by Steve Romanoski
While most guitarists would never entertain the idea, there have been only a handful of players who have brought their art to a level where they could actually record a brilliant instrumental work as a solo project. Then again, David Grier is not a prototypical guitar player and his most recent release, I'VE GOT THE HOUSE TO MYSELF is an introspective portrait of a guitarist who knows no limits in his art.
David Grier is a guitar player with substance! He can produce a sensitive waltz alongside a fiddle tune played at breakneck speed without losing the element of taste. Thus, when David set down his version of the ol' war-horse "Arkansas Traveler," I was amazed at the ongoing flow of the piece matched against his innovative variations of the theme. Grier experiments with sound and texture in his music. In "Arkansas Traveler" he blasts from the gate with a rippling effect in the melodic statement and rehashes this technique throughout the tune and then to the remainder of the recording. Grier then progresses to a point where he alters the melody with improvisation of phrasing and melodic context without ever leaving the rippling totally behind. Another example is found in the lushly arranged version of "Turkey in the Straw." This time David explores the piece by slowing down a tune that's normally a barn-burner. And, if you've ever felt that a tune is just too simple to put any emphasis on, then try again. Performed this way I had to set back to actually remember the tune. However, when Grier began to explore the various paths of melodic beauty within the tune it became clear that Grier had found that the essence of the tune is in the music itself and not the pace of performance. Grier shows us that he's a master player who can arrange a layered sound to a piece of music on a solo instrument.
Grier continues his free-form experimentation in his version of "Bill Cheathum." This time around Grier makes his initial melodic statement as an actual break from that very same melody. I've always viewed improvisation as a means to hear what others may hear in the same piece of music. We all hear different things in music, which leads to the huge disparity in the amount of music that is produced and performed around the world. The difference here is that David Grier is not set on hearing any one facet of a piece of music. He bends and forms the melody to interact with the harmony or related musical lines of thought. That's why Grier's "Bill Cheathum" remains unique in a world where the same tune has been a regularly performed standard.
I'VE GOT THE HOUSE TO MYSELF is a recording that is dominated by classic fiddle tunes. However, Grier provides two new works and a chestnut from Deford Bailey in the mix. The title cut is an elegant example as to how a piece of music can be actually crafted to create a vision. It's also a composition that will probable draw ovations from the audiences that get to hear it done live.
The art of solo guitar has become a crowded field of late. Guitar-slingers are poised at every turn to break out a new arsenal of high-powered licks to amaze the masses. However, few hold to the course of style and substance. And that's what makes a player truly great. There is no way to expect what comes from the mind of David Grier. This is an artist with a six-string. Each note in Grier's interpretation has a soul of its own and a place in a very specific universe. Grier arranges and adapts each universe into a tune. And, while others feel the need to break out a blitzkrieg of passing tones or triplet based solos, Grier illustrates that it can be every bit as effective from the other side of the fence.
David Grier is capable of standing lick to lick with with any guitarist in the universe. And, in fact, he has. However I'VE GOT THE HOUSE TO MYSELF further illustrates the depth of David Grier's art. I had the pleasure of sitting through a workshop with David Grier. And, while his message went over the heads of the majority in the auditorium, it stood proud with me. If you play something that sounds good to you, it ain't wrong! And searching for new horizons in the context of well-worn tunes is a worthy task indeed. I believe that Acoustic Guitar Magazine named David Grier as "Guitarist of the Decade." That's certainly a heavy burden to carry, but David Grier just goes out and proves why it was justified, each and every time he picks up a guitar.
Steve Romanoski--iBluegrass .com