Posts Tagged ‘Stash Wyslouch’

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Fade In: The Deadly Gentlemen

3 April 2013

The Deadly Gentlemen, a Boston-based outfit, have just announced that their next album will be released by venerable Rounder Records. The album, which will be titled “Roll Me, Tumble Me” is due out in July, but to whet our appetite, the group has just released a three-song EP, “Bored of the Raging.” With all this buzz, the time is right to share this video, which showcases some of the band’s new material:

The Deadly Gentlemen consist of Greg Liszt on banjo, Stash Wyslouch on guitar, Mike Barnett on fiddle, Dominick Leslie on mandolin, and Sam Grisman on double bass. Although Wyslouch’s voice does a lot of the heavy lifting, all five members contribute to vocals, which allows the group to achieve a variety of textures in their songs.

Every member of the band has virtuosic chops on their respective instruments as well. Given this breadth of talent, it might not be strictly accurate to peg Liszt as the group’s leader. Nevertheless, since he came to The Deadly Gentlemen with a ten-year stint in the renowned and influential band Crooked Still already on his résumé, it’s hard not to see him as the band’s éminance grise. Certainly the rich sonic tapestry of the band’s wonderful debut CD, “Carry Me to Home” seemed to owe a lot to Liszt’s taste for filigree in both lyrics and musical technique.

As evidenced in the video clip, the band’s newer songs are generally simpler and more direct. The emphatic rhythmic hooks of the early material are still there, but now they are frequently mingled with soaring melodies that, when repeated, can create a trance-like effect.

Over the past few months, the band has been touring with Greensky Bluegrass and The Yonder Mountain String Band. On one level, this makes sense. It’s easy to imagine the Dead Gents getting a warm reception in the jam band culture of which those bands are a product. At the same time, The Deadly Gentlemen’s songs tend to be more tightly arranged than yer typical jam band’s stuff. As anyone who has seen one of their combustible live shows can attest, these guys know how to cut loose, but most of their tunes clock in at no more than a few minutes.

In describing its music, the group says it has “kind of a rock ‘n’ roll feel,” and Liszt doesn’t hide the fact that, before he picked up the banjo, he went through a phase during which he listened to almost nothing but the Rolling Stones. The Deadly Gentlemen are known to cover a Stones song or two, and the Jagger/Richards influence comes through in their music in other ways as well. If all bluegrass jam bands on some level can be seen as offspring of the Grateful Dead, then The Deadly Gentlemen are the progeny of the Rolling Stones. That formula might be a bit reductive, but as with any effective caricature, it captures the essential features of its subjects.

We recorded “Faded Star” during a sound check at The Lizard Lounge, an intimate listening room/watering hole in Cambridge, Massachusetts that has served as a testing ground and second home for The Deadly Gentlemen as they have refined their sound over the past several years. We’re working on another video from that shoot, so don’t wander too far. To Joe Stewart and the Lizard Lounge management, thanks for the use of the hall.

Yer Pal— Curly

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Remembering Kenny Baker at Grey Fox

28 July 2011

The great fiddler Kenny Baker died on July 8th. Exactly one week later, the ad hoc Kenny Baker Memorial Orchestra assembled on the main stage at the Grey Fox Bluegrass Festival to “play homage” to this titan of American musican. The “orchestra” was the brainchild of Matt Glaser, himself a renowned fiddler and a guiding light of the American Roots Music Program at Berklee College of Music.

Since the Grey Fox program was already in place long before Baker passed, there wasn’t a block of time available for a full-blown tribute. Glaser and company therefore had to make the most of a brief interlude on Friday afternoon between sets by Michael Cleveland and Tim O’Brien.

