She’s deep in the pocket of her own original musical expression, built upon the roots of the bluegrass discipline, and inspired by its lore. Jarosz isn’t playing over her head or having to make up for anything. The seed has been nurtured good and plenty and is blooming at the right time.īuild Me Up From Bones is a bold work of progressive bluegrass that showcases young Jarosz’s developed songwriting and adeptness at composition, while not sacrificing the whimsy and fun an album from a 22-year-old must have to be genuine. ![]() No worries about a rickety foundation or a lack of preparation from this girl. ![]() Despite dizzying workloads, she managed to release two albums through Sugar Hill Records and play a slew of shows and tours that never led on to her growing fan base that she was pulling double duty between work and schooling. But Jarosz doesn’t seem to like things easy. She already had mastered the mandolin, and her music career was well on its way when she ran off to the New England Conservatory for Music in 2009. Possibly the best lesson to glean from Sarah Jarosz is patience. Sure, since you were 10-years-old you’ve been charming audiences with your cute songs, ruddy cheeks, and how fast you can move your fingers, but 2013 is the year of the song, and the only value technique and memory have is when they accompany an original story that can touch deep. Jarosz not only mastered this move and stuck the landing, she did so with such ease that her story could be used as a blueprint of how to navigate these treacherous, and sometimes career-ending waters. ![]() Just about one of the most difficult maneuvers in music is for the childhood prodigy to transition into the adult performance world with deftness and grace. She can do this because she possesses not only self confidence in her material, but in her discernment, which is rare for a musician so young.The 22-year-old Texas native Sarah Jarosz symbolizes a victory by so many measures, even before you delve into the substance of her new album Build Me Up From Bones. Jarosz lets her considerable instrumental prowess submit itself to serving the needs of her songs instead of merely adorning them with a precocious imagination. Build Me Up from Bones separates itself from its promising predecessors because it is a songwriter's record. Jarosz's banjo is the only clearly discernible instrument as pedal steel, strings, and a Wurlizter swirl around the singers. O'Donovan rejoins her on closer "Re-Arrange the Art," an expansive yet impressionistic song about lost love that walks the line between emotional stress, loneliness, and open acceptance. The slippery, jazz-like take on Newsom's song finds Jarosz employing a breezy blues delivery in the lyric, while her syncopated mandolin playing engages in rhythmic interplay with cello and violin. The haunted love song "Gone Too Soon" is one of the most bracing tracks here Jarosz's banjo is complemented by a full band that features Douglas' and Scott complementing her on Weissenborn and acoustic guitars, respectively, with Kate Rusby's chilling harmony vocal offering support. Her reading of Dylan's tune is understated, yet reveals empathy for its narrative in its marrow her vocal is accompanied only by Nathaniel Smith's plucked cello, revealing the intimate connection. Her songs are looser, more expressionistic lyrically and instrumentally sound and texture are more important than genre. She takes chances with her phrasing, allowing one line to bleed just enough to inform the next she moves her smoky alto around its range, holding dynamics in check in favor of subtle tension. What all of these songs have in common is a new openness in Jarosz's singing. "Dark Road" drifts between electric Americana, newgrass, and contemporary folk, kissed by Jerry Douglas' dobro and Scott's electric guitar. ![]() "Over the Edge," fueled by Dan Dugmore's lap steel, Jedd Hughes' acoustic guitar, and her own octave mandolin, walks a roots rock line, while the title track is a slipstream modern folk number that finds her voice accompanied by mandolin, two string players, and O'Donovan's harmony vocal. Jarosz plays guitar, banjo, and mandolins. She wrote nine of the 11 songs here, and chose two covers: Bob Dylan's "Simple Twist of Fate" and Joanna Newsom's "The Book of Right-On." Her various backing musicians include Viktor Krauss, Chris Thile, Darrell Scott, and Aiofe O'Donovan, to name a few. Build Me Up from Bones reflects years of study in contemporary voice improvisation at the New England Conservatory of Music. The third full-length by 22-year-old Sarah Jarosz reflects not only her growth as a songwriter but her willingness to push the boundaries of country, folk, and Americana to discover connections not necessarily considered before.
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