Articles and Interviews – 2016
For nearly a decade and a half, The Devil Makes Three has concocted an amazing blend of bluegrass, folk, country, blues, rockabilly and whatever happens to bubble to the surface, and applied it liberally to their songwriting ethic. The result has been an incendiary cross-pollination of old time authenticity and contemporary invention which the trio – guitarist Pete Bernhard, upright bassist Lucia Turino and guitarist/tenor banjoist Cooper McBean - has translated into their estimable catalog of four studio albums and two live recordings.
Mercy Rose Isbell recently celebrated her first birthday and, ironically, the album she helped inspire has just been released. Synchronicity is a beautiful thing.
Mercy Rose is, of course, the daughter of singer/songwriters Jason Isbell and Amanda Shires, two of the most gifted Americana artists working today, and the album in question is her mother's just-released fifth full length, "My Piece of Land." And while Mercy Rose's presence had a profound effect on the outcome of "My Piece of Land," Shires is quick to clarify that her influence was not necessarily direct; most of the album's songs were written last year at the end of Shire's pregnancy.
Something old is new again. The Earls of Leicester, fresh from their first release in late 2014 and the IBMA Entertainer of the Year Award for 2015, followed that remarkable success with "Rattle and Roar."
The Earls of Leicester play the songs popularized by, and in the musical style of Lester Flatt and Earl Scruggs. They were one of the first generation bluegrass bands (along with Bill Monroe and The Bluegrass Boys and The Stanley Brothers) that worked the local circuits in the southeastern U.S. in the 1940s and 1950s, touring relentlessly from the base of their radio station of the time and forming the foundation of traditional bluegrass as it is known today. While Monroe is credited with popularizing, some say inventing, the genre, Flatt and Scruggs added their own songs and instrumentalization to carve out a unique corner of the bluegrass sound.
In the nine years since Nickel Creek declared itself on indefinite hiatus, violinist/vocalist Sara Watkins has been relentlessly busy. She discovered a new pathway for her harmonic gifts with Sarah Jarosz and Aoife O'Donovan in the vocal trio I'm With Her.
She lent her talents to the super group Works Progress Administration with Glen Phillips and Benmont Tench, among others. She found new inspiration in her longest standing collaboration with brother Sean in the Watkins Family Hour and even reunited with Sean and Chris Thile to scale greater heights with the groundbreaking band that thrust her into the spotlight in the first place.
Four years after forming in Boston and a year after receiving their first major award (an IBMA Momentum nod), when most bands might be expected to have two or three already in circulation, the Lonely Heartstring Band finally has its first full-length CD release "Deep Waters" (Rounder) out on the street.
Sam Bush is back with a new record, "Storyman," not that he ever went anywhere. Identified with The Telluride Bluegrass Festival, which he has played in one form or another for each year but one, he helped define the newgrass sound. Starting with Poor Richard's Almanac (along with Alan Munde and Wayne Stewart) in 1970, continuing to turns with New Grass Revival and Nash Ramblers, Bush has played fiddle, mandolin and mandolin variants (including slide mandolin) solidly since that time.
Nearly 10 years on, The Infamous Stringdusters have carved out a singular place for themselves in the bluegrass/jamgrass world. The Stringdusters tour aggressively, are fixtures on the festival circuit and released several intriguing recording projects since late 2015: an EP of covers, including Tom Petty's "American Girl," and a full-length album of songs collaborating with some of the finest female singers in the Americana genre ("Ladies and Gentlemen").
James Reams is one of bluegrass music's unconventional stalwarts.
A son of Kentucky, Reams' journey has taken any number of unusual pathways since the mid-seventies. Producing albums for more than 20 years, Reams' ninth release of personable bluegrass, "Rhyme and Season," is a relaunch for Reams, an artist who has never followed a singular route.
After scoring a 2015 IBMA nomination for Best Bluegrass Album for "Cold Spell," Frank Solivan tried something a little different this time around - an album of songs recorded by "Family, Friends and Heroes" (Compass).
In an earlier musical life, Solivan served as stalwart in Country Current, the Navy's touring bluegrass band. Solivan left the service about seven years ago and formed Dirty Kitchen, a tip of the hat to his background and continuing efforts as a chef.
Aubrie Sellers just may be onto something on her debut – garage country. After all, we've already witnessed traditional country, new country, neo-traditional, country rock, pop country and bro country.
Sellers, a 25-year-old Nashvillian with a big time musical pedigree who released her debut, "New City Blues," in January, said the moniker came to mind as her bio was being written. "I sort of was talking about the sounds, and people would ask me what it is, and I'd say it was country. (But) I don't feel that accurately describes it. It's got this trashy sound. I think it's garage rock. The garage describes the rawness of it, the element of it and the drive."
"This whole record is electric, and it has a lot of that very grungy guitar sound and also some sort of very spaced out stuff," she says from her Nashville apartment. "The drums are…very big. When I talk about it being trashy, I talk about the drums…I have had a lot of influences from old country to old bluegrass to rock obviously, Led Zep obviously. Every thing that I love has a rock quality and is very soulful. All of that influenced the sound."... »»»
Twenty two years have passed since Jon Langford formed the Waco Brothers as a jalapeno-spiced country adjunct to his primary gig with his punk-infused Mekons. And while The Mekons have inserted some twang in their
stomp and the Wacos have punked up their hoedown, Langford and his talented
cast remain focused on each band's primary sonic direction.
Janet Bean and Catherine Irwin have been together as Freakwater for over a quarter of a century, which gives their creative pairing at least the outward appearance of a marriage. And while Bean and Irwin haven't even lived in the same city for the entirety of Freakwater's existence, their simultaneous conversation via conference call to discuss their new album "Scheherazade," the duo's first new album since 2005's "Thinking of You" and debut for Bloodshot, finds them finishing each other's sentences, talking over each other and generally cajoling and regaling each other with a familial vibe that characterizes their long creative relationship.
Reaching her early twenties, Sierra Hull found herself beset by the same kinds of emotional angst and vulnerability that most of experience coming face-to-face with the challenges of life stretching out ahead. In her case, though, introduction to adulthood came at the age of 16 when she recorded her first Rounder release, 2008's "Secrets," and set out on a touring schedule that would make her one of the rising young stars of bluegrass. She managed to work a college education into the mix, making her way through Boston's prestigious Berklee School of Music.
The Grascals are a well-established collection of players, featuring a six-piece mix of some of the most talented musicians in bluegrass. What happens when there's some turnover in the lineup of an established band? It either gets better or goes home. With "And Then There's This…" on Mountain Home Records, there's not much likelihood of The Grascals sticking home, unless it's their own choice.
The song "Mystery and Wonder" is the centerpiece of Blitzen Trapper's eighth and latest album, "All Across This Land." It finds the band's vocalist and primary songwriter Eric Earley reflecting upon various songs and experiences over the years and vainly attempting to figure out what it all means.
Well I wrote this song when I was 17
What makes us write our lives man, you know what I mean?
And If I'm older now, it's all just an act
And after all of these years I wouldn't take a thing back