Friday, February 3, 2017

Zabba Lindner & Carsten Bohn - 1974 - Voll Bedienung of Percussion

Zabba Lindner & Carsten Bohn 
1974
Voll Bedienung of Percussion




01 The Long Way Of Drums 5:35
02 Bells And Traffic 2:10
03 Manne's Melody 7:00
04 Look, Living 8:00
05 Discothec
06 Rassa Lia 10:45

Drums, Cymbal, Congas, Timbales, Bongos, Bells, Gong, Timpani, Tam-tam, Drums [Marching Drums], Percussion [Hand Percussion], Piano, Choir [Church Choir], Organ, Vibraphone, Producer – Carsten Bohn, ''Zabba'' W. Lindner


PERCUSSION PERCUSSION occasional voices PERCUSSION PERCUSSION some effects PERCUSSION PERCUSSION a bit of piano PERCUSSION PERCUSSION etc. etc.

As with a lot of percussion-centric albums (Percussion Ensemble, Schlingerland, Niagara), I appreciate this more in theory than in practice. Much like the Niagara album, this ends up sounding more like a particularly showy drum corps than anything truly revolutionary.

Masahiko Sato & Jiro Inagaki - 1971 - Bridge over Troubled Water

Masahiko Sato & Jiro Inagaki 
1971 
Bridge over Troubled Water





01. Bridge over Troubled Water (Simon) - 5:49
02. Love and Peace (Adams) - 5:41
03. Somethin' Goin' On (Kooper) - 5:59
04. Guru (Sato) - 6:25
05. Serenity (Sato) - 7:59
06. Sniper's Snooze (Sato) - 6:40

Jiro Inagaki - tenor saxophone
Ryo Kawasaki - guitar
Yasuo Arakawa - bass
Shunzo Ohno - trumpet
Tadataka Nakazawa - trombone
Tadayuki Harada - baritone saxophone
Takeshi Inomata - drums
Masahiko Satoh - piano, electric piano, arranger




The Jazz Rock anthem by the revolutionary pianist Masahiko Sato featuring Jiro Inagaki & his progressive Jazz Rock Band, the Big Soul Media where evolve Ryo Kawasaki, Yasuo Arakawa, Tadayuki Harada, Shunzo Ohno & Takeshi Inomata from the Sound limited. This versatile and prolific pianist has left his mark on the japanese jazz history thanks to several experimental projects & free jazz albums, was arranger for japanese & international artists, has also composed music for various television programs, films & animated movies whose the best known are Miyazaki's Panda Kopanda (1972) and the cult Belladonna (1973). Masahiko Sato started as professional musician in the Masaaki Fujita Quintet (1961) and joined the Toshiyuki Miyama's New Herd Big Band in the late sixties. In 1966, he entered the Berklee College of Music in order to become arranger and formed the Masahiko Sato Trio with the bassist Yasuo Arakawa & drummer Masahiko Togashi (1968-1971), recorded with it the first of three serie discs and won, for the first (Palladium), the Japan Jazz Award in the best debut album category. In 1970, with french violinist Jean-Luc Ponty, he released Astrorama (feat. Niels-Henning Ørsted Pedersen, Yoshiaki Masuo & Motohiko Hino) which paving the way for future international collaborations in considerable recordings as composer & arranger, inter alia, for Nancy Wilson, Wayne Shorter, Roy Haynes, Gary Peacock or Art Farmer, played also with Yohsuke Yamashita, for the singers Yoshiko Gotoh & Hirota Mieko, Motohiko Hino, Anthony Braxton or Hank Jones. In 1971, he formed the Sound Breakers featuring drummer Louis Hayes with whom released the experimental Free/Jazz Fusion album Amalgamation and joined in 1975, the Electro Keyboard Orchestra group alongside Yuji Ohno, Hiromasa Suzuki & Masao Yagi. In the late seventies, he participated with Hiromasa Suzuki, to the Tri Piano project created by Norio Maeda which released Pianic Pianism & Super Tri Piano (both recorded in 1977). Masahiko Satoh plays here in a groovy approach with free improvisations & sophisticated arrangements associated to the psychedelic expressions of Ryo Kawasaki plus the powerful skills of a swinging Inomata (as the great drum solo on Sniper's Snooze), all backed by the Soul Media Big Band led by Jiro Inagaki. Titles include three originals composed by Satoh, the Pop cover Bridge Over Troubled Water from Simon & Garfunkel, the Al Kooper' Somethin Goin On and the Psychedelic Soul tune Love & Peace. All tracks arranged by Masahiko Satoh.

Jiro Inagaki & Yoshio Kimura - 1970 - Yottsu No Onegai - Anata Nara Dosuru

Jiro Inagaki & Yoshio Kimura 
1970
Yottsu No Onegai - Anata Nara Dosuru




01. Yottsu No Onegai
02. Awazuni Aishite
03. Keiken
04. Shiroi Cho No Samba
05. Marianne
06. Koigurui
07. Hana No Yoni
08. Anata Nara Dosuru
09. Moeru Te
10. Hadashi No Koi
11. Ai No Bigaku
12. Wakare No Samba
13. Doyo No Yoru Nanika Ga Okiru
14. Koibito

Performance:
(tenor sax, flute) Jiro Inagaki
(eleki & requinto guitars) Yoshio Kimura


Easy listwenin' , sweet easy listening stuff... sunny days and sweet alcoholic drinkss with little umbrellas... Perfect for the northern European winter nights... another one please!

Soul Media - 1974 - Funky Stuff

Soul Media 
1974
Funky Stuff




01. Painted Paradise
02. Funky Motion
03. Breeze
04. Scratch
05. Funky Stuff
06. One For Jiro
07. Gentle Wave
08. Four Up

Electric Piano – Hiromasa Suzuki
Drums – Hajime Ishimatsu
Electric Bass – Akira Okazawa
Guitar – Hiroshi Yasukawa
Tenor Saxophone, Alto Saxophone, Flute, Producer – Jiro Inagaki
Trombone – Takashi Imai

Recorded on August, 1974.
Released on January, 1975.



