2009- First Quarter Report

Many fine albums have been released during January, February, and March of 2009, and I’m certain I’ve not heard even a fraction of them! New albums by Buddy & Julie Miller, Justin Townes Earle, Neko Case, Elvis Perkins, Brett Dennen and (I’m sure) many others haven’t yet made there way to my Bought list and have received glowing reviews elsewhere. But, here is my Top Ten so far for 2009:

David Baxter- Day & Age- An album of rare focus and intensity. Country and folk music is supposed to sound like this, the first album in a career stretching thirty years.

 

David Parmley & Continental Divide- Three Silver Dollars- a solid set of bluegrass from one of the best voices in the biz

 

Tom Rush- What I Know- a return to form, I’m assuming; never knew his music before, but this one made me interested enough to search through his catalogue and I’m liking what I hear.

 

Romi Mayes- Achin in Yer Bones- her best album so far

 

Dry Branch Fire Squad- Echoes of the Mountains- Thomason is back! If this is to serve as DBFS’s swan song- and I hope it isn’t- it is a fine way to go out. No one mixes grass and mountain quite like this. Superior song selection, too.

 

Guy Davis- Sweetheard Like You- never disappoints

 

Eric Brace & Peter Cooper- You Don’t Have to Like Them Both- knew nothing about them when I put it in the machine. Within seconds I was hooked.

 

Tom Russell Anthology- If he had only written one song as shockingly pure as Veteran’s Day, his place would be assured. That he has written dozens of brilliant songs, and there are still many unfamiliar with him is dang near musically criminal. I bought this one despite already owning most of the songs. Don’t care, dammit.

 

Kelly Joe Phelps- Western Bell- not my usual thing. Atmospheric instrumentals.

 

I’ve been digging a small selection of ‘old’ soul singers of late- especially Doris Duke and Bobby Patterson- What sounds!

 

Donald

 

David Parmley & Continental Divide- Three Silver Dollars

David Parmley & Continental Divide

Three Silver Dollars

Pinecastle Records

Unlike other Americana genres, bluegrass doesn’t necessarily attempt to examine or reflect the political or economic elements of the time. Not as heavy as folk nor as irreverent as roots rock, the commentary of bluegrass is often more general, balancing light with dark, good with evil, joy with regret, secular with sacred, surrounded by words and music that challenge within a tradition.

“What You Can See From Your Knees,” the second track on the terrific new album from David Parmley & Continental Divide, contains each of these elements, and all in just over four minutes. Given the shadings contained, and the current financial crisis many find themselves headed toward, the song could be forty years old, or it could have been written last month.

Few bandeaders better succeed in making traditional bluegrass relevant than David Parmley, and the current Continental Divide line-up carries on an institution stretching back forty years to The Bluegrass Cardinals.

Parmley remains one of bluegrass music’s most criminally overlooked vocalists. While Dailey & Vincent, Ricky Skaggs, and others garner the headlines and awards, Parmley just soldiers on, singing as he always has, in a manner that appears unadulterated. His voice alternates between low and slightly higher depending on the particular song’s needs, and has never sounded brighter.

The traditional, depending on whom you ask, “Winsborough Cotton Mill Blues” just rocks along, buffeted by Dale Perry on the banjo. Wisdom is contained within each line of “That’s Just Me.” The arrangement of “Refill of Your Love,” cleverly written by David Scott Coffey, would make Doyle Lawson proud, and (I believe) Dale Perry’s tenor vocal on the chorus would seamlessly fit into a Quicksilver set. It is a bright spot among the dozen superior tracks, but far from the only one. “She’s Lying in the Cold, Cold Ground” is a story told a hundred times in various bluegrass songs, but still manages to capture the imagination.

The gospel side of bluegrass is represented by “Lilly Still Blooms in the Dell” and “God Reached Down,” which also presents exceptional guitar work from Parmley. Often not noticed is the clarity with which he picks.

Perry’s 5-string work continues to impress, and (the since departed, from the band) Ron Spears’ mandolin and vocal talents are admirably demonstrated including on his song, “Carolina Rain.” Fleshing out the Continental Divide trio on this album are Ron Stewart on fiddle and Kyle Perkins on bass. The only guest appearance is saved for a notable talent; proving it is always good to have friends, Rhonda Vincent nicely duets with Parmley on the chorus of “Meadow on the Mountain (Where Mama Used to Pray).”

