[rating=8.00]
Bela Fleck is something of an anomaly when it comes to today’s musical mindset. He completely defies the notion of what a banjo-toting player has come to represent, a musician who’s unafraid to venture into realms far afield of bluegrass or the traditional turf that’s always provided the banjo with a comfortable fit. Both on his own and in collaboration with his various star-studded associations — the New Grass Revival, Strength in Numbers and Bela Fleck and the Flecktones — he’s consistently pushed the parameters and fearlessly experimented with jazz, folk, pop, Americana, and avant-garde. The fact that he’s been nominated for Grammys in more categories than any other musician on record is testimony in itself to his striking diversity and ability to bend the boundaries. Even so, Fleck eschews any attempt to categorize him as a technocrat. He’s a regular attraction at most major music festivals both here and abroad, and even with all his critical acclaim, he’s managed to maintain a populist perspective. His recordings are as inviting as they are intriguing, and regardless of genre, his music offers broad appeal for the masses.
That said, Fleck’s new opus finds him in mostly unfamiliar terrain. While he’s ventured into classical realms before, Juno Concerto — named for his son (who’s pictured on the cover) and recorded with the Colorado Symphony conducted by Luis Gomez — is a daring and dynamic attempt to spread Fleck’s inventive approach to new areas. It’s certainly beyond the scope of what he’s done before, either under his own aegis or in collaboration with others. It’s framed like a concert that contains three movements, an extended piece entitled “Griff,” and the final offering, one that tapers the fuller arrangements of the three “Movements” and brings the banjo to the fore. Otherwise, while Fleck’s name is featured prominently at the top of the bill, he mostly takes a supportive role throughout, playing simple lead lines while strings and brass fill the music with a series of dramatic flourishes. The integration of the various elements flows so freely, that there’s no particular instrument situated at the fore. As a result, each of these selections works as a combined collaboration, a rich tapestry of tone and texture that’s ever- shifting but entirely unified and cohesive throughout.
Ultimately, it remains to be seen who the audience will be for this album. It’s likely to attract as much interest from classical aficionados as from fans of Fleck’s earlier efforts. An inventive and intriguing pursuit, Juno Concerto affirms the creativity and versatility of a musician whose ambitions find him standing alone.
