Laurie Lewis & Tom Rozum

Guest House

(Hightone Records) 53:42

It is a shame there remains a reticence on the part of some bluegrass powerbrokers to openly embrace the admittedly folk-inspired bluegrass of Laurie Lewis and her partner Tom Rozum. Their interpretation of Mr. Monroe's sound is no less authentic, soulful, or diverse than the music made by the Master during his career. The duo's distinct sound, melded with a heartfelt passion for the music, have time and again introduced those less familiar with bluegrass to the joys of the genre. Guest House is sure to do so as well.

An original composition "Willie Poor Boy," finds Lewis and Ruzum tipping their instruments toward not only the likes of the Stanley Brothers in a story of misplaced fear and anger resulting in unnecessary tragedy but to Woody Guthrie, Bob Dylan, and generations of folksingers, updating an old tale to contemporary situation.

The album's most intriguing number may well be a medley of two tunes, one new, one timeless. "O My Malissa," as devoted bluegrass fans will immediately recognize, is homage to the courtship of Bill Monroe's parents. Paired with this is a fiddle favourite of Mallisa Vandiver Monroe, "How Old Are You?" Sung by Rozum, the track is richly embroidered with significant details of life on Jerusalem Ridge and an era-appropriate melody.

Lewis and Rozum have chosen to place only three Lewis creations on the album allowing the bulk of the disc to embrace the spirit of the guest house- 'treat each guest honorably-' by electing to record numbers seldom heard on bluegrass recordings. "Tramps and Hawkers" has a mystic sound and Rozum's voice, while not capturing the intensity of Jim Ringer's performance, brings a gentle sense of assurance to the telling. Always a pleasure to hear, two Hazel Dickens numbers are included. "My Heart's Own Love" and "Scars From An Old Love" are incredible performances and only bring to light the delight of finding friendship with an American musical legend; I can think of no one better suited than Lewis to interpreting Dickens. Memorable compositions by Liz Meyer, Kate McLeod, and Si Kahn are also offered.

Fans of Lewis' fiddle playing will be satisfied with the breadth of her performance within the Guest House recording. Especially significant for this reviewer is the reinvention of the childhood staple "Old Dan Tucker." Her fiddling on both "How Old Are You?" and the extended, fiddle-rich instrumental closing medley is awe inspiring. Rozum is a subtle accompanist and offers mandolin and guitar accents throughout. Lewis and Rozum flesh out their personable harmonies with regular collaborators such as Craig Smith (banjo) and Nina Gerber (guitar on two tracks.) Among the other guests is Mike Marshall on two numbers, one featuring the rare sound of mandocello.

Guest House, the third album to be credited to both Lewis and Rozum, is a simply brilliant listen- one that will appeal to those willing to listen to bluegrass music with open ears.

Demolition String Band

Where The Wild, Wild Flowers Grow: The Songs of Ola Belle Reed

(Okra-Tone/KOCH OKR-CD-4973)40:44

Since Ola Belle Reed's passing in 2002, many artists have rightly deemed her contributions to old-time mountain music of sufficient significance to record her timeless songs; Tim O'Brien ("I've Endured"), Carol Elizabeth Jones & Laurel Bliss ("You Don't Tell Me That You Love Me Anymore,") and Sadie Compton ("When I Can Read My Titles Clear") are just four who have poured their souls into efforts to pay tribute to the influential banjo picker, singer, and songwriter.

While single artist tribute albums are not unheard of in the acoustic world (Charlie Sizemore's Tom T. Hall project of a couple years back comes to mind), they remain rare enough to rate attention upon release. New Jersey's Demolition String Band, a normally ecclectric string band, has recorded as sincere and heartfelt tribute to Ola Belle Reed as can be desired, one that should find itself on several year-end "Best Of..." lists when the time comes.

Elena Skye, the band's featured singer, has a substantial, powerful voice that is never overextended when reaching the high, mountain notes contained in many of Reed's compositions. Her phrasing is entirely appropriate, ideally suited to the album's acoustic instrumentation and is similar to that heard on the few Ola Belle Reed recordings I have had the pleasure of enjoying. "Undone In Sorrow," one of two songs containing the lyric providing the album its title, may feature Skye's strongest performance; singing a seemingly uncomplicated song with such emotional timbre, she brings forth the earthly guilt of the protagonist. However, singling out this performance over that contained on "Springtime of Life" or the spirited "My Epitaph" is rather arbitrary. Skye, who also contributes mandolin and guitar on this 13-track collection, is a faultless singer who one would not be surprised to see appearing as guest vocalist on future bluegrass albums.

Boo Reiners, who handles the banjo for the band while also offering guitar, is not only an able vocalist but is a very clean banjo performer. His three-finger playing is especially impressive on "You Lead Me To The Wrong" but his presence is appreciated on every number. He takes a few vocal turns to good effect; his lead on "Go Home Little Girl" is spot-on and, on a true duet with Skye, energetically mournful while singing "You Don't Even Know."

