At 26, fiddler Jim Van Cleve has already achieved more than many players do in a lifetime, and now, with the release of his solo debut, No Apologies, the dynamic youngster is taking a bold step forward. Producing, arranging, performing and sharing in the writing credits for more than half of the CD's eleven selections, Jim has created a collection of unusual depth and breadth that can only enhance his reputation as one of the leading musicians of his generation.
Van Cleve's story is all the more remarkable for its brevity, for it's still well under ten years since he made his recorded debut. Born and raised in Florida, he first found bluegrass inspiration in the work of modern masters like Tony Rice and quickly moved on to absorbing the Bluegrass Album Band's brilliant neo-traditionalism. A family move to North Carolina brought him into the heart of bluegrass country, and by the time he reached his mid-teens his technical abilities and free-spirited exuberance on the fiddle Click the Cover to buy No Apologies had earned him gigs with the likes of Carolina-based Rebel recording artists Ric-O-Chet and Lou Reid & Carolina.
Soon Jim had taken another step forward by joining Rambler's Choice, a short-lived but powerful group that included soulful vocalist Junior Sisk and award-winning songwriter Tim Massey among its members. The group's sole Rounder release, Sounds Of The Mountains (1998), drew attention to his energetic yet sophisticated playing, and in short order he was recruited into Doyle Lawson's band, Quicksilver. Profoundly influential, Quicksilver served as Van Cleve's finishing "school of bluegrass," deepening his appreciation for the music's finer points and building an understanding of the music business that is rare among his youthful peers. "It was the best thing I ever could have done for my musicianship," he says. "And not just in the musical aspects, but being around people who carried themselves in a professional manner, too. I'm proud of that, and proud to have been there."
In addition to the lessons thus learned, Van Cleve's stint with Quicksilver had another payoff that resulted in his next professional move, introducing him to two other Quicksilver members/alumnae-Barry Abernathy and Steve Gulley. Their friendship grew quickly, and when they discovered a common possession of musical and career goals, the trio decided to join forces. Mountain Heart made its performance debut with an informal showcase at 1998's IBMA World of Bluegrass, and within a year had achieved the remarkable feat of winning the organization's Emerging Artist of the Year award in a voting process that closed weeks before their self-titled debut was even released.
Mountain Heart moved swiftly from one success to the next, releasing another acclaimed and award-winning disc-this one all gospel-on the Doobie Shea label before signing with Skaggs Family Records in late 2001, and as the group progressed, so did Jim's abilities. Having sung bass in the group's quartets from the start, he made his recorded debut as a writer on their first Skaggs Family album with his own fiery instrumental, "Real Time," and two co-writes with Gulley-and has since earned at least one credit on each of their subsequent releases, including 2006's Wide Open.
At the same time, he found himself in growing demand as a session player on albums ranging from North Carolina favorite Ramona Church's Carolina Memories to increasingly high profile releases like the all-star instrumental album Bluegrass 2001. Before long, Van Cleve passed two important milestones, contributing to his first Grammy winner when he played a prominent role as fiddler on the Carl Jackson-produced 2004 Country Album of the Year Livin', Lovin', Losin': The Songs Of The Louvin Brothers, and recording fiddle for a hit single drawn from American Idol winner Carrie Underwood's Some Hearts (2005)-his first participation in a multi-platinum seller.
Yet all this may turn out to be merely prelude to the next stage of Jim Van Cleve's career. Still an integral part of Mountain Heartas they continue to earn growing popularity not only within the bluegrass community but in the larger world of country music, he's found a new outlet to complement his work there-one that, for the first time, showcases an even broader range of his talents. No Apologies, his solo debut, is another significant step forward, presenting Jim not only in the role of talented team player with an all-star set of friends, but as producer, arranger, well-rounded songwriter-and even, for the first time, as an engaging lead singer. With its hard-edged bluegrass, sophisticated melodies, sly wit and dazzling instrumental chops, No Apologies serves as a musical calling card for one of the brightest stars of a new
