CMH Records

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Bluegrass singer-guitarist Lester Flatt is best known for his years as one half of Flatt & Scruggs. For more than two decades they dominated bluegrass, taking the traditional-rooted music to city audiences around the world. Though Lester was the vocalist, he remained very much in the shadow of Earl Scruggs, whose dynamic banjo playing was to influence virtually every bluegrass banjo player in his wake. Lester’s inspired guitar picking—which played as an important and integral role as Scruggs’ banjo work—was all too often taken for granted or completely overlooked by both music fans, scholars and even some musicians, as they heaped heavy praise on his widely acclaimed musical partner. Following two decades of playing together as Flatt & Scruggs and the Foggy Mountain Boys, the duo split in 1969 over musical differences, with Scruggs opting for more contemporary musical directions, whilst Lester continued down the traditional route. With his acclaimed Nashville Grass, featuring many members of the Foggy Mountain Boys, through the 1970s Lester released no less than 21 albums, including a trio with fellow bluegrass legend Mac Wiseman. PICKIN’ TIME, released a year before Lester’s passing in May 1979, has been set for its digital release this June for the first time, available on CD and for digital downloads and streaming. Featuring his acclaimed Nashville Grass band—Marty Stuart (mandolin), Curly Seckler (guitar), Tater Tate (fiddle|), Kenny Ingram (banjo), Charlie Nixon (reso-guitar) and Pete Corum (bass)—this is bluegrass music the traditional way, without a hint of ‘new grass’ anywhere to be seen or heard. Though in his mid-sixties, Lester sounded as vibrant as ever, his vocals full-on and heartfelt, his guitar work fluid and inventive.

There are plenty of his bluegrass sensibilities here—well-played music in the traditional style, a bit of country flair and a crisp rhythm section. A mix of then-new songs plus a few old favourites from the Flatt & Scruggs back catalogue adds up to a neat collection. If You Ain’t Tried It Don’t Knock It, one of his compositions, starts out with Ingram’s Scruggs-inspired banjo and Lester’s plaintive voice, but he is quickly joined by the all-star cast of pickers who generate a snappy beat to get those toes a-tappin’. Like so many bluegrass performers, Lester embraced gospel music with the heartfelt nostalgic sentiment of Little Brown Church (In the White Oak Church), He utilises the gospel quartet call-and-response vocal approach to add extra reverence. Fond memories of a by-gone age are also expressed in Cabin On The Hill, again with the gospel quartet in full voice.

The players demonstrate their musical skills on a trio of instrumental tracks. Goin’ Up On Black Mountain, initially allows Tater Tate’s fiddle to shine, but as the frantic tune unwinds, the other musicians step in to the spotlight with the rhythm tied down by solid bass and superb acoustic guitar work. Marty Stuart’s Bluegrass Shuffle, allows the young whippersnapper to showcase his mandolin chops, assisted by Dobro work courtesy of Charlie Nixon. They slow things down with a bluesy treatment of I’ll Be All Smiles Tonight, particularly courtesy of Nixon’s Dobro. More pickin’ skills are on display for fine renditions of the ever popular We Don’t Care What Mama Don’t  Allow and Uncle Billy Play Your Fiddle For Me. Lester Flatt’s generally superb recordings from almost 50 years ago have long been forgotten and neglected, so it’s gratifying to welcome this album into the digital age.

www.cmhrecords.com

June 2023