Essential: a masterpiece of fusion music
The day I heard these three musicians, I was literally "combed back." Well, is that this concert became part of the essential in guitar history (long before fashion "unplugged").
An extension of the popular Original Jazz Classics series (est. 1982), the new OJC Remasters releases reveal the sonic benefits of 24-bit remastering-a technology that didn't exist when these titles were originally issued on compact disc. The addition of newly-written liner notes further enhances the illuminating quality of the OJC Remasters reissues. "Each of the recordings in this series is an all-time jazz classic," says Nick Phillips, Vice President of Jazz and Catalog A&R at Concord Music Group and producer of the series.
Jamestown Revival's highly anticipated new album, San Isabel, will be released June 14 onThirty Tigers and is now available for pre-order. In advance of the release, the band's new song, "This Too Shall Pass," premiered a few days ago at Rolling Stone. Of the track, Rolling Stone praises, "…bright harmonies and loping guitar patterns…an optimistic track that splits the difference between modern-day Americana and old-school folk."
Aaron Copland may well be the best-known, the most loved, and the all-around greatest of twentieth century American composers, but his music from the '20s and '30s is still relatively unknown, still relatively unloved, and of still questionable greatness. Was Copland the Modernist too far out to connect to a big audience so he re-created himself as Copland the Populist to become the best-known, most loved, and greatest American composer? But was his Piano Concerto from 1926 really too jazzy and vulgar, his Symphonic Ode from 1928 really too cerebral and severe, his Piano Variations from 1930 really too harsh and austere, and his Short Symphony from 1934 really too rhythmic and complex or was it lack of familiarity made them seem so? From this 1996 recording by Michael Tilson Thomas and the San Francisco Symphony, one would have to vote for the latter because Copland the Modernist is every bit as great a composer as Copland the Populist.
The three Copland classics on this disc–Billy the Kid, Appalachian Spring and Rodeo–are all ballet scores, and from the very first bars of Billy, with its evocative depiction of the wide-open prairies, you are firmly in the territory of music that tells a story. But you don't need to follow all the ins and outs of each story to enjoy music which paints as vivid a picture of rural America as you could hope for. If the sprightly "Hoe Down" from Rodeo brings a splash of colour to concert programmes, the remarkable thing about so much of the music in these three pieces is how quietly sensitive it is. And while Michael Tilson Thomas does not hold back in wringing every last ounce of splashy razzmatazz, he is equally the master of introspective music which clearly demonstrates that you don't need to be loud to be a populist. The recordings were made in the San Francisco Symphony's home, Davies Symphony Hall. You couldn't hope for more authentic performances than this–more than 76 minutes of dyed-in-the-wool Americana.