Friday, 18 January 2013
This review was first posted at KDHX.org. We thank Glen Herbert for giving us permission to reprint it.
In 2000 Tim O'Brien and Darrell Scott released Real Time, a gorgeous album of duets by two complete masters of instrumentation, arrangement and performance. Beautiful.
Then the duo toured it and pretty much immediately demonstrated that there was a dimension to their playing that the recording lacked; it was a studio piece, and didn't entirely capture the energy, spontaneity, camaraderie and humor that both O'Brien and Scott share. In a live setting, the
Thursday, 17 January 2013
Whenever I approach the music of Jim Lauderdale I find myself reconsidering that question that we’ve all mulled over at one time or anther: Just what is bluegrass, anyway? It’s the instruments, I guess, though it’s not just that—the Punch Brothers look like a bluegrass band, for example, but they aren’t. It also has something to do with content, though there are so many great folk/singer-songwriter songs that have found their way beautifully into a bluegrass setting, such as Kate
Tuesday, 15 January 2013
It’s pretty much impossible to discuss John Driskell Hopkins without discussing Zac Brown, and there are a number of reasons for that. Brown, though still young, is one of those people who has more energy than any single person rightfully should—he’s a Grammy winner, he’s run a restaurant, tours incessantly, is a father of four. He’s also the founder of the label Southern Ground, which he runs as a stable of talent. Those signed to the label, which includes Hopkins, are virtually
Saturday, 12 January 2013
Much to Lynn Lipton’s chagrin, I’m probably a year or two late with this review of Stay Tuned, a CD by Brand New Strings. The problem was one of damning with faint praise, which I am loathe to do. I’ve been listening to this album off and on, waiting for something to hit me. Sure, I thought, it has great arrangements, great playing and singing, and good production, but nothing earthshaking, or even new.
Then something hit me. I was
Thursday, 06 December 2012
My favorite cut on this CD, I believe, might be "A Voice of Our Savior." This cut, in particular, really captured the essence of a live recording, in bluegrass style, perfectly and was quite well done. I liked Christmas in the Mountains," "Nothing but the Blood," "Joy To the World," and "O Holy Night." All are very good and dynamic recordings.
"Go Tell It on the Mountain," inspired me because it involves some very talented young children singers. Children involvement is what Christmas is all about, to me, anyway. Anyone can sing Christmas music but it is really special when a child is doing some singing and they are doing a good job here.