I recently found this album and it is quite rare from what I can find out about it. The album was recently reprinted on CD, but due to its limited release in Japan it is very hard to find. It's hard to put this album in any one genre because it has elements of funk, jazz, and other crossover elements. There is an instrumental cover of Kool & the Gang's "Funky Stuff" which is quite memorable and would fall firmly in the funk genre. Yet, tunes like "Breeze" and "Gentle Wave" sound like they belong on a Bob James album in that they are so heavily dominated by the use of the Fender Rhodes piano. Even when the horns come in they are so uncharacteristic of funk and that's what gives this album its multi-genre aspect. The tune "One for Jiroh" is a reworking of the jazz standard "I Remember Clifford," and while I couldn't find any info on this, it is quite possible Jiro lost a musician friend close to him ("I Remember Clifford" and its various reworkings seem to serve this purpose). In my own opinion, the most memorable track is "Four Up" which closes the album. Rhythmically and harmonically it reminds me a lot of Herbie Hancock's famous chart "Chameleon" and is a great solo vehicle for solos on saxophone and trombone. From what I could find on him, Jiro Inagaki was a saxophonist who was associated with jazz-rock and other hybrid genres of the late 60s-early 70s. If you like 70s Maynard Ferguson, Bob James and other types of mellow jazz-funk, you would probably enjoy this album.

Jiro Inagaki & His Soul Media - 1972 - Dosojin

Jiro Inagaki & His Soul Media
1972 
Dosojin




01. Inanome (4:57)
02. Kigishi (4:57)
03. Susomi (4:10)
04. Kusakai (5:31)
05. Arisobe (1:20)
06. Tabute (4:56)
07. Sasara (3:54)
08. Yabunirami no Isan (8:24)


Jiro Inagaki: tenor & soprano saxophone, flute
Tsunehide Matsuki & Kimio Mizutani: guitar
Hiro Yanagida: organ
Hideaki Takebe: bass
Kiyoshi Tanaka: drums
Masahiko Sato: moog synthesizer

Yasushi Sawada (Vocals)
Yasuhiro Koyama (Composer, Arranger)



Extremely rare as an original. In fact, I didn't find one even for a price check, so I'm sure an original is a small fortune. Fortunately for the rest of us, Columbia has come through with a fine CD, housed in a sturdy and beautiful mini LP reproduction, with great sound. This was released through their Deep Jazz Reality series, even though this particular album isn't jazz based at all.

Vocalist Yasuhsi Sawada joins Jiro Inagaki & His Soul Media group this time around – but in a way that seems to create a whole new sound from both artists! The album's got a deeper, more sophisticated style than some of Inagaki's other records – not just funky soul, but a richer suite of tracks that still has plenty of soulful currents, but which also reaches towards some more ambitious emotional territory too – never in a way that's clunky or snoozy, but which takes all the best elements of the Soul Media groove, and pushes them a bit farther too! Sawada's vocals are all in Japanese, and have this very powerful approach – never dominating the music, but moving through the instrumentation in this evocative way that almost feels instrumental to our ears, given our lack of understanding of the language. The whole thing's almost got a spiritual undercurrent, althought the presentation is still more in the groovy mode of other Soul Media sets – and titles include "Sasara", "Tabute", "Kusakai", "Kigishi", "Susomi", and "Inanome".

Jiro Inagaki & His Soul Media with Yasushi Sawada - 1972 - Dock of My Mind

Jiro Inagaki & His Soul Media with Yasushi Sawada
1972
Dock of My Mind






01. Dock of My Mind (4:16)
02. Afternoon (4:26)
03. Barefoot Girl (3:43)
04. Colourful Winds (3:27)
05. Send Me Love (3:17)
06. If You Should Go Away (2:59)
07. Lane of Memories (3:09)
08. One Last Word (2:53)
09. Lonely Night (2:45)
10. Down by the Corner (2:48)
11. Rainy Night in Georgia (3:50)
12. Georgia on My Mind (4:38)
13. Orange no Hitokakera (2:59)
14. Hito ha Dare Mo (3:28)


Jiro Inagaki_tenor & soprano saxophone, flute
Tsunehide Matsuki & Kimio Mizutani _guitar
Hiro Yanagida_organ
Hideaki Takebe_bass
Kiyoshi Tanaka_drums
Masahiko Sato_moog synthesizer

Originally released as LP(JDX-7006) Oct 25, 1972.
Track 13, 14 : originally released as single (P-226) Jul 1, 1973.




The funky group of Jiro Inagaki gets a vocal treatment this time around – lead lyrics from Yasushi Sawada, whose a raspy-voiced singer with a surprisingly soulful edge! Much of the music follows in the same territory of Inagaki's instrumental records – with his group turning in a cool tripped-out blend of soul, funk, and jazz – often with some slight psych elements in the guitars and keyboards – as Sawada's Japanese lyrics bring a very unusual flavor to the record, and make the whole thing feel like some dream-like remake of an American funky soul album! Titles include "Afternoon", "Barefoot Girl", "Dock Of My Mind", "One Last Word", "Send Me Love", and "Colorful Winds". CD also features two bonus tracks from singles too!

