Big Hillbilly Bluegrass could be one of the best kept secrets on the eastern seaboard, but bluegrass fans in that region know well about this astonishing group that has taken the stage every Wednesday night for about a decade at Madam’s Organ in northwest Washington, D.C.  They guarantee bluegrass satisfaction with their crooning vocals and smoldering banjo and fiddle work, accompanied by solid guitar and bass. Stefan Custodi lays down bass tracks on two songs, and Akira Otsuka is a guest on mandolin. However, the mandolin is relegated to a minor role, with few instrumental breaks, riffs, and staunch traditionalists might miss a more prominent role for the little instrument. Otsuka is very capable on the mandolin, and “The First Whippoorwill” gives him a chance to shine. On the other hand, mandolin breaks may not be that necessary when a band has Tad Marks on fiddle and Mike Munford on banjo. Bob Perilla plays guitar and sings lead. Elizabeth Day provides vocals, and Mike Marceau is the band’s bassist. Big Hillbilly Bluegrass has a bold and daring side, even a little chutzpah to do songs like “Get Together” and “Porpoise Mouth.” Bandleader Bob Perilla says that they’re strong advocates of preserving the bluegrass sound, but they also like to see envelopes pushed and bluegrass presented at diverse music festivals. “Bluegrass holds it own and creates new believers,” he once told me, while also stating, “The bluegrass festival system of self-segregation has insured the music’s survival but also sadly limits its overall popularization.”

Big Hillbilly Bluegrass considers Madam’s Organ to be “absolutely the best weekday bluegrass gig in the country….a phenomenon.” To fully understand their wide appeal, you really should experience them by seeing them live. However, this CD will shed insight on the Big Hillbilly Bluegrass marvel. Six cuts from this new CD have been added to XM rotation, and their season highlight was a June, 2005 tour of Azerbaijan, Armenia and Georgia for the U.S. State Department. The band has also appeared in Chris Rock's "Head of State," one TV gig with Earl Scruggs, at the Kennedy Center (for 5 years), Smithsonian Folklife Festival, and American Film Institute’s recent opening. They also are in the bluegrass documentary “Bluegrass Journey.” They have also played the prestigious 9:30 club.

Bob Perilla’s bluegrass experience includes playing with Don Stover, Buzz Busby, Dean Sapp, Al Jones and Frank Necessary. He’s also written scores for stage and screen. Tad Marks hails from Cooksvile, Md. and has fiddled with Del McCoury (1990-92), Lynn Morris (1992-93), James King (1995-97), Kate McKenzie, and Scottis folsinger Charlie Zahm (2000). His own CD "Crazy Love Affair" has been well received. Born in St. Louis, Mike Munford started playing banjo at 15 years old. He has toured widely with Tony Rice, Peter Rowan, the Rice Brothers and Lynn Morris. His recordings include Peter Rowan's 1997 Grammy Nominated album "Bluegrass Boy," a musical segment on "America's Most Wanted," Larry Rice's album, "Notions and Daydreams." Mike Marceau is a solid bassist, comfortable on acoustic or electric instruments. Vocalist Elizabeth Day raised in Kentucky and educated in Texas, has a deep-rooted appreciation for traditional music. She’s had fiddling relatives in her family for generations.

Ian Anderson’s “Locomotive Breath” makes for a nice runaway bluegrass cover. In their next “breath,” Big Hillbilly Bluegrass captures the essence of the master, Bill Monroe, with “The First Whippoorwill.” A couple other numbers from Monroe (Roanoke, Close By) are intermixed with covers from Paul Williams, Bill Harrell, Darrell Scott, Del McCoury and others. “Roanoke” is presented in such barn-burning fashion that I was worried that one of the musicians might hurt themself. Rhythmically and lyrically compelling, Bob Perilla’s own “Tenor of the Dove” is a contemporary offering about his bond with the old homeplace. All in all, very entertaining! (Joe Ross)