Wonder Wheel + 4 Bonus Tracks

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Płyta "Wonder Wheel" The Klezmatics otrzymała nagrodę Grammy 2006 - najbardziej prestiżowe wyróżnienie muzyczne na świecie w kategorii Najlepsza Płyta World Music 2006 roku. Teraz otrzymujemy nową edycje tej właśnie płyty poszerzoną o cztery niepublikowane dotąd utwory.
"Wonder Wheel", płyta, która powstała na przestrzeni siedmiu lat w szczególny sposób prezentuje wyjątkową postawę polityczną i program społeczny Woody'ego Guthrie'go w szerszym, globalnym wymiarze, przywracając postać XX-wiecznego Amerykanina współczesnej publiczności. The Klezmatics w ekscytujący sposób pobudzają teksty Woody'ego do życia, nadając im wschodnio-europejski, klezmerski, latynoski, celtycki i karaibski posmak, zwracając im ich własne uniwersalne życie.
Mając w składzie celtycką wokalistkę Susan McKeown, multi-instrumentalistę Boo Reiners'a oraz jednego z najbardziej cenionych producentów - GoodAndEvil (Sex Mob, Elysian Fields, Felix Da Housecat) zaskakują intensywnością kombinacji elementów kultury amerykańskiej i egzotycznych.
The Klezmatics od chwili powstania w 1986 roku cieszy się wielkim uznaniem słuchaczy i krytyków i jest jedną z najbardziej popularnych nowojorskich grup klezmerskich.
Muzycy - flecista i kompozytor Matt Darriau, skrzypaczka Lisa Gutkin, perkusista David Licht, Paul Morrissett grający na gitarze basowej, wokalista Lorin Sklamberg oraz dobrze znany polskiej publiczności trębacz Frank London - łączą tradycyjne motywy muzyki klezmerskiej z rockiem, jazzem, popem, funky i hip-hopem. Nazywani "heretykami" na współczesnej żydowskiej scenie muzycznej wirtuozi światową sławę zawdzięczają tej właśnie mieszance.


prasa światowa o drugiej płycie 'Wonder Wheel':


"The Klezmatics są cudowni... 'Gonna get Through This World'to genialny utwór." - Pete Seeger

"A" - Robert Christgau / The Village Voice, New York

***** (5 gwiazdek na 5) Kolejna niesamowita sesja ... (rozpięta) pomiędzy fragmentami przejmująco cichymi oraz zaraźliwie swawolnym. - The Montreal Gazette

"czysta radość ... słowa Guthrie'go przeszły metamorfozę z zapomnienia w kierunku żywych, witalnych utworów muzycznych... żydowscy teściowie Woody'ego z pewnością byliby dumni" - All Music Guide

"Beztrosko ucieka z głośników i nadaje imprezom życia." - The Chicago Sun Times, Illinois

"Muzyka żywsza niż słowa." - The Star Ledger, New Jersey


Billboard Magazine - 08/14/2006
Where does klezmer meet American folk music and social activism? Thanks to The Klezmatics, we discover common ground on Brooklyn's Mermaid Avenue, where Woody Guthrie lived in the late 1940's. Working with Guthrie's daughter Nora to uncover some lesser known gems from the pioneering balladeer, the band confounds expectations by tapping into a bluegrassy vibe ("Gonna Get Through This World") and a 1950's style pop (on "Mermaid's Avenue") as well as into its iconic klezmer energy on such tunes as "Goin' Away To Sea" and "Wheel Of Life." Regardless of what flavor a particular track takes on, however, the Klezmatics prove themselves to be sensitive interpreters of any artistic language they choose, shapeshifting their sound around vocalist Lorin Sklamberg's lithe and heartfelt lead. While the trip along Mermaid Avenue is off the beaten Klezmatics path, it's a welcome diversion.

Village Voice, 06/18/2006
By Robert Christgau
Rating: A
What a treat to have Lorin Sklamberg singing in English, with the gentleness and precision non-Yiddish speakers sense in him elaborated and specified by the dozen Guthrie lyrics Sklamberg and his cohort turn into music. He's cheery for the neighborhood pep rally, transported for the mystic prophecy, tenderly humorous for the lullaby, delicately feminine for the tale of two rings, a wedding singer when the music gets Balkan (or is that Middle Eastern?), a Marxist simp with a Scotch-Irish melody dreaming of roads paved with the "finest of plastics." One of the age's signal voices, finally available on terms an Al Green fan can understand.

Montreal Gazette - 06/27/2006
By Mike Regenstreif
***** (5/5 Stars)
Another amazing set of unknown songs surfaces the Woody Guthrie Archives. Set to music by the Klezmatics, these songs include Headdy Down, a kid's lullaby, Mermaid's Avenue, a joyous celebration of the various immigrant cultures that were interacting in the Coney Island section of Brooklyn when Guthrie lived there after World War II, and Come When I Call You, a reflection on the effects of war that sounds like it could have been written just this week. Pass Away, Holy Ground and Heaven have Guthrie movingly musing on issues of spirituality and mortality. Drawing on Klezmer and other world and folk styles, the Klezmatics cast a wide musical net in composing and arranging the music. The performances range from quietly poignant to rollicking and infectious.

Chicago Sun Times, 06/23/2006
By Thomas Conner
Woody Guthrie's life on Mermaid Avenue, in the immigrant neighborhood of Brooklyn's Coney Island, was the closest he got to being stationary. Settling there with his second wife, Marjorie Mazia, they set to raising kids. Woody turned his insatiable curiosity to the things immediately around him and within his own family. Marjorie's mother was legendary Yiddish poet Aliza Greenblatt, and the two found in each other kindred spirits of wordplay and idealism.
It was in this environment Woody's songwriting settled a bit, too. He began applying his ideas of union (as in of all humankind, not just workers) to daily life, with less urgency but no less potency. These are the songs covered here, amazingly but appropriately by the Klezmatics, the premier and popular klezmer group in America. And if you can accept that there is a premier and popular klezmer group, you're halfway to understanding how well this disc works. The 'Matics surround Woody's lyrics with music not just Jewish but simple folk (the daily mantra of "Gonna Get Through This World"), psychedelic ("Pass Away"), Eastern European ("Goin' Away to Sea") and whatever seemed to fit the songs. It's another project from the Archives that seems baffling on paper but skips merrily out of the speakers and becomes the life of the party.

Los Angeles Times, 06/08/03
Traditional and innovative? It must be the Klezmatics
Klezmer music, like jazz, has many manifestations. For some listeners, it represents the traditional dance rhythms and sensual sounds of Eastern European wedding music. Others identify it with the first surge of klezmer revival in the early 20th century, with high-spirited rhythms and improvisations reminiscent of the collective music of New Orleans jazz. And still others have been drawn to klezmer by young, post-'80s revivalists who have not hesitated to position the music in cutting-edge settings.

In all cases, one fundamental premise remains constant: Both klezmer and jazz have not only survived but also flourished as the result of their ability to continually re-emerge, phoenix-like, via the processes of absorption and transformation. Klezmer music is now heard throughout the world in a colorful array of styles and formats, from Wisconsin's humorously titled Yid Vicious and Germany's Mazel Tov to the briskly swinging New Orleans Klezmer All-Stars (who will appear at the Playboy Jazz Festival next Sunday) and Australia's Klezmania. But none combines the qualities of tradition and innovation any better than the New York-based Klezmatics, a group now well into its second decade.