Jeff Scroggins & Colorado
Over the Line
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Danny Paisley & The Southern Grass
That's Why I'm Lonesome
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Danny Paisley and The Southern Grass continue to be deeply rooted in tradition, but
look to the future with enthusiasm and anticipation . This coming year brings renewed excitement! Dann y Paisley and The Southern Grass released their That’s Why I’m Lonesome CD on Patuxent Music. It is filled with all the traditional sound you would
expect from a Southern Grass CD.
Since Danny’s father Bob Paisley (founder of Southern Grass) passed away in 2004, Danny Paisley and The Southern Grass have made their own niche in the bluegrass world.
Danny Paisley and the Southern Grass play powerful, unadorned, and intense traditional bluegrass. Their combination of instrumentation and vocals convey the energy and emotion of classic bluegrass and country music. Danny’s lead vocals will captivate your senses, so much so that many prominent musicians, including Alison Krauss, have considered Danny as one of their favorite singers. His voice combines powerful range and soulful blues with a sound like no one else in bluegrass today. more.....
Donnie Scott
Donnie Dobro's Ride
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A resident of Mount Airy, North Carolina, Donnie lives at “ground zero” for old-time and bluegrass music. The area is surrounded by numerous annual fiddler’s conventions and Donnie routinely competes on dobro in the contests. Over the years Donnie has won every dobro finishing position at the Old Fiddler’s Convention in Galax, 1st through 9th.
Donnie is a popular raconteur who loves music and travel, loves to talk, and is not afraid of social media. He wrote a book with his wife Barbara about his travels several years back. His musings on social media sometimes tackle touchy subjects but in a way that makes one laugh out loud or smile or think. It is obvious after knowing Donnie for a while that the big bearded man in the Roundhouse overalls, florescent yellow tee, straw hat, and the dobro around his neck is very smart.
Donnie counts Mike Auldridge as one of his major influences and jammed with the great artist one time. As with many bluegrass dobro players, Uncle Josh Graves also guided the way for Donnie. “Josh was my first dobro hero – the one who made me want to play dobro,” says Donnie. Jerry Douglas and Shot Jackson are Donnie’s other acknowledged influences. more.....
Dede Wyland
Urge for Going
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Dede Wyland’s voice rings like a bell, clear and powerful. With a stellar backing band, Dede is showcased here in familiar and supportive ground. Her voice flows and dances through these songs like a luminous golden ribbon, tying each tying each song together while shining light onto the lyrics. She moves with ease from the haunting country-soul delivery of “Could You Love Me One More Time” to the precise and masterful control of “Cannonball Yodel.”
I first heard Dede sing with Tony Trischka and Skyline in the ‘80s and I was immediately struck with the richness and strength of her voice. I was also struck with the absolute ease with which she sang. Her singing, then and now, appears effortless and natural, as if she is lounging on a cushy sofa, having a conversation, drink in hand, and suddenly breaks into song. Like falling off a log, as they say where I’m from, like falling off a log. She is doing what she was meant to do and I’m so very glad she is. “Urge for Going” is set to mark Dede Wyland’s rightful place in the history of modern bluegrass.
Missy Raines - Missy Raines and the New Hip more.....
Psycho Exploding Orangutans
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Spend enough time in any music scene, and you’ll meet its prodigies: young, preternaturally gifted artists whose talents fill listeners with awe and competitors with envy. Although most prodigies content themselves with dutifully imitating past masters, a few talented mavericks always manage to blaze new trails, expand traditions, and contribute valuable, original art. This record presents two such artists from the post-millennial old-time music scene: banjoist Victor Furtado and fiddler Andrew Vogts, together known as the Psycho Exploding Orangutans.
Furtado and Vogts possess a rare combination of exceptional virtuosity, extraordinary creativity, commitment, and daring. Make no mistake; Psycho Exploding Orangutans have diligently mastered the musical traditions that birthed them. (They both have ample trophies to prove it.) As you listen to traditional tunes like “Durang’s Hornpipe” or “Chinquapin Hunting,” you surely will hear authentic Appalachian style. more.....
CD-317
Cane Mill Road
Gap to Gap
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Growing up just down the road from Doc Watson, Billboard-charting artists
Cane Mill Road rock the traditional bluegrass standards they grew up on, yet
boldly tackle writing original music that often walks the lines between Bluegrass,
Americana, Old-time, and Folk.
The four young men roam the Blue Ridge Mountains backroads driving between Deep Gap, NC and Rocky Gap, VA to meet and make music together – thus the title track of the band's sophomore album Gap to Gap. the title signifies more than just the long hours on the road touring, but the spaces between the bluegrass foundation of the band's youth and the new spaces of music they create together. Honoring the past, the band looks to the future with a blended set of traditional and progressive music.
CD-320
Al Jones, Billy Baker & Dee Gunter
Just a Memory
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This writer was around for the beginning of what would become known as Bluegrass. I listened to Bill Monroe on the Grand Ole Opry before he hired Flatt & Scruggs, but those memories are of a pre-teen just discovering the wonderful world of early 1940 country music. These exciting new hillbilly sounds quickly replaced western music and a small lad’s obsession with cowboys.
Growing up in Northern Virginia, I quickly became aware of the country music scene in the Washington, D.C.—Baltimore, Md., region. By the 1950s, the sounds from Baltimore caught my ear, especially when I heard Bob Baker and the Pike County Boys and Earl Taylor and the Stoney Mountain Boys. These two groups typified the sound which not only suited my teenage ears, but was popular with the southerners who migrated from Appalachia to Baltimore in search of employment. Many bluegrass musicians were in and out of these and other similar bands over the next several decades, including Al Jones, Billy Baker and Dee Gunter. more.....
