Eric Bibb’s Migration Blues from Stony Plain Records: it is as good as you hope.
Bill Monroe’s last lead singer, Tom Ewing, has put together a compilation of tracks from his late 80-early 90 cassette tapes: Tom knows bluegrass.
Rob Benzing is a DC area banjo talent.
Okay, take a moment an revel in the beauty of that album cover.
Rooted in classic music, the cover of Ned Luberecki’s Take Five recalls the Dave Brubeck Quartet’s Time Out giving it a bluegrass twist. Luberecki takes things further, interjecting a jazz ‘grass interlude mid-set including a fresh take on Paul Desmond’s “Take Five.” The album features several guests, both folks we associate with Luberecki-Chris Jones & the Night Drivers and Becky Buller-as well as those who don’t immediately come to mind when considering Nedski-Dale Ann Bradley, to name the most prominent.
It is a very strong album with lots to offer. My review was published at Lonesome Road Review, but got lost in the mix her at Fervor Coulee.
Chris Jones & the Night Drivers Made to Move Mountain Home Music Company
It is ridiculous that we expect groups and artists to constantly out-do themselves from one album to the next. Once a pinnacle is reached, perhaps we should be pleased when a group simply maintains their standards.
Therefore, I’m not going to suggest Made to Move is better than Chris Jones & the Night Drivers’ previous recording, the hit-laden collection Run Away Tonight. Indeed, it may not be. No, that future classic was a mighty high bar, but if Made to Move doesn’t exceed it, it certainly matches that recording as a set of original bluegrass that is superior to the majority encountered.
The album kicks off with a healthy Chuck Berry vibe (“All the Ways I’m Gone,”) that complements Jones’ confident low-nsome vocal canter. Before the song is out, we’ve heard memorable, stellar picking from not only Jones, but mandolinist Mark Stoffel and co-producer Dobroist Tim Surrett.
And things just continue to get better with each passing song.
Newest Night Driver Gina Glowes’ vocal harmony contributions are noticed and appreciated, giving a new depth to the group’s well-established sound. Her 5-string chops are obvious throughout, but especially on more reflective pieces such as the already chart-topping “I’m A Wanderer” and “Living Without.” “Last Frost” is the album’s banjo instrumental, and it is a fully-developed musical landscape that the imaginative can read like a story. On this tune, bassist Jon Weisberger’s tone is notable.
Weisberger, who co-wrote half the songs on the album, is a formidable bass presence. He doesn’t impede with his presence, of course, but no one in bluegrass seems to be able to do exactly what he does—perhaps it is just a testament to the way the group records, but his bass rhythms are never experienced as an apparent afterthought.
With his bold, baritone voice, Jones is easy to listen to and his mild-mannered approach to a song allows him to connect with listeners in a way some vocalists never master. A story song such as “The Old Bell” pulls one into its history within seconds, while the ‘coming home’ “Range Road 53” appeals in a similar manner if with increased tempo. “Silent Goodbye” may remind listeners of a previous Jones-Weisberger co-write, “Final Farewell.”
Stoffel is known as a tasteful accompanist, and his contributions to songs including “Rainbows Fell” will have some listeners leaning in toward the speakers. His mando-laden “What the Heck?!” closes the set, and is a fitting way to wrap-up the album, one that is as fresh and sparkling as its coda.
Clowes’ approach to “Dark Hollow” is readily apparent and perhaps even innovative, but it is Stoffel’s notes that I gravitate toward. The Night Drivers present an interesting arrangement of the old warhorse, one that obviously sparked the band’s interest as they worked it up together. By modulating the tempo mid-song, the Night Drivers encourages one to re-engage with the oft-heard standard.
Finally, I know Jones has recorded albums without a Tom T. Hall song, but not often. Made to Move‘s offering is a gentle interpretation of the Johnny Rodriguez co-write “You Always Come Back (To Hurting Me,)” a #1 from 1973.
Chris Jones & the Night Drivers are undoubtedly one of bluegrass music’s strongest instrumental bands. Each of the musicians is a master of their craft, and together they produce a style of bluegrass that is most likely unique. With Jones as their lead singer, they are blessed with one of the strongest, most recognizable vocal stylists the music offers. Will 2017 finally be the year that the band are recognized by the International Bluegrass Music Association when it comes time to complete ballots? One hopes so, because they truly have earned it.
Made to Move is another top-notch album from Chris Jones & the Night Drivers.
My review of the sixth album of new material from Darin and Brooke Aldridge has been posted to Country Standard Review. They have become one of bluegrass music’s most reliable acts.
http://www.countrystandardtime.com/d/cdreview.asp?xid=6272 will get you there.
