Brian Wilson Reimagines Gershwin
August 20th, 2010 by Bruce Edwards
The first listen to any Brian Wilson record (I insist on using that retro term, even though what I am listening to is technically a CD) is a singular, momentous experience for which one sits down, full concentration, quiet please, and a self-surrender into the world he creates by sound. I confess there is no parallel music experience to it in my audio biography that so captures my complete attention and reverence.
Brian is on record as citing Bach, Gershwin, and Phil Spector as his mentors—and what do they have common? The so-called the “wall of sound,” but, specifically, for Brian, the wall of harmonies he has infused into anything he creates or “reimagines”; this is what is distinctively transformative and enrapturing in his music.
Whether his own creation (“Smile”) or one reimagined (“Lucky Old Sun”), each work christens its own audience with new musical meanings and greater reflection on its enacting as an event—not just a “listen.” I haven’t paid enough attention to Bach (and won’t have time today or tomorrow or anytime soon); I do appreciate what I know of the genius of George Gershwin; and I grew up impressed by the musical landscapes invented by Spector (“You’ve Lost that Lovin’ Feeling” cannot be topped in over the top production)—but all things considered, I’d rather be listening to Brian on any given day.
On any given day, Brian Wilson’s reimagining of any kind of music would be worth our time to consider. And the plan is for Brian’s second task to be a “reimagining” of Disney’s catalogue of children’s songs (here’s hoping they leave out “It’s a Small World,” but maybe Brian’s magic would even work on this). But for the moment, Brian Wilson Reimagines Gershwin is plenty to ponder and enjoy.
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