CD-319
Victor Furtado
Dellorto Island
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From sheaves of banjo designs submitted to the U.S. Patent Office to entire styles named after its most revered players, inventiveness marks the banjo’s history. The 18th- century slaves exiled to the New World crafted from cultural memory and available resources half-gourds that they strung with catgut stretched down a long handle. The resulting instrument, one witness recalled, produced a “wild pleasing melancholy sound,” while another described the players’ fingers as moving like a handsaw. First-person accounts detailed banjo songs that intensified as they unspooled, each thrumming passage building on the next.
These pre-industrial patterns survived the centuries: a modern clawhammer banjoist at a festival jam, whose right hand rhythmically plies down on steel strings in sawing motion, plays a tune as if entranced. Fellow musicians huddled in the same circle find new ripples within the soulful melody, while others repeat chiming tones. Eventually someone gestures, signaling the tune’s close. more.....
CD-315
Five Mile Mountain Road
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Growing up in coastal Virginia, I heard my share of bluegrass and old time music. Even as a boy I could hear the differences between the two, as well as their shared roots. But something I didn’t recognize until I relocated to the Appalachian region was that old time musicians in the mountains didn’t always play stately, rural chamber music like the folks I had heard growing up. Out here the music is rough and rowdy, furious and impolite, and plain old fun to listen to as well as play.
That’s Five Mile Mountain Road to a T. They play a highly entertaining style that is as raucous as it is authentic. For the purist, think Charlie Poole and Clark Kessinger, but with a touch of early country and western swing thrown in for good measure. more.....
CD-280 - 4 CD set
The Blue Sky Boys
1939-1949 Radio Broadcasts
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When Bill and Earl Bolick returned from World War II and the army in 1945, their future looked unpromising. Since 1941, they’d fought in Europe (Earl) and the South Pacific (Bill), while nearly all pre-war Blue Sky Boys records vanished from the catalog. Newer western and honky tonk styles gave their austere hymns and heartbreak songs minimal juke box potential, and Billboard condescendingly dismissed them as “strictly from the haystacks,” claiming their appeal was limited to the “old folks at home.” more.....
CD-312
Tom Mindte & Mason Via
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A dozen dynamic duets from Tom Mindte and Mason Via – an eclectic blend of experience and exuberance…..
Mindte is a seasoned, flexible vocalist with enviable mastery of the mandolin and a repertoire that ranges across a multitude of musical genres. Via is a new exciting voice on the scene, combining his Southern musical heritage with a rage for exploring new musical creations and fluid finger work on the guitar. The match-up is nothing short of fine. more.....
CD-309
John Colianni
I Never Knew
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Swing—one word really describes this new recording by John Colianni, his fourth for Patuxent. Swing, the style of jazz exemplified by Duke Ellington and Count Basie. Swing, that essential, almost indescribable, element of jazz that Ellington described as “ that part of rhythm that causes a bouncing, buoyant terpsichorean urge.”
The music on this album swings because it is performed by musicians who are steeped in the tradition of how to swing. John Colianni has certainly lived a life immersed in swing from the time his parents took him to see Duke Ellington perform at Georgetown University in 1974 and he managed to get back stage and have Duke sign his copy of Music Is My Mistress. His early influences were Art Tatum, Teddy Wilson, Oscar Peterson, George Shearing and Count Basie. more.....
CD-307
Brennen Ernst
Had a Big Time Today
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Had a Big Time Today
Brennen Ernst is a multi-instrumental multi-genre musical daredevil. In his career thus far he has taken on—and mastered—piano, banjo, and guitar, adding tenor vocals and exploring multiple genres—bluegrass and old time, jazz and swing. In this project he focuses on some of his favorite banjo pieces. more.....
CD-313
Daniel Greeson
Done Gone
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Fiddler Daniel Greeson says this recording experience was “a blast.” He had a great group of musicians – Taylor Baker, Casey Driscoll, Brennen Ernst, Danny Knicely, Corrina Rose Logston and Marshall Wilborn to work with, and he selected tunes that suit his style and satisfy his continuing aspiration to reach high.
On the title number, Done Gone, Greeson’s bow never seems to leave the strings despite the tune’s multiple switchbacks and hairpin curves. Fiddle standards from many genres demonstrate Greeson’s comfort zone as he easily takes hold on some festival favorites: more.....
Alan Jabbour & Stephen Wade
Americana Concert
at the Library of Congress
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“How complicated and powerful beyond our own imaginings are the radiations of what we do.” –Alan Jabbour
Early in the fall of 2016, Alan Jabbour sat at his kitchen table, his face sallow from the illness overtaking his lanky frame. Just now, though, he spoke animatedly. Conversation had turned to the preambles he typically delivered before playing a tune. Alan viewed his monologues—part historical and always personal—as no less central to his live appearances than the fiddling itself. more.....
Tex Rubinowitz & Bob Newscaster
The Old Man Mississippi
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Tex Rubinowitz and Bob Newscaster’s Original Dixieland Rocknroll Band (ODRB) presents a mix of American music from its eclectic origins in the Mississippi River Basin: traditional and original songs; Dixieland horns and rocknroll electric guitar; and a roots style that is familiar yet unique. This project has been in the works for at least two decades and is finally ready for its debut on Patuxent Records. Led by veteran performers/composers, supported by accomplished musicians, recorded by experienced audio engineers, we offer this music from the bottom of our broken hearts