Widening the narrow classical music status of the cello seems to be a recent phenomenon around the world. There are a number of cello soloists who now find themselves performing as frequently in bars and rock clubs as in the concert hall, and playing with jazz, rock, and world music musicians. Here in Portland, Oregon, there are so many cellists who want to break out of the classical bag a bit that up to 16 of them have banded together to form the Portland Cello Project. They proclaim Portland as the cello capitol of the world.
They do some interesting arrangements of classical standards, such as the opening Ritual Dance of Fire by Falla. I also liked the original instrumental Under Glass and the Balkans-music-influenced Divertissements for Performing Bears, which came from the Portland group 3 Leg Torso. But most of the dozen tracks are for vocalist accompanied by the multiple cellos, part of the groups continuing collaborations with fellow Northwest musicians. While most of these are originals by local songwriters, there is a cover of Britney Spear’s Toxic. I quickly hit the advance button when Living at the Side of Why? came up – it’s rap. And I can’t begin to understand what happens on the final track, in which a loud electronic noise gradually intrudes to earsplitting level.
Probably appealing most to fans of indie and avant-garde music, this is certainly an unconventional album. It aids in promulgating an appeal to more listeners for this much-loved string instrument.
TrackList: Danza del Fuego, Power, Robin Hood Changes His Oil, Gold, Divertissements for Performing Bears, For Misty, Living at the Side of the Why?, Hands ini Pockets, Toxic, Under Glass, Stay, Nelson.
– John Henry
