Nothing but the Blues at the MSO Pops

Translating a folk or roots genre such as the blues into a pops orchestra context can be a tricky proposition. Over-orchestrate it, and it loses its authenticity. Oversimplify it, and the result can come off as patronizing.

Fortunately, in the inaugural performance of the 2009/10 Milwaukee Symphony Orchestra’s Pops season, the musicians achieved a pleasing balance between the genuine article and an augmented accompaniment, thanks to a winning quartet of guest artists and the knowing arrangements of conductor Jeff Tyzik.

The approach to the subject itself was intriguing; rather than straight orchestrations of blues tunes, the program delved into a way that the blues has worked its way in and out of American popular music. An arresting opening solo by organist Bobby Floyd solidified this premise with a soulful journey across genres and an impressive display of improvisation. A joy to watch, Floyd is one of those performers who genuinely loves the music he’s playing.

The affable Byron Stripling, however, stole the show as he guided the audience through a brief primer on the rise of the blues from the African-American experience. He peppered numbers with humorous asides that touched on “blues foods” and the mysterious diction of blues performers. The varied styles, ranging from rootsy jazz of “Birth of the Blues” to the Miles Davis bebop piece “Walkin”, gave him a showcase for wonderfully fluent trumpet playing. As a vocalist, he spanned the spectrum as well by including a toned-down yet admirable Louis Armstrong impression. This affect winningly captured the charm and charisma of the original man with a comical bit of clowning in “But I Was Cool”, and the full-bore-gospel declamation that propelled the final number “Get Right Church”.

Wycliffe Gordon’s onstage rapport was more low-key than Stripling, but he also astonished with his trombone work in pieces like “Night Train” and “Somebody New”. He didn’t just play his horn — he wrung it and hung it out to dry in an amazing demonstration of tones, effects, vocalizations, and techniques you don’t often see.

The preeminent instrument in blues is the voice. Channeling bits of Bessie, Ella, and even a little Nell Carter, Carmen Bradford added just the right amount of spirit and sass into her vocals on “Am I Blue” and the sweet duet with Stripling, “I Can’t Give You Anything But Love.”

Although their role was largely confined to accompanying the featured performers downstage, the Milwaukee Symphony members played solidly as always, and even got a chance to sing along on a couple of numbers.

Like many of the MSO’s Pops concerts, “Nothin’ But The Blues” was well conceived: educational without being didactic, light without being trivial, accessible without being dumbed-down. As a vehicle for building future audiences, it provides a painless gateway for newcomers to the symphony hall. Properly promoted, programming like this is the key to engaging the next generation of MSO fans – an audience that’s more diverse, more musically curious, and more likely to come back for more.