If there is any justice in the bluegrass world, Three Silver Dollars will sell 50 000 copies and will be nominated for the major awards this coming autumn. It is a very satisfying project.

Grasstowne in Red Deer, March 20

Grasstowne made their way to Alberta on Thursday for a series of shows this weekend, and kicked things off on Friday night with a terrific concert in Red Deer.

 While the vast majority of the bands we present are well received by our audience, Grasstowne was most definitely a highlight of our season and- at least according to the folks who verbalized such to me- of our nine seasons of presenting professional bluegrass.

 

Among the descriptors that occurred to me while listening were ‘tight,’ ‘professional,’ and ‘range.’ The band demonstrated that they can do it all.

Alan Bibey held the audience with only his mandolin and voice on “Side by Side”, and when Steve Gulley joined him to lend some harmony, the electricity in the room went to another level. And speaking of Gulley, the man is a monster and a show onto his own. Phil Leadbetter demonstrated yet again why he is regarded not only as a master instrumentalist but one of the sharpest and nicest men in the biz. The kids- Jason Davis and Travis Greer- are not only obviously talented but ably complement the senior members of the band. Jason is as fine o’ banjo player as I have experienced live.

 

They play Edmonton on Saturday (21) and Calgary(22) on Sunday; if you have the opportunity to see Grasstowne, don’t miss it. I can’t imagine anyone who loves bluegrass being disappointed. Highly recommended.

And that is it for our bluegrass season. If the ice doesn’t give way, we’ll be back for more in the fall.

Crystal Plamondon- On A Song and A Prayer

Crystal Plamondon

On A Song and A Prayer

Self-released

 If you’re looking for a country album with a Cajun beat, look no further than Alberta’s favourite Acadian daughter Crystal Plamondon and her brand-new long player, On a Song and A Prayer.

 The veteran performer and songwriter out-does herself on this collection of love songs, remembrances, and sweet, country-pop.

 The album doesn’t start off with the bang one might expect from a Plamondon disc, indicative perhaps of the struggles and challenges she has experienced in recent years. In fact, the entire disc feels more like a Nanci Griffith album, not that self-discipline and maturity are negatives. It just isn’t the unrestrained party some may be expecting.

 Country songs about family history (Homemade Love) and long-standing romance (His Sweetheart of the Rodeo/ Sa Belle du Rodeo) are counter-balanced by numbers that reveal the hurt and devastation folks can have on each other; Forever More and Like a Hurricane provide modest glimpses of Plamondon’s resilient psyche.

 Four songs are in French, including the beautiful Constament.

 There are a few two-steppers mixed in, a couple shuffles, and several tunes that will go down well on a Sunday morning. Altogether, a very satisfying listening experience.

Tom Rush- What I Know

Tom Rush

What I Know

Appleseed

 

Tom Rush (“Circle Game”, “No Regrets”) is best known as one of the many folk singers who crossed over to the pop field in the late sixties. Like countless contemporaries, with time Rush faded from view; What I Know serves as his first studio album in more than three decades.

 

Rush has remained active; he has maintained a regular touring schedule and live albums have been released. Time has been kind to his voice, and What I Know stands on its own as a superior folk album whether Rush’s past is considered or not.

 

Rush reminds one of Chip Taylor, himself a performer who left the limelight for many years before embarking on a successful comeback. Rush’s delivery is languid, and on a song such as “You’re Not Here With Me” he affects a half-spoken, partly sung quality that is very reminiscent of Taylor.

 

A man with many friends, Nanci Griffith, Emmylou Harris, and Bonnie Bramlett join Rush in duets, and the ladies complement Rush’s rich voice. Nashville A-listers including Harry Stinson, Fats Kaplin, Mike Henderson, and Suzy Ragsdale contribute.

What I Know alternates between light, bouncy ditties (“Hot Tonight” and “What I Know”), thoughtful examinations (“East of Eden”, “All A Man Can Do”, and “Too Many Memories”), and the familiar (“River Song” and a splendid rendering of “Drift Away”).

The results are spectacular.

