One might look to an album like this to test the health of American ideals. Or one might use it to examine the continuing viability of the pops ensemble in an era when connections between the pop and classical spheres seem to be fraying. Both results would be positive, and the thread that connects both positive results is the continuing skill of the Boston Pops under conductor Keith Lockhart in handling music that has a march beat underlying it somewhere -- the orchestra is rhythmically vibrant, and its brasses are rivaled ...
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One might look to an album like this to test the health of American ideals. Or one might use it to examine the continuing viability of the pops ensemble in an era when connections between the pop and classical spheres seem to be fraying. Both results would be positive, and the thread that connects both positive results is the continuing skill of the Boston Pops under conductor Keith Lockhart in handling music that has a march beat underlying it somewhere -- the orchestra is rhythmically vibrant, and its brasses are rivaled in the United States only by those of the Chicago Symphony. This program of patriotic music, which would be just fine for any Fourth of July party or backyard fireworks display, incorporates pop songs into what would have been a Boston Pops Independence Day program 50 years ago, and the blending is seamless. The jazz accents of Boogie-Woogie Bugle Boy are expertly handled by the brasses and percussion. Arlo Guthrie is on hand for City of New Orleans and This Land Is Your Land, and...
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