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May 2002
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Calig Records
By Andrey Henkin
Calig Records, one of Germany's most obscure and sought-after labels, has a mythical reputation due mainly to lack of information. The first twenty or so releases are all recordings by major improvisational figures such as Wolfgang Dauner, Pierre Favre, Peter BrÃÂÃÂÃÂötzmann and the three artists reviewed below. Calig's largest exposure came with Atavistic's inclusion of BrÃÂÃÂÃÂötzmann's Nipples in its Unheard Music Series. Recordings on this label veer towards experimentalism-some, like Dauner's, is the oddest music ever recorded in the jazz idiom. The label gave such obscure players as Bob Degen and Eje Thelin the opportunity to record as leaders. Calig is still active, giving up jazz in the mid-'70's, and now focusing exclusively on CD issues of classical music. Like with most German record companies, close attention was paid to sound recording and vinyl quality, though perhaps not distribution, since its releases are unknown to most jazz collectors.
Marion Brown/Gunter Hampel: GesprÃÂÃÂâÃÂìchsfetzen
CAL 30601
Recorded live: September 20, 1968: Modernes Theater, Munich, Germany
Personnel: Marion Brown (as), Gunter Hampel (vib bcl), Ambrose Jackson (tr), Steve McCall (drm), Buschi Niebergall (ab)
Track Listing:
1. GesprÃÂÃÂâÃÂìchsfetzen (MBrown, 15:00)
2. Exhibit A (MBrown, 2:55)
3. Babudah (SMcCall, 7:30)
4. Tomorrow is the beginning of the end of yesterday
(GHampel, 3:20)
5. Aba (MBrown, 6:30)
Background: Marion Brown and Gunter Hampel met through mutual American acquaintances in Europe. Their collaboration would continue for many years-in small group and duet formats. This is the first record released by Calig (the 3060_ numbering system is inexplicable) and is one of two under their dual leadership on this label (along with In Sommerhausen). As for the rest of the musicians, McCall is well known by AACM fans. Niebergall, along with Peter Kowald, is one of Germany's superlative bassists, collaborating with almost every major European free improviser. Ambrose Jackson has appeared on numerous albums by Americans recorded in Europe, including Sunny Murray, Steve Lacy, and Alan Silva.
Review: The sound of an album with this line-up would be difficult to predict but it can be assured of being cerebral. All the players are steeped in heavy improvisational backgrounds, each a vital contributor to avant-garde and free jazz. This said, GesprÃÂÃÂâÃÂìchsfetzen is not free jazz but rather works within tight structures as casings for soloists. A staccato theme anchors the title track, interspersed between duet sections between vibes and alto, trumpet and bass, and alto and trumpet. "Exhibit A" is a brief solo alto statement. The album's highlight is the heavily percussive, almost tribal "Babudah". The melody is plaintive, contrasting nicely with the rollicking rhythm, creating a very spiritual feel to the piece. The frantic burst of "Tomorrow isÃÂÃÂÃÂÃÂ
" begins in a ballad vein but quickly becomes an explosion of jagged atonal shrapnel. The closing tune can best be described as "avant-swing". Very reminiscent of the early '60's Blue Note sessions, "Aba", with its matching instrumentation and modal air, could easily have been an unreleased track from Out to Lunch.
Availability: The two Brown/Hampel recordings for Calig are the most sought after because of the presence of these two established figures. Since detailed information on Brown's career is available, people who may know nothing else about Calig know about these two discs. GesprÃÂÃÂâÃÂìchsfetzen and its companion surface occasionally and are of interest to a specific market which usually will pay up to $50 for either. Finding it for much cheaper is unlikely but is well-worth getting within this range for a superbly articulated progressive statement.
Karl Berger: We Are You
CAL 30607; Enja CD 6060-2
Recorded: November 1971
Personnel: Karl Berger (vib marim ap), Allen Blairman (drm), Peter Kowald (ab except #3), Ingrid Sertso (voc perc #2 #4-5)
Track Listing:
1. Vibes First (KBerger, 5:50)
2. We Are You (KBerger, 5:16)
3. Marimba Dance (KBerger, 2:50)
4. The Positive (KBerger, 9:03)
5. Easy Suite-When I Sing-Easy-We Are You (KBerger, 18:08)
Background: Karl Berger, an accomplished vibraphonist and pianist, has had a prolific career, recording for many labels, including FMP, Enja and even Milestone. For all this, he is best known as a sideman for Don Cherry, rather than as a leader, non-American vibes players languishing in obscurity. This recording finds him in tow with compatriot powerhouse Kowald, American transplant Blairman (who most may know as Albert Ayler's last drummer), and Berger's wife in a program of advanced material.
