Jellyroll consisted of Roger Troy (lead vocals-bass), Tim Heding (keyboards-background vocals), Ed Setser (guitar), Stu Perry (drums-percussion), Lee Asch (alto-tenor-baritone saxophones), Dave Parkinson (tenor saxophone) and Bob Thorne (trumpet), also featured on the album is Cosme Joseph Deaguero on Conga. In a sea of imitators of the Blood, Sweat & Tears/Chicago sound, Jellyroll is the real thing, exceptional musicianship with some fine guitar by Ed Setser and of course strong vocals, all original tunes here, some with the help of Richard Podolor, who also produced the album, the only exception being a cover version of Aorta’s “Strange”. Line-up / Musicians Roger Troy/vocals,bass Tim Heding/keyboards,vocals Ed Setser/guitar Stu Perry/drums,percussion Lee Asch/alto,tenor,baritone saxophones Dave Parkinson/saxophone Bob Thorne/trumpet Cosme Joseph Deaguero/сonga
Discography Jellyroll 1971
1.Restless Feeling 2.Search For A Memory 3.Strange 4.Trying To Forget Someone Too 5.Quick Trip 6.Help Me Over 7.Come On, Baby 8.Follow Me 9.At The Beginning Of Tomorrow 10.Hard Times 11.Standing On The Inside
McLuhan was a concept and a mixed-media group where no particular musical venue or style would necessarily prevail. The creator of the idea was David Wright who composed most of the music and wrote the lyrics on their only album, Anomaly. This sole album is an interesting eclectic mix of various unorthodox instruments which include not only the standard instrumentation but also a trumpet, tenor sax, slide whistle, a xylophone, timpani, chimes and something called a Maestro Woodwind Device. Some sources say this came out in 1971 and others 1972.Lots of changing around on this one from slow and tender passages to full on jazz-fusion but rarely of the chaotic kind. It's always melodic and nicely done. The guitars are rather subdued and the rich brass rock reminds of early Chicago only more eccentric. The slower parts remind me of King Crimson's in their mellower moods. There's even the occasional ragtime segments. McLuhan never had a live performance promoting their album, because the very last thing they did was producing Anomaly. It got some obscure radio play but it was "dead" as far as the band knew. Anomaly's concept and ideas now sounds advanced for its time of release (1970). Uniquely American art rock in a brassy and groovy kind of way. Over the years it’s become cult album, but it’s never been re-released. Line-up / Musicians David Wright/Trumpet,Vocals Paul Cohn/Flute,Clarinet,sax Neal Rosner/Bass,vocals John Mahoney/Drums,Vocals Micahael Linn/drums Dennis Stoney Philips/guitar,Vocals Tom (Tojza) Laney/Organ,piano Bobby Christian/Timpani,xylophone,chimes Discography Anomaly 1971
1.The Monster Bride 2.Spiders 3.Witches Theme and Dance 4.A Brief Message From Your Local Media
This band was formed in Osby in the mid-60’s as BIB Rhythm & Blues Set by singer and guitarist Ingvar Björnson. The band made several line-up changes and also changed their musical direction. In January 1970 the three remaining members released the album It Wasn’t Meant To Happen on the Toniton label, a pleasing mix of psychedelic and progressive music featuring long tracks sung in English. It is dominated by a swirling organ and sounds quite similar to Kvartetten Som Sprängde, although much more psychedelic. Soon after the recording, Roland Gärdh quit. BIB Set tried a few new drummers without success, so the band split up. Björnson got a solo deal with Metronome in 1984, naming his backing band BIB Set. It featured none of the musicians from the Toniton album. Line-up / Musicians Ingvar Björnson/vocals,guitar Hans Eng/organ Tommy Tillman/vocals,bass Jan Anders Thermén/guitar Roland Gärdh/drums Björn Lagerblad/bass Ulf Karlsson/bass Stefan Hellqvist/guitar Sten Wallin/guitar Ib Christiansen/guitar Per-Håkan "Perra" Andersson/bass Stefan Hubertsson/piano Lave Lindholm/drums Lasse Olofsson/drums Discography It Wasn't Meant to Happen 1969
1.It All Comes Out of Nothing 2.Pythagorian Child No 2: Arrival in Time 3.Work Song 4.Pythagorian Child No 2: Communication in Five 5.Tears From a Black Angel
