David Grier - Panorama
1997 Rounder Records
 
Review by David McCarty
Flatpicking Guitar Magazine, January/February 1998

Tunes:  Impulsive,  Jeff Davis,  King Wilkies Run,  The Skeleton,  Forked Deer,  Ticklebelly Hill,  Apples and Oranges,  Chinquapin Hunting, Pear Tree/Double File, Dead End

David Grier, the man with the Howdy Doody hair and the "how'd he do dat!'?" guitar wizardry, has released his richest, most complex and sophisticated work yet on "Panorama".
Backed by the always brilliant Stuart Duncan, Sam Bush, Mike Compton, Todd Phillips and Craig Smith, Grier produces 10 startling works ranging from the furious newgrass progression of "King Wilkies Run" to the hauntingly beautiful "Jeff Davis".
Perhaps the most impressive achievement here is David's chameleon-like ability to reinvent his guitar technique and melodic approach to provide a unique guitar sound on each tune, then using that sound to construct a unique musical vision. On "Forked Deer," his flatpicking carries a robust, traditional sound, while his melodic and rhythmic vision deconstructs the melody turning it back onto itself like a Mobius'curve to find hidden harmonic dimensions. "Apples and Oranges" finds him playing a fingerstyle-sounding piece based as much in blues forms and true bluegrass, adding yet another musical color to his flatpicking pallet(sic).
As on his utterly brilliant interpretation of "Old Ebenezer Scrooge" on the "True Life Blues" tribute album to Bill Monroe, David makes superb use of his right-hand string dampening technique on several cuts here, including the "hidden" alternative take of "Chinquapin Hunting" that emerges unlisted at the end of Track Ten.
"Dead End" reveals even more stylistic innovations, blazing through a Wes Montgomery- influenced series of octave licks that effectively fuse flatpicking guitar with the break-out sensibilities of the best jazz guitar.
Ultimately, though, "Panorama" emerges as something far more fulfilling and gracious than an album of great flatpicking guitar. In his sophisticated interplay with the supporting musicians here, the genuinely moving and memorable melodies on both his original and cover tunes, and his utter command of each note, tone and rhythm emerging from the guitar, David Grier shows the vision and power only the very best musicians in any genre ever achieve. Think of Clapton's "Layla", Clarence's "Appalachian Swing", Miles Davis' "Kind of Blue", and the original David Grisman Quintet album as examples of the kind of unified musical statement that I believe "Panorama" will one day be viewed as.

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.