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Passport (2)Ataraxia

Label:

Atlantic – ATL 50 456

Format:

Vinyl, LP, Album, Stereo

Country:

Germany

Released:

Genre:

Jazz

Style:

Fusion

Tracklist

A1Ataraxia Part 12:55
A2Ataraxia Part 25:20
A3Sky Blue4:35
A4Mandrake4:25
A5Reng Ding Dang Dong3:00
B1Loco-Motive5:01
B2The Secret4:30
B3Louisiana5:12
B4Alegria5:12
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Companies, etc.

  • Phonographic Copyright ℗WEA Musik GmbH
  • Copyright ©WEA Musik GmbH
  • Made ByWEA Musik GmbH
  • Published ByMUZ
  • Recorded AtSoundport Studio
  • Lacquer Cut AtSST Brüggemann GmbH

Credits

  • Bass [Yamaha]Dieter Petereit
  • Cover [Front]Bengt Böckmann*
  • DrumsWilly Ketzer
  • EngineerTommy Klemt
  • GuitarRoy Louis
  • KeyboardsHendrik Schaper
  • Lacquer Cut BySST (8)
  • PercussionElmer Louis
  • Percussion, VocalsGuillermo G. Marchena*
  • Photography ByInge Doldinger
  • Written-By, Producer, Flute, Saxophone, KeyboardsKlaus Doldinger

Notes

ATLANTIC-Logo on front and rear cover

Recorded at Soundport Studio, Isartal
All selections published by MUZ /GEMA

℗ © WEA Musik GmbH 1978

Made in Germany.

Front Cover: "Palm of my Hand" Bengt Böckmann, 1971, coloured lithography.

Barcode and Other Identifiers

  • Rights Society (Boxed on labels): GEMA
  • Label Code (On labels and back cover): LC 0121
  • Price Code (Circled): U
  • Matrix / Runout (Side A label, in parentheses): 78 / 007-A
  • Matrix / Runout (Side B label, in parentheses): 78 / 007-B
  • Matrix / Runout (Side A, etched, variant 1): 50456 A3 - 178/007 A3 SST
  • Matrix / Runout (Side B, etched, variant 1): 50456 B4 - 178/007 B4 SST
  • Matrix / Runout (Side A, etched, variant 2): 50456 Axx 178/007 A SST
  • Matrix / Runout (Side B, etched, variant 2): 50456-B 178/007 B SST
  • Matrix / Runout (Side A, etched, variant 3): 50456-Ac 178/007 A2 SST
  • Matrix / Runout (Side B, etched, variant 3): 50456-B3 WEA 178/007 B3
  • Matrix / Runout (Side A, etched, variant 4): 178/007 A 50456 Axx SST
  • Matrix / Runout (Side B, etched, variant 4): 50456-B 50956-B 178/007 B SST
  • Matrix / Runout (Side A, etched, variant 5): 178/007 A 50456 Axx SST
  • Matrix / Runout (Side B, etched, variant 5): 50456 B4 - 178/007 B4 SST

Other Versions (5 of 46)

View All
Title (Format)LabelCat#CountryYear
Recently Edited
Sky Blue (LP, Album, PR)AtlanticSD 19177US1978
Recently Edited
Ataraxia (LP, Album, Stereo)AtlanticATL 50 456France1978
Recently Edited
Ataraxia (LP, Album)AtlanticK 50456UK1978
Recently Edited
Ataraxia (LP, Album)Atlantic, SuzyATL 50 456Yugoslavia1978
New Submission
Ataraxia (LP, Album)AtlanticS 90.045Spain1978

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Reviews

  • progfan97402's avatar
    progfan97402
    For many, Infinity Machine is the last Passport album worth your time. Certainly that same lineup was augmented with the Roy and Elmer Louis (presumably brothers) and some Brazilian musicians, and recorded Iguacu, which finds them doing Brazilian-influenced fusion (although the album could have easily included tango rhythms as well given Iguacu or Iguazu Falls goes through Argentina as well as Brazil). Curt Cress (to join New Triumvirat for the album Pompeii), Kristian Schultze, and Wolfgang Schmid had left, with Roy and Elmer Louis from the 1977 lineup still remaining (and Klaus Doldinger) with brand new musicians. Ataraxia, known as Sky Blue in the States is that album, and I found it rather underrated. It's not perfect, and it's not as great as Cross-Collateral, but several songs really took me by surprise. They take on a more spacy electronic approach on some of the cuts, like the two part title track, and a really interesting electronic piece called "Reng Ding Dang Dong". I never hear Passport do anything like this piece, an amazing little piece of electronic music, sounded like Doldinger didn't want Passport to stagnate. Two songs are clearly in the instrumental Alan Parsons Project vein with "Sky Blue" and "Loco-Motive". "Mandrake" sounds like typical Passport of the time, but the album is not perfect as I felt "Louisiana" is too close to smooth jazz, and the Brazilian-influenced "Alegria" (which could have easily fit on their previous album) seems a bit tacky. It's obvious to my ears that Klaus Doldinger wanted both creative ambition and mainstream acceptance, and it shows on this album. I was rather surprised by this album despite the flaws.

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