Tony Rice Albums (17)
'Sings Gordon Lightfoot'
Release Date 1/1/1996
Tracks 17
Label Rounder
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What The Critics Say
When one estimable musician covers another, two criteria invariably surface: Was it a fresh interpretation? Was some semblance of the original emotion retained? On Sings Gordon Lightfoot, it's fair to say Tony Rice meets both. Simply stated, Rice takes Lightfoot's catalogue of rugged, Northern folk ballads and transposes them to Appalachian soil. Obviously, there is a distinct bluegrass undercurrent, but this is no real stretch considering the sparse, rural qualities of the originals. The track listing includes some familiar Lightfoot fare, including "Wreck of the Edmund Fitzgerald," "Bitter Green," and "I'm Not Sayin'," although Rice tends to dig well below the commercial surface for the meat of the album. Tracks like "You Are What I Am" and the previously unreleased "Whispers of the North" -- which distinguishes itself as the most memorable song by a country mile -- demonstrate both his familiarity and appreciation of the Canadian troubadour's canon. Instrumentally, Rice delivers his trademark: clean and tasteful acoustic pyrotechnics. He also employs a who's who cast of bluegrass pickers, including Jerry Douglas, Bela Fleck, and Vassar Clements to underscore Lightfoot's placid and literate songbook. The liquor here is sweet, but don't expect to blow any dust from the bottle. The production is rather distilled and slick -- much like the pose Rice strikes on the album cover. ~ Brian Kelly, All Music Guide
'River Suite for Two Guitars'
Release Date 1/1/1995
Tracks 12
Label Sugar Hill
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What The Critics Say
For lovers of acoustic guitar, few things are more enjoyable than having two guitar heroes like Tony Rice and John Carlini record together. The music on River Suite for Two Guitars is performed by the two guitarists with no accompaniment, creating an intimate setting that is relaxed, while remaining professional. Only when the tempo picks up on songs like "It Takes a Thief" and "Fishscale" do Rice and Carlini really cut loose. In "Big Mang," one lead overlaps the other in an intense rush, while Miles Davis' "Nardis" finds Rice revisiting a song recorded by the Tony Rice Unit. It's amazing how much lead work these two guitarists can fit into a two minute song like "Banister River." Stereo allows Rice's guitar to appear on the left speaker, Carlini's on the right, but even without this convenience both guitarists' styles are easily discernible. The lead often changes every verse, keeping even quieter songs varied and layered; both players also provide tasteful and complex accompaniment to each other. The production is straight forward, allowing the music to stand on its own. Fans of both guitarists from their stint in the David Grisman Quintet will find this music quieter and less experimental, but will enjoy the eclectic song choices and the inspiration shared between two musicians. Certain slower songs like "Send in the Clowns" and "Summertime" are almost too quiet and familiar, but this is a minor complaint. River Suite for Two Guitars is the collaborative effort of equals who love to play guitar. Fans of both artists, and fans of good guitar music, should enjoy this one. ~ Ronnie Lankford, All Music Guide
What The Critics Say
This Tony Rice CD is a little different from his typical fare, as it focuses exclusively on old-time hymns and spirituals, all featuring his unique style of picking that can't be mistaken for anyone else but the incredible guitarist himself. Accompanied by David Johnson (who plays mandolin, banjo, viola, fiddle, harmonica, bass, and banjotar), drummer Tony Creasman, and either Tim Surrett or Ben Isaacs on bass, Rice brings out the best in all of these time-tested melodies in this strictly instrumental disc. "Swing Low, Sweet Chariot" is an upbeat romp with a nod toward traditional bluegrass, while the inspirational hymn "Holy, Holy, Holy" is very subdued, with Rice prominently featured in the foreground. An elegantly improvised introduction to "Amazing Grace" may keep many listeners guessing. Although this CD may not be of much interest to strictly secular fans of Tony Rice, they owe it to themselves to give it a hearing, though it may be hard to acquire since this 1994 release seems to have lapsed from print. ~ Ken Dryden, All Music Guide
What The Critics Say
Rice splits the material on California Autumn between vocal numbers and instrumentals while resurrecting old-time songs including "Billy in the Lowground," "Beaumont Rag" and "Red Haired Boy." ~ Jason Ankeny, All Music Guide
What The Critics Say
