“The Earls of Leicester” by the Earls of Leicester and “Three Bells” by Mike Auldridge, Jerry Douglas & Rob Ickes

The Earls of Leicester
The Earls of Leicester
Rounder Records
4 stars (out of 5)

Mike Auldridge, Jerry Douglas & Rob Ickes
Three Bells

Rounder Records
5 stars (out of 5)

By Aaron Keith Harris

I was reading Keith Richards’ autobiography Life when I got and started listening to these two albums, which were released simultaneously by Rounder. He writes about the unlikelihood that a few teenagers in London would make it their life’s mission—at least foe a few years—to become a Chicago-style blues band, and that such a thing was only possible because of the invention of recorded music. Though he first picked up a guitar only about 25 years after the death of Robert Johnson and while the likes of Muddy Waters and Little Walter were still alive and productive, there’s simply no way he would have ever heard their music were it not for vinyl records and radio waves. Before their invention, musical styles grew slowly. Music was tied to a particular place and people, and to activities like Saturday night dancing and Sunday morning worship—a juxtaposition that influenced bluegrass music as much as it did the blues.

Music also passed from hand to hand, from master to apprentice. Musical mutations into new styles only occurred when a genius came along to synthesize and create from what already existed—the example most obvious to readers of this site is of course bluegrass music, which happened when the cross-eyed boy from Kentucky played dances with his fiddling uncle and a black guitar player at the same time and place musical evangelists were teaching the shape-note choir singing style. Without proximity to those three elements, Bill Monroe would not have created what Alan Lomax called “the first clear-cut orchestral style to appear in the British—American folk tradition in five hundred years.”

You wouldn’t quite call Josh Graves a genius on Monroe’s level, but he certainly was a virtuoso, much like Lester Flatt and Earl Scruggs, who hired Graves so his Dobro sound could further distinguish the Foggy Mountain Boys from other early exponents of Monroe’s art. (For the full story, read Bluegrass Bluesman.) Graves’ innovations led to a new vein of gifted musicians deciding to play bluegrass, including Mike Auldridge, who bought his first Dobro from Graves himself.

It’s to pay homage to Graves and the sound he helped create, of course, that prompted Jerry Douglas, the undisputed Dobro master, to form the Earls of Leicester. Walk down Broadway in Nashville, and you’ll bump into enough pickers who could play an impromptu Lester & Earl set, but the five that Douglas has enlisted do it as good as it could possibly be done: Union Station’s Barry Bales plays upright bass, Johnny Warren fiddles as good as his father Paul did with the Foggy Mountain Boys, and Tim O’Brien (mandolin), Shawn Camp (lead vocals, guitar), and Charlie Cushman (banjo) play the parts, respectively, of Curly Seckler, Lester Flatt and Earl Scruggs.

The effect they achieve on this 14-track album is uncanny—they don’t sound exactly like the source material, but they capture the key element of the Flatt & Scruggs sound—its effortless mixture of down-home drive and smooth sophistication. It’s great to hear Camp, an accomplished country-rock singer songwriter, sing bluegrass, coming closer to Lester’s vocal style than one could imagine anyone else doing, and O’Brien and Cushman have Curly’s chop and Earl’s roll down pat. Warren’s fills and breaks are as exciting as his daddy’s were, and Douglas’ vicariously reminds us just how important the grafting of Graves on to the bluegrass family tree was for what we hear and appreciate today. Adding the Dobro’s six strings as the music’s sixth instrument gave it so much more depth without sacrificing a bit of its integrity.

After Graves and before Douglas, there was Mike Auldridge. As a founding member of the Seldom Scene, Auldridge helped that band firmly establish the “progressive” approach to bluegrass—mixing in both the songs and the sensibilities of the country-rock and singer-songwriter styles of the 1970s. You can do a lot with a traditional five-piece bluegrass unit, but you absolutely cannot put across a song like “Sweet Baby James,” much less make it far superior to the original, without that small taste of Auldridge’s Dobro.

In the months before Auldridge died in 2012, he recorded Three Bells with Douglas and Rob Ickes—no backing band, just the three of them—with Auldridge’s instrument in the middle of the stereo mix, Douglas left, and Ickes right. I don’t think an approach like this could work, in a simply technical sense, nearly as well with any other instrument—especially not among the other five bluegrass tools. And it’s hard to imagine three other players could use this approach to create a sound so skilfully woven, as if all 18 strings were played by only one musician.

The 11-song, 45-minute track list is free of cliché—only “Panhandle Rag,” a composition of Leon McAuliffe (Bob Wills & the Texas Playboys) is from the bluegrass/country instrumental canon, which makes sense. Such tunes are written with the idea that each instrument in the band can have a turn showing what it can do before passing off to the next man.

