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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.

Bluegrass Harmonica – Art Stevenson

Although harmonica is far more closely associated with blues than it is to bluegrass, Art Stevenson proves it can provide a perfect fit regardless. Although he’s also made his mark as a guitarist, vocalist, producer, and bandleader for the past 30 years, he continues to instill the sound of harmonica within bluegrass realms, whether it’s in a selective role or with more prominent positioning.

His new album on White Oak Records, Bluegrass Harmonica, could be considered a compilation of sorts, one that contains songs that have been performed live, tracks that have been previously recorded, and others that represent a sampling of new, heretofore unreleased material. Despite the disparate origins, it holds together remarkably well, given the fact it wholly delves into traditional tunes and the occasional standard as gleaned from the pens of Bill Monroe, Fred Rose, and Jimmie Rogers. So too, with Stevenson’s harp setting up the tome and tempo, it conveys a joyful and jaunty feel overall, from the strut and stride of Sail Away Ladies, Gold Rush, and Married Life Blues, to the homespun hoedown feel typifying Pick A Bale Of Cotton, the swing and sashay of Handsome Molly, and the steady shuffle that drives Sally Goodwin, and Bringing in the Georgia Mail.

Stevenson’s collaborators — Audie Blaylock (mandolin), wife Stephanie Stevenson (bass, vocals), Bruce B. King (mandolin), Chris Silver (lead guitar, mandolin), Gary Barite (mandolin), Lonnie Bowden (jaw harp, banjo, vocals), Tom Boyarski (lead guitar), Sam Pankratz (guitar), Oscar Noetzel (banjo), and Dale Reichert (banjo, dobro) — each add an essential element, particularly Reichert, whose precise picking seems to soar on any number of these instrumental excursions — Girl I Left Behind and Black Mountain Rag in particular. Nevertheless, Stevenson still manages to take center stage, his harp filling out the role normally given to a fiddler’s finesse. Likewise, his yodel on When It’s Peach Picking Time In Georgia affirms the comfort and caress that beloved song traditionally calls for.

Likewise, even the most familiar fare — Orange Blossom Special, Old Joe Clark, Blue Eyes Crying In the Rain among them — is imbued with an invigorating energy that transforms what may seem old into something that definitely feels new again. That’s because Bluegrass Harmonica, its unassuming title aside, is dominated almost entirely by a giddy, good time feel accelerated by a feeling of unmistakable, unabashed enthusiasm.

An astute expression of skill and celebration in equal measure, Bluegrass Harmonica finds Stevenson tapping tradition and neatly fitting it into contemporary confines. There’s certainly nothing that’s more satisfying than that.

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.

Various Artists – Silver Bullet Bluegrass

At first, any attempt to turn Bob Seger’s classic catalog into some sort of bluegrass bedfellows might seem somewhat misguided at best. After all, the two are certainly distant cousins. Never mind the fact that the transition worked well when it came to a pair of albums that successfully redefined the music of the Moody Blues within that template, or that Seger himself was a heartland hero with confirmed road warrior status. His singular style suggests that Silver Bullet Bluegrass might be nothing more than an idle attempt at compromise which any proud purist would dare not pursue.

On the other hand, any effort that features the contributions of an a-list group of all-star musicians — in this case, guitarists Richard Bennett, Shawn Brock, Larry Cordle, Stephen Mougin, and Gary Nichols, bassist Mike Bub, and fiddlers Tim Crouch, Shawn Lane, Megan Lynch, and Tammy Rogers— offers at very least a certain guarantee. So too, the headliners at the hem of the interpretations — Carson Peters, Gary Nichols, Shanna Tucker, Tim Shelton, Keith Garrett, Jeff Parker, Bo Bice, Ward Hayden, Tim Stafford, Josh Shilling, Robert Hale, Bill Taylor, and Larry Cordell — can be credited with finding the imagination, insight, and inspiration needed to ensure its triumph.

In that regard, each of those artists manage to retain the spirit of the original offerings. Gary Nichols’ take on Turn the Page, Jeff Parker’s read of We’ve Got Tonight, Josh Shilling’s cover of Main Street, Larry Cordle’s Night Moves, and Tim Shelton’s version of Against the Wind each boast a certain similarity to Seger’s seminal versions, particularly as far as attitude and intent. On the other hand, Tim Stafford’s Even Now, Robert Hale’s Feel Like a Number, Bill Taylor’s Roll Me Away, and Shonna Tucker’s Hollywood Nights shed a new light on each of these respective entries. So too, Keith Garret’s fiddle-fueled revamp of You’ll Accompany Me, Bo Bice’s radical redo of Ramblin’ Gamblin’ Man and Ward Hayden’s success at turning the rocking revelry of Betty Lou’s Gettin’ Out Tonight into a honky-tonk hoedown somehow suggests that those particular songs may have been written with a bluegrass blueprint in mind.

