Bridges

The folk circuit is full of artists who specialize in folk-rock or folk-pop and use electric instruments extensively, but veteran folk singer/guitarist Mary Flower has been much more old-time in her approach. Flower gets a great deal of inspiration from pre-rock recordings of the 1920s, 1930s, and 1940s, and that outlook serves her consistently well on the acoustic-oriented Bridges. Not all of Flower's admirers are quick to describe her as a folk artist; some of them have called her a blues singer — and, without question, the blues (including pre-rock Mississippi Delta country blues and female classic blues) are a major influence on this 2008 recording, which is probably best described as folk with blues, jazz, country, and gospel influences. Bridges is pleasingly diverse, ranging from expressive performances of Bessie Smith's "Backwater Blues," Emmett Miller's "The Ghost of the St. Louis Blues," and Big Bill Broonzy's "Big Bill Blues" to a memorable version of Hoagy Carmichael's "Up a Lazy River." Flower shows her appreciation of gospel (both African-American gospel and white country gospel) on "When I Get Home I'm Gonna Be Satisfied," but secular material dominates this 50-minute CD — and even though Flower sings more often than not, she excels as an acoustic guitar-playing instrumentalist on "Slow Lane to Glory," "Daughter of Contortion," "Columbia River Rag," and "Blue Waltz" (all of which are folk offerings that she wrote herself). Through it all, Flower maintains a rootsy, earthy, down-home perspective; Bridges celebrates a variety of American roots music, and it does so with delightful results.