|
Tracks - (click
a song title to hear a sample)
• Let's
Talk About Love (Steve Chiasson)
• Lonesome
Pine (Wayne Taylor)
• River
and the Rain (John Daly)
• Ossipee
Run (Chris Prickitt)
• Down
A Winding Road (Dave Allen)
• Bad
Case of Loving You (W. Golding)
• Liza
Brown (Steve Chiasson)
• You
Put The Blue In Me (C.& J. Carnes,
W. Hardy)
• Come
Play The Fiddle With Me (Chris Prickitt)
• Wayfaring
Stranger (Traditional)
• New
Camptown Races (Frank Wakefield)
• You Can't
Bring Us Down Tonight (Chris Prickitt)
• We Should
Only Have Time For Love (J. Patten & J. Rushing)
• Runaway Train (W.
Porter)
Reviews
I'm
willing to bet that the members of Evergreen - Steve Chiasson,
Nellie Kennedy, Chris Prickitt and Joe Kennedy - are a bunch
of nice, friendly people because that's the impression you
get listening to Dream Reel - a collection of 14 songs,
many originals. This impression is particularly evident on
the numbers "We Should Only Have Time For Love," a mid-tempo,
fiddle-driven number sung by Nellie; and The Grateful Dead-esque "You
Can't Bring Us Down Tonight," written by Chris. The song's
interesting chorus states: "You
can't bring us down tonight - gonna dance and sing 'til the
morning light - we'll raise up the reeds and strings and
voices in the air - all of us let's do what's right - gather
in close and feel our might - let the load be lifted by the
lyric of our prayer." The project's liner notes describe
the group's music as "a melting pot of styles and influences,
of instruments and personalities, of the past and here and
now," and that's a good analogy. The project begins with
a few uptempo numbers. The first one, "Let's Talk About Love," is
a mixture of country and bluegrass that centers more on the
verses and chorus and less on musicianship. "Lonesome Pine" features
harmonica, as do many numbers here. The group's acoustic
country leanings are evident on the mid-tempo numbers "River
And The Rain," "Liza Brown," and the folkish "Down A Winding
Road," while the group introduces harmonica, accordion and
fiddle on the numbers "You Put The Blue In Me" and "Come
Play The Fiddle With Me."
Surprisingly,
one of the project's highlights is a revved up, bluegrass
version of "New Camptown Races." This progressive version
allows the banjo and harmonica to shine on several lively
solos. Other numbers that find themselves in bluegrass
territory include the instrumental "Ossipee Run," which
has an interesting banjo intro and features nice interplay
between old-time banjo and harmonica; the uptempo, driving
bluegrass number "Bad Case Of Loving You," and my favorite,
the uptempo "Runaway Train," which rounds out the project
and leaves the listener wanting more.
Kevin
Kerfoot, Bluegrass Music Profiles-- (back
to top)
Making
a go of an acoustic band in one of the least densely populated
states in the country can be a challenge. As a fellow Maine
musician, I can attest to the long drives, the varied tastes
and influences, and the cold winters, all of which have
an impact on homemade music in northern New England. The
results can be more than worth the effort, however, for
the travails can be the source of new sounds, new interpretations,
and new mile markers on the road of roots music.
Evergreen
is just such a band, their music has bluegrass, folk, country,
jazz, and old tyme influences. Bluegrass is the primary
cornerstone here, and I suspect much of the Maine audience
doesn't think twice about them being bluegrass, but for
hardcore, traditional fans, the harmonica, clawhammer banjo,
autoharp, and piano will put Dream Reel on "the
edge", as Bluegrass Unlimited characterizes it. But for
those with ears for new sounds, Evergreen dances down the
same path of innovation that gave birth to bluegrass itself.
