I assumed that all eleven of these instrumentals were written by Ricky Skaggs because liner notes didn't provide tune credits. A little info from the label's publicist indicated that nine are new compositions by multiple Grammy award-winner Skaggs. Also, the CD jacket for this band's first-ever all-instrumental project has the entire seven-piece band on the cover, but a few of the regular members appear to be missing in the musical mix. Bios for Darrin Vincent and Paul Brewster are provided, but I don't see them listed in the credits. We do hear Ricky Skaggs (guitar, clawhammer banjo, mandolin, percussion), Jim Mills (banjo), Cody Kilby (guitar), Andy Leftwich (fiddle) and Mark Fain (bass). Guests include Jeff Taylor (accordion, whistle), Andy Statman (clarinet), and the Nashville String Machine with orchestration by Jim Gray on one cut.

No one can doubt the astonishing fluency with which these string practitioners speak. While they have a strong preference for moderate-tempo'ed offerings, they manage to create an eclectic state of musical mind with tastes of old-time, Celtic, bluegrass, Dawg, blues, jazz and classical idioms. Green hues of the Land of the Shamrock color compositions like "Going to Richmond" and "Goin to the Ceili." If a fusion of Celtic and Classical sounds are your cup o' tea, listen to the embellished brogue provided by the Nashville String Machine on "Crossing the Briney."

With the band "playing their thoughts" in a manner similar to how fiddler Vassar Clements used to, "Missing Vassar" establishes a hillbilly jazz groove based on a recurring lick that honors that musical philosopher. With a copious amount of respect for another mandolinist (David Grisman), Ricky Skaggs and the boys lay a hot little tune, "Dawg's Breath," on us. The melody inhales and exhales with precision, bounce and pizzazz. When "Gallatin Rag" begins, as on a few others, we clearly hear the only minimal shortcoming in this album's music - some distraction caused by Ricky's pick on his fingerboard. Statman embellishes that offering with some euphonious clarinet. In Statman's hands, it becomes clear why the instrument was once affectionately called the "hot licorice stick" among swing musicians in the 1930s and 40s.

All in all, this album is a tasteful tune set with several interpretive twists along the way. Performed by exceptional musicians, the composite is a product that would make Bill Monroe proud. They don't betray their bluegrass pedigree. Rather, their adventurous vision provides a treasure trove of unique tunes. I'd like to see some music notation and/or tablature for them so I can learn a few favorites. (Joe Ross)