Symphonic bluegrass is a classy combination A dozen musicians in black and white formal attire take the stage, the concertmaster sounds an “A” note, and the strings tune. Some additional players in plaid shirts saunter out to some mics aligned in front. Conductor Jeffrey Reed raises his baton, and the orchestra launches into a fiddle tune like Tommy Jackson’s “Cherokee Shuffle.” Symphonic bluegrass is nothing new. In 1974, guitarist Mason Williams first introduced his Concert for Bluegrass and Orchestra with the Wolf Trap Symphony and Denver Symphony. Thirty years ago, the introduction of a bluegrass section into an orchestra was considered a cultural revolution of sorts. Now, the Bowling Green Chamber Orchestra has collaborated with resophonic guitarist Curtis Burch and seven bluegrass friends to produce “Burchland.”
Dr. Charles W. Smith, professor emeritus at Western Kentucky University, was commissioned to compose a work. He knew little about bluegrass and virtually nothing of fiddling as compared to playing the violin. Spending more time learning about the instruments and style than writing the work, Dr. Smith then set to work composing the two movements of “Burchland.” The first movement, “Friends” spans eight minutes and is based around a love tune written for his granddaughter. The second movement, “Pickin’ Party,” is about the same time length and was inspired by bluegrass musicians’ love for jamming. The orchestral introduction, borrowed from a piece called “Cumberland Gap” which was written in 1996 for saxophone ensemble, evokes a pioneer spirit and feelings of happiness and optimism. The remainder of “Pickin’ Party” allows the pickers to do some things, and the orchestra others, in a kind of amusing and competitive “bluegrassical” dialogue. The result is a synergy, something better than either could do alone.
On “Burchland,” Curtis Burch is joined by the orchestra and Ruth Burch (guitar, vocals), Ricky Burch (banjo, vocals), Chris Brandstatt (guitar), Paul McCoy (bass), David Roemer (mandolin), Joel Whittinghill (fiddle), and Sharon Whittinghill (guitar, hammered dulcimer).
Following the debut of the commissioned and studio-recorded title piece, the remainder of the album includes live cuts of covers from Ruth Franks, Johnny Mullins, Karla Bonoff, Rodney Dillard, Townes Van Zandt and others. Some, primarily the slower numbers, work better than others for the motley mix of musicians and orchestral arrangement. Kudos go to Pam Thurman for most of the orchestration. Although hard to categorize, “Burchland” demonstrates creativity, and a willingness to experiment and take risks. It doesn’t fit the standard sideboards of bluegrass, but it instead presents the music in a different light. The album puts a different context to the genre. Because “Burchland” is a hybrid, akin to a cultural exchange project, both bluegrass and orchestral snobs might have a difficult time understanding or appreciating it. That would be unfortunate. In reality, bluegrassers should like hearing their favorite and familiar music in an unusual setting. Classical music fans should like the frolicking, fun-filled, and festive atmosphere of this disc. Symphonic bluegrass from Burchland is a classy combination. (Joe Ross, staff writer, Bluegrass Now) Submitted by rossjoe (Roseburg, OR, USA) Was This Review Helpful? YesNo
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