Granted, nothing will ever take the pace of Bob Seger’s drive and determination. Yet, it can also be claimed — and convincingly so — that Silver Bullet Bluegrass is a highly competent companion piece as essential as the original.

Christmas Time Is Here – Authentic Unlimited

Authentic Unlimited’s holiday album, Christmas Time Is Here, their third release on Billy Blue Records for 2024, is gaining momentum and drawing more attention to this award-winning quintet.

Jerry Salley, A&R/Creative Director at Billy Blue Records, bragged a bit on the band.

“To those who may have wondered just how talented Authentic Unlimited is, Christmas Time Is Here, answers all speculation! Combining complex vocal arrangements and exquisite musicianship on multiple tracks, the gracefulness of every intimate arrangement displays mastery at every level. This recording will not only appeal to their fan base, but will no doubt attract new fans to their musical versatility. Sure to become a holiday favorite.”

The album is polished, vocally and instrumentally, and is a true Christmas treat for any listener. It captures the holiday spirit in ten holiday tunes with Jerry Cole, Eli Johnston, and John Meador taking turns with the lead vocals. The title song, sung by Johnston, is taken from a tune written specifically for the 1965 Charlie Brown Christmas television special, with music composed by Vince Guaraldi and words by Lee Mendelson. The band accomplishes the jazzy Peanuts sound with the addition of Garrett Anderson on piano, Ben Isaacs on string bass, and Mikey Rogers on percussion.

The selections include slick arrangements of holiday music staples both old and new. Examples range from Leroy Anderson’s Sleigh Ride (lyrics completed in 1950), where the three lead vocalists take turns, to making it their own on Alan Jackson and Keith Whitley’s 1985 duet of There’s A New Kid in Town.

Meador plays both acoustic and electric guitars on the project. He explained the selection of material and the intricate arrangements.

“All the singers picked three of their favorite Christmas songs. We arranged all of them together during album rehearsal. It is one of my favorite experiences in a studio.”

Truly a work of creative art, the five-part choir backing Cole’s mellow lead on It’s Beginning to Look A Lot Like Christmas was done entirely by Meador and Johnston. Burwell masterfully plays multiple strings to give it an orchestral sound.

AU fiddler, Stephen Burwell, shared how it felt to be working outside the parameters of bluegrass for a change.

“Recording this Christmas album was a breath of fresh air. Playing and singing Christmas music in its more traditional form was definitely new to each of us. It became a fun challenge and we had an absolute blast tracking each song. We are amazed at the guys who lent their talents to this album as well. Ben Isaacs, Mikey Rogers, and Garrett Anderson, our hats are off to you fellas.”

Mandolinist Jesse Brock, confessed some uncertainty when the idea was first discussed.

“Personally, I was reluctant to put out a Christmas album that would be microscopically-analyzed by critics. I am relieved and proud of AU for the collective efforts to bring forth such a high standard and a timeless album. I think anyone, whether a fan or not, will quickly hear and appreciate the effort involved in this project. Attention to arrangements with vocal clarity and intricate instrumentation pull you into a relaxing realm of the season.

Whether trimming the tree or baking holiday treats, this puts you in the mood and hopefully lands on your playlist every year. Let’s not forget the reason for the season too, and all thanks be to God for the birth of His son, Jesus Christ.”

The holiday musical journey concludes with a take on Have Yourself a Merry Little Christmas that features a solo vocal from Meador, backed only by the piano trio of Anderson, Isaacs, and Rogers. John’s soaring and effortless tenor will leave you with chills.

The album graphics are also worth noting. The jacket is festive and sure to bring a smile as you view the band members decked out for the holidays in Santa hats. Inside, the package is adorned with oversized decorations, including Burwell astride a giant Christmas ornament looking like he’s on a space ball, one of those bouncy balls with a handle!

Christmas Time is Here will make a great gift for any music lover, or get it for yourself and enjoy the holidays with Authentic Unlimited.

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.

