David Chesky's upcoming work-which includes the Concerto for Piano and Orchestra; the Concerto for Orchestra; along with the Concerto for Bassoon and Orchestra-heralds a new form of American urban music from the streets of New York. It marries jazz, funk, Latin and other popular styles with orchestral forms popularized by Stravinsky, Bartók and others. "Many people ask me, 'Why do you use jazz in your orchestral music?' The real question is, 'Why shouldn't any American composer use jazz in their music?'" Chesky writes in the liner notes. "After all, we are a jazz nation. Jazz is our indigenous art form." Latin and jazz rhythms have always been a constant in Chesky's canon and his forthcoming work will be no exception. "I like to transform the orchestra into a great big rhythm machine," he writes. "The orchestra itself becomes an extended percussion ensemble. There are always spaces in the orchestrations for the funk, jazz and Latin lines to sound through. It is a sort of urban pointillism-many note vectors coming at you at different times fitting together like a puzzle." The work was recorded June 12-17, 2006, with the Symphony Orchestra of the Norrlands Opera in Umeå, Sweden. Celebrated young Bulgarian conductor Rossen Gergov handles baton duties, while featured soloists include Swedish pianist Love Derwinger and Estonian virtuoso bassoon player Martin Kuuskmann. "The key to performing this music is that the orchestra sections must be in lock step with each other so that the rhythmic texture will be palpable," Chesky adds. "The music is like a finely tuned sports car that turns on a dime; it needs the orchestra players to synchronize precisely with each other. Rhythm is the key."
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