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2LP ET CETERA
Et Cetera
Country of release: Germany, 2011
Original released: 1971
Label: Long Hair Music
Catalogue number: LHC106/107
Barcode: 4035177001075
Klappcover/Gatefold Sleeve: Yes/Ja
Includes Insert
Condition Record: MINT
Condition Cover: MINT
LP ist noch verschweißt / LP IS STILL SEALED !!!
(Photo von meiner eigenen LP / Photo taken from my own copy)
Tracks Side 1:
1. Thursday Morning Sunrise
(11:35)
2. Lady Blue (3:02)
3. Mellodrama Nr.2 A
(5:12)
Tracks Side 2:
1. Raga (16:11)
2.
Milkstreets (4:08)
Tracks Side 3:
1. Behind The Stage
(6:35)
2. Tau Ceti (7:10)
3. Kabul (8:51)
Tracks Side 4:
1. An Open Cans (12:35)
Listen At YouTube:
Double Album comes with informative four-sided insert
and a reproduction of the original album (Silver Cover) sleeve art. Limited
edition of 1000.
Wolfgang Dauner, one of the few internationally renowned
German jazz musicians, was born in Stuttgart on Dec. 30, 1935. Oddly enough,
having learnt to play the piano as a child, he eventually graduated from the
conservatory in Stuttgart with a major in “trumpet”. Yet, it is the piano that
remains his great love. He fancied contemporary jazz and, in 1963, founded his
first own band: The Wolfgang Dauner Trio, with Eberhard Weber playing the bass
and Fred Braceful on the drums. He would continue playing with these musicians
well into the 1970ies. Dauner is extremely important with regard to modern jazz
and jazz rock in Germany, and his efforts can be compared to the spade work
Miles Davis did for jazz and jazz rock in the USA.
Having participated in
various jazz bands in the early 1960ies, Dauner was already a jazz veteran
before he founded his own band. His first albums belong to the genre of
experimental modern jazz, influenced by Bill Evans, Steve Lacy, Sun Ra etc. The
albums he published until 1969 will primarily appeal to “pure” jazz
fans.
The acme of psychedelic music in 1968/69 created new possibilities.
Dauner and several other excellent young jazz musicians were sick of the jazz of
the time turning increasingly cliché, and decided to disregard all existing
rules. They did to jazz what Faust was going to do to rock music a couple of
years later. A first result was the extraordinary album FÜR, released in the
summer of 1969, which can hardly be called jazz, but is much rather an
experiment aimed at overcoming limitations. Musical revolution for its own sake.
THE OIMELS, the album The Wolfgang Dauner Quintet (CD: Long Hair, LHC
59) presented to their fans in early 1970, was even more radical than the
previous productions. Here, Wolfgang Dauner and his band surprised as a
psychedelic-jazz-pop-band. Apart from the distorted guitar, sitar sounds and
other freak-outs so beloved by fans of psychedelic music, the five musicians
really pulled out all the stops in order to demonstrate their idea of what
psychedelic pop had to sound like. 1969 and 1970 were a musical Fountain of
Youth for Wolfgang Dauner and his alternating band members. They published eight
albums on different labels and under various band names (Wolfgang Dauner
Quintet, Wolfgang Dauner or Et Cetera). For progressive rock enthusiasts we
particularly recommend the albums RISCHKAS’S SOUL (recorded in 1969, published
on Brain in 1972), and – of course - ET CETERA (1971 on Global). Fans of
progressive rock will also love the LP KNIRSCH (with participation of Jon
Hisemann and Larry Coryell) published on BASF/MPS in 1972, and the 1973 live
double album also published on BASF/MPS under the band name ET CETERA. Readers
of the Sounds magazine voted Dauner musician of the year 1972.
For an
extensive discography, a survey of his compositions for film and TV and a
history of his career in tabular form please visit his
websitewww.Jazzpages.com/Dauner (for more about W. Dauner see dedailed booklet
of “THE OIMELS” –CD, LHC 59). Our special thanks go to Wolfgang Dauner for
letting us republish the album ET CETERA on CD.
