Braeden Paul, Author at Bluegrass Today

Through These Trees – Broken Compass Bluegrass

California-based Broken Compass Bluegrass is a band that specializes in original, inventive jamgrass music. Their second studio release, Through These Trees, demonstrates even more growth through nine songs, all of which were written within the group.

The opening track, Alien Song, really defines not only who Broken Compass Bluegrass is as a band, but also the general theme of this album. Written by Kyle Ledson, this composition carries a sense of oddity and uncertainty about what someone has seen. Along with Ledson on mandolin, octave mandolin, guitar, banjo, and vocals, the group also consists of Django Ruckrich on guitar, slide guitar, mandolin, and vocals, Mei Lin Heirendt on fiddle and vocals, and Sam Jacobs on bass and synth.

Fairies and Lightning by Heirendt also captures the uncertainties of life through mystical metaphors about nature. Set In Stone by Ledson brings things back to a somewhat lighter mood with a song about one’s longing for the person they love.

Try by Ledson is a song of motivation, its lyrics carrying a message of perseverance. This track also features percussion from Adam Steckley.

Trails of Home by Heirendt speaks of the passage of time and the nostalgia that comes with that. It’s one of those songs that subtly reminds the listener that going back home may not be what it once was.

Circustown captures the group’s instrumental abilities, particularly the fiddling of Mei Lin Heirendt, who penned the tune. With a strong joyous melody, this tune demonstrates Heirendt’s refined, commanding approach to the instrument.

Through These Trees is a release filled with uniqueness. With their abilities as vocalists, instrumentalists, and lyricists, Broken Compass Bluegrass is continuing to explore varying musical territory and break new ground in the process, a combination that will further cement their place in the jamgrass world.

Introducing the Southwest Bluegrass All-Stars

Combining the talents of musicians with New Mexico and Texas ties, the Southwest Bluegrass All-Stars is a supergroup chock full of creativity. The group’s debut EP, Introducing The Southwest Bluegrass All-Stars, is made up of mostly original material along with some intriguing interpretations of a couple well-loved standards.

Of the EP’s five tracks, three of them were written by the group’s guitarist, Elliott Rogers. Bluegrass Trucker is a fun up-tempo song about the tedious profession of driving a big rig up and down the roads. Along with Rogers on guitar and lead vocals, the Southwest Bluegrass All-Stars also consists of Steve Smith on mandolin and harmony vocals, Bill Evans on banjo and harmony vocals, and Anne Luna on bass.

Lay My Shovel Down is one of a few story songs on this recording. This particular track is filled with reflection about one’s choice of devoting their life to hard labor and the rewards and consequences that come with it. The latter track, The Ballad of Buster and Nancy, tells a beautiful story about a woman adopting and raising a child who came from less than ideal circumstances.

Mandolinist Steve Smith handles the lead vocals on The Wreck of the Old 97. Smith does an excellent job delivering this tragic, yet timeless tale, as does Bill Evans with his interpretation of Rueben towards the end of the track.

The EP closes with Deputy Dalton, which was a signature piece for the legendary Country Gazette. Fittingly the group collaborates on this track with Alan Munde, who plays stellar twin banjo alongside Evans. This track is the greatest demonstration of the Southwest Bluegrass All-Stars’ instrumental capabilities.

Introducing the Southwest Bluegrass All-Stars is a stellar debut. With captivating original material from Elliott Rogers, plus excellent vocal and instrumental work from Smith, Evans, and Luna, this quartet is bringing something completely fresh and unique to the forefront.

Cambium – Full Cord

Michigan-based Full Cord has continually drawn audiences with their exciting blend of bluegrass alongside numerous other musical forms. Their third release, Cambium, from Dark Shadow Recording, not only demonstrates this further, but spotlights the band’s lyrical originality as well.

The opening track, Ghost of Good Times, gives the album a riveting start. Written by Glenn House, this song is filled with reflection and pangs of regret about the end of a romance. Along with Brian Oberlin on mandolin and lead vocals, Full Cord also consists of Eric Langejans on guitar and vocals, Grant Flick on fiddle, Ricky Mier on banjo, and Todd Kirchner on bass.

