David Morrison

David Crosby, Jeff Pevar & James Raymond - Live At Cuesta College (1998) {2CD Set, CRP}
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© 1998 CPR | [none] - Self-released
Rock / Classic Rock / Folk Rock / Soft Rock

Live at Cuesta College is the debut album by the band CPR. It is a live document of their 1997 tour issued in limited release only via the CPR website. Recorded Live at Cuesta College in San Luis Obispo on January 18, 1997. This show, the sixth of the twelve show inaugural CPR tour entitled 'The Beginning' is recorded in it's entirety on two CD's. The trio CPR includes legendary rock figure David Crosby, his touring guitarist Jeff Pevar, and his natural son, James Raymond on keyboards. Raymond, who grew up with adoptive parents and never knew the name of his real father until 1992, nevertheless studied music at California State University, San Bernardino and pursued a career in music.

David Crosby, Jeff Pevar & James Raymond - Live At The Wiltern (1998) {2CD Set, Samson Records ‎GC 0148}
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© 1998 CPR / Samson Records | GC 0148
Rock / Classic Rock / Folk Rock / Soft Rock

CPR released as their second record an equally excellent two-CD live concert recorded in November 1998 at Los Angeles' Wiltern Theatre. In his liner notes, Samson Records owner Norman Waitt, Jr. refers to the palpable joy that emanated from the stage that night, and most of that joy translates to this almost celebratory-like recording as well. David Crosby is in excellent voice here, perhaps the best he had sounded since his '60s and '70s heyday; still choirboy sweet, but not without the world-weariness that comes with the rocky life he had lived up to that point.

Call it postminimalist, totalist, or maximalist, the orchestral music of Bang on a Can co-founder Michael Gordon is big, loud, frenzied, and assertive, jam-packed with stylistic references, dense with inventive orchestration, and overflowing with virtuoso activity. Dystopia, performed by David Robertson and the Los Angeles Philharmonic, is a kaleidoscopic portrait of the city of Los Angeles, created in collaboration with filmmaker Bill Morrison. This live recording of the work's premiere at the Walt Disney Concert Hall, January 12, 2008, captures the energy and spontaneity of the music, which at times is quite reminiscent of the hubbub of the Shrovetide Fair in Stravinsky's Petrushka, though one must imagine that the listening experience with the film was overwhelming. In contrast, Rewriting Beethoven's Seventh Symphony is not so much a wall of sound as a multi-layered gloss on its original material, an echo of Beethoven's music warped and reshaped through glissandi, microtones, clusters, montage, and other modern techniques.