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Stages – The Snyder Family

When I first opened the Snyder Family Band’s new CD, titled Stages, before reading the CD jacket and listening to the title cut, the first thought that crossed my mind is that a family band which starts when the children are so young no doubt goes through many stages of development. This CD marks another stage in the group’s evolution toward becoming serious professional musicians.

The Snyders rely heavily on the instrumental abilities of Zeb, a 16 year old guitar and mandolin player, and Samantha, a 12 year old fiddle player and lead vocalist. They are joined by their father, Bud, on upright bass, and occasionally by their mother, Laine, adding harmony vocals. Stages features seven instumental selections, demonstrating a range of styles, leaning heavily on the Rice school of guitar, but also demonstrating that Zeb is being influenced by jazz and rock guitarists as well.

While it is a marvel that Zeb and Samatha would tackle a piece like Wyatt Rice’s Original Untitled, which they perform quite well, the fact that they are capable of playing such a song makes me anxious to hear what they will create for themselves as they move to performing more of their own original music.

I am not quite sure how old the Snyder children were when I first heard them, but a couple of years might as well be a couple of light years in the physical, mental and musical development they are undergoing at this age. The thing that struck me most when listening to the recording was how much Samantha has improved as a fiddler, and how much her voice has matured since I last heard the group. I’ve always been of the opinion that slow songs, more than uptempo songs, will expose flaws in tone, control and pitch, with either a vocalist or a fiddle player. Samantha demonstrates no such flaws and she really shines on Wren’s Waltz.

Cornering the market on cute, the last selection on Stages features 5 year old Owen Snyder. While it comes through his vocal performance, the fact that he may just be the family member with the most personality comes through in interviews with him that are part of a professional quality video.

I am tempted to suggest that the recording would be enhanced by additional performers, as there is no banjo or dobro, and many selections limited to the trio of guitar, fiddle and bass. However, I respect that they chose not to hide behind an all-star band of hired guns, and instead present the music just like it is presented in their live performances.

I didn’t start quite as young as the Snyder children, but I certainly benefitted as a teenage musician from the natural affection and support that most people feel for child performers. However, “cute” wears off and novelty only goes so far, and eventually a performer has to stand on his or her merits.

This recording demonstrates that the Snyder Family doesn’t have to rely on their youth to appeal to an audience — they can play, sing, and entertain. Whether the children outgrow their interest in music, become satisfied with where they are and stop working, or become great professional musicians remains to be seen, but this is good music and a snapshot in time that all of their fans will want to have.

Three Tall Pines

Boston area quartet Three Tall Pines, has just released their second project entitled All That’s Left. It was produced by Avi Salloway and Charlie Rose. They have also enlisted the help of their friends from Della Mae, Hey Mama, Billy Wylder, Barnstar, and Flatt Rabbit, to help out with production and playing on the record.

The album is made up of original material written and developed by the band. The main writers in the group are guitarist/lead vocalist Dan Bourdeau and mandolin player/vocalist Joe Lurgio. The other members are Conor Smith on fiddle and vocals, and bass player/singer Gian Pangaro.

The band’s style is in the Americana vein. They fit in well with the crop of up-and-coming “new” old time/bluegrass bands. But what I think sets them apart is their use of original material, and fresh arrangements. While other acts are recreating the past, this band is reinventing it. Bourdeau cites Bob Dylan, and Jimmie Rodgers as influences, and I think they have a sound that combines each of those elements with bluegrass instrumentation.

They have recently won the Ossipee Valley Bluegrass Festival Band competion, which garnered them a main stage slot on next years festival. The band was also named the 2011 Bluegrass Band of the Year from Motif Arts Magazine. Their previous album, Short While Ago, was released in 2008.

You can find out more about the band online. All That’s Left is available from popular resellers like CD Baby, Amazon and iTunes.

Crowe on the Banjo

From receiving his first banjo as a Christmas present at the age of 13 to his IBMA Hall of Fame Induction in 2003, very few people have made as big an impact on a musical genre as J.D. Crowe has had on bluegrass. The recent book Crowe on the Banjo: The Music Life of J.D. Crowe, does an admirable job of telling his musical story.

