Tuesday, December 15, 2015

Plebb - 1979 - Yes It Isn't It

Yes It Isn't It


01. Reaggie IIB
02. Push Box
03. Rockaria
04. Tankar Om Natten
05. Förflutet
06. Psst...
07. Fresh Fish

Per-Martin "Pemce" Pettersson - Guitar, Vocals
Peter Martinsson - Guitar, Vocals
Tommy "Gusta'son" Gustavsson - Bass, Vocals
Ronnie "Balder" Nilsson - Drums

Amazing LP released on PLEBB's own label limited to 500 copies. A must have for fans of 70's Hard Rock.

Plebb from Sweden was founded 1976. The first years the band consisted of Ronnie Nilsson (Drums), Leif Bergqvist (Guitar), Per-Martin Petersson (Guitar) och Tommy Gustavsson (Bass). All members are from the town Mönsterås in the South East part of Sweden. The summer 1977 Leif Bergqvist had to leave the band due to illness (he would later  appear in the band ICTUS). Peter Martinsson replaced him on the guitar. At the time the band developed and started  to write more own songs. The song ’First Day In Roxy’ was made when they moved to their new rehearsal place,  The Roxy cinema in Mönsterås.

The summer 1978 a cassette was recorded under primitive circumstances and was copied by themselves. It was  sold to the big crowed of local fans the band had in Mönsterås. Only 40 cassettes were made. The production gave  appetite and at New Year 1978/79 their album “Yes It isn’t it” was recorded under the same primitive circumstances as the cassette six month earlier. At the time the boys were 16-18 years old. The album was made in 500 copies. With two ¼” tape recorders the background was recorded and the song and the guitar fills were made by playing the  background and record it and the new parts on the other tape recorder. The recording technique is called Sound- on-sound. No mixer board was used, only microphones directly connected to the tape recorders.

The band later changed their name to PURPLE HAZE and released a MLP in 1981 entitled ' Det Är Så Man Undrar...'.  Per-Martin was later in the band SKYSCRAPER together with QUIL guitarist Christian Carlsson. He's also in PETER  MARTINSSON GROUP together with Peter.

PLEBB videos of a reunion rehearsal can be found at Peter Martinssons Youtube Channel.

Train - 1977 - Coo-Coo Out

Coo-Coo Out

01. Solution   
02. There's A Dream   
03. Sputnik   
04. Permutation   
05. Laughter At Midnight   
06. Coo-Coo Out!   
07. Third Generation   
08. Arabesque

Bass, Double Bass – Michael Harmssen
Electric Piano, Synthesizer, Clarinet – Gert Lueken
Drums, Percussion – Ulli Neels
Electric Guitar, Acoustic Guitar – Ronald Geißler
Soprano Saxophone, Tenor Saxophone, Flute, Percussion – Siegmar Fetter

Little-known German Jazz Rock band, hailing from the city of Wachendorf and formed around 1971.Reputedly at one point they occupied former Gash drummer Reinhard Schiemann, but the quintet to take the act to the recordings of a proper release comprised of saxophonist/flutist Siegmar Fetter, keyboardist/clarinet handler Gert Lueken, guitarist Ronald Geissler, bassist Michael Harmssen and drummer Ulli Neels.Their debut, named ''Coo-Coo out'' and produced by the band members, was recorded at Tonstudio Josef Alterbaum and was pressed/released privately by the band in 1977.

Train's sound somewhat escapes this unique Kraut-colored Jazz Fusion style of the 70's with the band delivering music closer to semi-improvised Jazz Rock, fronted by the endless sax and flute leaks of Fetter in a typical, loose style, as expecterd by the chosen style, which is a bit lightweight for the most of the album's length, even introducing soft acoustic passages between the electric moments.They failed to deliver a more personal aura and often tended to copy Chick Corea's RETURN TO FOREVER during the fast or the ethereal electric piano parts, showing also some heavy influence by Funk at certain moments.Moreover some parts of the album are closer to Jazz than Rock with the standard bass lines and drumming of the style supporting the sax and piano solos.I guess the moments, when Geissler enters the scene with his guitar, are the most interesting ones as well, even if he never tries to dominate the scene, his plays are rather laid-back than fiery.The atmosphere is decent, containing both romantic and melancholic moods along with some joyful and tricky exercises, but the overall result is not fully convincing, unique or consistenly executed.

