If you missed Main Street this past summer for Main In Motion, then you are missed out on a variety of entertainment, including Montrose’s own touring family  bluegrass band, Fleeting Moment (musicians Marcus Caudill on guitar and mandolin, Kara on guitar, Lucas on guitar and mandolin, Ashleigh on bass and banjo, and Jessica on fiddle). Today is the third CD from Fleeting Moment and their first gospel release. They play traditional bluegrass music with a spunk and exuberance that is captivating. 

Ashleigh sings lead for “Man In The Middle,” the opening song. Hard to believe she isn’t even out of high school; her voice has matured and her confidence is obvious in her delivery. Marcus, using a boogie-woogie bluegrass beat, sings the lead vocal and plays the mandolin on “You Better Get Right” while Jessica and Ashleigh play solos on fiddle and bass respectively. Kara and Ashleigh take turns on lead vocals, and Jessica blends harmonies on the traditional “Every Little Tear Drop.” The title track, written by Jessica, is an upbeat song. (The youngest in the family, Jessica is developing into quite the songwriter.) Lucas joins the family on guitar and Ashleigh plays banjo. “By the Mark” features Kara backed up by Lucas on lead guitar and Marcus on rhythm. Ashleigh sings the lead and Kara and Jessica provide the harmonies on the bouncy “Have Mercy On My Soul.” Kara’s pristine voice warmly wraps around the folky “Gabriel’s Blessing” as the boys play guitar. Old-timey vocals and Fleeting Moment’s energy pump up “When God Dips His Pen.” Kara plays solo on the dark “Cool Of The Day.” The grand finale is the sing-along “Halleluiah, I’m Ready.” Salvation was never so much fun!

Sugar
by Shelly Taylor
Reviewed by Dave Bowmam

Female jazz singers are experiencing a renaissance of appreciation that has been silent for years. Shelly Taylor fits right in there with contemporaries like Diana Krall, Nnenna  Freelon and Jane Monheit. Her song selection, which is so vital to an interpreter, is exquisite, from standards like Bacharach’s “The Look Of Love” to more obscure jazz tunes like Stanley Turrentine’s “Sugar.” These songs are perfect vehicles for Taylor’s powerful delivery and subtle piano playing.

Shelly Taylor opens Sugar with the show tune standard “I Didn’t Know What Time It Was.” Her version is upbeat with an impressive piano solo. The title track, a Stanley Turrentine composition, lets the band stretch out, but the focus is still Taylor as she uses strong phrasing in this interpretation. “Undecided,” a finger-popping tune, gets a workout from Taylor as she gets a groove going. The torchy “How Insensitive” is a song from the Latin American composer Antonio Jobim. It’s a darkly emotional song and Taylor provides the right pathos. Taylor lets her bluesy side hang out on “Black Coffee.” Her rhythm section keeps the beat laid back, and guitar player Bill Moio takes a well-phrased solo. Taylor playfully bounces out the lyrics to the jovial “Knock Me A Kiss.” “The Look of Love” is a dramatic piece and Taylor takes advantage of the spaces to draw out the lyrics and creates a mood of love. One of my favorite songs is “Try A Little Tenderness” and it’s been done by many greats from Frank Sinatra to Otis Redding. Shelly Taylor’s version is more Frank than Otis. Her smooth and sultry vocals keep the passion of this classic alive.

Shelly Taylor’s Sugar is sweet and refined without being syrupy. I sure hope that when she is in town a show can be arranged. Until then, catch her act the next time your in Las Vegas. 
 

Workin' on a Good Time
by Thicker Than Thieves
Reviewed by Dave Bowmam

From the opening note of Workin On A Good Time, it’s obvious that this is a special piece of music. “Say Yes” demonstrates what a tight band this is. Stockton’s title tune  has a country feel and features outstanding lead guitar from Rick, and string wizard Randall Utterback is featured on dobro. Banging out a Bo Diddley beat, drummer Justin Hess leads off “Just About You” which is a catchy dance number. John Magnie from the Dudes and Three Twins lends his sweet accordion sound to “If She Don’t Come Back” adding that momentary sadness. Highwater belts out the Percy Mayfield blues tune “Watch It Baby.” Stockton’s guitar rocks and turns in some tasty blues fills. “No Place In This World” sounds like an outtake from Hair, great beat and poppy lyrics. Utterback’s mandolin provides brightness, and the percussion gets the booty shaking on the reggae song “High Tone.” “Sad, Sad Moon” is a torchy vehicle for Highwater’s moody vocals. Justin Hess sings the lead on his plea for peace and sanity, “From Now On.”