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Appalachian Journey Original recording remastered

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Audio CD, Original recording remastered, July 20, 2010
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Product Details

  • Conductor: Yo-Yo Ma
  • Composer: Yo-Yo Ma
  • Audio CD (July 20, 2010)
  • Number of Discs: 1
  • Format: Original recording remastered
  • ASIN: B003ODL02M
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (85 customer reviews)
  • Amazon Best Sellers Rank: #11,061 in Music (See Top 100 in Music)

1. 1B
2. Misty Moonlight Waltz (Instrumental)
3. Hard Times Come Again No More (Voice)
4. Indecision (Instrumental)
5. Limerock (Instrumental)
6. Benjamin (Instrumental)
7. Fisher's Hornpipe (Instrumental)
8. Duet for Cello and Bass (Instrumental)
9. Emily's Reel (Instrumental)
10. Cloverfoot Reel (Instrumental)
11. Poem for Carlita (Instrumental)
12. Caprice for Three (Instrumental)
13. Second Time Around
14. Slumber My Darling (Voice)
15. Vistas (Instrumental)

Editorial Reviews

Customer Reviews

Highly recommend this album for your music library..
Appalachian Journey is the follow up album to Yo-Yo Ma, Edgar Meyer and Mark O'Connor's 1996 album Appalachia Waltz.
Janet Chandler
This is intriguing music that offers something new every time I listen to it.
Rollie Anderson

Most Helpful Customer Reviews

45 of 45 people found the following review helpful By Bob Zeidler on May 26, 2000
Format: Audio CD
Seldom does a sequel live up to the advance billing suggested by its predecessor. All too often, sequels (most particularly in publishing and in the cinema) represent little more than a form of pernicious milking of "what worked the first time around."

On the other hand, sequels occasionally do exceed the expectations set out by their forbears. Such is the case with Appalachian Journey, where Messsrs. Ma, Meyer and O'Connor do manage to top themselves, in significant ways, regarding what they did in the earlier Appalachia Waltz. The reason is not particularly hard to find: familiarity breeds ease and comfort. At risk of implying that "practice makes perfect," it is nonetheless a fact that Meyer and O'Connor, in this sequel, have found better ways to incorporate Ma's remarkable talents - non-improvisational though they may be - into the fabric of the music.

The outcome to my ears is measureably better than in Appalachia Waltz. These guys are in a groove now, and there are are fewer "set pieces" written primarily to explore how these three stringed instruments might coalesce into a new style of string trio writing (and less recycling of material heard elsewhere, and earlier, such as interpolations from O'Connor's Fiddle Concerto), and more exploration into the true strengths of Meyer's and O'Connor's compositional skills, which are considerable indeed.

Over time (and, I might add, a rather short period at that), it has become simple for me to identify, by style, which are from the pen of Meyer and which from O'Connor. Put simply, Meyer's have his by-now-well-known rhythmic challenges, and O'Connor's are altogether more lyrical.
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27 of 27 people found the following review helpful By Steve Vrana HALL OF FAMETOP 500 REVIEWER on June 11, 2002
Format: Audio CD
The liner notes of this album boldy declare, "This is the new face of classical music." I have no problem with that. This string ensembel makes compellingly beautiful music. Meyer and O'Connor handle most of the writing on this recording. The lone exceptions are the traditional "Fisher's Hornpipe," on which Alison Krauss guests on violin, and two Stephen Foster songs: "Hard Times Come Again No More," with James Taylor on guitar and vocal, and "Slumber My Darling," with Krauss on vocal. In addition, Taylor contributes the instrumental "Benjamin" on which he also plays guitar. This music is at its core hauntingly beautiful, but difficult to categorize. I appreciate the analogy used in the liner notes when trying to explain the seemingly diverse, yet unifying elements contained in the music on this CD. It is like "the enormous fields of mushrooms found in the American Midwest, which botanists have now determined are in fact a single organism." While there appear to be many diverse influences at work here, maybe the simple truth is that this is all part of a common bond we call music. At any rate, this is an enjoyable and engaging album. HIGHLY RECOMMENDED
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20 of 20 people found the following review helpful By Zenbob on August 22, 2000
Format: Audio CD
Mark O'Connor is one of the world's most brilliant improvising fiddlers and Edgar Meyer an exceptionally accomplished bassist and composer who moves seamlessly among the varied musical worlds of bluegrass, classical, folk and country. They team up again with Yo-Yo Ma, a classical cellist who has spent the last several years working to broaden his musical horizons (a duet album with Stephane Grapelli, an album of Piazolla's tango music, a collaboration with Bobby McFerrin). In their first teaming, APPALACHIAN WALTZ, the mixture of Ma's technique with Meyer and O'Connor's improvising and composing abilities produced fabulous results: almost a new genre of music, "classical folkgrass." In this endeavor, the three go to the well again but don't find quite the same high level of magic. It's hard to complain very strenuously -- these are, after all, three of the finest musicians that we have. As James Agee said of the Marx Brothers, "the worst they ever made is better than most things I can think of." The same is true here. But there is still a nagging disappointment in this outing. Some of the performances seem a little rushed, unpolished, some of the arrangements a little strained. While there are moments of beauty, excitement and truly thrilling collaborative playing (Meyer's 1B truly rocks!), this sounds almost like an off-the-cuff jam session than a thought-out collaboration.
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23 of 24 people found the following review helpful By E. Strickenburg on November 1, 2011
Format: Audio CD
This album is in the same vein as Appalachia Waltz, but a bit more robust and feisty. It's the same wonderful grouping of musicians: Yo-Yo Ma stepping out of the classical world with his cello, Mark O'Connor stopping by with his bluegrass fiddle, and Edgar Meyer playing exquisitely on the bass with a foot planted firmly in each camp. This trio is joined on various tracks by other fabulous artists such as James Taylor and Alison Krauss.

The music is simply superb. I particularly enjoy the mellow track "Benjamin," in which James Taylor's whistling blends beautifully and seems almost like just another instrument. Another favorite is "Duet for Cello and Bass": it's a journey that's sometimes simple and intimate and at other times driven and forceful. I also love "Emily's Reel," which is lively and plain fun.

This album is full of vitality, and has a great deal of variety in its musical selections. Lush melodies and lullabies are followed by driving numbers that will make you want to get up and dance. It's a treat for the ears.
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