Oregon in Moscow

Oregon in Moscow

ASIN: B00004UF5T

Editorial Reviews
Amazon.com
A suitably ambitious memento of the group's 30-year association, Oregon in Moscow is not a concert recording but a far-reaching exploration of the ensemble's substantial orchestral influences. Recorded over six days in the company of the Moscow Tchaikovsky Symphony Orchestra, the two-disc project (covering more than 90 minutes) highlights the venerable group's attentiveness toward tone, dynamics, and phrasing as much as its facility for transcending genres and rhythms. Producer Steve Rodby seated the quartet (founding members Ralph Towner, Paul McCandless, and Glen Moore, plus new, fresh-faced percussionist Mark Walker) face-to-face in the same studio (Moscow's State Recording House GDRZ) during the overdub-free recording, a move that imbues the CD with a rewarding collaborative spark. On several occasions, Rodby mentions in the liner notes that orchestra members responded to Oregon's group improvisations with shouts and stomping feet. The recorded outcome is often serious-minded and somewhat less lyrical than, say, Northwest Passage, the disc that preceded this project by more than two years. Abstract at times ("Arianna") and liberating at others ("Zephyr," "Icarus"), Oregon in Moscow seems to invigorate every artist involved, and McCandless seems especially adventurous in the orchestral setting. It serves as a fitting, challenging reminder that beyond jazz, world rhythms, and categories not yet defined, classical stimuli are another fundamental element in Oregon's free-range musical amalgam. --Terry Wood

Tracks:

Round Robin
Beneath An Evening Song
Acis And Galatea
The Templars
Anthem
All The Mornings Bring
Along The Way
Arianna
Icarus

Tracks:

Waterwheel
Spanish Stars
Free-form Piece For Orchestra And Improvisors
Spirits Of Another Sort
Firebat
Zephyr

Amazon.com

A suitably ambitious memento of the group's 30-year association, Oregon in Moscow is not a concert recording but a far-reaching exploration of the ensemble's substantial orchestral influences. Recorded over six days in the company of the Moscow Tchaikovsky Symphony Orchestra, the two-disc project (covering more than 90 minutes) highlights the venerable group's attentiveness toward tone, dynamics, and phrasing as much as its facility for transcending genres and rhythms. Producer Steve Rodby seated the quartet (founding members Ralph Towner, Paul McCandless, and Glen Moore, plus new, fresh-faced percussionist Mark Walker) face-to-face in the same studio (Moscow's State Recording House GDRZ) during the overdub-free recording, a move that imbues the CD with a rewarding collaborative spark. On several occasions, Rodby mentions in the liner notes that orchestra members responded to Oregon's group improvisations with shouts and stomping feet. The recorded outcome is often serious-minded and somewhat less lyrical than, say, Northwest Passage, the disc that preceded this project by more than two years. Abstract at times ("Arianna") and liberating at others ("Zephyr," "Icarus"), Oregon in Moscow seems to invigorate every artist involved, and McCandless seems especially adventurous in the orchestral setting. It serves as a fitting, challenging reminder that beyond jazz, world rhythms, and categories not yet defined, classical stimuli are another fundamental element in Oregon's free-range musical amalgam. --Terry Wood

Customer Reviews:

Bravo!.......2006-06-02

About three or four years ago, when I was trying to update my cd collection of Oregon, (my record albums were long gone), I noticed that several of the reviews for "Oregon in Moscow" were not very enthusiastic, so opted for other Oregon recordings. Then, just recently, at a local store, I saw the Moscow set on sale, and couldn't resist the bargain price. Well, after one listen, I could have kicked myself for paying any attention to those early negative reviews.

The orchestral venture for Oregon's compositions was an amazingly, natural fit. It was like having heard a jazz chamber group with Eastern and Western influences for all these years, suddenly, have a symphony orchestra around them. With the orchestra, I was not only able to hear the beauty of those old sounds, but new influences, as well, like Villa Lobos and Bartok. Anyway, the result is truly memorable and one whose beauty you will want to listen to, again and again.

listen again........2002-10-29

yes, i agree that this music is wonderful.

now, put it on some really nice speakers, or really nice headphones, and listen to the amazing sound.

Astounding. An orchestra and a jazz group. All live. Coordinating with and inspired by each other. Usually a DISASTER. This, however, is a sonic masterpiece.

KUDOS to Rich Breen, the engineer.

WHO MIGHT LIKE THIS CD?.......2001-07-25

I purchased this album because of Paul McCandless. In my view he substantially enriches the music of Bela Fleck, so I expected that he would do as much for Oregon. I was not disappointed.

Anyone who enjoys both jazz phrasiology and classical music should find this album a great addition to their library. Its more weighty than Claude Bolling's classical-jazz. It's also more lucid and spacious than the orchestral recordings of DiMeola. I plan to purchase more copies of this CD for friends who enjoy the fusion of classical instrumentation and jazz improvization.

justly successful.......2001-05-09

Apart from the fact that for a full-price double-CD this is a bit on the short side (a total of 90 minutes of music), there is little to complain about here. I was a bit concerned when I first heard of the release and the fact that Oregon is backed here by a symphony orchestra, but the union turns out to be a seamless one. I expected to hear something like a series of modern-day concerti grossi, but instead the effect of the orchestra is to create an overall dramatic emphasis and ambience, with individual musicians trading off solos or blending into the overall stream. Certainly, the whole production is very much Oregon-, not the Tchaikovsky Symphony Orchestra-, centered. Towner and McCandless especially are in great form, there is a good mix of new and 'classic' material (the renditions of "Waterwheel" and "Icarus" *really* sparkle), and one is constantly conscious of a high level of professionalism at all levels. 'Not the best or most representative single introduction to the music of Oregon, perhaps, but probably destined to become their best known work.

Exemplary Wind Playing.......2001-03-11

I applaud Oregon for sustaining its superb artistry even as it undergoes a format change. Most non-classical groups sound like muzak when they position themselves in front of an orchestra; Oregon simply finds a new dimension.

Tracks:

Amadis des Gaules: Ov
Amadis des Gaules: Gavotte 1
Amadis des Gaules: Andante Gracioso
Amadis des Gaules: Larghetto
Amadis des Gaules: Gigue
Amadis des Gaules: Tambourin
The Seven Last Words of Christ: Intro
The Seasons, Autumn: Intro
The Seasons, Winter: Intro
Romance for Violin & Orch, No. 2 in F, opus 50 - Graf Mourzha
String Qt No.17 in F, opus 3,5. Seranade, Andante Cantabile - Novak-Quartet
Minuet in D - Reiner Ginzel/Solveig Riecker
Pno Son No.8 opus 13 in c. Pathetique, Adagio Cantable - Alfred Brendel
Kegelstatt-Trio - Ryo Kondo/Yumiko Yamamoto/Akemie Hashimoto
Traumeri - Reiner Ginzel/Solveig Riecker
A Midsummer Night's Dream, Wedding March, opus 69,9. Allegro Vivace - Rilling/Oregon Back Fest Orch

Average customer rating:

Oregon in Moscow
Oregon
Manufacturer: Intuition
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music

General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

Orchestral Jazz | Jazz | Styles | Music
ASIN: B000A27TKM
Release Date: 2000-09-12

Tracks:

Round Robin
Beneath an Evening Sky
Acis and Galatea
Templars
Anthem
All the Mornings Bring
Along the Way
Arianna
Icarus

Tracks:

Waterwheel
Spanish Stairs (Squanto)
Free-Form Piece for Orchestra and Improvisors
Spirits of Another Sort
Firebat
Zephyr

Jazz Music:

Jazz Music

Jazz Music