Jiro Inagaki & Soul Medium - 1971 - Wandering Birds (Featuring Sammy)

Jiro Inagaki & Soul Medium
1971
Wandering Birds (Featuring Sammy)



01. Wandering Birds (Interlude) (6:41)
02. After Noon (6:06)
03. Parajika (5:31)
04. Do It! (7:29)
05. On the Grass (3:35)
06. Hyakunen Tattara (3:05)
07. Wandering Birds (5:39)


Jiro Inagaki _tenor & soprano saxophone, flute
Tsunehide Matsuki & Kimio Mizutani _guitar
Hiro Yanagida _organ
Hideaki Takebe _bass
Kiyoshi Tanaka _drums
Masahiko Sato _moog synthesizer
Sammy & Sawada Yasushi _vocal




Heavy funk from Japan's Soul Media combo – and one of the group's great 70s outings with the engimatic Sammy on vocals! Sammy's got this raw, raspy style that might owe a bit to Janis Joplin at times – but also nods strongly to the work of the American underground at others – more than able to stretch out with the fierce sounds of the group on the record, especially when they take on some trippy or more freaked-out styles! The drums are often nice and bold, and the electric instrumentation is very well integrated with a tight horn section that gives the tunes plenty of punch – and titles include "After Noon", "On The Grass", "Wandering Birds", "Parajika", and "Hyakunen Tattara

Jiro Inagaki & Soul Medium - 1970 - Woodstock Generation

Jiro Inagaki & Soul Medium 
1970 
Woodstock Generation



01. Opening
02. Woodstock
03. I Want To Take You Higher
04. Mama Told Me
05. Summertime Blues
06. Spoonful
07. The Ground For Peace
08. Head Rock
09. Knick Knack

Jiro Inagaki saxophone
Masaru Imada organ
Ryo Kawasaki guitar
Yasuo Arakawa bass
Sadakatsu Tabata drums
Tetsuo Fushimi & Shunzo Ohno trumpet




Great japan Psych' Jazz Rock tribute album to the Woodstock Festival released on Union label. Behind The Soul Medium hides the name of famous japanese saxophonist, Jiro Inagaki, iconic member of the japanese Jazz Rock scene during the seventies. He plays tenor & soprano sax with musicians which later formed his Psychedelic Jazz Rock and Funk band 'Soul Media' based around Ryo Kawasaki, Yasuo Arakawa, Masaru Imada and Sadakatsu Tabata. Titles include three Woodstock performances by Sly & Family Stone (I Want To Take You Higher), The Who (Summertime Blues) and Ten Years After (Spoonful) but also Woodstock (written by Joni Mitchell in honor of the Festival), Rock 'N' Roll cover Mamma Told Me (Not To Come) by The Animals, Yasuo Arakawa' The Ground For Peace (composed especially for Inagaki), Knick Knack by Masahiko Sato and two originals composed by Jiro (Openning & Head Rock). All tracks arranged by Jiro Inagaki.
Well, this LP from 1970 by Jiro Inagaki & His Soul Media must be one of the grooviest and hippest albums ever from Japan, It's a dazzled mix of soul jazz, funk and a touch of rock, especially the psychedelic guitar effects (handled by Ryo Kawasaki). This LP is Inagaki's most sought after, and you know why when you hear it. So, put on your groovy shirt and do some funky mooves!

Jiro Inagaki - 1970 - Head Rock

Jiro Inagaki
1970 
Head Rock




01. The Vamp (5:23)
02. Twenty One (5:33)
03. Spoonful (9:18)
04. Back to Rack (3:31)
05. High Jack (4:16)
06. The Ground for Peace (7:43)
07. Head Rock (4:21)

Jiro Inagaki - alto saxophone, tenor saxophone
Tetsuo Fushimi - trumpet
Masaru Imada - organ
Yasuo Arakawa - bass
Ryo Kawasaki - guitar
Sadakatsu Tabata - drums




Ultimate & most wanted japanese rare groove recorded by the saxophonist Jiro Inagaki, one of the main actor of the Japanese Jazz Rock & Progressive scene. In 1963, Jiro Inagaki was recruited by Helen Merrill for her first album recorded in Japan, "In Tokyo" with the Takeshi Inomata's West Liners group, and later formed various jazz band as the All-Stars, The (Black) Rhythm Machine or, of course, The Soul Media. Recorded in 1969 and released under the famous Takt Jazz Series from Nippon Columbia, Head Rock includes psychedelic guitar effects, great drum breaks, acid & electronic organ sounds, performed by The Soul Media, featuring some future japanese jazz great names, such as Ryo Kawasaki (in his first professional appearance), Yasuo Arakawa, Masaru Imada or Tetsuo Fushimi. Titles includes cover & original songs from Hal Galper (The Vamp),  and Willie Dixon (an amazing version of Spoonful), five composed by Ryo Kawasaki (Twenty One), Masaru Imada (High Jack), Yasuo Arakawa (The Ground For Peace) and Jiro (Head Rock). All tracks arranged by Jiro Inagaki.

The Section - 1977 - Fork It Over

The Section 
1977 
Fork It Over




01. Suckers On Parade 3:47
02. L.A. Changes 5:25
03. Street Pizza 4:07
04. Hamsters Of Doom 4:30
05. Bad Shoes 2:49
06. Moon Over Fontana 5:30
07. Rainbows 4:34
08. White Water 2:55
09. Magnetic Lady 5:41

Bass – Leland Sklar
Drums – Russ Kunkel
Flute – Jim Horn (tracks: B2)
Guitar – Danny Kortchmar
Keyboards – Craig Doerge
Percussion – Joe Lala (tracks: B2), Steve Forman (tracks: A2)
Producer – The Section
Saxophone – David Sanborn (tracks: B3), Jim Horn (tracks: A3)
Trumpet – Chuck Findley (tracks: A3)
Vocals – David Crosby (tracks: B4), James Taylor (tracks: A5)



Imagine the Atlanta Rhythm Section doing Jan Hammer/Jeff Beck collaboration instrumentals.
This is fantastic music,  very pleasant,  very funky.  
Creative  simple production that is very airy.  All the instruments are very discrete.
The musicianship is fantastic as well,  not over the top  "lets see how many notes I can cram into the smallest time slot" type of stuff.       The creativity takes precedence over   any attempt to do fingerboard acrobatics.
One of the best things I have heard in years,  I don't know how I missed these guys back in the day.


