In an unusual but fruitful pairing, bluegrass notable Ron Block teamed up with teacher/poet Rebecca Reynolds to craft the tunes on Walking Song. Block (best known as the banjo player with Alison Krauss’ Union Station) met Reynolds through an online spirituality forum; their discussions led to a songwriting partnership. Walking Song reflects their shared sense of creative freedom both lyrically and musically. Tunes like the Celtic-tinged “Let There Be Beauty,” the country-slanted “Ivy," and the poignant “Colors” match Reynolds’ rich, vivid lyrics with Block’s fine-etched melodies to entrancing effect. “Nickel Tree Line” is a particular standout, updating the Appalachian ballad tradition with haunting imagery and high, keening vocal harmonies. There’s an old-fashioned sense of romance to these tunes, evident in the dreamily waltzing “Summer’s Lullaby” and the delicate, fairytale–like “Chase Me to the Ocean.” Block’s honeyed, plaintive tenor and fluent touch on banjo and guitar are backed by Krauss and the rest of Union Station, as well as mandolinist Sierra Hull, singer Kate Rusby, and other top talents.

Bluegrass gospel recordings typically place a premium on the traditional sounds of close harmonies, tight arrangements, and churchly melodies. But longtime Union Station member Ron Block seems heaven bent on cutting a new gospel road. Blending together "newgrass" and adult contemporary folk, Block has fashioned a spiritual song cycle grounded very much in the present. "Higher Than Man" quotes John 8 and rocks like Whiskeytown unplugged, while "Searching..." reinterprets the metaphysics of The Matrix, and the gorgeous "Is It Any Wonder?" rewrites Les Miserables from a born-again perspective. The somber mood of these originals may put off a few listeners, but breakdowns like "Set Your Children Free," which features harmonies from Soggy Bottom Boy Dan Tyminski, and "In the Morning Light," with sizzling mandolin from Nickel Creek’s Chris Thile, let in a bit of radiant joy. --Roy Kasten

Ron Block is best known to bluegrass lovers as the banjo player with Union Station, Alison Krauss' backing band. But he's also an excellent singer, songwriter, and guitarist, and on his second solo album he expands his stylistic parameters to very winning effect. DoorWay is a gospel album, but with a difference: instead of the relatively uncomplicated songs of praise and spiritual victory that typify both the bluegrass and Southern gospel genres, Block chronicles actual struggles of faith and faithfulness on this album. The varied moods of that struggle are reflected in his arrangements, which veer from swinging midtempo bluegrass on "Along the Way" and "Be Assured" to the darker, moodier sound of "Flame" and "Love's Living Through Me When I Do" — an almost rockish song that features drums, electric piano, and effects-laden electric guitar. Clearly, this is not an album for rock-ribbed bluegrass purists (though few would expect it to be, given the stylistic departures of his recent recordings with Krauss). And because Block deals here with issues of doubt and temptation rather than simply celebrating spiritual certainty, it also may be one that gives pause to some members of the gospel music audience. But it's hard to imagine that anyone with a relatively open mind in musical terms and an appreciation for the real challenges and conflicts inherent in the process of choosing a life of faith will be able to listen to DoorWay and remain unmoved. Very highly recommended.