it will be falling on your head tenfold” allows hope for the cynic.

Silver Ladder is a deep, unified album. While the songs certainly stand up to isolated listening, it feels as if it should be experienced as a whole. The songs aren’t so much thematically linked as they are elements of a common fabric. The verbosity of “If You Shoot at a King You Must Kill Him” is balanced by the lyrical brevity of “Copenhagen Airport” and “Landfall.” The opening “Lies You Forgot You Told” naturally and ideally flows into “You Don’t Have To Tell Me.”

The core band—Mulvey (guitar), Prophet (guitar, drums), Aiden Hawken (keys, guitar), James DePrato (guitars), David Kemper (drums) and Tom Freund (bass)—is augmented by others including the wondrous vocals of Anita Suhanin (“Where Did You Go?” and heard on previous Mulvey recordings), and the equally impressive Sara Watkins (vocally on “Remember the Milkman?”, violin on “Landfall.”)

In my opinion, Peter Mulvey’s Silver Ladder is a roots rock album of the highest order.

“Memory of a Mountain” by Ma Crow and the Lady Slippers

Ma Crow and the Lady Slippers
Memory Of a Mountain
self-released

3½ stars (out of 5)

By Larry Stephens

The Lady Slippers are unusual (but not unique) as an all-female bluegrass band. They’re from Cincinnati and have a solid regional reputation. A look at their upcoming events shows them working in Ohio and several surrounding states. The biographical information for the members (Ma Crow, Trina Emig, Margie Drees, Vicki Abbott) lists a number of bands they’ve performed in (Chicken Deluxe, Jennie Lyn Band, Dr. Twang and the Stainless Steel) but you may not recognize the names.

They describe their music as bluegrass/American/mountain, and it indeed sounds like some combination of bluegrass and old-timey. Drees penned three of the numbers. “Liberty Hill” is a song about trying to find liberty from oppression and fits the bluegrass mold. Ma Crow sings lead on all the vocal tracks and here she’s joined by Drees singing harmony. Their playing is good as are the harmonies. The title song has a very pretty melody and tells a sad story of the Appalachians: mining has destroyed many mountains and this is a story of memories before mining took away the beauty. Emig has a melodic banjo break that will catch your attention. Staying with the mountain theme, the third Drees number is “Daughter of the Mountain” and is more-or-less the story of Ma Crow’s mother, Nadine. All good tracks, very close to classical bluegrass with a touch of old-time feeling.

Ma Crow as a lead singer fares well but, as always, personal taste has to be considered. Her singing voice is much closer to Hazel Dickens than to the standard crop of modern bluegrass female vocalists. Production qualities are good, not surprising since the CD was mixed and mastered by Ron Stewart. Stewart, a good singer with a husky, smoker’s voice, makes a gigantic vocal contribution by adding a couple of grunts during “Get Up John.” Emig plays a good mandolin on this number and Drees plays fiddle. The fiddle playing is adequate but won’t blow you away.

“Shady Grove” and “Ages and Ages Ago” are familiar numbers. “Time Is Winding Up” is a public domain gospel number presented in an old-time, unadorned way that you might not recognize if you’ve heard Helen Millers version. I’ll stick with the acoustic version. “Going To The West” is another old number and features some of their best harmony singing, and they have a good presentation of “Montana Cowboy,” done by Emmylou Harris as “Montana Cowgirl.”

The one song that simply loses me is “No Mermaid.” This is a Sinéad Lohan song, covered by Joan Baez and sounds out of place in this album setting.

The picking is good, though none of it will blow away your toupee. The singing is all good as long as you like this style of unadorned melody. Given the status Hazel Dickens in this music, a lot of people do. It’s worth a listen.

 

“Ancient Dreams” by Red June

Red June
Ancient Dreams
Organic Records
4 stars (out of 5)

By Donald Teplyske

Since 2010, the North Carolina trio Red June has become increasingly well-regarded within acoustic Americana and folk music circles for their warm three-part harmonies, insightful writing, and compelling musicianship.

Ancient Dreams is their third album, and first with outside label support. While their previous albums were in many ways spectacular (consider, as example, Remember Me Well‘s “Biscuits and Honey” and “McKinney Blues” or Beauty Will Come‘s “Cloud of Dust” and “Soul’s Repair”), Ancient Dreams sees the band taking steps forward to further define their space within an increasingly crowded artistic marketplace.

