Rick Jamison & Copper Canyon

Tales From The Canyon

(Circus Dog Records 0504) 40:03

With so many regional bluegrass bands releasing compact discs, it is not surprising that independent albums are frequently missed in the cavalcade. One would be wise to seek out the debut offering of California's Rick Jamison & Copper Canyon.

A quintet, Rick Jamison & Copper Canyon display a wealth of strengths. Most noticeable is the quality of their singing and instrumentation. Phil Cornish (mandolin) possesses a strong yet easy going bluegrass singing personality, one that encourages the listener to embrace mid-tempo pacing and vocal freshness. The harmonies of Pat Ickes (banjo/resonator guitar), Jamison (guitar) and Megan Lynch (fiddle) are effectively arranged and expertly executed. While some bands have difficulty blending masculine and feminine voices, Rick Jamison & Copper Canyon has no such shortcoming.

The collective musicianship supports the lyrical detail and emotional intensity of the talented writers. The instrumentation is stellar with Lynch's fiddle touches sensitive and spirited in turn. Ickes's banjo playing (yes, he is Rob's brother) is entirely enchanting on the instrumental "Snowfall on Cedar" while Cornish's mandolin offerings are bold and display a solid, woody tone. The dozen tracks are all originals with the subject matter both traditional- breaking hearts, appreciation of our blessings, dogs, and criminal behaviour- and unusual- time travel, for instance. And while the themes may be familiar, their specific references and manner of presentation are entirely contemporary. Broadening the aural variety of the album, the three instrumentals each have an individual sound and tempo.

Featuring strong songwriting, singing, and instrumentation, Tales From The Canyon is as bluegrass as it gets and can be favourably viewed beside the productions of well-established bluegrass recording artists. It is that rare disc that will generate discussion and praise within the bluegrass community.

Nashville Bluegrass Band

Twenty Year Blues

(Sugar Hill) 42:04

Rare is the bluegrass band that celebrates its twentieth anniversary; rarer still is to have three original members along for the party, even if one has only just returned following an extended leave. While all endeavours have best before dates, there are few signs that the end of the Nashville Bluegrass Band is nigh. Let us hope the album title is not prophetic.

Two blues songs- "Travelin' Railroad Man Blues" and "Gambling Barroom Blues"- sung by Pat Enright in his venerable 'don't rush it, we'll get there'-style establish the atmospheric tone of Twenty Year Blues, the NBB's first album since 1998's American Beauty. "Luckiest Man Alive," also sung by Enright, further develops the bluesy quality of the disc. The best-dressed member of the band, the indomitable Mike Compton, has three leads including a most impressive a capella number "Hush (Somebody's Calling My Name);" perhaps paying homage to Down From The Mountain tour mates the Fairfield Four, Compton carries this old song to new heights with the capable harmonic interaction of his cohorts.

A loping rendition of "Sittin' On Top Of The World" is testament to the band's power as they freshen a standby that has been too frequently performed poorly on festival stages; bassist Dennis Crouch's mid-song break is a nice feature.

Alan O'Bryant's voice may not be as full as it was even ten years ago but it has aged with distinction. "There's A Better Way" should be a bluegrass hit as the song has all the necessary elements to be a chart topper- exceptional playing featuring tasteful breaks, comfortable singing, a memorable turnaround, and lyrics that convey depth in a straightforward manner.

Listening to this disc, one couldn't help noticing that only four songs feature harmony support, an oddity within bluegrass recordings. While this does detract from the vocal companionship one has come to expect from the band, the performances do not suffer from this lack of vocal collaboration.

One can guess Compton's inspiration for the seductive "Pretty Red Lips" and the Monroe catalogue is revisited for another instrumental, "Crossing the Cumberlands." Stuart Duncan's fiddle is prominently featured on these numbers and, as expected, his playing throughout leaves no question as to his prowess.

For those of us who continue to listen to bluegrass with our hearts, Nashville Bluegrass Band's Twenty Year Blues is no sad event; this is bluegrass created by masters and shapers of the genre.

