Man in The Long Black Coat

AMERICAN EPIC, a film series produced by Allison McGourty, Duke Erikson and Director Bernard MacMahon, explores the pivotal recording journeys at the height of the Roaring Twenties, when music scouts armed with cutting-edge recording technology captured the breadth of American music and discovered the artists that would shape our world. The recordings they made of all the ethnic groups of America democratized the nation and gave a voice to everyone. Country singers in the Appalachians, Blues guitarists in the Mississippi Delta, Gospel preachers across the south, Cajun fiddlers in Louisiana, Tejano groups from the Texas Mexico border, Native American drummers in Arizona, and Hawaiian musicians were all recorded. It was the first time America heard itself.

During the years 1994-1996 Time-Life produced a CD & Magazine called "Grooves". Veteran New York City DJ Vin Scelsa was given full control of the project, and a total of 14 wonderful issues were produced. They each highlighted Vin's selections of the best tracks from the best new albums/artists of the time. In addition, the last track on every CD was a bonus acoustic track by one of the featured artists recorded in the studio just for "Grooves". It was the next best thing to listening to Vin's radio show, "Idiot's Delight".

Having long been known for their artsy music and predilections for bizarre arrangements and science fiction inspired lyrics, the Flaming Lips remain one of those rare bands that inspire fervent fanaticism in their fans while defying categorization. Once labeled as alternative, they're now simply considered rock, but the term does them little justice, as it might for Radiohead and other bands interested in paving their own paths in a tired and regurgitated industry. Unorthodox arrangements, lyrics, and singer Wayne Coyne's inimitable voice set the Lips apart from every other band currently producing records.

The cast in this performance, recorded live on November 18, 2004, is as excellent as the names would indicate: Patrizia Ciofi, Roberto Saccà and Dmitri Hvorostovsky.
Hvorostovsky, who has been singing Germont since 2002, continues to surpass himself in this role every time one hears him. Though difficult to imagine Hvorostovsky as an elder man, he nonetheless gives credence to the role of Germont through his straightforward, yet elegant style of singing and acting. Hvorostvsky’s subtle coloring of his voice, his innate sense of drama and musicianship give him the edge over any other baritone available–be he younger or older. In Act II, when Germont confronts Violetta, Hvorostovsky is vocally stern without being offensive to his son’s mistress, and later in the scene when Germont lets his guard down, the singer is able to project a comforting fatherly image to the woman who is “the ruin” of Alfredo and his family… Daniel Pardo