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Question: Is this album a recording of (1) classical musicians playing bluegrass; or (2) bluegrass musicians playing classical music; or (3) musicians playing bluegrass-inspired classical music; or (4) musicians playing classical-inspired bluegrass music. Indeed, there should be more Americana in American classical music. The album is very pleasant listening and the musicians surely had a grand time collaborating.But I am not entirely satisfied either as a bluegrass fan or as classical chamber music devotee.
Other than an occasional improvisation, or cadenza, this music is largely a bluegrass-type quartet (mandolin, guitar, violin, bass) playing scored music. This is a Sony Classical label and I shall place the CD on the shelf with my Aaron Copland, for five tracks are certainly classical in treatment (the Concert Duo) and are organized as movements. Answer: Yes.
There is no consistency. At times the musicians play with the spirit of a downhome porch ensemble; other times they perform as if in a salon rather than a saloon. The musicianship is first-rate, as you would expect, and the sound of Joshua Bell's violin is liquid ambrosia.
As Indonesian music inspired classical composers Lou Harrison and Colin McPhee, Appalachian bluegrass is the inspiration of Edgar Meyer's labors here. Perhaps this particular musical exploration will lead to fuller developments along that path.
I am a fan of Joshua Bell and I was not disappointed by this album. One of my favorite CDs right now.
but also has some really good nearly classical pieces. Of course the other musicians add a lot-it's not just a showcase for Joshua Bell, as I was expecting it to be; Sam Bush & Mike Marshall both add their unique genius to bear.
Although I really enjoy classical music, when it comes to bluegrass or country type of stuff, I don't look for virtuso playing or musical subtlety, but more for a more superficial, foot-stomping good time. I wasn't expecting to like this very much.
He composed it mostly & he does things on the bass that I never heard the like of before. This album doesn't really fit either category, but it has it's own great flavor.
Mostly, it's due to Edgar Meyers, I guess. It has it's good foot-stomping pieces (Death by Triple Fiddle).
This is a one-of-a-kind album that I've listened to dozens of times since getting it a couple months ago.
I am sorry to say that this album did not meet my expectations. For such great artists there is a disturbing sameness to all the tunes. I listened to the CD numerous times thinking that maybe I am missing something but alas.like Miles Davis once said "This is some boring s."Sorry if I offended anyone out there and my apologizes to the artists.
If I knew sighs & weeps, and is brilliantly evocative. I have admired their craftsmanship, their passion, their virtuosity. Death by Triple Fiddle is a workout for all of the players (and a wonder to see live). Over the years, some of these gifted musicians have left the "newgrass" field, whether for brief journeys to other genres, or adopting that new style of music entirely. The title track speaks of Copland in a simple, understated way. Edgar Meyer, who of course was classically trained to begin with, has spent virtually all of his time in that realm over the past decade. Which brings us to Short Trip Home.
Cross-over, as others have observed, is a horse of a different color. Thus, we see, eg, a Mark O'Connor move almost exclusively to the classical field. Efforts to play in another's ballpark have yielded inconsistent results. If you are a fan of newgrass music, you probably already have this disk: if not, get it.
I have long been a "newgrass" fan, following the likes of David Grisman, Bela Fleck, Sam Bush, et al, for more than two decades. This is, in my opinion, the best of the bluegrass/classical crossover genre. Meyer's compositional brilliance take center stage. Hang Hang will get you rocking in a way classical music seldom does. Some of the O'connor/ Meyer / Yo Yo Ma pieces are brilliant; others lag badly. But I quibble. It is no surprise that some have gravitated to classical music: these guys are incredibly accomplished musicians, with the chops to make it happen. Throughout, Joshua Bell's playing is a delight.
For my money, eg, Edgar's collaboration with Bela & Mike Marshall, is largely unsuccessful. Attempts to infuse those disks with further pop sensability by adding the occasional vocal by James Taylor or Allison Krauss fall flat. For me, some of the duos are a bit of a drag at the end of the disk: the pieces seemed a little empty without Sam Bush's mandolin and Mike Marshall's guitar work. I can't speak from the perspective of a classical fan coming to the crossover from that background, but I can say that anyone who is openminded toward great music should find something to enjoy here.
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