Dwight McCall

Kentucky Peace of Mind

(Lavenir Records) 48:27

Surrounding himself with some of the finest acoustic bluegrass performers to be found throughout his part of the world, New South member Dwight McCall has only recently released his debut album. And what a treat it is. McCall's voice, so long a feature of J.D. Crowe's band, is one that is both comfortable for listening and yet possesses a distinctiveness that separates it from others. Joined by New South partners Crowe, Ron Stewart, Harold Nixon, and Rickey Wasson, McCall plays on only a handful of the generous 16 songs, handing off mando duties to Josh Williams to concentrate on vocal responsibilities. The album is not only a showcase for one of the sweetest bluegrass voices working the circuit but a testimony to the inspiration of musical friends achieving a common goal.

The album opens with a warm bluegrass rendition of "Tennessee Border" that is true to its country roots before moving through a selection of numbers both new and tried and true. "A Better Man" is given a fine bluegrass reading that is stronger than other recent bluegrass interpretations largely due to Ron Stewart's banjo and fiddle work and the harmonic vocal blending of McCall, Wasson, and Stewart. The four tracks that feature the legendary J. D. Crowe are remarkable for more than just his presence as his tasteful contributions raise this album to an entirely significant level.

The album has a full, powerful bluegrass sound that never overwhelms despite the nearly baseball lineup-sized band on selected cuts. "Behind These Prison Arms of Love," a number featuring eight singers and musicians, could easily have gone off the tracks into self-indulgence; instead, guided by a subtle, uncredited production hand, the bluegrass weeper is one of the most affecting numbers on the disc.

Kentucky Peace of Mind is as strong a bluegrass debut as any performer could want to have within their portfolio. www.lavenirrecords.com PO Box 541002, Cincinnati, OH 45254-1002

Various Artists

etown Blue Grass Roots

(www.etown.org) 56:42

Never intended as a fiercely traditional program, etown has become- in a dozen years of broadcasting on non-commercial, NPR, and commercial stations- a living tradition among listeners of bluegrass, folk, and acoustic music. A celebration of the ideas associated with those who make a living through real music, etown bluegrass roots gathers a wide selection of energetic, live performances from etown's impressive vaults, giving not only dedicated etowners a chance to reminisce on favored appearances, but allowing those unfamiliar with the program to bask in rays of its glorious past.

The diverse artistry represents the many textures associated with bluegrass music. Nickel Creek, providing a fine interpretation of "Land's End," share their spot on the edge of bluegrass with Retrograss performing John Hartford's signature song, "Gentle on My Mind." The rootsy, traditional elements of bluegrass are well represented by the likes of Ricky Skaggs & Kentucky Thunder, Ralph Stanley & the Clinch Mountain Boys, and even Old & In The Gray. Some delightful pairings are shared with David Grisman and Tony Rice teaming up to dedicate "I Am A Pilgrim" to Clarence White and Tim O'Brien & Jerry Douglas take Hendrix's "Hey Joe" to the side of a mountain. Joining a celebrated cast of veterans, younger faces represented include The Be Good Tanya as well as Gillian Welch and David Rawlings.

The collection is a wonderful representation of the best of etown with most of the songs have frequently been recorded or performed by the musicians featured. If rare performances are your thing, the reading of "Train 45" with Welch & Rawlings, Grisman, Rice, and etown host Nick Forster may appeal, as might the duet of "Woodchopper's Reel" with Chris Thile and Forster. A personal favorite moment occurs near the end of the disc when Peter Rowan and Douglas go down to the pond with "Cannonball Blues."

Also featured are Nashville Bluegrass Band (live at MerleFest 1994), the Del McCoury Band, Mike Seeger, Sam Bush & John Cowan, and Hot Rize. The album not only serves as a fine introduction to etown, it may also serve as a wonderful gift for those who are dipping their toes into this acoustic, bluegrass world so many of us wish to share.