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Reviewed by Charlie Richards
   
 It wasn’t exactly the venue in which one would expect to find them – folk singer Tom Brosseau who will be performing soon at the Attic in Santa Cruz, and classical violinist Hilary Hahn who just finished a gig at the L.A.’s prestigious Disney Hall, but here the two met at the unlikeliest of places, Amoeba Music in Hollywood, and the result was one of the most unique and absorbing in-store performances our music Mecca has known.
     It was really Brosseau’s show, a party to celebrate the release of his new album “Grand Forks”, but the artist gracefully asked Hahn, with whom he has shared a friendship for some time, to share the stage with him.
     Naturally, Brosseau went on first, singing a set of songs from his new album. He states his influences have been Nick Drake, Cole Porter, and Woody Guthrie; others have likened his voice to that of Jeff Buckley. Despite these comparisons, Brosseau has a style all his own. The voice, which has somewhat of an androgynous sound to it, is pure and heartfelt, and so is the quality of his music. Sometimes accompanying himself on the guitar, sometimes singing acapella, and sometimes cupping his hands to create an echo effect, Brosseau seemed to please the crowd, which appeared to contain a great number of die-hard fans.
      Then Brosseau gave the stage over to Miss Hahn, but despite the sudden change in musical style the segue way seemed as natural as could be imagined. Hahn, dressed in jeans (which, one would imagine, was not her costume at Disney Hall the previous Sunday), who, despite her youth, has gained a tremendous reputation due to her talent and intense artistry, began her set by playing a selection from her new album of Paganini and Spohr concertos. The extract was unusual: it consisted of the cadenza from the first movement of the Paganini, the only thing from the album, she explained, she could play without an orchestra there to back her up. It was odd to hear such a thing out of context, but was brilliant, and only a warm-up to what would come next. What followed sent many a jaw a-drop in the audience: the monumental Chaconne by J.S. Bach, one of the longest, most intricate, and most achingly beautiful pieces ever written for the solo violin. All was silence save Hahn’s violin; one could hear a pin drop as the audience listened in reverence. Pretty amazing for a record store that’s usually buzzing with activity and noise – but that’s what made this event so special.
     Hahn finished her set with two solo sonatas by Ysaye (neither of which she has recorded yet – but one hopes she will) and the Prelude from the 3rd Bach Sonata, a rollicking piece as different from the Chaconne as night is to day.
     One would think this would be a tough act to follow – but the concert ended on a quiet and most welcome note of friendship as Hahn joined Brosseau in a set of three songs from “Grand Forks” that Hilary played on the record as well – the two seemed perfectly matched, and all was pleasure and satisfaction, at least as far as this reviewer was concerned.