Climbing Yonder Mountain in 2006

In 2006, so far, Yonder Mountain String Band has launched the online download series Yonder Mountain Live, released a live album, are releasing a new studio album in approximately one week, announced headlining gigs at Wakarusa, Smilefest, Telluride, The NorthWest String Summit and announced an extensive continent-spanning tour that includes dates with Gov't Mule, Dave Matthews Band and The Allman Brothers Band. And they opened a www.myspace.com site.

They're smart to ride the wave they've created. "It's funny," explained Jeff Austin, "but now we're playing before 4,000 people in Denver. Last year we played before 700 people in Atlanta and we recently sold-out a 3,000 seat venue there." When asked to explain this success, the band stays true to their humble bluegrass roots. "Well," said Ben Kaufman, "I just think that there's something about the banjo that makes people feel good."

That may be true, but the band owes more to their success than a happy banjo sound. Five years of constant touring has honed the band to a sharp edge, expanding their already formidably musical talents. This, combined with their fearless exploration of tradition fused with modernism, has helped them build a large fanbase.

"Some of the most important influences on our sound would have to be bluegrass, like JD Crowe And The New South, Flatt And Scruggs, Bill Monroe; but also some rock and roll like The Grateful Dead, The Rolling Stones and Bob Dylan," says Dave Johnston.

Contemporaries also play a part in having some influence, like Hot Rize, Tim O'Brien and Danny Barnes. Keep an eye out for those folks and see them whenever you can, you won't be disappointed. "Sometimes a song will start out with a real traditional vibe to it," he continued, "but it may end up incorporating many elements that have very little to do with traditional bluegrass. Usually the non-traditional or cover tunes that we select have a lot to do with what kind of acoustic textures we can bring to a particular song and how we can blur the lines between what is considered traditional and what isn't."

"We've always been about letting ourselves experiment to the full width of the spectrum," Austin added. "It was a part dying to come out on the new album."

And come out it did. Their first with a rock and roll producer (Tom Rothrock) and the first totally spontaneous album, it found the band writing and recording on the spot. It also found them adding drums by Elvis Costello's drummer Pete Thomas. "We've ended up with an album that's got ripping bluegrass on it, explained Ben Kaufman , "but that we approached in a non-traditional way, which really appeals to me because we're not a traditional band. We've always been forward thinking and this is the first time we've captured that in the studio."

Johnston agreed. "The new release was really exciting to make, and I think it showcases the band's collaborative efforts and potential. At points, there are some deviations from traditional bluegrass that find us behaving more like we would at a live show, and at other points, there are some songs that highlight our understanding of traditional music."

Indeed the album retains the band's stellar reputation for clean and fast picking. The breakdowns whip between speakers and the banjo and mandolin plaintively wail world-weary note. But then there's the fiddle solo in "Angel," which, as Kaufman described, is "clearly channeling the spirits of the rock guitar gods." Then there's the actual electric guitar in "How 'Bout You" which duels with the banjo all while the humble acoustic instrument brings the axe to a draw. It's beautiful and intense.

One of my favorite songs, "East Nashville Easter" also blends the genres. Incorporating high lonesome harmonies, frantic banjoing frailing, very active strumming and an Allman Brothers Band-esque electric guitar bridge, it creates an Americana rock that feels like a refreshing breeze across the musical landscape.

"Midwest Gospel Radio" is another standout number. An instrumental, it apparently arose from producer Rothrock's request for a spiritual number. Unfortunately short, it is a mellow relaxing piece.

The album ends with another of my favorites, "Wind's On Fire." Starting off with a bluesy grind, and subtle feedback, it creates a darker singer/songwriter feel; "Look at the size of your skin…keep on tearing your world apart…look at the size of your soul…hang that old hanging judge…keep on tearing your soul apart…look at the size of the world…" It is a song I could play over and over again without ever tiring of it.

So with the release of their eponymous titled Vanguard Records debut, YMSB looks to get even busier in 2006. Mature performers, stellar songwriters and intuitive musicians, Kaufman, Johnson, Austin and Aijala are taking the traditions of The Stanley Brothers, The Grateful Dead and The New Bluegrass Ramblers to new and exciting places.

"I think," added Aijala, "that expanding the horizons of the bluegrass sound by thinking outside the box yields some really rewarding songs."

-Kynd Music (http://kyndmusic.com)