From Juilliard Alumnus Zuill Bailey (M.M. '96,cello) comes a fresh new look at Bach's six cello  suites, collectively one of the composer's most notable instrumental achievements. Even on a first listen, Bailey's ability to make subtle timbral adjustments is immediately noticeable: the opening of the Third Suite combines a discreet nasal quality in the lower register, with more translucence appearing in the upper ones. Attacks have a slight burr, brimming with the overtones created by his magnificent cello- an Ex "Mischa Schneider" Matteo Gofriller instrument from 1693.

     Deft bowing combines with intonation that never flags, even at high speeds. Tempos are swift, but not headlong. Bailey even manages to find some humor, such as in the dancing phrases of the Fifth Suite's second and third movements. This suite's famous Sarabande is done with utter confidence: those who find strength in sorrow will welcome the emotion that Bailey infuses here, and the flights into the upper registers have immaculate polish.

     In some places Bailey lets a virile earthiness provide a foil for unexpected light touches, such as in the opening movements of Suite No.2. And check out this suite's Courante movement (and the similarly speedy Courante in Suite No. 4), a wisp of an entry in the "How Fast Can You Play This? sweepstakes. Bailey is not afraid to make sounds bordering on the nontraditional, letting the instrument groan slightly in pursuit of tonal variety. In all six, nothing seems taken for granted.

     Despite the many classic versions of these available on disc, such as those of Casals, Fournier and Starker- not to mention Juilliard's own Yo-Yo Ma ( Pre-College '71, Professional Studies '72)- this gutsy new interpretation may well stand alongside them for some listeners. Adam Abeshouse has recorded Bailey in the Academy of Arts and Letters in New York City, allowing just a whiff of the cellist's breathing to register, which both emphasizes the superhuman effort required to play these and brings listeners right in the room.

Bruce Hodges

FSO Review- Arizona Daily Sun- by Charles Spinning- Special to the Sun

...Friday evening's audience eagerly anticipated the appearance of the healded featured soloist, cellist Zuill Bailey, in a performance of Czech composer Antonin Dvorak's B Minor Cello Concerto.  Bailey was inspired as a young teenager by a performance of this work by legendary master cellist Mstislav Rostropovich, and he literally poured out his soul in a sensitive reading of his supremely romantic and richly orchestrated piece.

His exhilarating performance was as much a focus on a fine artist representing the new generation while following in the footsteps of past artists associated with the Dvorak concerto, as it was on the remarkable instrument that Bailey is honored to play. Built in 1693 by the Venetian instrument maker Matteo Gofriller (1659-1742) the rich silky tone and warm , full bodied sound qualities of this musical  treasure complemented the skill and impeccable technique of the artist to whom its care and new life has been entrusted.

The perfunctory and now practically requisite standing ovation at most FSO performances was this time richly deserved. Following four return bows, Bailed rewarded the audience with an encore, the first movement of Bach's Suite in G Major for solo cello, a selection from the first of three of Bach's six solo cello Suites, which he will perform in Sedona this afternoon.

To hear more of Bailey's artistry and a taste of a very different repertoire played on the beautiful Gofriller instrument, it would be an excellent idea to travel down the hill for Chamber Music Sedona's hosting of the cellist.

The New Bedford Symphony, Dr. David Mackenzie, conductor and Guest Artist Zuill Bailey- South Coast Today

The first of the programs "twin pillars of the classical repertoire," as Dr. David MacKenzie described them, was Dvorak's Concerto for Cello in B Minor, featuring guest artist Zuill Bailey.

An internationally acclaimed cellist, Bailey played with passion and panache, seeming to relish his interplay with the orchestra as well as listening to his fellow musicians during his brief respites. His rendering of the tender melody in the slow section of the final movement felt remarkably delicate and intimate.

The performance earned a standing ovation from the majority of the near-capacity audience.

Bailey responded to the sustained ovation with not one, but two delicious encores excerpted from the Bach Cello Suites, his recording of which was not coincidentally, available for purchase following the concert. Bailey pointed out that his cello, a 1693 Matteo Gofriller, was just eight years younger than Bach, born in 1685.

-Joanna McQuillan Weeks

 Indianapolis Star- February 5, 2011

On Friday night, with recording microphones set up to yield a Telarc CD from three performances with the ISO, Zuill Bailey offered a passionate yet dignified interpretation of the 1896 work. His playing was consistently  well-focused to emphasize the intimacy of the solo role. The lyrical writing prominent in all three movements was sustained with deep feeling, and its virtuoso contrasts- the rapid figuration, delicately patterned string- crossings, treacherous sliding double stops and crystalline trills- shone without sounding effortful. - Jay Hervey