Artist.......: Lo And Behold
Album........: Mrs. Shrill's Mindblowing Experience
Label........: Intuition
Genre........: Jazz
Catnr........: INT 33872
source.......: CDDA
rip.date.....: Jan-06-2007
str.date.....: Sept-19-2005
quality......: VBR/44,1Hz/Joint-Stereo
Url..........: n/a
track title time
CD1
01. Here comes the queen 00:39
02. I keep on singing 05:42
03. Missing: Lizard 03:20
04. Are you suffering cramps? 04:17
05. My mobile 06:35
06. Ministry for relaxation 04:12
07. Never trust a lawyer 03:00
08. Full moon 02:05
09. And now in stereo! 01:43
10. A German funeral a la New Orleans 03:23
11. Life is your right 05:15
12. Jazz is difficult 02:18
13. Weckert remix by Tackman 02:23
14. Lovesong for George W. Bush 03:25
15. Success at any price 01:29
CD2
01. The Music Industry 05:31
(Radio Scit) German Version
02. The Music Industry English Version 02:05
03. Untitled Track 03:45
04. Untitled Track 01:42
05. Untitled Track 04:42
06. Untitled Track 05:26
07. Untitled Track 02:04
08. Untitled Track 04:02
09. Untitled Track 01:42
10. Untitled Track 05:02
Runtime 85:47 min
Size 107,1 MB
Release Notes:
Lo & Behold, the name of Berlin-based saxophonist
Sandra Weckert's group, refers to an old blues
line, meaning so much as come and look with
astonishment. One can be astounded by Sandra
Weckert in numerous ways. When a saxophonist says a
mouthful, it doesn't necessarily have to be a
negative thing: the more he has in his mouth, the
more power he can put into his horn. In any case,
Sandra is fed up with the traditional jazz thing.
Nonetheless, she is not one of those who claim that
jazz died with the 20th Century. On the contrary,
with new wind in her sails, she is shaking up jazz
from the bottom up.
Jazz purists already have Sandra Weckert in their
sights. In some circles she is persona non grata,
because she has dared to put her finger where it
hurts and points out how jazz in Germany has been
driving away audiences for years. She holds up a
mirror in front of the academics, parodies
conventional styles, loves provoking and
exaggerating. Instead of avoiding cliches, she
builds them together in unusual, often excessive
ways, so that she may someday go down in musical
history as the Eulenspiegel of German jazz. I'm not
inventing any new tones or playing anything that
hasn't already been notes Sandra Weckert. I love
jazz, but see and parody the things that, in my
opinion, are going wrong. Especially in Germany
there are many such things, and I rub other
people's nose in it. They should finally learn to
laugh at their own situations and mistakes, instead
of endless analysis and searching for pedagogical
concepts. For this and other reasons, Sandra
Weckert deals with the state of jazz in Germany not
only musically, but also with an audio-play on an
extra CD.
Sandra Weckert is not only Germany's most
argumentative musician, but is also a master of
placing herself in the spotlight.. She knows that
it is no longer sufficient to play her horn with
virtuosity. No, she also does everything possible
to get in the public eye. Her debut album, Way out
West, a self-confident homage to Sonny Rollins,
reaped accusations of blasphemy from those who are
against what she's doing. The consciously
provocative title of her second album, 50 Sandra
Weckert Fans Konnen Sich Nicht Irren (50 Sandra
Weckert Fans Can't Be Wrong) sounded like a
bristling Now I'm gonna show you a thing or two.
The stylish title of her third CD, Bar Jazz is
misleading. The listener is confronted by a
bombardment of story telling and aggressiveness.
But it was on her fourth album, Lo & Behold that
she finally convincingly unified her idealistic
demands and the playful reality of her musical
stance. More ideas developed from the first three
albums. It's like by the sorcerer's apprentice. I
can't get rid of the spirits that I've summoned. My
first compositions arose from mainstream jazz, even
if it doesn't sound like it. Later I brought more
elements into it, so that I was able to crown the
new album with even more fresh ideas. The more
differentiated my music is and the more often I
knock the listener off the track that I put him on,
the more fun I have.
Sandra Weckert is an iconoclast; her new CD is a
labyrinth of styles and insidiously laid tracks.
She is searching for eclecticism, leaves jazz
impudently behind, but always finds a way back to
mother jazz through the backdoor. The survivors in
jazz of the 21st Century are those who can place
their own accents and do not have to blindly
relegate themselves to the rule of tradition. Jazz
is a musical style that I like very much. But I
hardly ever go to jazz concerts unless the
musicians really have something to communicate. I
find the normal jazz thing rather destitute. It's
always the same old thing. A pretty woman
whispering jazz standards, like they've been doing
it for the last 70 years, and it is even worse when
it comes to the instrumentation. I look in vain for
musicians with charisma. Instead, jazz is dominated
by the musicians' egos. All too often jazz is
boring intellectual diarrhea that I'm not even
interested in.
It would be wrong to think that Sandra Weckert has
a lack of ego. She radiates self-confidence, which
comes across in her music. Sandra Weckert's
personality and her music are in unity. But what
counts is what her personal criteria hold up to
those musicians, from whose egos she wants to
separate herself. On stage we are a band and not
five people who each want to go in their own
direction. What's important is that the music is
transported as it is written. I may be the one who
writes the music and announces the songs on stage,
but I am also just a cog in the wheel in terms of
the band. My ego is not as important as the music's
ego.
Lo & Behold frees the listener from the mental
state in which he currently finds himself and
confronts him with something he wasn't expecting.
Sandra Weckert also wants to confront herself with
new things. As such the sto