Red June—Will Straughan, Natalya Weinstein, and John Cloyd Miller—combine traditions of southern roots music—country, old-time, and bluegrass—with influences from Weinstein’s classical music background and the vocal precision of the folk-pop world.

Working with producer Tim Surrett (who doubles on upright bass), the trio have maintained their penchant for creating original songs that could emanate from no other roots outfit. Red June, in the course of three albums over five years, have defined their sound. And it is a wonderful one.

Straughan’s “Black Mountain Night” has evocative lyrics (“I swear as I look down, from this mountain on that town, For a moment, everything’s alright”) from which genuine emotion is wrung.

Miller’s “Where We Started” examines the cyclical nature of relationships, and his “I Still Wait”—sung with Weinstein—is an acceptance of the fleeting connections made when one is firmly committed to a personal existence.

Their vocal mastery is ably demonstrated throughout the album’s eleven songs, perhaps never more so than within “I Am Free,” the album’s a cappella centerpiece. Straughan’s resonator contributions never overwhelm the blend of natural vocal harmony the three share; rather, the guitar’s mournful notes accentuate the intensity of this seemingly organic connection. Similarly, Weinstein’s fiddle complements the sparse instrumental canvas the band utilizes.

A pair of instrumentals—“31″ and “Gabriel’s Storm”—provide ample evidence that Red June is a multi-dimensional band worth a listen for many reasons.

Red June’s Ancient Dreams serves as more than a calling card from an emerging artistic collaboration. It is a formidable achievement, attuned to modern approaches in the creation of timeless sounds.

“Steve Martin and the Steep Canyon Rangers featuring Edie Brickell” by Steve Martin

Steve Martin
Steve Martin and the Steep Canyon Rangers featuring Edie Brickell
Rounder Records

4 stars (out of 5)

By Larry Stephens

The Steep Canyon Rangers play good music. “Knob Creek” is as pretty a bluegrass tune as I’ve ever heard. Their album Nobody Knows You won the 2013 Grammy for Best Bluegrass Album and 2012’s Rare Bird Alert was nominated for the same award. In 2011 the Rangers and Steve Martin won Entertainers of the year at IBMA. Pretty heady stuff.

I saw the Rangers in Georgia a few years ago. I liked the show. I like Steve Martin. I haven’t heard much of them together because I don’t often listen to radio. My go-to-work car doesn’t have satellite radio and my wife likes the ’60’s channel in her car. I wasn’t sure what to expect as I started the CD and that’s why you’re reading these reviews, trying to decide if a CD is worth your money.

This package includes a DVD (the show was taped live) and the DVD tells a better story than the CD. The DVD has two additional tracks and includes the stage banter, audience shots, and gives you better context than the CD. From the start it’s clear that this is the Steve Martin show. He’s the front man, he tells the jokes and plays or trades lead on the banjo. When you visit SCR’s website it becomes clear this is a collaboration but they are in a supporting role with Martin (50 shows a year) while keeping their identity as they perform separate from him. Other clues about what to expect are subtle: the website listing shows SCR last after Martin and Edie Brickell and SCR’s members aren’t named in the package.

The SCR aren’t just window dressing, though. The first number is “Katie Mae,” a hot one that whets your bluegrass appetite. Despite not being familiar with it I figured it was adapted from Flatt & Scruggs or someone like them, but the only other number with that name I can find is a Grateful Dead piece adapted from the blues and they aren’t even cousins. It turns out it was composed by Brickell. Other than the music on “Atheists Don’t Have No Songs” (by SCR members) the songs all list Martin or Brickell as composer or co-composer and SCR isn’t involved. “Katie Mae” on the DVD shows Martin playing lead banjo, trading off in spots with Graham Sharp. Martin’s a good banjo player and enjoys carrying the bluegrass message in his TV appearances.

One of Martin’s funny lines is at 11:00 on the DVD: “I know what you’re thinking: There’s Steve Martin, just another Hollywood dilettante hitching a ride on the bluegrass gravy train.” It’s hard to tell from shots of the audience how many of them follow bluegrass—I suspect a substantial number were there for the Steve Martin show—but they liked that line while veteran bluegrassers really understand the punch line. “Jubilation Day” is one of his comedy song routines (a breaking up story from a “whew, it’s over perspective”) and the bass player takes an impressive break on the number. “The Crow” is a good instrumental bluegrass number and is the title track of Martin’s 2009 album that won the Grammy Award for Best Bluegrass Album at the 52nd Grammy Awards.

