Saturday, January 7, 2023

Mankunku Quartet - 1968 - Yakhal' Inkomo

Mankunku Quartet
1968
Yakhal' Inkomo




01. Yakhal' Inkomo
02. Dedication (To Daddy Trane And Brother Shorter)
03. Doodlin'
04. Bessie's Blues

Bass – Agrippa Magwaza
Drums – Early Mabuza
Piano – Lionel Pillay
Tenor Saxophone – Winston "Mankunku" Ngozi

Recorded on 23 July, 1968 in the Johannesburg Studios of Manley Van Niekerk

NOTES:
"Ah... at last it's done. I mean the recording of South Africa's number one tenor sax player, Winston "Mankunku" Ngozi. This is the LP that every jazz fan has been waiting for. Listen to it from side one to the last note on side two then you'll agree with me that this is jazz, dished out by the son of the soil in a soul/jazz bowl.

About the man himself. He was born on 21st June 1943 in Retreat, Cape Province. He started playing the piano at the age of ten and two years later bought a tenor saxophone. "Mankunku," as he is called, started to take music seriously in the early sixties. His first professional engagement was with Alf Herbert's African Jazz and Variety and thereafter with South Africa's greatest bassist Midge Pike of Cape Town, about whom he said "Midge was really the man behind my success. He really helped me a lot, I take my hat off to him, dad — I will always remember him." I asked him who influenced his playing. "Daddy Trane and Brother Shorter," he said. "Is that why you composed a tune called "Dedication?" "Yes dad, I feel like crying every time I listen to the music of these two men." I first heard Mankunku play in 1967, during the La Vern Baker/George "Stardust" Green tour. I am sure that many a jazz fan will agree with me that he was the star of the show.

On the first side of this LP is "Yakhal Inkomo" (one of his original works), literally translated "Bellowing Bull." The sound of a bull bellowing mournfully at the loss of one of his kind, is one from deep down in the heart. It is with this sound captured musically, that Mankunku expresses his deep grief at the loss of one of the greatest tenor players in the world, Daddy Trane, as he calls the late John Coltrane. If you listen to the early recordings of John Coltrane — for example "Blue Train," "Moments Notice" and Wayne Snorter's "Johnny's Blues" and "Noise in the Attic," you will agree with him that he was influenced by them. The second tune is also his own composition — "Dedication" (to Daddy Trane and Brother Shorter). It is a 4/4, which is so well arranged that I could hardly believe that it is his original work — with this tune he really plays his part. He plays himself. I remember during the recording session he didn't want anyone to move about because such movements disturb his feelings and concentration. The other tunes are his choice. From Horrace Silver's works he chose "Doodlin"' and from Coltrane's "Bessie's Blues."

About the trio that provided the background, he said "they are fabulous dad, they are with me all the time. When I reach the climax, they are there with me — I love working with them." That, I myself believe, because while recording "Yakhal' Inkomo" I saw tears rolling down his cheeks after Lionel Pillay's piano solo. Everyone there was thrilled to hear Lionel play with such feeling, a real down-to-earth feeling. The Early Mabuza Trio played and played — they deserve full marks." — RAY NKWE President of the Jazz Appreciation Society of South Africa




The 1960s and early 1970s are often referred to as High Apartheid in South Africa: the Separate Amenities Act of 1953—which legalized the racial segregation of public spaces—was still in full effect. The horror of the Sharpeville Massacre—in which police opened fire on crowds of demonstrators, killing 69—had traumatized the nation. Growing numbers of black South Africans were being forced out of their homes in some of the largest mass evictions in modern history. Following their ban, the ANC (African National Congress) had been pushed underground, with many of its leaders imprisoned at the infamous Rivonia Trial. In short, with the main source of internal resistance repressed and a lack of support from almost all Western countries, the future for black South Africans seemed bleak. Moreover, if music can be a hub of communal joy, safety, and collective catharsis for oppressed cultures, in the early ’60s even this was made impossible by the closure of any venues that catered to mixed audiences or ensembles. For many musicians in the still-nascent South African jazz scene, working in their home country simply became unsustainable. In the following years, a major exodus of talent occurred with major figures such as Abdullah Ibrahim, Sathima Bea Benjamin, Chris McGregor and the Blue Notes, Miriam Makeba, and Hugh Masekela moving to Europe or America.

During this early era of South African jazz, much attention was given to the incredible work put out by these exiled musicians. Abdullah Ibrahim—then known as Dollar Brand—and Samitha Bea Benjamin would go on to work with Duke Ellington. The Blue Notes became notable in the European free jazz scene. Perhaps the most commercially successful, Hugh Masekela would become the popular face of South African music in America.

While many left the country, a sizeable group of musicians remained, continuing to live and work through the height of Apartheid. Among them was young saxophonist Winston “Mankunku” Ngozi. Raised by a musical family in the Western Cape, Ngozi, inspired by a mix of local musicians and famous American players, would gradually build a reputation as a uniquely talented young artist. Staying in South Africa at this time proved itself to be routinely difficult. One story details how while playing at the Cape Town City Hall, Mankunku, billed as Winston Mann, was forced to play behind a screen while a white musician mimed his notes on stage. In the authorities’ eyes, black artists couldn’t be seen to play such complex music.

In 1968, with a backdrop of political despair, enforced displacement, and segregation, Mankunku would gather Lionel Pillay (piano), Agrippa Magwaza (bass), and Early Mabuza (drums) to record an album that has since become a touchstone for generations of South African jazz artists. Yakhal’ Inkomo, or Bellowing Bull, is a stunning, timeless record that deserves recognition not just within the South African jazz pantheon, but amongst the pioneering American albums it was inspired by.

The original release of Yakhal’ Inkomo, recorded on 23 July 1968 at the Johannesburg Studios of Manley Van Niekerk, consists of just four tracks. The first two, “Yakhal’ Inkomo” and “Dedication (To Daddy Trane & Brother Shorter),” are original compositions by Mankunku, while the remaining two, “Doodlin’” and “Bessie’s Blues,” are compositions by Horace Silver and John Coltrane respectively.

