The Goat Rodeo Sessions

Some bands, some albums, some songs are beyond technical critique. The talent and proficiency is so refined that, unless the critic is equally as well-versed, there will inevitably be a gap between the product and the comprehension. When Yo-Yo Ma, Stuart Duncan, Edgar Meyer and Chris Thile get together, such a product is born.

Many musicians have brought their instruments into the spotlight with innovative and exemplary playing. It is arguable, though, that none have done so with as much prestige as Yo-Yo Ma. In fact, while it’s easy to bring up other guitarists than Hendrix, other bassists than Flea, and other drummers than Buddy Rich, it may prove more difficult to think of even a name of another cellist, much less one as on the forefront as Ma. Having played for numerous presidents and world leaders and with the top musicians from virtually every genre of music, Ma has become a symbol of greatness.

Joined by the lesser known but equally as inventive Duncan, Meyer and Thile, The Goat Rodeo Sessions is a collaboration that makes even the most popular supergroup seem like a band of scrubs. Each member adds their touch of individuality while meshing nearly perfectly with the others. It’s this individualism and cooperation, combined with astounding composition accounting for these two variables that lead to the album title itself.

According to the urban dictionary, “A goat rodeo is about the most polite term used by aviation people and others in higher risk situations to describe a scenario that requires about 100 things to go right at once if you intend to walk away from it.” Initial analysis of this definition may lean more towards chaos than harmony, but it is the latter that’s the reality. These are four outstanding musicians, all from various backgrounds but all with unifying characteristics, penning arrangements that require each note, each phrase and each instrument to be played with such precision that even the slightest hiccup could ruin the piece. Even though Ma’s name is first on the cover, make no mistake, this is a group effort, lead by each member at various times. In fact, with Ma’s cello, Meyer’s double bass and Duncan’s fiddle, it’s Thile and his mandolin that are often the most distinguishable, adding chunk and snap to the otherwise smooth flow of the bows. Perhaps Meyer said it best himself, “We chose this group of people based more on who the individuals were and their voices than what would be an ideal instrumentation, because there is no getting around the fact that violin, bowed bass and cello and mandolin is not an ideal instrumentation.”

Each member certainly brings their own personality to the album, but The Goat Rodeo Sessions is a complete work with as much thought put into how everyone relates to each other as how they work on their own. Ma brings the classical fortitude, Meyer the high Appalachian sound, Duncan the classic Americana and Thile the modern bluegrass. The result is a seamless weave that gives the listener the amazing choice of who they want to focus on at any given time, be it one, two, three or all four at once.

From the opening track “Attaboy,” you can hear exactly what this weave is all about. In fact, watching it might help make it clearer. No one member is more important than the other, and without one, the rest cannot complete the piece. This is the way it goes for the rest of the album. And as a bonus, several tracks give them a chance to show they aren’t limited to their main instruments alone. Duncan picks up banjo for “Helping Hand,” “Less Is Moi,” and “Here and “Heaven”. Thile shows his versatility with a steel-string guitar on “Helping Hand” along with a gamba and some outstanding vocals (joined by Aoife O’Donovan from Crooked Still) on “Here and Heaven” and “No One but You.” And last but certainly not least, Meyer’s piano work on “Franz and the Eagle” is superb for someone who hasn’t already mastered the bass, much less someone who has.

The Goat Rodeo Sessions certainly isn’t going to be a universally loved album. But for anyone with an affinity for classical, bluegrass, classic country, folk or even jazz, it is absolutely worth a listen. Heck, even if you don’t tend to like those styles, it’s worth giving this a try. Life is just far too short to not take time to appreciate the best of what the world has to offer, and this is one of those contributions.

Rating
Overall: 4.5/5
Originality: 4.5/5
Production: 5/5
Listenability: 4/5