Max Wareham is a multi-faceted individual. His interests range from taking part in archaeological digs, to translating medieval poetry. However he’s best known as a banjo player, songwriter, author, and, more specifically, a member of the Peter Rowan Bluegrass Band that was featured on the Grammy-nominated album, Calling You From My Mountain. Consequently, when it came time to record his first solo outing, it was only natural that his interest in history and the early pioneers of his chosen instrument would inspire him and influence the thirteen songs that populate the disc.
So too, it was hardly a surprise that Wareham was able to recruit some of Nashville’s most preeminent pickers to aid him in his endeavor. They naturally include Rowan himself, who served as the project’s producer, and background singer on two of the tracks, along with multi-Grammy-winning engineer Sean Sullivan, Chris Eldridge and David Grier on guitar, Laura Orshaw on fiddle, Chris Henry on mandolin, Mike Bub on bass, and Larry Atamanuik on the snare. Nevertheless, it’s Wareham himself who naturally takes center stage.
That said, DAGGOMIT is a shared experience, a flurry of banjo, fiddle, and mandolin that turns each and every song into an upbeat and exuberant celebration of song. Opening track, Walking In Jerusalem sets the tone, a lively instrumental take on the gospel classic. Lonesome Blues, I’m Coming Home is equally ecstatic, with all the instruments wailing away at lightning fast speed and high harmonies crowning the effort overall. The rapid-fire revelry of The Black & Gold follows suit, while the jaunty stride given Bar Rules clearly alluding to its name.
While instrumentals dominate the proceedings, Orshaw’s vocal on That’s Just Part Of It provides the album with a momentary change of pace, as does the casual saunter and sway infused in Heartaches and Rexford Falls. Wareham himself takes a vocal turn on Gone, Baby, Gone, a song that seemingly takes root from the age-old standard 900 Miles From My Home. A take on Hank Williams’ contemplative gospel ballad Drifting Too Far From the Shore follows suit.
Mostly though, Wareham and company keep matters cruising along at full tilt while assuring a solid balance through the instrumental arrangements. It’s a commanding set of songs to be sure, one that holds attention and culminates in a captivating experience overall. Hard Times Are Far Behind, a variation of the oft-covered folk standard originally written by Stephen Foster, Hard Times Come Again No More, encapsulates the sense of optimism that’s so prevalent throughout.
Ultimately then, DAGGOMIT leads one to hope Wareham will continue to chart a s solo path in the future. In the meantime, suffice it to say this is one “daggom” impressive debut.
