From the February, 2004 issue of That High Lonesome Sound column "Gold...In A Way"
 
I have long believed that David Grisman is one of the three or four most fortunate people within the world of acoustic and bluegrass music. I do not mean to suggest that he hasn't worked hard, or that things have just fallen into his lap. I simply mean, that from all outside appearances, this guy has got it all!
 
  From a young age, he attended bluegrass and folk shows up and down the east coast of the United States, often hauling primitive recording devices with him. In this way, he was able to capture for posterity both historically significant and musically powerful performances. One of these events, recorded by Grisman and friend Peter Siegal in April of 1963, was released several years ago as The Kitchen Tapes. At eighteen years of age, the pair traveled to Maryland and sat in a kitchen listening listening to, and blessedly recording, Red Allen and Frank Wakefield performing timeless numbers such as "Down In The Willow Garden," "Nine Pound Hammer," and "Turkey In The Straw." Included are several Bill Monroe numbers, among them "Summertime Is Past and Gone," "Bluegrass Breakdown," and "Roanoke." A handful of 'progressive' bluegrass numbers from the pen of Wakefield are also featured; built around Wakefield's indelible mandolin style, "New Camptown Races" and "Well Enough Alone" are performances that should be heard by all bluegrass mandolinists. The recording quality is brilliant, especially considering the conditions under which they were recorded. The entire project has a comfortable, kitchen jam feel, not surprising as this is what the session basically was. For those unfamiliar with the music of Red Allen and Frank Wakefield, the Smithsonian-Folkways collection is likely a better starting place, but for those who like to listen to less conventional fare, The Kitchen Tapes (Acoustic Disc ACD-11) is very intriguing.
 
  Grisman's biography from this point is well documented. Universally respected as a musician, producer, and record company impresario, many listeners, while recognizing his right to perform any type of music he desires- fusion, Dawg, Italian folk songs- are left a bit confused because David Grisman does not place himself inside the neat box labeled, 'Bluegrass Mandolinist.' However, as Grisman is intrinsically linked to the bluegrass world, he features many other bluegrass releases in his vast catalogue. One of the most talked about projects is the Home Is Where The Heart Is (Rounder) collection released in 1988. Personally, I remember this as being among the first several bluegrass discs I purchased. While I don't know what circumstances led to a completely unbelievable lineup of bluegrass musicians and vocalists coming together to record with Grisman, I do understand the power of the results. There is likely no better original collection of music to serve as a bluegrass primer; nearly everyone is represented with breathtaking performances. Sticking to a fairly "traditional' set of tunes, the Nashville Bluegrass Band, Red Allen, Tony Rice, Doc Watson, Ricky Skaggs, J. D. Crowe, Curley Seckler, and a venerable Who's Who of bluegrass legends are included, all accompanied by Grisman on mandolin and vocals. As is his manner, while ever-present and formidable as a performer, he always keeps the focus on his guests' contributions. This was the first time I ever heard Del McCoury's voice; I have to say I haven't been the same since.
 
 

A similar project, of more recent vintage, is Life of Sorrow (Acoustic Disc ACD 53.) Like many, I most enjoy Grisman's bluegrass music, whether as in his Old & In The Gray project of last year, or this collection of cuts recorded over the last 30 years with some of bluegrass and acoustic music's premier names. Featuring only the big five instruments, save a singular appearance of autoharp, the core of this album is unabashedly traditional in focus. With a handful of trio numbers, including "All the Good Times Are Past and Gone" with Ralph Stanley & the Clinch Mountain Boys, and "Unwanted Love" with the Del McCoury Band, vocal treatments are powerful and richly embellished.

 

Unlike other discs that combine performances spanning the years, this volume as a whole exceeds any singular included performance. In these times of, arguably, generic, over-produced country-bluegrass hybrids, Life of Sorrow features bluegrass and old-time duo music extolling the virtues of music and friendship, free from overt commercial considerations. Having witnessed Grisman wandering- never for long- the Sheraton's foyer at Wintergrass looking for a jam, and seeing the glee in his eye as he participates in the merry making of music just for the pure enjoyment of it, one knows his heart is in the right place when it comes to projects such as this one.

While many have tired of renditions of "Man of Constant Sorrow," two fresh interpretations are offered here- the variant title track with the Nashville Bluegrass Band circa 1987 and a Stanley/Grisman vocal duo augmented by Herb Pedersen, Laurie Lewis, and Jim Kerwin- both of which are simple stunning.

 

Grisman's reputation as archivist and accompanist can only be enhanced by these 16 numbers (when one includes the hidden track, "Keep On The Sunny Side" with Mac Wiseman.) Sonically more appealing than the O Brother soundtrack, Life of Sorrow presents an overview of Americana music focused on the instrumental virtuosity and tight harmonies of bluegrass.

 

It is albums like Life Of Sorrow that makes one dream of having the ambition and wherewithall to operate a boutique record label such as Acoustic Disc. Grisman and his business associate have guided this label for over a dozen years, releasing a handful of well-executed, comprehensively annotated projects annually.
 
  Perhaps Acoustic Disc's most ambitious project was the two disc collection released in 1999, Bluegrass Mandolin Extravaganza (ACD-35.) Eight of acoustic and bluegrass music's premier mandolinists- Sam Bush, Ronnie McCoury, Jesse McReynolds, Bobby Osborne, Ricky Skaggs, Frank Wakefield, Buck White, and Grisman himself - are featured performing solos, duos, trios, and octets. True mandolin aficionados, ones who know how to play and listen to the instrument, swear by this project and their recommendations are enough for me. At first glance, it may appear a bit dear but once it is opened up one becomes aware of where the money goes. A glossy, well appointed booklet features information about each track and glorious colour photographs while the players also share their stories and mandolins. The music, it goes without saying, is spellbinding; this is a collection that will change the way you listen to acoustic music. I don't understand much of the theory behind this music but the slipcase states, "A Complete & Pefect Compendium of Bluegrass Mandolin Artistry." As with many things, I just say, "Yup!"
 
 

Finally, a brand new compilation of Acoustic Disc tracks has just hit store shelves. While previous titles in the 100% Handmade series cut a fairly wide swath through acoustic music genres, Bluegrass (ACD-56) is simply that: 16 cuts from the likes of the previously mentioned artists from Acoustic disc's vast vaults. Included is a previously unreleased version of "How Mountain Girls Can Love," by Ralph Stanley, Grisman, and the Clinch Mountain Boys.

 

 

For more on David Grisman and his record company, check out www.acousticdisc.com or www.dawgnet.com