FRIEDRICH GULDA TRIO – Fata Morgana / Live At The Domicile (LP-1971)

Label: MPS Records – 21 20886-9

Format: Vinyl, LP, Album / Country: W. Germany / Released: 1971

Style: Fusion, Modal, Cool Jazz

Recorded Live at the Domicile, Munich, April 1971.

Design – Bernhard Wetz

Photography By – Franz Hubmann, Sepp Werkmeiste

Engineer – Willi Schmidt

Liner Notes – Ulrich Olshausen

Producer – Willi Fruth

Distributed By – BASF

Matrix / Runout (Side A): 0654 987 S 1

Matrix / Runout (Side B): 0654 987 S 2

A1 - Sunshine .................................................................................................... 8:36

A2 - Im Wald ...................................................................................................... 8:29

A3 - Encore ........................................................................................................ 5:26

B  -  Fata Morgana ........................................................................................... 17:58

        a) - Part 1: Die Wüste

        b) - Part 2: Die Oase

        c) - Part 3: Tanz

All compositions of Fritz Pauer

Personnel: 

Friedrich Gulda – piano, electric piano

Fritz Pauer – electric piano, piano

Klaus Weiss – drums, percussion

Classical and jazz pianist and composer, Friedrich Gulda was one of Austria's premiere pianists. Born in Vienna in 1930, Gulda started piano lessons at the age of seven. When he was 12, he enrolled in the Vienna Music Academy, and four years later received first place in the Geneva International Music Festival.

In 1949, Gulda toured Europe and South America, earning international acclaim for his treatments of Bach, Mozart, and Beethoven, and the following year he successfully debuted at Carnegie Hall. Gulda became more involved in jazz from 1951 on, when he improvised with Dizzy Gillespie following a performance with the Chicago Symphony. Five years later, Gulda played his first American jazz concert at Birdland (N.Y.C.), followed by a performance at the Newport Jazz Festival. After this, Gulda formed the Eurojazz Orchestra, a jazz combo and big band which drew from both jazz and classical compositions. In 1966, ten years after his Birdland appearance, Gulda organized a modern jazz competition in his native city. He was awarded the Vienna Academy's Beethoven Ring in 1970, but later returned it to protest what he regarded as a constricting educational system. This only reinforced the public's perception of Gulda as an eccentric...

_ Review By Joslyn Layne

This live 1971 recording includes Friedrich and second pianist Fritz Pauer both on electric and acoustic pianos, plus drummer Klaus Weiss. It's a cross between aspects of jazz, fusion and contemporary music.

If you find it, buy this album!

ANIMA – Anima (LP-1972 / Pilz Rec. – 20 29097-2)

Label: Pilz – 20 29097-2

Format: Vinyl, LP, Album / Country: Germany / Released: 1972

Style: Free Improvisation, Experimental, Krautrock, Free Jazz

Recorded at Neues Arri, München 1972.

Design [Cover Design] – Michael Fessel

Engineer [Sound] – Dieter Dierks

Producer – Rolf-Ulrich Kaiser

Pilz it's the German progressive label  run by BASF Musikproduktion under the initial direction of Jürgen Schmeisser, subsequently directed by Rolf-Ulrich Kaiser.

Liner Notes – Friedrich Gulda, J.A. Rettenbacher, Limpe Fuchs, Paul Fuchs

Written-By – Gulda, Rettenbacher, Limpe Fuchs, Paul Fuchs

Matrix / Runout (Side A): 1P 2029097-2 A SST

Matrix / Runout (Side B): 1P 2029097-2 B II SST

A - Meeting In The Studio .............................................................. 20:35

B - Anima-Live ............................................................................... 27:25

Limpe Fuchs – vocals [stimme], zither [Fußzither], electronics, 

                         percussion [diverse percussioninstrumente]

Paul Fuchs – horn [Fuchshorn], performer [schilfzinken, klangbleche], vocals [stimme], 

                      electronics, percussion [diverse percussioninstrumente]

Friedrich Gulda – piano

J.A. Rettenbacher – bass

Note:

The music contained herein is totally improvised. Nothing has been premeditated or decided beforehand.

