In these halcyon post-Clinton days of trying always to tell the truth and not having later to admit in public that something was not, in fact, as you represented it, let me say first that I feel somewhat like the "Papa" of this collaboration between guitarist (Cobo) and composer (Cooperman). In the Fall of 1994, when Cobo came to Davenport, Iowa to be Artist-in-Residence for a week, I approached him about an interview for SoundBoard magazine (in which I originally reviewed the publication of WOW). Happily, he agreed.

Among other topics, we discussed contemporary American guitarist/composers. He said the one he had heard the most about but had not yet met was Larry Cooperman. I then offered that I knew Cooperman and would be delighted to make the appropriate internet-style introductions. This marvelous CD (or at least its title track) is the result of that introduction. So much for my "involvement", and now for the people who REALLY contributed!

This is truly an "Homage" recording. Each piece recorded here is, in one way or another, an homage to individuals and/or styles. Such compositions always run the risk of becoming mere pastiche, as there is the ever-present possibility of getting too drawn into one's subject material. This CD is, happily, burdened with none of these problems.

Tracks 1-4 are "Hommage a Villa-Lobos" of Roland Dyens. The first movement starts right out of the gate with figurations that fairly sizzle on the guitar. Cobo plays them, as usual, with effortless panache and deadly accuracy. What follows is a hair-raising passage of awkward arpeggios and deliciously odd, quirky bits of melody. Movement # 2 is more in the comfortable mode of more standard Villa-Lobos. Its merrily loping rhythms belie some VERY tricky rippling arpeggios. Out of all this emerges a bit of darkness, but the original feeling is never very far away. Movement # 3 is, true to its title, more nostalgic, and is quite infectious in its conversational style between the busy but comfortable bass lines and the melody. Movement # 4 simply must be heard to be believed. It begins with more of Dyens's deadly arpeggios and descending ligados. To play these sorts of figurations on the guitar is tough enough at slow speeds, Cobo's playing is simply electrifying at the lightning speed that Dyens requires. To a non-guitarist it might sound deceptively simply because the music is so musically easy to listen to. I suspect guitarists, however, will drool when they hear this! Here Dyens cuts loose from mere non-standard classical guitar techniques: head-stock notes, "sliding" the pitch of notes by "pushing" them up or down physically on the fingerboard. Such things are TERRIBLY awkward to do even passably -- Cobo does them to perfection. All in all, a brilliant new composition with a spectacular performance.

Next is Homenaje a Toulouse-Lautrec by Eduardo Sainz de la Maza. This piece has all the characteristic suavete that pervades so much of de la Maza's music. It portrays a delightfully casual and affectionate air, conjuring an image of the Bohemian Paris night life that he so dearly loved and painted.

Next is "Pieces Bresillienes" by Marco Pereira. These pieces I must admit I found to be the weakest of this CD. They simply started to "run together" and sound a lot alike after a while. Obviously, Cobo found things I didn't. His playing is as riveting and energetic as always. Perhaps I've missed something.

Track 12 is "LB Story" of Roland Dyens. This is a combined homage to both Leonard Bernstein and Leo Brouwer (a pretty unlikely pair). It begins with a "rendition" of Brouwer's "Pieza sin Titulo" -- replete with Brouwer's typical seconds. There is one particularly delicious passage in which an obvious quote from Brouwer's "Elogio de la Danza" morphs into a wonderful quote from West Side Story! A recurring theme in this work is the "Pieza sin Titulo" from the opening. At the very end of the piece, it closes suddenly in a warm major key. Although I am a lover of the music of both of these composers, I claim to be an expert on neither. It would be fun to play this music at a party of knowledgable folk and see who can identify what from whom!

Track 13 is John Major's Burning Circle. This track is, for me, the most riveting (a VERY high assessment considering the competition from the other composers!) It begins, much like Cooperman's WOW, with a very low sixth-string scordatura, with low-C drones answered by quick middle- and high-range arpeggios and snatches of melody. This, however, is only to lull you into the snare! What follows is a non-stop, multi-line onslaught of some of the most fascinating guitar music I have ever heard. Hypnotic is hardly the word for this music. There are three distinct areas of activity going on at one time, the music shifts from one register to another with abandon. The finale is approached by a subtle shift of tonality into bright, dazzling upward motion that warns one that the end of the piece is nigh. This is not happy news, as this is the kind of music that I wish could go on forever. Jarrett (the great jazz improviser and composer) has been known to me for years. The other dedicatee, R. Covalito, is new to me. I need to look for his music! After 35 years as a classical guitarist I am almost always able to "see" new guitar music in my mind's eye/ear upon first hearing. This is not true with many passages in Burning Circle. I can't wait to see the score. Every time I think I've got it, something fascinatingly odd comes along!

Track 14 is WOW Walking on the Water by Larry Cooperman. As I wrote in my review of the original version of this piece several years ago for Soundboard magazine, the beginning always reminds (in its intensity) of the opening lines of Alan Rawsthorne's "Elegy" written for Julian Bream. To be sure, the changes that Cobo asked of Cooperman have definitely resulted in a different and superior composition. After a stately opening declaration, the listener is suddenly exposed to the bright light of the non-stop arpeggio section. These arpeggios are NOT for the timid. The give-and-take conversation between arpeggio and melody sections makes this a truly remarkable composition. The arpeggios are a cauldron out of which emerge wonderful small ideas that dive right back into the arpeggios. This piece's enigmatic ending quite clearly portrays the image at the end of the movie that was its inspiration! ("Being There", with Peter Sellers.)

Throughout this CD is Cobo's scintillating playing. Not only is he technically adept at everything, his feel for music of different inspirations and styles is a joy.

Truly, no guitarist anywhere is Ricardo Cobo's master.

Copyright 2006, new millennium Guitar Publishing Co., ALL RIGHTS RESERVED