Beginning with the title track, Mankunku introduces a theme that permeates throughout the album: beneath a relaxed, joyful surface, there is a covert vein of protest. As all political resistance would inevitably be silenced, Mankunku, like many financially unstable and politically suppressed musicians, was forced to hide his rebellion in a commercially viable and non-confrontational package. The Zulu title, which translates to Bellowing Bull, was interpreted by white audiences as an evocation of the stereotypical pastoral lifestyle of the pre-colonial era. This vision of a tribal black existence sat well with the authorities, content to confine black cultural output to old clichés. As Gwen Ansell wrote in Soweto Blues: Jazz, Popular Music, and Politics in South Africa, “A rural image of cattle roaring on their way to slaughter was … well in tune with the censors’ stereotype of appropriate African subject matter.” In actuality, the bellowing bull was a far more resonant image for black audiences. Though the liner notes by Ray Nkwe declare the title to be an expression of Mankunku’s grief following the loss of John Coltrane, Mankunku would describe the Bellowing Bull as a representation of “the black man’s pain”; a bull’s distress while watching the slaughter of its kin. In an interview within Ansell’s book, he explains how listeners would reassure him that they were hearing his message; that they understood what James C. Scott called the “hidden transcript.” In short, once one listens beyond the breezy tone, a much more complex expression reveals itself. This is music that is at once deeply enjoyable and imbued with a quiet resistance.

As for the track itself, “Yakhal’ Inkomo” hinges on a simple, elegant I-II harmonic progression. Mankunku’s motif establishes itself, dissipates into a wave of bubbling keys, before returning to comfort with a series of short, sharp, joyful bursts. The solos from Mankunku and Pillay are beautiful, Mankunku occasionally drifting into a stylistic expressionism reminiscent of Coltrane or Pharoah Sanders. Following on shortly after, Pillay’s bluesy solo morphs from the lightness of the established E-flat major tonality to a darker minor phrasing. It is perhaps the only moment that brings the impassioned political subtext to the track’s surface.

There is another understated but powerfully subversive element of Mankunku’s music: the subtle integration of Xhosa and other indigenous musical stylings within a conventional American jazz context. Indeed, there is an intriguing circularity between African and African-American jazz of the period. While Mankunku looked to the work of John Coltrane, artists like Coltrane and Sanders were incorporating elements of African music into their own work. In a conversation celebrating the record on All About Jazz, Salim Washington recalls Mankunku going so far as to call Coltrane a Xhosa musician. Though Mankunku’s inclusion of this musical heritage was perhaps limited by commercial necessities and political context, the influence is there. Referring to the timbre of Mankunku’s playing, Salim Washington explains in his essay, Exiles/Inxiles: Differing Axes of South African Jazz during Late Apartheid, how “during his solos [Mankunku] frequently makes use of a technique that resembles umngqokolo, or Xhosa overtone singing.”

The second track, another original composition, is equally notable to Yakhal‘ Inkomo yet less ubiquitous in South Africa. “Dedication (To Daddy Trane & Brother Shorter)” is a beautiful ode to Mankunku’s American muses. Their influence is plainly apparent in the song, Mankunku’s modal playing mirroring the wide melodic steps that Coltrane pioneered. Aside from another pair of excellent solos, the track also demonstrates the quality of the album’s recording; Pillay’s piano tones sound exquisite as they enter the track.

The two remaining tracks, “Doodlin’” and “Bessie’s Blues,” are renditions of Horace Silver and Coltrane’s jazz standards. The former’s swinging 12-bar blues is perfectly captured by the quartet while “Bessie’s Blues” introduces the explosive energy of Coltrane’s hard-bop work. As the album’s closer, the track demonstrates both the technical virtuosity of the players and the impassioned spirit of the project. It is a fitting end to the record and a loving tribute to the legend who had died a year before the album’s recording.

Yakhal’ Inkomo clearly made a powerful impression on the people of South Africa, becoming one of the best selling jazz records of all time in the country. Given the horror of that period of history and the enduring scars it has inflicted on the country, it is worth considering the role of art in times of immense struggle. The album is a demonstration of the ability of music to simultaneously allow for a moment of relief and to inspire a revolutionary zeal. Its importance within liberation movements cannot be overstated. Perhaps, in the case of Yakhal’ Inkomo, it is this unforced blend of protest, subtle indigenous stylings, and contemporary jazz that made the record one of the most important albums in South African musical history.

Friday, January 6, 2023

Eji Oyewole - 1978 - Charity Begins at Home

Eji Oyewole
1978
Charity Begins at Home




01. Charity Begins At Home 6:12
02. Gele Odun (Oil Boom) 9:54
03. Lagos Complex - Highways 8:36
04. Unity In Africa (Kasowopo Kasekan) 8:06

Backing Vocals – Frank Horley
Bongos – Kayode Dosunmu
Congas – Abu Ismail
Drums, Backing Vocals – Sunny Adefadugba
Guitar – John Medua
Talking Drum – Ayan
Tenor Saxophone [2nd] – Tunde Magbadu
Tenor & Soprano Saxophone, Flute, Piano, Percussion, Vocal – Eji Oyewole
Trumpet, Percussion – Harry James




Born to a royal lineage in Ibadan, Prince Eji Oyewole has had a career as a flautist, saxophonist and sometime bandleader spanning well over half a century. He trained both in Nigeria and then at Trinitythe prestigious music school in London, and his life as an itinerant musician also saw him living for extensive periods in Geneva, Hamburg and in Lyon.

While for many years Fela Kuti (with whom Eji played) and King Sunny Adé commanded international attention to the exclusion of most other Nigerian musicians, as if there was only room for one Nigerian superstar at a time on the worldstage, on the domestic scene things were very different. Eji was part of the huge craze for ‘highlife’, a generic term that in fact subsumed many different styles, united in their fusion of traditional west African forms with jazz influences and electric instruments, and in the bands’ working practices as entertainers at the nation’s numerous hotel/nightclubs.As this cracking album, recorded for EMI Nigeria at the tail end of the ‘70s and now remastered, reveals, Eji’s version of highlife was even more distinctive than most, eschewing the usual emphasis on guitars for a brasher, horn- laden sound, seemingly influenced as much by American funk as it was jazz, and of course with the heavy percussive undertow central to most African music.

This gave Eji a chance to shine, and there are some scorching solos as well as tight ensemble playing across the four lengthy (to ears accustomed to the three-minute pop song) songs. Eji also played piano on the session. The material has an element of social commentary (Oil Boom and Unity In Africa) and should help feed the seemingly insatiable appetites of the many who have been turned onto African music by the enterprising efforts of devoted collectors, labels and fellow fans.