Dream
Reel, the group's third recording, is a collection
of five original numbers and nine covers. The originals
come from Steve Chiasson (guitar) and Chris Prickitt
(banjo) and provide some of the collection's strongest
numbers. The opening track, "Let's Talk About Love," is
a Chiasson number, and makes the most of Steve's fine
voice, the group's solid rhythm and their smooth harmony
vocals. Prickitt's "Ossipee Run" is a strong instrumental
featuring nice work by Chris on the clawhammer banjo
and good band dynamics. It also is a great example of
Joe Kennedy's gift for adapting the harmonica to the
ensemble format, as he provides the rhythmic "chuck" that
would normally come from the mandolin.
The
group also covers some strong material from relatively
recent releases including "Lonesome Pine" from Blue Highway's
Wayne Taylor, a song that spent time at the top of the
bluegrass charts. Bob Coombs sits in on dobro, and helps
out ably on this tune that has made inroads as a favorite
among field pickers. With John Daly's "River and the Rain" they
draw from the repertoire of Salamander Crossing, a band
that epitomizes the creative potential northern New England
can sometimes foster. Nellie Kennedy (bass) adds autoharp
to the mix for the ear-catching "Down a Winding Road," written
by Dave Allen and recorded by The Nashville Bluegrass Band
on their last release, American Beauty. From much farther
back in the tradition comes a very effective treatment
of "Wayfaring Stranger," which the group gives a haunting,
spooky flavor, and includes unusual textures from Joe's
rhythm haromica.
One
thing I miss from Dream Reel and their website is
more detailed credits. Most of the band are multi-instrumentalists
- Joe also plays bass, Chris fiddle, guitar and accordion,
and Nellie guitar, mandolin and autoharp - but it's not
entirely clear where they have taken advantage of this.
The group's website makes it clear that live performances
are a major focus for the group. They work a single mic
and maintain a diverse and changing repertoire to keep
the performances fresh and energized.
Dream
Reel is a recommended recording for those looking
for honest, personal interpretations of roots music.
And if by chance you find yourself down east, make sure
to check their schedule and catch Evergreen's musical
innovation in action.
Gregg
TeHennepe, Bluegrassworks.com-- (back
to top)
If
Portland bands like Jerks of Grass and the Muddy Marsh
Ramblers need a kick in the pants when it comes to releasing
an album, they should take a listen to what their fellows
from the north, Evergreen, put out in late-August. Dream
Reel, Evergreen's third album in the past six years,
is proof that the band have a sound in mind and know how
to get it on record without sacrificing their authentic,
live, one-mic sound. (When you consider High Range's New
Hampshire release earlier this year, one would think the
Portland bands might feel a bit buffeted, even.)
Dream
Reel, like 2001's Common Place, features the
band working in traditional bluegrass frameworks, but,
like their contemporaries the Mammals and the Red Stick
Ramblers, infusing a pop or folk sympathy into the songs.
The result is New Grass Revival without the flashiness,
which is pretty darn good.
They're
also a bit hokey. "Let's Talk about Love" is a quaint little
ditty. "Bad Case of Loving You" is a bit of that western
progressive bluegrass purveyed by Leftover Salmon or even
Bela, but not that progressive. It sounds a lot like "Make
a Profit" from the Mammals, but, hey, are you really going
to reference Moon Martin/Robert Palmer/Koko Taylor? "You
Put the Blue in Me" is one of two songs to feature Nellie
Kennedy on lead vocals, which you don't hear often enough
in bluegrass, and contains lyrics like "you put the gold
in the morning sunlight . . . but you put the blue in me." And "Come
Play the Fiddle with Me" sort of works as one of the best
songs here, with some really great fiddle playing by Chris
Prickitt, but, whoa, make sure you leave your cynicism
at the door.
No,
I don't think Evergreen will ever be a hip bar band, but
that's obviously not the point. The fact is, they write
great songs, are expert musicians, and know their audience
well. Nothing can take away from the awesome banjo lead
on the Prickitt-penned "Ossipee Run," its clean Celtic
sound also lending great back support during the harmonica
lead. Steve Chiasson's "Liza Brown," too, is excellent,
not only giving a nod to Gordon Lightfoot, but also contributing
to the rich history of bluegrass tunes named after women
- "Little Maggie," "Cindy," and "Ellen Smith" among them.