The Section - 1973 - Forward Motion

The Section 
1973
Forward Motion



01. Smilin' Ed
02. El Mirador Bolero
03. A Kind Of Albatross
04. One Drum
05. Bullet Train
06. Forward Motion
07. Baby Lame
08. Burning Bush
09. Get Down, Piltdown
10. The Garden Of Ryoanji

Bass – Leland Sklar
Drums – Russ Kunkel
Guitar – Danny Kortchmar
Keyboards – Craig Doerge



I get a strong Brand X vibe from listening to this. Understandably, the chops of the band aren't nearly as acrobatic as with their British peers, but that's not always a detrimental factor. Clearly the band has an ear for great melodies and understands the concept of stimulating phrasing which often gets lost in technical display of virtuosity in some cases. These guys have nice balanced-relaxed approach to their core sound that is a refreshing listen. It does have it fair share of filler though in the existence of some of these short interludes. "One Drum" is a pointless drum workout and I don't understand the need for the dissonant drone of "Get Down, Piltdown". Also "A Kind of Albatross" is an odd classical coated slab of piano-pop that got lost here as well.

The first funkier minutes of the album didn't really imply to me that I would get much kicks out of it, but once they get their soulful phrasing engine running in the middle of "Smilin' Ed" it's clear there is something worth keeping here. Their keyboardist probably wrote the bulk of the material as he's usually leading the duo with the guitarist towards some sharp sonic ground without getting too over the top. The title track is just a fantastic piece of work that's on par with anything I've heard from Brand X so far. The weird harmonies on "Baby Lame" reinforce the notion of quirky songwriting so familiar to British musicians. Not a very typical thing to hear from the states, deserves a bigger audience.


The Section - 1972 - The Section

The Section 
1972 
The Section




01. Second Degree 5:02
02. Same Old Same Old 4:45
03. Sporadic Vacuums Of Thought 5:25
04. Sitting On The Dock Of The Bay 3:52
05. Holy Frijoles 2:57
06. Doing The Meatball 2:50
07. Swan Song 6:26
08. Thing What Is 4:10
09. Mah-Hoo-Dah-Vah 5:50
10. Zippo Dippo 2:00

Bass – Leland Sklar
Drums, Percussion – Russ Kunkel
Flute – Michael Brecker
Guitar – Danny Kortchmar
Keyboards – Craig Doerge




The Section are a US instrumental rock band formed in the early 1970s by musicians Danny Kortchmar, Craig Doerge, Leland Sklar, and Russ Kunkel. They are best known for both studio and stage work in support of some of the best selling solo singers of that decade. Their frequent appearances on the records of artists signed to Asylum Records made them the label's de facto house band. Their close association with the singer-songwriter and soft rock genres of the 1970s also led to their alternate moniker of "The Mellow Mafia."

They appeared together and individually on albums by Linda Ronstadt, Crosby & Nash, James Taylor, Carole King, Jackson Browne, Warren Zevon, and acted as back-up band on their tours. Other musicians closely associated with The Section include guitarist Waddy Wachtel, bassist Tim Drummond and multi-instrumentalist David Lindley.

By the 1980s, the group stopped working together collectively, though as individuals they continued to play prominent roles in the studio and on tour with many of the most popular solo acts of the decade, including Phil Collins (who collaborated with Sklar frequently starting with 1985's No Jacket Required album and subsequent tour), Stevie Nicks (whose landmark Bella Donna album features guitar work from Wachtel, who continues to work with her as her musical director), and Don Henley (who used Kortchmar's skills on numerous instruments on his Building the Perfect Beast album).

Beside their supporting work for other musicians, The Section also released three albums of their own, consisting of mostly instrumental music.

Wolfgang Dauner - 1979 - Solo Piano

Wolfgang Dauner 
1979 
Solo Piano



01. Wendekreis Des Steinbocks 4:57
02. Die Wiederkehr Des Gleichen 3:27
03. Nachmittag Über Den Dächern Von Stuttgart (Für R.) 5:25
04. In Koma Veritas 4:26
05. Sendepause Der Gefühle 3:48
06. Don't Change Me 4:43
07. Traumläufe 5:27
08. Pamukkale 6:09
09. Bindungen - Samt Den Fügungen Des Zufalls, Die Es Dahin Gebracht... 5:45

Piano, Composed By, Arranged By – Wolfgang Dauner
Recorded in Wolfgang Dauner's apartment



Dauner, although not as rampaging as Don Pullen or Cecil Taylor, still takes things out on this 1979 solo session issued on a European import label. There's nothing sedate or predictable about these selections; Dauner romps, stomps, breaks off and changes tempos, slashes, and attacks in non-stop fashion.

Wolfgang Dauner - 1975 - Output

Wolfgang Dauner 
1975 
Output





01. Mudations 5:45
02. Output 7:42
03. Bruch 4:15
04. Nothing To Declare 10:40
05. Abraxas 4:24
06. Brazing The High Sky Full 4:25

Recorded September 15 and October 1, 1970 at Tonstudio Bauer, Ludwigsburg

Wolfgang Dauner piano, effects (ring modulator), keyboards (Hohner Electra-clavinet C)
Eberhard Weber bass, cello, guitar
Fred Braceful percussion, voice




An early outlier in the ECM catalog, Output convulses with as much lively originality as it did when it was first released. Wolfgang Dauner, perhaps better known as founder of the United Jazz + Rock Ensemble (which saw ECM greats Eberhard Weber, Kenny Wheeler, and Charlie Mariano pass through its hallowed halls), assembles a modest trio of talent for this classic 1970 studio free-for-all. The end result is humor, provocation, brilliance, and chaos all rolled into one. Most of the album flirts with any number of possible paths, the sole exception being “Nothing To Declare,” a relatively straight-laced tangent into jazzy territory in which Dauner has a field day with his modulator. “Mudations” and “Brazing The High Sky Full” serve as cryptic bookends, while tracks like “Abraxas” whet our appetite with more provocative flavors. Superb, if jumbled, musicianship and a strong attention to detail make for a unique experience all around. Dauner does wonders with limited means, Braceful sheds his skin at every turn, and this is a far cry from the Weber of the languid orchestral suites. Not an easy listen for the faint of heart, but one that will give back what’s put into it and, like the fully opened cover, gathers its power from another dimension.

