Bryan McDowell has built a long, steady career as one of acoustic music’s quintessential sidemen, having performed with the likes of Molly Tuttle, John McEuen, Claire Lynch, and Sierra Hull, among others. McDowell’s self-titled recording on Mountain Fever Records moves him directly out front, providing an even greater look at his talents as a vocalist and instrumentalist.
This album consists of eight original songs, seven of which were penned by McDowell. The opening track, Garden Gate, provides a captivating tale about two lovers which is accompanied by a gentle melody. Along with Bryan on guitar and lead vocals, his first cast of backing musicians consists of Cory Walker on banjo, Jarrod Walker on mandolin, Jake Stargel on guitar, and Jeff Partin on resophonic guitar, bass, and harmony vocals.
The following track, Hold Me Like I’m Leaving, provides the perfect contrast to the aforementioned song. Written by Jesse Wells, it’s a dark piece that delves into the mindset of a self-absorbed man who isn’t capable of having true romantic feelings. With a minimalist configuration consisting of McDowell on mandolin and vocals, Partin on resophonic guitar, and Daniel Kimbro on bass, it forces the listener to fully take in what’s running through this individual’s mind.
Winter’s Comin’ On conveys the feelings that accompany the long, cold winter months. While this is a fine song lyrically, its melody is especially powerful, highlighted by the twin fiddles of McDowell and Bronwyn Keith-Hynes.
Blue Backpack and Free Consultation provide a look at Bryan’s instrumentalism and compositional ability from different angles. Blue Backpack has a blatant flavor of jazz, which is especially evident in the performances of mandolinist Issac Eicher and bassist Jeff Picker. Free Consultation carries a traditional bluegrass feel and is an excellent example of McDowell’s fiddling.
Two of the tracks, American Native and Toy Heart are both traditional standards. The former, which has been played by generations of fiddlers, is performed here as a twin fiddle piece with McDowell and Christian Ward. Gaven Largent provides excellent reso-guitar here as well. The latter is a true Bill Monroe classic, with Bryan borrowing ideas from both Monroe’s 1947 rendition, as well as the version recorded by the Bluegrass Album Band in 1981. Bryan is joined on both tracks by Mark Schatz on bass.
Bryan McDowell’s self-titled release truly captures him in his element. Not only has he written and selected excellent material, but he’s surrounded himself with stellar musicians that bring out the best in him as an artist. This project casts Bryan McDowell in the best possible light.