Instead, this ensemble refashions old parlor, jazz, and easy listening songs like “Silver Threads Among the Gold,” “Sunrise Serenade,” and “The Three Bells” into brocaded tone poems free from the schmaltzy sheen present in their most popular versions. Don Reno’s “I’m Using My Bible for a Roadmap” is similarly refined into a stately hymn.

But of course, Auldridge, Douglas, and Ickes are all gifted composers as well, and their own songs are the best on this album: Auldridge’s bright and bouncy “For Buddy,” Douglas’ propulsive “North,” and Ickes’ perfectly titled “Dobro Heaven.”

Each man also contributes a solo performance—Auldridge a gorgeous medley of “‘Till There Was You/Moon River,” Ickes his own reflective “The Message,” and Douglas the truly sublime “The Perils of Private Mulvaney”—to remind us both the emotional richness a single Dobro can convey, and of why this trio making this record just in time is so special.

 

 

 

 

 

 

 

 

 

 

 

 

About these ads

“Fiddle Tune X” by Billy Strings & Don Julin

Billy Strings & Don Julin
Fiddle Tune X
No label
3½ stars (out of 5)

By Donald Teplyske

Michigan acoustic duo Billy (Apostol) Strings and Don Julin have released their second recording, a live album entitled Fiddle Tune X. It is an animated, forceful collection of mostly very familiar songs, none of which appeared on their debut album of last year.

I have heard it argued—and may have taken this position myself—that a duo cannot play bluegrass as it is impossible to include the necessary elements of the genre with only two instrumentalists. Strings (guitar) and Julin (mandolin) may not feature fiddle or bass, but everything about their stance suggests deep interest in and respect for bluegrass. They are certainly a bluegrass duo.

While the sound may not be bluegrass in its purest form, the essence of the music is certainly concentrated within the duo’s sparse framework. They draw on the fiddle-tune foundation of bluegrass (“Salt Creek”/”Old Joe Clark”), the influence hillbilly and country sounds had on its founders (“Beaumont Rag,” “Walk On Boy,” and “Miss the Mississippi and You,”), and the standards that are at the core of the music (“Poor Ellen Smith,” “How Mountain Girls Can Love,” and “I Ain’t Gonna Work Tomorrow.”)

While such a repertoire may appear tired or pedestrian, such is not the case. Strings and Julin bring an abundance of energy to their performance, feeding off each other and their audience to elevate these frequently encountered songs. While most of the songs have been around next to forever, the pair—working around a single mic—have found a way to make the overly recognizable extremely appealing.

Without overstating things, Doc Watson—whose spirit doesn’t seem to be too far removed from these boys’ hearts—comes to mind; you comfortably anticipated how a Doc Watson performance would unfold, but that didn’t stop you from leaning forward to listen. Same here, although the familiarity factor is obviously less apparent.

Strings sings the lead throughout with Julin coming in with complementary tenor. The bulk of the songs were recorded at various venues including small halls, bars, and homes. These songs have the most vigour, with the audiences’ enthusiasm for the duo readily apparent. They play to the crowd rather shamelessly and good-naturedly, extending both “Shady Grove” and “Little Maggie” to six minute-plus jams, guitar and mandolin exchanging the leads while also coming together in impressive displays of companionable accompaniment. The opening pairing of “Beaumont Rag” and “Walk On Boy” showcase Strings considerable flatpicking skills.

A large handful of songs were recorded without second guessing or overdubs in a snowbound farmhouse early this year, and it is on these cuts that the duo are at their strongest. Absent the whooping and hollering of the more exuberant members of their fan club, one can more readily appreciate their talents.

Julin’s title tune is a driving bluegrass instrumental that threatens to go by a bit too quickly were it not for Strings’ judicious tempo adjustment on his break. “Dos Banjos,” Strings’ composition, has a real mountain sound with timeless lyrics that could be lifted from a Hobart Smith side. Bill Monroe’s “Lonesome Moonlight Waltz” is perhaps the album’s most pensive tune, and showcases the duo at the highest level. Strings’ playing, while considerable throughout the 17-track recording, is especially appealing here with Julin serving up delicate notes that are terribly impressive. The Stanley Brothers’ “Sharecropper’s Son” is another highlight.

The closing rendition of “How Mountain Girls Can Love,” recorded on Third Man Records Voice-o-Graph is the only jarring bit on an otherwise terrific collection; given this and Neil Young’s indulgent A Letter Home, let’s hope the fascination with this low-fi method is a quickly passing fancy.

Billy Strings and Don Julin have captured some of their favorite live performances within this collection. Augmented with their isolated farmhouse recordings, the duo have crafted a very pleasing set of acoustic music. I anticipate frequently returning to Fiddle Tune X. Especially recommended for those who appreciate Darrell Scott and Tim O’Brien.