International Harvester only played together for three years, the first under another name, but they were an influential group for Swedish progressive rock. While making sonic experiments and deep excursions into psychedelic rock, their biggest contribution was probably that they were the foundation on which the more famous group Träd, Gräs och Stenar was built. International Harvester started as the short-lived experimental group Pärsson Sound. The group formed in 1967 in Stockholm by guitarist Bo Anders Persson and included cello player Ericsson and violinist Yman, both with a musical education and playing on homemade electric instruments. Saxophonist Tidholm was a film student and a poet, drummer Gantz had played with the progressive dance orchestra Mecki Mark Men, and at times the band also included an extra drummer, Berger. Pärsson Sound was mainly an instrumental group and their music was not very accessible. At times they let a tape pass two tape recorders on stage, one recording and one playing, which meant the music returned, overdubbed and distorted in an increasing mass of tones and noise. They played a number of gigs at the club Filips, the main spot for progressive rock in Stockholm, and started to get more well-known after a festival in Kungsträdgården, where Don Cherry and Peps Persson also played. In 1968 they changed their name to International Harvester and abandoned the most extreme sonic experiments, instead putting the focus on folk music and psychedelic rock. Tidholm's vocals were allowed more space and in stressing the collective and improvising aspect, the band gave a hint of what would come with Träd, Gräs och Stenar a few years later. Living together in a collective, they made films and composed music, including the soundtrack for a few professional films. On Öjvind Fahlströms' Du Gamla du Fria, the band created and improvised all the music while the cameras were rolling.The debut album Sov Gott Rose-Marie was released in 1968 on Love, a Finish label, since there were no Swedish alternative labels around and no commercial labels were interested. But already in 1969 alternative labels had started to pop up, and with the name shortened to Harvester the band released their second album, Hemåt, on Decibel. Later that year, Tidholm and Yman left. Tidholm formed Hot Boys but was to become most well-known as a poet and a writer of plays and children's books. The remaining members formed Träd, Gräs och Stenar and toured Scandinavia intensely for a few years, taking the idea of interactivity one step further by involving the audience in the music making. With a climate increasingly receptive for psychedelic music Träd, Gräs och Stenar were more successful than International Harvester, but otherwise they had much in common, building on elements of psychedelic rock, blues-rock, and folk music. Line-up / Musicians Bo Anders Persson/guitars,vocals Thomas Tidholm/saxophone,flute,vocals Urban Yman/violin Arne Eriksson/cello Torbjorn Abelli/bass Thomas Gartz/drums,vocals Discography Sov gott Rose-Marie 1968
1.Dies Irae 2.I villande skogen 3.There is no other place 4.The Runcorn report on western progress 5.Statsministern 6.Ho Chi Minh 7.It's only love 8.Klockan ar mycket nu 9.Ut till vanster 10.Sommarlaten 11.Sov gott Rose-Marie 12.I mourn you 13.How to survive
Hoola Bandoola Band was, together with Nationalteatern, the biggest band of the Swedish prog rock movement. And where Nationalteatern put social realistic lyrics to rock songs, Hoola Bandoola had more political lyrics and swerved further from traditional rock. The origins of the band is to be found in the failed project Spridda Skurar, of which Clemmendson and Afzelius were members. Wiehe was called in as songwriter, but it ended up with the three of them forming Hoola Bandoola, taking the name from a phrase in a Donald Duck movie, together with keyboard player Randén, bass player Frank, drummer Kjellgren, and percussionist Skytte. In 1971, they had their first radio hit and were immediately contacted by two record companies, one commercial and one alternative, MNW. In the political climate of the '70s, the choice of side was crucial, and by choosing the alternative company, Hoola Bandoola came to be