Edie Brickell is associated with the New Bohemians and the Gaddabouts, and is now closely allied with Martin and his bluegrass shows. She comes in at 26:40 (DVD) to sing “Get Along Stray Dog.” This is more old-timey than anything else. The music takes a turn at this point to some sort of fusion between old-time, folk, and Irish jig with her singing somewhere in Dylan’s camp, breathy with a rising and falling inflection. There’s an electric guitar and drums and a keyboard have been added. The audience liked it. Bill Monroe fans probably not so much. It’s unclear if she has a genre in mind. I suspect she’s following her own muse: infused with acoustic music but still very influenced by rock/pop. If you listen to “Love Like We Do” (New Bohemians) you’ll find a lot of similarities with her work on this CD.

“Stand and Deliver” is the SCR (Martin and Brickell are off stage) plus some percussion doing bluegrass on the progressive side. They follow that with “Hunger,” a blues number with an electric guitar. Not bluegrass but I liked the song and the arrangement.

There’s far too much material to cover it all, especially on the DVD. Some other highlights are “Pretty Little One,” close to a bluegrass story song but it also has an old-time sound. The verses tend to have a repetitious melody and go on and on with both murder and comedy woven into the lyrics. Martin sings lead with Brickell joining in now and then. Next “Auden’s Train” kicks off, credited to Martin and Nicky Sanders. That may confuse you because it’s the “Orange Blossom Special” with lyrics borrowed from W H Auden’s Calypso.

Woody Platt (guitar) sings lead on “Daddy Played The Banjo,” a Martin number that makes good bluegrass. “Atheists Don’t Have No Songs” isn’t politically correct, but it’s funny. Maybe we worry too much about being politically correct.

Bluegrass fans attend a performance or buy a CD expecting the music to be the show. Some of the best bluegrass bands out there don’t try too hard at showmanship. When you buy this package expect the Steve Martin show with music added. You’ll enjoy the DVD if you’re a Steve Martin fan because he puts on a good show. If you’re considering the CD expecting more “Knob Creek” bluegrass, you’ll be a little disappointed.

“Carter Girl” by Carlene Carter

Carlene Carter

Carter Girl

Rounder Records

5 stars (out of 5)

By Donald Teplyske

Lives are filled with regret.

Carlene Carter’s story is well documented. In brief, she is the child of June Carter and Carl Smith, ex-wife of Nick Lowe, star of the “Cruel To Be Kind” video, a recording artist with several memorable performances before becoming an overnight success in 1990 with “I Fell in Love” and a series of hit and near-hit singles.

Then came the darkness, the lost and non-recording years, the substance abuse and career implosion. I’m guessing Carter has her share of misgivings about her life, the opportunities squandered, the negative impacts she may have had on herself and others.

I’m confident she has no uncertainties surrounding the recording of Carter Girl, the album many of us have been waiting for her to create since we first heard her sing. Beneath the spunk, rockin’ country, and the irreverence, and long before “I Fell in Love,” many knew that she would one day release an album that truly spoke to and explored her familial and musical roots. Performances from her TNN series Carlene Carter: Circle of Song—clips of which are on YouTube—reveal the appreciation she had for the music of the original Carter Family, of Mother Maybelle, and that of the Carter Sisters.

For the last decade—as she cleaned up her life and fully embraced the legacy afforded to her—Carter has grown stronger and fully blossomed. She was well-received in the theatrical performance Wildwood Flowers, and her album Stronger made numerous year-end ‘best of’ lists in 2008.

While she has consistently kept her family close on her albums—A.P.’s “The Winding Stream” was featured on Little Acts of Treason, which also featured Carl Smith on a reprise of his chart topping “Loose Talk,” Stronger‘s title track and “The Bitter End” contain more than a little autobiography, she’s recorded “Foggy Mountain Top,” “Ring of Fire,” and “My Dixie Darlin'” on various albums, and as liner writer Jim Bessman notes, going back to 1978’s “Never Together (But Close Sometimes),” Carter was using the Carter scratch method of picking—never has she dedicated an album highlighting her family’s importance on her music.

Now in her late-fifties, and completely comfortable with herself and her place as a bridge to country music’s past, Carter has, with producer Don Was, brought together an all-star band and several guests to celebrate and honor the legacy of her family. She has frequently spoken of having felt an obligation to carry the music of the Carters to subsequent generations, and with Carter Girl she has certainly done Maybelle, A.P., Sara, June, Anita, and Helen proud.

