Slipstream - Waterbound - Review by Joe Ross, Roseburg, Oregon - email rossjoe@hotmail.com

Slipstream, based in Boulder, CO., is a trio that takes an innovative, forward-thinking approach to their bluegrass and acoustic music. The group is Rich Zimmerman (mandolin, vocals), Brad Murphey (guitar), and Paul Waitinas (upright bass). For a full bluegrass sound, one might immediately notice that one singer and three instrumentalists might be a little lean.
However, Slipstream wisely calls upon some good friends to assist them as guest artists on their debut album, including Noam Pikleny (banjo), Rushad Eggleston (cello), Jeremy Garrett (fiddle, tenor vocals), Erin Coats (tenor vocals), and Ben Winship (bouzouki, mandola, tenor vocals). Their progressive bluegrass set revolves around six numbers sung solo, four songs
with two-part harmony on choruses (Rove Riley Rove, Slow Train Through Georgia, Tomorrow’s Blues, Waterbound), and two snappy instrumentals (Amesbury, Right Down There). Zimmerman sings with considerable emotional electricity, and he seems most engaged with Brian Hansel’s Civil War ballad, “Black Cove,” his own “Tomorrow’s Blues,” and bandmate Murphey’s “Right Down There.” A John Fogerty composition, “As Long as I Can See the Light,” is their most up-tempo offering, and two Norman Blake songs (Slow Train Through Georgia, Whiskey Deaf and Whiskey Blind) are tastefully rendered.
Liner notes incorrectly reference the latter as “Whiskey Death, Whiskey
Blind.”

If anyone questions the potential use of cello in bluegrass, they should take a listen to Eggleston’s breaks and fills in “Whiskey Deaf and Whiskey Blind,” “Red Rocking Chair,” and “Monroe’s Farewell to Long Hollow.” Liner notes refer to Eggleston as a “groovemaster.” Slipstream also incorporates Winship’s mandola into the traditional “Rove Riley Rove” and “Black Cove.” Along with Zimmerman’s pleasant baritone vocals, this results in Slipstream
being more “low and mournful” than “high and lonesome,” a descriptive moniker often more associated with traditional bluegrass music. Slipstream still has drive in their music, but at times they cross over into new acoustic sensibilities on some of their slower and moderate-tempo’ed pieces. If your definition of bluegrass requires that banjo and fiddle be present,
you might be disappointed as only one number (Amesbury) has both, four tracks have Garrett’s fluid fiddle, and three tracks have Pikleny’s masterful banjo.

Slipstream made its first festival performances in the summer of 2003. They hang with some good company and have shared jamgrass stages with quite a few well-known pickers. Paul Waitinas switched to upright bass only five years ago after hearing the Freight Hoppers’ old-timey music. Brad Murphey (Murph) played his guitar regularly on a television cooking show in Lawrence, Kansas. Rich Zimmerman’s straightforward picking on his Nugget mandolin (built by Mike Kemnitzer) also takes a few interpretive twists along the way.

I’ve been very impressed with some of the acoustic music coming out of Colorado in recent times. Slipstream takes their name from that turbulence, pressure and suction found just behind a fast-moving semi-truck or airplane. I expect their first album, “Waterbound,” to also propel them to new heights and greater visibility as more and more ride along on Slipstream’s bandwagon. (Joe Ross)