the most well-known band on the alternative side in Sweden. Their debut in 1971, Garanterat Individuell, was hailed as the start of a new era for Swedish pop and was elected the album of the year. It was not overly political when it came to lyrics, but on Vem Kan Man Lita På, released the next year, the socialist message was clearer. It still sold very well and included long-lasting hits like "Herkules." With På Väg, recorded with the balalaika orchestra Södra Bergens Balalajkor, Hoola Bandoola became one of the best-selling groups in Sweden. But the next year they took a break, during which Afzelius released his solo debut, Vem Är Det Som Är Rädd. In 1975, they reunited for the album Fri Information, where the socialist message was more outspoken than ever before. And this time, Afzelius had written half of the songs, where before it had been Wiehe writing almost everything. In 1975, the alternative moment gathered in opposition to a tennis game played between Sweden and a Chile ruled by the military dictatorship, and for that event, Hoola Bandoola released "Stoppa Matchen" as a single. This was to be their last studio recording. Next year, the band broke up and Wiehe and Afzelius started very successful careers as singer/songwriters, both together and by themselves. After 20 years' absence, Hoola Bandoola reunited in 1996, playing warmup for Bob Dylan and going on their own nationwide tour. On this tour, the album För Dom Som Kommer Sen was recorded. But in 1999, Afzelius died, making further reunions more unlikely. Line-up / Musicians Mikael Wiehe/vocals,guitar Björn Afzelius/vocals,guitar Peter Clemmedson/guitar,vocals Arne Franck/bass Per Ove Kellgren/drums Povel Randén/keyboards,trombone Håkan Skytte/percussion Discography(Album) Vem kan man lita på? 1972
1.Herkules 2.Vem kan man lita på? 3.Dansmelodi 4.Keops pyramid 5.Man måste veta vad man önskar sig 6.1789+0 7.Maya 4:00 8.Rocksamba
Little is known about this band from Emilia, which released no less than two albums and a couple of singles with this name, and others in later years as Bulldog. Both albums don't contain any information on the band and is likely that the record companies wanted to promote them as a foreign band as it was common practice then, to give the groups a wider audience. The only foreign member was in fact English bassist Taylor, who had come to Italy with the beat band The Casuals during the 60's, the others were from Bologna and Modena.First album contains 10 tracks, all sung in English and with good use of flute and guitar. The sound is not particularly original and owes much to English bands. There are some jazzy influences here and there, like in the last track, Funny wife, that's totally instrumental and contains a long drum solo. Sax player Alan King, who collaborated with many Italian artists including Banco del Mutuo Soccorso (in their ...di terra LP) makes a guest appearance in the album.The second, Ping Pong, came two years later on Spark label, and contained a mix of commercial songs and more original tracks, this time entirely sung in Italian and with the strong presence of new vocalist Giorgio Bertolani.Tracks like Il miracolo, Caro Giuda (Italian version of Blue Mink's single Time for winning), both also released on singles, or Cresciuta in un paese with orchestral arrangement, fall in the typical mainstream pop Italian style of the era, while Il castello or the long jazzier Suite in 4 tempi are among the best moments, very well composed. Musically well played, the album contains nice keyboard and sax parts, demonstrating the very good quality of the musicians involved.Like many other bands examined here (Exploit, Flashmen, Fili d'Erba) Ping Pong mixed together totally different styles, alternating between commercial songs and more original tunes, in this case jazz-oriented. The result is, unfortunately, rather disjointed and not particularly satisfying.The band reappeared a few years later as Bulldog, with two albums and lots of singles all sung in English and mostly rock-oriented with the usual commercial songs put in.Bass player Alan Taylor, released a solo pop single on Blue Jean (BJ 614), Song for Magdalena, in 1977.
