The corresponding title you want it now time and the call will be fast and wordy sung, which is already in itself a vocal difficulty. Cicero's Latin pieces they sound wonderfully easy and authentic to, not least because of the great, polyphonic arrangements. Behind Cicero colossal ease, but infected long vocal experience and good musical knowledge. I say, if anyone is a good jazz singer, he has gone through a tough, complex school of singing conform to almost all sing. In any case it is complicated grade structure and a spot-on timing is not strange. Cicero studied jazz singing. As with Thomas Quasthoff's jazz album ever the special quality of his classically trained voice is to hear, you can tell at Cicero casual-spirited vocals immediately what he means by music what lies behind it.
The first three songs on the CD to roll in wuchtigem Big Band Sound. Enter initially more jazz emphasized as the entire album is really like. The arrangements, as well as the whole sound strongly reminiscent of the swing range band in the world, namely, at the Count Basie Orchestra 60s. This applies particularly to the rapidly pulsing song The List. The following titles Take your guy back would be the definitive piece Big Band vocalists ever! Although Roger Cicero clever some purist jazz critics regarding his new CD vorbaut, saying in an interview that he made no jazz, but pop jazz gown then I can only say: dear Roger, what are you doing with this song, as you see him sing , and as you increase you in the last third and then you scream from the song, that's pure jazz singing, and nothing else! The number belongs to the jazziest what Mr. Cicero has sung, and flashes forth with his clenched momentum particularly from the album!
No dinner is then more a merry-rollicking Big Band number. Roger and his band bursting with playful mood that sometimes downright culminates in a kind of aggressive swing, especially when he sings cheeky: Fuck this shit, we remain zuhaus! The lively text describes in funny-strange details a probably quite annoying dinner in advance, which was then but does not take place. I like the lyrics, because unlike the very general theme German pop a la: Only love gives us life, and so on, the lyrics of Frank Ramond always refer concretely to certain situations. They are original and despite many a madness not unrealistic, but just the opposite. So many things that can affect every man in life, here is reflected in the individual stories substantially again.
It continues with I feel for you verlorn. Just as the song starts, it initially strongly reminiscent of the so-called Doo-Woop sound of the 50s. But very quickly, the song evolved into a somewhat nostalgic and emotionally rich big city blues. For complex sound of the best band in the world, Roger can sing out here with passion and can radiate his voice powerful. That's a really bittersweet tearjerker to the Stephan Abel with his tenor sax still contributes an effect full solo. The title is lovely to listen to, but does not have the ballad sadness, emotional depth and lasting impact of I breathe in (on Männersachen).
The resounding SuperDrive has the experiment, a clear highlight of the CD. This perfect blend of pop-jazz-soul Latin, dominated by compact wind-sets and flashy drum sound, shoots without detours immediately in the legs and grooving like the devil. That's enthusiastic devotion to the ever-advancing rhythm! Who still thinks of these (discussed) text? Only an unusual story with experience value, which I would describe as really not dare! Almost as compelling as the experiment of simple knitted pop hits is crazy all furniture. A short intense song with forciertem rhythm. The frequently repeated melody of the refrain immediately reached concision and settles quickly as catchy.
Strong mood swings in the shadowy ballad What do you dream at night that offers a quieter Roger Cicero and a suggestive Beautiful Arrangement. Also sung thoughtful is the text from both very interesting as the music here, instructive song Beautiful wars without. A small survey of the present time with a bitter aftertaste. The musical composition may well be a modern jazz theme. Behind the gently swinging arrangement with the flugelhorn solo by Axel Beineke is audible to me a fitting on melancholy. Stylistically, you can also assign the song Good friends this quieter jazz ballads. This thoughtful songs and Rogers tribute to his father stand in marked contrast to the prevailing mainstream on the CD respectively.
Almost at the end of the CD, the level of production by the simple highlight is I'd have loved to say goodbye again raised considerably. The song may seem musically simplistic, but be careful, the melody has tricky turns. This composed by himself, a tribute to his late father shows precisely: Roger Cicero can sing. And you have to have a very superficial perception to hear about the many artful nuances and the intensity of his singing. From a purely vocally it is the most sophisticated piece of the entire CD.
Rogers interpretation includes almost every one of his vocal qualities for me. From velvety depth it changes over fragile falsetto that comes sounded nice and not quäckig, to his strikingly energetic tones. Restrained piano accompaniment lets his soulful singing sound almost like a capella. An unspectacular masterpiece. And the critics, stereotyped establish the equation: = Kitsch feeling I want to shout: Please tolerance for feeling. Because here we heard a very intimate Cicero, really motivated and unsentimental in its emotional expression.
Respectively, an impressive production of and with German artists is revealed again a fabulous Big Band and a very talented singer. The voice of the 37 year old Cicero is the beautiful blend of youthful dynamism and musical experience, plus the art of old-timers!