Donald
My thoughts on the 2017 Bluegrass Grammys have been posted over at our alt.site, Fervor Coulee Bluegrass. Regular readers know for whom my fingers are crossed. http://www.countrystandardtime.com/blog/FervorCouleeBluegrass/entry.asp?xid=1112
Thanks for visiting. Donald
Over at Fervor Coulee Bluegrass, I have posted my review of The Infamous Stringduster’s seventh album, Laws of Gravity. It is a pretty terrific album, one that continues their evolution within their definition of bluegrass, newgrass, jam-band, big tent acoustic Americana. I quite enjoyed the album.
In preparation of writing the review, I went back to the shelves and was surprised to find that I had only three of their previous albums, the debut Fork in the Road and its follow-up The Infamous Stringdusters as well as both the download of Silver Sky and the deluxe edition which came with the live album We’ll Do It Live.
I must have misplaced their third album somewhere, because when I purchased the download earlier this month, it sounded immediately familiar. I share this because I think sometimes folks feel that writers, even we of the freelance variety, get all their music free. I certainly don’t. [I was serviced with Laws of Gravity; that is why I wrote about it.]
In order to write this review, I purchased downloads of Things That Fly, Let It Go, Undercover, and Ladies & Gentlemen. I did that to ensure that my perspective on Laws of Gravity was fully informed. I will never, ever make back that $3o from my review of Laws of Gravity (once upon a time…O, how I sometimes long for 2005!), but in order to write about a band I need to understand their music.
Apparently, I stopped intently listening to The Infamous Stringdusters some time ago, and I am now- having listened to their albums for the past three weeks- regretful of that: won’t happen again. I am listening to their set from last year’s DelFest as I type these words, and I am reminded of how impressed I was the first time I heard them live- maybe on WDVX- and how incredible their concert in Red Deer was almost a decade ago. They are a great band- not necessarily ‘bluegrass’ as I understand it, but a damned fine group of musicians and singers. Check out my review over at Fervor Coulee Bluegrass, and feel free to let me know what you think.
Thanks for visiting Fervor Coulee. Donald
I am really missing the IBMA live stream: all the asides and quips, and especially the various “thanks” that are offered—you can learn a lot about a person by the way they accept an award. The ‘in memory’ segment is something for which I have great respect. Also, I regret not being able to hear the Rounder folks receive their Hall of Fame honours; I am certain Ken Irwin had fine words. Finally, the live performances are almost always memorable.
I can’t imagine why there is no live stream this year beyond a lack of sponsorship, which is too bad. I wonder why the IBMA can’t just ‘do it’ on their own…even if only on Periscope!
Mountain Faith, a band that made their name on a reality series, was just awarded Emerging Artist of the Year. Sigh. The less I say…
Song of the Year just went to a song originally released in 1990. I called it. I wouldn’t have voted for it. “You’re the One,” by Flatt Lonesome, giving them two awards tonight, and I predict they will get the hat trick later on. I believe it is the weakest performance on their (quite enjoyable) album; what the hell do I know?!
Again, the less I say…
Frank Solivan & Dirty Kitchen were awarded Instrumental Group of the Year…my prediction percentage is falling—barely over 50% now. I heard The Earls of Leicester and Dirty Kitchen side-by-side this summer. No offense…to these ears and when it comes to ‘bluegrass,’ it ain’t close.
That is after self-revision/editing.
Penny Parsons, author of Foggy Mountain Troubadour, was named Bluegrass Media Person of the Year. I had placed her bio of Curly Seckler on my ‘to buy’ list, but then forgot about it…need to correct that.
It is hard for the bluegrass industry to receive true, critical coverage when folks are eligible (vying?) for recognition from the professional industry. No? Looking at the list of very fine past winners, perhaps Bluegrass Media Promoter of the Year would be a better name for the award.
Other Special Awards presented earlier went to the IBMA’s new chairperson, Joe Mullins, as Broadcaster of the Year, and his son Daniel for Best Liner notes for a Traditional Grass compilation…a band featuring Joe Mullins. Yes, the industry is a bit incestuous…
Flatt Lonesome won Album of the Year, an album much, much stronger than their previous and one I positively reviewed. Still, Runaway Train wouldn’t have been in my top 25 bluegrass albums of the year, and where I predicted the ‘hat trick’ above, I thought they would get Entertainer of the Year. The SteelDrivers got themselves robbed.
The evening’s final award—Entertainer of the Year—rightfully goes to The Earls of Leicester! As it should be. (I predicted Flatt Lonesome, but hoped for the Earls.) I believe that puts me below 50% for the night on the predications, probably better than I have ever done before…not exactly pleased about that, but glad about many of them.
I wonder what I missed? Hopefully next year the video live stream is back…or at least someone in the audience decides to Periscope the event.
Donald Teplyske