Nouveautés
Publié : sam. févr. 26, 2011 12:17 pm
Les filles qui sortent leur nouveaux disques!
Sarah Jarosz Releasing “Follow Me Down” May 17
Category: CD Release By Sugar Hill Records
February 24, 2011
Nashville, Tenn., — What Sarah Jarosz’s acclaimed debut CD, Song Up In Her Head, suggests, Follow Me Down confirms. Jarosz is incapable of getting stuck in a rut. Her approach to acoustic music is expansive and vital and she sees no need to choose between old-timey and modern material. With her picking, singing and writing ability and her desire for experimentation along with reviving tradition… Jarosz does all of it, and pushes it all further, on her new album due out May 17, 2011 on Sugar Hill Records.
“I definitely could have just made a record that was similar to the last one—pretty rootsy,” reflects Jarosz. “That would have been a representation of a side of me. But I have all these new sounds and ideas and I just didn’t want to hold back on this one.”
A lot has changed in the two years since the world outside the festival-going bluegrass and old-time music communities—home to many longtime Jarosz fans—was introduced to the young singer, songwriter and instrumentalist. Her music caught on quickly with audiences across the age spectrum. There have been GRAMMY and Americana Music Award nominations, a trio of Austin Music Awards, invitations to perform on “Austin City Limits” and “A Prairie Home Companion” and appearances at Bonnaroo, Newport and Telluride—and lots of digital downloading, a rarity for a roots act.
The most important difference is that Jarosz cannot be called a kid anymore. She’ll turn twenty within a week of Follow Me Down’s release. Instead of going straight to work as a full-time musician, as many before her have done, she left her hometown of Wimberley, TX—30 miles outside of Austin—and headed to Boston’s New England Conservatory to study contemporary improvisation on an elite scholarship.
“I wanted something to push me out of my comfort zone,” Jarosz says. “I wanted to be playing things that I might not normally play.” And she has had plenty of opportunities to do just that, from Jewish and world music ensembles at school to wildly unpredictable live jams with Punch Brothers and Mumford & Sons. That keen, open-minded attitude speaks volumes about her maturity.
Like her first album, Jarosz co-produced Follow Me Down with Gary Paczosa (Alison Krauss, John Prine, Chris Thile). Only this time, they had a college course schedule and high profile gigs to work around. They did a session with Punch Brothers in New York, another in Boston with her talented young trio mates Alex Hargreaves and Nathaniel Smith and several in Nashville with some of the acoustic world’s finest pickers and singers, including Bela Fleck, Jerry Douglas, Stuart Duncan, Viktor Krauss, Dan Tyminski, Shawn Colvin and Darrell Scott.
Jarosz’s growth can be felt throughout the resulting eleven tracks. The grooves are more adventurous, for starters on the first single “Come Around”. She comments, “I know for some purists out there, it’s like, ‘Why do you have to have drums?’ For me, it’s like, ‘Why not?’” And she has explored alternative ways of using her already-strong voice (see her Radiohead cover “The Tourist” and Radiohead-inspired original “My Muse”; Bob Dylan’s folk hymn “Ring Them Bells” is the album’s other cover).
There’s no missing the breadth in Jarosz’s songwriting. She is just as comfortable penning the tragic old-timey “Annabelle Lee” – an adaptation of Edgar Allan Poe’s final poem, or a modernized Appalachian ode to secret love like “Run Away” as she is cultivating contemporary singer-songwriter introspection in a song like “Here Nor There”. But her playing—be it on mandolin, octave mandolin, clawhammer banjo or acoustic guitar—never takes a back seat. She started “Peace”—one of two instrumentals on the new album—when she was twelve, and finished it at college. And it is that hunger to let her music keep growing—along with her formidable abilities—that make Jarosz so exciting to watch.
Sierra Hull's 'Daybreak' is the Dawn of New Style
Bob_Cherry wrote: on Feb. 26, 2011:
I've been sitting and listening to Daybreak, the latest album by Sierra Hull. The music, style, emotion and feel is a bright new day in our music. Fresh, alive and brilliant, Sierra's latest work shows just how far this artist has come since her debut album Secrets. This is a giant stride forward for this young artist. Daybreak comes alive with its happy and perky music. Her aptitude on her instrument, the mandolin, is maturing nicely. Mixed with various styles of music on this album,. Sierra has an album that will certainly appeal to a broad audience -- not just bluegrass music fans
The 5th track, "Best Buy" comes across as something from the '40s or early '50s but that's a long way from the opening track's style that is more contemporary. "The Land of Living" takes you along a gospel route as the album evolves and opens up exposing you to the artistry of Sierra Hull. Another contemporary track is the title track "Daybreak" that branches out far away from what one could consider bluegrass. This track is interesting as you can hear your youth in her voice with a song one would expect for a more aged audience. The contrast here works very well. Not to fear, "Tell Me Tomorrow" brings you back to the roots. "Chasin' Skies" reinforces where the heart and soul of this artist's roots remain.
Barry Bales, bass player for Alison Krauss co-produced this album as Ron Block, also from Union Station, producer her debut album. Hull is definitely taking a lession from Krauss and may very well follow in her award winning footsteps. She shows off her abilities with two instrumentals on the album that are tastefully done without too much emphasis in any area but, full and rich throughout the entire tracks.
Daybreak is a successful addition to the Sierra Hull library and if her next album is as much an improvement over this one as this is over Secrets she will have a great future and we'll get a lot of joy in return.
