About this Album
The solo debut record from double-bassist Viktor Krauss was released in February 2004. Krauss’s bass playing has been called “effortlessly superb” by the Chicago Sun-Times. An active touring and recording musician for more than a decade by the album's release, he has worked with renowned artists like Bill Frisell and Lyle Lovett since the early 1990s. Many of his colleagues from those previous engagements join him on Far from Enough, including Frisell, Jerry Douglas, Steve Jordan, and Alison Krauss.
Krauss describes Far fom Enough as “a soundtrack without the movie.” He goes on to say, “This recording covers a vast spectrum of music that I have enjoyed listening to and writing over time. There are mood pieces such as ‘Overcast,’ more cinematic works such as ‘Side Street’ and ‘Split Window,’ and elements of hard rock in ‘Grit Lap,’ ‘Here to Be Me,’ and the AC/DC influenced ‘Tended.’”
Krauss was born in Champaign, Illinois, in 1969. At the age of five, he began studying piano, then added trumpet in the fourth grade and picked up double bass in middle school. He started playing with local jazz groups and later formed a “Zappa-esqe” rock band of original material. At the University of Illinois, he continued to study bass while majoring in composition. After graduating, Krauss toured and recorded with Peter Rowan and the Free Mexican Air Force, supporting Americana ventures like Mountain Stage and A Prairie Home Companion.
Krauss began recording and touring with Lyle Lovett in 1994, playing on discs like Step Inside This House, Songs from the Movies, Live in Texas, and selections from Anthology, Volume I. On Lovett’s 2003 release My Baby Don’t Tolerate, Krauss is credited not only as bassist but also as co-writer of “You Were Always There.” Additionally, Krauss, Lovett, and Matt Rollings (Nashville pianist and producer) collaborated on the score for the 2000 Robert Altman film Dr. T. and the Women.
In 1995, Krauss joined Frisell on the Nonesuch record Nashville, which also featured Robin Holcomb, Jerry Douglas, Ron Block, and Adam Steffy. He again played on Frisell’s Nonesuch recordings Gone, Just Like a Train (a trio album with Jim Keltner) and Good Dog, Happy Man (with Keltner, Wayne Horvitz, Greg Liesz, and Ry Cooder), as well as the Decca album The Sweetest Punch (songs written by Elvis Costello and Burt Bacharach, arranged by Frisell).
In 2000, Krauss recorded on Graham Nash’s Songs for Survivors, a Russ and Nathaniel Kunkel production. Additional recordings include work with Eric Benet, Michael McDonald, Mary Chapin Carpenter, Martin Taylor, David Mead, Acoustic Alchemy, and Gabriela. Viktor has performed live with such artists as Jewel, Larry Carlton, Shelby Lynne, and the Chieftains.
Viktor Krauss, vocals (2-4, 6), bass (1-12), Arco bass (10, 12), electric guitar (4), sustainer guitar (4), electric piano (1), bass drum (5), effect (9)
Jerry Douglas, lap steel guitar (1, 6, 8, 10-12), dobro (2, 4, 5, 9), Weissenborn (3)
Bill Frisell, electric guitar (1-12), acoustic guitar (12), sustainer guitar (8)
Steve Jordan, drums (1-4, 6, 8, 10-12)
Alison Krauss, vocals (2, 3, 5, 6, 12), viola (10)
Produced by Lee Townsend
Recorded and Mixed by Jason Lehning
Recorded at Sound Emporium and Brown Cloud, Nashville
Assistant Engineer: Erick Jaskowiak
Mixed at Different Fur Recording, San Francisco
Assistant Engineer: Adam Muñoz
Mastered by Greg Calbi at Sterling Sound, New York City
Executive Producer: Robert Hurwitz
Jerry Douglas appears courtesy of Sugar Hill Records.
Allison Krauss appears courtesy of Rounder Records.
All compositions written by Viktor Krauss, except track 2 by Viktor Krauss & Sean Smith / Michael McDonald, track 4 by Viktor Krauss / Sean Smith; track 6 by Robert Plant / Robbie Blunt / Jezz Woodroffe, track 7 by Viktor Krauss / Bill Frisell.
Design by Barbara deWilde
Photography by Michael Wilson