| | Kammerflimmer Kollektief Cicadidae CD Kammerflimmer Kollektief Discography of CDs
Cicadidae is the natural outcome of Kammerflimmer Kollektief's evolution from a hybrid jazz electronic outfit to experimental improvisers and finds the band actually playing as a band with brass and string instruments, electronics, drums, and keyboards. It makes Kammerflimmer a sort of Black Dice for downtempo ambient music -- while their lush, tweaked sounds (and decidedly warm tones) are similar to both Four Tet and Manitoba, the songs on Cicadidae have a much looser rock feeling. Take "Neumond Inselhin," which starts the album off with a gentle ticking, gurgling, and chiming that turns to a genuine string melody and then a subtly buzzing cacophony. The song doesn't so much evolve from one phase to the other as it just sort of dances back and forth, like insects in the moonlight on a summer night (hence the cicadas). There's a remarkable range to the music that conjures Kammerflimmer's dreamy surrealism -- from the Múm-esque chimes of "Blood" to the clearly Western-inspired (and somewhat caustic) "...Denn Nacht Ist Jetzt Schon Bald!" (Ennio Morricone meets Steve Reich?). It's this openness and spontaneity that makes Kammerflimmer Kollektief's music so thrilling -- after all, the very next track is a Björk-ian dark pop song, followed by a spare, techno jazz groove on "Mantra." Kammerflimmer's ideas are so original that they may seem far-flung to those uninitiated with experimental music, but their delivery is so inviting and hypnotic that it makes Cicadidae unusually accessible. ~ Charles Spano
Translator: Oliver Kühne.
Arranger: Tom Weber.
Personnel: Tom Weber (guitar, piano, harmonium); Heike Wendelin (violin); Dietrich Foth (saxophone); Christopher Brunner (vibraphone, drums); Johannes Fritzch (double bass).
Liner Note Author: Dietmar Dath.
Magnet (2/04, p.100) - "The fluttering sequences, tittering cymbals, plucked cellos and noisy tangles of 'Neumond Inselhin' and the mix of unbound bass and clinking slide guitars that make up 'Uber Die Wasserscheide' form a joyful weave..." Kammerflimmer Kollektief Cicadidae Songs Cicadidae Review
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Purchase Cicadidae CD To buy, Click on price to add to cart | Kammerflimmer Kollektief Incommunicado CD (2001)
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The Organ's 2002 debut EP Sinking Hearts was more captivating than most of that year's full-length releases: over the course of just 15 minutes, the band crafted chiaroscuro ...
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| | Ernest Tubb Texas Troubadour CDs (2003) (Import) Box Set; United Kingdom
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| | Tammy Wynette The Ways to Love a Man / Tammy's Touch CD (2006) (Import) Australia
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Raven's 2006 two-fer combines the first two albums Tammy Wynette released after her 1969 Greatest Hits LP: 1969's The Ways to Love a Man and 1970's Tammy's Touch. Although neither of these are quite as iconic in their titles (and title songs) as Your Good Girl's Gonna Go Bad or D-I-V-O-R-C-E or Stand by Your Man, these are excellent records in their own right and can be seen as portraits of the queen at the peak of her reign.
The Ways to Love a Man found her and producer Billy Sherrill at cruising altitude, delivering an album that easily replicated the sound and feel of Stand by Your Man. If anything, the album felt a bit too easy, as Sherrill began making his productions smoother and silkier, sanding away any of the lingering rough country edges that were on Stand by Your Man, giving Tammy's impeccably luxurious surroundings. It's an appropriate setting for the First Lady of Country Music even if it ironically feels a bit more pop than country, but the key to Sherrill's productions was how he made them so grand and then singers like Tammy or her husband George Jones grounded them. More than any of Sherrill's other vocalists, Tammy seemed to slide into the soft textures of his productions, and nowhere was that sound softer than it was on The Ways to Love a Man, where Tammy comfortably covered Johnny Mathis' "The Twelfth of Never." This may have been the only time on the record that she sang an old-fashioned crooner, yet the album retains a romantic mood, verging on being a countrypolitan make-out record (which is quite befitting for an LP called The Ways to Love a Man and whose biggest hit was the title track). This sustained mood is appealing, even seductive, but the album is just a shade less compelling overall than its immediate predecessor...but ...
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Jack Jezzro DIVERSITY best describes the artistry of guitarist, bassist, and producer Jack Jezzro. His numerous recordings and productions have sold well into the millions, all while continuing to be a highly regarded studio musician and performer with an extensive resume. However, even more than that, Jezzro has a style and taste that are all his own—qualities that are a breath of fresh air to the music of today and qualities that breathe new life into the music of yesterday. ::: The Early YearsJazz is a natural expression for this West Virginia native, who seems to have been born musical. Jack Jezzro grew up in the small town of Rivesville, starting on piano and accordion when he was very young. “I would go to the piano and start banging out tunes when I was four or five,” he recalls.His remarkable skill at simultaneously fingering melody and chord changes came naturally to him as a young listener. “I had a stack of Chet Atkins records, and that’s how I learned to play,” Jezzro reports. “As a kid, I’d want to play all the parts. I’d listen to a tune by James Taylor, The Doobie Brothers, Simon & Garfunkel, or whomever. I’d play the bass part, the piano, the vocal—and I’d want to do it all right there on the guitar.”::: EducationFor his bass-playing skills, Jezzro earned a scholarship to West Virginia University in nearby Morgantown. “I still kept playing guitar, but they didn’t have a guitar program,” he says. “I wanted to go to school there because it was close by, so I picked the bass and really got into it.” The year was 1976. “That fall, the Pittsburgh Symphony Orchestra came to Morgantown, and I got to meet the principal bass player, Sam Hollingsworth. We immediately hit it off.”Hollingsworth took Jezzro under his wings, preparing him for a professional career. By 1978, Jack knew that if he wanted to become a professional, it was time to move on. Therefore, he took the year off from school and began playing in the Charleston Symphony Orchestra (CSO).After a year with CSO, Jezzro won a scholarship ...
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