That Old Mountain – Byron Hill

Byron Hill can claim an impressive backstory. His songs have graced no fewer than 100 gold and platinum albums and singles, earning him ten ASCAP awards and 36 US and Canadian top-ten hits, as well as hits in many international markets. No fewer than eighteen members of the Country Music Hall of Fame have recorded his songs.

Hill was inducted into the Nashville Songwriters Hall of Fame in 2018. His music spans more than four decades, and includes hits and album tracks recorded by George Strait, Alabama, Ray Charles, Kenny Rogers, Reba McEntire, Don Williams, John Michael Montgomery, Juice Newton, Joe Nichols, Randy Travis, Keith Whitley, Jason Aldean, Trace Adkins, Conway Twitty, Jeff Bates, Highway 101, Barbara Mandrell, Mel McDaniel, Mark Chesnutt, Rhett Akins, The Oak Ridge Boys, The Whites, Ricky Van Shelton, The Seekers, Rhonda Vincent, Lonesome River Band, The Grascals, The Seldom Scene, Doc & Merle Watson, Asleep At The Wheel, Dionne Warwick, Toby Keith, Gene Watson, Margo Smith, Mark Wills, The Kendalls, Porter Wagoner, Sha Na Na, Moe Bandy, Clint Eastwood, Joe Diffie, and Hank Thompson, among many others.

In addition, his material has been included in several feature films, network programs, and cable TV shows and series.

That’s an impressive resume to be sure, but strangely enough, Hill’s personal resume has largely escaped the public eye. Hopefully then, that will change with the release of his new seven song mini LP, That Old Mountain. Garnering support from an all-star list of veteran session players — Evan Winsor (bass), Jonah Horton (mandolin), Tim Crouch (fiddle), Scott Vestal (banjo), Cody Kilby (guitar) — and Hill himself on vocals, guitar, Irish fiddle, and production, it’s a most impressive set of moving and memorable songs, composed by Hill and occasional co-writer Glen Duncan.

While the credentials don’t get any more impressive than those listed above, as always, it’s the music that matters. And here again, Hill proves that point decidedly. It’s filtered through with quiet contentment, while sharing a sense of sheer affirmation throughout. That’s evident from the outset with the quiet narrative Mountain Folks Are Always High, a song that shares the celebratory stance stated in its title. Nobody Knows But Me offers a first-hand account of a life on the run, one that finds the protagonist proudly proclaiming that no one was hurt while committing his crimes. Finally, the title track provides a nice sandwich for the set, offering an ode to the altitude that creates a higher plain.

Hill’s incessant charms, melodies and devotion to his Appalachian environs are obvious with each of these engaging encounters. As a result, That Old Mountain can be considered a most desirable destination indeed.

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.

Lady of the Lake – Nora Brown and Stephanie Coleman

The new combined project by Nora Brown and Stephanie Coleman on Jalopy Records represents a super session of sorts shared by two artists with impeccable credentials. A vocalist, banjo player, and guitarist, Brown is a “lifer” as far as her musical commitment is concerned. She began engaging with music at the age of six and now focuses on a traditional template, especially centered on Southern Appalachian melodies featuring banjo and guitar. She’s performed at numerous festivals throughout the US and Europe, been a featured guest on several national radio programs, reaped remarkable sales for her three previous albums, and garnered extensive praise from any number of prestigious pundits, all in addition to winning a number of major middle competitions along the way.

Brown’s collaboration with fiddler and singer Stephanie Coleman brings an added distinction. Like Brown, Coleman began playing at an early age — eight to be precise — and later started performing in the local traditional music scene, specifically Chicago’s legendary Old Town School of Folk Music. At age 12, she began playing professionally and by the time she turned 13, she had already released her debut album. During her teens, she became an in-demand square dance musician for the Chicago Barn Dance Company, and a regular winner at various fiddle competitions. She later joined the acclaimed female string band, Uncle Earl, with whom she toured the world playing festivals and other iconic venues. She’s also performed alongside Rhiannon Giddens, Aoife O’Donovan, Béla Fleck, and Watchhouse’s Andrew Marlin.

The duo’s new combined effort, Lady of the Lake, spotlights the talents of both artists, given that they are the only two players responsible for the four songs that make up their exceptional EP.

