An ambitious song-cycle by Wayne Horvitz (music) and Paul Magid (text) documenting the life and times of Joe Hill that positions itself as a modern-day extension of the kind of socialist music theatre created in the 30s and 40s by Brecht or Blitzstein, steeped in Americana but collaging various musical styles ranging from those of the time of its subject to contemporary. It works more often that one might have anticipated.

Horvitz enlists the services of Bill Frisell and, crucially, his wife Robin Holcomb along with vocalists Danny Barnes and Rinde Eckert while Christian Knapp conducts the Northwest Sinfonia. The piece is laid out in 16 sections ("actions") that vary between straightforward songs, declamatory orations and short tone poems. Horvitz' innate melodicism is clear from the start; fans of his work will recognize his distinctive voice at once. In terms of general structure, Blitzstein is often called to mind in the apposition of melodies to spoken parts as well as in the regular use of vernacular speech. In the first track, however, a pulsating theme makes direct and appropriate reference to Frederic Rzewski's "Coming Together". That combination of rhythmic cohesion and frequently gorgeous melody serves to glue together what could have been a fragmented and didactic work. Key in helping the melodic parts function is the otherworldly and beautiful voice of Holcomb, who is featured on several of the most striking tracks, notably the lovely "Nameless, Faceless" and the concluding "Where Flowers Grow". Frisell is used more sparingly, not a bad thing in this listener's opinion.

While "Joe Hill" never really falters, at 77 minutes, the pieces begin to blend together somewhat and the didactic tone of the vocals starts to wear. Still, it compares favorably with other major biographical settings from modern jazz composers like Anthony Davis' "X". Admirers of Horvitz' prior work or the "avant/rural" music of Holcomb and company will find much to enjoy here. A heroic effort, in any case.