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 When a fella hits
the stage at 13 years of age to play the fiddle with live bands,
he's either real real good or else you already know everything
you needed to about the bands you're glad you missed. When the
kid is on the road with those bands the next year and hits the
Broken Spoke with Asleep At the Wheel by 16, you figure maybe
the real real good part was the key. And sure enough, ten years
after that Austin gig and now backed by some of Texas music's
brightest luminaries, Jason Roberts waltzes Texas Fiddle Man
onto the airwaves and proves you right.
Roberts grew up in Lampasas and lists the influences you'd
expect: Bob Wills. Asleep At the Wheel. George Strait. Johnny
Gimble. And the ever-popular "lots of traditional country
music." Unlike some of the current crop of Texas "standouts,"
though, Roberts apparently means it when he lists that last group.
His record is full of influences that got our mamas and daddies
hot and sweaty on Hill Country nights. Ray Benson steps in to
help on the production and the results are timeless. Don't look
for new music here. Ain't happening. But the traditional tracks
and public domain treatments are breathtakingly crisp and heart-achingly
beautiful, and this 21st century record makes you think 1953
never sounded so good. From Gimble's leadoff "Fiddlin'
Around" to newer songs like the Strait hit "I Can't
See Texas From Here," Roberts and company display virtuoso
skills on the fiddle, mandolin, steel, tic-tac guitar and everything
in between.
Jason Roberts has long been viewed as an accomplished sideman,
clocking time with acts ranging from all those listed above to
(ouch) Clay Walker as that Beaumont native temporarily broke
it big in the mid 90's. Before the Walker foray, Roberts had
made good on the promise of that Broken Spoke gig mentioned above
and become a regular with Asleep At the Wheel. He stuck with
Clay for about a year and a half, and to his credit decided he'd
rather go back to playing real country music. Been with the
Wheel ever since. You hardcore anti-Nashville readers can excuse
the interruption on the grounds that for the briefest of moments
there was a rumor that Clay Walker might be the next George Strait.
Unfortunately for all of us in listener land, the reverse apparently
came to pass, as Strait now regularly unleashes pap on par with
"This Woman and This Man." That's a rant for another
article, so for now let's say it suffices to note that the record
that spawned that song fits right about the time Roberts high-tailed
it back to the country.
Wheel fans have enjoyed Roberts' mastery of the fiddle and
mandolin for years now, so what may stand out as a surprise is
the voice the kid unleashes on the songs we've all known for
years. Close your eyes and tilt the longneck just right, you
might find yourself thinking you're hearing Lefty himself back
in the day on the classic "Bandy the Rodeo Clown."
Pretty quickly you realize it's Roberts at the mic, but the
finely graveled and elegantly muscled tenor evokes all the strength
and pain and longing of the original in a masterly faithful tribute.
Or try "I Needed You" on for size. Johnny Gimble
on the fiddle, Jason Roberts on the vocal, and the best of Bob
Wills looming larger than life in the rear view. Not feeling
the honky tonk groove yet? Floyd Domino's piano here takes care
of that. Maybe a little steel would flesh it out? Okay. Jim
Murphy work for ya? Cindy Cashdollar? Or how about Jason himself?
All three contribute throughout the record. Rick McRae (Ace
In the Hole band) stops by to lend a hand on the fiddle and electric
guitar. David Sanger (Strait, Don Walser, Dale Watson, Pam Tillis,
etc.) handles the drums throughout. David Miller and Terry Hale
take turns on the bass. Ray Benson gets off the board onto the
guitar here and there. And Jason and Johnny trade fiddle time
like a Western trimmed-down version of the Three Tenors making
heads spin.
Bottom line, Texas Fiddle Man is a tour de force recap
of the Western swing and straight country roots that paved the
way for the Outlaw Movement. And its tight but greasy production
values are an authentic slap in the face to the pseudo-tonkers
running amok throughout Texas these days. This is music for
two kinds of people: the ones who lived it first and want to
hear it fresh and newly perfect, and their kids who know what
the life's all about and want music of their own. The success
of Roberts' solo career from here on will be predicated on his
ability to expand and add original classics to his repertoire.
His work on compilation records so far indicates he's got the
ability to do that, and his reputation with the old pioneers
makes it clear he's got the help he'll need to do it right.
For now, you can get to know him at www.texasfiddleman.com and on the road with
Ray and the boys. Until we find out for sure what the kid wants
to do, we can at least be damned satisfied with what might be
the best road trip record of 2002.
Contact David Pilot at: tailgunner-at-rockzilla.net
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