Siegfried (Sigi) Schwab,
born 5.8.1940 in Ludwigshafen on the Rhine, developed a desire for making music
at an early age and started playing bass and guitar. At the age of 16 he took up
studies for both instruments at the conservatory in Mannheim. He was interested
both in classical music and jazz, and very soon, Laurindo Almeida, the Brazilian
guitarist, became his musical role model. To begin with, Schwab played in local
bands, worked as a studio musician early on (e.g. with Wolfgang Laudt and Erwin
Lehn) and, after moving to Berlin, became a permanent member of the Rias-Berlin
Big Band. In 1967 his first solo album was published in the USA and Europe. For
the studio specialist Schwab gaining experience in an entirely different music
scene had been an interesting experience. Before taking part in THE OIMELS, he
had played with the band on the GULDA festival in Ossiach, Kärnten, Austria. At
that time the band consisted of Jean Luc Ponty, Sigi Schwab, Wolfgang Dauner,
Eberhard Weber and Fred Braceful. They had recorded THE OIMELS on request of
their producer, head of MPS-Records Hans Georg Brunner-Schwer, who had asked
them to break new grounds in music. Sigi Schwab was also member of ET CETERA,
the successor band, so to speak, of the Wolfgang Dauner Quintet. Today Schwab
feels that The Oimels was a very important step on the way to ET CETERA, the
first jazz-free rock-band in the tradition of 1968 and the most modern and
provocative ensemble at that time.
Apart from doing his own projects and
participating in various formations (among others Embryo “Father, Son and Holy
Ghost“,1972 and „Rocksession“, 1973) as a constant band member Sigi Schwab was
involved as a studio musician in countless productions ( everything from pop
song to experimental jazz). Besides he composed music for television, film and
the stage. His film music for Vampyros Lesbos- Erbin des Dracula (1971) was
successfully re-released on CD in the late 1990ies, subtitled Sexadelic
Danceparty, while his piece The Lion & the Cucumber was used by Quentin
Tarantino in his film Jacky Brown. The recordings for The Vampires of Dartmoor
are still exceedingly popular in fan circles.
Currently Sigi Schwab is
very busy doing various musical projects. The balancing act between classic
scene and modern improvised music has remained his theme of life. Like Dauner,
he refuses to make a distinction between serious and light music: “There is only
a universal music language, although it has multiple branches and all sorts of
axes.” For further information on his various musical projects, CD publications,
books etc. please visit his homepage www.melosmusik.de
Eberhard Weber,
another outstanding and internationally renowned, personality of the jazz-scene
was born in Stuttgart on January 22, 1940. He has played, for example, with Gary
Burton, the Pat Metheney group and Jan Garbarek. He, too, started making music
as a child. At the age of 6 his father taught him to play cello. At school,
where he was member of the school orchestra, his music teacher encouraged him to
change over to the bass. Although he initially learnt to play the bass the
classical way, i.e. with a bow, he eventually practised plucking the instrument
since he had developed an increasing interest in jazz. Weber played in several
school bands and finally decided to give up the cello altogether in favour of
the bass.
In 1960 Weber met Wolfgang Dauner, with whom he recorded
numerous albums. Hence it was only logical he would participate in the ground
breaking projects The Oimels and, later on, ET CETERA. From 1973 on, however,
when Weber’s successful album “The Colours of Chloe” was released, the two of
them cut their own paths and only got together for joint projects on rare
occasions. In spite of this, their cooperation has never stopped altogether.
Weber worked with the guitarist Volker Kriegel and temporarily with the New
Dave Pike Set. Following the release of his solo album “The Colours of
Chloe” he founded the band Colours with Rainer Brüninghaus and Charlie Mariano.
After nearly eight successful years with Colours Weber no longer saw a
possibility for continuing the band’s creative musical discourse. He commented
that he hated repetitions just for the sake of keeping the band alive. Colours
split up in 1981. In 1982 Weber joined Jan Garbarek’s band as a permanent member
and worked with the Norwegian saxophone player until the end of the 1990ies.
Since 1985 Weber has also been giving solo concerts, where he uses electric
sound multipliers to record his play and recreate it in a different speed and
modulation.
Weber’s discography is impressive, and he has taken part in all
sorts of productions as a guest musician ( e.g. with Kate Bush). For further
information including a detailed discography please visit his website on
mysite.verizon.net, ( put in Eberhard Weber in the search function.) In 2007 he
published the CD Stages Of A Long Journey.
Fred Braceful, drums and
percussion (May 2, 1938, Detroit – March 6th, 1995, Munich), studied piano at
the Chicago Academy of Music, while playing drums with his father’s band. Near
the end of the fifties he served in the US Military in Germany and then settled
in Stuttgart where he met Wolfgang Dauner in a local Jazzclub. He played with
Wolfgang Dauner (Wolfgang Dauner Trio) from 1967 till 1973. He contributed to
the recordings “Free Action“, 1967, “Für“, 1969, “Rischka`s Soul“, 1969,
“Output“, 1970, “ET CETERA”, 1971, “Knirsch“, 1972 und “Et Cetera Live“, 1973.
