Tony Rice - Plays and Sings Bluegrass
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Music CD Cover
Artist: Tony RiceEdition: Music CD
CD Release Date: 1993-09-17
Music Label: Rounder / Umgd
Soundtracks:
- I've Waited as Long as I Can - Tony Rice, Brown, Hylo
- Brown Mountain Light - Tony Rice, Wiseman, Pete
- How Mountain Girls Can Love - Tony Rice, Rogers, R.
- Carolina Star - Tony Rice, Moffatt, Hugh
- Thunderclouds of Love - Tony Rice, Hedre, J.
- On and On - Tony Rice, Monroe, Bill [1]
- This Morning at Nine - Tony Rice, Campbell, Sid
- I Wonder Where You Are Tonight - Tony Rice, Bond, Johnny
- Galveston Flood - Tony Rice, Duffey, John
- Will You Be Loving Another Man? - Tony Rice, Flatt, Lester
- Girl from the North Country - Tony Rice, Dylan, Bob
- Ain't Nobody Gonna Miss Me When I'm Gone - Tony Rice, Flatt, Lester
- I'll Stay Around - Tony Rice, Flatt, Lester
Free Music Notes for Plays and Sings Bluegrass
Free Music Review: "The Master" cuts loose one more time...
Hit: 5 Stars
No one has been more influential in performance of acoustic guitar than Tony Rice.
Nobody.
Rice is a master of just about every genre that his Martin Herringbone D-28 could be applied to. Along with David Grisman he pretty much founded American String Jazz. Certainly those Rice/Grisman bands were strongly modeled after Stephane Grapelli and Django Reinhardt's Quintette Du Hot Club de France, but NOBODY in America (or really the entire world) was making music like theirs when they recorded the iconic "David Grisman Quintette" album.
Tony also payed his country dues - in what was probably the "hottest" country band in history. Emmylou Harris's bands are called "The Hot Band" and it was NEVER hotter than the version that included Tony on his acoustic trading licks with electric wizard Albert Lee and Dobro master Jerry Douglas. If I had to take a single country album to a deserted island it would have to be Emmylou's "Roses in the Snow".(It's worth mentioning that the same band also featured Ricky Skaggs on every instrument he could get his talented hands on - mainly fiddle and mandolin.)
Tony has also demonstrated that he has a fine touch with acoustic-based pop, with multiple covers of the likes of Bob Dylan and Gordon Lightfoot. (There's a whole collection of Rice doing just Lightfoot covers that is absolutely smashing!)
ALL of the above was written just to give some context before saying that the genre I consider Tony's "home" is Bluegrass, and for about 20 years beginning in the early seventies pretty much EVERY landmark Bluegrass recording featured Tony's blistering guitar and his urgent soulful vocals.
To all our sorrows Tony's voice has succumbed to multiple vocal-chord polyps, leaving him sounding like a late edition Miles Davis.
THIS album was that last great recording of Rice's fine singing, and it is fitting that he used the voice he had left to record this fine collection of Bluegrass and Newgrass tunes. The old 'bone never sounded better and from his opening ear-stretching bend on his solo to "I've Waited As Long As I Can" you can hear that "the master" is in full control of the most influential flatpicking technique of Bluegrass history.
Tony is joined by a collection of old buddies - meaning Bluegrass Superstars - and they bear down on 13 gold-plated-bluegrass-gems. I could go to the trouble of reciting a review of every tune on the disc, but the truth is there are no "duds".
Enjoy.
Plays and Sings Bluegrass Poster
The legendary bluegrass guitarist returns to his roots with Tony Rice Plays and Sings Bluegrass. Helping him play and sing are such old pals as Douglas, Vassar Clements, the Seldom Scene's Mike Auldridge and John Duffey, the Country Gentlemen's Bill Emerson and Jimmy Gaudreau, and the New Grass Revival's Sam Bush. The album is at once a tribute to the early bluegrass that so inspired Rice, and a reflection of the changes Rice helped bring to bluegrass. On the traditional songs associated with Bill Monroe, Flatt & Scruggs, the Stanley Brothers, Jimmy Martin, and Hylo Brown, Rice sounds right at home pushing those insistent rhythms along and leading those note-bending vocal harmonies. Several other songs, including Bob Dylan's "Girl from the North Country" and Tom Rush's "Galveston Flood," were introduced to the bluegrass repertoire by the Country Gentlemen, and Rice uses them to illustrate the changes that shook bluegrass in the '70s: a more personal, conversational vocal style, a broader harmonic palette, and an increased prominence for guitar leads. No one has mastered those changes while preserving the essence of bluegrass better than Rice. He has always included several bluegrass tunes on each outing, but it's a treat to hear a whole album of nothing but. --Geoffrey HimesBlues Music CDs
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