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A Band With No Drums: Greensky Bluegrass and If Sorrows Swim

Greensky Bluegrassedited








Words and photos by Tim Newby

A band with no drums,” says Paul Hoffman, mandolinist, singer, and songwriter in Greensky Bluegrass. Hoffman had been trying to best explain his band’s sound, which is a mix of traditional style bluegrass and a more adventurous brand of roots-rock. “I used to say that we are not a bluegrass band and try to convince people that there is more involved,” says Hoffman, “but we absolutely are a bluegrass band and can play the shit out of some bluegrass. We just don’t do it all day. It is not all we do.” With a taste of the humor the gives the band much of its personality and makes them so much fun to see live, Hoffman continues with tongue firmly in cheek, “Besides the pun wouldn’t make any sense without the second word in our name.”

Hoffman is right though; bluegrass is not all they do. They are so much more than that. While their music is built firmly up the traditional bluegrass sound with their line-up of banjo, mandolin, acoustic guitar, Dobro, and upright bass, the way in which they reinterpret that traditional sound is miles away from what Bill Monroe and Earl Scruggs first played so many years ago. While they have those elements that one would expect to find in traditional bluegrass – acoustic instruments, fast virtuosic playing, tight vocal harmonies, and instrumental solo breakdowns – it is what they do with those simple elements that sets the band apart from the past and points towards the future.   DSCN1704

Greensky Bluegrass have always tread the line between the old and the new, moving easily from traditional tunes such as “Working on a Building,” or “Pig in a Pen,” to Bruce Hornsby’s “King of the Hill,” or Traffic’s “Light up or Leave me Alone,”  throughout the course of their high-energy live shows.  This chameleon-like ability is shown fully on their song “All Four” from their 2011 album Handguns. The song starts with what seemingly seems to be a simple finger picked banjo led-lament that quickly dissolves into a lengthy, adventurous jam the likes of which would be completely foreign to those only reared in traditional bluegrass. In concert “All Four” is even more of a beast, regularly stretching past the fifteen minute-mark. And let’s be honest your parent’s bluegrass does not regularly include fifteen-minute spacey jams that jockey for position on the interstellar overdrive highway.   It is this mix of the old and the new that has enabled Greensky Bluegrass to explode over the past couple of years and establish themselves as leaders of the new jam-grass movement.

Since forming in 2000 in Kalamazoo, Michigan around the trio of banjo-picker Michael Arlen Bont, guitarist Dave Bruzza, and mandolinist Paul Hoffman, the band has seen a steady, rapid growth.  They added bassist Mike Devol in 2004 which was soon followed by a win at the prestigious band contest at the Telluride Bluegrass Festival in 2006. Shortly after, 2007, they rounded out their line-up when they added Dobroist Anders Beck.  The addition of Beck helped solidify the band’s progressive take on bluegrass. DSCN2452edited

In 2010 at the annual Delfest the band had a coming-out-party of sorts. They played three sets over the course of the weekend and with each set seemed to see their audience increase in size each time. The three sets also served to showcase all the far-ranging aspects of Greensky’s diverse musical personality. They started the weekend playing along with Del McCoury and host of guests when their main stage set was rained out and they moved inside to the Music Hall and played as part of the songwriter showcase.  Their set inside ended up being more a showcase for Greensky and their traditional chops as they played a set that was nothing but old covers and bluegrass songs. The following morning the band started the day again inside the Music Hall playing a set list that was entirely made up of rock covers that do not normally rear their heads in the bluegrass world, which allowed the band to exhibit their unmatched ability to meld completely diverse styles of music into something wholly unique. Greensky’s final set of the weekend was to a packed field at the side stage during which they played nothing but original material. It was the perfect capstone to the weekend as the band had shown all facets of their vast musical spectrum over their three sets and defined what truly makes up the music of Greensky Bluegrass, a mix that Hoffman describes as “our material, bluegrass, and those weird covers and other things we bring to bluegrass or we bring bluegrass too.”   2014-09-07_12-16-01

This diversity of the band’s musical persona is perfectly captured on the band’s latest album, the stunning If Sorrows Swim. The album, like the band, veers from style to style, yet does so while maintaining an identity that is wholly Greensky. The album was built around the skeleton of twelve songs written by the band’s primary songwriters Hoffman and guitarist Bruzza, yet arranged by the whole band. Hoffman says the band’s approach this time was different than on previous albums. “We had worked on the songs some before we got into the studio, but this time more than any other album it was undecided what the shape of it would be until we got into the studio. It was pretty drastic sometimes. We would say, ‘Let’s play this song bluegrassy, let’s try it halftime, folky, swingy,’ there was a lot of freedom and possibilities.” The songs slowly developed and took shape both on stage and in the studio. For Hoffman one of the toughest things was finally saying a song was finished, “Each song morphed and changed and that is one of the hard things of making a record, that commitment to the song and the final draft of it.”