Authored by the late Marty Godbey, this ten chapter tome covers Crowe’s illustrious career, including a wealth of comments and interviews with his fellow artists as well as personal discussions with J.D., over the course of 193 pages.

This book covers it all. It begins with the story of Crowe’s introduction to the five string banjo at a Flatt & Scruggs performance, and continues until arriving at the present day New South. Much of the book retells stories from Crowe’s time on the road with a variety of bluegrass bands. Anecdotes from his years with Jimmy Martin lead into descriptions of each version of J.D.’s own bands, the Kentucky Mountain Boys and the New South. Mixed within are personal stories from Crowe and other musicians with whom he has played throughout the years, as well as little-known tidbits about Crowe’s musical resume – such as the fact that he was a Blue Grass Boy for one show in 1965.

Godbey goes into great detail about several musicians who have worked with Crowe over the decades, and numerous other musicians are mentioned. She profiles these artists, giving their musical backgrounds along with their connection to Crowe. It’s interesting to see just how many bluegrass and country musicians have learned from or been influenced by him over his career.

This book depicts Crowe as somewhat of a preservationist of bluegrass traditions, as his work with the Bluegrass Album Band exhibits. With a keen ear and fondness for multiple musical styles, his contributions to the genre have also brought the music to a new plane.

Like many biographies, some of the best parts of Crowe on the Banjo are the personal accounts. Not only does Godbey examine particular recordings and concerts, but she also makes use of humorous tales from both Crowe and other musicians. It is easy to envision the stories she includes, like the time Jimmy Martin and J.D. Crowe attended an Elvis concert when the two lived in Detroit. The author also includes several stories about what life on the road is like for a member of the New South. As it turns out, Crowe is a bit of a trickster – even carrying an extra suitcase filled with gags on occasion.

Throughout the years, members of Crowe’s band have always played practical jokes on each other as well as other musicians whom they have known. For instance, while traveling one night shortly after the passing of Lester Flatt, as Crowe and Co. passed Earl Scruggs’s bus, Keith Whitley promptly began performing an imitation of Flatt across the CB radio: “Earl… I’m back.”

Previous members have also found their shoes filled with wet paper towels, and now and then interesting items have made their way inside of instruments while on the road; most notably, toy cars inside of Phil Leadbetter’s dobro. Also, a favorite prank among members seems to be loading each other’s cigarettes.

Godbey first saw Crowe perform on Easter weekend in 1968 when she and her husband made their first overnight trip to see a concert. Before passing away unexpectedly last year, she closely followed Crowe’s career and collaborated with him to produce this captivating volume. Frank Godbey, Marty’s widower, should also be commended for his work in seeing this text through to completion, as Crowe on the Banjo was still in the production stage at the Illinois Press when Marty passed.

Having taken part in a musical genre for longer than the style itself has been set apart from other forms of music – bluegrass diverged from country music at a later time – Crowe remains one of the most influential musicians in the field. He has released at least 13 albums and performed on many others, most notably the Bluegrass Album Band recordings.

J.D. Crowe and the New South still play many dates each year, even performing outside the United States on occasion. As this book illustrates, Crowe is truly a master of his craft. Crowe on the Banjo, the first biography of this talented musician, is definitely a must-read for anyone interested in the musical career of J.D. Crowe.

Big Trouble from The Dang-It Bobbys

Over the past several decades, the definition of bluegrass has continually expanded from its origins with Bill Monroe and the Bluegrass Boys. The new album Big Trouble from The Dang-It Bobbys, which hit shelves September 20^th, further stretches that definition. This album has all the makings of a time-honored Appalachian recording, with banjos and other long-established bluegrass instruments being combined with spoons and hambone. However, The Dang-It Bobbys create their own spin on tradition by also incorporating flutes, clarinets, percussion, kalimba, and the melodica – a harmonica and keyboard hybrid.