Bluegrass fans will be pleased to hear Mike Bub's (Del McCoury Band) tasteful bass throughout this project while the fiddle playing of Lisa Gutkin is featured on a number of tracks. The album, while generous in its playing time, ends much too soon for all who become enamoured with its musical blessings.

While the Demolition String Band may not possess traditional bluegrass and mountain roots, their obvious reverence for Ola Belle Reed and her music is clear. Encouraged as DSB were in this endeavour by Reed's family members, one listens to this artfully constructed tribute regretful of coming too late to the acoustic world to hear Reed in person. As was intended, this album will make Ola Belle Reed's musical legacy available to a new generation of listeners. www.demolitionstringband.com

Various Artists

Bluegrass Number 1's

(Rounder Records 11661-0531-2) 60:23

From the vaults of one of the most impressive of bluegrass labels, 18 Bluegrass Unlimited number one songs are presented in a manner that assures aural pleasure with sufficient stylistic variation. It serves equally well as an introduction to contemporary bluegrass artists as it does augment personal collections missing specific numbers.

Setting this compilation apart from others is the emphasis placed on female vocalists with Rounder's 4 Bluegrass Divas- Rhonda, Lynn, Laurie, and Alison- appearing on 9 of the 18 selections. While many of the songs are well-known and likely to be already included in most bluegrass listener's collections ("Mama's Hand," "The Cold Hard Facts," and "Who Will Watch The Home Place?") several numbers likely less commonly encountered are also placed on this anthology; examples of these may include "We're Stepping Out Tonight" by Bobby Hicks and 3/5 of the Del McCoury Band, James King's "Thirty Years of Farming," and the Rice Brothers' "Grapes On The Vine."

The liner notes are adequate if not especially enlightening and include full musician credits. What has been unfortunately overlooked is Bluegrass Unlimited chart information regarding the chosen cuts. Had those involved with the compiling of this survey of bluegrass chart-toppers chosen to include details such as date the song entered the BU chart and month(s) spent atop the venerable listing, the liner notes would be that much more satisfying.

As a bonus, an 8-song sampler from recent Rounder releases- including Alicia Nugent, Michael Cleveland with Tom Adams, and Open Road- as well as unjustly under-appreciated catalog selections from the like of Ron Block and Ginny Hawker is included with initial copies; this second disc brings the package to 90 minutes of indispensable music from the heart of bluegrass. www.rounder.com

Doc & Merle Watson

Sittin' Here Pickin' The Blues

(Rounder Records 1166-11617-2) 61:12

Doc Watson's definition of the blues has always been quite liberal and is one that makes his music appealing to a wide variety of listeners. This latest collection of music- sometimes swinging, occasionally rocking, and frequently lonesome- is especially catholic in its presentation of (mostly) acoustic, guitar based, blues music.

Until that much-anticipated day when newly recorded Doc Watson music arrives, we are fortunate that record labels have handled the Watson back catalog with care and consideration. Similar to the Sugar Hill label's previous compilation, 2003's Trouble in Mind: The Doc Watson Country Blues Collection, this Rounder presentation expands upon the 1985 Flying Fish release Pickin' the Blues; augmenting the original dozen tracks are selections from Red Rocking Chair (1981) and Doc and Merle Watson's Guitar Album (1983). Although the running order of the original release has been tinkered with, this seems to have been done to assure the listener a most comfortable listening experience; the pacing of the album is seamless with a good variety of tempos and playing styles represented.

As most agree Doc Watson has never produced an unpleasant collection of music, Sittin' Here Pickin' The Blues is comprised of music worthy of this high regard. Merle's slide and rhythm work complements his father's fingerpicking artistry throughout and Doc's vocals are typically warm and smooth with just the right amount of punch; the easygoing intensity of their musical kinship is communicated on every number.

Itemizing highpoints on such a superior anthology is fraught with danger as one is likely to miss notable tunes in the interests of brevity. From the original album that comprises the bulk of the collection, standout numbers include "Blue Ridge Mountain Blues," "Jailhouse Blues," and a positively rambunctious version of "Freight Train Blues" that is close to rock 'n' roll. Other musical highlights include an exceptional interpretation of "Did You Hear John Hurt?" and the medley of "John Henry"/"Worried Blues" featuring an impressive fiddle solo from Mark O'Connor. Additional musicians featured include T. Michael Coleman, Sam Bush, and Pat McInerney. Doc's trademark "Deep River Blues" is represented in a live take from the 1979 Telluride Bluegrass Festival.

The liner notes are expansive and include Doc Watson's personal reflections from the 1985 release with additional insights provided by Scott Billington.

This collection should be well appreciated by all Doc Watson and acoustic guitar enthusiasts. www.rounder.com