Pre-release publicity for John Cowan’s first Pinecastle disc focused on “Drown”, a searing (and autobiographical) account of child molestation and its aftermath, but beyond that, the news here is that the spectacularly gifted singer and bassist has embraced (or at least come to terms with) his newgrass roots. More than any of the albums he’s made since New Grass Revival broke up in 1989, New Tattoo builds on that group’s legacy, yet doesn’t simply recap its innovative sound.
Cowan gets credit for offering direction — and, of course, for his brilliant vocal and electric bass work, as supple and soulful as ever — but the album is indeed a band effort, and the contributions of the rest of the members are considerable. Breathtaking banjo player Noam Pikelny grew up on, and absorbed, NGR records. Longtime IIIrd Tyme Out mandolinist Wayne Benson reveals a supercharged rhythmic sense that will surprise all but those who remember his work with the short-lived Livewire. Veteran Cowan sidekick Jeff Autry’s guitar work continues to cut a wide stylistic swath. On fiddle, both former bandmember Luke Bulla and current one Shad Cobb bring an expressive fluidity that complements Cowan’s slippery, wailing vocals.
The songs, too, are a masterful bunch, starting with Bob Lucas’ slightly comical, slightly ominous “Carla’s Got A New Tattoo” and running through Robbie Fulks’ dark “In Bristol Town” and Mark Simos’ elegantly reflective “Hurting Sure”. There are some quiet moments, some big blowouts, and plenty of passion on New Tattoo. If Cowan spent some years casting about for exactly what he wanted to do, he has come out at the end of the process with something old, something new, and something altogether satisfying.