This is no cookie-cutter project. The band has drawn from many different musical influences to produce this all-original recording. In fact, lead vocalist Kris Bauman wrote or co-authored all of the thirteen tracks. A song concerning the failed bribery of a Mexican policeman due to poor memory of high school Spanish skills is not the typical focus for a folk album. However, a title tracks like this helps bring listeners closer to lyricists. Big Trouble also has an intriguing Spanish music feel, complete with some lyrics in Español.

Some of tracks included on this project seem to be in the vein of Appalachian music while others fit well into the realm of Americana. Instrumentals Whiskey Strut and Roadkill Jerky are two that have a traditional feel. Whiskey Strut is played in a light and bouncy style, and should appeal to fans of earlier eras of bluegrass. Roadkill Jerky is an interesting banjo tune that includes a harmony part and an atypical chord progression.

Some tracks exhibit singing styles reminiscent of other musical genres. Songs like My Michelle and Heading Out have these more progressive sounds. Emo and indie bands like Dashboard Confessional and Death Cab for Cutie are examples of groups which seem to have influenced Bauman.

With the exception of a couple instrumentals, almost everything about this album is contemporary. This thirteen track, thirty-seven minute compilation of tunes sits somewhere between the sound of a bluegrass jam band and emo-flavored indie rock. In fact, if the bluegrass sub-genre Blemo existed (Bluegrass/Emo), this would be a good fit. Nevertheless, the extended use of percussion and instruments commonly associated with other genres makes this album unique.

This album has the potential to appeal to a wide array of listeners, especially those who have an appreciation for Americana styles. While The Dang-it Bobbys vary from traditional numbers, musicianship throughout the record is solid. Each track resets the listener’s mind and allows a new journey to occur.

If you’re tired of 1-4-5 drive, you might want to take a listen or check them out at a live concert sometime, especially if you happen to be in the Brooklyn, NY area where the band performs frequently.

More information regarding the Dang-it Bobbys can be found at www.thedang-itbobbys.com.

Family Chain – John Bowman

Unlike some of the “bandwagon” tribute recordings that it might be suspected are motivated by commercial appeal as much as a heartfelt desire to spotlight the subject of the tribute, John Bowman’s new release, Family Chain, is a personal statement of love and respect by him for his father-in-law, Joe Isaacs.

For anyone living under a rock, Joe Isaacs is the patriarch of one of the most successful bluegrass gospel groups of all time. In addition to churches, bluegrass festivals, and other venues that make up the regular schedule of most bluegrass gospel groups, the Isaacs regularly appear as part of the Gaither Gospel Juggernaut, I mean Homecoming concerts filling 10,000-seat venues.

Although Joe Isaacs no longer performs with his children, many of the songs on this recording were written by Joe, and performed by the Isaacs when Joe was part of the group. Listeners familiar with the Isaacs will no doubt recognize many of these songs, but no attempt is made to re-create or duplicate the original recordings. The treatment is a simple, respectful performance of songs that have personal meaning to John Bowman, an excellent singer and instrumentalist in his own right. He has performed on every instrument, singing multiple vocal parts (although not all simultaneously), with a who’s who in bluegrass, including Doyle Lawson & Quicksilver, Alison Krauss & Union Station, The Isaacs, J. D. Crowe & The New South, and the new supergroup The Boxcars (recently winning 4 IBMA Awards).

To assist him in the recording, John called on family and friends: Ben Isaacs, Adam Steffey, Rob Ickes, Jimmy Edmonds and Jeff & Sheri Easter. On a few of the slower tempo selections, Gordon Mote added piano in a delicate and tasteful manner, enhancing without overriding the other instruments. Throughout the recording, the vocal and instrumental performances are flawless.

Of course, as a banjo player I would like to have heard a little more banjo – there is banjo on only four of the songs – but being as unbiased as I can, I can’t say that the remaining selections suffer by the banjo’s absence. (Yes I know I’m inviting all the banjo jokes to appear in comments to this review).

An often overlooked, or at least undervalued, aspect of a CD release is the liner notes, and reading John’s personal recollections of meeting his future wife and the whole Isaacs family, as well as his feelings toward Joe Isaacs, was thoroughly enjoyable. John Bowman genuinely seems to be “one of the good guys” in this world, and he has offered up a fitting tribute to Joe Isaacs which any fan of bluegrass gospel music will enjoy.

