MOLLYBLOOM: Tillamook Burn

Mollybloom

Tillamook Burn

© 2002 mollybloom (619981225823)

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Modern acoustic contemporary bluegrass that is driving at times, reflective at others; a Roots feel and sophisticated appeal.

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“Mollybloom blends a multitude of influences into a sound that is uniquely their own. The performances are flawlessly executed. From every feasible point of view, “Tillamook Burn” highlights a well-disciplined musical machine that is certainly not afraid to step to the forefront with fresh new material.”
Bluegrass Unlimited March 2003

Mollybloom’s second CD continued utilizing the writing talents of the composers on their first album, “These Days”, this time adding the talents of Ron Relaford with his composition “Brady”. All songs, with the exception of “Old Joe Clark”, were composed and arranged by the group.

Dave Dahl who spent his early years in Montana and is currently a practicing
Music Therapist. Dave has played banjo and guitar for more than 20 years. He is also a highly accomplished pianist.

Jeff Shippy, on fiddle, viola and lead guitar, is an orchestra teacher. Jeff has been attracted to fiddle and bluegrass since his childhood in Colorado. He has mentored his students in forming bluegrass bands. He also performs in his church.

Ron Relaford, a massage therapist and music teacher, has played and taught
mandolin, banjo, and guitar for over 30 years. As a mandolin player, Ron has
performed with Celtic, Blues, and folk groups. His varied music background
even includes African drumming.

Clark Blanchard is a public school music teacher in Silverton, Oregon. He
has performed in local bands since 1963. Clark began his music career as a
piano and guitar player in the 1970’s. Clark then turned to playing
bass and singing while making a living playing Pop, Rock, and Jazz in the
Portland area.

Matt Gray, on banjo, has been a member of the Portland bluegrass community for many years. Playing with several groups, Matt has earned the reputation of being an innovative and technically precise banjo player. These skills helped him win the Oregon State Bluegrass Banjo Championship in 1996.

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  • Mollybloom pushes the envelope, tries new things, and capitalizes on their eclec
    author: Joe Ross, Bluegrass Now

    Playing Time – 36:54 -- I always enjoy hearing what the Pacific Northwest’s many fine regional bluegrass groups are up to. Mollybloom has been around since 1995, and they keep a fairly low profile. Their largely original, contemporary music is certainly deserving of a wider audience. These two recordings also show the phenomenal growth among this quintet that has remained solid with the same personnel of Dave Dahl (guitar), Ron Relaford (mandolin), Clark Blanchard (bass), Jeff Shippy (guitar, fiddle) and Matt Gray (banjo). Dahl, Shippy and Blanchard handle the vocals. None of them are standout lead vocalists, but they manage to present a mournful feeling and calibrate nicely on their harmonies. At times, phrasing seems a little forced and uncomfortable. “These Days” was released in 1999 while “Tillamook Burn” is their sophomore 2003 release and a tribute to firefighters everywhere. Recently, classically-trained Bob Rindy has replaced Jeff Shippy in the band. Few bands can boast the sheer amount of original material that Mollybloom can. Between their two album projects, Dave Dahl and Jeff Shippy composed eighteen songs. Matt Gray penned the instrumentals, “Too Late to Tune” and “Tillamook Burn.” Ron Relaford’s sole offering is an instrumental, “Brady.” Lyrics for the songs are included in the second project (Tillamook Burn) but not the 1999 album. Writing memorable songs is definitely a challenge. To fully succeed, a band with this much original material must fully tap the creativity, inspiration and motivation within themselves. I look for introspective lyrics with hard-hitting messages that listeners can relate to. “Hooks” are typically lines that draw listeners in and give us something special and memorable. Of course, catchy melodies are also needed. Mollybloom’s music has a contemporary flair, and relationships gone bad are the predominant themes. Sometimes their melodies and messages seem a tad alike and trite, and they come off as rather indistinctive. Mollybloom seems to be finding their stylistic footing in the jamgrass arena, and their greatest success may be found by pursuing that circuit and following. The genesis for a song like Shippy’s “Trainman,” for example, is clearly inspired by adventurous tastes. All of the pickers contribute strongly to the arrangements, with 1996 Oregon State banjo champion Matt Gray deserving of special mention. Shippy’s fiddle also offers some enchanting instrumental fills and twists. Songwriting is hard work, and only with a good deal of practice will one become comfortable doing it. As a craft, it can be learned. As a form of communication, a person must master the styles, ways and methods to say exactly what is felt within one’s soul. The prolific songwriters of Mollybloom clearly have talent and aptitude in this arena. Certainly, some of their songs seem to work better than others, and everyone will have their favorites. Mine is probably Dave Dahl’s “Crooked Road,” a well-wrought tale of an encounter with the Devil along with advice for us to seek redemption before it’s too late. So who are these guys? Dave Dahl, originally from Montana, now works as Music Therapist at the Oregon State Hospital. Massage therapist and music teacher Ron Relaford has played and taught mandolin, banjo, and guitar for over three decades. Clark Blanchard, a school music teacher in Silverton, Oregon, has performed in bands since 1963. Matt Gray has performed with the groups, Columbia and Everything’s G. Mollybloom’s strength is their willingness to push the envelope, try new things, and capitalize on their eclectic musical backgrounds and tastes. They appear to share a common vision for their music, as well as share a bond of friendship. The band’s arranging skills are commendable. As instrumentalists, the band members appear comfortable with various idioms, and their music is probably best categorized as Americana. The band is clearly developing its niche outside the more traditional center of bluegrass music. (Joe Ross, staff writer, Bluegrass Now)

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