Maces Spring is one of several songs written by Oberlin. Inspired by a visit to the Carter Family Home Place in Virginia, the lyrics hold a great deal of imagery and symbolism. Wild Mountain Rose, also by Oberlin, has the same level of detail in the song’s setting.

Logan’s Farewell is one of two instrumentals on this project. Written by Ricky Mier, the track displays his melodic sensibilities on the five string banjo. The other tune, Sallie’s Dancing, from Oberlin, is a bouncy mandolin piece with a strong old time flavor.

I Laugh When I Think How I Cried Over You comes from the western swing canon. Written by Maxine Fowler and Bob Wills, it demonstrates Full Cord’s signature ability to go beyond bluegrass and interpret multiple styles within their music.

The song that best demonstrates this skill, though, is Full Cord’s take on the Steely Dan classic, Reelin’ In The Years. This one will no doubt please fans of the original recording with its nod to the funky rhythmic patterns which they recreate here. On this track the band is joined by Katie Kirchner, adding an extra, needed layer to the vocal harmonies.

Cambium is a strong recording from start to finish. With an eye towards tradition alongside ideas from outside that realm, Full Cord has carved out a unique identity as a group, one that has earned them many loyal followers. This recording brilliantly captures the exciting originality that has captivated so many people.

Memory Lane – Wilson Banjo Co

What began as a tool to promote high quality, hand built banjos has become an outlet for presenting lyrically captivating material. Wilson Banjo Co’s release, Memory Lane, on Pinecastle Records contains a variety of themes from coal mining, murder, and heartbreak, among others.

The opening track, Sadie Danced a Hole in Her Stocking, has a fun swing feel to it. Written by Jack Shannon, Troy Engle, and Rick Lang, this song speaks of the energetic dances that would often be hosted inside a country home. At the time of this recording, Wilson Banjo Co was a duo consisting of Steve Wilson on banjo and vocals, and Sarah Logan Lewis on fiddle and vocals. Other studio musicians were brought in to create a full band sound. On this track Wilson and Lewis are joined by Glen Crain on resonator guitar, Tony Wray on guitar and bass, Milom Williams II on mandolin, and Melanie Wilson on harmony vocals.

Holler, by Jordan Rainer and Bill Packard, is another song which explores the country life. Here the duo is joined by Wray on guitar and bass, Williams II on mandolin, Melanie on vocals, and Deanie Richardson on fiddle.

Nightbird by Rick Lang is a gritty, yet mournful song about love coming to an end, and the encompassing feelings that come with it. This is especially punctuated by the resonator guitar work of Glen Crain. Also on this track are Jaime Carter on bass, Adam Plott on percussion, Josh Raines on guitar, and Jason Fraley on mandolin.

The Gavel also carries darkness, both in its lyrics and melody. Written by Jordan Rainer and Lance Carpenter, this murder ballad tells a captivating tale of a romantic relationship from its happy beginning to a tragic end. This is one of several tracks featuring great guitar work from Clay Hess.

Our Last Goodbye/Walk Softly On This Heart of Mine is a clever medley of two bluegrass classics. Rendered in a strong contemporary fashion, Wilson Banjo Co. shows through this arrangement how these two songs will always stand the test of time.

Memory Lane is a strong effort. Though the makeup of Wilson Banjo Co. has changed since the release of this album, this recording is an excellent example of the material that the group has brought, and will continue to bring to the table.

Darin & Brooke Aldridge – Talk of the Town

Darin & Brooke Aldridge have continually captured the attention of audiences with their signature vocal harmonies, along with their chemistry, as both a married couple and performing artists. Their tenth release, Talk of the Town on Billy Blue Records, is a collection of songs exploring a wide variety of themes, heartache, nostalgia, hope, and faith among them.

The album kicks off with a barn burning rendition of The Price I Pay, a song that was originally recorded by The Desert Rose Band with Emmylou Harris. Appropriately, this track features John Jorgenson who provides dazzling lead guitar all throughout the song. Along with Darin, Brooke, and John, backing is provided by Matt Menefee on banjo, Cody Kilby on rhythm guitar, Samantha Snyder on fiddle, Mark Fain on bass, and Lynn Williams on percussion.

