Customer Reviews

Tone Poems III: The Sounds of the Great Slide & Resophonic Instruments

5 star:		(3)
4 star:		(2)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

The first Tone Poems was released in 1994 and paired Grisman with bluegrass guitar legend Tony Rice. It was followed in 1995 by Tone Poems II featuring the hot jazz licks of Scots guitarist Martin Taylor. Now, mandolin fanatic Grisman has joined forces with dobro-player extraordinaire Mike Auldridge and "Mr. National" Bob Brozman to create Tone Poems III: The Sounds of the Great Slide & Resophonic Instruments. If you thrill to the sound of slide or get sentimental over a Hawaiian melody, this album is a dream come true. Auldridge needs no introduction to dobro fans. Following in Josh Graves footsteps, he was a founding member of one of the legendary modern bluegrass bands, Washington, D.C.'s the Seldom Scene. For anyone who harbored any doubts, his first, eponymous solo LP proved without a doubt that this man could play the dobro and became perhaps the classic bluegrass dobro album. Brozman of course literally wrote the book on National guitars, as well as recording fourteen albums championng their sound. His musical influences run the gamut of anyone who picked up a slide or a National, from Sol Hoopii to Oscar Aleman. The collection of instruments here is also stellar: hollow-neck koa Hawaiians, "German-silver" National tri- and single-cones, wood-bodied Dobros, Martins, Gibsons, Gretsches, Mosrites, and modern R.Q. Jones, National, Guernsey, and Bear Creek guitars, ukes, mandolins, and various creations in between. Due to their rarity and the scarcity of history on many brands and models, the 46-page liner booklet is worth the album's price alone. And then there's the music. Ages-old Hawaiian tunes, sweet early jazz, pioneering bluegrass, and boot-kicking western swing---it's a phenomenal collection of classic songs and original compositions that combine to create a musical history of slide and resophonic instruments. It just doesn't get any better than this.

This is an excellent album. I did not give it five stars because I have noticed that many albums receive this, and it is starting to mean nothing. Therefore I will reserve my five star ratings for albums that are must-have classics.

I am a huge fan of all of these guys, and this album lives up to my expectations. Bob Brozman can do some amazing things on those guitars of his, and the other two are also impressive.

The book that comes with this CD is also a lot of fun, and adds a lot of value to the listening experience.

If you are a fan of Grisman's other Tone Poems projects or a fan of Brozman or Auldridge, I recommend that you buy this album.

I came to this recording having never heard of Dave Grisman or Mike Auldridge (apologies, guys!). But I did know and admire Bob Brozman's other blues-based National guitar work, and I knew that Grisman had recorded "Tone Poems II" with Martin Taylor, whom I regard as the finest jazz guitarist in the world today. So, if Grisman was knocking about with the likes of Brozman and Taylor, I thought, he must have something going for him. And what a find this album proved to be! This is such good value for money, other record companies should be embarrassed about some of their offerings. The three musicians here are clearly masters of their instruments and the arrangements and interactions between them are sparkling and breath-taking. One topic that doesnt often feature in Amazon reviews is the actual recording quality itself. Be aware, you wont settle for muddy, poor definition recordings ever again after youve heard this. This CD is without doubt top-notch hi-fi demonstration quality - on a good system they are right there in the room with you. The dynamics of strings being plucked and fingers sliding over frets add to an incredibly believable ambience. And the fantastic information, illustrations and details provided in the thick CD booklet about each track make for a fascinating read each time you settle down with this album. Different instruments from a variety of manufacturers, vintages and styles have been used on almost every track, and the booklet explains why they were built the way they are and why they were chosen. You can follow the development of the instruments over the years along with the music that is played on them. What I have found most suprising is that this album was a real step out of line for me. I have no other Hawaiian guitar recordings, and I *definitely* would not call myself a country or bluegrass fan. The only mandolins I had heard before were in Vivaldi concertos! But thanks to these recordings I've found myself intrigued by styles of music I would previously have regarded as of no interest to me. I dont think you can offer higher praise of a musician than that he changed your listening patterns. The only trouble is, Im now scared to venture too far in buying other albums of these styles in case theyre not as good! This is the kind of dilemma everyone should have.

You can't get better than Brozman/ Auldridge trading blues, ragtime, ditties, Hawaiian, and novelties. They're just simply the best! Brozman is my personal favorite because he makes the lap steel sound every which way: literally playing the LISTENERS' strings. David's contribution is to tie it all together as a beautiful ensemble. This is not bluegrass so if you're seeking that chicka-boom, push on. If you're open to some sentimental ballads, Carolina country blues/rags, and some delving into Grisman's elevated sphere, you'll be mighty happy.

It all depends on my mood, but 8 out of 10 times this is my very favorite cd in the entire Acoustic Disc catalog.

This cd had the first true examples of Hawaiian music that I had ever heard. I was happily surprised to find out that not all Hawaiian music is that tourist-welcoming garbage we hear on tv every time someone gets off of a plane in Hawaii. I've also attended a Led Kaapana & Cyril Pahinui concert thanks to the Hawaiian inspiration of this cd. I'd attend more but Hawaiian concerts aren't a regular occurence near me.

Mike Auldridges tone sings gorgeously on IT HAPPENED IN MONTEREY. STYLE O BLUES is a wonderfully gritty blues tune that would make my favorite pre-war blues masters proud. FORT WORTH DRAG would just as easily be at home on TONE POEMS 1 (with Grisman and Tony Rice) as it is on this. NEW STEAL is what I'd consider thumping country-funk, a really great tune that gains a lot through the instruments it's played on.

What you will think of this cd is just a matter of personal taste. If you've loved both previous TONES POEMS but you aren't a huge fan of steel and slides then you probably won't like this one as much as the first two. Although if Nationals, Dobro's, and Weissenborn's are your thing, then this is surely a cd you need to hear. From sliding string-swing to country-blues to "funky Latin waltz grooves" and places in between, this cd delivers the goods.

It also has the wonderful pictures and historical liner notes that fans of the TONE POEMS series have come to expect, know, and love. Don't forget the ringing crystal-acoustic purity of sound that Grisman has made into Acoustic Disc's trademark. Thanks Bob, Mike, and Dawg!

I was really excited when I received Tone Poems III as a gift. Wow, Grisman and Brozman! Two amazing fret men playing some wonderful vintage instruments. I couldn't wait to hear some excellent acoustic bluesy slide and Reso music. Unfortunately, this recording comes across like sugar poured on the tongue. If you like sitting around in beach wear and listening to Hawaiian strumming-which is at least half of it-this is the recording for you. (In fairness, track 15, "Style O Blues," and track 20, "New Steal," are wonderful. They have some drive and get-up-and-go.)
I also own Tone Poems I, which Grisman did with flatpicker extraodinaire Tony Rice. That recording is also mostly a lightweight.
I play mandolin and fiddle, and recognize David Grisman as the world's master with the mando. I also appreciate what he's doing with his Acoustic Disc recording label. These days, however, he seems to be better off when other musicians are running the show. The recent recordings with Vasser Clements and Old and in the Gray are great. "Hold On, We're Stummin'," with Sam Bush,is the best new mandolin record I've heard. Buy it and go to acoustic heaven!
For my hard-earned money, however, the Tone Poems CDs have turned out to be an expensive set of matching drink coasters. I just know that musicians of this caliber, playing instruments of this quality, could have given us a better selection of music.