John Williams, The Guitarist (Sony Classical/Masterworks, 2003)
John Williams with Alfonso Montes, El Diablo Suelto (Sony Classical, 2003)
In the world of classical guitar, one name stands out: Segovia. Every player before or since is measured against that Master musician. Of all those players whose names are mentioned as the New Segovia (much like a new Dylan), John Williams is one of the most prominent. An exceptionally gifted player, Williams inserts emotion into his playing that most guitarists, regardless of genre, would be hard pressed to achieve. The man is a performing genius, in every sense of the word. On these two discs, he attempts to move away from the standard Germanic Classical school to explore other works in his tradition, sounds largely influenced by the Mediterranean and the influence of Spanish culture.
The Guitarist is a work that originally appeared in the early 1980's; this current reissue is expanded and remastered. On this disc, Williams explores various Mediterranean composers and folk melodies. His sharp take on Carlo Domeniconi's "Koyunbaba" is particularly striking, consisting of four movements arranged for a guitar tuned to C minor. The Turkish motifs used in the movements are beautifully executed by Williams, bringing to mind the sounds of the saz. He also does takes on Erik Satie's notoriously modal works, presenting the "Gnossiennes" in intricate detail, and with a warmth that many guitarists would be loath to find in these great, obscure works. The somewhat pedestrian backing of the Orchestra on "Gymnopédie No. 3" detracts from Williams emotional reading, however. But overall, an outstanding disc.
Which pretty much sums up El Diablo Suelto, as well. However, there is such an amazing world of difference between the two discs, both figuratively and literally, that it's hard to believe both are by the same artist. Here, Williams explores that cultural collision that makes up the music of the New World, focussing on the music of Venezuela. Now, your average classical master would turn up their nose at the thought of performing a bunch of dance songs so far from their tradition. Few would have the guts to tackle these forms. Williams not only attempts these numbers, he plays them as if this were his tradition! His technical prowess makes numbers such as "No me olvides" masterpieces, and yet he plays with the conviction of a formal player of these songs. On several tracks, Williams is joined by Alfonso Montes, playing the cuatro, a four string relative of the guitar. And on these lovely tracks, such as the charming "Nelly," the two sound as if they've been playing together for years. Quirky time changes, odd juxtaposition of keys within songs, and some serious passion in his playing make this an extremely worth while listen.
The recording quality on both discs is exquisite: Sony Classical creates some of the most luxurious sounding discs on the planet. Produced and notated by Williams, both discs are nicely packaged, with great liner notes. My only problem with these discs is that Williams' sheer genius overshadows many of the songs themselves. He plays with such passion, and yet such precision, that some songs come off sounding like background canvas for Williams' work. I don't really fault him for this; it's just that some of the simple melodies, like "Preludio de Adiós" from Diablo, are overwhelmed by his playing. Oh, to be so talented. . . .
Frankly, these discs came as a shock to my ears. Having heard other discs by John Williams, where he ably produces "traditional" classical guitar, it's a bit of a start to hear him playing so beautifully on these discs. El Diablo Suelto is a slightly easier listen, especially to those on the Cuban/Brazilian kick, but The Guitarist shines as well, if maybe not as immediately grabbing to your average listener. The man is simply a genius, not only heir to Segovia, but to the pantheon of great players humanity has produced. Stunning.
John Williams has a Web site here.