Apparently the band dissolved after the album was launched.Gert Lueken later played with the rockers Lone Wolf and Ethno-Fusion pioneers Tri Atma.

Sun - 1980 - Sun


01. Ohne Titte   
02. The Jester   
03. Seeing Similaun   
04. On Holiday   
05. Und Ewig Heulen Die Gitarren   
06. Neulich In Spanien   
07. Women's Lib. Blues   

08. Leisure   
09. To Celia   
10. Communication Breakdown   
11. Slave Of Heaven   
12. Black Sheep Of The Family   
13. Morning Dream   

Bass, Vocals – Thomas Heldmann
Drums – Rudi Herrmann
Electric Piano, Organ – Reinhard Stephan
Guitar – Gunter Hübner
Guitar, Vocals – Harry Müller
Saxophone, Lyricon, Vocals – Bruno Mäder

Sun from Hettenleidelheim near Eisenberg in the Palatinate were founded under the name of Punished Sun in 1969 and shortened their name to Sun in 1974. They played progressive rock with slight Zappa and jazz influences; the singing, however, is in parts a bit silly. In that very year of 1974 they filled with two long tracks a whole side of the double LP 'Proton 1' (Kerston FK 65017), on which also the bands Zyma, Andorra, Penicillin, and Nexus are to be heard. In 1980, Sun finally released their first own LP which contained exclusively self- written tracks, in an edition of 1000 copies. The brimful CD at hand contains this complete LP, drawn from the master tapes, and as bonus tracks the two Proton tracks 'Leisure' and 'To Celia', two as yet unreleased pieces from rehearsals as well as two later studio recordings, also unreleased as yet.
For a private pressing (and it's one hell of a private pressing - black cover with just the word SUN on it, blank white label, number S.U.N. 001!), this is an amazingly instrumentally advanced record - heavy guitars, winds and violin all join into the whirpool of sounds. In terms of style this is a compelling hybrid of underground krautrock and jazz-rock/fusion, with predominantly instrumental tracks and lots of jazzy soloing alongside heavy riffs. Reminds me of the bands such as Eiliff, Thirsty Moon or maybe Missing Link.

Jason's Fleece - 1970 - Jason's Fleece

Jason's Fleece 
Jason's Fleece

01. Sam Had To Run   
02. Honeyman   
03. Confession   
04. Summersun   
05. Rusty   
06. Cash Box Lady   
07. The State   
08. Damn Long Way Between Us   
09. I) Meg   
    II) Motorcycle   
    III) Dust And Sand   
10. Swedish Maternity Hospital   
11. Pain   
12. Winter Comes On Slowly

Bass – Red Mitchell
Drums, Percussion – Jan Bandel
Electric Bass – Georg Wadenius, Göran Lagerberg
Piano, Organ, Flute – Björn J:son Lindh
Reeds – Kenneth Arnström
Vocals, Guitar – Hawkey Franzén, Sam Ellison

