//www.cornellk.com - Cornell Kinderknecht

2014 Indian Summer Music Awards WINNER - Native Spirit Award: "Big Sky"
2014 Native American Music Awards finalist - Native Heart Award: "Big Sky"
14th Independent Music Awards finalist - New Age Song: "Orion"
One World Music Awards Nominee - Best World Album
13th Independent Music Awards finalist:
New Age Album: "Dreamtime" and New Age Song: "Solitude"
Best New Age Album of 2013 - Phil Maq, Producer, Host, Blogger - WHFR-FM
Top Songs of 2013: "Orion" - Phil Maq, Producer, Host, Blogger - WHFR-FM

Cornell Kinderknecht and Martin McCall, Dreamtime CD Review by: Rick McDaniel
November 1, 2013
A version of this review appeared in Overtones! November 2013, Volume 3

This new work is a little different approach by world flute and woodwind virtuoso Cornell Kinderknecht than his past CDs, in that he teams up with Martin McCall, drummer and percussionist. The result of that collaboration is a body of work designed to allow you to go to your own place while listening, and to take the journey that the music inspires you to take. Indeed, rather than take a track title as the CD title, Dreamtime stands on its own as a description of the intent of the music within.

Review by: Candice Michelle
Journeyscapes Radio,
January 4, 2014

Dreamtime is the collaborative effort of world flutist and instrumentalist Cornell Kinderknecht and world percussionist and drummer Martin McCall. The album is an elegant exploration of mostly Native American-inspired melodic soundscapes which convey warmth, contemplation and an innate healing spirit.

McCall's moving yet gentle ethnic percussion beautifully compliments Kinderknect's Native and multicultural flutes and glistening ambient textures throughout. A rejuvenating yet relaxing album, the music of Dreamtime is perfectly suited for Spa therapies, Yoga practice and other healing arts.

I find this album to be equally listenable in the early morning or evening times. Much of the music seems to emanate like sunrays at dawn as exemplified on the radiant "Big Sky", and at other times gently sparkles like stars in the night sky as on the ethereal "Blue Violet". Other favorites include the rhythmically pulsating "Gecko" and the mysterious, voyage-like "Orion".

I feel Dreamtime is on par with the stylistically similar works of Scott August, David & Steve Gordon and R. Carlos Nakai, and fans of any of the afore mentioned artists are encouraged to take note of this fantastic album.

We hear some new instrument combinations in this work that beautifully flow from one track to another, adding diversity to the mix and helping to create different dreamscapes for the listener. The simplicity of the mixes, however, allows you to still focus on the messages within the music. The arrangements are predominantly woodwinds, keyboards, and percussion. The percussion is subtle, blending perfectly without competing for attention with the often delicate woodwinds. The inclusion of the soprano saxophone was an intriguing addition to the woodwind mix.

The description on the jacket of the CD is perfectly accurate:

“The flowing melodies and subtle harmonies of Cornell Kinderknecht's flutes, reeds and keyboards blend with the moving rhythms of Martin McCall's drums and percussion to take you to a place where all things are possible — a place where you can be at peace while feeling energized — a place of mystique and wonder — a place of fantasy where you can play and let your imagination run free...”

I found that statement to be absolutely perfect for this work. That was, indeed, my own experience as I listened.

Review by: Bill Binkelman
Zone Music Reporter, December 2014
Wind and Wire, December 2014

Little Greyhound Music

Cornell Kinderknecht and Martin McCall, Dreamtime CD Dreamtime (from wind instrumentalist and keyboard player Cornell Kinderknecht and drummer/percussionist Martin McCall is pleasingly paradoxical. I can't remember the last time (if ever) that I heard an album that has so much percussion and rhythms (some of them frenetic in tempo) that still managed to be so calming and so soothing to jangled nerves, without revving up the listener and inducing him or her to get up and dance. I've listened to this superb recording at least ten times and I still don't understand how these two masterful musicians did it. I suppose at this point I should just relax and enjoy the beautiful, serene, ride. And it is a wonderfully relaxing journey into a land of assorted world influences and lovely flowing melodies (the latter quality which Kinderknecht exhibited on his last solo release, Nightfall).

