He delivered most of my teachers’ babies.
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“My father was a beloved family doctor in the region. “I turned inward, exploring loss,” he explains. It’s a perspective he explores eloquently in the title track, speaking of his childhood in the Olympic rainforest, home to Roosevelt elk, where “The horns protrude in anger / and beg to take my crown / Meanwhile the fleece of grief / Slips off quite like a gown.” The album became a vessel for West to grieve and remember his father’s legacy. This setting closely informs his songwriting, especially after the recent passing of his father. West grew up among Douglas fir and western red cedar in the Pacific Northwest, building forts and playing with stick guns (his pacifist father, a family doctor, forbade squirt guns). Maybe it falls in a spot where there’s enough tradition and enough opportunity at the same time.” “There’s a precedent to the music,” he says, “but it’s also young.
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It also put him in touch with a world built by hand, away from the constant buzz of our digital society. It was a new language.” This shared language has taken West across the world, touring the UK, Scandinavia, Australia, and Europe, and has provided an endless source of inspiration, enabling him to craft a career built in combination with others. Exposed to the joy of this music for the first time at a Matt Flinner and David Grier house concert, West says “what drew me in was the level of communication. Whereas Monroe was about the flashy virtuosity and competitiveness of the individual, Hartford was about crafting beautiful and tuneful melodies for community: playing together, not showing off. West approaches his influences more from a John Hartford perspective than Bill Monroe, however. This ethos comes from West’s passion for bluegrass, where collaborative music making is the norm. “I’m a second born, that might be part of it? Whether music is about communication or community, the sum is bigger than the parts.” “My identity as a musician is as much about collaboration as anything,” West explains. Tapered Point of Stone showcases West’s collaborative nature. As both a noted arranger, songwriter, performer, and composer, West has been crafting a Northwest-centric roots music aesthetic through earlier collaborations with Cahalen Morrison and John Reischman, and recordings with Bill Frisell and Dori Freeman. This is the third album this quartet has built, including solo albums for Marlin and Sedelmeyer, and at this point they operate on a near-magical wavelength. Recorded in 2020, just before everything shut down, the album brings together West’s favored quartet of musicians: Andrew Marlin (Mandolin Orange) on mandolin, Christian Sedelmeyer (Jerry Douglas) on fiddle, himself on mandolin, guitar, and banjo, and Clint Mullican (Mandolin Orange) on bass. On his new album, Tapered Point of Stone, due out April 23, 2021, West lays out original songs and tunes like houses built by hand, weaving their melodies into the setting of acoustic roots music that first inspired him. It’s a highly unusual way to think about music, tied to his verdant natural world of the Pacific Northwest.
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A trained designer, he sees music architecturally, visualizing his compositions spatially. It’s always illuminating to ask an artist how they understand music, but Eli West’s perspective is nothing short of ground-breaking.