Combo existing 1970-71, sometimes under the name "Sam & Hawkey". Members shifted, most of the time including Swedish jazz/prog musicians Björn J:son Lindh (1944-2013), Kenneth Arnström, Janne "Loffe" Carlsson, Georg "Jojje" Wadenius, Sam Ellison, Hawkey Franzen and American jazz bassist Red Mitchell (1927-92). This was their only album, also involving Jan Bander on drums and Tages/Blond vocalist/bassist Göran Lagerberg. The music resembles US pop/jazz/prog outfits as Blood, Sweat & Tears, Chicago or Electric Flag. Sleeve notes doesn't say exactly how long or how much Lagerberg was involved in the band, but to me some of the songwriting and vocal style remind of late Tages stuff or the Blond album - maybe just a coincidence. The performances and arrangements are a lot more advanced though with some intriguing twists - e.g. the counter bass/scat song figures in "Confession", strings at the end of "Winter Comes On Slowly" or psych guitar/sax duet in "Cash Box Lady". Even if song structures are quite regular most of the time it's still a very good jazz/prog album with funk, blues and psych outings, performed by some of the best. "Confession" and "Rusty" were coupled as a mono '45 (Mercury 6062015). 1970 LP release in Sweden only. Not re-issued on CD. It came in a fully laminated fold/out cover with stapled sheets

Ibis - 1980 - Sabba Abbas Mandlar

Sabba Abbas Mandlar

01. Sabba Abbas Mandlar (13:56)
02. Aalborg (10:02)
03. Summer Eyes (13:45)
04. Kaffe & Punk (6:45)

- Gosta Nilsson / piano
- Mats Hellberg / drums
- Tommy Johnsson / bass
- Stefan Isaksson / saxophone
- Ed Epstein / saxophone
- Bengt Ernryd / trumpet

In 1980 Gösta Nilsson and Tommy Johnsson released a second Ibis album, Sabba Abbas mandlar, featuring new members Ernryd, Epstein and Hellberg. The music had changed to pure jazz mostly played on acoustic instruments, bar one fusion track.

Ibis - 1974 - Ibis


01. Maneten (1:22)
02. Fransk Pump och Elektriskt Vatten (5:07)
03. Remrus Selegra (12:06)
04. Anja's Klocka (2:05)
05. Oster och vaster (11:16)
06. Alvan (3:11)
07. = 60 (1:08)
08. Blixtens Gamla Buss (2:59)
09. Horisonter (3:58)

- Gosta Nilsson / piano
- Island Ostlund / drums
- Olle Nilsson / guitar
- Tommy Johnsson / bass

Ibis were no other than the continuation of Swedish Heavy/Jazz/Prog rockers Vildkaktus after their last effort ''Natten''.Actually the main core consisting of keyboardist Gosta Nilsson, guitarist Olle Nilsson and bassist Tommy Johnson was the same as on Vildkaktus with the addition of drummer Petur Island Östlund.The self-titled debut came out in 1974 on EFG.

Under the Ibis name the band seems to focus more on the jazzy side of Progressive Rock with a bit more loose arrangements without forgetting about the heavy explosions met in the Vildaktus albums.Each side of the LP includes two strong and long jazzy arrangements over 10 minutes each, where the new approach of the band is more evident.''Remrus Selegra'' and '' Öster och väster'' have strong Canterbury influences, especially on Gosta Nilsson's electric piano and keyboard work, with nice and powerful grooves, long slightly improvised solos and fuzz heavy psychedelic guitar performance throughout, not far from the sound of NATIONAL HEALTH or HATFIELD AND THE NORTH.The rhytym section is very solid as well and the album worths some spins for these two tracks alone.The shorter cuts are more varied, starting from fiery Latin-influenced Fusion and exploring also the Heavy/Psych sound of Vildaktus along with some Lounge Jazz moments, decent tracks but far from the quality of the longer compositions.

The reasons the band turned to a more jazzy style are still unknown to me, one thing is for sure, Ibis could do it well even with this specific style, offering a rich Jazz-Rock sound with distinct Canterbury and psychedelic influences and this album should interest any listener fond of any of the above music descriptions.Recommended.

