Pros: Watkins' guitar mastery is enough to make any amateur green with envy.
Cons: Perhaps a bit too "light" for some listeners.
The Bottom Line: Watkins proves he deserves more than third fiddle (guitar actually) to the other members of Nickel Creek with a fantastic solo album that will turn many heads.
When naming great bands, invariably you’ll notice a regrettable trend: an overlooked, overshadowed talent. Usually completely unjust (I’m thinking someone as major as George Harrison from The Beatles) – sometimes not quite so, maybe a James Iha of The Smashing Pumpkins. Either way, Sean Watkins, the guitarist from Newgrass sensation Nickel Creek is such a fellow.
While not nearly as flashy as mandolin virtuoso Chris Thile, or as exotically pretty as his sister/fiddler Sara Watkins – Sean’s ability as a guitarist is sometimes lost in the mix, and that’s unfortunate. Lucky for us, Sugar Hill Records has given this young man free reign by releasing "26 Miles” (Watkins’ second solo effort), a wandering journey through the mind and skills of one of the preeminent talents of today’s music scene.
He ably evokes comparisons to everyone from Doc Watson to Ricky Skaggs, yet painting Watkins into that kind of bluegrass corner would be a mistake. If you give "26 Miles” a listen, you’ll find it may just be Watkins that always managed to lace Nickel Creek albums with the funk and jazz that made their second album “This Side” so different and exciting. Not only a dynamite flat-picker, Watkins also shows off his jazz, classical and rock guitar chops as well. There’s a different feel to each track – tunes that make use of tenor saxophone, electric guitar, bassoon, drum loops and string quartets. Even the standout masterpiece “Locking Doors” (one of the many tracks that Sara Watkins contributes to), has an eerie, serene mood that transcends anything you might have heard from Watkins to date.
The idea behind the liner notes is fantastic, and The Stamberger Company should be applauded for their efforts. A snapshot is taken for each song title, and on the Polaroid is a one or two sentence (sometimes a single word) explanation of all the tracks. This approach adds to the experience one gets from the album, and I hope to see this more often from bands – the last time I remember seeing something akin to it was Pearl Jam’s underappreciated record “No Code”.
Recorded between sessions for “This Side”, "26 Miles” was comprised by Watkins and an ensemble of jazz musicians and friends. Each tune is a highlight, and each deceptively simple slice of the musical pie will leave you wanting more. The adroit use of acoustic pop intertwined with jazz leanings is quite appealing – I hope to find more albums with this kind of mixture. As Watkins’ own description of “N.M.I.” states: “I love the sound of soprano sax and fiddle together”. It’s a sound you won’t likely hear anywhere else anytime soon.
“On Ice” is a great way to start the album off. It’s a simple little ditty that could fit anywhere on a Nickel Creek release, and it’s a good way to draw in familiar listeners and strangers alike. From there, “Chicago” takes a windingly different turn, and the aforementioned saxophones and organs are brought in to great effect. Other great tunes include the sobering “Take It Away”, the mile-a-minute “Brick Window”, “Carousel” and the previously mentioned treat, “Locking Doors”.
Let there be no mistake, Sean Watkins isn’t transcending the borders and limits of music as we know it. Instead, he takes familiar themes and genres and turns them on their ears. He will make you sit up and take notice, because what he’s capable of is extraordinary.
Watkins has proven himself with the great feat of writing and producing every tune himself. If you’re even a casual fan of Nickel Creek, I recommend you pick this one up. It’s the perfect remedy for a hectic life – it’s a great one to play just to relax, to take the weight of the world off your shoulders. "26 Miles” is worth the distance traveled.
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