Format: flac + cue + log
Original Release Date: 2001
Label: Sony Classical
Perpetual Motion is an album of classical music released in 2001. The album is unique in that none of the pieces featured on it are played on the instruments for which they were written. Arrangers Béla Fleck and Edgar Meyer won a Grammy in 2002 for their arrangement of Claude Debussy's "Doctor Gradus Ad Parnassum". The album also won a Grammy as Best Classical Crossover Album.
Fleck assembled a group of musicians well-known on their own instruments: violinist Joshua Bell, cellist Gary Hoffman, percussionist Evelyn Glennie, double-bassist Edgar Meyer, mandolin player Chris Thile, and guitarists John Williams and Bryan Sutton.
by Zac Johnson
Banjo virtuoso Béla Fleck has certainly broken more boundaries than any other picker in recent memory, from his early days performing bluegrass-inspired folk compositions on Rounder in the late '70s to his quirky jazz freak-outs with the Flecktones throughout the '90s. In late 2001, this peculiar innovator released an album of banjo interpretations of classical works by Bach, Chopin, and Scarlatti. Before classical purists roll their eyes, they must remember that the banjo hasn't always been seen as the instrument of choice of backwoods musicians in the Appalachian mountains, but as recently as the 1940s was used as a primary rhythm instrument in all manner of parlor music. That being said, Perpetual Motion is a bright and unique take on several well-known classical pieces (Moonlight Sonata, Bach's Cello Suite No. 1) as well as a number of interpretations of Bach's two-part and three-part inventions. These light and brief inventions act as buffers between the longer, more dramatic pieces, but end up serving as some of the highlights of the album. With Fleck often accompanied by Evelyn Glennie on marimba and Appalachia Waltz musicians Joshua Bell and Edgar Meyer on violin and bass, these short, delicate pieces weave in and out of the album, proving that the banjo can be seen in a different light altogether. Fleck's picking is uniquely unparalleled in that he can so easily dip his feet into so many different genres with an instrument that is so quickly pigeonholed. The album drifts easily into the background, which is not necessarily a detraction but, knowing the fire that Fleck can unleash from his fingertips, it would have been nice to have a few more impassioned numbers on the album. The closest the ensemble comes to really making some noise is the final track, Paganini's Moto Perpetuo (arranged in a bluegrass style), which is not necessarily more forceful, but is certainly faster and louder.