Customer Reviews

Stomp

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Playing Time - 59:57 -- David Long hails from Pittsburgh, Pennsylvania and says his mandolin influences are Frank Wakefield and Mike Compton. In 2001, he joined The Wildwood Valley Boys. He's also worked with Karl Shiflett's Big Country Show. Mike Compton is a native of Meridian, Missisippi (the homeplace of Jimmie Rodgers). In 1970, his first pro job was with Hubert Davis and the Season Travelers. From 1984-1988, Mike was an original member of the Nashville Bluegrass Band. He left the band after a serious bus accident in which he was injured. In 1991, he recorded and toured with guitarist David Grier. In 1995, Compton joined Chris Jones' band, the Night Drivers. In 1996, he joined John Hartford's touring "String Band"and worked with him until his death in 2001. In 2000, Mike performed on the soundtrack to the movie "O Brother, Where Art Thou?" and appeared on the Down from the Mountain tour and album. He was one of the "Soggy Bottom Boys." In 2001, Mike returned to the Nashville Bluegrass Band (replacing Roland White).

David Grisman refers to David Long and Mike Compton as "talented kindred spirits" who have chosen to use Bill Monroe's mandolin style as their springboard into both old and new, fertile territory. The musical tangents include some journeys into blues, ragtime, minstrelsy, gospel and old-time fiddle tunes. Four of the 17 pieces are performed solo by Mike or David, while the rest are duets that use mandolin, mandola, guitar or octave mandola. Some of my favorite renderings are with Mike's octave mandola and David's mandolin. These include Ashland Breakdown and Big Indian Blues.

While drawing heavily from a traditional and Monroe repertoire, the album also includes compositions from each of the featured artists, such as Compton's "Big Indian Blues" and "Black's Run" and Longs' "January Nightmare." Both collaborated to pen "Centipede Hop," and its humorous intro has the musicians telling how both of them wrote separate tunes with similar melodies, chords and tempos. We speculate that this tune was the ultimate result when both played their respective tunes together. Within the hour-long set, about 14 minutes have vocals. Mike sings solo on "How You Want it Done?" Three pieces have some nice duet vocals -- "Mississippi Bound," "Every Humble Knee Must Bow," and "The Old Ark's A Movin'." I would've enjoyed a few more vocals on the project, but one interesting contrast occurs on "Black's Run" with the octave banjo mandolin being Mike's instrument of choice.

Recorded live to two tracks, their vision was to capture flavors of the southern music that Monroe might have listened to. I never tire of hearing Bill Monroe's originals, and the rest of the material on "Stomp" is just as exhilarating. Compton's title cut is an octave mandola solo with plenty of bluesy notes and downstrokes. Presented in raw-boned fashion, these tunes will help us better understand the roots of bluegrass. The album would also be a worthwhile investment for players of the eight strings who are looking for material to increase their repertoires. Without much guitar, and no banjo or fiddle, in the mix, "Stomp" is an interesting concept that establishes a likable groove with a maximum of 16 strings being picked at any one time. (Joe Ross, staff writer, Bluegrass Now)

I refer you to the lovely previous review for more in-depth analysis. I feel like this is a perfect album for the current mandolin lover who doesn't always want a current mandolin-family duo to be as progressively minded as is the Marshall & Thile duo. This cd has a great spirit that could probably even get your grandparents up and tapping their toes yet it isn't exactly old fashioned. Track #6 is about the closest thing here to a tune that you could really hear Marshall & Thile playing. It could fit in with other "Mike - mandocello, Chris - mandolin" tunes they play. Here though is more of the essence of the tune without all the intricacies which would go into a Marshall & Thile version.

I'm a fan of David Grier but I didn't much like the Grier & Compton duo live. I'm not sure why but that stuff didn't do it for me. Stomp really does it for me, though! I initially wasn't too hot on the vocal tracks. I still kinda feel like both Mike and David have rather generic voices. They can sing but there isn't a ton of character. Somehow though, even these tracks have won me over. They've really grown on me.

The other day I told someone that I thought this was the best Acoustic Disc album since Traversata. Later when I was back at the old homestead I realized I'd made a mistake. I forgot about the Grisman & Bush Hold On We're Strummin' album being in there, and for some reason I was thinking Dawgnation came out before Traversata, but it didn't. I'd have to say Stomp and Dawgnation are alternating co-best Acoustic Disc albums since Traversata, with Hold On being 3rd. If you're wondering what is Traversata, it's a fantastic Italian album featuring Carlo Aonzo (mando), Beppe Gambetta (harp guitar) and Grisman on a handful of tracks. I don't know why this website no longer carries it. It's still available via the Acoustic Disc site. As of right now, my review of it is on page 20 of my reviews here. I love that album and have been patiently waiting for Carlo Aonzo's own solo album on this label.

To recap, Stomp is a great, fun, beautifully recorded bluegrass mandolin duo but there's just enough modern personality that it'd still bunch Bill Monroe's knickers on a few occasions.

I attended an acoustic music camp at which Mike Compton was a featured mandolin teacher. I was familiar with Bill Monroe's playing, I thought, until Mr. Compton helped open my ears to the complexity and soul that was in the depths of Monroe's mandolin style. Hearing Mike's mandolin up close and personal, and hearing him show me what was happening as he dissected many of Monroe's solos, created a hunger for more of this bluesy, sliding, tremeloed music. I Pandora's Mike Compton, and the fiddle tunes and old time mandolin sounds were captured. The best of this was of course, the Stomp pieces. Pandora played a lot of the tracks, but I had to hear more and bought the album. This is fresh, old and new at the same time. Mike is THE expert on Bill Monroe style playing. As he said in one of the classes, "I knew there were different styles of mandolin playing, but I thought I would first try to learn Bill Monroe's style before trying anything else out." He nailed it and this album is gold. The style is pure and the instrument sounds go in your ears and down to your shoes! Great tunes and a fabulous recording that makes you feel your in their living room. These guys can play just as many fast notes as the new kids on the bluegrass scene, but these guys get more music out of fewer notes than a lot of the newgrassers. If you're looking for that old time sound that sounds like it was plucked out of a long lost archive of 20's/30's recordings, but with high quality production, jump up and Stomp to this one.