My parents played fiddle and banjo and I couldn’t help but absorb it. Which came first for you-bluegrass or rock?īluegrass is something I grew up with in Atlanta. Orchids and Violence showcasestwo sides of your musical personality. He detailed the peculiarities of his D-18, what it was like to record with some of today’s hottest bluegrass musicians in a Brooklyn church, and how it felt to bond with a $2,000 overdrive pedal. Speaking from his home studio in Brooklyn, Daves told us about the evolution that led to Orchids and Violence, as well as the musical strategies behind the project. On a single-pickup Teisco, he calls forth a wide range of gestures and timbres-at the same time working a kick drum and hi-hat-and he does sound rootsy and experimental at the same time. Daves’ odd choice of the Truetone in a bluegrass situation hints at his unconventional way with the electric guitar. On his tradition-approved D-18, Daves picks hot lines with stylistic rectitude, but he’s known to swap out the Martin for a plywood Truetone, for a subtly grittier approach to the idiom. Speaking to his enviable command of the guitar, Daves has also worked with Steve Martin, Tony Trischka, and Rosanne Cash. Daves, who is 37, is a prominent player on the New York bluegrass scene that includes virtuosos like the mandolinists Chris Thile and Sarah Jarosz and the banjoist Noam Pikelny-all with whom he’s collaborated with extensively.
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