“The 5 String Flamethrower” by Rob McCoury

Rob McCoury
The 5 String Flamethrower
McCoury Music
5 stars (out of 5)

By Aaron Keith Harris

Rob McCoury’s first solo banjo project has been a long time coming, but it was worth the wait. As five-stringer for what is unarguably the genre’s band of the last 25 years, he’s one of bluegrass music’s most important practitioners. Yet he is seldom nominated for individual awards—not unlike a left tackle on a great football team. This is partly because of his laconic personality and stage demeanor, but mostly, I think, because of his style.

McCoury doesn’t dominate like Earl Scruggs or JD Crowe—though he could, as evidenced by a his takes on Crowe’s “Blackjack,” and Scruggs’ “Foggy Mountain Chimes.”

Rather, his strength is—with the left hand as well as the right—in the sections when the banjo is not pulling the sled—fills between and under vocal parts, deft turnarounds between solo breaks by other instruments, and contrapuntal lines played on the low side of the neck.

No wonder, then, that the two other legendary pickers he singles out for veneration here are Don Reno and Sonny Osborne.

McCoury rips through Reno’s “Charlotte Breakdown” and lays down a richly textured “Limehouse Blues”(an old jazz tune adapted by Reno for bluegrass banjo), but it’s his romp through Reno’s ebullient, stringbending “Banjo Riff”—exactly the type of tune that makes people fall in love with the banjo—that would be my first spin from this disc were I still a deejay.

The Sonny Osborne tunes are, appropriately, accompanied by pedal steel (Tim Sergent) like many of those middle-period Osborne Brothers tracks were. McCoury picks (in both senses of the word) two of Sonny’s most beautiful compositions,the Marty Robbins-tinged “Jericho” and the gorgeous “Siempre,” both with a Tex-Mex flavor that shows what imaginative musicians can do within the bounds of bluegrass.

McCoury also extends some professional courtesy to two lesser known pickers who clearly qualify as “banjo player’s banjo players” with Walter Hensley’s “Sugar Creek” and Larry Perkins’ “Northwest Passage.”

What makes this disc stand out from many other sideman solo efforts is that McCoury dances with them that brung ‘im, eschewing the stable of hired guns that we see over and over in favor of the Del McCoury Band, which allows Rob to do best what he does better than anyone—use bluegrass music’s essential instrument to make a bluegrass band sound great. Take a listen to the Del-penned “Caracas,” which stands among the best of DMB’s hard-edged instrumentals.

This 15-track, 41-minute album has two vocal numbers: Flatt & Scruggs’ “I’ve Lost You,” with Del on lead vocal and Bobby Osborne on tenor harmony and mandolin, and the Osbornes’ “We Could,” on which Sonny Osborne emerges from semi-retirement to join Bobby, Rob, and company. “The 5 String Flamethrower” should firmly establish, especially for those who hadn’t considered it yet, Rob McCoury’s virtuosity.

“The Old Country Church” by Mike Scott & Friends

Mike Scott & Friends
The Old Country Church
Rural Rhythm Records
4 stars (out of 5)

By Larry Stephens

Really, who needs to hear “Will the Circle Be Unbroken” for the thousandth time? That may be your first reaction to track list on this CD, but don’t pass judgment too quickly.

Bluegrass fans love to hear the old songs, whether repeated by the artists who made them famous or by others with their own take. One way to do a project like this is to surround yourself with Grade-A musicians, men (in this case) who know and love the songs as much as you do, get in the studio and let the music flow. Mike Scott is an excellent banjo player, sideman to Ronnie Reno for several years. Mix in Adam Steffey playing mandolin, Bryan Sutton and Tim Stafford on guitar, Rob Ickes on resophonic guitar, Ben Isaacs as timekeeper on the bass plus Aubrey Haynie’s fiddle and you expect nothing less than excellence.

You can listen to the comforting strains of “Pass Me Not,” “What a Friend We Have In Jesus” and “Precious Memories,” close your eyes and be transported back to the days you were growing up and hearing these in church and gatherings of friends and family. It’s difficult to hear “I Saw The Light,” “When the Saints Go Marching In,” “Will the Circle Be Unbroken” or “Swing Low, Sweet Chariot” without wanting to sing along, whether you’re certain of the lyrics or not. “The Old Country Church” has been a bluegrass favorite since there’s been bluegrass, and “I’ll Fly Away” joined that rank almost as soon as Albert Brumley penned it. And how many times have we sung “Victory In Jesus” in church?