On the back cover composition credits are given the individual members, but on the labels it    is credited to Anima.

On the back cover is written "Anima-LP". This does not appear anywhere else (spine, label, front cover) so it does not appear to be an album title.

Limpe Fuchs (she was born 1941 in Munich) is a German composer, performance and sound artist.

At the age of 12 she received her first piano lessons. After graduating from high school she studied classical music right up to the artistic examination, later percussion with Prof. Hans Hölzl.

At the beginning of the 1970s she began to develop her own instruments of wood, metal or stone with Paul Fuchs. They founded the group Anima, who quickly made a name for himself in the German music scene. At the end of the 1980s the group dissolved. Limpe Fuchs also worked with famous musicians such as Friedrich Gulda, Hans Rettenbacher, Theo Jörg.

Paul Fuchs (born 1936, in Munich) is best known as the husband Limpe Fuchs and fusion duo Anima. With Anima he expanded his instrumental repertoire by inventing a whole range of bizarre instruments, like the notorious Fuchshorn, and increasingly a unique range of sound sculptures and percussion instruments.

The 'Anima' sound was extreme for sure: a very spontaneous music, close to extreme free jazz, but lacking the academic approach of this genre. Paul And Limpe Fuchs' (aka Anima Sound) music was more primitive in a way, full of screams, goons, weird sounds and much percussion. For this reason  their album Sturmischer Himmel isn't exactly everybody's taste! This was one of the few Ohr albums to have a standard (non fold-out) cover. Their very rare second album Musik Für Alle (LP-1971, soon on this blog) contained two further improvised cuts. The duo was later joined by Friedrich Gulda and J.A. Rettenbacher for the group Anima, to record an album for Pilz in 1972.

Enjoy!

If you find it, buy this album!

ALBERT GOLOWIN / FRIEDRICH GULDA – Donau So Blue (LP-1970)

Label: MPS Records ‎– CRB 759, BASF ‎– CRB 759

Format: Vinyl, LP, Album; Country: Germany - Released: 1970

Style: Style: Contemporary Jazz, Jazz-Chanson

Recorded at MPS-Tonstudio Villingen, February 1970

Written-By – Friedrich Gulda

Photos By – Hubmann, Wien

Produced and Recorded By – Hans Georg Brunner-Schwer

"Music is like a large tree that has different branches, but they all grow out of the same tribe." _ Gulda

A1 - Die Schöne Musi . . . 8:55

A2 - Donau So Blue . . . 5:45

A3 - Hau Di In Gatsch . . . 5:18

B1 - Selbstgespräch Im Kasgraben . . . 6:24

B2 - Requiem . . . 7:15

B3 - Andrerseits . . . 4:21

Friedrich Gulda – piano

Albert Golowin – vocal

J. A. Rettenbacher – acoustic bass

Manfred Josel – drums, percussion

Albert Golovin; pseudonym for vocal performances by the pianist and composer Friedrich Gulda

Friedrich Gulda can not assign a certain style of music is , he never wanted to leave to cram in a Spate . His styles range from classical to jazz to rock and techno. But with his " musical Changes" he had never given a direction entirely . Even as he turned to jazz , he let lose from the classic little direction . In classical piano music, he was of the opinion that Mozart is the greatest musician who has ever lived , and it is very difficult to interpret it , although they are of medium to slight difficulty. He was himself, and above all Mozart interpreters to be very critical , and said, " you can not just down to play that way." In his childhood he often said : " First I want to learn to play Beethoven, Bach and then finally the master of all masters Mozart. " Gulda also is not without reason as the best interpreter of Beethoven, Mozart and Bach. He did not have many as a model , except Alfred Cortot he mentioned often with positive reviews and is even traveled after him Classical pianist. Cortot was a Franco -Swiss pianist , who had lived in Paris. He was a very good teacher and played in concerts as it had occurred to him . He did not play clichéd what Friedrich Gulda was very impressed . In the jazz world, he of course had several role models , especially at the beginning of his jazz - time . Most of all he mentioned the trumpeter Miles Davis, but he also learned much from Chick Corea, Joe Zawinul , Herbie Hancock , etc. Most likely , you can assign him nor the "Free Music " , in which the randomness is considered as a principle. The only rule is to recognize no rules . Therefore it has to be very intrigued totally free to improvise because of his jazz experience . Free music is something not -composed , so nothing you can hold in grades, she has no rhythm, harmony , melody or shape. He thinks the transmission of free music is on the medium of the record or the tape only as a suggestion for the people allowed and they can not therefore re-enact the same style. The message of the music is free , do not go into a store and buying records , but even to make music , and is in contrast to today's consumerist and commercialized world . However, by turning to outdoor music there was great financial losses at Friedrich Gulda and his classic work had restricted itself . At the end of his life career to be playing the piano had drastically reduced because he was of the opinion , for this kind of music , the piano is not very suitable. Later also strengthened its Gulda Jazz music activity with singing. Under the pseudonym Albert Golovin he sang of love, death and loneliness in the Viennese dialect. Gulda had a technique like no one else , he did not need to concentrate on playing games. He could afford to listen to the games themselves . He was his best audience , his own biggest fan , but also his own harshest critic .

