Jordan Tice is a young guitarist who is releasing a third CD under his name at only 21 years of age.

Long Story, recently released on Patuxent Music, features 10 original instrumental compositions performed by a group of stellar progressive string musicians. Jordan recorded his first solo project, No Place Better, in 2005 and was part of a trio album (Corbett/Chrisman/Tice) in 2007 with banjoist Wes Corbett and hammered dulcimer player Simon Chrisman.

This new solo release shows not only an obvious grasp of acoustic guitar technique, but a fresh compositional voice as well. It is not presented as a “guitar album” – with track-after-track of fiddle-tuney flatpicking – nor does it incorporate the odd vocal number with an eye towards radio play. In fact, the CD is more of a statement about Jordan’s original music than it is his guitar playing, and it is the tunes that shine, both for their clever melodies, and as improvisational vehicles for Tice and his fellow pickers.

The opening melodies are as likely to be presented by the dobro, fiddle or banjo as the guitar, which Tice had in mind when he created the tunes for this album.

“I did write many of the melodies with other instruments in mind. One thing that ties most of the music I love together is that the elements that make up the music are veiled behind the flow of the music. My goal was to make a record with a bluegrass band that accomplishes this rather than to highlight the guitar and ignore the abundance of textures and sounds the bluegrass band is capable of producing.”

Jordan’s tunes range from a fiery fiddle tune form (Sofia) to jazzy, new acoustic ballads (Chincoteague), and even an orchestrated, scored piece (The Colony).

Sofia really jumped out at me on first hearing, and it hasn’t diminished a bit upon multiple listenings.

Listen now:   

“Sofia was written a few years ago pretty quickly. Id say it’s the most straight forward on the record in that its just a tune that we play and improvise on with minimal arrangement. I named it after Sofia, Bulgaria after a visit there last summer. I just liked the simple and pretty sound of ’sofia’ and figured it fit.” (more…)

WTTW channel 11 in Chicago recently aired a brief (7:30 in length) news story about Noam Pikelny of Punch Brothers. The piece ran as part of their Chicago Tonight programing.

The piece is essentially a short biographical work about Noam. It begins with Noam as a young child, his first experiences with the banjo, his first banjo teacher is briefly interviewed, and follows his career through the latest recording by Punch Brothers.

Chris Thile is interviewed as well and my favorite line from the news piece is uttered by Chris in regards to his writing of The Blind Leaving The Blind knowing that Noam was the banjo player he intended to perform the piece.

I didn’t really have to take what I perceived as the limits of the banjo into consideration.

I’ve embedded their video piece here on The Bluegrass Blog for easy viewing.

Today (2/26) marks the widely-anticipated release of Punch, the debut recording of Chris Thile’s touring band, Punch Brothers. Of course he recorded once before with this same unit on his How To Grow A Woman From The Ground CD, but they were then known as How To Grow A Band.

With Punch, the band has a new name, a new label (Nonesuch) and a new raison d’?™tre, to wit, Chris’ lengthy composition in four movements, The Blind Leaving The Blind, which forms the major portion of this new project.

We’ve written a good bit about this project on The Bluegrass Blog, including Brance’s recent three part interview with both Chris Thile and guitarist Chris Eldridge. Today, we celebrate the release of Punch in an interview with banjoist Noam Pikelny. Noam talks some more about the recording process and about performing this challenging material live.

You can hear two full pieces from Punch on the Nonesuch web site, audio samples from all 8 tracks on iTunes, and extended selections from each of the four movements of The Blind Leaving The Blind on Thile’s MySpace page. Chris and the Brothers will also be appearing on The Tonight Show with Jay Leno on Friday (2/29).

Here’s Noam on recording this CD…

We recorded at Legacy studio A509 in Manhattan. Our producer Steve Epstein suggested the room for the project. Once he signed on to the project he felt very strongly about having us in that room. And looking back on it all, I can see why. It’s absolutely beautiful. It’s quite large, but has amazing natural reverb and is a big part of the overall sound of Punch.We sat in a horse shoe type of shape, with [fiddler] Gabe [Wichter] and I opposite Critter [Chris Eldridge] and Thile, with [bassist] Greg [Garrison]at the bass of the “U”. We used no headphones and relied mainly on a 3 microphone tree about 10 feet above us. There were spot mics on each vocal and instrument that were used for balancing out the mix.

We recorded for about 5-6 days, from noon to 8 pm. We did multiple takes of everything on the record, but no overdubs. We played everything live in the room with no headphones. Typically we’d play a movement 5 or 6 times until Steve and the rest of us were confident we had everything we needed. At times we’d isolate certain sections and do several takes of them. (more…)

After teaching at Sore Fingers Week in England earlier this month, Rob Ickes, Noam Pikelny and Casey Driessen did some touring in the UK as The Nashville Acoustic All Stars.

The folks at ukbluegrass.com posted yesterday with links to three video clips on YouTube from a performance of theirs in Scotland. They were shot with two cameras, and offer a nice look at these fine musicians up close in a loose, jam-like setting.

The songs from this show (at the Polish Club, Kirkcaldy, Fife) are Sally In The Garden, Aint’ Gonna Work Tomorrow and Foggy Mountain Rock.

There is one other clip from this tour on YouTube, shot at the Ex-Servicemans Club, Helsby in England. This one has the boys playing a rip-roarin’ version of Groundspeed – which also includes a couple of choice quips from the guys at the start.