Surely one of the few musicians who has played with Fela, Miles Davis and Bob Marley, Eji Oyewole still plays regularly in Lagos, recently had an album of new material out with his current band The Afrobars, and has been a member of Faaji Agba, a super-group that has toured internationally and been dubbed ‘the Nigerian Buena-Vista Social Club’.

Long-lost classic from the golden age of African music, from a figure who is still beginning to get his props internationally. Recorded at the tail end of the ‘70s, the album reveals, Eji’s version of highlife was even more distinctive than most, eschewing the usual emphasis on guitars for a brasher horn-laden sound.

Tunde Mabadu - 1980 - Viva Disco

Tunde Mabadu 
1980
Viva Disco



01. Alabosi
02. Disco Press Funk
03. Amupara Ko Ma Dara
04. African Parowo
05. Angelina - Sugar Daddy
06. Viva Disco (Instrumental)

Alto Saxophone, enor Saxophone, Vocals, – Tunde Mabadu
Bass Guitar – Nash Doddoo
Drums – Charlie Cool
Guitar – Tunde Sole
Keyboards – Jones Caullins Caulley
Percussion – Oris Amoah
Rhythm Guitar – Pierre Awara
Trumpet – John Evbota Oaikhena
Trumpet – Bassey Effiong
Vocals – Joyland Sammy
Vocals – Jumoke Fashola
Vocals – S. Eluwa



Viva Disco, which once existed only to the most eclectic record collectors out there, was recently reissued, which is how I came across it. There are plenty of hidden treasures in Africa's music scene, and this is one of them. Viva Disco is one of the most unique disco records you'll hear. Woodwinds and horns take center stage here, but the real punch of the album comes from the fantastic basslines and steady drumbeat that carry the record forward.

Original pressings are outside of most people's budgets, but if yo come across a reissued copy, consider checking it out. Everyone's collection could use a bit of diversity in it.

Tunde Mabadu - 1978 - Bisu

Tunde Mabadu
1978
Bisu



01. Vicky
02. Bisu-Omi
03. Red Jeans
04. Ise Orise
05. Blue Bird (Instrumental)

Tenor Saxophone, Vocals – Tunde Mabadu
Bass Guitar – Waidi Buraimoh
Congas – Abel Abu
Drums – Adeniyi Fadugba
Guitar – John Melon
Keyboards – Gboyega Adelaja
Trumpet – Emmanuel Arenyo
Trumpet – Henry James



That's Tunde Mabadu holding a heavy tenor sax on the cover – an instrument which he uses wonderfully on the album's offbeat funky grooves, most of which are very different than more conventional Afro Funk of the time!

There's often a slinky midtempo groove to the music – perfect for Tunde's instrumental solos, and his vocals too – and the instrumentation often has cool use of keyboards that come across as more electronic than other keys of the time – nice and thin, with almost a sci-fi vibe at times, in comparison to the other instruments on the record! The rest of the instrumentation is nice and lean too – added trumpet, bass, and plenty of percussion

Originally released in 1978 on the Blackspot label (DECCA's West Africa division). Tunde Mabadu's ultra-rare debut album, Bisu, which includes the super groovy "Red Jeans", differs from the later 1980 Viva Disco album by a much more pure African style. A beautiful and soulful production in which Tunde's deep voice and sax move on the excellent horn arrangements, percussions, the wah-wah rhythm guitar, and weird keyboards and synths (at times psychedelic as in the nine-minute "Blue Bird"). As wrote on the original liner notes of the era: "His music will mesmerize you from the first track. A dedicated musician especially to his African roots with so much to offer musically".

Wednesday, January 4, 2023

Hoelderlin - 1981 - Fata Morgana

Hoelderlin 
1981
Fata Morgana




01. Fata morgana (4:15)
02. Lena (4:17)
03. Hallo (3:35)
04. Manchmal (4:22)
05. Supermarkt (4:42)
06. Lärm (3:48)
07. Kamikaze (4:35)
08. Das Alte Lied (5:00)

Bonus tracks on 2007 remaster:

09. Hello (Demo) (3:37)
10. Fool (Demo) (4:15)
11. Mr. Neonman (Demo) (5:10)
12. Dreaming (Demo) (4:02)

Tommi L'Ohr / guitar, keyboards, vocals
Joachim Grumbkow / keyboards, vocals
Bernd König / keyboards, vocals
Hans Bäär / bass, keyboards, vocals
Eduard Schicke / drums

With:
Wolfgang Schubert / saxophone (1)
Rüdiger Braune / drums (5)




OK - I admit this is not your fathers "Holderlin." Not symphonic prog rock at all really. In fact, it is very reminiscent of the new wave pop rock era of its time.

But, this is a wonderful record if taken from that perspective. Beautiful melodies (mostly sung in German) mixed with great (not over the top) production. The energy is just right for the style, and there is still some prog moves here and there - especially compared to the new wave era of the time.

Some of the progressive community really hated this style that a few of our early heroes went. I too always want long, meaningful songs, done in a progressive arrangement. Tull's "Under Wraps" comes to mind. Man did the prog fans bag on this one. And in actuality, this is a wonderful record and quite progressive if taken for the fact that Ian's muse went this way. AND it kept them in the public eye (MTV interviews, video's played in rotation, etc...) while the industry wondered (or is it wandered?) aimlessly where to go next.

So, even though some of this sounds a bit dated, the music holds on its own. BTW - the remaster is well done, and since the music is not in anyway conceptual, the extra tracks (I usually hate extra/bonus tracks - just give me the album as it was released!) fit quite nicely, and in fact add to the completeness of the outing.