ES - 1979 - Wham Bang

Wham Bang

01. A Mile High 4:45
02. Martinellis Bar 3:46
03. Dream 3:49
04. Tipsy Ellen 3:04
05. Wham Bang 4:55
06. Lady Plastic 5:28
07. Hey You 4:27
08. Earth and Space 5:57

Bernd Kiefer (bass, vocals)
Zabba Lindner (drums, xylophone, vocals)
George Kochbek (keyboards)
Carlo Karges (guitar)
Thomas Waßkönig (keyboards)

Now here's a strange bird. ES is made up of former members of Tomorrow's Gift and the Release Music Orchestra. On the surface, "Wham Bang" is a straight ahead pop rock / disco album. And after each track's cringe worthy vocal section finishes, one might expect a short instrumental followed by some more tawdry vocals. Except the instrumentals don't stop and ES begins to introduce a complex fusion sound, as one might find on an earlier RMO release. Every time I was about to write "Wham Bang" off as a cheap European knockoff, then wham! bang! I'd hear an impressive instrumental bit. Yes, I think the album may have been a conscious satire on the current music trends of the day.
I'm still looking for a copy of "Aladin". There is some debate as to whether the album even exists. The only mention of it is within the gatefold of the "Wham Bang" album. Anyone know? (after some research, I really don't think this album exists in original form

Barney Wilen - 2012 - Moshi Too

Barney Wilen 
Moshi Too


01. Moshi Too   
02. Fullys In The Bush   
03. Fete A Tam I   
04. Zombizar Reloaded   
05. Bumba Ciagalo   
06. Serenade For Africa   
07. Disturbance   
08. Barka De Sala   
09. Fete A Tam II   
10. Leave Before The Gospel   
11. Two Twenty-Three   
12. Wah Wah   
13. Kira Burundi   
14. Black Locomotive

Recorded 1969-1970 in Africa by Barney Wilen on Nagra (Stereo/Mono). 80 Minutes of previously unreleased recordings from 1969-70, not to be found on the tenor player's regular "Moshi" album. Dark and trance-like amalgam of Afro-blues, acid-rock jams, polyphonic rhythms and spiritual jazz influences from the likes of Coltrane or Sanders.

MOSHI: trance utterance by the Fullani Bororogi (Niger). “MOSHI is the Bororogi`s way to get rid of the blues, a trance-like state which involves possession by a special demon called MOSHI” (CdB).

Barney_Orti In 1969 and 1970, French jazz saxophonist Barney Wilen (1937-1996) travels through Morocco, Algeria, Niger, Mali, Upper Volta (now Burkina Faso) and Senegal to Dakar with a group of musicians and filmmakers. Once a celebrated bebopper in the Fifties, now, at the end of the Sixites, Barney decides to “drop out”. Aboard a brightly coloured Land Rover is his girlfriend and future wife, Caroline De Bendern, model and icon of the May '68 Paris riots. Moreover, they packed instruments, amplifiers, tape recorders and camera equipment. The goal is to shoot a 35 mm road movie, financed by funds from the new production company "Zanzibar Productions". After two years, Barney and Caroline return to Europe without a finished movie. However, there are over 50 tapes in their luggage, capturing music and sounds from different stations of their journey recorded on a Nagra tape recorder with people they met along the way.

Almost all of these "original African recordings" are unreleased until today and now see the light of day under the title MOSHI TOO. Infected by Pharaoh Sanders and John Coltrane, enthusiastic about jazz-rock and the spontaneous free jazz scene, Barney plays psychedelic desert blues and spiritual Afro Jazz - hypnotic sessions with deep tenor saxophone, funk guitar, bass and drums in a trance-like flow. Occasionally, he works with backing tracks and noise or ambient sounds. In addition, there are documentary recordings of African music and singing groups, of various single traditional instruments such as the balafon, oud or flute and the rhythms and chants of nomadic tribes to the sounds of nature, Muslim prayers or voodoo voices.