Jordan is one of several gospel songs on this recording. Here Darin and Brooke are joined by Ricky Skaggs on mandolin and vocals, Mo Pitney on bass vocals, and Mark Fain on bass. Utilizing the standard yet minimalist bluegrass gospel configuration akin to Bill Monroe’s early recordings, this song carries a simplistic, yet dynamic feel.

(Now and Then There’s) A Fool Such As I was originally recorded by Hank Snow in May 1952 and is fittingly rendered here in a hardcore country vein. Brooke Aldridge’s voice alongside the pedal steel guitar work of Eddie Dunlap, and the fiddling of Stuart Duncan, makes for a beautiful combination. This track also includes Brent Rader on percussion and piano, and once again Fain on the bass.

My Favorite Picture of You falls squarely into the bluegrass vein with driving banjo picking from Ron Block. This is one of the songs that fits the theme of this recording perfectly.

Another song carrying that sentimental vibe is Wildflower Too. Written by the Aldridges with Bill Whyte, the lyrics reflect on good times while also gazing at the future and wondering what lies on the road ahead.

The closing track, A Million Memories (A Song for Byron), was written by Vince Gill as a tribute to his friend and fiddle master, Byron Berline. Featuring Gill on vocals, this song chronicles the friendship these two men shared and the emotional weight Berline’s loss carried for Vince and many others. It’s a beautiful way to end this recording.

Through different musical styles and varying collaborators, Darin and Brooke Aldridge have expressed a variety of emotions on Talk of the Town. It’s an album that can bring any listener a sense of closeness and relatability.

Boarding Windows In Paradise – Rebecca Frazier

Rebecca Frazier is a tour de force in every sense of the word. Not only is she a skilled singer and songwriter, but is also a stout flatpicking guitarist. Frazier’s latest release, Boarding Windows in Paradise on Compass Records, captures all of these elements marvelously.

The opening track, High Country Road Trip, gets things off to a riveting start. Co-written by Frazier with Rorey Carroll, the lyrics talk of having spontaneity and carefreeness while going on a journey. This track introduces us to this album’s primary cast of backing musicians which includes Béla Fleck on banjo, Sam Bush on mandolin, Stuart Duncan on fiddle, Josh Swift on dobro, Barry Bales on bass, and Shelby Means and Adam Chaffins on harmony vocals.

Another song with that free spirited sense is Make Hay While the Moon Shines. Co-written with Bob Minner and Jon Weisberger, this is a song that speaks of having fun after a long, intense day of work.

Borderline and Saro Jane are some of the select few songs on the recording not written by Rebecca. The former, recorded by Madonna on her self-titled debut album in 1983, is given an enthralling bluegrass treatment with strong backing from the band Love Canon. Although this track is a bit lengthy, there is a shorter radio edited version included at the end of the album. The latter is a traditional civil war era song which showcases Frazier’s abilities in the clawhammer style of banjo playing. Here she is backed by Duncan on fiddle, Issac Eicher on mandolin and harmony vocals, and Erik Alvar on bass.

Train is Moving is a fast, high energy track. Co-written with Lisa Aschmann, this song talks of hurrying to board a train. As the lyrics say, “get a move on, out the way, or be left behind.” This song also features remarkable banjo work from Scott Vestal.

Cantie Reel is an instrumental piece that demonstrates Rebecca’s notable ability as a guitarist. Not only is her lead work stellar, but her rhythm behind the other musicians on this tune is completely in the pocket. With this selection, Frazier gives aspiring flatpickers a masterclass on the different elements of bluegrass guitar playing.

Boarding Windows in Paradise is a release that shouldn’t be overlooked by any means. Not only are Rebecca’s original songs well-crafted both lyrically and melodically, but she’s also a first rate singer and instrumentalist. This project is solid evidence that Rebecca Frazier is the complete package.

True Tones – Mark Stoffel

Primarily known to listeners as a long time member of Chris Jones & the Night Drivers, mandolinist Mark Stoffel has consistently created new, inventive compositions for his instrument. His third solo release True Tones on Mountain Home Music contains a dozen instrumental pieces, all but one penned by Stoffel.

