Gregory Alan Isakov and his band used those same complicated arrangements with the Colorado Symphony nearly a decade ago to launch a career of orchestra gigs. (via thknwco)
The first time I interviewed Gregory Alan Isakov, we were at his apartment in Boulder. It was nine and a half years ago, on the eve of his first concert with the Colorado Symphony. Back then, he exuded a combination of confidence and humility, honored to be collaborating with such an esteemed ensemble, but he was also matter-of-fact about getting the gig done.
And the orchestra used the moment to seal its reputation as one of the foremost classical collaborators with pop acts, which has been a crucial part of its financial strategy for a decade now. Isakov and the orchestra even went on to record a popular album together in 2016 featuring the best arrangements of the bunch. Fans of both the orchestra and the singer-songwriter seem to come together organically for their duets.
But orchestras perform with scores. They are not exactly free-wheeling, and the band has to stay in sync. It’s all about listening. Isakov said it is one of the more difficult pieces to pull off with its “elusive downbeat.” His band planned to play it the first time it performed with the orchestra in 2013, but Isakov pulled it at the last minute because he just wasn’t sure it was ready.
The concert also will feature updated arrangements of existing collaborations. “Sometimes there’s a little bit more woodwinds. Sometimes there’s a little bit less,” he said. “We are still finding those moments where we can perfect it a little better.” There is already a plan to develop orchestral arrangements of the material, and Isakov hopes to bring it to Denver soon. The city is where that part of his performing routine started, and it is an especially comfortable place to play.
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