budje Producer Pierre Barouh later uses some brief excerpts from the tapes in a Parisian studio. Collage-like, they serve as the background of the recording sessions for "Barney Wilen - MOSHI", a recognized landmark on the way to "World Jazz", released in 1972 on the label Saravah. Short extracts are also included in Caroline and Barney`s film "A L'intention de Mademoiselle Issoufou à Bilma" (1971). "Spare parts of indeterminate origins," as Jason Ankeney calls these obscure snippets correctly in the All Music Guide. After cancellation of the African project, the tapes have been largely forgotten but kept secure by Barney for future activities. Patrick Wilen finds them at last as he reviews the estate of his late father and, with a clear view on the coils, also remembers his words: "Do something with it!". In the course of 2012, over several months, the recordings are digitized in Berlin with Nagra and Telefunken tape recorders and compiled unchanged (technically restored and corrected only) for MOSHI TOO. In Order to really understand MOSHI, you can finally experience the music as intense as it was made. Barney's African dream lives on. (Ekkehart Fleischhammer 2012)

Excerpts from new sleeve notes by Caroline De Bendern (2012):

The-equipment MOSHI, the word pronounced during a trance, by members of the Fulani Bororo (nomad branch of Fulani ethnic group). The trance it seems is often induced by musical manifestations they are unused to on the radio, western music and technology. Some say it is a deformation of “Monsieur”. It all started in Paris February 1969. A group of young “Insoumis” (May 68 term for rebels), offspring of the revolution which had recently shaken France and caused a few thrones to totter and who were on the point of leaving on a long trip to Africa. Destination: Zanzibar.

The journey was to last six months during which two films were to be shot. The voyage was originally motivated, on listening to a recording of pygmy music. A visit to these people was to be one of the highlights, among others. The production company which financed the expedition, “Les films Zanzibar”, was created in 1968 by a young “insoumise”, Sylvina Boissonnas, who had already produced several films by among others, Philippe Garrel and Serge Bard. In 1969, Sylvina agreed to Serge Bard’s Zanzibar project.

Barney_W The equipment is assembled, technicians engaged, four Land Rovers and us, that is, Serge, a Moroccan friend Affifi, The actors: Didier Leon, Babette Lamy, and myself. My new boyfriend and future husband, Barney Wilen, who should take care of everything on the music side, Daniel, and minimalist painter Olivier Mosset, who came along to observe the emptiness of the desert. We spend three months in Tangiers, then to Marrakech for a while, after which we go south and install our first camp. About four months had gone by, since our departure and not one image had been shot. Daniel broke his arm and there were many other factors of delay. The technicians get nervy, start shooting at the trees and after having been called “bourgeois renegades” (or something like that) by Serge, get mad and quit.

Next Algiers and the “Pan African Music Festival” where Barney got out the Nagra provided by the production for the first time, and recorded Archie Shepp with some Algerian musicians (Gnaoua) from the south, in front of the mosque at the entrance of the Kasbah. We continue on to Colomb Béchar, then we made excursions all around Tam, recorded Tin Hanan festival at Abalessa (Tindi Abalessa). At the border, we were searched and … busted. Some illicit substances were found and we’re all arrested. Sylvina sent two lawyers, who got us off with a fine and ordered to leave the country.

Then we are in Agadez, Niger. Settle into a house, which we rent from Malam Sidi, Grand Marabout. We would go on excursions into the bush. One of these led us to Tafadek, a paradise like place, where nomads from all around and even further, come to take the healing waters. Hot sulfur water springs out into a covered bath, in which one can dip and then go out and plunge into a cold pond outside. We had brought some of our friends from Agadez, “les grands bandits” and some pretty girls: Beautiful Budje, gorgeous Giana and others, the Bororo, among whom: knockout Orti and the sublime Giulde. It was in Tafadek that Barney recorded his MOSHI one night under a starry sky.

brother Serge announces that he has converted to Islam. Because of the ban on reproducing the human image, he will no longer film. We leave Agadez and join up with Sylvina in the capital, Niamey. Needless to say, she was not exactly happy with the situation and terminated the project. Later she joined the women’s lib movement. The Zanzibar project was a financial disaster for Sylvina but thanks to her initiative and generosity, MOSHI exists. Our funds had seriously diminished; the company could no longer support us. Sylvina left us just enough to bring back the Land Rovers. We choose to take the boat from Dakar.

