Edgar Meyer

Edgar Meyer

by Edgar Meyer
     
 

Set Edgar Meyer loose in a recording studio with a bass, a piano, a banjo, and an array of other instruments, and what do you get? A self-titled CD, naturally, on which the composer, bass virtuoso, and three-time Grammy winner plays everything, from mandolin and guitar to dobro and even viola da gamba -- that's 277 strings in all. MeyerSee more details below

Overview

Set Edgar Meyer loose in a recording studio with a bass, a piano, a banjo, and an array of other instruments, and what do you get? A self-titled CD, naturally, on which the composer, bass virtuoso, and three-time Grammy winner plays everything, from mandolin and guitar to dobro and even viola da gamba -- that's 277 strings in all. Meyer made the recording in his own home studio, laying down tracks one-by-one and combining them into full compositions with the aid of a computer, and listeners familiar with his style will know what to expect: a blend of jazz, bluegrass, and classical influences that the composer stirs into his own distinctive brew. For the most part, the bass and piano take the lead, such as in the opening "First Things First," a lyrical, folklike tune that Meyer calls a "song without words." Hold on to your seats, though, for the following "Roundabout," with its wildly driving rhythms that show off Meyer's surprisingly dexterous piano. If "Interlude 1" offers a brief piano-led respite, the perpetual motion of "Please Don't Feed the Bears" will soon quicken your pulse, while the impressionistic noodling of "In Hindsight" and the funky strumming of "The Low Road" reveal further aspects to Meyer's fertile musical imagination. For a musician known for his collaborations with such diverse talents as banjo whiz Béla Fleck and classical cello master Yo-Yo Ma, this album allows Meyer to spotlight his own gifts clear of the distraction of others. It's a testament to the depth of those gifts that Meyer's self-collaboration never comes up short.

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Editorial Reviews

All Music Guide - Richard S. Ginell
It's a rare thing when a performer is able to accurately write his own review, but Edgar Meyer has done it succinctly in the liner notes for this eponymously titled solo album. "This music is an indulgence of sorts," he writes, "combining elements of expertise with exploration and occasional moments of pure naïveté." That just about sums up this one-man show. Conceived in the sparkling-new music room of the multi-talented instrumentalist's Nashville home, Meyer plays all the instruments himself, centering on grand piano and double bass but also tackling a variety of stringed instruments (mandolin, dobro, guitar, banjo, gamba) mostly borrowed from his celebrated colleagues. Meyer makes no pretensions about virtuosity on anything other than the double bass, which gets the most difficult parts and growls and plunks impressively in the mix. His piano scarcely rises above the new age standard of soft-focused meditation, and his work on the other instruments is just deft enough to get the modest job done. Some of the music is pre-composed. Some of it is made up on the spot, layer upon layer. All of it falls inconveniently within the cracks of several American and European genres of acoustic music -- as has been Meyer's habit in past projects. Little of it makes any connection with an attentive listener on anything beyond an ambient level. Throwing together a bunch of instruments in an informal home setting is something that a gifted melodist like Paul McCartney has engagingly pulled off, but Meyer's project just sounds like aimless self-jamming in the living room.

Product Details

Release Date:
04/25/2006
Label:
Sony
UPC:
0827969650523
catalogNumber:
96505

Tracks

  1. First Things First, for double bass & piano  - Edgar Meyer
  2. Roundabout, for double bass, piano, acoustic mandolin, acoustic guitar  - Edgar Meyer
  3. Interlude 1, for piano  - Edgar Meyer
  4. Please Don't Feed the Bear, for double bass, banjo, gamba, mandolin & a  - Edgar Meyer
  5. Whatever, for double bass, piano, acoustic mandolin & acoustic guitar  - Edgar Meyer
  6. In Hindsight, for double bass, piano, acoustic guitar, acoustic mandoli  - Edgar Meyer
  7. Interlude 2, for double bass, piano & dobro  - Edgar Meyer
  8. The Low Road, for double bass, gamba & acoustic mandolin  - Edgar Meyer
  9. Just As I Thought, for double bass, piano, plucked & bowed gamba, acous  - Edgar Meyer
  10. Catch and Release, for double bass, piano, acoustic mandolin, acoustic  - Edgar Meyer
  11. Interlude 3, for double bass, acoustic guitar & acoustic mandolin  - Edgar Meyer
  12. Woody Creek, for bowed & plucked double bass, acoustic mandolin, acoust  - Edgar Meyer
  13. Degree of Separation, for double bass & piano  - Edgar Meyer
  14. Interlude 4. for double bass, piano & gamba  - Edgar Meyer

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Album Credits

Performance Credits

Edgar Meyer   Primary Artist,Banjo,Bass,Dobro,Guitar,Mandolin,Piano,Double Bass,Viola Da Gamba,Bowed Bass,Plucked Bass

Technical Credits

Edgar Meyer   Arranger,Composer,Producer,Liner Notes
Dave Sinko   Engineer
Todd Whitelock   Mastering

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