Gershwin Blue

Produced by Grammy Award-winning producer Gregg Field, Gershwin Reimagined features pianist Shelly Berg and the Royal Philharmonic Orchestra with special guest artists. Recorded at the famed Air Lyndhurst Studios in London, the album is a sonically “hi-def” contemporary treatment of classic Gershwin pieces and features virtuosic playing by Grammy-winning musicians Arturo Sandoval and Mark O’Connor, as well as vocal performances by Ledisi and Monica Mancini.

George Gershwin miraculously melded classical idioms, jazz, blues and spirituals in this quintessentially American masterpiece about a crippled beggar, the headstrong woman he loves, and the community that sustains them both. Eric Owens (Porgy) and Laquita Mitchell (Bess) lead an amazing cast, pulling the audience into the intricate world of Catfish Row. Recorded live in 2009 at the War Memorial Opera House, conductor John DeMain, whose 1976 recording of Porgy and Bess won a Grammy, leads the triumphant cast.

Bill Charlap, a versatile pianist based in swing who is also a longtime member of the Phil Woods Quintet, pays tribute to the great George Gershwin throughout this likable set. Although some of the ten Gershwin songs are slightly modernized, the music is very much in the tradition. There are up to four horns on some numbers, with the best individual moments coming from veteran tenor Frank Wess on "How Long Has This Been Going On" (sounding a bit like Paul Gonsalves), trombonist Slide Hampton on "A Foggy Day," and altoist Woods whenever he plays. Charlap's longtime trio with bassist Peter Washington and drummer Kenny Washington is featured on "Who Cares?," and Charlap takes the brief closing "Soon" as an unaccompanied solo. Nothing all that revolutionary or revelatory occurs but the music is pleasing overall, swinging and creative within its boundaries.

This program represents American orchestral music in all of its verve and expressive variety. Following the sensational success of Rhapsody in Blue, Gershwin’s Concerto in F was his first foray away from jazz bands into the concert hall, recorded here for the first time in a new critical edition by Timothy Freeze based on the composer’s own notation and performances. John Harbison’s Remembering Gatsby is a foxtrot that evokes the sonorities of 1920s dance bands, while Joan Tower’s Sequoia reflects her fascination with these silent giants of the tree world. Walter Piston’s contribution to the development of 20th-century American music cannot be underestimated, and his Fifth Symphony successfully blends twelve-tone modernity with reflective profundity and a finale that evokes a spirit of joy and optimism.

Background information:
The Aurelia Saxophone Quartet takes its name from the Roman district where the group was founded in 1982 during a tour of the Dutch National Youth Orchestra. The concerts they gave in Rome were so successful that they decided to continued playing together back home in the Netherlands.
In addition to performing the traditional and modern quartet-compositions, the Aurelia Quartet has above all made a name with its own arrangements, two of which can be heard on this record.