Barnes & Noble
At first glance, this might appear to be just another crossover album: the 12 Cellists of the Berlin Philharmonic playing arrangements of Gershwin, Ellington, Monk, Mancini, and Glenn Miller, with a few spirituals thrown in for good measure. But look closer and you'll find that 'Round Midnight is more daring than its initial appearance suggests. The disc is centered around Robert Brookmeyer's Amerika 2002, In Memoriam, a darkly colored, jazz-inflected, two-movement work with solo trumpet (played by Till Brönner) inspired by the events of 9/11/2001. Even the Gershwin -- an arrangement of the Second Prelude (originally for piano solo) -- has an unusually profound resonance, as it was played by the ensemble on 9/12 to commemorate the previous day's tragedy. And vestiges of that can be heard here in the mournful, muted performance. Another surprise is Sergio Cárdenas's The Flower is a Key (A Rap for Mozart), an offbeat yet engagingly rhythmic homage to the great Wolfgang Amadeus in which the "rap" is intoned (and very effectively, too) by Sir Simon Rattle, the orchestra's music director. The other works on the disc are more conventional, but all the arrangements have been done with care, providing plenty of contrapuntal detail and unexpected harmonic twists. The sound quality captures the rich, woody tone of the Berlin cellos to perfection, and the end result is an unusually engaging disc that's a tribute to the Berliners' stylistic breadth and emotional probity. Andrew Farach-Colton
All Music Guide
Of all the string instruments, the cello is the one that is most self-sufficient when heard en masse. Villa-Lobos knew it -- his "Bachianas Brasileiras Nos. 1 and 5" are the results -- and The 12 Cellists of the Berlin Philharmonic have been proving it for some 30 years before the release of this album of American music of several stripes. No one needs to be told that this is a crossover special; after all, it has been released as a joint EMI Classics/Blue Note project. But this is no rah-rah album of patriotic pieties, for the CD explores the dark side of "America" as well as its soul-lifting show tunes, spirituals, and jazz tunes. Using all kinds of extended techniques that prod and scrape at the instruments, the opening "Caravan" sounds truly dangerous, capturing the dissonant strands that stick out of the Ellington 78 of the 1940s and have seldom been heard since. Bob Brookmeyer, the jazz trombonist/arranger/composer, surprises us all with "Amerika 2002: In Memoriam," a troubled two-part meditation on the state of the union, inspired by the events of September 11. On the other hand, Leonard Bernstein's "America" is turned into a neo-classical piece, while the "Pink Panther" theme emerges remarkably unchanged in its essential sneakiness. In what turned out to be the album's principal coup, the cellists managed to persuade their new chief conductor, Sir Simon Rattle, to supply the "rap" for Sergio Cardenas' hilarious "The Flower Is A Key (A Rap For Mozart)." Rattle obliges with his deep, mischievous Liverpudlian accent, putting his stamp on an album which serves notice that the tenures of Herbert von Karajan and Claudio Abbado at the Berlin Phil are going to look awfully stodgy in comparison to the Rattle era. Richard S. Ginell
New York Times
The serious mixes with the mundane, the playful with the earnest, and high and low twirl round each other in a dynamic stew of Americana. Michael Beckerman