Julian Pinelli, “Simple Mountains”

There’s an almost intangible subversion to fiddler Julian Pinelli’s debut album, Bent Creek, and an original tune included therein, “Simple Mountains.” The track begins with fiddle and banjo, but not in their age-old, familiar capacities. There’s a lyrical, pop-like sensibility to their duetted intro, painting a dreamy soundscape, a background for what’s to follow. The tightly-knit, free-flowing, jaunty tune calls back to the Appalachian Mountains from which Pinelli hails, but with the modern, neat, and tidy crispness of the string band scene of Boston, where he attended Berklee College of Music.

Though Pinelli and his band, Matthew Davis (banjo), Tristan Scroggins (mandolin), Sam Leslie (guitar), and Dan Klingsberg (bass), were well acquainted before the project, they were assembled expressly for these recordings, under the direction of the ever ethereal roots/folk savant Aoife O’Donovan. The group, especially on “Simple Mountains,” sounds impossibly in step with one another, tight and ever-listening. Their musicality and the authentic purity of the instruments — you’ll hear unexpected G-runs, an unyielding mando chop, and stunning double-stops — coupled with their impressive commitment to innovative, untrod musical ground elevates the entire set of songs above simple “vanity album” status. This is not a gratuitous, self-serving shredfest. It’s a surprisingly mature, impressively realized record that not only showcases exactly how the future of bluegrass-based, new acoustic-tinged music will play out, it shines a spotlight on a few of the exact pickers who will make that future happen. Hopefully not without a lightly subversive touch here and there.

David Grier, “Waiting on Daddy’s Money”

The initial A and B parts of virtuosic flatpicker David Grier’s “Waiting on Daddy’s Money” will strike your ear as timeless. It’s a subtly haunting and awry melody that conjures many of bluegrass and old-time’s iconic fiddle tunes. But, as soon as the first form is complete, Grier’s countless embellishments and reiterations of that melody demonstrate that this is no play-the-same-tune-for-half-an-hour-in-unison old-time revelry. Instead, this is an artistic study, a series of complicated opuses revisiting and revising the tune into a truly original, nearly inimitable six-string soliloquy.

What’s remarkable though, through that artistry — that ebbs and flows from simplistic, familiar staple licks to utterly singular, mind-boggling musical acrobatics — is that the tune, and Grier’s cyclical interpretations of it, are never at any point esoteric or inaccessible to the listener’s ear. Somewhat counterintuitively, it effortlessly holds onto that classic fiddle tune vibe. Grier himself refers to these interpretations as “mutations,” though that descriptor belies the decades upon decades of learned, practiced nuance and ease that make each reharmonization, key change, chord inversion, syncopated rhythm, and string sweep a boon to the song, rather than self-aggrandizing distractions.

Above all else, “Waiting on Daddy’s Money” — and the entire album, Ways of the World — demonstrates that Grier is an unimpeachably superlative guitarist with a one-of-a-kind musical voice that not only draws on his history growing up with bluegrass, but also consciously and magnificently blazes an impeccably fresh trail that no other picker has yet to even attempt to trod.


Photo credit: Scott Simontacchi

I’m With Her, ‘Waitsfield’

If only there were someone giving out nickels for every time the term “supergroup” is used. We’d all be rich. It’s not an altogether uncommon designation, as perhaps it ought to be, especially in bluegrass and its nearest offshoot genres, where virtuosity and technical prowess aren’t luxuries, but commodities. Nearly every outfit could ostensibly be labeled a “supergroup.” Even more so after each member’s bio and qualifications have been flamboyantly posited. But here, in this Tunesday, you can trust that “supergroup” won’t be bandied about.

I’m With Her (aka Sarah Jarosz + Aoife O’Donovan + Sara Watkins) — is a supergroup. The artistry, ease, precision, and personality of their just-released debut album, See You Around, corroborates this claim through each and every track, but the legitimacy of the moniker is cemented with the record’s lone instrumental, “Waitsfield.” These three women are all inimitable songwriters and vocalists, so they certainly didn’t need to include a tune … but they did … for the benefit of all of us. “Waitsfield” is rollicking and playful, a whimsical mandolin/fiddle dialogue that lopes and waltzes and dashes about. It doesn’t need to be a shred-fest to illustrate, undeniably, that not a single I’m With Her-er has relinquished any of her bluegrass chops — even while they each delve into sonic territories far from their respective starting points. The charm of the song isn’t shadowed by its frenetic energy; it’s enhanced — especially at the end, when they each breathe a sigh of relief, chuckle, and exclaim, “We made it!” We knew they would. They’re a supergroup.