In addition he also played with many other well- known jazz musicians like
Dollar Brand, Hans Koller, Albert Mangelsdorff, Manfred Schoof etc.
pp..
In 1973 he was co-founder of jazz-avantgarde-group Exmagma with
gitarist/bass player Andy Goldner and keyboarder Thomas Balluf. Exmagma recorded
3 long-players. 1976 saw the light of another band he contributed called Moira.
Moira recorded one album, but at the time of recording
Fred Braceful had
quit the band.
In the beginning of the 80ies he settled to Munich and
founded his own band, The Fred Braceful Trio, but was still open to play with
other musicians. As we know, he did his last recording with the Michael
Hornstein Trio on the „Langsames Blau“ (A Slower Blue) CD. Fred Braceful did
also compositions for radio-plays (Pilgerfahrt, 1975 etc. pp.).
Roland
Wittich, drums and percussion is working as an architect.
In 1980 the
album had a reissue on Brain titled “Lady Blue”.
In their very
recommendable book (and CD-Rom) “The Crack In The Cosmic Egg”, Encyclopedia of
Krautrock, Kosmische Music & Other Progressive, Experimental & Eectronic
Musics From Germany, Steven and Alan Freeman write: Ever the entrepreneur of new
musical revolutions, Wolfgang Dauner hatched the idea for one of the most
elaborate sneaky con-jobs in Krautrock history. He managed to relaunch his own
band as Et Cetera and promoted them as a new band, with an LP Cover that was
eye-catchingly psychedelic, and deliberately obscure in its references as to who
the musicians were. And so, despite being on Global, a jazz focused label, the
album ET CETERA was launched onto the rockbuying market, and was a surprising
hit apparently. Amazingly Dauner‘s radical concoction of rock, jazz, ethnic and
avant-garde musics caught the attention of many, Et Cetera being voted as
newcomer band of the year in an German Sounds readers poll, despite the fact
that the band had actually been in existence since 1968 (under various names)
and recorded numerous albums! And, all was revealed when the band played a
special set on the Beat-Club (Juli, 24th, 1971)!
Et CETERA itself is an
extraordinary album of weirdly trippy fusion that rides somewhere between
instrumental Amon Düül II, Embryo and Dauners own earlier classic OUTPUT. Full
of ethnic (Arabic and Indian) spice and totally offbeat avant-garde elements
(notably Dauner‘s modulated keyboards), with lots of the ethnic colour added by
Sigi Schwab and his vast range of instruments. It amounts to a potpourri of
delights and many surprises, not least notable being the offbeat poem “Lady
Blue” which recalls some of Malcolm Mooney‘s spoken words with Can.
The
Freeman Brothers count ET CETERA among their “ The Krautrock 100 “.
Rudi
Vogel of German Rock, Registered Society and Green Brain mailorder means
concisely: Et Cetera is totally different to any other Dauner or Et Cetera
record. Et Cetera is spacy, crazy, over the top, avant-garde, Krautrock and – of
course – a bit jazzy. The classification “Jazzrock” doesn‘t justice to this kind
of music. I think , that there are a lot of Jazz affiliates who don‘t get a
taste for this album. Oddly keyboard sounds, brilliant sitar playing, Indian
choruses, dreamy bass patteans, cool wind-instruments, ragas, folk-passages,
full of surprises, somewhere between early Embryo and Tangerine Dream. A
masterpiece and a must-have for every serious collector of
Krautrock.(longhairmusic.de)
Wolfgang Dauner -Synthesizer, Piano, Clavinet, Clavichord,
Electronics, Ringmodulator, Percussion, Trumpet, Flute
Eberhard Weber - Bass,
Cello
Sigi Schwab - Guitar, Harp, Sitar, Banjo, Lute, Veena, Sarangi,
Tambura, Psaltery, Flute, Balafon, Kalimba, Electronics,
Ringmodulator]
Roland Wittich - Percussion
Fred Braceful - Percussion,
Vocals, Bongos
Versand innerhalb Deutschland (versichert mit GLS - generell innerhalb von 24 Stunden) 6,00 Euro
Egal wieviele LPs gekauft werden, Versand immer 6,00 Euro. Keine weiteren Versandkosten ab der zweiten LP!!
International
Shipping Tracked & Signed 14,00 Euro
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