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

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“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.

 

 

“Great Big World” by Tony Trischka

Tony Trischka
Great Big World
Rounder Records
5 stars (out of 5)

By Aaron Keith Harris

If you’re not sure of Tony Trischka’s banjo cred, take it from Bela Fleck:

Tony was the right guy at the right time to take advantage of all the new lessons that were being taught right and left by Jimi Hendrix, the Beatles, the Beach Boys, Miles Davis and so many more…and apply them to banjo music. This enabled him to propel the fine art of banjo playing three giant steps forward.

That’s from Fleck’s liner notes to Great Big World, aptly titled when one considers that the diverse and beautiful sounds Trischka makes on this 13-track disc are possible only in the musical world that he did so much to create.

A core unit of guitarist/vocalist Michael Daves, mando picker Mike Compton, fiddler Mike Barnett, and bassist Skip Ward join Trischka for trad-grass arrangements of Woody Guthrie’s “Do Re Mi,” “I Wonder Where You Are Tonight,” and—with Chris Eldridge on guitar and lead vocals—”Say Goodbye.” Daves and Aoife O’Donovan trade vocals on the latter part of “Belated Wedding Hoedown/Angelina Baker,” with the Trischka-penned instrumental first half setting up Stephen Foster’s familiar melody perfectly.

Trischka’s instrumental compositions have always been both intricate and tuneful, and that’s what he delivers with “The Danny Thomas,” “Promontory Point” (with Steve Martin on banjo), the solo front parlor picking of “Swag Bag Rag,” and the seven-minute “Single String Medley,” which features a unique tune for each of the banjo’s five strings.

“Great Big World/Purple Trees of Colorado” is another seven-minute frolic, with Noam Pikelny picking second banjo and longtime Trischka pal Andy Statman pitching in with both mandolin and clarinet.

Trischka is also a gifted lyricist whose melodies work just as well sung as played, and it doesn’t hurt to have voices like harpist Maeve Gilchrist (who also adds her harp to “Ocracoke Lullaby,” which indeed does sound like a gentle night on the coast of its eponymous island), the ethereal Abigail Washburn (“Lost,” arranged with violin, viola, cello, flute and clarinet), and Catherine Russell, who’s backed by Dylan sideman Larry Campbell on pedal steel and latter-day Allman Brothers Band bassist Oteil Burbidge for the ecumenical gospel rave-up “Joy.”

All that’s enough to make this one of the finest records released this year—and to serve as proof that Trischka can do well whatever he sets his hand to—but the coup de maître is “Wild Bill Hickok,” a miniature Western with laconic vocals from Ramblin’ Jack Elliot and narration by John Goodman.

“Joe Mullins & the Radio Ramblers with Special Guests the Centerville Alternative Strings” (DVD)

Joe Mullins & the Radio Ramblers
Joe Mullins & the Radio Ramblers with Special Guests the Centerville Alternative Strings (DVD)
Self-released
4 stars (out of 5)

By Aaron Keith Harris

Joe Mullins started this five-piece traditional bluegrass outfit several years ago, partly to promote his Classic Country Radio stations, with whose terrestrial broadcast signal I am privileged to reside.

They were rightly recognized as the International Bluegrass Music Association’s Emerging Artist of the Year in 2012, and their stage show, which they’ve taken far and wide, is a big part of why. Mullins is one of the finest bluegrass five-stringers aline today, and the Ramblers’ four studio albums have been first-rate, but this 16-song DVD that clocks in at more than 70 minutes will show you why they were honored by the IBMA and are in demand by bluegrass promoters and festival-goers.

Mullins is just as friendly and engaging on stage as he is as a radio deejay—he learned a lot from his father, the late, legendary broadcaster and fiddler Moon Mullins, and his son Daniel is just as good on the air—and this trait sets him apart from other great pickers who often neglect to hone their skills as stage presenters.

This show, recorded at Centerville (Ohio) High School, features a nice sampling of songs from the Ramblers’ four releases, including personal favorites “Worth It All” (a bouncy gospel number), “Lily” (borrowed from the Boys from Indiana), and “Katy Daley” (a poem turned into a classic bluegrass song by Moon Mullins).

Duane Sparks ably fills the guitarist/vocalist slot vacated by Adam McIntosh, and longtime Ramblers Mike Terry (mandolin, lead, and trio harmony vocals) Evan McGregor (fiddle and some quartet harmony) are as good here as they are in the studio.

The Centerville Alternative Strings, orchestra students from the host high school, join in with conductor Doug Eyink to close the show in grand style with the David Harvey instrumental “Cruisin’ Timber” and the Bill Anderson-penned “Some Kind of War.” Eyink’s arrangements are uncomplicated but powerful, and played with heart and artistry—just like the music played Mullins’ fine band.