Review: Despite the personnel, this record barely skims the avant-garde, instead concentrating adventurous, confident playing on advanced post bop. Berger spreads himself equally on all three instruments, often switching mid-song to create different textures and moods within a single piece. Kowald's restraint is uncharacteristic-his walking bass lines are almost traditional and, with rare exception, avoid the freer upright techniques he helped pioneer. Blairman keeps time solely with his ride cymbal, using his toms for contrasting syncopated rolls. Berger's material is stimulating, and covers a wide range of moods, mischievous for the vibes and marimba and petulant on piano. Highlights of the album include the opener featuring Kowald's inventive approach to his support role; the marimba and drum duet of "Marimba Dance"; and side two's long suite featuring Berger on piano and vibes and containing the album's freest moments (Kowald especially plays a solo that will not disappoint). Sertso's involvement, which has marred many a Berger appearance, is tolerable if only for its brevity.
Availability: Berger's recordings are criminally undervalued. Unlike his countryman and fellow vibes player Hampel, all his recordings are very listenable notwithstanding their progressive leanings. His rarest recordings as a leader are always available inexpensively, excepting the ESP that is more likely due to the label than his stature (and still is one of the cheapest ESP's). We Are You is one of the two Calig recordings available frequently, along with Pierre Favre's Drum Conversation. It should be priced at around $20 but may even be found for $15, unless the price is based on label rarity rather than artist. For those seeking fine post bop filtered through German avant-gardism, We Are You is a great value. Enja has supposedly rereleased this album on CD but this information is not supported by their website.
Tomasz Stanko: Purple Sun
CAL 30610; SELL 0078
Recorded live: March 9, 1973: Musikhochschule, Munich, Germany
Personnel: Hans Hartmann (ab), Janusz Muniak (ss ts fl perc), Zbigniew Seifert (vln as), Tomasz Stanko (tr), Janusz Stefanski (drm perc)
Track Listing:
1) Boratka/Flute's Ballad (TStanko, 14:10)
3) My Night My Day (ZSeifert, 6:25)
4) Falir (TStanko, 15:08)
5) Purple Sun (TStanko, 6:25)
Background: Tomasz Stanko, like most of his Eastern European brethren, hovers just above obscurity. He began his career working with cinematic music legend Krystof Komeda (see the MPS recording We'll Remember Komeda). Stanko may be one of the better-known players from the area, mainly for sessions with American and Western Europeans and an extensive ECM discography. This album is recorded with the help of another reasonably well known Pole: Zbigniew Siefert.
Review: Purple Sun is a festive fusion album that works well within the constraints of the idiom and avoids all its pitfalls. Stanko and company liberally mix On the Corner-era Miles Davis with the tonal advancements of the Mahavishnu Orchestra. The addition of well-thought out melodies makes this one of the finer and most tasteful statements in an often-overworked genre. "Boratka/Flute's Ballad" and "Falir" are rooted in the loose meandering of Miles' early '70's work-slinky vamps, riffing rather than walking bass, and lengthy solo segments. Purple Sun is more successful if only because Hartmann is a much more inventive bassist than Michael Henderson. Stanko's playing on these tracks is also very reminiscent of Miles, especially because of the layers of echo added to his tone. The two shorter pieces are actually the more interesting, "My Night My Day" sporting a melody that would make a James Bond soundtrack proud and the title track layering a celebratory unison horn line over funky fast-paced rhythmic accompaniment.
Availability: Stanko, much like Karl Berger, has had a prolific recording career that continues to this day. His work is always of high quality and features great players, including little known Polish musicians. Similarly to Karl Berger's plight, few jazz fans ever move past the glut of American trumpeters and Stanko's standing suffering as a result. Recording for obscure labels until his move to ECM did not help either. While the influences of American fusion are readily apparent on Purple Sun, the album improves upon many ideas (meaning this is not the rehashed jazz-rock of countryman Urbaniak). This album may not surface too often, but is worth searching out for disillusioned fusion fans who should not expect to pay more than $20 for it. A CD reissue is available directly through the Polish Jazz Network at www.stanko.polishjazz.com.
Next month: John Surman Trio
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