It's important for me to list the array of instruments that each artist plays so you can appreciate each of these performers' virtuosity. Kinderknecht's primary instruments are of the wind variety, and on Dreamtime he plays Native flutes, soprano sax, bansuri flute, English horn, Anasazi flute, and keyboards (and he utilizes his keyboards masterfully!). McCall's list is even longer and includes djembe, shakers, taiko drum, tom-toms, electronic timpani, cymbals, gong, bells, tambourine, methal, drum head, udu, bass drums, and doumbek. Phew! I wonder what his studio looks like!

Eight of the twelve tracks feature Kinderknecht playing Native flute, so it's obvious that many of the album's songs have a Native influence present, but there is no way I would describe this as strictly a Native flute fusion release. It's not just because Kinderknecht doesn't fall back solely on Native elements in these songs, but it's also about how McCall uses non-Native instruments in laying down his rhythms and beats. One could (and perhaps should) label this music as cross-cultural, since the wind instruments and the percussion/drums are not always geographically aligned.

Two things struck me as I delved into the music on Dreamtime. One was how adeptly Kinderknecht incorporates his keyboard textures and embellishments. It's textbook in how he fleshes out the overall sound of the songs (all but one track features some keyboards). The artist knows just how to balance these soundscape colorings into the mix so that they are heard but never dominate. That's a true artisan skill. The other, and stronger, sonic element is the ultra-deft approach to mixing so that McCall's vast assortment of percussion and drums never overpower the overall meditative/serene mood of the music. It's almost uncanny and I don't know if I have ever heard anything like it in all my years of reviewing.

I'm not sure trying to describe individual tracks would adequately convey how special Dreamtime is, but I can at least attempt to paint a written picture. "Big Sky" features a pensive Native flute line buoyed by swirling synthesizer shadings and propelled by a rapid tempo drum beat on dejembe. "One Summer" has the drum beats played on doumbek in a sedate, almost mournful tempo, while the lead flute is held by an Indian bansuri, which lends the song an overall air of mystery and the exotic. On "Marble Falls," McCall flexes his musical muscles and incorporates an assemblage of taiko drums, tom-toms, electronic timpani, cymbals and gongs, while Kinderknecht returns to the Native flute and layers in even more pronouncedly swirling ambient-ish keyboards. At this point in the recording, adroit listeners will clue in to how these two artists have meshed their talents to yield a truly symbiotic listening experience in how the melody lines intertwine with the layers of rhythms and beats. The album takes a celestial turn on "Voyager" as Kinderknecht's soprano sax floats above layers of spacy synthesizer soundsculptures and shimmering textures with McCall's subdued taiko drums pounding out a subtle slow-tempo beat. Kinderknecht goes solo on "Solitude" playing both Native flute and English horn with piano accompaniment as well as orchestral string embellishments. "Dragonfly" hints at Indian motifs with bansuri flute and tamboura drones while ethnic rhythms beat out a sensual undertone.

Dreamtime is a special recording — a true original in how it marries assorted ethnic percussion with wind instruments and synthesizers to craft an album that manages to calm the disquiet mind with a unique blend of melody and rhythm. Kinderknecht and McCall exhibit an uncommon symmetry in their shared musical vision and the result is an album that would be ideal for massage, relaxation, yoga, or even just…well, waking dreaming.

Bill Binkelman

Review by: Bill Binkelman
Retailing Insight,
April 2014

Dreamtime is a collaboration between flutist/keyboardist Cornell Kinderknecht and drummer/percussionist Martin McCall, Dreamtime melds the melodic with the rhythmic while keeping drama and power in check. The results are uniformly soothing and relaxing, despite the presence of so many rhythms courtesy of the myriad instruments played by McCall. While tribal influences surface on some tracks via Kinderknecht's Native flutes and McCall's many drums, the CD's vibe is less tied to Native fusion than to a broader and overall deeper New Age scope. With music ranging from subtly playful to deeply meditative, Dreamtime will keep you and your customers entertained through many listens.

Another aspect of this work which I was impressed with, is that you can simply put the CD player on repeat and continue to listen — again and again — without tiring of the music. That is a really important quality in good listening music to me.

Track impressions are something I will attempt to share, although I know that this music is going to be heard differently by different people, with their own individual impressions and life experiences guiding them through the work. That is the way this music impacts the listener.

There are 12 tracks of mostly longer pieces, about 70 minutes of music, making this a relatively full CD which is one of the tests of value for me, as a buyer of music.