 

 

 

Steve Coffey & the Lokels- Twirlin’ Girl Boogie

Steve Coffey & the Lokels

Twirling’ Girl Boogie

steve-coffey.com

 

I don’t know how known Steve Coffey is outside of Alberta, but I’m certain it isn’t well enough!

 

Steve Coffey remains a well-kept secret deserving of greater acclaim. Coffey has the voice and the words required in the roots world; he is every bit as gifted as the fellows who get headlines in the media- the Justin Rutledges and Jason Isbells. Heck, I’ll listen to Coffey before Ryan Adams any time.

 

What separates Coffey from others is the ability to arrange numerous musicians and sounds into a clean, full-bodied brew. His originals are masterful bits of Alberta poetry, revealing the inner workings of relationships and places.

 

“Rolling Beds,” in which Coffey reveals his inner Eaglesmith, is a standout. Matt Herne’s banjo tracks, shipped around the world from Australia, add a notable clip to “Five Kids” and “Words N Beer.” “Wrong Things Right” isn’t fancy; it is simply a model country song of unapologetic regret.

 

Calgary’s Dave Bauer platoons on a variety of instruments including mandolin, banjo, and guitar, while Lance Loree appears on various guitars- steel, Dobro, and electric.

 

In contrast to the vibrantly coloured artwork housing the disc, Coffey’s music- while dynamic- depends more on shade and hue. Like a flickering old film, the vignettes shared by Coffey and the Lokels provide glimpses of character and scenario, often leaving the complete tale to the listener’s imagination.

 

Steve Coffey & the Lokels are nothing if not consistent. Twirling’ Girl Boogie is their fourth tremendous release, and will satisfy all fans of their country-folk, roots blend.

David Baxter- Day & Age

David Baxter

Day & Age

www.DavidBaxter.ca

 

The best part of doing what I do is discovering unfamiliar artists. When I received David Baxter’s album in the mail, I had never heard of him. Upon investigation, I learned of his work as an instrumentalist and producer on records by Sherry Kean, Lori Yates, Justin Rutledge, David Wilcox, and others.

 

With thirty years as a sideman providing seasoning, Baxter’s debut recording is an astutely presented document of an artistic vision.

 

“I set out to make a Willie Nelson record…but I had to make do with the singer I had,” Baxter is quoted as having said, and while the remark is intended as self-deprecation, truth is revealed. Baxter is no Willie Nelson, and in this case that is a very good thing.

 

His voice and manner immediately bring to mind the low-key, unruffled approach of Don Williams, and each song conveys a similar vibe. As on Kieran Kane albums, nothing is hurried, and nothing is hidden in the mix; this is especially apparent on a tune such as “I Had to Believe My Eyes,” where Treasa Levasseur’s accordion and Baxter’s guitar frame heartbreaking deception.

 

There is space within these songs, allowing sounds to be savoured.

 

Remember the first time you heard Sam Baker?

 

I believe David Baxter’s Day & Age will impact listeners similarly, although Baxter is certainly less gruff vocally. The album flies by, gently drawing one into the characters, scenarios, and emotions sketched.

 

The only question remaining is, Why did it take thirty years?

The Great Outdoors- Winter

The Great Outdoors

Winter

DDG Records

 

The vision of Adam Nation, and the final in a series recognizing the seasons, Winter is the most successful of the ones I have heard; somehow, I missed Summer.

 

This 5-song EP provides a crisp summary of winter imagery and moods. Similar in sound to Great Lake Swimmers, Old Reliable, and The Black House, these alt.folkies from East Vancouver create soundscapes that are somber, lush, and melodic.

 

The rigor of producing a thematically linked set of seventeen songs over the course of less than a year appears to have been healthy for The Great Outdoors. The tracks are focused, lacking extraneous adornment while remaining expansive.

 

Melisa Devost nicely duets on “This Winter’s Touch,” an update perhaps to “Winter Wonderland”lacking sleigh bells and such. Nickle City Slim’s gruff, rolling vocals provides a counterpoint to Nation on “The Garbage Man Song.”

 

The lyrical turns of phrase- ice booming in the night, frosted windshields requiring credit cards, country darkness- speak of Canadian experience, making Winter another valued element in the evolution of contemporary folk music.