[.ca] The Telluride Sessions

Amazon.com essential recording:
This acoustic supergroup joined forces in the summer of 1988, and the result was a true landmark in "new acoustic" music. As if bluegrass (and even "newgrass") was too constricting, the quintet--Sam Bush (mandolin), Jerry Douglas (dobro), Bela Fleck (banjo), Mark O'Connor (violin), and Edgar Meyer (bass)--incorporates classical-style themes and arrangements within the context of bluegrass instrumentation. Their unbelievable technique and musical ability was never in question; however, what makes the album special is the uncanny blend of precision and freedom, of improvisation and structure. Each of the 10 compositions were written by a different twosome (do the math permutations). Playful bluesy lopes ("Pink Flamingo") accompany tinges of reggae ("The Locks of Dread"), Celtic ("Macedonia"), and Middle Eastern ("Blue Men of the Sahara") music. There are urgent burners, somber mood pieces, and tender ballads, all delivered with grace. --Marc Greilsamer

they'll never be another one:
If you like any of these 5 musicians alone doing solo material, then you'll love this remarkable recording. These 5 chaps were pretty much a house band in some form or another at the Telluride Bluegrass Festival in Colorado in the late 80's. Usually a few of them play with various groups every year at the festival. This album is a great showcase for each musician's command of their respective instrument. I wholeheartedly disagree with the guy from Milwaukee who said it was lethargic and that the band needed to play together more. If he knew anything about music he would recognize the amazing interaction on this Cd. The tracks range from fairly straight forward bluegrass-newgrass to strange folk music. O'Connors's guitar playing on "Slopes" is incredible. Meyer's bass solo on "Duke & Cookie" proves he's definitely at the top on the instrument. Douglas displays his talent on "No Apologies" which shows why he is the most recorded musician in history (more than 500 albums with various artists). Fleck and Bush are excellent on every track. The strength of this Cd is the interplay of the different songwriters and musicians. It is not simply one person's band. Sure, if you want traditional bluegrass there are better albums, but this album shines after 15 years. Take this album for what it is - 5 phenomenal musicians & friends getting together and jamming.

What the funk?:
In my opinion, this album is something really special, and what a great range of styles get covered! I would have liked to hear more energetic solos, but I think that these great musicians make up for that in the creativity of this music. There were jazzy tracks, traditional or classical tracks, and some really funky tracks with a real groove!

Still A "Must Have" Album:
These 5 newgrass musicians simply are the best of the best *at* their best. Stop wasting time and buy this album! 'Nuff said.

Not Bluegrass = Not Good:
I wanted this CD to be good, I really did. I love Bela Fleck. Edgar Meyer? Of course! Sam Bush? Genius. But this CD just blows. There is no way around it. When I first played it, I thought I had entered some kind of new-age aroma-therapy hut. I wanted to hear each player show off a little...get the heart pumping with some soaring mandolin melodies and quick banjo riffs. I didn't even need it to be fast, I just wanted some style, some bantering between the performers. All I got were lathargic, oozing melodies that could make a person go slowly insane. I know that the intent of the recording was to NOT focus on any one individual, but to play harmoniously as one group. Either these guys needed to play a lot more with each other or they needed to do a little showing off individually. If you're on the same track as my thinking, then I suggest Uncommon Ritual, an energetic recording that soars without any pink flamingos.

Collaborative acoustic brilliance:
Side project, all-star band, supergroup - the concept is usually rife with pitfalls, with many such attempts in the music world ending up as collective wanking sessions or showcases for the most famous among the lineup. Not so here. The idea behind this project was for five outstanding names in contemporary bluegrass to blend their creativity in an equal meeting of the minds. Since it worked so well (and since there probably won't be another with this same lineup), the Telluride Sessions album stands alone as a monument to just what can be accomplished when musical and compositional virtuosity remains untainted by individual dominance or large egos. Each of the members co-wrote one song with each of the others, and this equal approach carries through everything involved. Ok, ok, on with the music. It's rooted in bluegrass, but the scope of such talent never stays limited to one simple label. There are a couple instances of branching out into different genres, as in one track that bizarrely marries a Scottish reel to a reggae beat. (I'll leave which one it is open to guessing, on the chance that the title "Lochs of Dread" isn't already a dead giveaway.) Though the compositions shift through several styles and modes, there's an inevitable country twang to everything due to the instrumental lineup: banjo, mandolin, dobro, bass and violin. If you shudder at the mention of those and are scared by mental images of flannel-swamped barn dances, then this definitely isn't for you. You might still enjoy the serenely entrancing "One Winter's Night," but I never recommend buying an album just for one track. So what else is there? "Macedonia" is modern country taken with a Celtic tinge and a classical approach, still remaining danceable and bursting with energy. "Slopes" starts turning up the tempo into an acoustic frenzy that never loses its beauty, and it's only taken further in the avalanche-like buildup of "Blue Men of the Sahara." Don't be fooled by the easy-slow meandering intro. Before that track is over it'll reach a frenzied peak of hyper insanity before careening off into gentle silence. This isn't a release for everyone (although I've pleasantly surprised several people who swore they'd always hate bluegrass), but I wholeheartedly recommend it to anyone who already has an interest in the genre. It's a good next step for those just getting interested, perhaps through the 'O Brother, Where Art Thou?' phenomenon or the emergence of younger bands like Nickel Creek. For anyone in either of those categories, this is something you won't want to miss.

• Future Man
• Texas Red
• Pink Flamingo
• Duke and Cookie
• One Winter's Night
• Macedonia
• Lochs of Dread
• No Apologies
• Slopes
• Blue Men of the Sahara