Casey Driessen

The folks at Sugar Hill Records have been quite busy this spring and into summer, releasing a slew of new albums from an outstanding cast of musicians including Sam Bush, Allison Moorer, Albert Lee, and the star-studded tribute album to the songs of Randy Newman. But quite possibly my favorite new record coming out from the Durham-based Americana label is that of fiddle player Casey Driessen and his solo debut effort entitled "3D". It’s fiddles, funk, and other far-reaching sounds this week in a One Hoarse Town.

I first became acquainted with the work of Casey Driessen during the Americana music celebration known as Merlefest back in 2004. Casey was taking part in a fiddle workshop along with other greatest bow benders Darol Anger, Tara Nevins of Donna the Buffalo, and Laurie Lewis. What struck me immediately about Casey was his style ... his brand of playing the fiddle is called "chop", because of the way the bow chops at the strings in a very percussive manner, much like the style employed by that of Darol Anger. The other thing that grabbed me was the maturity of his playing (at the time he was 25) and the way in which he took an instrument best known for its traditional bluegrass and old-time background and adds a contemporary, if not alternative, flavor. Later that weekend I saw him play with Jim Lauderdale and was just blown away. Since then I’ve seen him share the stage with the likes of Darrell Scott, Tim O’Brien, the Duhks, and Robbie Fulks just to name a few. From what I’ve seen and what I’ve heard, Casey Driessen is the best young fiddle player on the scene today.

The new album, again entitled "3D", is vibrant and warm, and musically Casey breaks new ground at nearly every turn. Driessen, now 27, takes the listener through a joyous ride of twelve songs that are drawn from traditional pieces, the works of bluegrass artists like Bill Monroe and Hot Rize, as well as six new original compositions from Casey himself. And if you judge a musician by the company he keeps, then Casey Driessen is in with the right crowd. The list of guest artists is a "who’s who" of fine instrumentalists from Viktor Krauss on bass, to Jerry Douglas on dobro and lap steel, Bela Fleck on banjo, Tim O’Brien on bouzouki, and Darrell Scott on electric guitar and vocals.

The album kicks off with a re-working of an old traditional classic "Sally in the Garden", but in the hands of Driessen, Douglas, O’Brien, and Krauss it comes off sounding anything but traditional as the band puts an almost Middle Eastern twist to the tune. With the additional of Jamey Haddard on drums, the song sounds like its roots are embedded in a far away place like Turkey, rather than the hills of Appalachia. Casey’s bow pulls and sways over the strings as if watching a belly dancer move back and forth to the groove. By track two you start to hear more of Driessen’s signature fiddle style on the original composition "Gaptooth". What starts out as a brooding Irish lament, soon evolves into a full-on jig as both Casey and guest banjoist Bela Fleck trade licks while the tune quickly builds and builds in rhythm and intensity. It’s almost as if one is listening to a calm breeze and suddenly the wind becomes a gale before dissolving as quickly as it rose. By track four, a funky version of the western swing tune "Sugarfoot Rag" we start hear more of Casey’s more modern influences. Darrell Scott joins on electric guitar and both he and Driessen add vocals to what could easily be one of those "outdoor festival let your hair down and boogie numbers". If that weren’t enough the rag soon blends right in to an Eddie Harris composition called "Freedom Jazz Dance" and the jam is on. The fiddle weaves and drives around the deep bass and Scott’s hot guitar licks and you really do want to get up a boogie. And to top it all off just for good measure, Casey’s fiddle chop is in full effect on the tune that follows, a real kick in the pants fiddle only stomp through Bill Monroe’s "Jerusalem Ridge".

As for the rest of the album, I’ll leave the bulk of the exploring up to you. What Casey Driessen does with fiddle is very similar to what Chris Thile of Nickel Creek has done with the mandolin. Both have an understanding and appreciation for the music that came before them and how the instruments they play have served that music, but Driessen, like Thile, has his sights set on breaking new ground and reaching for new musical heights. With his new solo debut record Casey Driessen has managed to add another dimension to both the traditional songs of the past as well as to the world of fiddle music itself and he accomplishes it all without the aid of those funny plastic glasses.