Line-up / Musicians Mauro Falzoni/guitars,vocals Celso Valli/keyboards Paride Sforza/saxophone,clarinet Alan Taylor/bass,vocals Vittorio Volpe/drums Giorgio Bertolani/vocals Discography(Album) Ping Pong 1973
1.Il Miracolo 2.Plastica E Petrolio 3.Cresciuta In Un Paese 4.Il Castello 5.Il Villaggio 6.Suite In 4 Tempi 7.Viene Verso Di Me 8.Caro Guida (A Time For Winning)
The sole recording by this outfit featuring O Terco founding member Jorge Amiden, this gorgeous orchestrated folk psych obscurity, like so much of the best stuff coming out of Brazil back in those days, is like a full body immersion in a warm balm. Buttressed by a folkloric acoustic undergirding and lacquered with swells of orchestration and drifting high harmony vocals, the watchword here is dreamy; Karma only occasionally gathering the wherewithal to rock out. A rich, buoyant and beatific collection of tracks for fans of things that are unabashedly (and unashamedly) lovely. Line-up / Musicians Alen Cazinho Terra/bass,vocals Jorge Amiden/guitar Luiz Mendes Junior/guitar,vocals Discography Karma 1972
1.Do Zero Adiante 2.Blusa de Linho 3.Você Pode Ir Além 4.Epílogo 5.Tributo ao Sorriso 6.O Jogo 7.Omissão 8.Venha Pisar Na Grama 9.Transe Um 10.Cara & Coroa
A band from near Viterbo, Seconda Genesi, have become famous among prog fans for one of the rarest (and much looked after) Italian albums of the 70's, Tutto deve finire, released in 1972 in just 200 copies, all with different painted covers, that has finally achieved a vinyl reissue thirty years after its initial release.Despite an unimpressive production the album is very good, with nice flute, Hammond organ and guitar playing to the fore, starting with the impressive Ascoltarsi nascere with a stunning rhythm acceleration, and also reveals some jazz influences. The group has been formed in 1971 by musicians coming from various experiences: De Carli and Leoni had played for a few years on cruise ships with Mhanas, Rocchetti was with his brothers in the group I Rokketti that also included Bonavera; Seconda Genesi only made a single live appearance, at the 2nd "Festival d'Avanguardia e Nuove Tendenze" held in Rome in June 1972, then they broke up soon after, disappointed by the bad distribution of their album.De Carli, with Bonavera and Rocchetti, had previously released an album in 1971, Naufrago in città, with the name Paride e gli Stereo 4 (included in the Akarma CD reissue of Tutto deve finire), also on Picci label with mostly acoustic songs, and after the band disbanded has kept playing in various bands, while keyboardist Alberto Rocchetti has long played with Italian singer Vasco Rossi. Line-up / Musicians Gianbattista Bonavera/saxophone,flute Paride De Carli/guitar Pier Carlo Leoni/drums Alberto Rocchetti/keyboards,vocals Nazzareno Spaccia/bass Discography Tutto deve finire 1972
1.Ascoltarsi Nascere 2.L'urlo 3.Se Ne Va Con Noi 4.Vedo Un Altro Mondo 5.Dimmi Padre 6.Breve Dialogo 7.Giovane Uomo 8.Un' Infanzia Mai Vissuta
JAZZ Q was formed in 1964 by Martin Kratochvil (piano) and Jiri Stivin (woodwinds). In their early years, they were inspired by the late 50s free jazz happening in America. By the late 60s though, after becoming familiar with the English rock scene, Kratochvil decided to go in a more electric and groove-based direction. Jiri Stivin wasn't keen on playing this style and left shortly after recording their debut LP from 1970 "Coniunctio", which was a collaboration with a severed line-up of Blue Effect, and stylistically was a mish-mash of rock, fusion and free jazz. Kratochvil completely revamped the line-up with guitarist Lubos Andrst (Framus 5, Energit), bassist Vladimir Pudranek (Energit, ETC) and drummer Michal Vrbovec. In this line-up they recorded what may be their best known album "Watchtower". Frantisek Francl replaced Andrst and the band also worked with the English singer Joan Duggan on their next LP, "Symbiosis" from 1974. Amongst the scores of sound-alike jazz-rock bands present at the time, JAZZ Q really found their own voice, although it could be argued that later stuff was more stylistically definable. JAZZ Q was also one of the few long-lasting Czech fusion bands, being active from 1964 till 1984. In 2004 they have regrouped in a classic lineup, although Francl is substituted by Zdenek Fiser, another jazz-rock veteran from the IMPULS fame. Line-up / Musicians Frantiek Francl/Guitar Vladimr Padrůněk/bass Martin Kratochvl/synthesizer,organ Michal Vrbovec/drums Joan Duggan/Vocals Radek Pobořil/Trumpet Jan Kubk/Clarinet Jiř Tomek/Congas Alexander Čihař/Double Bass Jiř Rotter/Backing Vocals Leek Semelka/Backing Vocals Pavel Dydovič/Backing Vocals Vladimr Mik/Backing Vocals Discography(Album) Symbiosis 1974
