Bela Fleck with the Vermont Symphony Orchestra At The Flynn Center for the Performing Arts

Bela Fleck with the Vermont Symphony Orchestra
Flynn Center for the Performing Arts
Burlington, Vermont
September 27, 2024

As if a fine jewel placed in its setting, Bela Fleck's appearance with the Vermont Symphony Orchestra took place at the very center of the two-hour program on September 27th. Considering this occasion was the season debut of the VSO—in its 90th year no less—the concert set a high bar for their future performances (including another such meeting of these musical minds the very next night further south in the Green Mountains at Rutland's Paramount Theater).

Reprising some of the work collected on Rhapsody In Blue (Thirty Tigers, 2024), Fleck was as circumspect in his playing as in his appearance. Dapper in dark clothes with a suit jacket that suited the formality of the occasion, his graying hair and beard set off his attire in much the same way as the precise sound of his banjo notes contrast the larger instrumental scope emanating from the orchestra behind and around him.

The banjo virtuoso made no attempt to call attention to himself via his understated stage presence or his musicianship. On the contrary, he deferred to the VSO in the early going, taking as much pleasure in his numerous quick contributions as his shy smile around the Mainstage and the whole room would suggest.

In fairly short order, however, Fleck's fluent, deceptively casual playing generated strings of notes both short and long that, interwoven with the larger ensemble at progressively more dramatic junctures, proffered a cushion for the strings, woodwinds, brass and percussion. Later segments found the master banjoist actually spurring on that varied complement of instrumentalists.

Such dynamic interactions recalled the latter's 2007 duo appearance with pianist/composer Chick Corea. The late and deservedly lamented icon of modern jazz found himself pushed and prodded more than a few times that night by the once and future leader of The Flecktones and while such intervals were fewer and less insistent on September 27th, the VSO's reverence for their guest's skills was as readily apparent as their willingness to accept cues from him.

The feeling was definitely mutual too. But given the fact the piece at hand was Bela Fleck's arrangement of the George Gershwin classic, the hierarchy revealed itself as the roughly twenty-minute interval unfolded. With only the slightest melodrama telegraphing the final crescendo, it was thus understandable to observe the delayed reaction of a standing ovation bestowed upon Fleck, even as he was graciously gesturing to his various accompanists alongside similar gesticulations from genteel VSO conductor Andrew Crust.

And given what appeared to be a well-defined program, opening with a comparatively short segment including another Gershwin perennial "An American In Paris" (duly introduced by narrator Ashley Snow), it was altogether surprising to see the eighteen-time Grammy Award winner reappear at side stage seconds after his departure, then proceed back to his seat up front and center.

No flashier than in his collaborative interval, this solo turn—an as-yet unnamed composition still in gestation—was nonetheless a reaffirmation of the technical expertise and good-natured soul Bela Fleck invariably brings to his playing. Fingering the strings of his instrument with the same gentility he used to navigate (all the way) up and down the fretboard, the man took less than ten minutes to enchant what appeared to be a capacity crowd in the venerable venue.

Based on overhearing conversation around the orchestra area during intermission, the current Nashville resident's effect on the attendees of the pre-show discussion clearly mirrored his humble yet abiding connection with the Vermont Symphony membership. So it was the bouquet of flowers with which Fleck was presented after the conclusion of his spotlight was a gesture devoid of rote ceremony; on the contrary, the bestowal carried as much genuine affection on behalf of those musicians in close proximity to him as resided in those occupying the seats in the hall. The restraint in that round of applause belied its depth of admiration.

Coming almost a year to the day after guitarist/composer Pat Metheny occupied this space , Bela Fleck's long-awaited appearance at the Flynn Center bespoke a reputation comparable to the brilliant Missouri native's. Such acclamation afforded the man with the self-professed bluegrass heart this early autumn night carried all the more impact because he spoke not a word during his time on the stage, knowingly allowing his art to wholly, completely and eloquently speak for him.

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