It might seem odd to pair this suave Gershwin classic with the rough-hewn music of William Russo, but the audio-tourism of An American in Paris is certainly a forerunner (along with Duke Ellington’s Harlem) to Street Music. Russo’s work, subtitled “A Blues Concerto”, forms a sort of ethno-musical travelogue in which the tourist, guided by Corky Siegel’s ubiquitous harmonica and piano, encounters disparate styles ranging from Greek to Asian to Deep South blues, all against a symphonic (and initially Brahmsian) backdrop. Actually, the briny timbre of Siegel’s solos often clashes rudely with that of the other “street musicians”, which creates a compelling sonic drama.
In contrast to the dovetailing sections of Street Music, Three Pieces for Blues Band and Orchestra are self-contained entities. Russo’s striking combination of blues band (harmonica, guitar, bass, and drums) and symphonic ensemble vividly recreates the sound world of those 1970s action movies starring Burt Reynolds and Charles Bronson. Seiji Ozawa pulls off both pieces brilliantly by getting the San Francisco players to let loose and really get into the groove.
In this company it’s striking just how European Gershwin’s American in Paris sounds–the bluesy trumpet solo is about the only passage certifiably made in the USA. But never mind; Ozawa plays this busy, swinging music with great style and panache, reminding us once again just what an electrifying work this must have been when new. DG’s remastered recordings sound newly minted and do an excellent job of balancing the soloists (even the electric guitar and bass) in realistic perspective with the orchestra.