And they even manage to give the old "Wayfaring Stranger" a
Newgrass feel. It's a thoughtful approach the song deserves. Dream
Reel stands as a bluegrass education for the beginner
and a worthy addition to any enthusiast's collection.
Sam
Pfeifle, Portland Phoenix-- (back
to top)
There's
a lot to like about this New England band. Their recording
contains a great selection of music with lots of energy
powered by Joe Kennedy's harmonica throughout, which adds
a very enjoyable touch to this fine group's "bluegrass
and more" sound. Chris Prickitt, a very accomplished Scruggs'
and clawhammer style banjoist likewise adds spice to the
project. Steve Chiasson does a fine job on baritone vocals
and Nellie Kennedy's lovely mountain voice absolutely shines
on songs like "Lonesome Pine," "You Put The Blue In Me" and
the very thoughtful, "We Should Only Have Time For Love."
There's
a lovely arrangement of "Wayfaring Stranger" featuring
a captivating vocal blend of Steve, Nellie, and Joe. Chris
and Joe follow up nicely on "New Camptown Races," with
Chris showing off his skills on both banjo styles. Dream
Reel is a tasty collection of folk and bluegrass, some
swing, and even a dash of Cajun, with an accordion thrown
in. This band even has a flair for composing. Chris penned
three of the songs and Steve contributed the toetapping
opening cut, "Let's Talk About Love."
Accordion?
Banjo? These folks will make you forget about the non-traditional
instruments as you repeatedly enjoy the good music. In
fact, about the only thing missing is a listing of who's
playing which instrument for those of us who are unfamiliar
with the band. It would be nice to credit the artist providing
the excellent guitar licks throughout.
Evergreen's
music is "a melting pot of styles and influences," and
as Paul Woodfin of Face Magazine writes in the liner notes, "It's
just good, period." I concur.
Joe
Falleta, Bluegrass Now-- (back
to top)
Evergreen
effectively blends bluegrass with other musical genres
to create its own unique personality. Dream Reel is
an adeptly produced, varied assortment of melodies that
are delivered in a laid back but distinctive style. Five
of the fourteen selections were composed by band members
Steve Chiasson and Chris Prickitt, with such titles as "Liza
Brown," "Let's Talk About Love," "You Can't Bring Us Down
Tonight," and the spirited instrumental, "Ossipee Run." Other
entries include "You Put The Blue In Me," "Bad Case Of
Loving You," and Frank Wakefield's "New Camptown Races." The
presence of piano, accordion, and harmonica on the tracks
does move the music out of the realm of pure bluegrass,
but Dream Reel remains a tantalizing adventure that
can appeal to a myriad of musical tastes.
Les
McIntyre, Bluegrass Unlimited-- (back
to top)
A
single musical instrument has been known to dominate an
entire album before with its precision and powerful presence.
Think Carlos Santana's searing Spanish-style guitar on
albums like Abraxas, or John Bonham's thunderous
drum roars straight from the clouds on Led Zeppelin
II. But harmonica? It's usually an afterthought in
musical groups, a small contribution that the lead vocalist
sometimes picks up in their spare time. Not so with Joe
Kennedy and his bluegrass band Evergreen on their latest
album, Dream Reel. Kennedy's masterful harp work
helps the band overcome some small shortcomings to produce
a fine piece of material.
This
is not to say that the rest of the band is a bunch of slouches.
Chris Prickitt plays a fine banjo, and when vocalists Steve
Chiasson and Nellie Kennedy combine their voices, the melodies
ooze into one, resulting in a near perfect compliment of
pitch and tone. Songs such as "Bad Case of Loving You," and "Lonesome
Pine" are picture perfect examples of bluegrass at its
finest. Prickitt's artful strumming of the banjo and Chiasson
and Nellie Kennedy's interplay of vocals make these upbeat
romparounds fun to listen to, helping to bring an innocent
smile to your face as the music goes off.
