Following close on the heels of his collaboration with guitarist Colin Linden, Amour, Luther Dickinson now issues Solstice, a group endeavor whose personnel includes Amy Helm, Amy LaVere and Sharde Thomas, the latter two of whom were also members of The Wandering, an ensemble that appeared on record and on tour during another equally busy period of Luther’s in 2012 (when he also released the sublime solo album Hambone’s Meditations).
Having congregated at the Dickinson family’s Zebra Ranch studio (at the summer solstice from whence came the group moniker Sisters of the Strawberry Moon), this linchpin of the North Mississippi Allstars (with sibling Cody) stepped part-way into the shadows, playing less the role of catalyst than flashpoint for the multiple moments of inspiration that comprise this record. Yet the guitarist is no stranger to a supporting role—he played it to the hilt when a member of the Black Crowes—and excels with stringed accompaniment; complementing that of fiddler Lillie Mae Riches on “Superlover,” the playing is as carefully-conceived as the material (with the exception of one traditional, all originals, mostly by session participants), interweaving elements of blues, country folk and gospel with a light touch corresponding to the finely-etched pastels of the cover art.
Accordingly, vocals (recorded almost without exception in one or two takes) are preeminent on this LP. The singing of Thomas on the latter track is no less beguiling than LaVere’s on “Hallelujah (I’m A Dreamer), while Helm’s is immediately stirring on “Like A Songbird That Has Fallen.” The daughter of the late Levon projects her earthy personality too on “The Night Is Still Young” and “Sing To Me,” coming as close to stealing the spotlight as any individual on Solstice. But the dulcet tones of those three individuals are interwoven over the course of the dozen tracks with the equally mellifluous ensembles Birds of Chicago, on “Kathy” among others and The Como Mamas,” for “Hold to His Hand.”
It’s a tribute to the sterling restraint of the backing musicians (such as clarinetist Allison Russell on the former) that their tasteful sounds call only the most appropriate, i.e., proportionate, attention to themselves. For instance, Luther Dickinson and his comrade in the South Memphis String Band, Alvin Youngblood Hart, push out light, shimmering electric guitar figures to further elevate the otherwise already uplifting “We Made It,” a cut that passes in a flash, as do many of these numbers ranging in duration from less than two minutes to just over five.
Yet the playing time is less notable than the sweet and soulful mood that pervades Solstice, into which Rev. Charles Hodges and Jim Spake, respectively, inject “Til It’s Gone” the contrasting textures of Hammond B3 organ and bass clarinet. The scintillating audio mixing of Jeff Powell (at Sam Phillips Recording Service in Memphis) may most readily discernible here because it only adds to the potency of performances.
