Posts Tagged ‘Mike Compton’

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Cousin Curly in the Temple of Twang

12 April 2011

Before I get all distracted, let me show you this edition’s video, which comes from my travels to Nashville last spring…

From a certain point of view, the Ryman Auditorium could be seen as a microcosm of Nashville. Like the Music City as a whole, the Ryman is a really nice place that seems to hide its deep connection to bluegrass. While the back of the building is lined with display cases, you have to go to the third floor to find any significant bluegrass-related material. In some respects this isn’t a surprise, in that the Ryman hosts all manner of performances today, from Aretha Franklin to ZZ Top. But while I’m sure that ticket sales for bluegrass acts aren’t keeping the auditorium’s pews polished to a fare thee well, I reckon that the streams of pilgrims who are paying close to twenty bucks for the backstage tour are primarily drawn by the venue’s storied past. No doubt many grew up listening to the Grand Ole Opry, which called the Ryman home for several decades. If I’m correct about all that, it would follow that a good number of these are folks interested in an era when bluegrass was an integral part of the operation. So what gives?

But as I say, I found Nashville puzzling in the same way. A quick rundown of musicians based in Nashville reads like a directory of present-day bluegrass:

Alison Brown, Roland White, Bryan Sutton, Jerry Douglas, Jim Buchanan, Josh Williams, Valerie Smith, The Steeldrivers, Ron Block, Blake Williams,  Ricky Skaggs, Mark Schatz, Jerry Salley, Keith Tew, Gail Davies, The Infamous String Dusters, Melonie Canon, Casey Driessen, Sam Bush, Gillian Welch,  Daily & Vincent, John Weisberger, Dierks Bentley, Kathy Chiavola, Mike Bub, Larry Sparks, Tim Carter, Paul Brewster, Ronnie Reno, Tim O’Brien, Billy & Terry Smith, Fred Carpenter, Doug Dillard,  Tim May, Wayne Southards, Brad Davis, Barry & Holly Tashian, David Crow, Kevin Williamson, John Cowan, Mike Compton, Tim Hensley, Larry Cordle, Marty Raybon, Sharon Cort, Keith Sewell, The Chigger Hill Boys, Stuart Duncan, David Talbot, Ed Dye, The Grascals, Pat Enright, Scott Vestal, Donna Ulisse, The Farewell Drifters, Marty Stuart, Rickie Simpkins, Pat Flynn, Kim Fox, Pam Gadd, J.T. Gray, Tom T. Hall, Aubrey Haynie, Casey Henry, Tom Saffell, Randy Howard, Jim Hurst, Rob Ickes, Eddie Stubbs, Vic Jordan, Cody Kilby, Randy Kohrs, Alison Krauss, Jim Lauderdale, David Grier, Keith Little, Ned Luberecki, Del McCoury, James & Angela McKinney, Larry McNeely, Luke McNight, Ken Mellons, Patty Mitchell, Alan O’Bryant, Bobby Osborne, Heartstrings, The Overall Brothers, Continental Divide, David Peterson, Missy Raines, Lee & Elaine Roy, Carl Jackson, Darrell Scott, Jimmy Campbell, Ronnie McCoury, Larry Perkins, Larry Stephenson, Jim Van Cleve, Terry Eldridge, Andrea Zonn.

Whew. That’s just a start; I’ll bet there are literally hundreds more worth noting.  Even so, the music itself doesn’t even register as background noise. During my visit, I would regularly spin the radio dial from one end to the other. I never heard so much as a note that sounded like bluegrass. I know there is a vibrant house party scene in the Nashville bluegrass community, but that doesn’t explain why bluegrass isn’t a more visible— or, more the point, audible— part of the landscape.

But don’t get me wrong: I really like Nashville. As long as the Cumberland River behaves itself, it’s an elegant metropolis that also manages to be comfortable and friendly. Can’t wait for my next visit, by which time I hope I will have been granted the secret password and welcomed into Nashville’s occult (in every sense of the word) bluegrass scene.

Yer Pal— Curly

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New Wave New Grass?

28 May 2010

Time for some more souvenirs from Merlefest.  Here’s a video entry about Elvis Costello’s main stage set with his roots supergroup, The Sugarcanes:

Say, is it just my imagination, or is it actually the case that you can’t do these just-one-man’s-opinion video entries without sounding like Andy Rooney?  In my Excellent Online Adventure, I’ve been throwing all manner of stuff against the virtual wall to see what sticks, and so far it seems like the opinion pieces not only don’t stick; they just hang there for a second and then come crashing to the floor.  Just one man’s opinion— dang, there I go again.

In any event, hope my ugly mug didn’t get in the way of your appreciation of Elvis & Co.  The two performance clips I’ve stitched together here actually show his band cutting loose a bit more than was the case during the show as a whole, and even so, they’re pretty battened down.

While it seems odd that Costello would go through the trouble to assemble so much instrumental firepower, only to have the musicians keep their powder dry, this approach is very much in keeping with his formation as an artist.  Forgive me if you’ve heard this one before, but younger or older readers might need to be reminded that the punk and new wave scene from which Costello emerged in the mid-1970’s largely defined itself as a reaction to the excesses of the “album rock” of that era.  Back in the day, jamming was anathema to Costello and his fellow Young Turks.  If a song didn’t fit into three minutes, they just played it faster.  Although Costello shed his punk veneer long ago (that’s a very natty suit he was wearing at Merlefest), my guess is that he’s still resistant to any extended improvisation.  It doesn’t seem to jibe with his whole sense of songwriting craft.

Yer Bloviatin’ Pal— Curly

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