Hoelderlin - 1978 - New Faces

Hoelderlin 
1978
New Faces



01. Somebody's Callin' (5:46)
02. I Want You (5:11)
03. Cold Winds (3:13)
04. Gentle Push (3:48)
05. High In Shanghai (6:15)
06. The Shouter (3:45)
07. Foodsteps (4:42)
08. Weekend (2:54)

Rüdiger Elze / acoustic, electric & slide guitars
Joachim Grumbkow / Rhodes, organ, clavinet, backing vocals (4)
Tommy L'Ohr / synthesizers, acoustic & electric guitars, lead vocals (1,4)
Hans Bäär / bass, lead (6) & backing (4) vocals
Eduard Schicke / drums, percussion
Christian Grumbkow / lyrics & motorics

With:
Bernd König / vocals (3,7)
Christoph Noppeney / vocals (3)
Jörg-Peter "Büdi" Siebert / flute (7)
Michael Bruchmann / drums (4)



Seventies German band Hoelderlin have an interesting history. The initial line-up was responsible for one of the seminal prog/acid-folk works `Hölderlins Traum' in 1972, and a reworked version delivered three superb English language symphonic works and a live album in the three short years covering 1975-78, but it as was at that point that several founding members departed the group. Keyboardist Joachim von Grumbkow and bassist Hans Bäär recruited several new musicians and took the Hoelderlin name in a more streamlined commercial rock direction here with elements of jazz and funk, and taken on its own merits, 1979's `New Faces' is quite a nice crossover mix of accessible rock that has plenty of touches of a Camel-like sound in parts, and it still finds time for a few instrumental pieces.

The addictive `Somebody's Callin' is a chugging groovy opener full of propulsive momentum due to both Hans Bäär's relentless and unceasing thick murmuring bass and the constant powerful driving beat from new drummer Eduard Schicke of the sublime symphonic group Schicke Führs & Fröhling. Tommy L'Ohr offers a reliable vocal, but more importantly his and Rüdiger Elze's guitars smoulder and wail through the entire track, delivering protracted soloing in the final minutes. The supremely likable `I Want You' is a peppy and unashamedly cheerful AOR rocker with nice ringing twin guitar melodies, and damned if the sun-kissed chorus wasn't blessed on high by the gods of pop! `Cold Winds' is a tasteful low-key shimmering electric piano ballad with a humble vocal from Christoph Noppeney off Hoelderlin's `Rare Birds', and despite a slightly pained lead vocal from Tommy, `Gentle Push' instantly calls to mind mid-Seventies onwards Camel with its silken rising guitar soloing, plus the warm repeating group vocal refrain is very pleasing.

But fear not, prog-freaks, side two's `High In Shanghai' delivers the first of two instrumentals, with this undemanding yet interesting six-minute one having a dreamy ambient intro, twitchy electronics and electrifying twin electric guitar themes with more dramatic bursts making it really not too far removed from what Camel would do on both `I Can See Your House From Here' and `Nude'. `The Shouter' is a soft pop piece with a gentle acoustic guitar melody that faintly calls to mind moments of Peter Gabriel's `Solisbury Hill', and `Footsteps' is a cute and harmless romantic popper with sweetly accented singing, chiming guitars and Camel-like breezy synth trills that is very easy to fall for, with a quietly ambitious and exotic middle instrumental passage. Closer `Weekend' also reminds of that same band again and manages to cram a lot into not even three minutes with its upbeat and victorious nimble guitar heroics and wisping keyboards.

Yes, there's a slightly dorky quality here and there, some of the vocals are a little unlovable and for many prog-snobs this is going to be far too straight-forward, but it's a hugely charming and undemanding disc, and one definitely recommended for fans of Camel's `Breathless' through to `Nude' period. Sigh...if only all commercial/lite-prog/AOR albums where as successful and enjoyable as this one is!

Hoelderlin - 1978 - Live Traumstadt

Hoelderlin 
1978
Live Traumstadt




01. Intro (1:29)
02. Schwebebahn (6:33)
03. Häktik Intergaläktik (8:08)
04. Circus (8:04)
05. Phasing (11:07)
06. Streaming (8:15)
07. Die Stadt (12:12)
08. Mad house (7:24)
09. Sun rays (8:44)
10. Soft landing (8:57)

Digital remasterd by EMI in 2005 with 2 bonus tracks

11. Before you lay down (6:55)
12. Traum (18:33)

Hans Bäär / bass
Michael Bruchmann / drums
Joachim Grumbkow / keyboards, backing vocal
Christoph Noppeney / viola, vocals
Pablo Weeber / guitars




After a series of three studio albums of above-average symphonic prog (and a prog folk debut fairly different to what they had been din of late), Hoelderlin released the obligatory double live record. Recorded over two consecutive nights, in late 77, the album actually makes a correct recap of those three albums, just before the band will change musical direction the following year. Unsurprisingly we find the line-up of the Rare Bird album, where both Kaseberg brothers are gone from the stage and only one of the Grumbkow brothers is still around (on stage since the other is behind the desk). The newcomers have well adapted to the group, changing only lightly the general sound of the self-titled album band, and if the playing is very apt, there are times when the band sounds a bit flat on this record. In retrospect, the following changes of direction might have seemed judicious, since the band was coming to exhaustion, but the proghead has every right to be displeased with future albums of theirs.

Anyway, after the ever-exciting Schwabebahn (the lead off track from their great eponymous album), the groups heads for their recent Rare Bird album with Intergalaktik (better live than studio), then the centre of the album will be axed towards the C&C album with the both the clowns and the clouds side getting a fair share of exposure, but as the studio album had let us guess the Clouds side was much more inspired, the same can be said in concert. Circus does not really gain much, while Mad House is only marginally better in this version; it is the Streaming-Phasing duo (presented in the reverse order though) that gets the full honours here. Two previously elsewhere- unavailable tracks are present here; with the 12-min+ Die Stadt (The City) and the finale almost 9-min Soft Landing. None of those two tracks bring much new to Hoelderlin's musical propos, but are a definite bonus to confirmed fans of the group. The lenghty Die Stadt is actually a showcase for solos of the band members and present the inevitable lengths, although the exercise is not completely useless either, since it is one of the better such showcases. The ill-named finale is anything but tranquil and provides as good an outro as the lead-off Schwabebahn was an intro.

A superb live testament to this often underated band at the peak of their instrumental powers. Superbly recorded and boasting two lengthy bonus tracks - Before you lay down recorded the previous night to the bulk of the original album release - and Traum recorded for a radio broadcast in 1977 - this is an excellent two CD set. Hoelderlin's music is a blend of symphonic rock featuring complex inventive arrangements and elements of folk and jazz rock style improvisation. It's a great combination of styles highly recommended to anyone who enjoys Happy The Man and their ilk. Largely instrumental much of the live excitement centres around the interplay of violin, guitar and keyboards supported by very deft bass and drums. Uplifting progressive music of the highest order!

