Wolfgang Dauner's Et Cetera* Feat. Jon Hiseman, Larry Coryell ‎– Knirsch

Label:
MPS Records ‎– 21 21432-2
Format:
Vinyl, LP, Album
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A1 The Really Great Escape
Composed By – L. Coryell*
4:20
A2 Sun 5:00
A3 Yan
Voice, Effects [Sounds] – Richard Ketterer
12:50
B1 Tuning Spread 11:05
B2 Yin 9:50

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Notes

Comes in a gatefold-sleeve.
Recorded at MPS-Studio, Villingen, March 1972.

Made in Germany

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  • Rights Society: GEMA

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streetmouse

streetmouse

May 20, 2016

On the album Knirsch [which means ‘crunch’ in German, and explains the album’s cover] Wolfgan Dauner sets out to complete some unfinished business, ideas that he’d been unable to bring to fruition on his 1970 release The Oimels ... though here too he seems unable to bring those ideas into the light of day. Unhappy that he could not grasp his own visions and expectations, he abandoned the concept on future releases. Nevertheless, here Dauner sounds more than a bit like Herbie Handcock on the explorative fusion based “Sun,” which stands in stark juxtaposition to the nearly heavy metal explorations he takes on “The Real Great Escape,” seeming a bit out of place on this outing, and certainly channeling the Hendrix driven and derived rock of the day ... sounding slightly like John McLaughlin meets Carlos Santana, in that mixing the lightening speed of Carlos, and the higher key heavy fusion of Mahavishnu Orchestra, Dauner finds the space to achieve his elations, based on the nature of his vision of free form and fusion jazz.

It’s not until “Yan,” clocking in at thirteen minutes, filters in that one gets a sense and connection to what Dauner had done on the album Et Cetera, and was hoping to expand on here. All and all, even with the intoxicating grooves laid down on this expansive undertaking, Knirsch at times comes off as musical melodrama. Having said this, I want to take it all back, as I’m not certain this feeling is from hindsight, as upon it’s release Knirsch was an exotic bit of improvisation and creative passion that was securely framed and structured, keeping the work from being chaotic, and bringing forth a sound that continually evolved each time it was played.

Regardless of the times or the decade, this is still a very worthy album to privately immerse yourself in.

Review by Jenell Kesler
music_emporium

music_emporium

May 16, 2011
edited over 6 years ago
Wolfgang Dauner (keyboards, electronic devices),

Larry Coryell (guitar), Jon Hiseman (drums), Fred Braceful (drums, percussion), Günter Lenz (bass), Richard Ketterer (sounds + voice).

"An intriguing composer and ambitious pianist, German musician Wolfgang Dauner has combined jazz, rock, electronic music and elements of opera and theater in creating broad-based, ranging works. While sometimes these compositions seem too far-reaching, Dauner's best work shows the links between idioms and genres and offers provocative musical and cultural concepts. He studied trumpet, piano and composition at the Musikhochschule in Stuttgart, then joined Joki Freund's sextet in the early '60s. Dauner appeared at several German festivals, then made his recording debut heading a trio in 1964. It was one of the first European free jazz recording sessions. Dauner led Radio Jazz Group Stuttgart and wrote compositions for them in 1969. He formed the jazz-rock band Et Cetera in 1970, then co-led with Hans Koller the Free Sound & Super Brass Big Band. He helped organize The United Jazz And Rock Ensemble in 1975, and began featuring theater, opera, and dance segments along with his performances in '70s and '80s concerts. Dauner's composed music for films, radio and televison broadcasts, and a children's opera. He's recorded for Mood, Columbia, MPS, and ECM among others...