In front of you is another intriguing album by Friedrich Gulda, who has prepared Ricardo.

Thanks.

If you find it, buy this album!

FRIEDRICH GULDA – Vienna Revisited (LP-1969)

Label: MPS Records – MPS 15 226 ST

Format: Vinyl, LP, Album; Country: West Germany - Released: 1969

Style: Contemporary Jazz, Jazz-Chanson

Recorded at MPS-Tonstudio Villingen / Black Forest, Febr. 1969.

Written-By – Friedrich Gulda

Producer, Engineer – Hans Georg Brunner-Schwer

Recorded By [Recording Director] – Willi Fruth

...But the greatest discovery in this respect is, of course, Golowin - a singer who can't be heard because he doesn't give a damn about a musical careeer or anything connected with it...

A1 – Sonatine - 1. Satz . . . 4:58

A2 – Sonatine - 2. Satz . . . 6:18

A3 – Sonatine - 3. Satz . . . 3:25

A4 – Die Reblaus . . . 3:38

B1 – Wann I Geh . . . 11:02

B2 – Du Und I . . . 3:35

B3 – Wann Du Mi Einmal Loswerd'n Willst . . . 3:01

B4 – Auf Visit' . . . 4:13

Friedrich Gulda – piano

J. A. Rettenbacher – bass (tracks B1-B4)

Manfred Josel – drums (tracks B1-B4)

Albert Golowin – vocals (tracks B1-B4)

Friedrich Gulda (16 May 1930 - 27 January 2000) was an Austrian pianist.

Born in Vienna as the son of a teacher, Gulda began learning to play the piano from Felix Pazofsky at the age of 7; in 1942, he entered the Vienna Music Academy, where he studied piano and musical theory under Bruno Seidlhofer and Joseph Marx. After winning first prize at the International Competition in Geneva four years later, in 1946, he began going on concert tours throughout the world. Together with Jörg Demus and Paul Badura-Skoda, Gulda formed what became known as the “Viennese troika”.

Although most famous for his Beethoven interpretations, Gulda also performed the music of J. S. Bach, Mozart, Schubert, Chopin, Debussy and Ravel.

From the 1950s on he cultivated an interest in jazz, writing several songs and instrumental pieces himself and combining jazz and classical music in his concerts at times. Gulda wrote a Prelude and Fugue with a theme suggesting swing. Keith Emerson performed it on Emerson, Lake & Palmer’s The Return of the Manticore. In addition, Gulda composed Variations on The Doors’ Light My Fire. Another version can be found on As You Like It (1970), an album with standards such as ‘Round Midnight and What Is This Thing Called Love. In 1982, Gulda teamed up with jazz pianist Chick Corea, who found himself in between the breakup of Return to Forever and the formation of his Elektric Band. Issued on The Meeting (Philips, 1984), Gulda and Corea communicate in lengthy improvisations mixing jazz (Someday My Prince Will Come and the lesser known Miles Davis song Put Your Foot Out) and classical music (Brahms’ Wiegenlied).

This album is a contribution by Ricardo. 

Thanks.

If you find it, buy this album!