They’re all there in this excellent instrumental CD by Mike Scott & Friends, along with “Where the Soul of Man Never Dies” and “Where the Roses Never Fade.” There are no surprises here, just the comfort of hearing beautiful renditions of old friends. The next time life’s not going your way, take a step back, drop this CD in the player, and refresh your soul.

“The Next Move” by Phil Leadbetter

Phil Leadbetter
The Next Move
Pinecastle Records
5 stars (out of 5)

By Larry Stephens

I’ve been around music most of my life and had the privilege to perform with some very talented people. I deeply appreciate the art of making music and the skill of musicians like the ones on this album.

Phil Leadbetter appreciates them, too, and he’s one of the best on the instrument that Josh Graves help make famous: the resophonic guitar. Struggling with severe illness, facing death, “Uncle Phil” made a list of great musicians he wanted to make a recording with, if he could do it just one more time. He had to wait until his cancer was in remission to do it, and now he’s fighting it in a second round, but he got it done. I saw him on stage (during his first round) for a salute to J. D. Crowe at Bean Blossom and he was obviously struggling, but he still made the reso ring beautifully.

Resophonic guitar or Dobro? The terms are often used interchangeably but they really shouldn’t be. The resophonic (or resonator) guitar has some type of resonator built into the top. The list of possibilities is too long to discuss here, but it’s usually a metal plate full of holes. Generally played in bluegrass flat with a bar and fingerpicks like a pedal steel guitar (Tut Taylor was an exception, using a straight pick), it may be found in a blues setting played like a regular guitar or with a bottleneck slide.

Dobro is a trade name originally associated with the Dopyera brothers, John Dopyera was the original developer of the resonator guitar. Despite efforts to control “Dobro” as a trademark, it has entered mainstream usage as synonymous with resophonic guitar.

Playing bass is either Mike Bub or Tim Dishman while Steve Thomas is everywhere playing mandolin, fiddle and guitar, one or more on almost every track. Shawn Camp wrote and sings lead on “Pull The Trigger.” He and Thomas play guitar and Camp’s Earls of Leicester buddy, Charlie Cushman plays banjo. Steve Gulley and Don Rigsby, two great voices in bluegrass, sing harmony while Alan Bibey plays mandolin and Tim Crouch plays fiddle. Camp is also featured on an introspective “Jesus, My Old Dog and Me.” Harking back to Flatt & Scruggs, “Just Joshin’” was written by Josh Graves and Jake Tullock. Cory Walker (banjo), Kenny Smith (guitar) and Sierra Hull (mandolin) join Bub and Crouch to support Leadbetter, Rob Ickes and Jerry Douglas on this salute to the reso guitar. Leadbetter joins with son Matt on Dobro along with Thomas, Crouch and Bub plus Jarrod Walker (mandolin) to do a Leadbetter tune, “Leadbelly.”

“Sweet Georgia Brown” isn’t contained by genre lines and Leadbetter and crew give a rousing performance here, lots of swing and jazz, but hey, with Béla Fleck on banjo and Buck White playing piano (along with Hull, Thomas, Bub and Smith) what else would you expect? Another number in the jazz and blues vein is “Georgia On My Mind.” It’s been done by legions of performers but many associate it with Ray Charles. You need to hear Con Hunley’s rendition. Steve Thomas doubles on mandolin and fiddle and Mike Bub plays a great bass line with Jim Hurst doing the guitar work. Too bad they couldn’t make this one thirty minutes long.

Going country, Ken Mellons co-wrote and sings “I’m a Modern Day Interstate Gypsy” with musicians named already and Gulley and Mark Newton adding harmony. Gulley co-wrote “I’ve Never Seen a Love That Wasn’t Blind” and sings it along with Dale Ann Bradley, Leadbetter’s current bandleader. Steve Wariner plays guitar and also co-wrote and performs another number, “Hole In The Earth,” a song about escaping the fate of a coal miner’s life—almost. He leaves but he comes back and now spends his life digging for coal in this hole in the earth.

Rounding out the first eleven tracks are John Cowan and Sam Bush, along with Jake Stargel playing guitar, tearing it up with “I’m a Ramblin’ Rolling Stone” while Marty Raybon and Joe Diffie, with Paul Brewster singing harmony, soften the tone with “Baptism.” “Down with the old man, up with the new,” that says it all about baptism and Raybon’s soulful voice is impossible to beat on a song like this but Diffie is right there with him.

From his posts on the bluegrass listserv and Facebook, it’s clear that Phil Leadbetter is a man of faith. He closes with a soulful, peacefully slow solo rendition of “When The Roll Is Called Up Yonder.” Friends and fans alike will remember this cut forever.

This is bluegrass at its best from some of the best in the business joining a contemporary master in his labor of love and life.

 

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.