Artist:     Cary Morin

Album:     When I Rise

Label:     Self-released

Release Date:     10.26.2018

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Montana-raised, northern Colorado-based Cary Morin is a Native American who has built a reputation as one of the best acoustic pickers in roots music. He combines soulful vocals with insightful songwriting. His 2017, release, Cradle to the Grave won the 2018 Independent Music Award for Best Blues CD. This is his fifth album, with portions both fully acoustic and others that bring in electric instruments, marking a  shift for him. This one accents songs more than acoustic fingerstyle picking.   Nine musicians share credits here, including the unusual touches of  clarinet, violin and pedal steel, the latter played by Morin.

Ten of the dozen tunes are originals, with covers of Garcia/Hunter’s “Dire Wolf” and Duane Allman’s “Little Martha.” The supporting cast includes: Steve Amedée – drums, percussion; Paul Benjaman – electric guitar; Celeste Di Iorio – vocals; Jay Forrest – drums, percussion; Jason Larson – vocals, piano, bass guitar, Dexter Payne – clarinet and harmonica; Kim Stone – acoustic and electric bass,  Andy Weyl – piano and Lionel Young – violin. When I Rise was produced by Kim Stone, Celeste Di Iorio and Jason Larson.

The album was done when Morin had plenty of time at home, enabling him to experiment with different textures and bring in some wide influences. The acoustic  title track stems from listening to Alan Lomax recordings from the ’40s, primarily prison songs. It depicts a man who is present as another man’s life is taken. He is sure he will be blamed, struggles how to convey this to his family, and ultimately runs away instead. Similarly, “Jug in the Water,” done both acoustically and electrically, has origins in old blues and folk songs as well as Doug Kershaw’s “Louisiana Man.” It speaks to getting everyone fed when there isn’t much work to be had.

Dexter Payne’s clarinet gives “Let Me Hear the Music” its old-time feel. Morin claims he had the words for this tune, long before committing it to music. His wife suggested that he listen to Billie Holiday. From there he went to Rosemary Clooney and others, eventually landing the mood and melody for one of the album’s clear highlights.  Here, as much as in any tune, you can hear Morin draw from several musical genres, not just blues.

The Grateful Dead cover somehow lacks the desperation of the original, but he delivers Allman’s “Little Martha” gorgeously attaching it to the second half of a medley called “Last Pint.”  Other highlights include the electrified “Carmela Marie” and the pedal steel-driven lament “We Used to Be.”

It’s clear that Morin is evolving.  There are some strong moments here but it takes some time to acclimate to his eclecticism because of his previous riveting acoustic albums.

—Jim Hynes