Thirty-Year Retrospective: Live

Mark O'Connor | Format: Audio CD

Product Details

• Audio CD (November 11, 2003)
• Number of Discs: 1
• Label: Omac
• ASIN: B0000DI4TC
• Also Available in: MP3 Download
• Average Customer Review: 5.0 out of 5 stars  See all reviews (18 customer reviews)
• Amazon Best Sellers Rank: #57,558 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

33 of 33 people found the following review helpful:

5.0 out of 5 stars Virtuosity defined, November 11, 2003

By 

H. Rex Hammock (Nashville, TN USA) - See all my reviews
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This review is from: Thirty-Year Retrospective: Live (Audio CD)

As I listen to this incredible two-disc recording, I'm getting to re-live one of the most incredible "Nashville" experiences I have ever had: being in the audience while it was being recorded. At the time, I knew (as all in the audience did) that I was witnessing a unique musical moment for the four artists on stage. Listening to the CD reaffirms that belief. On stage that evening (and the two preceding it) Mark O'Connor, Chris Thile, Bryan Sutton and Byron House came as close as four artists can to perfection. This recording, taken from those three live performances, seems as close to the actual performance as I can imagine a recording being. In over three hours of playing what must have been a million notes of music, there were (at least on the evening I attended) no false starts, no thuds, no blemishes. Yet with this near technical perfection, the music is as textured and nuanced as one is likely to experience in any genre of music (many of which are explored throughout these CDs).

The unamplified concert was held in the new (and acoustically inspiring, at least to my layman's ears) Ingram Performance Hall at Vanderbilt's Blair School of Music. While this is Mark O'Connor's CD -- a celebration of his 30-year (so far) of multiple-genre-defining fiddling career, this CD is a showcase for the virtuosity of the three other artists: Bryan Sutton is the best guitar picker in a city of guitar pickers. Byron House on bass provides an inspired foundation for this recording.

And Chris Thile. How does one begin to describe his talent? Otherworldly? Godlike? On a stage with three other titans of acoustical music, Chris Thile transformed his mandolin into something beyond magical. Chris Thile reminds me of the basketball player Pete Maravich (hair and all). In the way Pistol Pete redefined what ball handling is all about, Chris Thile is in the process of changing the way the world perceives the mandolin. His name should be Chris Thrillee.

(Just listen to the cut, "Stone From Which the Arch was Made," for an example of both Bryan's & Chris's youthful potential and seasoned mastery of their instruments.)

Two ninety-minute sets left the audience exhausted but the musicians appeared energized, even joyful. After listening to this recording on the day it finally (a year and a half later) is released, one can still feel their joy.

10 of 10 people found the following review helpful:

5.0 out of 5 stars Simply Amazing..., May 6, 2004

By 

Becky "becks211" (Morrisville, PA United States) - See all my reviews

Amazon Verified Purchase

This review is from: Thirty-Year Retrospective: Live (Audio CD)

Let me just start off by saying that of the many CDs I've added to my bluegrass/newgrass collection over the past few years, this is the first one that moved me so much that I had to write a review! Oddly enough, I wasn't at all familiar with Mr. O'Connor's work when I purchased this CD - I pretty much just saw the words "Chris Thile" and that was enough for me! However, it didn't take more than one listen for me to add Mark O'Connor to my list of favorite musicians in this genre. I was absolutely blown away by the intricacies of the solos and the wide range of sounds on this CD. From more traditional sounding bluegrass numbers to bluesy/jazzy swing numbers to classical sounding pieces, there is never a dull moment. The timing of the musicians is dead on - at times they are so in synch with one another that it's scary to imagine there are actually 8 hands in perfect coordination with one another. I've basically been listening to it every few days for months now, and there is so much going on musically in each song that every time you listen you can focus on new layers to the music that you haven't noticed yet. The only drawback from purchasing this CD is the lightening of my wallet as I set out to purchase the solo projects from each of the 4 musicians featured here!

13 of 14 people found the following review helpful:

5.0 out of 5 stars Technical acoustic proficiency at its finest!, December 20, 2003

By 

J. Ross "a-music_fan" (Roseburg, OR USA) - See all my reviews
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This review is from: Thirty-Year Retrospective: Live (Audio CD)

Playing Time - 76:17 (disc one), 76:27 (disc two)-- Technical acoustic proficiency at its finest! There are few superlatives available to describe this two-CD celebration of Mark O'Connor's first 30 years in the music business. The words "bardacious" and "splendiculous" come to mind. This album's music is almost too sweet for words. The Grammy Award winner and master of many styles and moods assembled three other instrumental wizards, Chris Thile, Bryan Sutton and Bryon House, for a series of three phenomenal unamplified concerts on July 3-5, 2002 at Ingram Hall at Vanderbilt University in Nashville. They were history in the making and provided a great overview of O'Connor's fiddling interests in swing, Texas style, jazz, classical, bluegrass and newgrass. With the exception of O'Connor's concertos for violin and orchestra, nearly every genre that O'Connor has recorded is nicely represented. On a 2.5-hour project like this, we must also recognize the excellent recording engineers (Gary Paczosa, Marshall Morgan, Thomas Johnson, and Adam Beard) for their important contributions. The outcome is phenomenally clean and balanced, although one can't help but wonder and speculate how the project might have turned out differently in a recording studio. Would the sound been even better? Would the energy from live performance been sorely missed? Would some tracks have introduced guest banjo, dobro or other virtuoso players?

There are times that one might think that O'Connor or his fiddle are bewitched, especially as the program moves from such diverse offerings as "Jesse Polka" to "Swingin' on the `Ville" to "Send Rainbows." The hot picking definitely calls an occasional whoop or shout in glee, but the audience does practice considerable restraint and respect to the live recording process. I am always cautious and a bit apprehensive about tracks that span more than seven minutes. O'Connor offers six cuts that fit this criteria, with the 12-minute "Soft Gyrations" greatly exceeding the others. The violinist and composer demonstrates his mastery of arranging and incorporating dynamics to take us on musical journeys wrought with imagery and fantasy. It should also be emphasized that all songs, with the exception of four from the public domain, one from Bill Monroe, and one apiece in collaboration with Edgar Meyer and Sam Bush, were composed and arranged by O'Connor. This is another indication that Mark is irrefutably one of the very best all-around musicians' musician who garners the highest respect from his peers and colleagues.

The musical genius of Mark O'Connor is so ably supplemented by equally impressive playing of Thile, Sutton and House. Thile's lyrical, fluid picking really shines on "Caprice No. 4 in D Major" and "Macedonia," while Sutton's most technically impressive number might well be their concert's first half closer "Stone From Which the Arch was Made," although it's difficult to single out any particular piece. Tune into House's solid foundation on the bass, and also take note of his bowing technique on the reflective "Song of the Liberty Bell."

Mark O'Connor, Chris Thile, Bryan Sutton and Byron House come as close to perfection as four musicians can humanly accomplish in live performance. The acoustic all-star quartet not only celebrate Mark O'Connor's music, but they are individually in a class of their own. Their instrumental music is simply out of this world, and it is clearly right up to the high-water mark! (Joe Ross, staff writer, Bluegrass Now)