Wolfgang Dauner - 1970 - Music Zounds

Wolfgang Dauner 
1970 
Music Zounds




01. Leap Tick 4:03
02. The Things We Did Last Summer 4:35
03. Diäthylaminoäthyl 5:30
04. Es Läuft 3:45
05. Here Come De Honey Man 6:17
06. Blue Light 7:48
07. Golden Green 6:05

Bass – Eberhard Weber
Drums – Roland Wittich
Piano – Wolfgang Dauner

Recorded at MPS-Studio, Villingen, Febr. 1970



Krautrock monster alert, folks! Comprised of the trio of Wolfgang Dauner on ringmodulated clavinet and piano, Eberhard Weber on bass, cello and guitar and Fred Braceful on percussion and voice, this is a coruscating masterstroke of hard burning acidic fusion at the point of implosion into the freeform. Released on ECM Records in their nascent days, before the house aesthetic calcified into something much more reserved, Output unfurls itself on a slipstream of droning and groaning spectral esoterica before exploding into the title track's hailstorm of outrageously overdriven ringmodulated clav, octopoidal percussive splatter and fuzz bass fusillades. Output represents Dauner at his most out-on-a-limb, frequently deploying strategies that he and Braceful would explore at greater length on the eponymous first Et Cetera LP (reissued as "Lady Blue", in which form it can be found elsewhere on MS), which is merely one of the top 5 krautrock albums of all time, in my humble opinion. Utterly essential.

Wolfgang Dauner - 1969 - The Oimels

Wolfgang Dauner 
1969 
The Oimels




01. Oh Baby I Don't Love You Anymore 4:20
02. Take Off Your Clothes To Feel The Setting Sun 4:00
03. My Man's Gone Now 3:30
04. Come On In On In 3:32
05. Dig My Girl 7:32
06. Greensleeves 3:55
07. Uwiii 2:56
08. A Day In A Life 2:57

Bass, Cello, Vocals – Eberhard Weber
Drums, Vocals – Roland Wittich
Guitar – Pierre Cavalli
Guitar, Sitar – Siegfried Schwab
Piano, Organ, Vocals – Wolfgang Dauner





This 1969 record has more in common with the Beatles and sixties psychedelic pop-rock than that period’s jazz. The Oimels also highlights three internationally acclaimed eclectic European musicians: keyboardist Wolfgang Dauner is a German jazz institution; fellow Stuttgarter bassist Eberhard Weber is known for his band Colours with Charlie Mariano, and his work with Jan Garbarek, while guitarist Sigi Schwab’s career spans work with a host of headliners, film, theatre, and TV music, and his own projects. Oh Baby I Don’t Love You Anymore starts out with an old-fashioned honky-tonk blues before electric guitar distortions take the music to the edge. With Schwab’s sitar and the band vocals, Take Off Your Clothes To Feel The Setting Sun shows its Beatles influence. Gershwin’s My Man’s Gone Now is reinterpreted in a Latin-rock feel with lots of affects. Come On In On In starts off with Weber’s electrified cello melding into an Indi-country-rock rhythm guitar riff and a raga-like vocal line before ascending into chaos. Dig My Girl moves to the mysteries of India, with sitar and vocals ala George Harrison. Dauner takes an acidic electric organ solo and the guitar is ablaze with distortion. The Traditional English ballad Greensleeves is given the Latin treatment. Uwii has a funk groove with Dauner scatting along with his solo. Rolling Stone rated A Day In The Life as the Beatles’ greatest song. Dauner and Co. rework it into a minimalistic masterpiece. Dauner in the Sky with Diamonds.

Wolfgang Dauner, one of the few internationally renowned German jazz musicians, was born in Stuttgart on Dec. 30, 1935. Oddly enough, having learnt to play the piano as a child, he eventually graduated from the conservatory in Stuttgart with a major in “trumpet”. Yet, it is the piano that remains his great love. He fancied contemporary jazz and, in 1963, founded his first own band: The Wolfgang Dauner Trio, with Eberhard Weber playing the bass and Fred Braceful on the drums. He would continue playing with these musicians well into the 1970ies. Dauner is extremely important with regard to modern jazz and jazz rock in Germany, and his efforts can be compared to the spade work Miles Davis did for jazz and jazz rock in the USA.

Having participated in various jazz bands in the early 1960ies, Dauner was already a jazz veteran before he founded his own band. His first albums belong to the genre of experimental modern jazz, influenced by Bill Evans, Steve Lacy, Sun Ra etc. The albums he published until 1969 will primarily appeal to “pure” jazz fans.

The acme of psychedelic music in 1968/69 created new possibilities. Dauner and several other excellent young jazz musicians were sick of the jazz of the time turning increasingly cliché, and decided to disregard all existing rules. They did to jazz what Faust was going to do to rock music a couple of years later. A first result was the extraordinary album FÜR, released in the summer of 1969, which can hardly be called jazz, but is much rather an experiment aimed at overcoming limitations. Musical revolution for its own sake. This was also expressed in the cover notes, where the musicians explained what the album was about, e.g. the record had to be played inside out and was going to destroy itself when played.

