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Béla Fleck: Music for Two

 A l b u m   D e t a i l s


Label: Sony Classical
Released: 2004.04.27
Time:
 74:01
Category: Classical
Producer(s): Béla Fleck, Edgar Meyer
Rating: ********.. (8/10)
Media type: CD
Web address: www.flecktones.com
Appears with: Victor Wooten
Purchase date: 2004.08.27
Price in €: 17,99



 S o n g s ,   T r a c k s


[1] Bug Tussle (B.Fleck) - 4:55
[2] Invention No. 10, BMV 796 (J.SBach) - 0:53
[3] Pile-Up (B.Fleck/E.Meyer) - 6:55
[4] Prelude No. 24, BMV 869 (J.S.Bach) - 2:59
[5] Solar (M.Davis) - 3:59
[6] Blue Spruce (B.Fleck) - 8:45
[7] Canon (E.Meyer) - 4:27
[8] The One I Left Behind (B.Fleck) - 5:00
[9] Menuett I-II, BMV 825 (J.S.Bach) - 2:11
[10] Prelude No. 2, BMV 847 (J.S.Bach) - 1:39
[11] Palmyra (B.Fleck/E.Meyer) - 10:32
[12] The Lake Effect (B.Fleck) - 3:15
[13] Largo [From Sonata] (H.Eccles) - 3:11
[14] Allegro Vivace [From Sonata] (H.Eccles) - 1:13
[15] Wrong Number (B.Fleck/E.Meyer) - 2:59
[16] Woolly Mammoth (B.Fleck/E.Meyer) - 7:44
[17] Wishful Thinking (E.Meyer) - 2:56

 A r t i s t s ,   P e r s o n n e l


BÉLA FLECK - Banjo, Guitar, Arrangement, Mixing, Ediring, Liner Notes
EDGAR MEYER - Piano, Double Bass, Arrangement, Mixing, Ediring, Liner Notes

DAVE SINKO - Recording Engineer
RICHARD BATTAGLIA - Recording Engineer
BERT BATTAGLIA - Additional Engineer
JOSEPH DIGERNESS - Additional Engineer
ADAM AYAN - Mastering
MIA BONGIOVANNIE - A&R Manager
CHRIS AUSTOPCHUK - Art Direction
MARIA P. MARULANDA - Art Direction
CHIP SIMMONS - Photography
CHRIS OTTAUNICK - Photography
BOB KRANES - Product Management
LAURA KSZAN - Editorial Production

 C o m m e n t s ,   N o t e s


2004 CD Sony Classical SK92106



Banjo player supreme Béla Fleck and bassist Edgar Meyer make for a fascinating and daring duo, and they appear to be at their best live, as this esoteric disc shows. While there are plenty of original compositions from both pens, they also tackle several pieces by Bach, a wonderful Henry Eccles sonata, and some Miles Davis — gadding about all over the shop. It works primarily because they put no restrictions on the possibilities of the instruments, but sheer skill certainly helps, from the wicked alacrity of "Bug Tussle" to the near competition of "Woolly Mamouth." There's even a delicious sense of humor, as "Wrong Number" is interrupted by what seems to be an errant cell phone — but which turns out to be a sample that returns and returns to act like a punctuation in the piece. Meyer takes to the piano for part of "Palmyra," proving surprisingly adept, while Fleck shows his chops to full effect on "The One I Left Behind." For this album he depends more on virtuosity than any electric trickery, and he's good enough to pull it off with no problem, as on "The Lake Effect." Meyer is more than a foil, though; he looms large throughout, whether plucking or bowing the bass. However you want to categorize this disc, it's music of the highest order.

Chris Nickson , All Music Guide



In an interview for Barnes & Noble.com, banjoist Béla Fleck said that he and bassist Edgar Meyer intend to build a repertoire for their unusual combination of instruments that they can continue to develop for the rest of their lives. Well, they're off to a great start on Music for Two, recorded live in venues across the U.S. during a series of concert tours. Both artists are comfortable playing in a variety of styles, and they offer a wide spectrum of music: from Baroque-era classical selections (with an emphasis on Bach) to Fleck's jazz-influenced compositions and Meyer's bluegrass-flavored concoctions. Yet somehow, despite the lack of stylistic barriers, Music for Two hangs together astonishingly well. Even Miles Davis's "Solar" fits right in. How do they do it? Insight is provided by way of a bonus DVD featuring the documentary Obstinato: Making Music for Two by Fleck's brother Sascha Paladino. Tension rises as the two grapple with Meyer's tricky Canon, trying to get a decent take before the tour ends and the tape stops rolling. If you had romantic notions about a musician's life on the road, this short film plainly shows just how grueling it actually is. Watch the DVD and you'll hear the music differently. Though they have been friends for some 20 years and have recorded together before -- Fleck made a guest appearance on Meyer's Uncommon Ritual and Meyer returned the favor on Fleck's Perpetual Motion -- this was their first intensive, large-scale collaboration. All together, it's is a musical/cinematic experience not to be missed.

Andrew Farach-Colton, Barnes & Noble



On Music for Two, banjo wizard Béla Fleck and stand-up bass maestro Edgar Meyer effortlessly sail through a challenging program that includes compositions by Bach, a sonata by Henry Eccles, a Miles Davis tune, and a number of self-composed finger twisters. The amazing thing about this varied selection is not its eclecticism--which is only to be expected with these two--but that it all blends together so seamlessly. Fleck's jazz-tinged compositions (like "The Lake Effect") and Meyer's bluegrass-inspired tunes (like "Wishful Thinking") sit so comfortably next to Bach's baroque jewels and Davis's cool jazz that it makes you question the entire of concept of musical classification. (In fact, the Bach preludes, inventions, and partitas translate so well to the banjo/bass arrangements, you have to wonder if old JSB might not have had a bit of bluegrass in his soul.) Music for Two was recorded live at a series of 2001 concerts, where Fleck and Meyer proved conclusively that the banjo and the bass were capable of remarkable subtlety and not just twang and boom.

Michael John Simmons, Amazon.com
 

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