The title track finds the two working in sync, sharing an instrumental that provides the impression it was drawn from old country confines. Gone So Long is an uptempo offering that also sounds as if it was spun from Appalachian environs, as underscored by its heartfelt sentiment. Meanwhile, the simple pluck and strum that illuminates Twin Sisters allows for more delicate designs. Nevertheless, it’s the final song of the set, Copper Kettle, that conveys the most tender trappings, a lovely ballad shared with supple heartfelt harmonies and quiet contentment.

Ultimately, Lady of the Lake emerges as an example of genuine emotion spawned from archival origins. As such, it resonates with both feeling and finesse.

Is It Christmas Yet? – New Direction Bluegrass

New Direction Bluegrass, a regional bluegrass band based out of Siler City, NC, has released a new Christmas project, Is It Christmas Yet? The four-piece ensemble features the husband-wife team of Bobby Gales on banjo/guitar and Christy Gales on upright bass, Brice Hursey on lead guitar, and Sara Walters on fiddle/guitar. The Gales’ adult son, Kendall, guests on mandolin and his instrumentation really stands out on the project. Vocal work is traded between the two senior Gales and Walters.

The self-produced project features ten holiday tunes (both religious and secular). Song selection includes seven vocals and three instrumentals. Careful attention has been devoted to arrangements.

Vocal numbers include traditional hymns, such as Beautiful Star of Bethlehem, where NDB seamlessly switches between harmony patterns, one of which emulates a classic Chuck Wagon Gang-style blend. The project additionally includes country classics like Alabama’s Christmas in Dixie and the Statler Brothers’ Who Do You Think. There is also a beautiful Harley Allen/Debbie Nims composition, The Angels Cried, where the band trades lead vocals.

A personal favorite is Pachelbel’s Canon (Canon in D), spotlighting Hursey’s beautiful guitar work. He masters multiple styles including flat and finger picking on the album. I might be slightly biased, since he played for our youngest daughter’s wedding a couple years ago, but it’s beautifully done. God Rest Ye Merry Gentlemen and Joy to the World are the other instrumentals that particularly highlight Bobby Gales’ banjo skills. Another impressive number is their take on Little Drummer Boy, with tight harmonies and toe-tapping percussion beats. You might find yourself singing the third part along with their duets.

New Direction Bluegrass also offers a strong version of Light of the Stable. Kendall’s mandolin and the band’s vocals are impressive, and resonate the celebration of the birth of Jesus Christ.

It is interesting how their current band configuration came into being and brought about their ministry through music.

Founding member, Bobby Gales, a retiree of UNC-CH where he served as Director of Athletic Facility Maintenance, shared a little personal history and faith. “This group came together by Divine intervention. We are so grateful that God orchestrated bringing this group together. Our goal has always been to honor God with our music.”

He elaborated on the band’s evolution. “I first started playing bluegrass gospel music back in 1996 with my two sons, Cameron and Kendall, as Gospel Grass, which became Mitzi Brooks & Gospel Grass, New Direction, and now New Direction Bluegrass.”

During a community theater group’s presentation of Smoke on the Mountain, Bobby and Charity met Sarah, their fiddler, when they played the parts of her parents in the production. That collaboration led to her joining the band. Brice, mentored by the band’s guitarist, Billy Mickle, who retired after 15 years, stepped in to fill his shoes.

Bobby concluded, “We have wanted to do a Christmas project for years, but God’s time and our pieces were just not right. We did this project in three days in the Rubber Room with Jerry Brown of Chapel Hill. We have been playing Little Drummer Boy, one of our favorites, at all of our gigs since last Christmas with great response. We pray God will use this album to bring much Christmas joy to families for years to come.”

Is It Christmas Yet? would be a nice addition to any Christmas bluegrass collection. It is an above average rendering of holiday numbers that conveys the true meaning of Christmas for those of us of the Christian faith. Harmonies are solid, all instruments are in tune, and the project is well-recorded. I will point out that the pronunciations in some of the vocals is a bit “proper,” lacking much of the “country/southern drawl” many of us expect from bluegrass singers. That’s not necessarily a bad thing; it just takes a bit of getting used to, and was forgotten by the second listening. Also, while the project contains some very advanced instrumentation there are also portions that are slightly understated, and while well-done, stick mainly to the basic melody. Overall, this is a good bluegrass/Christmas collection that we found ourselves playing repeatedly.

To order their CD or see their tour schedule, visit the New Direction Bluegrass website, and Is It Christmas Yet? is available for download on Spotify, Apple Music, and YouTube.

You can check out all the Christmas bluegrass we have covered at Bluegrass Today by following this link.