It is an unusually warm November evening, and the members of the Rowan and Rice Quartet have just returned to the stage at the famous Ark in Ann Arbor, Michigan to perform an encore for the standing-ovation crowd.

After a tuning adjustment, vocalist/guitarist/storyteller extraordinaire Peter Rowan recalls how his mentor Bill Monroe talked of “ancient tones.” This leads into a bluesy, driving version of the famous Monroe-Rowan composition “Walls of Time.” Master guitarist Tony Rice plays an introductory solo that only he can make look easy, while bassist Bryn Davies moves the song along with the power of a locomotive and lends a rich vocal harmony to complete the first chorus.

Then the audience’s eyes and ears turn to the waif-like figure handling the mandolin chores. Though a simple doublenote tremolo-style lead would suffice, the young woman goes beyond that with ease. Her playing on this tune shows influences of jazz, Western swing, blues and classical music, along with the traditional bluegrass flavor she’s delivered throughout the evening performance. Yet with each lead she takes, something fresh and spontaneous comes forth. By the end of her solo, even Mr. Rice, with a raised eyebrow, is paying attention.

Such is the mesmerizing charm in the musicianship of Sharon Gilchrist. “Her playing is beautiful, haunting and fluid. I’ve never heard anyone else play bluegrass like that,” exclaims Bryn Davies.

From the first notes of “Dust Bowl Children,” the opening cut of the Rowan & Rice 2007 release Quartet, it’s easy to tell that Sharon didn’t just pick up the mandolin a few days ago. Her confidence and professionalism shine with every note, whether she is dueling with Tony’s guitar or enhancing Peter’s vocals with her own warm high baritone.

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