Even when you think you know an album like the
back of your hand, it can surprise you. Earlier this week I was watching American
Idol (don’t ask) and a contestant sang “Somewhere”
from West Side Story. It sounded eerily familiar to me, even though I didn’t
recall ever hearing it before.
Then I realized that Queen’s “Want To Live Forever” (which the same
contestant had sung the week earlier) was paying direct homage to “Somewhere” both
lyrically and melodically. I’ve heard “Who
Wants to Live Forever” countless times, but never knew the extra level of
clever writer Brian May infused it with. Well played, Brian, well played.
But enough of past glory – here’s some glory
happening right in the hear and now.
Disc 1260 is… Rise
Artist:
Molly Tuttle
Year of Release: 2017
What’s up with the
Cover?
Tuttle looking angelic in a white shirt against a white background. Skip the
harps – I’d rather have angels like Molly Tuttle around to play some killer
bluegrass licks as I expire.
How I Came to Know
It: I
discovered Tuttle through an article on Paste Magazine called “10 Folk Artists
You Need to Know in 2019”. I also discovered Emily Fairlight, Lula Wiles and
the Honey Dewdrops through that article but I have a feeling Tuttle will be the
best of all. “Rise” is an early Tuttle EP as I dug through her back catalogue.
Fun fact – I am currently on the lookout for two albums by a band called the
Goodbye Girls who I only just found out…include Molly Tuttle! Small world. I
now know one of the reasons I liked those albums so much and want them even
more.
How It Stacks Up: I have two Molly Tuttle albums, this one and
her 2019 release “When You’re Ready”. I love them both but I will reluctantly
put “Rise” in second place.
Ratings: 4 stars but almost 5
I’ve heard a lot of folk music in my life. I like a lot of it, but the
more I hear the harder it is to wow me. Molly Tuttle wowed me. This is a record
that makes me stupid, as I sit with like a slack-jawed idiot, a half-open smile
on my face and my head cocked to the side as though it could somehow make me
hear it better, or absorb it deeper into my bones.
Frightening as it sounds, when she recorded “Rise” Molly Tuttle was the
tender age of 23. She has continued to grow and evolve her sound. Here the
record is sparse and powerful. Tuttle wrote all the songs, many of which sound
like traditional or contemporary folk classics. She has a natural talent for
melodies that are timeless and effortless in their intricacy. Like the Music of
the Spheres, only where the universe is condensed to six guitar strings.
To be fair, it isn’t all Tuttle. She has some impressive musicians on
this record. In particular, Wesley Corbett’s work on the banjo is sublime. In
bluegrass tradition Tuttle gives him plenty of opportunities to shine and he
rises to the challenge every time.
But seriously, let’s talk about Molly Tuttle’s guitar work. You’ll often hear
that jazz musicians are the greatest of all musicians. Certainly, the best can
go places few can. What you won’t hear enough is how great a folk musician has
to be to stand out. Folk music is a lot simpler in structure than jazz, but
that just means you need to be a master of your instrument to stand out. Tuttle
is the International Bluegrass Music Awards guitar player of the year two years
running.
Just citing an award doesn’t do this playing justice, however. Tuttle can
flat pick better than anyone, and she can clawhammer better than anyone as
well. On “Good Enough” her fingers flick
with a precision that feels impossible at the speed she plays. And it isn’t
just fast; every note is laden with emotional resonance, and no note is wasted.
Even if the song didn’t have a single word, the music would tell you this song
is a young woman moving on from heartbreak.
On “Lightning in a Jar” she
slows it down and adds a little Spanish flair into her playing, creating a
combination of passion and smoke. “Save
This Heart” features heavy bass notes that create a beating heart, even as her
fingers trill over the high notes and give that heart beat the flutter of love
and passion.
While her most powerful voice is expressed through her guitar, as a
vocalist she is no slouch either. Tuttle vocals are youthful and clear with
just a hint of extra breath such that she always sounds a little exhilarated.
She reminded me favourably of Sarah Jarosz in both her singing style and for
her inspired musicianship (Jarosz’ weapon of choice being the mandolin).
Please, please do an album together, ladies.
Lyrically, these songs cover topics that are by the book with lots of
variations on youthful love and empowerment. That’s OK by me, though; you can’t have enough
love in the world, nor enough songs to express it. I won’t quote any here,
though, because without that guitar work I feel like I’m doing the song a
disservice. It would be like looking at a picture of the David, rather than seeing
it live in three dimensions.
My biggest beef with this record is that as an EP it has only seven
songs. That is not enough songs! More songs! Fortunately, Tuttle is young and
has many more years to share her brilliance. I have a feeling I’ll be champing
at the bit in anticipation of every release.
Best tracks: Good Enough, Save This Heart, Lightning in a Jar, Friend
and a Friend, Super Moon
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