Bluegrass Briefs: C.J. Lewandowski with Bobby Osborne, Echo Valley, The Onlies, The Unfaithful Servants, Wes Corbett.

It may have been a while since our last look around the world of bluegrass, but there have been some great albums released over the summer and Autumn. Tradition is a big part of bluegrass. Even the most off-the-wall music we have featured here still retains a respect for the founders of the genre. We’ve talked a lot about Peter Rowan this year, for instance. This time, we feature Bobby Osborne, who is from the same generation of musicians as Rowan. Echo Valley are a young band of siblings who play with the traditions by including rock and jazz covers in their latest album, but keep the sound totally bluegrass. The Onlies call themselves a “new old-time string band” and are another young group working in the traditional sound. While there is much that is old about bluegrass, every generation sees the tradition through new eyes, which is as it should be. Unfaithful Servants are our slight outlier this time, but demonstrate that “newgrass” is still “grass“. Tradition wins out every time.

‘Keep On Keepin’ On’ is a mix of tribute and final chapter to Bobby Osborne’s musical journey. The Po’ Ramblin’ Boys’ C.J. Lewandowski was working with Osborne at the time of his passing in 2023. Rather than abandon the recordings, Lewandowski has completed them with a variety of friends, including Billy Strings, Molly Tuttle, and Sam Bush, to produce an album which is entirely respectful of the traditions of bluegrass while adding in the contemporary touches which make it far more than a eulogy. Osborne himself was clearly in fine form right until the end, as the best song here is ‘Where The Soul Never Dies.’ Unadorned by starry guests, it’s easily the best single bluegrass song issued this year. Not far behind are the last four songs on the album, which again show Osborne in fine voice at 91 years old.

We’ve covered Echo Valley’s work here before. The Anderson family band have offered an album featuring a variety of covers. Opening with a cracking version of ELO’s ‘Don’t Bring Me Down.’ It sounds like it was always meant to be a bluegrass tune. This could become the standard that ‘Sweet Child O’ Mine’ (also included) has become in bluegrass land. ‘Fly Me To The Moon’ is another highly successful cover. The regular features throughout the album for bass player Emmaline Anderson give a different feel to several of the songs. ‘Ain’t No Ash Will Burn’ is perhaps the album’s high point, although ‘Slow Dance‘ gives Alison Krauss a run for her money. The album to try if you remain unconvinced by bluegrass.

The Onlies’ new old-time string band album is, says band member Riley Calcagno, “a careful balance between crazy intensity and melancholic peace.” says Riley. “I like that both of those exist on the album.” ‘You Climb The Mountain’ is the product of a group of 27-year-olds who have been working together for 20 years. So, it’s no wonder that the arrangements sound almost telepathic. The intensity you can find in their videos reflects a genuine love of the music, old or new. Forget the genre, this is just great, good-time music.

The Unfaithful Servants ‘Fallen Angel’ is described as “folk/americana” in its press, although the Vancouver band approach their music with bluegrass at the top of the list of influences. The title track, also the first single is from the “newgrass” end of things. In other words, there are pop and country influences creeping in. It’s a great song and the rest of the album reflects that same quality. The sepia-tinted album cover suggests they see themselves as from the mould of The Band. The musicianship and songwriting confirm that.

The press for Wes Corbett’s album ‘Drift’ suggests that “there has never been a shortage of prodigious musicians in bluegrass music, especially on its signature instrument, the 5-string banjo. Less common are virtuosic players with deep and diverse musical backgrounds that inform their approach to bluegrass.” Another album featuring an impressive guest list, collaboration is becoming a signature of many bluegrass albums. This time the credits include Sam Bush, Sierra Hull and Chris Eldridge. Much is made of the technical virtuosity on show. As an instrumental album, it should include solos that make the sparks fly, and it does indeed, but without ever losing the joy of playing, which is all over this record.