1.From Dark to Light 2.Lost Soul 3.Starbird 4.The Wizard 5.Epilogue
The trumpet and flugelhorn player Dr. EDDIE HENDERSON (born in 1940 and also known in Mwandishi circles as Mganga) received his first casual trumpet lesson from Louis Armstrong when he was nine years old, then went on, as a teenager, to study at the San Francisco Conservatory of music and performed with their symphony orchestra.MILES DAVIS was a friend of the family (his step-father being Davis' doctor), and Henderson first met him in 1957. Davis, who was impressed, encouraged Henderson to pursue a career in music.He studied zoology, then became a medical doctor; however, during his years of residency he kept playing part-time. He continued to study trumpet, and play gigs, with mentors such as FREDDIE HUBBARD and LEE MORGAN.A week-long gig with HERBIE HANCOCK's Mwandishi band resulted in three years of Mwandishi work from 1970 to 1973. He also performed with MAX ROACH, ART BLAKEY, DEXTER GORDON, JOE HENDERSON, JACKIE McLEAN, ROY HAYNES, McCOY TYNER and many other jazz greats.Following his Hancock years, he worked a great deal with PHAROAH SANDERS, NORMAN CONNORS, and ART BLAKEY's Jazz Messengers. He continued his involvement with various Mwandishi players.His first album under his name, "Realization" was released in 1973 and is a Mwandishi album in musical essence, conceptualisation, and in terms of the musicians involved. There were a number of albums by different Mwandishi players that can be thought of as extensions of the Hancock Mwandishi trilogy, and this may well be, in my opinion, the greatest. Other Mwandishi artists who released albums that can be considered part of the Mwandishi concept include BENNIE MAUPIN ("Slow Traffic to the Right") and JULIAN PRIESTER (Love, Love). NORMAN CONNORS ("Love from the Sun") is often linked with these albums, and Mwandishi artist BUSTER WILLIAM's "Pinnacle" is one to get if interested in "Mwandishi".In 1974 he released "Inside Out", which is another essential Mwandishi extension. It is a more funk / groove driven album than its predecessor, but still has that very similar space-jazz sound.In 1975, Henderson released "Sunburst". He had moved from Capricorn Records to Blue Note.In 1976 he released "Heritage", which, while still spacey, shows more soul music qualities than former efforts. It seems he moved to a more Miles Davis sound, but it's more accessible, commercial-sounding than Davis' music at the time.1977 saw the release of "Comin' Through" which is a jazz-funk album with a soul and disco edge. The track "Prance On" was released as a single and became a hit on the billboard charts (it would not be his only hit).1978's "Mahal" features Herbie Hancock on keyboards and is a continuation of style from the previous album. His last 70's album ("Running to Your Love") would be more in the disco-funk realm. In 1990's he returned to his acoustic hard bop roots (see wikipedia), and continued to work as a psychiatrist.After Miles Davis died, who was one of Henderson's musical heroes and an important influence, Henderson recorded a Davis tribute album called "So What?" with the participation of other musicians touched by Davis. Line-up / Musicians Eddie Henderson/trumpet,cornet,flugelhorn Bennie Maupin/flute,stritch,sax, bass clarinet Herbie Hancock/Fender Rhodes,piano Billy Hart/drums,percussion Buster Williams/bass Pat Gleeson/synthesizer,organ Lenny White III/drums Discography(Album) Realization 1973
1.Scorpio-Libra 2.Mars in Libra 3.Anua 4.Spiritual Awakening 5.Revelation Realization
This glorious modality-spanning magnum opus from Opus Avantra mastermind Tisocco was composed for a dance company and effortlessly fuses facets of the Battiato/ Pierrot Lunaire/ Stalteri Italo-kosmiche trajectory to contemporary classical strategies, agressive bursts of Henry Cow-like discord and stunningly poignant bouts of jaunty yet emotive motion suggestive of Lucio Battisti's humanity-laden Anima Latina in a way that mere words fail to do justice to. Miles beyond what he was getting up to in Opus Avantra, this is one of the cornerstone classics of the entire scene. Line-up / Musicians Donella Del Monaco/vocals Alfredo Tisocco/keyboards,synthesizer,piano,Hammond organ,tuba,arranger Giorgio Bisotto/composer,piano Discography(Album) Kátharsis 1975