Acoustics was released in 1979, some two years after Tony Rice's involvement with the David Grisman Quintet's debut album. Like the Grisman recording, Acoustics proved to be a groundbreaking album for progressive bluegrass musicians. The music on Acoustics is all instrumental and features an incredible group of musicians including Sam Bush, Richard Greene, Mike Marshall, Todd Phillips, and, on one cut, David Grisman. Perhaps the first thing a listener will notice is that an instrumental like "Swing 51" has very little to do with bluegrass. The essence of "Swing 51" is -- as the title suggests -- swing jazz. This is a romantic music, inspired by the spirit of Stephane Grapelli and Django Reinhardt and perfectly suited for acoustic instruments. "Blues for Paradise" is a lovely melody, set in motion by Rice's subtle flat-picking and brought to full beauty by Sam Bush's violin. Bush and Greene share violin duties on Acoustics, proving especially apt at defining melodies and setting the mood. The highlight of this disc is the quick paced "So Much," a piece bursting with vitality. "So Much" was written by Rice and, like the other songs on Acoustics, features open structures with fascinating chord progressions. Emphasis throughout this album is placed on instrumental dexterity, with each musician given the chance to build and develop each lead at length. The musicians also provide unadorned accompaniment, leaving lots of quiet space around the lead player. The glue holding this project together is Rice, who also played a primary role in the original David Grisman Quintet. On this album Rice expands the role of the guitar, building each lead faultlessly through intricate succession. Acoustics gives notice that acoustic musicians, like jazz musicians, possess the skills required to create spontaneous and vital music. ~ Ronnie D. Lankford, Jr., All Music Guide
'Plays and Sings Bluegrass'
Release Date 1/1/1993
Tracks 13
Label Rounder
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What The Critics Say
On Guitar, Rice focuses on instrumental renditions of songs like "Lonesome Reuben" and "Faded Love." Among the guests are J.D. Crowe and Bobby Slone. ~ Jason Ankeny, All Music Guide
What The Critics Say
Still Inside is the fourth recording by the Tony Rice Unit and like their previous recordings, it is all acoustic and all instrumental, with emphasis centered on the skill of the individual musicians involved. Still Inside features some of the best acoustic musicians on the scene, including mandolin player John Reischman, violinist Fred Carpenter, and bassist Todd Phillips. The strength of the Tony Rice Unit albums also depend on the quality of the material, and on Still Inside, Rice draws on more diverse sources than he had on 1980's Mar West. This variety spices things up. Standouts include Earl Klugh's "Vonetta," a Latin-tinged instrumental with superb bass work by Phillips, and a relaxed-paced "Tzigani," a David Grisman piece that begins playfully slow, then flies into high gear. Rice's own material, as on the relaxed "Delvin" and the beautifully tender "Moses Sole," is stronger than on the previous album. Another difference this time is that Carpenter and Reischman are new to the group. Carpenter's violin adds a warm tone while defining melodies, and Reischman follows in the giant footsteps of Sam Bush and Mike Marshall without faltering. Reischman also adds his songwriting talents to the mix on "Birdland Breakdown," creating an odd but rewarding blend of Eastern European and bluegrass music. Rice's flat-picking thrives on the variety of melodies present on Still Inside, creating fresh expressions and romantic coloring at his usual swift pace. This album will please Rice fans as well as fans of acoustic music. ~ Ronnie Lankford, Jr., All Music Guide
What The Critics Say
Mar West is the third recording by the Tony Rice Unit and like their other recordings, it features some of the best acoustic musicians on the scene. Mar West showcases music closely resembling swing jazz, and if it seems less inspired than an earlier effort like Acoustics, it is nonetheless a good instrumental album. Compare it to a lesser effort by Stephane Grapelli and Django Reinhardt: Perhaps the song choice is less than perfect and the musicians less inspired than usual, but who would want to miss it? Sam Bush, Richard Greene, Mike Marshall, and Todd Phillips join Rice for eight instrumentals. The title cut, which opens the album, also reveals its shortcomings. "Mar West" is one of those fast, open-chorded instrumentals that Rice enjoys writing. Rice kicks the piece off with quick-paced flat-picking that is technically perfect, but the solo continues for too long and is lacking in feeling. More successful is the measured "Waltz for Indira" with a nice mandolin part by Bush, and "Neon Tetra" with an inspired violin solo by Greene. Perhaps the best cut on the album is "Nardis," written by Miles Davis. "Nardis'" colored textures evoke a romantic mood and challenge the musicians to create distinctive, longing solos. Like the other Tony Rice Unit albums, emphasis remains focused on the skills of the individual musicians involved. Each instrumental provides the violin, guitar, and mandolin room for lengthy solos while Phillips' bass keeps everyone grounded. Both Rice fans and lovers of good acoustic music will enjoy Mar West. ~ Ronnie Lankford, Jr., All Music Guide