Track 1, Big Sky (run time 6:25). This piece is like a stroll in the desert. You feel a large expanse of space, while walking and seeing the environment around you. Perhaps this is a tribute to nature as a part of the melody, taking you away from human civilization. Portions of this reminded me of my time in the Mojave, with parts recalling visions of the desert twilight.

Track 2, One Summer (run time 6:33). This piece takes me to my "quiet place," that place we all have found at one time or another, to escape to and be alone with our own thoughts. It probably doesn't matter where that place is… you will find it again while listening to this piece. For me, there was never anything quite like a grove of Australian pines as a teenager in FL. Once inside that grove, the sound of the wind in the trees prevented any other sounds from penetrating. It was totally as though I was completely alone.

Track 3, Marble Falls (run time 6:39). For those not familiar with that place, this may lead you elsewhere. But for those who have been there (near Austin, Texas), this piece may bring back fond memories of that special small town in the Texas Hill Country near Lake LBJ. This is Texas Bluebonnet and Indian Paintbrush wildflower country during the months of May and June, a time of year and a place where romance can blossom.

Track 4, Voyager (run time 6:14). The soprano sax creates a new sound in this track, one that is both mysterious and longing at the same time. It speaks to me of new and exotic places, creating a touch of blues without really being blues, and perhaps the feeling and sense of new friendships and new relationships.

Track 5, Gecko (run time 5:46). The interesting blend of bansuri and native flutes takes me somewhat back in time. The fluctuating rhythms send me on a journey of the ancients. It is a very spiritual piece but with some headiness in the rhythms. This piece reminds me of the one and only "vision" I ever experienced, after finding the native flute as an instrument, where I also traveled back in time, and where I experienced various original peoples before the Europeans arrived in America.

Track 6, Solitude (run time 4:59). This piece reminds me of someone seeking to find their way — soul searching — first, with a quiet and deliberate manner, then with a little inner agitation, and then back to quiet deliberation. This track has only woodwinds and keyboards without percussion. I hear the voice of the flute in this piece as an echo from another song where it was also played in an earlier CD. It is a distinctive flute.

Track 7, Blue Violet (run time 4:27). This track has a hint of a bluesy sound. It is an interesting and complex mix of sounds, with a very earthy kind of sound layered over the lightness of other sounds that makes you think of synergies. This is perhaps one of the more difficult tracks for me to describe — it is best to be experienced.

Track 8, Dragonfly (run time 6:29). This piece has a trancelike effect with the sound of classical (East) Indian music blended into it. Perhaps it might be your doorway into an exotic place that you have only visited in your mind. The melody lifts and darts along the way, reminding you of the dragonfly and the renewal that the dragonfly symbolizes.

Track 9, Opening (run time 5:51). This piece has harp-like keyboards interwoven with a deep flute, which leaves me with visions of pixies flitting about in the distance. It's as though the flute is calling to the pixies, who are only occasionally paying attention. You feel as though it's twilight, and you hear the impression of a gentle stream lazily running along nearby within the forest surrounding you.

Track 10 Peace symbol (run time 5:08). This is a very introspective piece to me, leading me to ask myself what mistakes have I made? What relationships have been mishandled? What did I do well, and what did I do poorly? What was the meaning of my life? There is a somber quality to the quest for inner peace here.

Track 11 Orion (run time 4:24). This piece uses some astral effects to take you on a tour of the night skies, into those places where the stars shine brightly and clearly, unaffected by human civilization. Perhaps one of the brighter pieces on this work, this tune allows you to wander through your mind's visions on a carefree trip.

Track 12 Equanimity (run time 4:55). This piece reminds me of the nomads of the earth, moving from place to place in search of food and personal well being. It is a deliberate and unrushed journey, but one that is necessary to their way of life. The journey gives all something to look forward to as they move towards a place where they will find more life sustaining resources.

Final thoughts: That completes my impressions of this work and I certainly have enjoyed the mind journeys I have taken while listening. I heartily recommend this work for those who want their music to provide them with relief from stress and the modern world, and who seek some quiet time for introspection, and, of course, Dreamtime.

You can find Dreamtime and Cornell Kinderknecht's other works at his website www.cornellk.com There, you can also find biographical information and a performance calendar. Cornell's music is also available at Amazon.com, CDBaby.com, iTunes and most of your other favorite online stores and music services.

Copyright © 2020 Cornell Kinderknecht. All rights reserved. Little Greyhound Music / Artesound Music.