1.Kátharsis 2.Galassie 3.Tensione 4.Il Tempo 5.Ira 6.Richiamo 7.Ah Ben Si 8.Kátharsis(Voce Recitante: "Il Principio") 9.Cristalli 10.Impressioni(Voce Recitante: "Impressioni") 11.Flying In The Wind(Voce Recitante: "L'Albero") 12.Spiritual 13.Caduta 14.Kátharsis(Voce Recitante: "Se")
Witthuser & Westrupp is a 70's psych folk duo from Munich. They are at the top of the German prog folk scene. Stylistically distinguishable, they have opted for a musical signature simultaneously "cosmic" and folk. The two musicians started their career back in the sixties. Bernd Witthuser was the manager of Podium Folk club and financial manager of "International Essener Songtagen" (1968). He recorded "Vampiren, Nonnen und Toten" in 1970 (a conceptual, humorous album based on vampires' literature). Walter Westrupp involved in a baroque ensemble and was the leader of "Night Reveller Skiffle Group". Their first release in duet "Trips und Traume" was published in 1971 for ohr. It delivers a pastoral, "trippy" folk rock with a few oriental elements. It's mainly acoustic, featuring folk guitars, flute passages, recitatives & discreet lyrics in German, electric organ arrangements. A few songs have a nive satiric approach. A very original record which is now recognized as a standard. It contains many kraut-folk hymns! The track "Illusion 1" will be recorded in a new version for the project "Tarot" (Walter Wegmuller). The two following albums "Der Jesuspilz" (1972) and "Blauer Plath" (1972) present both various sorts of acoustic trip folk songs. "Der Jesuspilz"is a concept album inspired by a text which reveals that bible is all about drugs. "Bauer Plath" features guests from the symphonic prog Wallenstein (the drummer Harald Grosskopf, the keyboardist Jurgen Dollase).An essential band whose music had a great influence on kraut-folk related items. Witthuser & Westrupp also participated as guests in several krautrock albums: Walter Westrupp's Tarot, Sergius Golowin's Lord Krishna, Hoederlin's Traum. Line-up / Musicians Bernd Witthuser/guitar,vocals,mandolin Walter Westrupp/guitar,vocals,zither,percussion,flute,trumpet Renee Zucker/vocals,percussion,flute Bernd Roland/bass,vocals Discography(Album) Trips und Träume 1971
1.Lasst uns auf die Reise gehn 2.Trippo Nova 3.Orienta 4.Illusion I 5.Karlchen 6.Englischer Walzer 7.Nimm doch einen Joint, mein Freund
With his first group, “Association P.C.” Toto Blanke made many tours in Europe, Asia and Africa. In 1970 Toto decided to give up his profession as a graduate in architecture in favour of only working as a professional musician. He played on nearly all the important European festivals and in 1971 he established his international reputation on the “Berliner Jazztage”. Within five years this group recorded seven LPs, one of them with the American flute player Jeremy Steig. In 1975 Toto recorded his first album “Spider’s Dance”, Phonogram, with Joachim Kühn, Charly Mariano, John Lee and Gerry Brown. In the meantime he gave duo-concerts with Philip Catherine and Jasper van’t Hof. LPs with van’t Hof, Rolf and Joachim Kühn, Randy Brecker and others were released at that time, too.It was the “Baden Baden New Jazzmeeting 1976” where Toto founded his first “Electric Circus” group with Jasper van’t Hof and the Finnish drummer Edward Vesala. In the same year the first Electric Circus LP was recorded. It was described by international critics as a milestone in the history of Jazz and contemporary music of the eighties. In 1978 Toto Blanke was sent to Perugia, Italy, by ARD to represent the Federal Republic of Germany at the EBU concert.A new LP was released: “Tales of Tomorrow”, Bellaphone, and Toto and Charly Mariano made an extremely successful tour through the former GDR which was repeated one year later. A very prolific cooperation followed with Stu Goldberg, Trilok Gurtu, Tony Lakatos and Norbert Dömling. After several tours two new LPs were recorded: “Friends” and “Family”.Since 1978 Toto has played with Rudolf Dasek more frequently and this duo made tours through Europe (east and west), Africa, Asia, Brazil