From October, 2007 Colorado Bluegrass Music Society's "Pow'r Pickin'."

Eager to show off his banjo playing, composing, and arranging skills, Jake Schepps’ new instrumental album Ten Thousand Leaves paints a landscape of the American West. The album also highlights many Colorado-based musicians and their unique compositional and improvisational skills. This album isn’t your traditional stringband music; it’s a wonderful hybrid of styles ranging from bluegrass to cool jazz to funk to classical music.

The first track on Ten Thousand Leaves is a stringband-arranged version of Astor Piazzolla’s “Todo Buenos Aires.” Starting with a funky bass line by Eric Thorin, the familiar melody of Piazzolla’s tune is clearly present.

“I first heard it played in Banff, Canada, by a piano and accordion in more of a traditional format,” Schepps explains. “I was blown away. So I found the score and I extrapolated the piano part into the bass and banjo/guitar rhythmic figure.”

Added are wonderful improvisations by the whole band—a staple ingredient in present-day stringband music—especially Greg Schochet’s guitar work (he plays mandolin on the album as well).

“The Seagull” is a song penned by Compass recording artist Matt Flinner, who produced and makes a guest appearance on this album.

“I asked Matt Flinner to contribute a tune as I know he is an avid composer,” Schepps says.

So often in contemporary stringband music, a more traditional tune serves as a jumping off point to something completely new and unique. In this case, “Cuckoo’s Nest” pops its head out for just a few bars, but then the song takes off in a whole new direction. Flinner shines here, playing clean mandolin melody throughout. The composition is rich and complex.

The third track “Origami” begins with Schepps continually retuning his banjo using Keith Tuners to create the melody. Bela Fleck does this from time to time and Schepps does a nice job with the technique.

“Bela is an amazing musician and highly inspirational, regardless of what instrument you play,” says Schepps. “As a banjoist, right now I am in awe of his timing. He never lets it falter.”

“Origami” is definitely on par with some Strength in Numbers compositions.

“In the American West” is a three song suite through-composed by Schepps, who took inspiration from a collection of Richard Avedon’s photos of the same name.

Avedon's portraits were taken in 189 different rural towns throughout a 13 state tour that lasted five years. The photos highlighted everyday people from these towns; they're not your stereotypical cowboy portraits. A 1985 exhibition gained critical acclaim.

“I am intrigued with the premise of through-composed material for string bands,” Schepps says. “Something I want to do more of. Yet the stringband tradition is one of improvisation, so I structured a solo in every movement.”

This through-composed music highlights Schepps’ attention to compositional skill, throughout the twelve minute suite.

“The Rise” has more of a bluegrass feel, featuring Yonder Mountain String Band’s Adam Aijala on guitar. Named for an area full of trout in Sinks Canyon State Park, Wyoming, it starts slow for a few bars and then gains speed, reminding the author of catching a trout. You’re either waiting for fish or catching them. There’s no middle ground. The song slows about three minutes in, and captures the grandeur of the physical beauty in the area, or as one would admire the natural beauty of a trout before returning it to the stream.

The final track on Ten Thousand Leaves is a classical-styled piece entitled “Cute-Nik.” Schepps and violinist Ryan Drickey play the melody simultaneously, creating a deep, splendid, polished sound.

Ten Thousand Leaves is a diverse album that contains some fabulous music from beginning to end. I definitely look forward to more work from The Expedition Quartet in the future.