However,
what makes Evergreen so unique is Kennedy and his superior
harp playing. No other band comprised of members like this
has really incorporated harmonica into their music, let
alone features it. Evergreen is at its best when Kennedy's
strong, riffy harmonica is in the lead, as is the case
in the wonderfully blue "Wayfaring Stranger." Kennedy blows
the harp in a manner of classic bluesmen Son House and
Slim Harpo, transforming the music from an airy hillbilly
sound to a stirring, soulful throbbing that weighs upon
the listener. In "Liza Brown," Kennedy wheezes eloquently
to the tempo and beat set by Prickitt's banjo. Kennedy's
contribution steadies and strengthens the reverb, enough
so to offset some typically loopy lyrics.
Sometimes
Evergreen seems to take a page straight out of the Phish
and Strangefolk songwriting book, in that nothing is too
gooey. An example from "River and Rain," a particularly
disarming lyric: "You and I are like the water to the sea
/ What would one with out the other be?" Makes you want
to hold hands and say Kumbaya. Regardless, when you're
listening to "River and Rain," it's quite easy to lose
the lyrics amid the twang and rumble of Kennedy's rambling
harp, which is indeed a very good thing.
Dream
Reel is a commendable bluegrass effort thanks to
a dazzling display of blues in the background, courtesy
of Mr. Joe Kennedy on harmonica.
Face
magazine, Portland, ME-- (back
to top)
One
of Maine's premier bluegrass bands is in fine form on its
third album in six years.
Whether
it's Joe Kennedy's engrossing harmonica playing, Chris
Prickitt's meticulous banjo picking, or Steve Chiasson
and Nellie Kennedy's harmonious vocals, there's something
here for any music fan, as there's hints of folk, roots,
and country as well.
Evergreen
presents five originals by Prickitt and Chiasson, but the
quartet makes all 14 songs on the album their own. Here's
four people who enjoy playing together, and that shows
in the album's quality. It's got that four-people-around-one-mic
approach, which makes the listener feel like he or she
is at a live show by the group.
The
members of Evergreen have been together since 1991, and
that's apparent in their seamless playing. Dream Reel does
an admirable job of capturing a band in its prime.
Dale
McGarrigle, Bangor Daily News-- (back
to top)
Dream
Reel is the latest release from the fine Maine band,
Evergreen. The band continues to be adept at selecting
and arranging material. Steve Chiasson and Chris Prickitt
each contribute some original material. Prickitt's "Come
Play The Fiddle With Me" works in some nice New England
style fiddle/piano music in between verses. Nellie Kennedy
provides solid rhythm and vocals. Joe Kennedy's harmonica
leads on the Frank Wakefield standard "New Camptown Races" serves
as an example of how Evergreen is able to add their own
spin to the familiar.
Those
who enjoyed their 2001 release Common Place will
enjoy this set of tunes as well. The same winning elements
are present: well blended vocals, interesting instrumentation,
and an unmistakable sense that the band enjoys the music
they are making.
Tim
Fitzpatrick, Bluegrass Breakdown-- (back
to top)
An
eclectic style of music blending bluegrass, folk, blues,
old-time country, swing and jazz -- that's Evergreen.
Evergreen,
since forming in 1991, has stayed true to their music,
as their new release Dream Reel proves. Their musicianship
is strong and harmonies sweet -- a strong combination on
its own, but even stronger when you add their original
material. I especially enjoyed "Ossipee Run," an instrumental
written by Chris Prickitt, and I also enjoyed "Liza Brown," written
by Steve Chiasson. Nellie's lead vocals on "We Should Only
Have Time For Love" are honest and sincere, and Joe's harmonica
seems to dance on "New Camptown Races."
Overall
the singing and playing on this CD is excellent, and it's
a good choice of material for the band. A traditional bluegrass
album? Nope. A progressive bluegrass recording? No. This
is all their own, and it's good!
Seth
Sawyer, Bluegrass Guide-- (back
to top)
|