The album includes ten songs selected from the immense Carter catalogue. To her credit, Carter hasn’t selected only the most familiar songs—no “Wildwood Flower,” for example, nor then “Will The Cirlce Be Unbroken,” “No Depression in Heaven,” or “Keep On the Sunny Side.” She’s dug deep, searching out, connecting with and revitalizing timeless songs.

The formidable “Little Black Train” kicks off the album, as astute a choice as any made with the disc. This song with a clear message of getting right with the Lord pulses with conviction and forewarning, and the vocal harmonies of the amazing Elizabeth Cook and Joe Breen (Mr. Carlene Carter) on the chorus make things that much more intense. As expected, the song is livelier in Carlene Carter’s hands than when recorded by her forbears in 1935, with the rhythm section of Was and Jim Keltner propelling the song.
Cook shows up throughout the album, never more impressively than on the full-blown duet “Blackie’s Gunman.” Carter no longer attempts to hit the highest notes she once did, and leaves these to Cook who nails the harmony parts. Carter’s voice is huskier, more robust than in her video play days, but this works wonderfully with this material. She still sings like a dream. Sam Bush contributes mandolin to this track, making the instrument’s sound to slightly resemble an autoharp.

Aunt Helen’s venerable “Poor Old Heartsick Me,” a hit for Margie Bowes, is the type of song that almost anyone can sing-along with, while “Troublesome Waters” proves once again how difficult it is to listen to others sing with Willie Nelson. For me, this is the album’s only stumble. Willie is Willie, of course, and while it isn’t musical malpractice, it does interrupt the flow of the album.  I’ve long wondered why female singers attempt to harmonize with Nelson on slow-tempo numbers. Both Nelson and Carter’s vocal parts sound good in isolation, but to my ears their blend doesn’t. The performance is forced. Would it have worked better had they been eye-to-eye in the same studio when recording? Possibly.  I just know I would rather have heard Carter sing the song without Nelson.

More successful is when Kris Kristofferson drops by to join in on “Black Jack David.” The song, one of many that A.P. Carter borrowed from the folk tradition, works largely because the two singers match each other’s phrasing more comfortably than Nelson and Carter do. Carter also provides guitar accompaniment in the style of Mother Maybelle, a very noticeable contribution.
Utilizing modern technologies, Carter closes out the album singing with her mother, aunts, and Johnny Cash on “I Ain’t Gonna Work Tomorrow,” an emotionally abusive song of codependency disguised as a working man’s protest if ever there was one, while Carter sings June’s “Tall Lover Man” like the country classic it should be.

Within an artistic creation with no end of highlights, two of the most dramatic come directly from Carter’s imagination. “Lonesome Valley 2003″ is built around the classic spiritual, but is made more intense through the inclusion of Carter’s lyrics sharing the heartbreak of her family’s losses of that year.

The instrumentation of this track is beautiful—Carter’s piano, Rami Jaffee on Hammond, and guitars from Greg Leisz and Blake Mills—while Carlene sings as if she is in a country church, paying tribute to her loved ones. The emotion in her voice is palatable, and she says she genuinely choked up on the final verse. With lesser singers, this would be an affectation; for Carter, it’s the truth: she’s lived this song. Vince Gill’s vocal support may go unnoticed upon first listen, but it’s there on the chorus giving the arrangement additional depth.

The greatest song Carlene Carter may have ever written is re-recorded for this collection. “Me and the Wildwood Rose” originally appeared on the breakthrough I Fell in Love album, and at the time was a dramatic statement that—notwithstanding the country-rock beats of the title track and the video and stage prancin’ that accompanied it—she was a still a Carter girl.

A tribute to her grandmother and her aunts, the song wistfully reminisces about the days and nights on the road in the car with “grandma and her girls.” Now that all those mentioned in the song are gone, including the Wildwood Rose herself, Carter’s sister Rosey, the song assumes additional dimension. It was a stunning performance then, and it is even more so now, and it is on this track that Carter sounds most at ease—reinterpreting herself for a new generation, if they’re listening.

No regrets then with Carter Girl. At 47 minutes, it is a substantial project. The reservations I have with Willie Nelson’s performance are likely a product of my own prejudice; Was and Carter obviously appreciated what he brought to the studio.

The album is more than a tribute album to the various branches of the Carter family. It is the testament of a granddaughter, daughter, and niece committing herself fully to the legacy she has always embraced, a promise long ago made that the circle would remain unbroken.