Hoelderlin - 1977 - Rare Birds

Hoelderlin
1977
Rare Birds



01. Häktik Intergaläktik (8:33)
02. Sky-lift (4:17)
03. Before You Lay Down Rough And Thorny (7:25)
04. Rare Bird (7:45)
05. Necronomicon (6:15)
06. Sun Rays (8:55)

Pablo Weeber / guitar, vocals (3)
Joachim Grumbkow / keyboards, vocals (4)
Christoph Noppeney / viola, vocals
Hans Bäär / bass
Michael Bruchmann / drums, percussion
Christian Grumbkow / lyrics, supervision

With:
Manfred von Bohr / drums (5)
Manfred Schunke / Fx ("artificial head"), mixing



Fourth album from Hoelderlin with the last pair of brothers being broken, Christian Grumbkow providing the lyrics and artworks, and managing the band, his spot taken by Spanish Pablo Weeber. Released end 77, this album is the last one susceptible to interest progheads (outside the double-live album coming the following year) as they will experienced much line-up and musical direction changes after this album.

The least we can say is that not much remains from the debut or the eponymous albums, and Conny plank is not involved anymore with the group. Not that the album is bad, far from it, but the magic is gone and when hints of it are present, they are still the highlights, but do not shine the same way. By now Joachim Grumbkow is not main songwriter anymore (fairly democratic sharing of credits, actually with newer members actively contributing). The opening Intergalaktik holds some glimpse of foregone greatness, but the following Sky Lift (Bäär-penned but not quite reaching heights of C&C) is lacklustre, while Rough And Thorny (penned by newcoming Weeber) is still worthy of the previous album and works well because of Noppeney's violin.

The second side of the vinyl is opened by the title track, which just another average Hoelderlin track but followed by the brilliant instrumental track Necronomicon (penned by Weber), which is a real scorcher and the album's highlight. The magnificent ambiances (reminiscent of the eponymous second) of the slightly fusion-esque aerial theme are quite enthralling, while the closing Sun Rays is yet another typical track of theirs, which means nothing exceptional by the time of this album's release even if the closing three minutes are worth the detour.

Clearly with every new album Hoelderlin was losing original members, inspiration and most likely a bit of faith as well. Although still a worthy prog album, much worth the occasional spin, this was to be their final prog offering, with its share of moments (but also weaknesses), but the-times-they-are-changin-again!!

Hoelderlin - 1976 - Clown & Clouds

Hoelderlin
1976
Clown & Clouds




01. Mad House (6:50)
02. Your Eyes (6:05)
03. Circus (9:09)
- a) Tango Mili
- b) Marching
- c) Sensations
04. Streaming (7:07)
05. Phasing (12:12)

Christian Grumbkow / lead guitar
Joachim Grumbkow / keyboards, cello, vocals
Christoph Noppeney / viola, acoustic guitar, vocals
Hans Bäär / bass, guitars
Michael Bruchmann / drums, percussion
Joachim Käseberg / stagesound

With:
Jörg-Peter Siebert / saxophones, flutes, percussion



With their third album C&C, Hoelderlin tried to have a conceptual album with one side dedicated to clowns and the others to clouds, and this album came less than a year after their second eponymous second album. By now, one of the Kaseberg brothers had gone and the other was responsible for the stage sound. So down to just one set of brothers (with Joachim still the main songwriter - but not the sole anymore - and responsible of the artwork), newcoming Hans Bäär is more than just a gap-filler. But this album is vastly inferior to the previous two, partly IMHO due to the shared songwriting.

Opening track Madhouse is already failing to develop the exact feeling that the title announces as they timidly try to get crazy, but either not really daring to or not being capable of. The next track, Your Eyes is one fairly weak track, but not completely without charm. The three-part mini-suite closing the Clown side is finally developing a bit more the "Circus" feeling, partly because of the opening Tango Mili section, but Marching is clearly uninventive (gladly quickly dealt away with) and the main theme Sensations saving it from disaster but eyeing a bit too much Genesis. Even though Joachim Grumbkow gets help from Noppeney (violin) and the lyrics from his brother, clearly he was out of ideas and it cruelly shows here. Not that the music is bad, but when comparing to their previous work.... it even hurts to write it as an outsider!

The second "Cloud" side is definitely under Bäär's influences, and clearly is the better-inspired one. As you'd expect the tracks are more aerial, celestial, airy and .... water-ey! The slow developing Streaming is one of two highlights on this album, finally taking the album somewhere and thankfully stays within the usual Hoelderlin trademark-sounds. The 12-min Phasing is again a slow starter with the electric piano slowly giving way to a violin, while that slow crescendo is taking its importance slowly leading towards the clouds. Whereas on the previous excellent album, the density of the composition was remarkable, clearly on this album, the better moments are when the music is sparse and not as encumbered. Another hint at this album being inferior to its predecessors is the fact that conny plank only engineered it, but was not producing it.

As one might fear with this kind of conceptual sides of a single album, there is a very schizophrenic feel to the album, which is enhanced with the Cd (as opposed to the vinyl where the album played A or B and your choosing of playing the other side), clearly highlighting the album's weakness. Not really up to par with the previous two album, this one is not completely devoid of charm and quality (mostly the second Cloud side), but do not expect the same kind of gratification from it. Still worth a spin.

Hoelderlin - 1975 - Hoelderlin

Hoelderlin
1975
Hoelderlin




01. Schwebebahn (7:12)
02. I Love My Dog (5:38)
03. Honeypot (8:48)
04. Nürnberg (3:00)
05. Deathwatchbeetle (17:32)

Christian Grumbkow / acoustic & electric guitars
Joachim Käseberg / guitar, stagesound
Joachim Grumbkow / piano, organ, flute, Hohner String Vox, Hohner clavinet, Mellotron, vocals (4,5)
Christoph Noppeney / viola, acoustic guitar, vocals (2,3,5)
Peter Käseberg / bass
Michael Bruchmann / drums, percussion

With:
Bernd "Zeus" Held / alto sax (2)
Norbert Jacobson / clarinet (3)
Conny Planck / voice & synthetizers



Some three years after having recorded a stunning folk prog album Holderlin's Traum, the group took three years to record and release their second album to label Pilz and Ohr going broke. Only in early 75, did the group (with a slightly rearranged name) finally got around to this excellent second album (on the collectible Spiegelei label), although fairly different-sounding and with their female singer De Ruig now gone.

