Jonathan Edwards
Tomorrow’s Child
Rising Records

www.jonathanedwards.net
 

Jonathan Edwards partnered up with Darrell Scott to helm his new album. That news alone had me expecting a wonderful album, and the result is even better than I anticipated.

Jonathan is in superb voice and gives spirited performances throughout. As expected, Scott plays a bunch of instruments: guitars, banjo, bouzouki, piano, pedal steel, Dobro and bass. Other core players are percussionist Kenny Malone, Bryn Davies on upright bass and cello, John Cowan adding backing vocals and Dirk Powell on fiddle, banjo, concertinas and piano. Edwards owns up to playing “a little guitar and all the harmonicas.” Cameo vocalists include Shawn Colvin, Don Campbell, Alison Krauss, Vince Gill, Sarah Dugas and Odessa Settles plus instrumental cameos by Jerry Douglas and Joe Walsh (the bluegrasser, not the rocker). Support throughout is splendid, and the recording is technically gorgeous as it jumps right out of the speakers to greet you.

In the end, as it always does, it comes down to the songs … and Edwards has chosen wisely and quite well. Six of the 11 are his own compositions, five new ones and a revisit to “The Girl from the Canyon” which Jonathan originally cut in the 1970s with Emmylou Harris & The Hot Band. All of are sweet, warm songs, but two deserve special mention: “Gracie,” about his daughter, has Grace adding some vocals. The story behind the closer “Jonny’s Come Home” came from Edwards being adopted at nine months (the cover shot was taken by his adoptive mother the day she brought him home), and his having to offer his own daughter up for adoption 20 years later.

The five covers are all quite fine and memorable, too. Malcolm Holcombe’s “Down in the Woods” is a perfect welcoming opener. Marcus Hummon’s “Tomorrow’s Child” is thoroughly haunting. “Jonathan used to sing “Mamaw” when he was in Pump Boys and Dinettes. The traditional “Mole in the Ground” and Stephen Foster’s “Hard Times” are both old friends served up lovingly.

Tomorrow’s Child has jumped onto the short list I make up as a year goes by of which albums I will be considering for year honors. It is a gorgeous album wrought with love and care and wisdom. The Jonathan Edwards/Darrell Scott collaboration is rich, and I hope to see it renewed. They have created a gem here.

— Michael Tearson