|David Grisman Quintet|
David Grisman Quintet — Dawganova
÷•» On Dawganova, Grisman and his quintet add Latin and bossa nova rhythms and melodies to their distinctive blend of bluegrass, folk, and jazz; the results are energetic, and usually quite successful. I like the music just as much as the others, but I’m surprised that no one has mentioned the superb sound quality of this recording. If you have a stereo capable of doing the disc justice, you’ll be stunned at its realism and depth. And the balance is far more natural than that on most of the stuff coming from the major labels — Grisman is not boosting the treble to give the sound artificial sizzle.Location: Cordoba, Buenos Aires, Argentina ~~ San Francisco, California, US
Genre: Americana, newgrass, jazz, Latin music
Album release: August 22, 1995
Recording date: September, 1994
Record Label: Acoustic Disc
01. Dawganova 6:52
02. Manha de Carnaval 7:07
03. Barkley’s Bug 5:39
04. Nature Boy 7:51
05. El Cumbanchero 4:39
06. Brazilian Breeze 5:57
07. Tico Tico 4:31
08. April’s Wedding Bossa 6:45
09. Caliente 6:12
÷•» Enrique Coria — guitar
÷•» Jim Kerwin — bass
÷•» Joe Craven — violin, percussion, cover design
÷•» Matt Eakle —flute, bass flute
÷•» David Grisman — mandolin, mandola
÷•» David Grisman 1, 3, 6, 8, 9
÷•» Luiz Bonfá 2
÷•» Eden Ahbez 4
÷•» Rafael Hernandez
÷•» Zequiñha de Abreu / Ervin Drake / Aloysio Oliveira 7
÷•» Bill Amatneek Liner Notes
÷•» Jay Blakesberg Photography
÷•» Larry Cummings Engineer
÷•» David Dennison Engineer
÷•» D. Brent Hauseman Artwork, Photography
÷•» Craig Miller Production Coordination
÷•» Paul Stubblebine Mastering © Joe Craven, Author: Multichill
÷•» It’s the same old question: what in the world will that predictably unpredictable mandolin–driven David Grisman Quintet do next? The answer is Dawganova, the latest release from Acoustic Disc. This time, Dawg music goes south of the border with a collection generously infused with infectious Latin rhythms and melodies inspired by the quintet’s newest member, Argentine guitar master Enrique Coria. The disc also features Quintet regulars Jim Kerwin (bass), Joe Craven (violin, percussion), and Matt Eakle (flute, bass flute). Former DGQ guitarist Tony Rice calls this band “the best ever!”
÷•» Grisman and company offer up five Dawg originals; the title cut "Dawganova," "April’s Wedding Bossa," and new interpretations of "Barkley's Bug," "Caliente," and "Brazilian Breeze." Fiery rendi–tions of the Latin standards "Tico Tico" and "El Cumbanchero" plus the sensuous "Manha de Carnaval" and a haunting interpretation of the Nat "King" Cole classic "Nature Boy" round out this latest chapter in the evolving story of American string band music.
Review by Marilyn Kreienkamp, Amazon.com
÷•» Dawganova is a 1995 all–instrumental album by American musician David Grisman, recorded with his group The David Grisman Quintet. It's a unique collection of Latin rhythms and melodies inspired by the group's newest member, Argentine guitar virtuoso, Enrique Coria. Five Grisman originals are accompanied by classical Latin standards: "El Cumbanchero", "Tico Tico", "Manha de Carnaval" and the Nat "King" Cole classic "Nature Boy". In his Allmusic review, Stephen Thomas Erlewine stated "Grisman's distinctive blend of bluegrass, folk, jazz, and, in this case, latin music is energetic and very impressive."
÷•» All the David Grisman Quintet’s C.D.s are good and enjoyable, but with this one, they finally achieved perfection. Every song is one you want to listen to again and again and each time you do, you hear a note or a run that you never heard before. ÷•» The addition of Matt Eakle and his flute was one of the best things David Grisman did for his music. Eakle gives the exactly right sound for blend and offset of the stringed instruments. Whoever you are and whatever kind of music you like, you cannot listen to this C.D. and not thoroughly enjoy it.
Matt Eakle: http://matteakle.com/matt-eakle-band/
÷•» The David Grisman Quintet — 1977
÷•» Hot Dawg — 1978
÷•» Quintet ‘80 — 1980
÷•» Mondo Mando — 1981
÷•» Dawg ‘90 — 1990
÷•» Dawgwood — 1993
÷•» Dawganova — 1995
÷•» DGQ–20 — 1996
÷•» Dawgnation — 2002
÷•» Dawg’s Groove — 2006
÷•» “My father gave me a Spanish guitar when I was 12 years old and I went crazy,” recalls Enrique Coria. “I was always thinking about the guitar. My father knew of a musician in Dique Los Molinos, the small village in the center of Argentina where we grew up.” Enrique learned the fundamental chords that he would practice each day for hours from this man.
÷•» When unable to get guitar strings, he would use fishing lines instead. He taught a friend to play guitar so he could make music with someone else. At 15, he left his family and moved to the city of Cordoba to pursue a career as a guitarist.
÷•» Enrique immediately began performing contemporary Argentinean folk music with different bands at clubs and festivals in Cordoba. When he was 18, he moved to Buenos Aries to work with a popular group called Los Rundunes. At 20, he started playing guitar with a well known Argentinean singer named Hernan Figueroa Reyes, who introduced Enrique to many great performers of the region. Through Reyes, Enrique met and studied with a classical guitar master from Argentina named Jorge Martinez Zarate.
÷•» During the past 40 years Enrique has played on over 400 recordings with popular groups from Argentina, Chile, Uruguay, Bolivia, and the U.S.. He joined the David Grisman Quintet in 1994, and is featured on Dawganova ACD–17. He has also released two critically acclaimed recordings under his own name, "Solos from South America" (ACD–6), and "Latin Touch" (ACD–23).
÷•» But it is the music that you will hear on Solos From South America that Enrique Coria has always dreamed of recording. They are guitar compositions that mix the classical style from Europe with the folk rhythms and harmonies of Latin America. Some of the music was written by noted early 20th century composers like Eduardo Falu from Argentina, Antonio Lauro from Venezuela, and Augustin Barrios of Paraguay. ÷•» Each has written or arranged music that is now prominent in the repertoires of many world–class guitarists. But most of the gems on Solos From South America are outside the mainstream of the classical guitar world — just as Enrique himself is. His technique is beautiful. His sound is rich and full, and the music is most evocative.
|David Grisman Quintet|