THE OIMELS, the album the Wolfgang Dauner Quintet presented to their fans in early 1970, was even more radical than the previous productions. Here, Wolfgang Dauner and his band surprised as a psychedelic-jazz-pop-band. To top it all, the album con-tained a version of the Beatles’ title “A Day in The Life” of the Sgt. Pepper’s album, along with several other more or less “weird” songs that remind one of pop or beat with a pinch of jazz and ethnic sounds. Apart from the distorted guitar, sitar sounds and other freak-outs so beloved by fans of psychedelic music, the five musicians really pulled out all the stops in order to demonstrate their idea of what psychedelic pop had to sound like. An extraordinary album in every respect. 1969 and 1970 were a musical Fountain of Youth for Wolfgang Dauner and his alternating band members. They published eight albums on different labels and under various band names (Wolfgang Dauner Quintet, Wolfgang Dauner or Et Cetera). For progressive rock enthusiasts we particularly recommend the albums RISCHKAS’S SOUL (recorded in 1969, published on Brain in 1972), and ET CETERA (1971 on Global). Fans of progressive rock will also love the LP KNIRSCH (with participation of Jon Hise-mann and Larry Coryell) published on BASF/MPS in 1972, and the 1973 live double album also published on BASF/MPS under the band name ET CETERA. Readers of the Sounds magazine voted Dauner musician of the year 1972. In 1971 he had won the “star of the year” award by the Münchner Abendzeitung, and before that, in 1969, he had been appointed head of the radio-jazz-group Stuttgart. It is not an exaggeration to call Dauner one of the most productive and versatile musicians, particularly with regard to the subsequent years. During the 1970ies and 1980ies he was involved in innumerable projects, both his own and as guest musician (between 1970 and 1990 he participated in no less than 49 record productions). Apart from the above mentioned productions he was keyboarder with the “New Violin Summit”, played with the United Jazz and Rock Ensemble, worked with Dieter Süverkrüp and Konstantin Wecker, whose producer and musical director he became in 1986, the Kolbe-Illenberger duo, Charlie Mariano, Albert Mangelsdorff and many others. His discography is so vast it would go beyond the scope of this booklet. In 1977 he co-founded Mood records, and recently, in 2001, was responsible for three record productions. In addition to this he did commissioned compositions for various symphony orchestras, composed the chamber opera “Die verwachsene Froschhaut” for the State Theatre Stuttgart, created the laser show music for Germany’s cultural contribution to the Olympics in Barcelona in 1992, as well as the world championship fanfare and a composition for the awards ceremony of the athletics world championship in Stuttgart in 1993. In 1999 he toured Chicago, New Orleans and the Bahamas with the German Allstars-Old-Friends (K. Doldinger, A. Mangelsdorff, M. Schoof, W. Haffner and E. Weber). In 2004 the tour was continued with concerts in Southern America. A typical feature of Wolfgang Dauner’s musical production is that he doesn’t make a distinction between serious and light music. Although always open for any kind of musical influence, he nonetheless kept his distinctive Wolfgang-Dauner style, which can be easily spotted in the many soundtracks he composed in the course of his creative work. His compositions for TV- and film adorned Courths-Mahler productions, the TV series about defence lawyer Abel and even a production by the animal film maker Horst Stern (Remarks on butterflies), etc.

Wolfgang Dauner, who has received countless awards and distinctions, is still musically productive. In 1997 he received the Medal of Merit of the State of Baden Württemberg, and in 2003 the German Jazz Trophy – A Life For Jazz. In 2005 he was awarded the 1st class Order of Merit of the Federal Republic, and in 2006 the Citizen Medal of Stuttgart. Since 2004 he has been member of the jury of the new jazz centre at the Columbus Circle in New York, the “Jazz at the Lincoln Centre.”

In a personal comment Wolfgang Dauner told us how impressed he had been with the Beatles’ unconventional approach to pop music, which he thought had been rather refreshing. He mentioned, too, that he has always taken an interest in the entire diversity of music development, both contemporary and popular. In his opinion, all genres contained innovative and interesting elements, ranging from the Beatles, Pink Floyd, Zappa or Ligeti to instrumental theatre. Personally, he had never accepted musical boundaries. For an extensive discography, a survey of his compositions for film and TV and a history of his career in tabular form please visit his website www.Jazzpages.com/Dauner. Our special thanks go to Wolfgang Dauner for letting us republish the album THE OIMELS on CD.

Siegfried (Sigi) Schwab, born 5.8.1940 in Ludwigshafen on the Rhine, developed a desire for making music at an early age and started playing bass and guitar. At the age of 16 he took up studies for both instruments at the conservatory in Mannheim. He was interested both in classical music and jazz, and very soon, Laurindo Almeida, the Brazilian guitarist, became his musical role model. To begin with, Schwab played in local bands, worked as a studio musician early on (e.g. with Wolfgang Laudt and Erwin Lehn) and, after moving to Berlin, became a permanent member of the Rias-Berlin Big Band. In 1967 his first solo album was published in the USA and Europe. For the studio specialist Schwab gaining experience in an entirely different music scene had been an interesting experience. Before taking part in THE OIMELS, he had played with the band on the GULDA festival in Ossiach, Kärnten, Austria. At that time the band consisted of Jean Luc Ponty, Sigi Schwab, Wolfgang Dauner, Eberhard Weber and Fred Braceful. They had recorded THE OIMELS on request of their producer, head of MPS-Records Hans Georg Brunner-Schwer, who had asked them to break new grounds in music. Sigi Schwab was also member of ET CETERA, the successor band, so to speak, of the Wolfgang Dauner Quintet. Today Schwab feels that the Oimels was a very important step on the way to ET CETERA, the first jazz-free rock-band in the tradition of 1968 and the most modern and provocative ensemble at that time.

