by Steve Romanoski
We've all come to know David Grier as a guitarist whose artistic cup overflows with ability and have marveled at the technical genius of his recordings. Hootenanny takes Grier away from the high end production that surrounds his performances for Rounder and sets him into a far more intimate setting. The result is that the listener is provided with a glimpse of this exceptional artist at a far more accessible level.
For the uninformed, a "hootenanny" was a term that folkies used as a way to describe their informal jam sessions. The mood of Grier's Hootenanny is generally informal although it it presents performances that match the intensity that the guitarist demonstrated in his earlier works. This gives us the opportunity to hear Grier open up as an instrumentalist who excels on accompaniment as well as soloing. Thus, in a tune like "Ragtime Annie" the listener is treated to an old-timey melodic approach rather than the high-tech solos Grier might have done before. And we discover that David's playing is just as impressive in this mode and every bit as inventive. The solos on "Ragtime Annie" lack the flash but gain in approach. One solo in particular sent me scurrying to the notes to see who was playing bass. Then I discovered that David was working out a staccato solo on the low end of the guitar. Later Grier experiments with "Red Haired Boy" creating a darker feel with a melodic line set against Dirk Powell's droning accordion. The tune picks up speed as the performance proceeds but maintains the melancholy aura. But if you go beyond the mood, which is a task, you'll hear some exceptional technique applied to this new approach of an old war-horse. Then, there's the guitar driven version of "Clinch Mountain Backstep." Again Grier alters the pace and lets the ensemble change gears. But this interpretation is harsher and more toward the lonesome end of the spectrum than the versions you're used to hearing around the bluegrass circuit.
But Grier hasn't lost his desire to jam out a barn burner as demonstrated in "Have You Ever Seen The Devil Uncle Joe" or"Lonesome Road Blues." The former has guitar work that's dazzling, yet down to Earth. But the finale' hits new frontiers in jamology. O'Brien's bouzouki, Powell's fiddle and Grier's guitar all attack the melody full force and come to an end with a simple lone guitar lick. It's a wonderful effect that drives the point home.
Grier's presence as a composer is less noticeable on this recording although one of his works should be considered as the high point in the mix. "Cascade"is a lush tune that exemplifies the depth of David Grier's art. This is one of those melodies that keeps you coming back for more. It never goes out on a limb or strays too far from the melody, yet the structure is full of amazing work. O'Brien and Powell provide stellar performances on this one as well, but the spotlight always returns to Grier.
With Hootenanny, you'll still be blown away by David Grier's ability. But you'll also witness a player who can create outside of large superstar aggregations in forms of music that are all too often mislabeled as simpler styles. Hootenanny brightens David Grier's star in my book.
Steve Romanoski - Bluegrass Music News Fall 1998