The opening track, Curious Times, was written during the uncertain period of 2020. This up-tempo tune carries a sense of mystery and wonder throughout its melody. While some of the instrumentalists shift from track to track, there’s still a level of consistency on every selection. Accompanying Stoffel here is Ross Sermons on bass, Gina Furtado on banjo, Chris Luquette on guitar, Niall Murphy on fiddle, and Tony Creasman on drums.

Barnyard Funk is a lively tune that combines elements of bluegrass and disco among other genres. This is a piece that powerfully demonstrates Mark’s technical and improvisational ability on the eight string.

I’m Using My Bible For a Roadmap is the sole standard included on this recording. Known to listeners as a Reno & Smiley classic, Mark interprets it as a smooth, peaceful instrumental. Rob Ickes makes excellent contributions to this tune with his resophonic guitar, as does Alan Bibey, who plays beautiful twin mandolin alongside Stoffel.

Expatriate’s Polka is one of the most captivating tunes on this release. Featuring banjo great Jens Kruger and accordion player Alexander Pape, this piece was written to reflect the journey of immigrating to a new country, as Stoffel states in the album’s liner notes. With shifts in the composition’s key, tempo, and overall mood, this composition does a fine job of articulating that exciting, yet arduous journey.

Slice and Dice is without a doubt the most driving bluegrass composition featured here. This is especially punctuated by the banjo work of Marc Pruett and the bass playing of Marshall Wilborn. Also included on this track is Josh Morrison on guitar, Malia Furtado on fiddle, and Tony Creasman on drums.

The closing track, A House Empty, ends this effort on a somber, sentimental note. With the sound of song birds being heard all throughout the tune, this paints a picture for the listener of Mark’s inspiration to write this piece as he was sitting in the winter garden of his childhood home. Accompanying Stoffel is Nathan Clark George on guitar and keyboard, Elliot George on cello, and Ross Sermons on bass.

True Tones wonderfully encapsulates Mark Stoffel’s abilities as a mandolinist and composer. The liner notes especially give close glimpses into his inspiration for these tunes. Mark is a creative force on the eight string. With each of the twelve tracks having a personal connection to Stoffel, True Tones is an appropriately titled effort.

Dotze Temps – Lluís Gómez

Referred to as “the Spanish King Of The Five String Banjo” by Alison Brown, Lluís Gómez has combined elements of bluegrass and flamenco music in his versatile style of picking. His third solo effort, Dotze Temps, is a continued exploration of his instrumental capabilities, and includes vocal selections sung in various languages.

The opening tune, T’ho Vaig Dir, is the most straightforward bluegrass composition on this project. Paying homage to both Earl Scruggs and Tony Trischka, it’s evident that Gómez has studied these banjo masters in great detail. As with all the tracks on this project, Lluis is supported by Raphaël Maillet on fiddle, Ondra Kozák on guitar, and Maribel Rivero on bass.

Alma is a composition which pairs the banjo alongside palmas, a hand clapping technique which plays an essential role in flamenco music. This is one of those tracks where you can tell Gómez feels right at home musically.

The most unique pieces on this release are Gómez’s renditions of traditional material. Walk On Boy, popularized by Doc Watson in the 1960s, carries a similar bluesy arrangement to the pioneering flatpicker, but with even deeper improvisational liberties. The following track, Zrádný Banjo (Polka On A Banjo), the Flatt & Scruggs classic, begins with lyrics in Czech and ends with lyrics from the Spanish song, La Polca del Barril de Cerveza, both of which are sung by Kozák. It wouldn’t feel right to call either of these two tracks covers as both are incredibly fresh and unique interpretations.

Crunch Sister by Maribel Rivero is a piece inspired by the Punch Brothers. The group is joined by Frank Solivan on mandolin who adds brilliant spontaneity to this piece. Barcelona Castaway is on the opposite end of the spectrum as it features fiddle and banjo from Ondra Kozák and Lluis Gomez. Kozák, who was inspired to write this tune after a visit to this part of northeastern Spain, brings a clear Spanish flavor to his instrumental work on this track.

Dotze Temps is an intriguing effort. Like Béla Fleck and Noam Pikelny, Lluís Gómez has taken the banjo into an even further realm. With stout improvisational prowess and exemplary sensibilities as a composer, Gómez has produced a recording that should capture the ear of any adventurous listener.