Stay over in Burkina Faso (“Balandji à Bobo”), then Bamako, record Oussman griot (“Bamako Koulikaro” ), purchase three balafons and some percussion instruments, which were played in a title of the album (“Sannu Ne Gheniyo”). Leave Dakar on ship with two Land Rovers and Boogie, a baby Senegalese dog. Back home, MOSHI is produced by Pierre Barouh. After a successful debut (press, television, concerts), Pierre Barouh terminated the promotion. The group split up. Just after recording MOSHI, whilst the album was being processed, Barney and I went back to Agadez to make a film (without Serge), “A L’intention de Mademoiselle Issoufou à Bilma”. (Caroline de Bendern, 2012) … find the full version of this text on the CD- and LP-Sleeve of MOSHI TOO ...

Barney Wilen - 1973 - Moshi

Barney Wilen 

01. Moshi   
02. Guilde's Song To Binkirri   
03. Gardenia Devil   
04. 14 Temps   
05. Bamako Koulikaro   
06. Afrika Freak Out   
07. Zombizar   
08. El Hadji   
09. Chechaoun   
10. Tindi Abalessa   
11. El Hadji   
12. Balandji In Bobo   
13. Sannu Ne Gheinyo   
14. El Hadji   

Bass – Christian Tritsh, Simon Boissezon
Drums – Micheline Pelzer
Electric Guitar – Pierre Chaze
Electric Piano – Michel Graillier
Lute – Didier Léon
Saxophone [Tenor] – Barney Wilen
Vocals – Babeth Lamy, Caroline De Bendern, Laurence Apithi, Marva Broome

Completely bonkers mash up of afro to free jazz with field recordings and vocal harmonies - out there and all the better for it.Recommended.

In 1970 Barney Wilen assembled a team of filmmakers, technicians and musicians to travel to Africa for the purpose of recording the music of the native pygmy tribesupon returning to Paris two years later, he created Moshi, a dark, eccentric effort fusing avantjazz sensibilities with African rhythms, ambient sound effects and melodies rooted in American blues traditions. Cut with French and African players including guitarist Pierre Chaze, pianist Michel Graillier and percussionist Didier Leon, this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, streetlegal funk.Wilen pays little heed to conventional structure, assembling tracks like "Afrika Freak Out" and "Zombizar" from spare parts of indeterminate origins.Jason Ankeny, All Music Guide

A wild and groundbreaking record recorded by the great French tenor player Barney Wilen! Although he got his start as a bebopper in the 50's, Wilen sort of dropped out of sight by the end of the 60's and only emerged from time to time to cut strangely experimental sides. This record is unlike anything he ever made, and features a wild mix of African rhythms, ambient sound, and Wilen's deep deep tenor. By this point, Wilen had been absorbing a lot of different influences, from Coltrane, to Pharoah Sanders, to some of the European free players, and his sound is a weird mish mash of styles that weaves in and out of all the stuff on the record. It's a haunting bit of afro jazz and funky noise, with some cuts that are spacey, and others that are nice and funky. Dusty Groove.

During the fifties Wilen was in  great demand as a jazz saxophonist, playing with moguls like Miles Davis, Art Blakey and Thelonious Monk. Then in the sixties something must have happened. Probably he began taking drugs or had a kind of enlightment which led him musically into a more psychedlic direction culminating in albums like "Dear Prof.Leary" and "Moshi".
"Moshi" is recorded in 1973 and mainly the result of an africa trip in 1971. He might have recorded singings of africans their during his trip and used these recordings to put together a a kind of soundcollage, mixing orignally recorded african music and his funky, psychedelic jazz funk. On some of the tracks this works perfectly, for example on the title track (lasting more than 16 minutes) and on "Chechaoun".
But not all the songs (or sounds ?) work as good as the mentioned ones. Some of his collages are a bit directionless. They are more a pose, than interesting music. And I'm not sure, if his tries to make a pop song like "Zombizar" and "Gardenia devil" really convince me. But anyway, more than 30 minutes of nearly perfect psychedelic jazz funk. Very entertaining.