Darin & Brooke Aldridge – So Much In Between

After listening to Darin & Brooke Aldridge’s So Much In Between several times, the thing that most struck me is the many positive messages in their music.

It’s about love. And who better to sing about that than America’s bluegrass sweethearts? What a breath of fresh air in times like these that our world is facing.

I recently caught up with Darin, who verified the importance of this message in their music.

“The title, So Much In Between, really allows people to catch a glimpse of God, our Life/Love for each other through our marriage, and everything we get to experience in our music daily. Like our two previous projects I’ll Go With You and the self titled album Darin and Brooke Aldridge, we strive to portray positive and uplifting messages in each song that is, and has been selected.”

The song selection on the CD is great; there’s a little bit of everything. If you love tight harmonies, Gospel, driving bluegrass music – and even a little bit of yodeling – you will love this record. The songwriting here is second to none, as well. Standout tracks for me were Lonely Ends Where Love Begins and We’re In This Love Together.

Not only do Darin and Brooke share a partnership in marriage, they share one in music as well, and it’s evident they love what they do.

Family harmonies are the best to me – they just mesh, as if they are one voice – and Darin and Brooke do this well! Sibling harmony is special for the tonal blend that such similar voices create, and the Aldridges get the same effect by careful attention to phrasing, tonality and dynamics.

I hear a strong southern Gospel influence in their music, and there are times that Brooke’s voice reminds me of an early Emmy Lou Harris. It’s just pure and crystal clear.

Darin also discussed their process of song selection, and some of the special guests on the CD:

“While searching for songs for So Much In Between, we were honored that so many people sent songs and wanted us to cut their material. Jerry Salley, Lisa Shaffer, Billy Austin, Mary Francis, Scott Patrick, Sidney Cox, Karyn Williams, Tom T. and Miss Dixie Hall along with so many more provided us with an array of awesome songs that we knew it was going to be tough in making the final selection.

We cut many of Jerry’s tunes, and some he co-wrote with Lisa Shaffer. Every Scar, Love Makes the Ride Worth While, That’s Just Me Lovin’ You and Lord Lift Me Up are all Jerry Salley tunes that people have already grown to love as we begin showcasing this new album at our shows.

We also took many of Lisa Shaffer’s songs for the album this time. Lisa wrote Corn and I Thought I’d Seen it All from our previous album. She got cuts on Lonely Ends Where Love Begins as well: That’s Just Me Lovin’ You, We’re In This Love Together and Love Makes the Ride Worth While. Those are all powerful songs that have the message that Brooke and I strive for in every song we select.

We have special guest Tom T. Hall singing on a song that he wrote titled Our Little World, and what a privelige it was getting to work alongside of him and Miss Dixie when we were looking for songs for the new album. There’s no question about who it is when you hear his voice singing the last verse and chorus on that song. It was neat to listen to his stories and become even closer connected with him and Miss Dixie through that whole process.

Producer Jerry Salley also joins us on several tunes he has written/co-written, and really added so many great ideas during the making of the entire CD. It was good for Brooke and I to have that extra ear for arrangements, and on our vocals.

Rob Ickes was able to join us once again as well with his awesome dobro arrangements for this project.”

Here’s a little taste of Lonely Ends Where Love Begins, as recorded during their performance on the FanFest stage at IBMA 2011:

Darin and Brooke chose to have their road band on this CD, and say they wouldn’t have completed this album without them. This band compliments them so well, as evidenced in the clip above. On banjo is Chris Bryant, playing the fiddle is Rachel Johnson Boyd, and on bass is Dwayne Anderson.

I asked Darin for any final comments he might like to share with our readers:

“We feel so blessed in our music to be emerging into the bluegrass world as quickly as we have in a few short years. God, our families, friends/fans have been so good to all of us and we thank them for every opportunity we’ve been given.”

I know you’ll love this CD as much as I did. Make sure and pick up your copy today. Highly recommended!

You can contact Darin & Brooke through their website or Facebook page.

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