The Goat Rodeo Sessions (recovered)

On Saturday night Cal Performances presented Yo-Yo Ma, Chris Thile, Edgar Meyer and Stuart Duncan, a collaboration that goes under the name The Goat Rodeo Sessions, to a thrilled full house at UC Berkeley's Greek Theater. While it was hardly strictly bluegrass, American roots music was the foundation upon which most of the evening's music built upon, though there were definite classical strains to be heard, and even what could be called "new-age" (before the term became associated with ersatz easy-listening). Though Ma is obviously a big part of the quartet's box-office appeal, what made the evening work is the musical parity between the participants.

In fact, it was Thile who emerged as the group's natural leader on the stage. The musicianship of each player draws attention, and each has numerous moments to shine individually, but it's Thile to whom one's attention constantly returns as he plays the mandolin at the extreme ends of the instrument's range, mesmerizing whether he's robustly plucking or gently strumming. Ma is the epitome of the gracious, warm performer, both toward the audience and his fellow musicians, and despite his status as the world's most popular classical musician, the Goat Rodeo Sessions is a real ensemble. Everyone shines and each possesses a distinct musical and personal charisma- obviously at ease with the audience and each other as they took turns trading quips, sharing anecdotes, and discussing the music between songs.

They played all of the tracks from their 2011 album of the same name. Beginning with "Quarter Chicken Dark," the melody of which so strongly resembles a pop song that's been lodged in my mind the for two days but I can't pull from its recesses, then strode deeply through bluegrass terrain, played with some Bach, and spent a healthy amount of time musically straddling both. Singer Aoife O'Donovan joined them for three tracks, adding her rich mezzo to the mix, blending well with Thile's vocals. Meyer, whom I've only seen perform on the double bass before this evening, proved an adept, thoughtful pianist and Thile provided one of the show's highlights when he switched with seeming ease (and gusto) to the violin.


The audience responded with a level of enthusiasm more often found at rock concerts and the musicians seemed both surprised and genuinely pleased by the warm reception. They shouldn't have been. While the Goat Rodeo Sessions isn't an evening of trailblazing music, it's good, authentic music performed with exceptional skill and obvious heart.

With special thanks to Lisa Hirsch for assisting in recovering this post.