Skip to content
Register |
Lost your password?
Subscribe
logo
  • Magazine
  • The Tradition
  • The Artists
  • The Sound
  • The Venue
  • Reviews
  • Podcasts
  • Lessons
  • Jam Tracks
  • The Archives
  • Log in to Your Account
  • Contact
  • Subscribe
  • Search
  • Login
  • Contact
Search
  • Magazine
    • Current Issue
    • Past Issues
    • Festival Guide
    • Talent Directory
    • Workshops/Camps
    • Our History
    • Staff
    • Advertise
    • Contact
  • The Tradition
  • The Artists
  • The Sound
  • The Venue
  • Reviews
  • Podcasts
  • Lessons
  • Jam Track
  • The Archives

Home > Articles > Reviews > TIM MAY & STEVE SMITH

RR-MAY-SMITH

TIM MAY & STEVE SMITH

Bluegrass Unlimited|Posted on June 1, 2016|Reviews|No Comments
FacebookTweetEmailPrint

MAY-&-SMITHTIM MAY & STEVE SMITH

Desert Night Music
DN 848

   It’s well known that mandolin and guitar duets played a lively role in homegrown entertainment and later shaped the sound of bluegrass and early country music (as witness the Monroe Brothers, the Blue Sky Boys, and others). In recent years, David Grisman has celebrated this wonderful sound in albums with Tony Rice, Martin Taylor, and others. Now, Tim May (guitar and vocals) and Steve Smith (mandolin, octave mandolin, and vocals) are also honoring this tradition—and even advancing it.

   They bring impressive backgrounds to their marvelous self-titled outing. Based in Nashville, May had been half of the folk duo Carpenter & May and toured with John Cowan, Patty Loveless, and Eddie Rabbitt. He also played solo guitar on Charlie Daniels’ 2005 Grammy-nominated album I’ll Fly Away. Smith lives in Las Cruces, N.M. He’s done session work for more than thirty albums, including projects headed by Tim O’Brien, Jim Hurst, and Alan Munde.  They met on the staff of Camp Bluegrass in Levelland, TX.

   At seven tracks, it’s short, but it’s very, very sweet. There’s pleasing variety, kicking off with “I Know What It Means to be Lonesome” and progressing through impressive originals by Smith and May. Even the decidedly non-bluegrass/old-time material (notably the Irving Berlin pop classic “Blue Skies” and The Beatles’ “Let It Be”) has a traditional feeling that seems almost effortlessly natural.

   The vocals are very enjoyable, and I can’t say enough good things about the tone, taste, and touch of the instrumental work. It’s captured by an outstanding production that captures their quite inventive picking. It reminds me of Double Time, Bela Fleck’s fascinating 1984 album of duos with guest pickers: The additional meaning to that album’s title was that Fleck ran the recording tape at double speed to pick up more sound information, giving fullness to the banjo and each second instrument that didn’t need bass or other support. I don’t know the technical aspects of May and Smith’s project, but it’s just as successful. So kudos to Steve Smith, who also did the main engineering and mixing that helped realize such rich audio and such a rewarding CD. (www.desertnight.com)RDS

FacebookTweetEmailPrint
Share this article
Facebook
Twitter
Linkedin

Leave a Comment Cancel Reply





This site uses Akismet to reduce spam. Learn how your comment data is processed.

March 2023

Flipbook

logo
A Publication of the Bluegrass Music Hall of Fame & Museum / Owensboro, KY
  • Magazine
  • The Tradition
  • The Artists
  • The Sound
  • The Venue
  • Reviews
  • Survey
  • New Releases
  • Online
  • Directories
  • Archives
  • About
  • Our History
  • Staff
  • Advertise
  • Contact
  • Subscriptions
Connect With Us
Facebook
Instagram
Twitter
YouTube
bluegrasshalloffame
tannerpublishing
tannerwest
Subscribe
Give as a Gift
Send a Story Idea

Copyright © 2023 Tanner Publishing Co. All Rights Reserved. Privacy Policy
Website by Tanner+West

Subscribe For Full Access

Digital Magazines are available to paid subscribers only. Subscribe now or log in for access.

Share this ArticleLike this article? Email it to a friend!

Email sent!