Playing Time – 50:56 -- Oxymora are figures of speech that combine two contradictory terms, but the resulting paradox yields new, deeper meaning. Thus, when four students met in the late-1970s at the Shenandoah Conservatory in Virginia, they chose this band name to creatively explore the new age improvisational capabilities of the instruments they played at that time (guitar, piano, oboe, mandolin, bass, percussion) as they fused flavorings of classical, jazz, world and traditional music. “Thundering Silence” was Oxymora’s 1981 debut LP on the Philo/Fretless label. It also could’ve been called “Real Fantasy.” Now remastered and supplemented with two new 2006 pieces (Beltane Fires, Wild is My Heart), this album includes the original quartet (Michael DeLalla, Craig Matovich, Marcus Sims, Jim Baird) along with new member, percussionist N. Scott Robinson. The result is some ‘awfully good’ music that is sure to create a ‘quiet storm’ among the longtime and newly-found fans of Oxymora. The group strives to make audiences an integral part of the performance experience with music that is warm, welcoming and without intimidation. The band is capable of creating many moods in a systematically varied manner that consciously takes us to a Brazilian festival (Carnival), Flamenco dance (Siguiriya), Celtic holiday celebration (Beltane Fires), or wandering bike ride (Gypsy Bicycle). Incorporating spirited rhythms and elegant textures from various cultures yields bountiful and evocative rewards. Another favorite piece is the 8-minute “Eidola,” a meandering selection that conjures images of phantoms or ghosts as it weaves through improvisation before reprisal of the tune’s head. The new acoustic presentation reminded me of guitarist Eric Tingstad and oboist Nancy Rumbel. And I wonder if Oxymora attributes any of their contemporary chamber-jazz inspiration to the groups, Oregon or Paul Winter Consort. With lightly dark and darkly light shades, “Thundering Silence” generates real magic for listeners. The vocal embellishments of “Carnival” and “Beltane Fires” provide a sense of dynamic stability to pieces that have a few passages bordering on harmonious discord. However, in keeping with their identity, I wonder how many of their breaks are actually highly controlled and rehearsed improvisation. Regardless of their approach to contemporary new acoustic music that incorporates ancient tones, I found “Thundering Silence” to be an accurate and enjoyable set that characterizes their future history … or would that be historic future? (Joe Ross, Roseburg, OR.)