David Grisman - The David Grisman Rounder Album '1976

Artist	David Grisman Related artists
Album name	The David Grisman Rounder Album
Country
Date	1976
Genre	Country
Play time	00:40:28
Format / Bitrate	FLAC Stereo 600 Kbps / 44.1 kHz MP3 320 Kbps
Media	CD
Size	175.42 Mb
Price	$2.95

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Play List

					Quality CD 16-bit \| 44,1 kHz CD 16-bit \| 44,1 kHz
					Quality CD 16-bit \| 44,1 kHz CD 16-bit \| 44,1 kHz
	1. Tracklist
	2. 01. Hello
	3. 02. Sawing On The Strings
	4. 03. Waiting On Vassar
	5. 04. I Ain't Broke But I'm Badly Bent
	6. 05. Op. 38
	7. 06. Hold To God's Unchanging Hands
	8. 07. Boston Boy
	9. 08. Cheyenne
	10. 09. 'Till The End Of The World Rolls 'Round
	11. 10. You'll Find Her Name Written There
	12. 11. On And On
	13. 12. Bob's Brewin'
	14. 13. So Long
	15. whatever-you-call-it branch of the bluegrass family tree. And with a number of other suspect jazz dabblers on hand, one might expect The Rounder Album to be a Grappelli-sounding crossbreed experiment in line with Grisman's longstanding quintet. Yet, despite some string-slingin', fancy-licked solos, the album is really a true-blue bluegrass record. Why, this record has enough gospel harmonies, Bill Monroe songs, stories of money lost on spend-thriftin' women, string sawin', and other neat-sounding contractions to keep even your most die-hard hillbilly warm as a mug of Grandpappy's moonshine on a cold Kentucky night. The tricky thing, the "how'd he do that?" part, is that in addition to its unabashed down-home country feel, this album is anything but traditional. Instrumentals like "Waiting on Vassar," "Op. 38," and "Boston Boy" integrate a complex network of orchestral voicings, solos, and interactive group play, and throughout the album solos by hotshots like Clements, Rice, Jerry Douglas, and Grisman himself betray more than a passing interest in other styles of improvisation. In the coming years, the experimental wings of bluegrass would begin to incorporate electric instruments and more overtly bear the influence of jazz and rock. But The Rounder Album is some of the earliest evidence that bluegrass can be progressive without sacrificing any of its institutional twang
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