by David Dees
David Grier - Panorama
1997 Rounder Records
Review by David Dees
Bluegrass Now Magazine, February, 1998
When music is produced by such talents as David Grier, Stuart Duncan, Sam Bush, Mike Compton, Bob Carlin, Craig Smith and Todd Phillips, you don't ask if it is good--you ask for more. This is David Grier's third solo project for Rounder, and accompanied by this stellar set of musicians, Grier performs tunes that range from traditional and old-time music to sophistaicated, contemporary bluegrass. These are musicians with whom Grier often performs in different venues, and the mutual comfort and fellowship can be sensed in the performances. Although there are only 10 cuts on the album, they constitute a generous 50 minutes of excellent music from seven musicians, each a master.
Some instrumentalists are immediatedly identifiable because they have a set of distinctive licks that they use frequently. This is not the case with David Grier. Grier is identifiable because of his overwhelming mastery of the guitar. It seems at times that there are no limitations on his capacity to produce the most delightful music. His attack can be fierce and aggressive one moment, then subtle and teasing at another, but throughout you can find the "three T's" of music: taste, timing and tone.
Six of the tunes are originals, including "The Skeleton", a bluesy number played primarily on the bass strings, "Impulsive", a quick-paced breakdown, and the jazzy "Dead End". Grier also continues his interest in old-time flavored tunes (Carroll Best's "Chinquapin Hunting", Norman Blake's "Jeff Davis", and Doc Watson's "Peartree/Double File". "King Wilkies Run" is a lengthy exploration of a descending melodic line, with Grier, Stuart Duncan and Sam Bush delivering some very complex but deceptively relaxed versions on a theme. The composition also makes a subtle connection to Bill Monroe, for David's father Lamar was a Blue Grass Boy banjoist in the 1960's, and 20 years before that, King Wilkie was Monroe's horse, featured on the cover of Monroe's Song Folio No. 1.
The sound that Grier gets from a guitar is astonishingly full and smooth, so comfortable to the ear that it's easy to overlook the incredible skill that creates it. Don't overlook this very enjoyable album.