Volume 10, Number 2 • Winter 2005

REVIEW

intensely and with such ferocity that I playing born of careful study of the Steal Aboard have to take a hot shower to clean up source material. Run of the Mill String Band and calm down after I listen. I’ll then The material comes from all over go to bed and curl up with another the map—Kentucky, Arizona, Geor- recording, with the requirement that gia, Alabama, and North Carolina. the band be together for at least a Palmer’s versatility is highlighted, for decade. At my age, I can appreciate she is able to play with commanding the excellence of well-aged wine, authority on squirrelly rags, heart- cheese, and music produced by band melting waltzes, and hot dance tunes. members in a long-term relationship. Happily, none of the chosen dance The nucleus of the Run of the Mill tempos exhibit the frantic intensity String Band coalesced a quarter of a that a less accomplished musician century ago. Palmer, a classically may inadvertently project. Configu- trained violinist who has spent a life- rations range from outstanding solo time assimilating diverse American work on “Big Indian Horn- fiddle traditions, has played in lock- pipe” and a soulful fiddle- duet step with guitarist Greg as long as (a moving rendition of Ed Haley’s anybody in the Philadelphia area re- “Dunbar”) to various warmly-voiced Stylograph Records STY44531 members. Her unusually fluid, ex- full band adaptations of tunes that pressive and technically polished have become standards among dedi- Palmer Loux: fiddle; Greg Loux: gui- presentation is perfectly comple- cated collectors, but could benefit tar; Paul Sidlick: banjo, , mented by Greg’s uncanny sense of from greater exposure to the old time guitar; Tom Schaffer: bass rhythmic consistency. Multi- music community. Excellent per- instrumentalist Paul holds down the formances include two sumptuously Dixie Banner / Meg Gray / Little banjo and mandolin chair with the played waltzes. Especially notewor- Black Dog Come A-Trottin’ Down effortless, unobtrusive virtuosity ex- thy is a reading of J.P. Fraley’s “An- The Road ‘ Little River Stomp-Take hibited by the best sidemen. Past nadeene’s Waltz,” accompanied by Those Lips Away / The Cat Came rhythm sections have been aug- two guitars and bowed bass. This Back The Very Next Day / Dunbar / mented with the banjo-ukulele of arrangement produces a gentle ar- Hideaway / The Old Doctor That Fell Margaret Sidlick, but in this incarna- chaic sound perfectly in keeping with Into The Well / Deschutes or Lose It / tion of the band, the bottom end is the intended loving tribute. Enjoy- Italian Waltz / Sweet Milk and anchored by Tom Schaffer, who puts able up-tempo numbers include the Peaches / Georgia Stomp / Little out some of the most melodious, in- Stripling Brothers’ “Possum Hol- Black Mustache / Tom Wagner / the-pocket bass playing this reviewer low,” featuring exciting fiddle and Kilby Jail / Big Indian Hornpipe / has heard. The overall sound of the mandolin interplay, and a finger- Possum Hollow / Denver Belle / ensemble is unusually homogenous, busting medley of F tunes including Widow Haley / Annadeene’s Waltz / but all lines are clearly discernible one of this author’s favorites, “Little Rebel Raid due to these long-time musical River Stomp.” In addition to histori- friends’ precision and sensitive inter- cal sources, Greg and Palmer have Sometimes, the music on the first play. Far from offering “traditional” sought material from still-active tra- recording of the newest, hottest band chamber music, the band generates ditional musicians, thus bring more on the old-time circuit is played so excitement by presenting a diverse obscure music to larger audiences. program with convincingly idiomatic Unique to this recording is a tune

THE OLD-TIME HERALD WWW.OLDTIMEHERALD.ORG WINTER 2005 1 from North Carolina banjoist Marvin are highly accurate and very little if band, informative program notes, in- Gaster with the unusual title of “The any artificial reverberation is evident. strument tunings, and full perform- Old Doctor That Fell Into The Well.” The sound of the banjo is especially ance credits. The graphic design of This selection, arranged for the full well captured and balanced with the the tray labels is outstanding. This band, features Paul’s percolating fret- ensemble. The recording engineer’s recording should be of interest to all less banjo against Palmer’s energetic use of simple mic techniques allowed members of the old-time music com- fiddling. Though they mostly focus the musicians to play in real-time in a munity, and I am happy to give it my on instrumentals here, the band pre- semicircle, a set-up that is most effec- strongest recommendation. sents two songs. This reviewer par- tive with musicians who have long ticularly enjoyed Paul’s tongue- experience playing together. The STEVE SENDEROFF knotting rendition of Oscar Ford’s result is one of the best sounding stu- “Hideaway.” dio recordings of an old-time string To order: The warmth and clarity of the band that this reviewer has heard. www.stylographrecords.com overall sound is particularly notewor- The insert booklet contains artisti- thy. Stereo imaging and equalization cally composed photographs of the

2 THE OLD-TIME HERALD WWW.OLDTIMEHERALD.ORG WINTER 2005