Apart from doing his own projects and participating in various formations (among others Embryo “Father, Son and Holy Ghost“,1972 and „Rocksession“, 1973) as a constant band member Sigi Schwab was involved as a studio musician in countless productions (every-thing from pop song to experimental jazz). Besides he composed music for television, film and the stage. His film music for Vampyros Lesbos- Erbin des Dracula (1971) was successfully re-released on CD in the late 1990ies, subtitled Sexadelic Danceparty, while his piece The Lion & the Cucumber was used by Quentin Tarantino in his film Jacky Brown. The recordings for The Vampire of Dartmoor are still exceedingly popular in fan circles. In 1987 Schwab composed the very successful song “My love is a tango” for the ZDF Christmas TV-series about ballet dancer Anna.

Currently Sigi Schwab is very busy doing various musical projects. The balancing act between classic scene and modern improvised music has remained his theme of life. Like Dauner, he refuses to make a distinction between serious and light music: “There is only a universal music language, although it has multiple branches and all sorts of axes.” For further information on his various musical projects, CD publications, books etc. please visit his homepage on www.melosmusik.de. We would like to thank Sigi Schwab for his valuable support.

Eberhard Weber, another outstanding and internationally renowned, personality of the jazz-scene was born in Stuttgart on January 22, 1940. He has played, for example, with Gary Burton, the Pat Metheney group and Jan Garbarek. He, too, started making music as a child. At the age of 6 his father taught him to play cello. At school, where he was member of the school orchestra, his music teacher encouraged him to change over to the bass. Although he initially learnt to play the bass the classical way, i.e. with a bow, he eventually practised plucking the instrument since he had developed an increasing interest in jazz. Weber played in several school bands and finally decided to give up the cello altogether in favour of the bass.

In 1960 Weber met Wolfgang Dauner, with whom he recorded numerous albums. Hence it was only logical he would participate in the ground breaking projects The Oimels and, later on, ET CETERA. From 1973 on, however, when Weber’s successful album “The Colours of Chloe” was released, the two of them cut their own paths and only got together for joint projects on rare occasions. In spite of this, their cooperation has never stopped altogether. Weber worked with the guitarist Volker Kriegel and temporarily with the New Dave Pike Set. Following the release of his solo album “The Colours of Chloe” he founded the band Colours with Rainer Brüninghaus and Charlie Mariano. After nearly eight successful years with Colours Weber no longer saw a possibility for continuing the band’s creative musical discourse. He commented that he hated repetitions just for the sake of keeping the band alive. Colours split up in 1981. In 1982 Weber joined Jan Garbarek’s band as a permanent member and worked with the Norwegian saxophone player until the end of the 1990ies. Since 1985 Weber has also been giving solo concerts, where he uses electric sound multipliers to record his play and recreate it in a different speed and modulation.

Weber’s discography is impressive, and he has taken part in all sorts of productions as a guest musician ( e.g. with Kate Bush). For further information including a detailed discography please visit his website on mysite.verizon.net, ( put in Eberhard Weber in the search function.) In 2007 he published the CD Stages Of A Long Journey.

Piere Cavalli, also guitarist with The Oimels, stayed true to music as well and has published further LPs and CDs. Most recently he has played on Django, published by Universal Music France 2002. Roland Wittich, drummer with The Oimles, is working as an architect.In retrospect the most striking feature about the extraordinary production The Oimels is, that the three musicians who participated in it, i.e. Wolfgang Dauner, Siegfried Schwab and Eberhard Weber, have all pursued a musical career that has gained them international renown.


Manfred Steinheuer, May 2007
Translation: Dr. Martina Häusle

Wolfgang Dauner - 1969 - Rischkas Soul

Wolfgang Dauner
1969 
Rischkas Soul




01. Jive Samba
02. Flute-Woman
03. Just Bring It Out
04. Reading Machine
05. Kamasutram
06. Blues Far Out

Bass, Cello – Eberhard Weber
Drums – Fred Braceful, Roland Wittich
Guitar – Siegfried Schwab
Piano, Organ, Flute – Wolfgang Dauner

Record is called "Dietrich's Soul" on the cover.

Recorded Tonstudio Bauer, Ludwigsburg/Germany, November 28th, 1969.



The more one investigates, the more one experiences, the more one finds that the world is wider and more vast than they ever imagined.  Case in point, Wolfgang Dauner, hailing from Germany, and probably the first to explore jazz fusion and experimental rock, making him the godfather of the current Kraut Rock movement ... and still directly influencing electronic music today.

Rischkas Soul is both adventurous and ambitious, yet is unpretentious, honest and amazing tight.  This classic and highly overlooked presentation from 1969, privately pressed and released, is a time capsule of sorts, where Wolfgang Dauner sets out to build a sightly psychedelic structure filled with soul and jazz, centered around Dauner’s piano and organ ... capturing the swinging London mystique of the 60’s.  In doing so he’s given Rischkas Soul a funky rhythmic backbeat, over which he’s laced fiery guitar solos filled with wah-wah and mild reverb that mesh in a musical dance with injections of atmospheric and ripping organ washes.

This is a body of work that was experienced and understood by few at the time of its release, but has charted the course and musical endeavors of everyone who heard it at the time.  It’s truly one of those “not to be missed” bodies of work that will connect dots and open doors that you will never be able to close.
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Recorded November 28, 1969, Wolfgang Dauner's Rischka's Soul (aka Dietrich's Soul) comes more from the restless jazz school, than the subversive underground that was just beginning to brew in Germany at this time. Dauner was no doubt a major influence, and perhaps even an inspiration, to those looking to expand the music norms of the day. Krautrock, as we know it today, had its founding during this era, but it didn't come from the mainstream, of which Dauner was a part of. The album was mostly known from its posthumous release on Brain, though it wasn't a contemporary recording. Still, without a doubt, Dauner was a pioneer in mixing psychedelic rock and jazz seamlessly. Much of this album sounds like the ultimate backdrop to a "happenin' club scene" to a 1970 art film, with the participants suitably stoned out of their bloomin' minds and squinting wildly while the Klieg lights were beaming off their freshly scrubbed cheeks. Whether the youngsters were dancing or meditating, Rischkas Soul was providing the soundtrack to their soul searching odyssey of utopian dreams. One of the better time-and-place albums of the day, and a must pick up for fans of 1969 era jazz rock. Just don't expect cutting edge Krautrock here.