The final draft of If Sorrows Swim is a schizophrenic mix, bouncing from the heartfelt lament of album opener “Windshield,” toGSBG the classic banjo roll on “Letter to Seymour,” to the rocking one-two punch of “Kerosene,” and “Demons,” but a schizophrenic mix that has a unifying, cohesive feel to it. “Working song arrangement and order was a challenge with this record,” explains Hoffman, “This is not a concept album where clearly this song goes before this one and leads into this one like Dark Side of the Moon that is all in the key of A and B and all relative pitch wise and it just goes the way it goes because that’s how it goes.” To help with the sequencing of the album, Hoffman says the band thought of it like one of their lives shows and paced it like they would a set list. “When we write a set list we pay attention to how it’s going to flow and where to put the fast ones in and where to put the spacey ones in. So I think the album flows like that.” This approach to pacing and song-order was born from the band’s desire to always keep things interesting on stage. “Early on we didn’t want to just play bluegrass all night long because that would be boring to just go chucka-chucka all night,” says Hoffman, “Sometimes we want to go boom-boom!” This live set list approach to the sequencing of the album rewards a long attention span, as it moves and peaks like a concert and takes the listener on a sonic, emotional journey.   DSCN2458edited

The album opens with the slow-burning build-up of “Windshield.” “Windshield” is a powerful opener Hoffman describes as a “real four-on-the-floor, downbeat, back chop which is sorta the opposite of what we are supposed to do.” It is precisely the kind of huge song U2 would have written in the eighties if they had decided to ditch their pretentious rock-leanings and grab acoustic instruments and pick some bluegrass. The song is a compelling statement from Greensky about what they are capable of and where they are going musically. While it hints at the band’s bluegrass roots, it highlights their ability to take those roots and push them all over the musical map. The rest of the album follows this exploratory template laid down in the first song. Over the course of If Sorrows Swim Greensky uses inventive song structures, tasteful melodic phrasing, and unique sonic textures to create an album that pushes the limits and boundaries of bluegrass-inspired music into the stratosphere, going to realms never visited by the banjo and mandolin before.

The dynamics of having two primary songwriters, with Hoffman’s more rock-styled tunes and Bruzza’s elegantly traditional sounding songs, help create a contrast of themes and styles that work to flesh out the personality of the album. Hoffman DSCN1483editedmentions some of the new ideas and chances he has been taking in his songwriting and how they have been influenced by some unlikely musicians:

I like to listen to something that I can get an idea about song structure and melodic tendencies from because folk and bluegrass stays pretty formulaic. What’s great about our band is I can write great songs that stand alone with me singing and playing guitar, but we are also a rock band that does all this exploratory stuff and can open it up and explore every night and there is a real balance between the two.

I listen to an album by a band like Alt-J and it is all about textures and I love the feel and mood of the music. Then I will listen to Jason Isabell’s new record and be like, man, this guy can write some friggin’ lyrics and I am inspired by both things in a different way.

DSCN1736editedGreensky Bluegrass has been on a steady trajectory upward since their first days as a band. They have seen half-full venues become packed the next time they visit, they have seen early-afternoon side-stage timeslots grow into main stage headlining slots at festivals, and they have seen their fan base organically grow as Hoffman proudly declares, “a handful of fans at a time.” With the release of If Sorrows Swim and the way it will appeal to a broad spectrum of fans, those fans will most likely grow at a rate much greater rate than a handful at a time. If Sorrows Swim seems to herald broad, new horizons for the band; Hoffman says that while they are excited they look took to keep things in perspective. “I hope this record gets as much attention as it can get, but we don’t want anything we don’t deserve. I would love to see some more of that crossover to fans of something like Jason Isabell who didn’t think they liked bluegrass, but they really like one of our songs or a fan of Alt-J who can listen and think ‘Wow, these guys can make some nice textures.’ Just like I cross over in my tastes, I want people to not be afraid that we are a bluegrass band, so that they will actually sink in and realize they like it. And that seems to happen more and more every year and the more that happens the prouder I am,” Hoffman pauses before finishing his thought, “It is all about good music. It is either good or it is not.”