and Argentina. Seven noteworthy CDs were released: “Silhouettes”, “Tramontana”, “Talking Hands”, “Kirchenmusik”, “Two Much Guitar”, “Between the Bridge and the Silence” and “Mona Lisa”. At the same time Electric Circus with Tony Lakatos, Norbert Dömling and several drummers produced a new CD: “Bella Donna”, Aliso. In 1985 Toto composed the music for a Garcia Lorca theatre-play: “In seinem Garten lebt Don Perlinplin”, released on a CD of the same name. Fascinated by the Argentine Tango music Toto founded the “Trio Tango”, together with Raul Montero, a well known singer from Uruguay, and a number of excellent Bandoneon Players. Blanke and Montero recorded a new CD: “Fools Paradise”, music for an unfinished film. Organized by the Goethe-Institut Toto gave a number of concerts in several countries of Latin America in 1991 and 1992. With Dasek Toto recorded the CD “Two Much Guitar” and in 1992 he formed a Quartet with the virtuoso on the Bandoneon Rene Maria Rivero from Uruguay, the Portuguese bass player Carlos Bica and the Argentine percussionist Marcio Doctor. On their large tour through Europe they played a mixture of Modern Jazz and Tango Nuevo. In 1993 Blanke/Dasek recorded Kirchenmusik No. 2: “Meditation” in the Bartholomäuskapelle in Paderborn, Germany (the famous romanesque chapel offering a fantastic sounding and 5 seconds reverb). In the same year “Energy Fields” was released, recorded with “Das Obertontrio” at the same place. In 1996 Toto and the Argentine virtuoso on the guitar and charango, Diego Jasca, recorded “Sur”. “Electric Circus Best” was released in 1997 and “Take Two” in 1999. Also in 1999 a live CD was released in Prague: “Between The Bridge and the Silence.” The latest CD “Going Crazy” was released 2004. Line-up / Musicians John Lee/Bass Gerry Brown/Drums Toto Blanke/Guitar Joachim Kühn/Piano Charly Mariano/Saxophone,Flute Discography(Album) Spider's Dance 1975
Air’s sole album from 1973 is one of the most obscure albums from the vast Krautrock scene. Musically it could be categorized as instrumental rock, not that distant from what one would find on a sound library album. That is, generic incidental music used for television and films. Maybe not 100% accurate, as these cuts do seem to be self-contained composed pieces, but similarities do exist, especially considering how simple the songs are. Organ is the featured instrument, and the tones are ancient, more akin to 1965 than 1973. It’s even older sounding than the organ used by Erlkoenig, if that’s possible. The organist doubles on flute, but the playing is more 18th century classical than Osanna. The electric guitar is primarily used only for rhythm and is lacking any kind of rock tone effects. And, of course, there is a drum solo to suffer through. The easy comparison would be the Roland Kovac New Set (another German sound library group), but misses their strong jazz background and creativity, and thus is far less interesting. In conclusion, Air is not a bad album at all, and does make for a nice curiosity. Line-up / Musicians Gerhard Funfsinn/bass Michael Brod/organ,flute Peter Dettlaff/guitar Georg Weber/percussion Discography Teilweise Kacke ... Aber Stereo 1973
GASH is a 70s Krautrock band from Germany featuring the musical talents of Manfred Thiers on bass, Reinhard Schiemann on drums, percussion, Frank Feldhusen on guitars, vocals, and Jochen Peters on piano, organ, and lead vocals. The band have released studio album in 1972, "A Young Man's Gash". The music is a definitive taste of the underground hard rock oriented sound churned out of the German Krautrock era. The music is replete with catchy songs, keyboard, organ and guitar solos and an overriding hard driving energy. The vinyl album is intriguing in that it features on Side A 3 songs of varying lengths all over 6 minutes. Side B is the one track 'A Young Man's Gash' in 3 sections.GASH are another of the early 70s Krautrock groups that released only one album and disappeared from the scene. The music should appeal to lovers of Krautrock with a harder edge and an emphasis on guitar and keyboard driven rock. Line-up / Musicians Manfred Thiers/bass Reinhard Schiemann/drums,percussions Frank Feldhusen/guitars,vocals Jochen Peters/piano,organ,vocals Discography A Young Man's Gash 1972
1.Angel And Mother 2.Twenty One Days 3.In The Sea 4.A Young Man's Gash