“I’ll Swing My Hammer with Both My Hands” by Cahalen Morrison & Eli West

Cahalen Morrison & Eli West
I’ll Swing My Hammer with Both My Hands
No label
4 stars (out of 5)

By Donald Teplyske
Inspired equally by the spirit of the classic forebears of old-time music and later arriving artists who have continually refined the music as an important contemporary art, Cahalen Morrison and Eli West have now released three albums of modern minimalist musical lore, each exceeding that which came before it.

A taste of bluegrass, a dollop of folk, a sprinkling of modern stringband adventurousness, and a healthy measure of fresh approaches to old-timey songs, and you have the recipe to distinguish this duo within the multitudes creating modern folk-based, acoustic music.

Morrison and West are stalwarts of the Pacific Northwest music scene, and  I’ll Swing My Hammer With Both My Hands finds them incorporating additional musicians within their fold. Most prominent perhaps are fiddlers Ryan Drickey and Brittany Haas who twin up and complement Morrison and West throughout. Working without liner notes, I’m unable to distinguish between who is playing bouzouki where—O’Brien, Morrison, and West each contribute on that instrument, while O’Brien and Morrison also play mandolin.

Morrison’s old-timey banjo playing is beautiful, especially on songs like “James is Out” and “Fiddlehead Fern,” while West’s guitar parts are equally impressive; “Ritzville”/”Steamboats On the Saskatchewan” is a veritable showcase for the ensemble, and West’s guitar on “Livin’ in America” is captivating.

Vocally, Morrison continues to take most of the leads—deep, gritty expressions of open spaces, challenged individuals, and sorrowful times. West’s vocal harmony is rich, an ideal foil to Morrison, who is vocally reminiscent of O’Brien. West also takes the lead on the exceptional “Pocket Full of Dust.”

The duo’s intrinsic vitality provides the album with a consistency in sound, firmly ingrained in their experiences. Grounded by the music of Norman Blake, Kelly Joe Phelps, and certainly producer Tim O’Brien as they are, one can also appreciate their wholly original approach to acoustic roots music. “The Natural Thing to Do” is a straight ahead ‘tear in my beer’ country shuffle, whereas the wordy “Anxious Rows” clips along at the pace of a fiddle contest burner, but with an emotional depth seldom encountered .

As with the previous Our Lady of the Tall Trees, the majority of the songs are Morrison originals but there are a few familiar songs included as well. The Louvin’s mournful “Lorene” is given a gorgeous treatment. Alice Gerrard’s melancholy “Voices of Evening” is appropriately aching, while “Green Pastures” raises the spirit.

With this stellar creation, Cahalen Morrison and Eli West are sure to continue to expand their listening base, and it shouldn’t be too long before they are widely appreciated by those who enjoy riveting, fresh expressions of old-time music.

“Long Time…Seldom Scene” by the Seldom Scene

The Seldom Scene
Long Time…Seldom Scene
Smithsonian Folkways
5 stars (out of 5)

By Aaron Keith Harris

It’s been more than 40 years since the Seldom Scene started their run as perhaps the most influential bluegrass band ever to emerge after the music’s founding generation, and this 16-track, 55-minute disc celebrates that heritage with the band’s current lineup playing some of their best-loved songs—and with guest appearances from founding members Tom Gray (bass) and John Starling (lead vocals, guitar).

Founding member Ben Eldridge (banjo)—whose versatile and inventive playing has long been the key element in integrating the Scene’s mastery of traditional bluegrass with their knack for innovation—is still the driving force, bringing vitality to songs he’s picked thousands of times. Just compare his old-school drive on “Little Georgia Rose” and “I’ll Be No Stranger There” to the deft backing on Dylan’s “It’s All Over Now, Baby Blue” and Gram Parsons’ “Hickory Wind.” (The latter song features Emmylou Harris, whose famous partnership with Parsons makes her the perfect fit to help on this one.)

The relative newcomers—Dudley Connell (guitar, vocals), Lou Reid (mandolin, vocals), Fred Travers (Dobro, vocals) and Ronnie Simpkins (upright bass, bass vocals)—all joined the Scene at different times, making each track an interesting listen as one tries to remember who played on what original recording, or on a favorite live performance from years ago. Occasional Scene contributors Chris Eldridge (guitar, son of Ben) and Rickie Simpkins (fiddle, brother of Ronnie) round out the family for this recording.

