LITTLE ROCK — Few artists are as influential, or as underappreciated, as Emmylou Harris.
Harris is the founding mother of progressive country and Americana, a beneficent mentor and profound influence for musicians who cherish artistic freedom and the diversity and richness of American roots music.
When the album Pieces of the Sky announced her arrival as a solo artist in 1975, Harris was a traditionalist with a rebellious streak, equally at home with Merle Haggard and The Beatles.
As a premier interpreter of songs for nearly four decades, Harris’ crisp and precise phrasing and reedy tone helped bring many songwriters and musicians to public recognition, including Ricky Skaggs, Rodney Crowell, Lucinda Williams, Steve Earle and others. At the same time, she was a voice to keep the legacy of the Louvin Brothers,Dolly Parton and her own mentor, Gram Parsons, visible as she reached across musical genres to embrace songs by noncountry writers such as Bruce Springsteen.
Harris has restlessly explored new ways to express herself, which has led her to a number of triumphant recordings, none more so than 1995’s startling Wrecking Ball, produced by Daniel Lanois of U2 and Peter Gabriel fame.
Her career is a template for how to explore different kinds of music and be true to yourself. And her voice can transform a song into truth with unshakable conviction or shift down to a meditative, prayerful balm.
Harris seemed reluctant to write songs; it wasn’t until 1985’s The Ballad of Sally Rose that an album bore mostly her creations. In 2000, she released another album of mostly her songs, Red Dirt Girl. This year’s Hard Bargain (Nonesuch) is another fine collection of Harris compositions, with the addition of Jay Joyce’s “Cross Yourself” and the title song, written by Ron Sexsmith.
Hard Bargain presents Harris at her best, with her grace, compassion and talent in full flower.
It’s hard to imagine what artists like Patty Griffin, Gillian Welch, Margo Timmons (Cowboy Junkies) and others might have sounded like without Harris. It’s a mighty long shadow she casts.
Three recent recordings are fine examples of Harris’ impact:
Sarah Jarosz, Follow Me Down, Sugar Hill, AA recent guest on APrairie Home Companion, Jarosz made a most impressive debut album last year (clawhammer banjo anyone?). The talented artist, 21, expands her vision to include a newg rassflecked “Old Smitty,” the stunningly beautiful “Gypsy” and the amazing “Run Away.” The Radiohead cover (“The Tourist”) is OK, but not up to the rest. Still, a most impressive second album by this amazing, evolving artist. Can’t wait for the third!
Diana Jones, High Atmosphere, Proper American, B+
Her music can be austere and downbeat, but Jones’ voice is inviting and draws us into the unsettling and aching “Drug for This,” the heartfelt lament “Funeral Singer” (with Jim Lauderdale) and the wonderful “Don’t Forget Me,” about a jailbird trying to change his ways. Retro in the best sense of the word, Jones is a modern mountain balladeer. Welch fans will appreciate Jones’ work.
Sierra Hull, Daybreak, Rounder, A
This contemporary bluegrass musician has crafted an irresistible album. The 19-year-old’s stellar mandolin work moves easily from traditional bluegrass to newgrass, swing and jazz. And the voice? The pristine, soulful tone will appeal to fans of Alison Krauss, Parton and maybe even Carrie Underwood. Very cool.
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Style, Pages 49 on 07/10/2011