Most Helpful Customer Reviews
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17 of 17 people found the following review helpful:
5.0 out of 5 stars
Currently holds the baton once held by White, Watson, Rice.., May 4, 2004
What are the elements that go into making an instrumental virtuoso? I submit the following:
1. Technique - the ability to physically make the chosen instrument vibrate in a way that the novice simply does not possess. This encompasses not only things like speed, but far more importantly - accuracy and tone.
2. Interpretation - this means the players ability to play the chosen music in a way that is not only technically good - but also, and way more important - in an interesting way that engages your ears and mind and imagination.
3. Ability to play with other musicians - the world is full of talented virtuosos who's playing all but screams "look at me", but the more accomplished musicians play complex music in the context of some ensemble, and all of the players complement and flavor the result in a way that surpasses what any single virtuoso can do. (With all due respect to the Maestro Mark O'Connor, this characteristic limited his solo records up to "The New Nashville Cats".)I'm running out of space, but all of the above is to make the point that Bryan Sutton has all of these desirable characteristics in amounts surpassing any other current acoustic guitarist, in my humble opinion. His technique is not only lightning fast, but it is also incredibly complex and endlessly engaging. For examples of how his playing meshes and enhances the work of other players - check out his work on.... let's say Chris Thile's "Not All Who Wander Are Lost" (Stuart Duncan said that pretty much all the charts for this record were done by Mr. Sutton) or on Ricky Skagg's "Bluegrass Rules". The previously mentioned Mark O'Connor waited a long time for the "ultimate" musicians to join him in reinterpretations of previously recorded works. Considering the musicians available to Mr. O'Connor (Jerry Douglas, Sam Bush, Tony Rice, Bela Fleck to name a few previous collaborators) it is an immense compliment to Bryan Sutton that on Mark's 30 year Retrospective Recording (HIGHLY recommended also) that he chose as co-soloists Chris Thile and Bryan Sutton. Mark O'Connor, a previous National Flatpicking Champion himself, recognizes something that you should know as well: no one is flatpicking a guitar better than Bryan Sutton right now.
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14 of 14 people found the following review helpful:
5.0 out of 5 stars
This album's a killer, May 14, 2003
Only about thirty years old, North Carolina guitarist Bryan Sutton has put new meaning into the term "bluegrass guitar" and has even taken home the coveted IBMA "Guitar Player of the Year" Award in 2000. Versed in many genres of music and with considerable experience under his belt, Sutton's desire to do more session work eventually took him to Nashville where he joined a gospel group called "Mid South." In 1995, Sutton joined Ricky Skaggs' band, Kentucky Thunder, and his flashy playing caught the attention of the bluegrass community on Skaggs' "Bluegrass Rules" album. The group evolved into a large bluegrass band, and Sutton's sizzling guitar and powerful rhythms helped define the band's sound.Within a few years, Sutton was sharing a Grammy award and playing on projects from such artists as Aubrey Haynie, Jerry Douglas, Don Rigsby, Bobby Hicks, Rhonda Vincent, Tina Adair, Dixie Chicks, and Dolly Parton. Filling in for the injured Tony Rice with the Bluegrass Sessions gave Bryan continued acclaim as he continually amazed audiences with his distinctive precision guitar leads. His solo "Ready To Go" project with many stellar guests matched musicians to material across a broad range of styles. From well-crafted instrumentals, including five penned by Sutton himself, to covers of artists as diverse as U2 and Django Reinhardt, it's an album that truly reflects the creativity and talent of one of the most exciting young musicians on the scene today. Somewhere along the road, Bryan Sutton picked up a nickname of "Bionic Bryan". This new recording displays his incredible talent as he impressively glides around on slow numbers like "Margaret's Waltz" and sets his strings ablaze on the fast tunes. I don't think I've ever heard Bill Monroe's "Roanoake" performed with such precision at such a breakneck speed. That surely gave Tim O'Brien a good workout. Actually, the picking gets so frenetic on this album, that I'm glad he chose to close with something a little slower, melodic and reflective, A.P. Carter's "The Storms are on the Ocean." Flatpicking guitar at its finest, Sutton is right up there alongside legends like Doc Watson and Tony Rice. "Hangman's Reel," Nelia's Dance," and "The Storms are on the Ocean" are clear standouts. Sutton provides a few personal liner notes about each of his song selections. He also lined up some fantastic musicians to help out: Dennis Crouch (bass), Tim Crouch (fiddle), Tim O'Brien (mandolin), and David Talbot (banjo and rhythm guitar). This album is a killer. (Joe Ross, staff writer, Bluegrass Now)
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7 of 8 people found the following review helpful:
5.0 out of 5 stars
This guy is great! No, really !, July 26, 2003
Driving to work late one night, I turned on my radio and was completely surprised by what I heard. A local PBS station was airing its' weekly show called Traditions, hosted by Mary Cliff. Anyway, the song "Margaret's Waltz" was playing - and it blew me away. It's was such a pure experience. Without getting too sappy, I have to say, it almost had me in tears. Every once in a great while, you'll hear a song for the first time and it just gets to you. I found out later, this song was by Bryan Sutton, a person whom I have never heard. Well, I ordered the CD from Amazon, and it arrived today. And it is outstanding! I enjoy a variety of styles of music, from one degree or another; bluegrass included.
This is "just right". The only thing that would top this is if he decides to tour, as I'd love to see him play. Bryan, if you're ever near Washington D.C., you have to come play at the Birchmere. Buy this CD - it's bound to stick to you.
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