Adam Steffey: Post-Alison Krauss And Kicking It

 

 

 

I heard some of this album on KSER:  "Bluegrass Express" possibly (thanks, Miss Nicolette!) or more likely, Dave Long's late, lamented "Stringband Theory". Very much enjoyed it, but Adam's name nagged at me -- how do I know that name...  Eventually the brain pan sorted it out -- Adam was in an early edition of Union Station, Alison Krauss' bluegrass band. Oh, did I mention? (Yeah, I did.) Saw Alison Krauss at the Backstage with her (mostly) original band, including Adam Steffey. Adam was, umm, built a little differently then. Our nickname for him was Mr. Big Pants.

Sorry about the 'Mr. Big Pants' handle, Adam. No, seriously -- really, really sorry (and congrats on the spiffy new look!)

So -- how's the CD? Totally fantastic, and, rare for me, a bluegrass album that gets richer each time I hear it. In my experience, bluegrass albums are pretty much 'figured out' on first or second hearings, so the re-listening experience involves enjoying the well-executed performances. Listening to "New Primitive", it seemed like Adam took a chapter from Alison (record bluegrass music with the best ambiance and studio mastery) and a tiny bit from Tony Rice (don't be afraid to expand the boundaries). Nothing too radical -- all the songs are traditional, 3 with vocals, and there's a good rotation of solos from mandolin, fiddle, banjo and guitar (with bass by then-and-current-Union Station member Barry Bales). It's  a fresh and invigorating take on a traditional style. "New Primitive" is perfectly titled and entertainingly rendered. 

Neko Case -- Better and Better

 

 

The latest Neko Case album is her best so far, sez me.  I've been a sporadic listener, loved bits of "Fox Confessor Brings the Flood" and  "Blacklist"  and "Middle Cyclone", which features the fine, fine song "This Tornado Loves You" -- but "The Worse Things Get, the Harder I Fight: The Harder I Fight, the More I Love You" is by far the best of the batch, more consistent, tighter, and the melodies don't wander, as I found was the case (no pun intended) in other albums.

I really would have liked a lyric sheet. I'm a reader, sue me. Neko's lyrics are hard for me to follow just by listening to them , they're complicated and she doesn't travel down familiar byways.

"Man" is the track that announces itself boldly (3 cuts in). It's by far the most in-your-face track (but what's with that insect-buzz guitar?)

Even though Neko's voice is nothing at all like Grace Slick, I still hear some connections -- maybe it's the laser-like intensity that both Grace and Neko share on certain words and phrasing? And on this album, Neko seems to be in total control of her voice, her songs, the whole package.  

Mississippi Along the Skagit

 

Just a shorter, post-card moment: my dear, dear wife isn't in the best of health, so many times, my day off is basically spent getting her out of the house for a drive. A week or so ago, sun unseasonably beaming (as it continues to be), we took off. On to Lake Cavanaugh, over a former logging road to Oso, then north to Darrington, desperately in need of a restroom (found a park -- whew!) Arrive in Darrington, which felt like a town hanging on for dear life before all that's left is a gas station - slash - mini-mart - slash - nail salon - slash - tattoo parlor. And yet there's a library AND a bookstore -- so maybe

there's still a chance for D-town to get through the tough times.

 

Darrington is surrounded by amazing mountains, but...well, here's the deal: Concrete and Rockport and Marblemount have built a 'American Alps' tourism campaign -- and it's working! Eagle viewing, wineries,  gluen-free bakeries and ghost tours -- Concrete is finding a way to capitalize on the gorgeous, inviting surroundings. Darrington, it seems, not so much. 

Anyway, we drove the Concrete-Sauk Valley Road, late afternoon sun illuminating the river and so many are-you-kidding-me-you're-right-on-the-banks-of-the-freakin'-river cabins. What music could we listen to that would accompany, even enhance, this journey? Turns out this album did just fine.

The songs are tradtional, but Mississippi John Hurt's singing is kindly and delicately subtle. It suggests slowing down, seeing the beauty in the common and the everyday. We drove on, past kids (babies in tow), walking dogs - or rather, accompaning dogs on their walks -- farms, ranches all lit up in a golden glow -- man, what a fine, fine, fine day. And we both agreed --- Mississippi John was the perfect soundtrack.