| | Quadro Nuevo Canzone Della Strada CD Quadro Nuevo Discography of CDs
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Quadro Nuevo is a group consisting of accordion, guitar, a reed player, and bass; some selections add a string quartet, piano, mandolin, and/or another accordion. The music they perform is comprised largely of Italian folk melodies and even their originals are based on traditional themes. The music is often melancholy and haunting while always heartfelt. Despite a little improvisation, this is an Italian folk rather than jazz release. Its rich and timeless melodies are accessible and should appeal to a large audience. This set is particularly successful as romantic background music. ~ Scott Yanow
Audio Mixer: Wolfgang Lohmeier.
Recording information: 05/2002.
Translator: Agnes Jacob.
Arranger: Quadro Nuevo.
Quadro Nuevo: Robert Wolf (guitar); Andreas Hinterseher (accordion); Mulo Francel (saxophone, clarinet); D.D. Lowka (bass, percussion).
Personnel: Robert Wolf (guitar); Francesco Buzzurro (mandolin); Michaela Buchholz (viola); Andy Mulo Franzl (clarinet, alto clarinet, bass clarinet, soprano saxophone, tenor saxophone, C-melody saxophone); D.D. Lowka (acoustic bass, percussion).
Canzone Della Strada Music | List Price | $16.98 (You save $3.59) | | Category | Rock/Pop Albums, Rock CDs, Jazz, International, Regional Mexican, Tango, Italian, World | | Label | Justin Time | | Orig Year | 2004 | | All Time Sales Rank |  148454  | | CD Universe Part number | 2505954 | | Catalog number | 8504 | | Discs | 1 | | Release Date | Mar 23, 2004 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Georg F. Löffler | | Engineer | Wolfgang Lohmeier | | Personnel | Andreas Hinterseher - accordion
D.D. Lowka - bass, percussion
Mulo Francel - saxophone, clarinet
Mulo Franzl - clarinet, alto clarinet, bass clarinet, soprano saxophone, tenor saxophone, C-melody saxophone
Francesco Buzzurro - mandolin
Robert Wolf - guitar
Michaela Buchholz - viola
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Quadro Nuevo Canzone Della Strada Songs Canzone Della Strada Review
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Out from under the sprawling, ambitious Ohio, where sonic and lyric expanses were truly ambitious yet emotionally taut and controlled, Over the Rhine bring things back to the heart on Drunkard's Prayer. Literally recorded in the living room of Karin Bergquist and Linford Detweiler, it is the most intimate and personal recording in OTR's catalog. Acoustic guitars, upright bass, and piano are the primary instruments of expression here, though a drum kit, electric guitar, cello, and some sparse horns and organs weave their way through this quietly elegant mix. As a singer, Bergquist is becoming a true stylist. She has always been subtle, but she manages to underscore the maximum emotional intent in a sung line by relying on nuance and an increasingly sophisticated manner of phrasing rather than histrionics. She lets her words drop with full literate articulation, yet she leaves unnecessary weight outside the song's frame. There is no ether on Drunkard's Prayer; songs are relaxed yet fully formed, rooted in a sense of place and time. There is a touch of melancholy even in the most hopeful tomes here, such as on the gorgeous "Born," where Pete Hicks' slippery electric guitar hovers spectrally over the sparse piano and acoustic foundation. Bergquist juxtaposes the seriousness of learning to love and laugh in the midst of living an everyday existence: "Put your elbows on the table/I'll listen as long as I am able/There's nowhere I'd rather be/Secret fears, the supernatural/Thank God for this new laughter/Thank God the joke's on me.." Lines wind together and shimmer in the foreground as voice and instruments become one. On "Spark," amid Detweiler's piano and David Henry's cello, gently yet purposefully strummed six-strings gently urge Bergquist to offer love's manifesto as the only concrete hope in the midst of fear: "You either lose your fear/Or spend your life with one foot in the grave/Is God the last romantic?" Addressing fear is a preoccupation; ...
| | Original Syn CDs (2005)
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Beyond that, it's hard to say when the material was recorded. "Mallard Way," a solo piano piece by Andrew Jackman, sounds like it was done long after the original Syn dissolved, and while "Illusion" (on disc two) does feature three members of the '60s Syn, it's obviously way too prog rock and slickly produced to be from the '60s themselves. "The Last Performance of the Royal Regimental, Very Victorious and Valiant Band," though written by the Syn's Steve Nardelli and Andrew Jackman and sounding very much like a fruity circa-1967 London pop production, is sung by one Denny Ward, with Jackman being the only musician from the Syn who plays on the track. "Mr. White's White Flying Machine" is credited to "Ayshea with the Syn" and is apparently the Syn backing a female singer on a psych pop tune. And "Cadillac Dreams" is a murky recording credited to "Nasquijack" (Nardelli, Squire, and Jackman) on which only vocals and a piano can be heard. At least "Merry-Go-Round" is definitely the '60s Syn taken from an acetate transfer, though of an early lineup predating Pete Banks' time in the band.
Focusing on the music, while "14 Hour Technicolor Dream" and "Grounded" are among the finest obscure '60s British psychedelic and mod singles, nothing else here comes close to being as interesting. "Merry-Go-Round" is okay soul-mod, and the two Selfs numbers include a generic early British Invasion-style original ("Love You") and a passable cover of the Who's "I Can't Explain." But on the whole, it's only for very serious '60s British rock/Yes fans looking to fill in some of the back story of a band that seemed to have great potential, but only came close to fulfilling it on those "14 Hour Technicolor Dream" and "Grounded" tracks. More of the back story is filled in by the 45-minute interview (conducted in 2004) about the Syn with Squire and Nardelli that takes up most of disc two, as well as the 20-page booklet of photos and liner ...
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The White Iron Band is Good Timin', Foot Stompin', Honky Tonkin', Good Ol' American music with a familiar groove, but has a definite unique flavor. The band's roots extend from the Iron Range and the North woods of Minnesota to the neon downtowns of Minneapolis and St. Paul, and their varied experiences are reflected in their music. The White ...
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