Claude Bolling With Yo-Yo Ma & Jazz Piano Trio - Suite for Cello 1984

Lots of composers fall head over heels for the cello, and Bolling's suite for classical cellist Yo-Yo Maindicates that he finds this instrument a particularly noble, expressive vehicle for his classical/jazz musings. The distinctive Bolling formula still has plenty of mileage here, this time with a more expansive lyrical bent and no cutesy detours. "Baroque In Rhythm," in particular, sounds very fresh with its interpolations of boogie-woogie and ragtime amidst the Bachian counterpoint. "Romantique" is enlivened by some Brubeck-like chording and swinging from Bolling, and "Galop" has real panache. However, despite some inspired passages, the yawning, overlong lyrical stretches of "Concertante" and "Ballade" may try the patience of some jazz listeners. The brilliant Ma is more adaptable to the idea of classical/jazz fusion than most of his classical colleagues; he actually projects a sympathetic feeling for the written-out syncopated and quasi-bluesy passages. (Indeed, Ma's curiosity would later lead him to record all kinds of things like Argentine tangos, duets with Bobby McFerrin, and classical/C&W fusions with Mark O'Connor and Edgar Meyer). Bolling is his usual fleet, chameleonic pianistic self, with Marc Michel (bass) and Jean-Luc Dayan (drums) offering discreet, decently swinging support. AMG.

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Yo-Yo Ma, Edgar Meyer, Mark O'Connor - Appalachian Journey 2000

The follow-up album to the highly successful Appalachia Waltz collaboration, Appalachian Journey continues the combination of classical music with Appalachian, bluegrass, and American roots music in general. Yo-Yo Ma, alongside violinist Mark O'Connor and bass player Edgar Meyer, runs through a number of original compositions fusing the traditions, as well as a few old standards from the genre repertoire. As stated by the artists, Appalachia Waltz explored the combination of the three artists' sounds put together, while Journey expands upon this theme, exploring the sound of the three artists as a singular group. Joining with the trio are James Taylor on a pair of works (on both guitar and vocals) and Alison Krauss on fiddle and vocals. The vocalists are added specifically on a pair of old Stephen Foster works, the songs themselves thematically bridging the gap between the classical and folk realms. The tone can change easily from cheerful jigging to outright nostalgic, depending largely on who's doing the soloing at any given time. There's an embracing down-home atmosphere set up by the artists, using warm tones and motives throughout the album. At the same time, the trio displays some remarkable virtuosity (as would be expected from this group), burning through some fiery sets of triplets on otherwise slow instruments (the cello and bass, specifically), but keeping up with the violin while avoiding the easily hit distortion sounds that usually come from high speed, low frequency playing. Reels fit easily with waltzes here, and also with traditional songs with virtuosic passages from original compositions. The old and the older are easily made compatible here largely on the strength of the performers involved. It's a worthwhile album for listeners curious about the newer directions being taken in the classical realm. AMG.

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