ALAN BIBEY
In The Blue Room (Sugar Hill)
Reviewed by Shaun Dale

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There are noted similarities between Bluegrass and jazz, most notably a need for instrumental virtuosity and a corresponding tendency toward improvisational play. There are differences, too, of course, especially in the Celtic roots of Bluegrass, as opposed to the African sources of jazz; but the lines are becoming thinner all the time as musicians from each side of the equation cross over into broader definitions of roots music.

Another similarity that's becoming more and more evident is found in the recording scene. With labels like Sugar Hill and Rounder at the forefront, the Bluegrass scene is seeing more and more releases featuring a talented player as the leader of a rotating group of master pickers--any of which might be the leader of the next session. It's very reminiscent of the jazz scene in the hard bop heyday of Blue Note, Prestige, etc.

In this case, the man out front is mandolinist/vocalist Alan Bibey of BlueRidge. His sidemen for this disc are an impressive assemblage representing the A-list of progressive Bluegrass musicians. That list includes Tony Rice (guitar), Jerry Douglas (dobro), Jim Mills (banjo), and Barry Bales (bass), among others. If you have a Bluegrass collection of any size at all, you'll find those names on lots of your CDs, in various combinations. You'll probably also find that the results of their various collaborations never disappoint.

In The Blue Room never disappoints, either, with lots of proficient picking; tight, high, lonesome harmonies; and a great collection of tracks from new, familiar and traditional sources. It's a definite keeper.

Track List:

In The Blue Room * Save Your Heart * Evening Prayer Blues * I'll Be Alright Tomorrow * Wild Fiddler's Rag * Lee's Reel * Country Fool * Stumptowne * Close By * Amanda Lena * Busy Fingers * What I Am * Sure-Fire

© 2000 - Shaun Dale