When at Last Review – cdinsight.com
CDInsight.com
*****Russ Barenberg “When at Last”
Guitar textures & sound shapes make meaningful & merry musical statements, August 5, 2007
By J. Ross
Russ Barenberg’s first solo album in about twenty years arrived in my mailbox for review shortly after seeing his DVD instruction called “A Flatpicker’s Guide to Better Playing” (originally released/titled “Acoustic Guitar Musicianship” in 1989). From Pennsylvania and now Nashville, Russ is known as an eclectic guitarist familiar with bluegrass, jazz, folk, Cajun, Celtic, Caribbean and Latin elements. He emphasizes tone, timing, control, rhythm and improvisation for guitarists. As an album, “When At Last” reinforces Russ’ big open guitar sound’s textures and shapes that make concise yet meaningful and merry musical statements. With the exception of the closer, a traditional French folk song called “Aux Marches du Palais,” Russ’ 2007 set is comprised of original instrumentals that reinforce the importance of personalized musical expression. A superior guitarist, Russ demonstrates accomplished understanding of his fingerboard, dynamics, ornamentation, syncopation, vibrato, damping, pick direction, and much more.
Whether writing a lively contradance tune like “Fat Mountain,” Celtic-tinged “Pleasant Beggar,” old-timey “On Milo’s Back,” or the new acoustic title track, Russ’ music speaks with many moods from playful to reflective. When I first heard the opening track, “Little Monk,” I immediately thought that the lyrical melody line had a 1970ish vintage new acoustic sound reminiscent of Russ’ monumental “Skip, Hop and Wobble” album with Edgar Meyer and Jerry Douglas. Sure enough, Flux is back on Dobro and the piece written back in those days has been reincarnated with the contemporary flavorings of Stuart Duncan (fiddle) and Viktor Krauss (bass). As ever, Duncan is especially noteworthy with his fluid bow work that also o ers harmony lines periodically.
Barenberg’s publishing company is very appropriately called Laughing Hands Music, and that joviality will keep you smiling and amused throughout this set. At one time after his stints with Country Cooking, Carried Away, Heartlands, and Fiddle Fever, Russ had an experimental group with Matt Glaser and Andy Statman called Laughing Hands. Plenty of the jollity on this disc is also the result of Ruthie Dornfield (fiddle), Kenny Malone (drums, percussion), Jeremiah McLane (piano, accordion), and Dennis Crouch (bass). From Vermont, McLane’s embellishments are a very nice touch, and I hope to track down some music from his trio called Nightingale. They’re all a fun bunch who work well together. I might have put Douglas’ Dobro out there even more in the conversational mix of “The Man in the Hat,” but that’s a minor criticism. Barenberg’s axes of choice include both vintage and newer guitars and mandolins spanning from 1918-2005. They cover a broad range, just like his music.
Russ’ ideas have grown into some splendid natural melodies. Song notes acknowledge his son, daughter, friends and dogs for inspiration. Then there’s even “On Milo’s Back,” a cheerful bluegrassy tune named for a friend’s dog. Similar to the seminal volume of contradance tunes called “New England Chestnuts,” Russ Barenberg gives us a set of very enjoyable Nashville chestnuts. Let’s hope we don’t have to wait another couple decades until his next solo album. (Joe Ross, Roseburg, OR.)
