Arthur Driessen
Starting about 2000, a new generation of American bluegrass and traditional string musicians came of age and launched careers. They were raised at fiddle camps and educated at conservatories, especially Boston’s Berklee College of Music. With eclectic influences and advanced skills they began to write a new chapter in the story of acoustic roots music. Among the most impactful is five-string fiddler and educator Casey Driessen.
I first met Casey, probably at the Station Inn, when he was recently graduated from Berklee and getting his footing in Nashville as a sideman and recording artist. He had a point of view and a voice on the fiddle that could range through or combine classic bluegrass, country jazz and traditions from around the world. He was an early expert practitioner of the rhythmic fiddle “chop” technique that brings drum-like qualities to the instrument. And he found outlets in performance with Tim O’Brien, Darrell Scott, Jerry Douglas, Jim Lauderdale and others. He launched a funky instrumental trio with his friend Matt Mangano, bass player for the Zac Brown Band. He started making utterly unique solo albums and developed a one-man show using electronic effects and looping pedals called The Singularity.