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Mary Flower was a nominee for Acoustic Artist of the Year at the 2008 Blues Music Awards, which was appropriate. Flower is recognized as one of the foremost acoustic guitarists performing today. Her rich and unique blend of roots music blends the blues with ragtime and folk. Influenced on guitar by artists like Scrapper Blackwell, Blind Blake, and the Reverend Gary Davis, Flower also possesses a husky vocal style that goes down smooth.
Flowers latest release, Bridges (Yellow Dog Records), is a modern take on some classic songs from, or reminiscent of music from the early 20th century. She has unearthed some rather obscure tunes from this era, including There Aint No Sweet Man Thats Worth The Salt of My Tears, a Bix Beiderbecke piece made popular by Bing Crosby in the 30s, Big Bill Broonzys Big Bill Blues, The Ghost of the St. Louis Blues, from 20s minstrel singer Emmett Miller, and the popular standard, Up A Lazy River. There are a couple of gospel tunes as well, E.C. Balls When I Get Home Im Gonna Be Satisfied, and a medley of On Revival Day/Theres Going To Be The Devil To Pay.
Flowers own compositions include Portland Town, a tribute to her place of residence, the gentle opening track, Rhythm of the Road, and four lovely instrumentals (Columbia River Rag, Slow Lane To Glory, featuring her on lap steel, Daughter of Contortion, and Blue Waltz).
Living up the album title, Flower recruited local Portland musicians across multiple genres to participate, from the blues to jazz to bluegrass and old-time music, to swing, to pop to world music. Bridges effortlessly combines these diverse styles into one cohesive unit. Its a breathtaking tribute to early 20th century music styles as well as to the diversity of the Northwestern U.S. music scene that should please acoustic guitar fans of all genres.
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