The sound had definitely slid from a prog folk one to a more conventional symphonic tone, not far from Genesis (this similarity was not helped by the fact that they will sing in English from now on), but their music was not derivative. Although this album is rather a far cry from the hippy idealism of the debut, the group still has the same dedication to make excellent music, not least helped by multi-instrumentalist that allows for such instrument as flute, cello, violin to spice-up the sextet's music, with two guest on woodwinds and the ever indispensable Conny Plank at the production helm. If I say the sound is quite different, the progressive folk influences are still quite present at times. Too bad the artwork is quite amateur (done by guitarist Christian Grumbkow as will the two following album's artwork also), but his brother Joachim is also the main songwriter.

From the opening instrumental track (a head-twisting drama-filled scorcher and finishing in a duel with a symphonic orchestra) to the closing Honeypot (almost 9-min mini-epîc), side 1 of the vinyl is a very impressive show of great songwriting close to what the British masters were doing at the time, greatly helped with an excellent production job. Stuck in between is a shorter track bringing you a more muscular Genesis-type of prog with credible Gabriel-like vocals, but this is never overpowering, but not accidental either.

The second side is filled by an almost-sidelong epic, the 17-min+ Death-Watch-Beetle, but preceeded by a short sweet catchy Nurnberg. Building from a slow crescendo, the track takes its own time to come to its centrepiece, taking meanderings with piano and violin duos, but the singing is maybe at its weakest (at least at the start of this track, but the English lyrics are dispensed with very correct delivery, even if it is obvious they are not native speakers), but the tracks is a never ending tempo change, thanks to the inventive drumming of Bruchman. Almost grandiose, but not perfect: some obvious flaws appear.

Although a departure from their debut album, Hoelderlin (with its pair of brothers - Kaseberg and Grumbkow) hit right on the button with this superb confirmation of their talents. Warmly recommended.

Hölderlin - 1972 - Hölderlins Traum

Hölderlin 
1972 
Hölderlins Traum




01. Waren Wir (4:53)
02. "Peter" (2:52)
03. Strohhalm (2:20)
04. Requiem Für Einen Wicht (6:32)
05. Erwachen (4:20)
06. Wetterbericht (6:34)
07. Traum (7:20)

Nanny DeRuig / vocals
Christian Grumbkow / guitars
Joachim Grumbkow / cello, acoustic guitar, transverse flute, piano, organ, Mellotron
Christoph Noppeney / violin, viola, flute, piano
Peter Käseberg / bass, acoustic guitar, vocals
Michael Bruchmann / drums, percussion

With:
- Peter Bursch / sitar (3)
- Mike Hellbach / tablas (3)
- Walter Westrupp / recorder (5)



This group started as one of those early 70's folk rock prog groups along with Barrock, Ougenweide, Wittheuser & Westrupp (a guest on this album) etc. and produced one of the best and most stunning folk prog album ever, then disappeared for a while due to their label bankruptcy, before resurfacing as a symphonic prog band and a slightly differently-spelled name. Named after the poet, (there is another German group who did this with Novalis), the least we can say is that this album is pure poetry

This absolutely delightful record is an incredibly successful mix of medieval ambiances, stunning 60's folk rock, slight Indian music influences, the whole thing sprinkled with a tad of hippy idealism and great progressive arrangements including the odd Mellotron. From the opening Waren Wir to the closing Traum (dream), the album is invitation fly out of our realm and head for Nirvana, paradise, Eden, Babylon, with flaunts of flutes, loads of Hamonds, Trons of Mello, guitars strings by the dozens and superb vocals both male and female. If you cannot find a suitable album to get comfy and shag the partner, try this one and do not forget to put the repeat (the album is fairly short), and the trick is half-done. To name a highlight would be quite difficult, as you'd be doing injustice to the other non-mentioned tracks. Not a weak note on this album. Nanny de Ruyg's voice is right up with the cannons of the genre and the German lyrics are simply heavenly music for the mind.

Monday, January 2, 2023

Ken Hensley - 1980 - Free Spirit

Ken Hensley
1980
Free Spirit



01. Inside the Mystery (4:36)
02. New York (2:25)
03. The System (2:35)
04. When (3:48)
05. No More (4:36)
06. Brown Eyed Boy (4:03)
07. Do You Feel Alright (2:52)
08. Telephone (3:09)
09. Woman (3:23)
10. New Routine (3:28)

Ken Hensley / guitars, keyboards, bass, drums, lead vocals, production & mixing

With:
- Denny Ball / bass (1,9)
- Trevor Boulder / bass (2,8)
- Gary Taylor / bass (3-5)
- Mark Clarke / bass (6)
- Jim Tooney / drums (1)
- Geoff Allan / drums (2-5,9)
- Ian Paice / drums (6)
- Kenny Jones / drums (8)
- The Wrongettes / backing vocals (2)



Having arguably been the key member of Uriah Heep throughout the 1970's, Ken Hensley decided in 1980 that he had gone as far as he could with the band. Internal battles fuelled by drink, drugs and the trappings of success had taken their toll on all the band members, and Hensley was by no means immune to such issues. Given that he had almost single-handedly carried the band in the song writing department for a decade, he was also understandably showing signs of running low on inspiration (Uriah Heep's "Conquest" was poor), while perhaps holding songs back from the band for his own use.

The title of Ken's third solo album is a clear reference to his departure, and his intention to pursue a solo career. "Free spirit" is his most individual effort to date, with Hensley calling for assistance only in the rhythm department. A variety of guests are used there, including current and former Heep bandmates Trevor Boulder and Mark Clarke plus Ian Paice of Deep Purple and Kenny Jones.

In terms of content, "Free spirit" is a natural successor to "Eager to please", offering a clear distinction between Hensley's solo work and his contribution to his now former band. The album opens with its best song, "Inside the mystery". The piece is a fine mix of funk, prog and power ballad written by Hensley's writing partner around the time, Jack Williams. Ken's arrangement and production of the song is superb, bringing out the fine melody well.

"When" is reminiscent of the title track on "Proud words..", with much more of a Uriah Heep feel than most of the material here. The strong beat and falsetto vocals combine with some good old Hammond organ in a great three part composition. The power ballad "No more" reminds me of Lee Kerslake's "Come back to me", although the lyrics here may well be directed towards a work related acquaintance rather than a former lover. Ken adds some appealing lead guitar to another album highlight. "Brown eyed boy" sees Ken going all out for some straight rock and roll, with line such as "So I said what's a pretty girl like you doing in a place like here". Bizarrely, but very effectively, the centre part of the track slows things down for an ah-ah's backed guitar solo rather like that on "The spell".

