Eric Reed, horn; Christopher Coletti and Brandon Ridenour, trumpets; Achilles Liarmakopoulos, trombone; Chuck Daellenbach, tuba. Steinway & Sons 30008.
The folks who comprise Canadian Brass have been tootling their horns for over four decades now, and audiences never seem to tire of their enthusiastic and virtuosic musicianship. Of course, the membership changes from time to time, with the current five players being Eric Reed on horn, Christopher Coletti and Brandon Ridenour on trumpets, Achilles Liarmakopoulos on trombone, and Chuck Daellenbach on tuba. No matter the makeup of the group, however, they always appear to have been performing together forever, they sound so well integrated.
This time out on Canadian Brass Takes Flight they perform a motley assortment of tunes that apparently not even they can adequately explain. It doesn't hurt the music, but it does complicate it. For instance, on the back cover their publicist writes, "Canadian Brass truly takes flight with this new album--their premiere release on Steinway & Sons." Fair enough, given that the lead number is Rimsky-Korsakov's Flight of the Bumblebee and another is Bach's Air on the G String. But how to explain the inclusion of Kompanek's Killer Tango or Mozart's Turkish Rondo? Inside the Digipak we read, "Canadian Brass Takes Flight is a kind of 'state of the union' address, as the group's current membership revisits and refreshes examples of its unique contribution to the brass quintet universe--four decades of performing, four centuries of music." Again, fair enough. Maybe they mean the current disc to be a sort of greatest hits album, newly recorded. If so, there is little rhyme nor reason for the selections except that somebody liked them.
In any case, it's the music that counts, and the music is splendid, despite the sometimes jarring juxtapositions of the tunes. We get eighteen tracks that range from classical (Bach, Brahms, Mozart, Rimsky-Korsakov) to tangos to gospel to Dixieland jazz. Whatever the music, you can count on Canadian Brass to perform it in a lively, sprightly fashion, with the utmost precision along the way. Personally, I enjoyed the several Bach selections best of all, along with the tangos.
Things get a little static by the middle of the program, unless you are a devoted brass afficionado, but they pick up with Bach's Air. The album closes with three numbers in New Orleans jazz style, the group's usual opening number, Just a Closer Walk with Thee, here closing the show. While it's a mixed bag, as I say, it's undeniably fun.
Canadian Brass's new label is Steinway & Sons (or it's their co-label as this is a little confusing, too. The Digipak lists the recording as a cooperative project among Steinway & Sons, ArkivMusic, and Opening Day Entertainment Group, with the financial support of the department of Canadian Heritage, Canada Music Fund, and Canada's Private Radio Broadcasters).
Whoever produced the album engineered it well, recording the group at Christ Church, Deer Park, Toronto, Canada, in August of 2011. The sound they obtain is full and resonant, a mellow acoustic to match the richness of the instruments, with a pleasant sense of occasion in the ambient environment. The sonics are ultrasmooth, or as smooth as brass instruments can be. One can discern each of the five instruments clearly, spread out convincingly across the stage, miked at an ideal distance for easy listening.
Of minor note, the "brass" is not entirely brass. Again, I quote from the Digipak: "The Canadian Brass performs exclusively on instruments manufactured by Conn-Selmer, Inc. under the legendary brands Vincent Bach and C.G. Conn. Skillfully handcrafted, each instrument is a blend of classic design, elegant styling, and signature sound, beautifully culminating with the Canadian Brass trademark 24K gold-plate finish." All that glitters....
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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