“My whole adult life has been about pursuing composition and improvisation and connecting with all sorts of music communities outside of classical music,” says BlockCello
Cellist-composerexplains an interesting concept to me: “There’s a strong improvisational tradition in Baroque music,” he says. “The notation was essentially a chord chart back then—we’re talking the 1600s, back then.” I’m intrigued; I’d usually associate these words—improvisation, chord charts—with jazz music, or R&B. But Block explains that even something so rigid as classical music has roots in a free form.
This is just one example of the idiosyncratic prowess of “What Now?”, an album brimming with worldly influence. Songs like “Highland Ridge” and “One Fine Day” are as rustic as their titles suggest, both twiddly and foot-stomping. “Medieval Winter in Muncie,” an ornate waltz of sorts, plays to Block’s classical roots, whereas the Brazilian folk of “Fla Flu” flexes a sturdy samba groove. “A-OK” and “Won’t Have to Wait” are driven by bouncy pop melodies.
“What Now?” is another bullet point of Block’s manifesto: To liberate the cello from its traditional constraints. He’s made this mission his life’s work, an ambition that has conjured an absurdly prolific output of music through the last several years.
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