Overall though, there are a couple too many songs here do which not have the appeal of those on the first two solo albums. Tracks such as "New York", "Woman" and "Do you feel alright" have the taste of someone who is going through the motions without any great effort to challenge themselves.

There is the occasional minor surprise such as "The system", a decidedly fluffy pop song with a simple tune and rather prosaic lyrics. The song should not be taken too seriously, indeed it is good to see Ken having a bit of fun.

Two of the songs, "Telephone" and "New routine" date from 1976. The former is a decidedly average rock song which was probably written with Heep in mind (and may even have been rejected by them). "New routine" is a decent but unremarkable rock song with a Status Quo type rhythm.

The brevity of both the tracks and the album as a whole serve to suggest that Ken's wish to get something out as quickly as possible after leaving Uriah Heep may have clouded his judgement in terms of quality control. There are enough good songs on "Free spirit" to make it most definitely worthy of investigation. It seems to me though that some of these songs could have been developed more fully, while others would probably have been overlooked had time not been a factor.

Incidentally, there was a track called "Free spirit" which was recorded for the album but omitted. It can be heard on the "From time to time" compilation.

Ken Hensley - 1975 - Eager To Please

Ken Hensley
1975
Eager To Please




01. Eager to Please (4:51)
02. Stargazer (3:46)
03. Secret (4:02)
04. Through the Eyes of a Child (2:16)
05. Part Three (3:46)
06. The House on the Hill (3:17)
07. Winter or Summer (2:58)
08. Take and Take (3:42)
09. Longer Shadows (3:32)
10. In the Morning (2:34)
11. How Shall I Know (3:59)

Ken Hensley / guitars, keyboards, synth, vocals

With:
- Mark Clarke / bass, vocals
- Bugs Pemberton / drums & percussion
- B.J. Cole / pedal steel guitar (3)
- Ray Warleigh / saxophone (10)
- Michael Gibbs / orchestral arrangements & conductor



The first Ken hensley solo album I ever had. In fact my sister had it and I kind of liked it at the time. I was amazed how Hensley´s voice was similar of that of David Byron. Ok, Byron´s may be stronger, but still it was strange to find two members of the same band with such timbre (the only other case I know is that of Peter Gabriel and Phil Collins). It was released in mid 70´s and is a proof of Hensley´s genius. The guy was not only capable of writing Uriah Heep´s best sutff and still had enough talent to write all these tunes for a solo album. Certainly it was Henley´s most prolific periods.

While his first solo album included two members of the band (bassist Gary Thain and drummer Lee Kerslake), this time Hensley recruited ex UH Mark Clarke and Bugs Pemberton was on drums. I should say that, for a solo album, Ken was quite generous going as far as recording two Clarke tunes and letting him sing on them (Stargazer and In the Morning). And considering that those tunes are not exactly the best tracks on this record, he was very nice indeed.

What about the album itsself? Well, it does sound a lot like Uriah Heep as one should expect. Still, it is softer, more introspective and less exciting than something done by his main band during this period. This is not to say it is bad, far from it. It is quite pleasant and interesting, especially if you´re fan of UH during the Hensley years. Ok, we may miss Box heavy guitar riffs and Byron´s powerful delivery. But I believe it was never the author´s intention to sound like his band.

Ken Hensley - 1973 - Proud Words on a Dusty Shelf

Ken Hensley
1973
Proud Words on a Dusty Shelf




01. When Evening Comes (4:37)
02. From Time to Time (3:37)
03. A King Without a Throne (3:54)
04. Rain (3:16)
05. Proud Words (3:15)
06. Fortune (5:18)
07. Black Hearted Lady (3:38)
08. Go Down (3:11)
09. Cold Autumn Sunday (5:30)
10. The Last Time (2:48)

- Ken Hensley / guitars, organ, keyboards, vocals, arrangements

With:
- Gary Thain / bass
- Dave Paul / bass
- Lee Kerslake / drums & percussion

"Pain not they who suffer only love,
for theirs is knowledge and truth
lay not thy heavy hand on he
whose only sin is youth"
Ken Hensley

"I think my first meeting with Ken was some five years ago; and now we find ourselves working in the same unit - Uriah Heep. Ken's first solo venture is based on an overflow of material that he had expressed a desire to record.
After working on this and many other projects with Ken, I find in him a great versatility as a writer-musician, a capability of honest sincerity working in many different moods.
I hope this album gives you the same listening pleasure as it did myself and all those who worked on it."
Gary Thain. November 1972

"Having lived with Ken for 27 years and having worked with him most of that time, I find I quite like him really."
Ken Hensley. November 1972



Ken Hensley was born 24 from August of 1945 Hertforshire, England. Showing from his childhood an extraordinary gift musician. In the mid 60's he would form a called group "THE GODS", which also included stars of the caliber of Mick Taylor and Greg Lake, recording two albums, which now are very looked by the collectors. From ashes of this group another merges with the name of Toe Fat, which in its first album participates Hensley next to a young Lee Kerslake and Cliff Bennett, once outside the group he was invited by Paul Newton to be member of another called group: "Spice" in which also are Mick Box and David Byron, this in 1969; changing the name in 1970 to URIAH HEEP. In Uriah Heep, Hensley it passed ten years playing keyboards and guitar, as well as providing more than 70% of the compositional material that would make famous to this band, the very evocative, nostalgic and sentimental lyrics they were easily identifiable by astute listening, that without a doubt is songs that have supported the test of the time well.

Besides the previous success Ken Hensley have to record several solo albums, which much more reflect the style characteristic of composition and musical quality that Ken Hensley have. In 1973 he recorded its first album as a soloist, call Proud Words are to Dusty Shelf", which was made accompany by the rhythmical base of Uriah Heep, Gary Thain and Lee Kerslake, feature subjects of great musical quality, like the great "Fortune" which is a mini epic of and evocative musical sounds capes, as well as the characteristic "When the Evening Comes", which has an excellent guitar licks, as well as an evocative lyric of past and future moments, love and sadness, "King Without to Throne" with characteristic and powerful bass playing in charge of Thain and an exquisite sticky melody that Hensley delights to us, among others songs of great musical invoice. In 1975 Eager to Please was his sophomore album, which is an album more "rocker" than first, but moving away of the sound that he used in its first effort, being "Eager to Please" and "Stargazer" songs these, with a melodic wealth difficult to find in other artists or groups; besides containing excellent ballad "Through The Eyes of a Child", one of the best compositions of Hensley than is made accompany by cords and that sing of very emotional way.

