Cagley, Black, Schaefer, and Njoes ~ Hot Pickin' & Cool Tunes Album Reviews: Dave Dickerson (Bluegrass Unlimited)

From the: BLUEGRASS UNLIMITED
Review by: Dave Dickerson
Work Reviewed: Cagley, Black, Schaefer, & Njoes

It was a scene that easily burned its way into the memory of a bluegrass festival neophyte: at the bottom of a sparsely wooded slope the Leader, in his trademark light-colored Western style suit, was introducing a tune.With characteristic clipped, no-nonsense prologue he announced “and now the Bluegrass Boys will do one entitled ‘The Old, Old House’.” Kicked off by the evocative and prototypical fiddle player, the Boys launch one of that summer’s hits.Etched into the left hand corner of that memory is a picture of the slight figure bent over the banjo.Looking less like a casual member of this edition of the ‘Boys’ and more like a lone outpost digging into a defensive position, Bob Black was driving the 5-string.

Bill Monroe’s band in that summer of 1975 was memorable for many reasons.Primarily, Mr. Monroe was basking in deserved respect engendered by the public’s heightened awareness of his talent, creativity and status as ‘Father Of Bluegrass’. Also it seemed as though the individual members of the group were perfectly attuned to provide the Lonesome sound in its ideal rendition.Fiddle player Kenny Baker and the young banjo player, Bob Black had been friends for some time prior to Mr. Black’s call to the group.Inspired by Kenny Baker’s interpretations, Bob Black had been pursuing a study of fiddle tunes that would set him apart from most banjo players: arranging, with relentless precision, fiddle tunes note for note for the banjo.Mr. Black was creating new standards of 5-string excellence.

There is a substantial legacy of that heady time, significant of which is the album “Weary Traveler.”Captured on the cover of this epochal work, Mr. Monroe appears in a characteristic pose of that time; he has the contemplative look of a Senator of the Roman Empire wearing western garb.Inside the cover even better stuff is found; here is the first version of “Jerusalem Ridge” and the driving “Watson Blues” featuring an all-time favorite break by Bob Black.

Mr. Black put in a two year stint with the Bluegrass Boys and earned many honors and probably several battle scars.Placed on ‘active reserve’ he served with the likes of Buck White and reinforced several lesser known outfits.1986 saw the appearance of Mr. Black’s instructional series of six tapes which explain his approach to fiddle tunes.In 1990, he appeared on Groundspeed’s well received CD “Charlotte’s Waltz.” Happily the chronology includes another classic, the publication of the business-like title “Cagley, Black, Schaefer, And Njoes” which further defines the role of the banjo in traditional fiddle tune environs.

Bob Black has surrounded himself with allies to produce a recording of several tunes, some familiar and some probably only well-known to true devotees of the fiddle.This project distinguished itself with each succeeding cut.Overall the band has chosen excellent material (the haunting “Crazy Horse” is followed by the driving “Texas Gales” which is succeeded by the graceful new favorite “The Iowa Waltz.”). Yet there is a presence here that modern bluegrass producers seem to have overlooked.Mr. Black’s new tape was recorded live with no overdubs!

Bluegrass is ensemble music.That’s why it sounds so great live at festivals and that’s why many of our modern records, recorded a track at a time, come off sounding trite and uninspired.Bob Black and friends have arrived at a startlingly simple remedy for good instrumental output: play live, let the instruments work together and the result is hot music.

If one appreciated steady, unpretentious, straightforward guitar and bass, agile fiddle work and melodic drive from a hero of the 5-string banjo then one will certainly appreciate Bob Black’s latest.

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