Barney Wilen - 1968 - Dear Prof. Leary

Barney Wilen 
Dear Prof. Leary

01. The Fool On The Hill
02. Dear Prof. Leary
03. Ode To Billie Joe
04. Dur Dur Dur
05. Why Do You Keep Me Hanging On
06. Lonely Woman
07. Respect

Bass, Electric Bass – Günter Lenz
Drums – Aldo Romano, Wolfgang Paap
Guitar – Mimi Lorenzini
Piano, Organ – Joachim Kühn
Tenor Saxophone, Soprano Saxophone – Barney Wilen

Recorded at MPS Studio Villingen, Black Forrest,
June 27-28, 1968

French saxophonist / composer Barney Wilen is known to Jazz fans mostly for his role in the 1957 recording with Miles Davis of the legendary “Ascenseur pour l`échafaud” soundtrack. But a decade later, Wilen left standard American Jazz behind and took an active role in the burgeoning new European scene in search of new musical adventures. He formed a group called Amazing Free Rock Band with young upcoming players like Swiss guitarist Mimi Lorenzini, German keyboardist Joachim Kuhn, German bassist Gunter Lenz and two drummers, Italian Aldo Romano and German Wolfgang Paap. As the group’s name suggests, they combined contemporary Rock with Free Jazz, creating an amalgam they called Free Rock. This album is a document of this attempt, and one of the earliest Jazz-Rock Fusion recordings. The material includes mostly contemporary Pop and Rock anthems, with a couple of original compositions and one Jazz composition by Ornette Coleman. The result is one of the wackiest albums ever recorded and a great document of the era. As the title suggests, Psychedelic instances probably had much to do with the resulting music. Although the music did not withstand the test of time as well as other MPS recordings, producer Joachim Berendt thought at the time that this experiment was worth preserving for posterity, and we are (in retrospect) grateful. Superbly remastered and elegantly packaged by Promising Music, this is a great trip down the memory lane. Definitely worth investigating.

Any album combining '60s hits like "Ode to Billie Joe" and "Respect" with Ornette Coleman's "Lonely Woman" deserves more than a passing glance. The late French saxophonist Barney Wilen was already thirty-one when he recorded Dear Prof. Leary with His Amazing Free Rock Band in 1968 for the German MPS label. Best-known by then (and, likely, afterwards as well) as Miles Davis' saxophonist on the trumpeter's noir-esque soundtrack to director Louis Malle's Ascenseur pour L'échafaud (1958), Promising Music's reissue of Dear Prof. Leary presents another side to the largely forgotten Wilen.

Wilen recruited a sextet of players known and unknown, including a very young Joachim Kühn (piano, organ), who'd ultimately become an MPS mainstay, and drummer Aldo Romano, here heard together with the more rock-informed Wolfgang Paap (drums). The group is rounded out by two artists who will be, at best, footnotes in jazz history: guitarist Mimi Lorenzini and bassist Günter Lenz, who'd appear on a handful of MPS releases and, a few years later, the Berlin Contemporary Jazz Orchestra (ECM, 1990).

