Baba Yaga - 1974 - Baba Yaga Featuring Ingo Werner

Baba Yaga

1974

Baba Yaga Featuring Ingo Werner

01. The Man Who Wants To Buy The World (2:47)
02. Waves (3:37)
03. In The Morning (3:00)
04. High Fly (4:45)
05. Rebekka (3:56)
06. Turdus Merula (4:32)
07. Powerful Hand (3:15)
08. Hommage À... (3:07)
09. Intoxication (3:21)
10. La Tombeau (4:30)

Winfried Schreiber / guitar
Jürgen Dyrauf / electric & acoustic guitars
Ingo Werner / piano, electric piano, organ, Mellotron, clavinet, synth, bassoon, gong, producer
Bernd Weidmann / bass, vocals
Joska Fiedermutz / drums, percussion

Named after the a fantasy, supernatural, rural female character, Baba Yaga should be considered as a solo project of German keyboardist Ingo Werner, after he left My Solid Ground .Actually his first production features widely unknown musicians such as Bernd Weidmann on vocals/bass, Jürgen Dyrani and Winfried Schreiber on guitars and Joska Fledermutz on drums, while Werner plays all possible kind of keyboards as well as the bassoon and the gongs .The first self-titled production of the group was captured as one of the endless recordings at Dierks Studio near Cologne and it was released in 1974 on the obscure Phonola label.

The first three tracks show a surprising laid-back British-styled Progressive Rock akin to CRESSIDA, FANTASY and GREENSLADE with romantic vocals, light psych influences and Werner's piano, organ and Mellotron in evidence in an attempt to offer a more melodic 70's Art Rock with an atmospheric lyrical content, very far from his previous work with My Solid Ground. With ''High spy'' a change of style occurs, this one being a mix of complex Prog Rock and Avant Folk with dense and complicated music full of electric piano and synths being followed by massive percussions and archaic flutes.''Rebekka'' is closer to smooth Psych/Prog with haunting Mellotron, soft electric themes and choirs leading the way in an atmospheric environment. With ''Turdus Merula'' another asset of Werner's musical background comes in evidence, a kind of cinematic Electronic/Prog with gongs, Mellotron and electric piano, followed by the almost Canterbury-like ''Powerful Hand'' with its complex structure, the British-styled vocals and the sudden breaks. As the album unfolds, its jazzy nature becomes more and more obvious, highlighted by the instrumental ''Hommage a...'', combining the improvised electric piano with the psychedelic rhythm section and a few Mellotron flashes in a typical Kraut/Jazz Rock track.''Intoxication'' kicks off as a furious Heavy/Psych Rock-er with scratching electric guitars, before Werner dominant piano lines produce some kind of Avant-Garde atmosphere. The closing ''La Tombeau'' shows a return to the flipside's opening mood, an instrumental piece entirely built around piano, synthesizers, Mellotron and gongs, creating a cosmic and spacey sound image.

Ingo Werner's ''Baba Yaga'' may be a confusing and not 100% convincing album with too many things going on in a very short time, but no one can accuse this man of not being a talented and flexible composer with some great ideas. This is diverse Progressive Rock with sights and sounds from almost the whole range of the movement, highlighted by its nice keyboard work. Chances are, every prog fan will find something to like in here. Rare, but recommended album.

It's almost unbelievable that Ingo Werner was even allowed to use the Baba Yaga name for two albums that are so drastically different you find it hard to believe Ingo Werner himself was involved with both, but I guess that's because he used the Baba Yaga name to pursue his artistic ambitions. On Featuring Ingo Werner, he fronts a regular five piece prog rock band, and on the next album Collage he simple collaborates with Iranian santoor and sitar player Nemat Darman for a much more freaky proposition. It's even more of a drastic sound change than when King Crimson changes lineups. Both Baba Yaga albums were released on the Cycle label and quickly became rarities.

Upon listening to Featuring Ingo Werner, you may forget they were actually German, as they sound much like those early British bands, like Fantasy or Cressida, with a bit of Camel and Caravan, with jazzy passages. Nice use of Mellotron and vocals. Don't expect that Krautrock freakiness that is Collage, because you'll only hear hints of that. The music sounds more like 1972 than 1974, so it does sound a bit behind the times. Still it's a very good album recommended more for progheads than those wanting more off-the-wall Krautrock.