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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. As Indonesian music inspired classical composers Lou Harrison and Colin McPhee, Appalachian bluegrass is the inspiration of Edgar Meyer's labors here. Answer: Yes.
There is no consistency. Indeed, there should be more Americana in American classical 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.
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. 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. Perhaps this particular musical exploration will lead to fuller developments along that path.
Other than an occasional improvisation, or cadenza, this music is largely a bluegrass-type quartet (mandolin, guitar, violin, bass) playing scored music. The musicianship is first-rate, as you would expect, and the sound of Joshua Bell's violin is liquid ambrosia.
One of my favorite CDs right now. I am a fan of Joshua Bell and I was not disappointed by this album.
This album doesn't really fit either category, but it has it's own great flavor. 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.
but also has some really good nearly classical pieces. It has it's good foot-stomping pieces (Death by Triple Fiddle).
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 is a one-of-a-kind album that I've listened to dozens of times since getting it a couple months ago. 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.
Mostly, it's due to Edgar Meyers, I guess.
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. 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.
Hang Hang will get you rocking in a way classical music seldom does. Thus, we see, eg, a Mark O'Connor move almost exclusively to the classical field. Meyer's compositional brilliance take center stage. It is no surprise that some have gravitated to classical music: these guys are incredibly accomplished musicians, with the chops to make it happen.
Cross-over, as others have observed, is a horse of a different color. 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. But I quibble. 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. I have admired their craftsmanship, their passion, their virtuosity. Efforts to play in another's ballpark have yielded inconsistent results. This is, in my opinion, the best of the bluegrass/classical crossover genre.
Which brings us to Short Trip Home. If I knew sighs & weeps, and is brilliantly evocative. 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. Throughout, Joshua Bell's playing is a delight. For my money, eg, Edgar's collaboration with Bela & Mike Marshall, is largely unsuccessful. 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. Attempts to infuse those disks with further pop sensability by adding the occasional vocal by James Taylor or Allison Krauss fall flat. 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. Some of the O'connor/ Meyer / Yo Yo Ma pieces are brilliant; others lag badly.
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