Skip
Sarah Jarosz Releasing “Follow Me Down” May 17
Category: CD Release By Sugar Hill Records
February 24, 2011
Nashville, Tenn., — What Sarah Jarosz’s acclaimed debut CD, Song Up In Her Head, suggests, Follow Me Down confirms. Jarosz is incapable of getting stuck in a rut. Her approach to acoustic music is expansive and vital and she sees no need to choose between old-timey and modern material. With her picking, singing and writing ability and her desire for experimentation along with reviving tradition… Jarosz does all of it, and pushes it all further, on her new album due out May 17, 2011 on Sugar Hill Records.
“I definitely could have just made a record that was similar to the last one—pretty rootsy,” reflects Jarosz. “That would have been a representation of a side of me. But I have all these new sounds and ideas and I just didn’t want to hold back on this one.”
A lot has changed in the two years since the world outside the festival-going bluegrass and old-time music communities—home to many longtime Jarosz fans—was introduced to the young singer, songwriter and instrumentalist. Her music caught on quickly with audiences across the age spectrum. There have been GRAMMY and Americana Music Award nominations, a trio of Austin Music Awards, invitations to perform on “Austin City Limits” and “A Prairie Home Companion” and appearances at Bonnaroo, Newport and Telluride—and lots of digital downloading, a rarity for a roots act.
The most important difference is that Jarosz cannot be called a kid anymore. She’ll turn twenty within a week of Follow Me Down’s release. Instead of going straight to work as a full-time musician, as many before her have done, she left her hometown of Wimberley, TX—30 miles outside of Austin—and headed to Boston’s New England Conservatory to study contemporary improvisation on an elite scholarship.
“I wanted something to push me out of my comfort zone,” Jarosz says. “I wanted to be playing things that I might not normally play.” And she has had plenty of opportunities to do just that, from Jewish and world music ensembles at school to wildly unpredictable live jams with Punch Brothers and Mumford & Sons. That keen, open-minded attitude speaks volumes about her maturity.
Like her first album, Jarosz co-produced Follow Me Down with Gary Paczosa (Alison Krauss, John Prine, Chris Thile). Only this time, they had a college course schedule and high profile gigs to work around. They did a session with Punch Brothers in New York, another in Boston with her talented young trio mates Alex Hargreaves and Nathaniel Smith and several in Nashville with some of the acoustic world’s finest pickers and singers, including Bela Fleck, Jerry Douglas, Stuart Duncan, Viktor Krauss, Dan Tyminski, Shawn Colvin and Darrell Scott.
Jarosz’s growth can be felt throughout the resulting eleven tracks. The grooves are more adventurous, for starters on the first single “Come Around”. She comments, “I know for some purists out there, it’s like, ‘Why do you have to have drums?’ For me, it’s like, ‘Why not?’” And she has explored alternative ways of using her already-strong voice (see her Radiohead cover “The Tourist” and Radiohead-inspired original “My Muse”; Bob Dylan’s folk hymn “Ring Them Bells” is the album’s other cover).
There’s no missing the breadth in Jarosz’s songwriting. She is just as comfortable penning the tragic old-timey “Annabelle Lee” – an adaptation of Edgar Allan Poe’s final poem, or a modernized Appalachian ode to secret love like “Run Away” as she is cultivating contemporary singer-songwriter introspection in a song like “Here Nor There”. But her playing—be it on mandolin, octave mandolin, clawhammer banjo or acoustic guitar—never takes a back seat. She started “Peace”—one of two instrumentals on the new album—when she was twelve, and finished it at college. And it is that hunger to let her music keep growing—along with her formidable abilities—that make Jarosz so exciting to watch.
Sierra Hull's 'Daybreak' is the Dawn of New Style
Bob_Cherry wrote: on Feb. 26, 2011:
I've been sitting and listening to Daybreak, the latest album by Sierra Hull. The music, style, emotion and feel is a bright new day in our music. Fresh, alive and brilliant, Sierra's latest work shows just how far this artist has come since her debut album Secrets. This is a giant stride forward for this young artist. Daybreak comes alive with its happy and perky music. Her aptitude on her instrument, the mandolin, is maturing nicely. Mixed with various styles of music on this album,. Sierra has an album that will certainly appeal to a broad audience -- not just bluegrass music fans
The 5th track, "Best Buy" comes across as something from the '40s or early '50s but that's a long way from the opening track's style that is more contemporary. "The Land of Living" takes you along a gospel route as the album evolves and opens up exposing you to the artistry of Sierra Hull. Another contemporary track is the title track "Daybreak" that branches out far away from what one could consider bluegrass. This track is interesting as you can hear your youth in her voice with a song one would expect for a more aged audience. The contrast here works very well. Not to fear, "Tell Me Tomorrow" brings you back to the roots. "Chasin' Skies" reinforces where the heart and soul of this artist's roots remain.
Barry Bales, bass player for Alison Krauss co-produced this album as Ron Block, also from Union Station, producer her debut album. Hull is definitely taking a lession from Krauss and may very well follow in her award winning footsteps. She shows off her abilities with two instrumentals on the album that are tastefully done without too much emphasis in any area but, full and rich throughout the entire tracks.
Daybreak is a successful addition to the Sierra Hull library and if her next album is as much an improvement over this one as this is over Secrets she will have a great future and we'll get a lot of joy in return.
Skip