Bluegrass Today – Self Rising Flour

Named after one of Martha White’s most iconic products, Finnish bluegrass band Self Rising Flour has become well regarded within their country, as well as other Nordic territories where they’ve performed. Their sophomore effort, Bluegrass Today, combines their brand of hardcore traditional bluegrass with inventive, catchy lyrics, all of which were penned by the group’s banjoist, Kalle Tuovinen.

From the first few seconds of Calling Me To Go, the traditional bluegrass influence rings strong, especially through Tuovinen’s Ralph Stanley-influenced banjo picking. Along with Tuovinen, the group consists of Johannes Oksanen on mandolin and vocals, Benjamin Oksanen on guitar and vocals, and Hannu Vanhatalo on bass. Even with the vocalists being from outside the US, the singing manages to carry somewhat of a southern influence.

Banjo Rush and Country Doctor’s Ramble are instrumental pieces. The former is a fast, driving tune while the latter has a gentle, steadier pace. Both tunes nicely showcase Self Rising Flour’s abilities as instrumentalists.

Simple Minded Fool, cowritten with Tero Kumpulainen is about a man with strong romantic feelings for a woman. This particular track has a nice swing feel to it.

Without question, Let Me Sleep One More Hour is a song with which that any listener can relate. This amusing song talks of not wanting the alarm clock to go off, and staying in bed as long as you possibly can.

Raindrops of Sorrow is a song using the common metaphor of clouds and rain to symbolize heartache surrounding a lost love. For this track, Kalle Tuovinen is featured on guitar, as he also is on High In The Lowlands.

Bluegrass Today is a really fine effort. While the elements of traditional bluegrass come through loud and strong on this recording, the lyrics are reflective of what the listener may be going through in the present day. Much like Martha White’s baking items, Self Rising Flour has struck gold with a formula that they’ll hopefully stick with going forward.

Daniel Crabtree – Storms On The Ocean

Daniel Crabtree is an adept bluegrass and gospel songwriter, particularly measured as a storyteller. His latest release, Storms On The Ocean, features eleven of Crabtree’s original compositions, all with a relatable narrative.

The opening track, Eye of the Hurricane, tells the true story of Hurricane Ida in 2021 and speaks of the devastation and catastrophic destruction it caused in the state of New York. This song features one of two supporting casts employed on the recording. Alongside Crabtree on this track is Don Rigsby on tenor vocals, Scott Vestal on banjo and baritone vocals, Cody Kilby on guitar, Jason Carter on fiddle, Jesse Brock on mandolin, Jeff Partin on dobro, and Mike Bub on bass.

Hard Time tells the story of a man who’s continually facing struggle as a result of poor decisions he’s made. This track features Vestal on banjo, Kilby on guitar, Rick Stanley on harmony vocals, Patrick McAvinue on fiddle, Harry Clark on mandolin, Gaven Largent on dobro, and Evan Winsor on bass.

Molly With Green Eyes tells a captivating tale about a woman from Ireland who makes her way to the United States, and becomes the love interest of a man who is smitten the minute he lays eyes on her. The opening recitation from Patrick D’Arcy, as well as his penny whistle playing, gives this track a truly authentic feel.

The Flood of 1927 tells another true story about a disastrous storm, this time the Great Mississippi Flood of 1927. Unlike the other tracks on this album which feature trio and duo vocal harmonies, this is rendered in a quartet style featuring Crabtree, Donna Ulisse, Rick Stanley, and Aaron McCune. The vocals in particular help to heighten the gravity of this story and to pull the listener in.

The Scandies Rose is a true story about the tragedy of a fishing vessel that came to its end in the freezing and dangerous conditions of the Bering Sea. This is a track that effectively showcases Crabtree’s smooth vocal delivery and his ability to provide a dramatic narration.

The title track, Storms On The Ocean, closes out the recording. With a sparse backing configuration featuring Don Rigsby and Scott Vestal on harmony vocals plus Cody Kilby on guitar, this gospel song beautifully conveys the message of how we can overcome life’s trials and tribulations with the help of God Almighty.

Storms On The Ocean is a thrilling release. With every song telling a captivating story, these eleven songs feel like a book of short stories one would enjoy. Daniel Crabtree is mightily proficient at his craft. This recording is perhaps the best example of that.