Yonder Mountain String Band Find New Life in the Studio
Mary Catherine Reynolds
Posted On December 6, 2013
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There is a funny kind of enigma to the music of Yonder Mountain String Band. Are they a jam band with a singer-songwriter mentality or are they a singer-songwriter band with jam tendencies? It doesn’t really matter. However characterized, in addition to their obvious progressive bluegrass credentials, the riddle remains a pleasant one.
It’s especially true when the music is this good. A hybrid of raw, energetic instrumentalists who could easily fuel any traditional bluegrass line up, songwriters who keep their pop inspirations clear, and live performers who connect and entertain like no one since The Grateful Dead; their four-way excellence is often breathtaking. But, like their music, the band’s career has never taken a traditional route. Formed by four friends in Colorado in 1998 their genesis when Jeff Austin and David Johnston met. Johnston, a banjo player,enlisted mandolin novice, Austin, into his cleverly named band, Bluegrassholes, asking him to play the mando ‘fast and loud.’ When the Bluegrassholes disbanded, Austin and Johnston took themselves to the bluegrass friendly hills of Colorado. There they met bass player/songwriter, Ben Kaufmann and guitarist, Adam Aijala officially forming the Yonder Mountain String Band. The rest is progressive bluegrass history. Since ’98 they have released a string of critically and commercially successful albums with three hitting #1 on the national U.S. Grass charts since 2006. Their last full album, The Show, is a modern landmark combining the best elements of the band’s considerable instrumentalist gifts with skilled conceptual songwriting and first-rate production. It has become one of those rare, hard-to-top works to which every band aspires.
Since The Show, they have not released a full album of new material. In a recent phone interview with bassist/vocalist Ben Kaufmann, the issue of the band’s absence in the studio was discussed. “We found we needed to make a record, but we wanted something that would flow.” He said. “Other than when we’re touring, it’s hard to get us together. I live in California now. We all have children. We’re not going to get together when we’re off the road. It didn’t make sense to take all that time, effort and money to make an album.”
Then, they realized, by both economy and artistry, it made more sense to rent a studio in whatever town their tour happened to land them and work on one or two songs at a time. The question became how could they re-energize their studio work without removing themselves from their busy tour schedule and ever-growing families. That was when the idea of a new approached to shape. “The reality of the EP presented itself.” He said. “We could do it on the road by renting a local studio where ever we’re playing.” He continued. “We would produce ourselves but have people in the studio tells us what sounded good and so, when we get it right, we just leave it alone and move on.”
The idea worked beyond their wildest dreams. The EP has re-energized their studio work toward a new direction. It lifted the burden of completing an album. Even though the idea, as Kaufmann describes it, was born out of necessity, he has since found that it has been a source of inspiration. “We’re completely thrilled with the results.” He said. “Everybody made the sound they wanted. We each did a song. We’re four songwriters so with it sounding this good, we could release a series of EPs with four songs, one featuring all the songs of say, Adam or David.” He continued, “We stumbled on this new model. A way to release studio recordings regularly. It lit that creative fire in all of us. We could find new concepts and continuity.”
Most important to the band is the continuity and the connection. It’s been apparent that without these two elements, they preferred not to release an album of new material. Most important, as a band, it allowed them the time on the road to continue with the connection to their audience in a live setting. “The Grateful Dead have been a paradigm for us mostly as a spiritual and creative force, from that community of fans they brought together.” He said, adding, “Although, it’s not to the same extent as The Dead, it’s something that has inspired us.”
The proof is in the hearing. The first listen to EP#13, gives the impression of a four song set that keeps their ongoing tradition of fresh and original new grass music with thoughtful lyrics and strong production standards. Kaufmann’s own, “Straight Line” opens the EP with a pleasant mid-tempo feel, strong instrumental solos and lyrics that speak to the tension between the pace of the road and the need to keep hold of something that feels like home. “Don’t Worry, Happy Birthday” allows David Johnston’s rich banjo licks to underscore a soulful vocal with words dedicated to home coming a road weary traveler. “Rag Doll,” written by Jeff Austin and Danny Barnes, gives Austin’s mando an easy work-out and finds it’s lyrical inspiration in the the land of childhood daydreams. The closing belongs to Aijala, “All The Time,” has the fastest tempo of the set, which includes the strong vocal harmonies, some harrowing mando work by Austin and gives Aijala the opportunity to shine at his flat-picking best. According to Kaufmann, EP#13 is the first in an series that promises to continue with the same inspired approach that has resulted in this new release. The central question for a band that has valued passion, imagination and what Kaufmann calls, ‘flow,’ is did they succeed on this new creative adventure? With each member contributing a song, this four-song set accomplishes the band’s often daunting goals and keeps alive the promise of more to come. The album concludes like a ride on a fast train that suddenly comes to end. While, we may loose our footing with the abruptness of the end of the ride, we are left wanting more. And isn’t that what good music is all about?