13 years in the making : Keeping it green with Tea Leaf


TLG6.jpgA piano man visiting the home of Professor Longhair, Trevor Garrod stands out in the crowd sprawled and spun on the sidewalk outside of Tipitina’s.

His blonde locks curling out from underneath a black cap, Garrod’s frayed dark suit might be best described as thrift-store chic, a look at home in the wind and chill of San Francisco. But just like the Californicated notions of racial utopias and recycling, his fashion strikes an odd chord in New Orleans, its denizens favoring pastel renderings of light linens during Jazz Fest – anything, really, as long as it keeps them cool.

Accessible, eager and oozing a boyish charm despite years on the road, the Tea Leaf Green co-founder and frontman’s eyes sparkle with excitement as he surveys the musical feast soon to be served.

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Anders Osborne: A direct language, a beautiful mystery

anders2.jpgAnders Osborne has written a #1 song (Tim McGraw’s “Watch the Wind Blow By”), contributed two songs  to Keb’ Mo’s 1999 Grammy Award-winning Slow Down, released eight studio albums and two live albums, and toured for the last 20 years.

Therefore, it’s a bit surprising to hear him say, “I still haven’t decided if this [music] is what I want to do, it has always just been what I do, you know what I mean?”

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Backyard Tire Fire from the heart

btf1.jpg“Today was the first day in my life I was able to listen to anything I have ever recorded on vinyl."

With unrestrained excitement in his voice, Ed Anderson singer/guitarist from Backyard Tire Fire, describes what for him was almost a perfect day.  “It (Backyard Tire Fire’s new album The Places We Lived) actually arrived in the mail a few hours ago.  I drank a Budweiser at like noon, dropped the needle on my own record and listened to what we sound like on my turntable.” 

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Toubab Krewe: Somewhere Between Worlds

toubab_krewe2.jpgWith a name that means "foreigner" throughout much of West Africa, and a style that can sound just as foreign to much of the rest of the world, Toubab Krewe from Asheville, North Carolina is quickly establishing themselves as one of the most innovative voices in music today. 

Much as Chuck Berry did when he reworked the blues to create the now familiar sound associated with rock ‘n’ roll, or similar to what the Grateful Dead did when they got psychedelic on folk music, Toubab Krewe has taken the traditional sounds emanating from West Africa, thrown them in a blender with the music they grew up with in America and created something completely unclassifiable.

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Solomon Burke Gets His Due

Writer: Tim Newby

Solomon Burke, the King of Rock ‘n’ Soul, laughs often during conversation.  His laugh is a loud, deep, welcoming laugh that immediately brings a smile to your face.

And he is laughing right now.

Burke was talking about his musical influences naming many of the usual suspects you would expect, Nat King Cole, Dinah Washington and Count Basie, when he broke into his deep welcoming laugh.  He pauses for a moment before naming a not so usual suspect.

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Robert Plant and Alison Krauss: What’s Old Is New Again

PlantKraussWeb.jpgPhotos by Pamela Springsteen 

When talk began to spread of an impending musical collaboration between Robert Plant and Alison Krauss, it seemed to some an odd pairing.  Plant, the rock-n-roll icon with an infamous flair for excess during his heyday with Led Zeppelin, and Krauss, the sweet and angelic leader of bluegrass band Union Station, would seem to have little in common.  Yet, both possess a deep-rooted love for Americana music, and a kindred spirit when it comes to taking the old and making it new again.

Before kicking off their initial tour on April 19 in Louisville, Krauss was quoted as saying, “When my manager first phoned and told me Robert wanted to speak to me, I thought, ‘What does he want?’ Then when we met I was real surprised at how passionate he was about all kinds of music.  He loved the great bluegrass banjo player, Ralph Stanley.  Robert talked about driving through the hills of east Tennessee, listening to Ralph on the radio.”

The project began quietly, with Plant and T Bone Burnett joining Krauss at her Nashville home. Burnett lined out chord changes on guitar, while Plant and Krauss started to sing, sitting side by side, with no microphones and no effects.  “The idea,” Burnett recalls, “was to take them both out of their comfort zone, to take us all out of our comfort zones.” 

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