MiDoyle's Full Review: Perpetual Motion by Bela Fleck
Bela Fleck [b. 1958-] strikes me as one of the few artists who transcend their instrument, which is kind of unique, in that his instrument is the banjo. In some eyes and ears, the banjo is the lowly instrument of Americana personified, good for bluegrass and nothing else. Fleck, however, has other plans for the humble strings of Appalachian discovery—he’s taken the banjo to a wider audience with his Flecktones group, opened up the bluegrass genre with his work with the New Grass Revival, and offered numerous illustrations of his abilities within his appearances and solo explorations over the past 10-15 years.
However, nothing compares to what he has attempted and largely succeeded in doing with Perpetual Motion [Sony Classical, 2001]. If you’ve never been known to use the words “classical” and “banjo” in the same music conversation before, this album may change your mind, not to mention your perception of what the banjo is capable of doing in the right hands.
According to the liner notes of Perpetual Motion the genesis of the album lies in Fleck’s chance meeting with bassist Edgar Meyers years ago. Their friendship and collaborations together led Fleck to reconsider and challenge the limitations of the banjo. The genius of the album is how Fleck rises to the challenge and delivers a satisfying album of music that goes beyond the first-time novelty of hearing the banjo in a classical music context. The album works, purely and simply, as music.
Tracks
1. Scarlatti: Keyboard Sonata in C Major K. 159 (with C. Thile)
2. Bach: Two-Part Invention No. 13 (with E. Glennie)
3. Debussy: Doctor Gradus Ad Parnassum from "Children's Corner" (with J. Bell, G. Hoffman)
4. Chopin: Mazurka in F-Sharp Minor (with J. Williams)
5. Bach: “Prelude” from Partita No. 3 for Solo Violin
6. Chopin: Etude in C-Sharp Minor (with G. Hoffman)
7. Chopin: Mazurka in F-Sharp Minor (with J. Bell)
8. Bach: Three-Part Invention No. 10 (C. Thile, E. Meyer)
9. Tchaikovsky: “Melody in E-Flat” (with E. Meyer)
10. Brahms: “Presto in G Minor I After Bach” (with E. Glennie)
11. Bach: “Prelude” from Suite for Unaccompanied Cello No. 1
12. Bach: Three-Part Invention No. 15 (with J. Bell, E. Glennie)
13. Paganini: “Moto Perpetuo” (with E. Meyer)
14. Scarlatti: Keyboard Sonata in D Minor K. 213 (with C. Thile)
15. Bach: Two-Part Invention No. 6 (with E. Meyer)
16. Beethoven: “Adagio Sostenuto” from “Moonlight Sonata” (with G. Hoffman, E. Meyer)
17. Bach: Two-Part Invention No. 11 (with E. Glennie)
18. Beethoven: Seven Variations on "God Save The King" (with J. Williams)
19. Bach: Three-Part Invention No. 7 (with J. Bell, E. Meyer)
20. Paganini: “Moto Perpetuo” (bluegrass version) (with J.B. Sutton)
Total: 57:44, produced by Bela Fleck and Edgar Meyer
Musicians: Bela Fleck (banjo), Edgar Meyer (bass and piano), Joshua Bell (violin), Gary Hoffman (cello) Evelyn Glennie (marimba), Chris Thile (mandolin), James Bryan Sutton (steel string guitar), and John Williams (classical guitar).
The beauty of the album is its ability to shift through classical moods (the song selection serves as a classical primer in some sense) while retaining something uniquely American in feeling with the banjo. At first listen the album is a novelty. Repeated listens negate the novelty and the work succeeds on its own merits which is an achievement, in itself.
The musicianship is first-rate throughout and some pieces (Bach) work especially well with Fleck’s banjo subbing for the usual cello or other stringed instrument. The Debussy piece is an album highlight, where Bell and Hoffman notably work in tandem with Fleck to deliver an emotional reading.
The album isn’t entirely seamless but the works (which are mostly shorter excerpts suitable to the banjo rather than full-blown treatments) hold together and the album is much more than what some consider classical music to be; that is, it rises above the level of “background music” easily. Four stars and recommended for adventurous listeners.
Sources
www.allmusic.com, www.flecktones.com
Cat rating Scale
Two paws up. Both Chester and Freddie eagerly find laps which make for an extended listening experience from the feline perspective.
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