Lots to talk about here regarding the release itself, and it's certainly a confused state. The most known press, and the cover most associated with the album, is the original Brain release similar to the second photo. It features a striking day-glo yellow gatefold cover, and this is the version I've owned for many years. I had no idea until somewhat recently that the Brain press was actually a reissue of an earlier recording. The CTR (Creative Team Rischka) release is still unknown and pretty much extinct. These photos all came from Discogs, where apparently one copy was sold. There's been none for sale on ebay, or at least that has been captured. But even this press is confused, as the label and cover do not match. As you can see, the title was originally to be called Dietrich's Soul. But I guess Rischka won the contract and also apparently got the naming rights too! The 1974 release was part of Metronome's "This is" series, and were really just represses of earlier albums (or comps in some cases), and released on the 2001 Brain imprint. These presses are all inferior to the originals (and the covers are dull). The '81 press (black label) is a single sleeve, but uses the desirable yellow cover. And now the Long Hair release finally replicates the Brain "original" in its full glory - and is the first modern reissue. Since I already have that on LP, I went forward with the CD. It does feature very good sound, but is taken from vinyl (they did a great job though). The liner notes are excellent, but frustrating, as is often the case with Long Hair. They don't provide much detail at all regarding the release itself, and this is a story that needs to be told! What we do get is the story of Wolfgang Dauner and some of the participants from that era of his band. I did learn, however, what the story behind the "Sounds" label on the front cover means (it's also on Guru Guru's 4th). It was a "seal of approval" from the magazine of the same name. Interesting. Oh, one other thing about the CD - they inexplicably reversed the sides of the recording so that it starts with Side 2. Why they did this we'll never know. Perhaps the goal here was to ensure the release remains in a confused state.
Unencumbered Music Reviews

Wolfgang Dauner - 1967 - Free Action

Wolfgang Dauner 
1967 
Free Action




01. Sketch Up And Downer 9:08
02. Disguise 7:00
03. Free Action Shot 6:03
04. My Spanish Disguise 12:48
05. Collage 6:15

Bass – Jürgen Karg
Cello – Eberhard Weber
Drums – Fred Braceful, Mani Neumeier
Piano, Piano [Prepared] – Wolfgang Dauner
Tabla – Mani Neumeier
Tenor Saxophone, Clarinet – Gerd Dudek
Violin – Jean-Luc Ponty

Recorded at SABA Studio Villingen, Black Forest, May 2nd, 1967.
The group is credited as Wolfgang Dauner-Septett on labels.



Wolfgang Dauner is yet another case of an artist who's achieved a considerable reputation in Europe, but for whom greater exposure in North America has remained elusive. The multidisciplinary keyboardist has done everything from free jazz to opera, and can be heard in fine jazz/rock form on Don "Sugar Cane" Harris' recently released 1972 MPS disc, Sugar Cane's Got the Blues (Promising Music/MPS, 2008). First released in 1967, Free Action is another MPS recording that's been long overdue for CD issue and, thanks to Promising Music, it's now possible to hear what was going on in Europe at the time, while largely unbeknownst to North American jazz fans.

Dauner's septet features three artists who have gone on to varying degrees of international recognition: reedman Gerd Dudek, bassist Eberhard Weber (heard here on cello) and violinist Jean-Luc Ponty. For those only familiar with Ponty's later fusion work, his playing on Free Action will come as a surprise; it's also enlightening to hear Weber in a freer context, since his own ECM discography, while providing room for improvisation, is far more structured than the more extreme freedom of Dauner's music.

That's not to say there isn't structure to Free Action's five Dauner compositions. "Sketch Up and Downer" begins with a free exchange between Weber and bassist Jürgen Karg, with the rest of the septet—including drummers Mani Neumeier and Fred Brace—gradually joining in, leading to Dauner's knotty theme that establishes a harmonic center. Ponty's energetic solo takes place over a fiery swing, despite retaining a turbulent undercurrent. Dudek's tenor solo is more tempestuous still, as both drummers create a maelstrom with a pulse while Dauner accompanies with staggered block chords. Even as Weber becomes more unfettered and spirals further outward, Dauner's solo leads into a section that combines spontaneity with cued figures before reiterating the opening theme.

"Disguise" reflects a pervasive interest in East Indian music that began with jazz musicians in the 1960s. Neumeir switches to tabla and the group adopts a more linear approach, but freedom still reigns, with Dauner's prepared piano a jagged backdrop for in tandem soloing by Karg and Weber. The abstruse "Free Action Shot" uses graphic, rather than conventional, notation (reprinted in the CD booklet), allowing the musicians maximum liberty within a set of predefined textural parameters independent of time, pitch and tone. With a group of improvisers less concerned about personal contribution than the collective whole, Ponty still stands out, if only because it's so surprising to hear him in the context of Dauner's unconventional settings.

Dauner would go on to record a trio album with Weber and Brace for ECM (1970's Output), but the majority of his 1960s-1970s output as a leader was for MPS. A challenging record that's not for the faint-at-heart, Free Action is nevertheless a fine introduction for those unfamiliar with the pianist's work, and a welcome release for those who've been patiently waiting for its issue on CD.