The assembled multitude managed to pack four tunes into ten minutes. In my view, the heart of the medley was the second tune, “Cross-eyed Fiddler,” a Baker original, appropriately enough. Have a look and a listen…

Now, without clicking “replay,” how many of the performers can you name? If you’re from New England, chances are you recognize a face or two, as many are based in the region. With the likes of Baker and Hazel Dickens leaving the stage, and with players like O’Brien, Cleveland and Glaser well established in their careers, it’s time for a new generation of players to make their marks. Most of the performers in the “orchestra” are in their twenties; many are in highly regarded bands such as The Deadly Gentlemen, Della Mae or the Red Stick Ramblers. For those of you who haven’t updated your Who’s Who in Bluegrass lately, I’m providing, free of charge, the following video guide. This clip shows the entire Baker tribute medley, with the bonus feature that all players are identified. See how many pickers you can I.D. before their names show up on screen. Extra points if you can pick out the musician who is also an MD specializing in Emergency Medicine.

Only a stone could resist being moved by that last image of the players filing out to “The Dead March,” finally leaving just Cleveland on stage, like a solitary candle. Wish I could tell you more about “The Dead March.” It’s a late Monroe composition, a tune Glaser said that the Father of Bluegrass “remembered,” but I haven’t been able to dig up much beyond that. I suspect that as many people know the tune from a celebrated television performance by the meteoric supergroup Muleskinner as from any of Monroe’s recordings.

“The Dead March” is a keeper, but in the end, it’s “Cross-Eyed Fiddler” that really sticks with me. This seems a hugely underappreciated fiddle tune. It’s not an old composition and it’s under copyright, but those conditions haven’t kept other tunes (“Rebecca,” “Ashokan Farewell,” “Josephine’s Waltz”) from entering the fiddling canon. Perhaps it’s the title that holds it back— “Cross-Eyed Fiddler” doesn’t seem to fit its jaunty tone.

In any event, I love how the players at Grey Fox really get into the swing of the tune. You can see them all, little by little, put their bodies into it, swaying and bouncing to the melody. One of the things that made Baker a great musician— perhaps the thing— was that there was at once a looseness and formality to both his playing and his compositions. If you’ve ever seen a photograph or a video of Baker, there’s a kind of severity to the way he carried himself. He had this ramrod-straight posture, and no one— not even Bill Monroe— looked meaner in a perfectly blocked cowboy hat. His playing had a definite precision, too, but look closer and you can see how relaxed his technique remained, even when playing at speed. Like so many master musicians, he made it look easy.

Many people feel that to say that he “co-wrote” the classic tune “Jerusalem Ridge” with Monroe is to give Baker too little credit. Whatever the case, if you compare how he plays the tune to the whole host of subsequent renditions, what stands out is how spare and clean his version is. Every motion of the bow is like a punctuation mark. At the same time, however, was there ever a more baroque and passionate fiddle tune than this? There it is: the marriage of contradictions so often found in great art. For the philosophers following along at home, you could say that while there was much that was Apollonian in Baker’s demeanor and bearing, a Dionysian side always came out in his music. Whatever wonders future generations of musicians have to offer us, we will miss Kenny Baker.

A Word or Two More On Grey Fox

The biggest no-show at Grey Fox this year was not Peter Rowan, who managed to make it, albeit a little later than expected. No, the big no-show was the colossal, end-of-time rain storm that shows up like clockwork— except when it doesn’t. Even the storm’s usual sidekick, Insufferable Heat, barely stopped by. This, combined with the usual strong line-up and the off-the-hook campsite jams, made for a glorious festival. But don’t take my word for it: in a bid to put me out of business, Grey Fox has really ramped up its online media. Check out the festival blog for boatloads of videos. I’m particularly impressed by— and partial to— the several videos that capture the campsite jams. As we all know, some of the best playing goes on in these informal gatherings, and the experience is even more ephemeral than a live concert. After all, Del McCoury and his boys will play together another day, but most jams are fleeting hook-ups, so to speak. Those of us who care about this stuff need to do a better job of documenting these magical moments. Hats off to the media crew at Grey Fox for its progress on that front.

Yer Pal— Curly

P.S. The Emergency Medicine specialist is Kalev Freeman, one of the fiddlers lurking in the rear on the right side of the stage.

P.P.S. Thanks to Nick DiSebastian, Ben Pearce, Fred Robbins, Mary Burdette and Matt Glaser for their scholarly assistance.

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