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Is there nothing beyond the musical scope of violin virtuoso David Klinkenberg?! He is single-handedly turning us all onto the joys of the fiddle; I do believe it's love!
After hearing the strains of his new Christmas album, “The Carol of Emmanuel,” around the office earlier in the month, my interest was peaked. But the delights of his “Fiddle-Levity” have driven me deep into the web of fiddle-love. And I don’t want to ever be rescued. David Klinkenberg spreads joy, to put it simply, through his adroitly chosen and executed works of fiddle-genius. He mixes classical and contemporary playing styles with unique and eclectic song selections to create a musical experience, taking the listener on a spiritual journey from the pleasures of earthly delights to look up to the heavens for the Source of it all . He starts the delight slowly, easing into the familiar melody line of opener “Jesus Loves Me” and you think it’s business as usual. Until you begin to notice that looming programming touches are giving your favorite childhood song a distinctive rock opera feel. Just as you start to wonder, Klinkenberg bursts into a frenzy of nimble fiddle fun. Michael W. Smith’s “Hybernia” bears an other-worldly feel, thanks to an eerie mix of percussion, piano and whistles. You are provoked to think, to wonder, and it only continues as Caitlin Evanson’s dead-on vocals soar through the ambience of “The Calling” above a bed of lush instrumentation. Klinkenberg keeps you pinned to the chair as he moves through track after track of striking excellence and surprising choices. What is “Time of Your Life” doing on here? Michelle Renay’s warm vocals ride beautifully atop the delicate, shining strings on this unexpected track. The brilliant “Raining at Sunset” follows, an emotive mix of classical and bluegrass, each fat note plunking down like, well, like a raindrop at sunset. You only think you’re ready for the rich layers of sound in “Gravel Shore,” each peeling back only to reveal endless layers beneath. Listening to this lively track is sheer bliss, like flawlessly riding the perfect wave of sound. To really punish the metaphor, consider the sonic wealth of “Jerusalem’s Ridge.” Its sizzling fingerwork on the fiddle, the mandolin, and the head-turning dobro make this one like riding a bronco. You say you did not expect a Switchfoot track? Well, hold tight, baby, Klinkenberg’s bringing a fresh warm groove to the melodic “Only Hope.” Also on his “The Carol of Emmanuel,” “Jesu Joy of Man’s Desiring” is exuberance personified, a stunner. You’ll love the Spanish flair of “Mi Ita Linda,” with its rich rhythms and the intricate dance between piano, strings and horns. But lest you think Klinkenberg has wrapped up “Fiddle-Levity” on a completely serious note, check out the hidden bonus track. Yup, that’s “Popeye” you’re hearing, a sizzling searing fiddle-look into the depths of the spinach-chomping sailor man himself. David Klinkenberg notes on the album liner that his musical intention is to lift our spirits heavenward. This joyful, gorgeous music contains within it the seeds of worship, presented respectfully, lovingly, and yes, with wit and pleasure. Completely without pointed reference or pomposity, Klinkenberg leads you to consider the Source of this wonder. If joy has not poured into your soul, and your toes, by the end of “Fiddle-Levity” you might want to check for a pulse.
The copyright of the article David Klinkenberg: Fiddle-Levity in Christian Music is owned by Kevan Breitinger. Permission to republish David Klinkenberg: Fiddle-Levity in print or online must be granted by the author in writing.
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