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The Bluegrass Sessions: Tales From The Acoustic Planet, Vol. 2
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The Bluegrass Sessions: Tales From The Acoustic Features
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Bela Fleck- The Bluegreass Sessions: Tales From the Acoustic Planet
About The Bluegrass Sessions: Tales From The Acoustic
Product Description The latest album from highly acclamined musician Bela Fleck is the first of its kind from a major label - a bluegrass album for the masses. The Bluegrass Sessions: Tales From The Acoustic Planet, Volume 2 brings together not only the greatest acoustic players on the planet but three generations of bluegrass greats, including the first one, represented by Earl Scruggs. Ranging from stone-cold traditional bluegrass to the edges of newgrass, from Fleck originals to classics, The Bluegrass Sessions promises to have enormous appeal to Fleck's cross-genre audience. Amazon.com Béla Fleck, the banjo-wizard leader of the fringe-jazz quartet the Flecktones, returns to more-bluegrass-oriented concerns with this 18-song outing, a complement to 1988's Drive and a more-traditional follow-up to 1995's fusion-leaning Tales from the Acoustic Planet. Most of these songs are instrumentals boasting Drive's core group of Sam Bush on mandolin, Stuart Duncan on fiddle, Tony Rice on guitar, Jerry Douglas on Dobro, and bassist Mark Schatz; they're augmented in spots by fine guest players such as Vassar Clements, John Hartford, and the incomparable banjo pioneer Earl Scruggs. Fleck's spidery, tasteful plucking style lends originals like "Major Honker" and "Katmandu" an ever-so-slightly offbeat air, while he gives classics like Scruggs's "Foggy Mountain Special" and "Polka on the Banjo" traditional readings that wouldn't be out of place at the Opry. Flecktones fans will find much to like in Fleck's rootsy playing, and so will bluegrass purists. --Gregory McNamee Review One may wonder what a review of a disc called The Bluegrass Sessions is doing in a jazz magazine. Truth is, Béla Fleck's latest project takes the eclectic world-view of his usual band, the flecktones, down to a grass-roots level. In the process, he celebrates the complex strains that make up this music, and he uncovers some interesting intersections between two worlds of improvisational creativity. I wanted to encompass all types of bluegrass, from stone-cold traditional to the edges of Newgrass, says banjoist Fleck in the liner notes. He's assisted by a band including guitarist Tony Rice, dobro player Jerry Douglas, banjoman Earl Scruggs, fiddle player Vassar Clements, and vokja and banjo player John Hartford. The strong interplay of the various string voices - no drums here -- falls like masterful latticework over the graceful spirals of melody in Clarinet Polka and the hauntingly beautiful Buffalo Nickel. The Beer Barrel Polka-influenced Polka on the Banjo is a sublime pleasure, as is the lovely, sad The Over Grown Waltz. But it's Stout and Molasses, with Clements on violin, that best exemplifies the close kinship between jazz and western swing. With the bluesy panache of a Jelly Roll Morton ensemble, the stunningly empathic players create honest, down-home music, that also resonates with the pulse and pleasure of improvisation. --- Larry Nai, JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc. -- From Jazziz
