Yo-Yo Ma Albums (26)
'Cello Concertos (Bonus Tracks) (RMST)'
Release Date 2/24/2004
Tracks 8
Label Sony
See Album Tracklist and Review
'Obrigado Brazil Live in Concert'
Release Date 2/10/2004
Tracks 17
Label Sony Classical
See Album Tracklist and Review
What The Critics Say
The legendary cellist struck an incredible crossover chord with 2003's lush, exotic excursion Obrigado Brazil, which was the fastest-selling recording of his career and was nominated for four Grammys, including Best Classical Crossover Album. Inspired by working in the studio with clarinetist Paquito D'Rivera, guitarists Sergio and Odair Assad, singer/guitarist Rosa Passos, pianist Kathryn Scott, percussionist Cyro Baptista, and bassist Nilson Matta, Ma gathered the group for an electrifying live show at Carnegie Hall -- which is the basis for this compelling multicultural concert disc. Reaching beyond the original repertoire, Ma opens with a rousing "Libertango" (the first of several Argentine tangos by Astor Piazzolla) and works with D'Rivera on some Latin-flavored originals -- the spirited "Merengue," the haunting and lyrical "Afro," and the jaunty "Wapango," which Ma and the clarinetist play like a frolicsome cat and mouse dance. Among a program of extraordinary depth are several familiar tunes by Antonio Carlos Jobim -- including the swaying "Chega de Saudade" (featuring the graceful vocals of Passos) and, of course, an irresistible "Aguas de Marco" (Waters of March), where Ma matches Passos note for note while also swirling around her in spots. ~ Jonathan Widran, All Music Guide
'Silk Road Journeys: Beyond the Horizon'
Release Date 1/1/2004
Tracks 15
Label Sony Classical
See Album Tracklist and Review
'Sounds of Yo-Yo Ma'
Release Date 1/1/2004
Tracks 12
Label Sony Classical
See Album Tracklist and Review
'Obrigado Brazil'
Release Date 1/1/2003
Tracks 16
Label Sony Classical
See Album Tracklist and Review
What The Critics Say
The legendary cellist struck an incredible crossover chord with 2003's lush, exotic excursion Obrigado Brazil, which was the fastest-selling recording of his career and was nominated for four Grammys, including Best Classical Crossover Album. Inspired by working in the studio with clarinetist Paquito D'Rivera, guitarists Sergio and Odair Assad, singer/guitarist Rosa Passos, pianist Kathryn Scott, percussionist Cyro Baptista, and bassist Nilson Matta, Ma gathered the group for an electrifying live show at Carnegie Hall -- which is the basis for this compelling multicultural concert disc. Reaching beyond the original repertoire, Ma opens with a rousing "Libertango" (the first of several Argentine tangos by Astor Piazzolla) and works with D'Rivera on some Latin-flavored originals -- the spirited "Merengue," the haunting and lyrical "Afro," and the jaunty "Wapango," which Ma and the clarinetist play like a frolicsome cat and mouse dance. Among a program of extraordinary depth are several familiar tunes by Antonio Carlos Jobim -- including the swaying "Chega de Saudade" (featuring the graceful vocals of Passos) and, of course, an irresistible "Aguas de Marco" (Waters of March), where Ma matches Passos note for note while also swirling around her in spots. ~ Jonathan Widran, All Music Guide
'Silk Road Journeys: When Strangers Meet'
Release Date 4/16/2002
Tracks 12
Label Sony Classical
See Album Tracklist and Review
What The Critics Say
Recorded as part of the ongoing Silk Road Project, Silk Road Journeys brings together composers from the elusive, ancient Silk Road that crosses from China to the Middle East with musicians from both West and East. It's both ambitious and daring, two qualities that have been trademarks of Yo-Yo Ma's career. For its modernity and mix of Asian and Western instruments, though, it hews close to tradition (and not merely on Mongolian Traditional Long Song), although the departure into the Italian Renaissance for Chi Passa Per'sta Strada makes for an interesting, more formal and graceful aid in the whole. But the multicultural Silk Road itself makes for a good metaphor for this album, with the sheng, an ancient form of mouth organ, alongside the cello on the traditional Blue Little Flower, for example. While it might seem strange to find Michio Mamiya's Five Finnish Folksongs here, it makes sense; the Saami people of Finland were nomadic, and traveled as far as the Silk Road. But the instruments, from Wu Man's pipa to Joel Fan's piano, work together, whether on traditional or commissioned material, to create something that's challenging to both listeners and performers and offers a strong impression of the journeys of the past. ~ Chris Nickson, All Music Guide
'Yo-Yo Ma Plays the Music of John Williams'
Release Date 2/19/2002
Tracks 9
Label Sony Classical
See Album Tracklist and Review
What The Critics Say
Even when not composing music for film, John Williams tends to tie his music to fairly concrete images, as this collection of cello works attests. The inspiration for Heartwood, for example, came from a book containing photographs of trees. His Three Pieces for Solo Cello were attempts to reflect the African-American experience. In the liner notes of this CD, Williams describes the cello as groaning under the crack of the work-gang whip for Rosewood, dancing exuberantly in Pickin', and singing a lullaby in The Long Road North. Even Concerto for Cello and Orchestra, a piece that would seem to be the most traditionally "classical" in its approach, is described as containing a "hero's role" for the cello, allowing the instrument "to address the audience in the manner of a clear and direct soliloquy." This visual approach to composition helps ground even the most "modernist" passages, allowing Williams' music to remain accessible to the more casual listener while still yielding enough riches to satisfy a more demanding audience. This collection boasts some of Williams' most compelling and heartfelt writing, boosted by typically expressive performances by Yo-Yo Ma. The warmth of Ma's cello complements Williams' emotional style, particularly in the reflective Heartwood and moving Elegy. Williams proves here that more than just his theme from Star Wars deserves long life in the concert hall repertory. ~ Neil Shurley, All Music Guide
What The Critics Say
The follow-up album to the highly successful Appalachia Waltz collaboration, Appalachian Journey continues the combination of classical music with Appalachian, bluegrass, and American roots music in general. Yo-Yo Ma, alongside violinist Mark O'Connor and bass player Edgar Meyer, runs through a number of original compositions fusing the traditions, as well as a few old standards from the genre repertoire. As stated by the artists, Appalachia Waltz explored the combination of the three artists' sounds put together, while Journey expands upon this theme, exploring the sound of the three artists as a singular group. Joining with the trio are James Taylor on a pair of works (on both guitar and vocals) and Alison Krauss on fiddle and vocals. The vocalists are added specifically on a pair of old Stephen Foster works, the songs themselves thematically bridging the gap between the classical and folk realms. The tone can change easily from cheerful jigging to outright nostalgic, depending largely on who's doing the soloing at any given time. There's an embracing down-home atmosphere set up by the artists, using warm tones and motives throughout the album. At the same time, the trio displays some remarkable virtuosity (as would be expected from this group), burning through some fiery sets of triplets on otherwise slow instruments (the cello and bass, specifically), but keeping up with the violin while avoiding the easily hit distortion sounds that usually come from high speed, low frequency playing. Reels fit easily with waltzes here, and also with traditional songs with virtuosic passages from original compositions. The old and the older are easily made compatible here largely on the strength of the performers involved. It's a worthwhile album for listeners curious about the newer directions being taken in the classical realm. ~ Adam Greenberg, All Music Guide