Even without Starling in the mix (as he is on the beyond-magnificent “Wait a Minute,” the swaggering “Mean Mother Blues,” and a restrained, simmering arrangement of Monroe’s “With Body and Soul”), the triumvirate of Connell, Reid, and Travers are a vocal team with more sonic and emotional range than any other band working today, even Blue Highway.

Travers is perfect for singer-songwriter material like “Walk Through This World with Me,” Reid’s high and clear tenor is made for progressive ‘grass cuts like “Big Train (From Memphis)” and “What Am I Doing Hangin’ Round,” and Connell rips through traditional arrangements like John Prine’s “Paradise” and Hazel Dickens’ “My Better Years” with his characteristic abandon. (The latter cut is, as far as I can tell, the only one the Scene had not put on record before now, but was one of Connell’s showpieces when he fronted the Johnson Mountain Boys.)

The presence that you can’t help but feel on this record is that of John Duffey, who died in 1996. One of the greatest voices and largest personalities in bluegrass history, he’s of course irreplaceable, but his daring and authoritative presence lives on in a band that’s been extending his legacy for nearly as long as Duffey spent shaping that legacy.

The final element that makes this a perfect recording—one that should be a hands down winner for the IBMA Award for Recorded Event of the Year—is the attractive packaging and 35-page booklet presented by Smithsonian Folkways. I love digital music as much as the next person, but this one belongs on the shelf of everyone with even a passing interest in bluegrass music in particular, or American music in general.

“Folklore” by Jeff Black

Jeff Black
Folklore
Lotos Nile Music
4½ stars (out of 5)

By Donald Teplyske

I’m not sure why Kansas City songwriters appear so frequently upon my mental lists of favourites, but they do. Bob Walkenhorst, Rex Hobart, John Velghe, and Jeff Black are staples in my music diet, singers I return to with greater frequency than some whose names may be better known. The four listed have little in common, but each brings their obvious love for language to their recordings.

Jeff Black’s tenth album continues his unbroken sequence of artistic achievements. Stripped bare of accompanists and accoutrementsFolklore has been created in the spirit of a mid-60s Folkways or Vanguard release. Here the long-time Nashville resident is inspired by black and white memories of a family’s past, weaving a stirring collection of songs and stories tangibly connected to time, place, and people while sitting independent of an all-encompassing narrative.

Recorded over two days at the turn of this year, Black plays all the instruments (6- and 12-string guitars, banjo, harmonica), does all the singing, and wrote all the songs excepting a solitary co-write with his children Emerson and Zuzu. Listeners may find themselves hanging on each word Black delivers, anticipating the next turn of phrase that will provide enlightenment. Similarly, his clean instrumental delivery—whether it be the rolling banjo notes of “Cages of My Heart” or the flourishes of guitar within “Break the Ground”—will  have listeners leaning in to discern the delicacy of his playing.

Whereas his previous B-Sides and Confessions, Volume Two emphasized the depth of Black’s bluesy palette, Folklore is less emotionally oppressive while retaining familiar elements of universal authenticity within his storytelling. When singing of his father’s “’63 Mercury Meteor,” Black touches on familial closeness and shared experience while crafting lines about “little drifters on a gypsy road” including “the sound of the snow falling into the leaves”—whether true or imagined, the communication of memory is paramount.

Inspired by his grandmother’s fading photograph gracing the cover, Black delves into reminiscences of family to construct cohesive portraits of lives lived on the periphery of his awareness. Sometimes the results are emotionally substantive, as within “Cages of My Heart” and “No Quarter.” Other songs, no less important within Black’s interpretation of time passages,  are simple vignettes gathered throughout a aimless, youthful day on the “#10 Bus.” Anyone who has sought out the family farmstead will relate to “Decoration Day.”

“Sing Together,” dedicated to Pete Seeger, captures the joy most feel when given the opportunity to make music within a collective. “Break the Ground” revels in the freedom of a transient existence, much as Kristofferson (in whose voice Black appears to borrow for “Flat Car”) did with “Me and Bobby McGee” more than four decades ago.

When listening to Jeff Black’s singing throughout Folklore, I am reminded that there are few others—Darrell Scott, John Wort Hannam, and Eliza Gilkyson among them—who are able to connect so adeptly with this listener. Our life experiences—and those of their creations championed—are frequently entirely disparate, but through the use of melody and lyrical magic, imagination becomes an association of familiarity.