Pharis and Jason Romero "A passing Glimpse"

Lula Records, 2011

Somewhere in Canada, Angels are singing

• The sweetest blend of guitar, banjo and harmonising vocals make this album a must have for anyone who loves traditional "old timey" country/folk songs. Or, for that matter, anyone who appreciates gorgeous music making.

• Pharis Romero has a clear sweet voice so perfectly suited to the music, whilst Jason Romero's facility with the banjo marks him as a masterful player as well as a banjo luthier of note. Listening to this album you might imagine that you've dropped in on a fantastic coffee house gig during the '60's folk revival; or picture the gentle strains emanating from a gently swaying prairie schooner or perhaps holding back the unknown terrors of the night as folks lost in the wilderness huddle around a camp fire half way up a mountain. There is more than a hint in this music of continuity and timelessness.

  Jason Romero's banjo playing is refined and restrained - I have not a single doubt that he could, if he so wished, fire off any number of lightning fast breaks and hot licks, maybe he does elsewhere. On this album though the true beauty of the banjo is elegantly presented - his version of "Cumberland Gap" is sublime. There's a warmth and richness to his playing, his finger pick free playing causing the banjo's easy stridency to be muted down and it's true delicacy and gentleness to be revealed. The notes trickle out like a stream of quicksilver.

  The songs are a mixture of the traditional and new songs written by Pharis Romero which retain that authentic timeless sound. The old songs, such as "Where is the Gambling Man?"; "My Flowers, My Companions and Me"; and Uncle Dave Macon's "Hillbily Blues", generally avoid the already over recorded chestnuts, and the new songs more than hold their own . "Only Gold" is a standout amongst these - it has the true feel of a depression era no-more work song, features a wonderfully elegant melodic banjo tune over which Pharis Romero sings her lyrics like a pure voiced angel in one of the least cluttered and most moving songs I've heard in some time.

  The duets "Forsaken Love" and "A Passing Glimpse" are similarly impressive - the latter, which moves seamlessly from chiding an errant lover to a meditation on lost youth, is an outstanding piece of writing, slightly reminiscent of Joni Mitchell around the edges. Quite simply it would be a crime if this album were to linger forever in a banjo music backwater - it must surely be a contender for the North American folk album of the year.