For 1980 after a tour by Barcelona Ken Hensley he resigns to Uriah Heep and he decides to form a group of short life: "Shotgun", besides the previous thing, records a third titled album: "Free Spirit", which is a strong disc, with a melodic sound and also in the style of those years, songs like "The System", "New York" that emphasize by their power and lyrical musical comedy mix with others like "Inside The Mystery", "When" that shows a Hensley divided between using the characteristic touch that notoriety with Uriah Heep gave him and exploring new sounds. After forming the ill-fated Ken Hensley Group, Hensley went to collaborate with Blackfoot in 1982, a group of hard rock of Florida, with records two albums and after finding out the death of David Byron (ex-vocalist and founding member of Uriah Heep), he decides not to continue collaborating with Blackfoot and enters a stage of semi retirement, collaborating with musicians like Blackie Lawless of WASP and with other groups.

In the middle of 90´s he begins to see resurgence in his musical carrer, in 1994 show to public the album "From Time to Time" in what it contains interesting sessions of 1970 to the date of the disc, the song "From Time to Time" of the first album, curiosity is not including in this compilation.

In 1999 Ken it decides to form a called group Visible Faith, with which it records an excellent album, "Glimpse of Glory" and that supposes its return to public the musical activity, and to his renewed religious faith, which is clear in the entire album. His fans will be thankful for the returned to Hensley to record more "New Songs".

Besides the previous thing, rumors began to scatter on a possible meeting with John Lawton (secondly vocalist of Uriah Heep), who finally would be crystallized in the year 2000 with an recorded concert and a tour, which stood out as much with the repertoire of songs of Uriah Heep, as of some songs of discs soloists of Hensley and an update of the great song: "Salisbury".

Also a one off Concert with Uriah Heep shows in the 2001, playing with old members Mick Box and Lee Kerslake and also with the "new members" Phil Lanzon and Bernie Shaw, as well with John Lawton, who also was a special guest, and playing several Uriah Heep songs with great passion and enjoyment.

Later he record in 2002 its fourth disc denominated soloist "Running Blind", which stands out by its freshness and precise melodies, as they are characterized already by the richness lyrics of Hensley which definitively they reach a zenith rarely reached about a musician of this caliber.

In 2004 a very good disc, very nostalgic and melancholic album "The Last Dance", that would prepare the land for "Blood on the Highway", his most recently effort, in which Hensley narrates the life of a rock musician from the beginnings and that passes through the fame and fortune as well as the decay, surrounded by excellent musicians and who demonstrate that Hensley still must much say.

By 1972, Uriah Heep were enjoying the most successful period in their entire career. "Demons and Wizards" and "The Magician's birthday" had both brought the band to the attention of a vast audience, and their solid fanbase was desperately seeking new material by them. The following year, Uriah Heep released one of the finest live albums ever made, further cementing the respect they were garnering the world over.

Keyboard player, second guitarist and second vocalist Ken Hensley was a major influence on this success, writing virtually all the material on their most recent albums. Such was the prolific nature of Hensley's writing though, that he found he had a growing collection of songs which were gathering dust. Some of these songs had been rejected by Uriah Heep while others Ken himself felt would not be suitable, and were thus not offered to the band. Demo versions recorded by the band of some of Hensley's songs which did not make it onto band albums (such as the title track of this album) have subsequently appeared as bonus tracks on Heep albums from the period.

By and large, this is a true solo album by Hensley, the only additional contributors being the Uriah Heep powerhouse of Gary Thain and Lee Kerslake on base and drums respectively, plus bass on some tracks by Dave Paul. Hensley took about a year to record the album, working on it when he had the opportunity during gaps in the hectic touring and recording schedule of Heep.

Each side of the LP opens with a wonderful piece of heavy prog. "When evening comes" has a lead guitar motif similar to that on the Beatles "She's so heavy", Hensley immediately demonstrating that while his singing talents did not quite match those of David Byron, he was not far behind. "Fortune", which opens side two swims on organ like the soon to come "Sweet freedom"; the song lyrically sounds like an outtake from "Demons and wizards" with autobiographical overtones. These two songs alone are to all intents and purposes Uriah Heep masterpieces.

My personal favourite song from any Hensley solo album is "From time to time", a haunting synthesiser fuelled piece with a superb instrumental conclusion. Structurally, the song reminds me of Genesis "Entangled", the atmosphere being similarly effective. "King without a throne" is really the only prosaic number on the album, this mid-paced blues based number being adequate but unexciting.

"Rain" is something of an exception on the album, as it is the only song to also appear on a Uriah Heep album. When the band originally recorded the song, it was a simple vocals (Byron) and piano (Hensley) ballad. Hensley told the band he wanted to make the final verse, which is a repeat of the penultimate verse, a much louder, organ backed crescendo. The band disagreed, and democracy dictated that the song remain a gentle ballad. Here, Hensley demonstrates how he wanted the song to be arranged, the final verse being suitably majestic. In reality, both versions bring out the beauty of what is a fine composition, which only goes to prove that both were right!

The title track might have made a decent Uriah Heep single, the positive lyrics being complemented by a sing-a-long toe-tapping melody. The song probably lacks a strong enough hook, but there's no doubt it is good fun.

Another personal favourite is "Black-hearted lady", where Hensley gives an impressive vocal performance. It would probably have been a ballad too many for Heep, but it makes for a superb addition to this album. If one was being cynical, it could be suggested that the weaker tracks have been placed in the middle of each side, and "Go down", while better than "The king.." on side one, is similarly OK but no more.

The epic "Cold autumn Sunday" takes a basic three verses and bridge and transforms them into a compelling 5½ minute piece of descriptive art. Here again, Ken shows the versatility of his voice, with a performance of startling emotion and beauty. The album closes with a delightful ballad "The last time", which once again is of a quality which would grace any Uriah Heep album.

At the time of this album's release, both Uriah Heep and Ken Hensley could do no wrong. "Proud words on a dusty shelf" is simultaneously a lost Uriah Heep album and a solo statement by Ken Hensley which offers something a bit different yet totally familiar. The album therefore slots neatly into the band's catalogue at the time. Recommended.