Dawg's Groove

The David Grisman Quintet | Format: MP3 Download

Product Details

• Original Release Date: October 3, 2006
• Label: Acoustic Disc
• Total Length: 1:05:39
• Genres: Country/Bluegrass, Country/Compilations, Folk/Compilations, Folk/Contemporary Folk, Folk/Traditional Folk
• ASIN: B000S5977E
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #143,389 Paid in MP3 Albums (See Top 100 Paid in MP3 Albums)

Customer Reviews

Most Helpful Customer Reviews

15 of 16 people found the following review helpful:

5.0 out of 5 stars Light breezy air and cheerfulness, December 24, 2006

By 

J. Ross "a-music_fan" (Roseburg, OR USA) - See all my reviews
(TOP 1000 REVIEWER)    (REAL NAME)   

This review is from: Dawg's Groove (Audio CD)

Playing Time - 65:39 -- Isn't it amazing that the original David Grisman Quintet formed three decades ago! Just like turning 30 is a milestone in one's life, a visionary band of that vintage has certainly solidified its musical maturity. Besides David Grisman, the other charter members were Todd Phillips, Darol Anger, Tony Rice and the late Joe Carroll. The list of alumni from the group reads like a who's who of bluegrass and acoustic innovators. The current band has bassist Jim Kerwin (with the group since 1985), flutist Matt Eakle (since 1989), guitarist Enrique Coria (1994) and drummer George Marsh (1985 for several years, then rejoining in 2005). It was Jerry Garcia who gave David Grisman the nickname of "Dawg" based on the initials in his full name. And, of course, his "groove" is the pleasurable and harmonious musical experience they create together.

Grisman's history as a musician goes back much further than just 30 years. Originally from Hackensack, N.Y., he began his professional career in bluegrass in the mid-1960s with Red Allen and the Kentuckians, Even Dozen Jug Band, and New York Ramblers. In 1967, he moved west to California to pursue other kinds of musical endeavors including Earth Opera, Great American Music Band, and Old and in the Way. He keeps pretty darn good company. And Grisman has probably done as much, if not more, for the mandolin in jazz than Bill Monroe did for the little 8-stringed instrument in bluegrass.

The David Grisman Quintet has always played their instrumental music with such extemporaneous buoyancy that we can't help but grin like a cheshire cat at its light breezy air and cheerfulness. This set is all new originals and is not a compilation that rests on the laurels of tunes previously released. For a warm sound, all of these tunes (5-7 minutes apiece) were recorded live to 2-track analog by David Dennison.

Dawg's ditties begin with "Limestones," that seems to establish some of his multi-genre building blocks that form the foundation of his free-flowing jazz music. Suspense, sensation and romance characterize "La Grande Guignole," a tribute to an obscure French passion for theatrical melodrama. The emotional appeal of Grisman's music is its very je ne sais quoi. I hear contentment, sympathy, and love for nature. Jim Kerwin wrote "Ella McDonnell," a graceful 7-minute planxty for his Irish grandmother, a survivor of the San Francisco earthquake of 1906. The improvisational interplay of mandolin and flute bring the offering to its conclusion. George Marsh's slow "Waltz for Lucy" is a very loving tribute to his 15-year-old daughter who passed away from cystic fibrosis in 1998.

Latin sensibilities characterize a samba ("Zambola") and bossa ("Tracy's Tune"), the latter for Tracy Bigelow, the wonderful woman in Grisman's life who penned the pleasing title track, "Dawg's Groove." The Latin pieces allow amble opportunity for Coria to really shine on his guitar, while the dreamy groove gives everyone a chance to be inventive and strut their stuff. The latter third of the album begins with David's "Cinderella's Fella," inspired by some wonderful plants he knew. If it weren't for having to maintain his embouchure, I can imagine Matt Eakle's big smile at the band's rendition of his fun and playful composition, "My Friend Dawg." As you can see, many of the tunes pay tribute to people or things. A mutual admiration and respect among these friends are a strong element of their continued achievement. Closing with "Blues for Vassar," the band acknowledges musical philosopher Vassar Clements who used to "play his thoughts" on fiddle. Wouldn't it have been nice to invite a guest violinist into the mix of that one? (Joe Ross, staff writer, Bluegrass Now)