“The Game” by Blue Highway

Blue Highway
The Game
Rounder Records
4 stars (out of 5)

By Aaron Keith Harris

It’s hard to write a review of an album you know is going to be good. Blue Highway started with a five-man lineup 20 years and 10 albums ago, and it’s still the same five guys making great music (Tom Adams replaced Jason Burleson on banjo for the group 1999’s self-titled fourth album.)

All the elements of this versatile and durable combo are in place for the 12 tracks and 40 minutes of The Game: Burleson’s firm right hand, three singer-songwriters—Shawn Lane (mandolin and fiddle), Tim Stafford (guitar), and Wayne Taylor (bass)—who could easily front their own bands, and the second greatest Dobro player to ever put steel on steel in Rob Ickes.

“The Game,” “Where Jasmine Grows,” and, especially, “Talk is Cheap” are the kind of groove-heavy tracks that Blue Highway does better than anyone else.

“Just to Have a Job,” “All the Things You Do,” and “Remind Me of You” are the kind of irrepressible, perfectly crafted and sung tunes that outclass just about every other bluegrass songwriter.

Burleson’s celtic hop “Dogtown” and Ickes’ breezy “Funny Farm” are inventive instrumentals that aren’t merely excuses for showing off.

All of that is—please forgive me—just a little bit of a letdown. The Game is a great album, but it’s great in essentially the same way that their last two or three albums have been. I suppose that’s a little bit like complaining that Sandy Koufax just pitched another no-hitter, but I can’t help but think that tinkering with the mix a little—perhaps by collaborating with a producer (instead of self-producing) or by adding another musician (as the Del McCoury Band did with Jerry Douglas on The Cold Hard Facts)—would be a catalyst for something even more creative.

The traditional “Hicks’s Farewell” is the one track on The Game that a band member didn’t have a share in writing, and it’s the most striking—master musicians calling down the ancient tones that resonate deeper than even the best of modern craftsmanship.

“Nighthawk” by Danny Roberts

Danny Roberts
Nighthawk
Mountain Home Records
4 stars (out of 5)

By Larry Stephens

When it comes to live appearances, Danny Roberts is in danger of being overshadowed by his teenaged daughter, Jaelee, and he’s not complaining. I recently saw her on the Bean Blossom stage and the girl can sing! She sings the lead on the Alison Krauss hit “Oh, Atlanta.” You can hear the youthfulness in her voice but she owns the song. If she chooses a career in music she’ll be a powerhouse (she’s also a fiddler). She also sings lead on “How Great Thou Art,” a softer approach but with as much vocal control and presence as her other track.

Oh, yeah, Danny Roberts. He’s a founding member of the Grascals and this is a solo mandolin project for him. He’s enlisted a fine crew of musicians to help, including bandmates Kristin Scott Benson (banjo) and Adam Haynes (fiddle), Tim Surrett (bass), Aubrey Haynie (fiddle), Jimmy Mattingly (fiddle), Ronnie McCoury (mandolin), Tony Wray (guitar) and Sam Bush (mandolin and fiddle). Good picking? Do you need to ask?

Along with a majority of tracks on this projects, Roberts composed the title number, a medium-speed instrumental with some intricate parts and interesting progressions. “F-5 Rag” is a bit plainer but still a good number, featuring an extended guitar break by Wray. “Danielle’s Waltz” is a change of pace, just Roberts and Benson switching leads while the other plays a contrasting backup.

“Big Stone Gap” moves at a speed that will tear off your hairpiece and features a nice break by fiddler Mattingly. “New Gil Ramble” has a fitting name as the tune seems to lope along at an easy pace, just like someone off on a ramble. It features an interesting section with Benson (banjo) and Wray (guitar) trading phrases. “Walking To Winslow” has the same easygoing feel and again has the Benson-Wray trading of licks. Both feature a second mandolinist (McCoury / Mike Compton) and, if you listen close, you can hear some spots where they trade licks with Roberts.

“I Went Down a Beggar” is a much-recorded gospel number that features spouse Andrea Roberts (lead) and daughter Jaelee (harmony). They blend well and do an excellent job on this good old number. The other cuts are “Derrington Drive,” another hard driving, fast moving tune; “Coppingers Court” is a lilting, reel-like number with a section played in a minor key; “You’ll Have That” is a medium speed, danceable number. “Swing-A-Long” is a change of pace from all the other numbers, a bit of swing as the name implies.

If you like instrumental packages you’ll enjoy this CD. There’s variety and excellent musicianship. The bonus is a preview of a young singer who can make a name for herself in this business.

“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).