While many of MPS' releases feel timeless, Dear Prof. Leary is definitely of its time—a combination of outrageously near-psychedelic free jazz with a rock attitude. Drugs may or may not have been a part of the equation, but in the unusual breakdown during Kühn's high energy title track, where both the keyboardist (on organ) and saxophonist are wailing madly, the tune dissolves completely into a series of guttural noises and primal screams that may or may not allude to some seriously bad tripping. A rocking coda leads nicely into an initially reverent but ultimately free-wheeling, eight-minute take on Bobbie Gentry's "Ode to Billie Joe," featuring an unexpectedly soulful organ solo from Kühn that retains the high velocity extremes that would be his signature by the time of Association P.C.'s 1974 release, Mama Kuku (Promising Music/MPS, 2008), and violinist Zbigniew Seifert's classic Man of the Light (MPS, 1976).

As rock-heavy as the grooves are, the soloing is as loose and unfettered as the time in which it was made. Lorenzini's riff-based "Dur Dur Dur" is simply an opportunity for some angular wails from Wilen, raucous wah wah from the guitarist and soul jazz lines from Kühn, while the twin-drum approach on "You Keep Me Hanging On" creates a turbulent underpinning for some psychedelic in tandem soloing by Wilen and Kühn, this time on piano. Lorenzini and Lenz keep the groove and changes clearly defined until another dissolve into complete freedom that ultimately resolves back to the familiar refrain before ending, once again, in chaos.

Electric and acoustic textures mix throughout the album, but nowhere are they more paradoxically opposed yet integrated as on "Lonely Woman," where Lenz's arco bass and Kühn's exploratory piano mesh with Wilen's lyrical yet liberated soprano. It's a combination that makes Dear Prof. Leary less of a masterpiece than some of Promising Music's reissues, but remains an intriguing curiosity of its time that's certainly worth revisiting.

Andy Goldner - 1987 - Live

Andy Goldner

01. All One   
02. Little Pershing   
03. Fruit Picking   
04. Going´ Thru
05. The Lion   
06. Civilized People   
07. Driftin´ Away    All One

Andy Goldner: Vocals, Guitar
Jimi Wilkes: Vocals, Guitar
Markus Hasalt: Drums
Blue Savage: Bass, Vocals
Tomy Balluff: Keyboards, Vocals

The music is not quite to the same high standard as the two studio albums, but still quite good.  For those who are not familiar with him, Andy was the guitarist in famed German progressive rock band Exmagma (which was much more experimental)

Andy Goldner - 1981 - Belleville

Andy Goldner


01. Pretty Bold   
02. Walkin' Down   
03. I Want It   
04. White Lion In A Babylon   
05. Goin' Thru   
06. Come On   
07. Check It Out   
08. 18 And A Gambling Man

Bass – Peter Weber
Drums – Peter Garattoni
Organ – Thomas Balluff
Vocals, Guitar – Andy Goldner

Like a cross between Wigwam member Jim Pembroke's songs and Lou Reed if you can conceive of this concatenation, with a wonderful new wave-punk hard guitar sound reminiscent of the Zauberfinger or R. Bunka. This album was prod. by Goldner and Peter Garattoni (the drummer) for Peak records, on organ is Thomas Balluff, bass is Peter Weber.
As in Exmagma, the guitarwork is astonishingly superb, but quite notable is the high quality of the songwriting from Goldner

Andy Goldner - 1979 - ∞ (Infinity)

Andy Goldner 
 ∞ Infinity

01. Stone Free   
02. Right On   
03. All Those Lives   
04. Winter 75   
05. Club Of Rome   
06. She's Gone   
07. Yolanda   
08. Full Moon

Bass – Lou Marignan
Drums – Klaus Lorey
Keyboards – Tommy Balluff
Vocals, Guitar – Andy Goldner

Recorded at Conny's Studio Köln Wolperath

Andy Göldner (from Stuttgart) like many musicians that started in the 1960's graduated from beat, via rock and jazz experimentation onto Krautrock. His first band was The Five-Fold Shade (1965-1969), after which he played with The Misfits and Seelow before forming the experimental jazz-rock outfit Exmagma. After the abandoned third Exmagma album, Andy went on to form his own band, and work extensively as a session musician.

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