sehr schön anzuhören, jazzige und sehr interessante improvisationen...

BEAUTIFUL!!!!!...great album. Far away..is a pearl.Pilgrimage,Blues (disarmonic beautiful blues),Sleep tihgt..100. ciao,thanks Simone

My very first thought was of Emerson, Lake and Palmer and the Works album, Vol.2, if I remember rightly. Musical Clock works really well when you just let it wash over you, like the flow of time that we can do nothing to stop. Makes listening and life easier when you simply accept it, rather than look for counterpoint. Which was my initial reaction, but if you try and marry them technically it is like looking at a simple word for a long time, soon it just seems strange and odd, but the track actually works very well, like clockwork should. Pilgrimage (hysteric), and here the key is to follow the piano, I think because it is the constant presence and seemingly the foundation for the layers of sax to curl around and adorn the constancy and foundation of the keys. After all, a pilgrimage is about following a sense of being. About half way through the whole track sort of congeals together and billows forth beautifully, as if the object of the quest has been found and all the pieces fit together. Then, it ends nicely with a swirl and profound resonant ending by piano. Yes, You Might, is like being at the seaside, nice and open and it seems, fun. Quite a loose sense of rhythm, stitched casually together alternatively by sax and then the organ sounds. Short and sweet, like candy floss. Far Away, captures a moment, I was expecting a friend and they got into trouble and I was too far away to help. So, I definitely associate this with a sense of sadness, when I think I was going to anyway maybe. Little Boogie is just that, again a nice sense of fun to it, again ELP's Barrelhouse Shakedown comes to mind. Sleep Tight, a languid flow of music set to send you off into a pleasant dreamstate. Pilgrimage (fanatic) holds that thought again, though from a slightly different perspective, more elements come into play to spice the track up and balance off the strong sax factor. The percussion lightens the load of the heavier tones. A peaceful ending giving the impression of having achieved something of the pilgrimage. Heavier Gear is a deeper, slower blues shakedown with some nice synthetic touches. Bossa, No, has the same reflections of sax play but with a starkly contrasting sound form that intersperses the tenor quite dramatically, and suddenly you are in the middle of a very lively piece of improvised jazz. A nice track that works quite well. Good freeform in the latter part. A Bear Dancing builds into a loosely collected group of sounds, dominated by the tenor, a sound that has a haunting quality to it for sure. Bass is good and strong. Hammond with Glitter is nice for its scintillating qualities, then the Hammond is one of my favourites, it adds a bright quality to the composition. Blues very much captures the essence of the original blues, it was all about being melancholy and that comes across quite strongly, as it does in the majority of the tracks. That seems to be an essence inextricably linked to the tenor sax. I've only ever played clarinet and that has its own set of limitations, my wife is the piano and oboe player and I ended up working chiefly on percussion and drumming. Those are years out of our reach now. All in all, an interesting experimentation in sound, though I have to say I would have liked to hear more keyboard work from Astrid, punctuated with apostrophes from the sax. It is a very strong instrument after all.

Im Grunde kann ich Improvisationsmusik dieser Art nichts viel abgewinnen, weshalb eine faire Bewertung auch schwer ist. Nun bin ich mir aber auch an manchen Stellen nicht sicher, ob das nun der Stil der Musik ist oder doch mal ein Ton falsch sitzt (Takt und Tonhöhe). Am besten gefallen mir die Songs und Parts, an denen möglichst viele echte Instrumente bzw Sounds zu hören sind, während die Stellen mit den anderen Heimorgelsounds (nenn ich mal so) nicht so zusagen, außer sie werden nur sparsam eingesetzt. Einige Songs gefallen mir, weil sie ruhig und harmonisch bleiben wie pilgrimage oder far away. Zu den Songs mit denen ich gar nicht warm werden kann gehört little boogie, das ist einfach nichts neues.

"Far away, very nice variation of an old standard gives to the album its feeling : I like it very much. Astrid's work on keyboards gives a nice lightness to the compositions. The sax speaks with ease and breathes nicely, making breaks, giving his times even more richness of sound. And then I can follow a melody shared by the keyboard, the sax, percussions, and even bass, the whole forming a very melodious combination. Nice album. Thanks for sharing.

ottimi

Difficile de trouver un sens à cette suite de pièces très ambient et au final pas désagréable. Les structures évoluent d'un titre à l'autre, mais le climat général est toujours identique, une sorte d'errance désarticulée, sans point de départ ni but, avec des résultats assez inégaux. Des improvisations par instant fascinante sur des parties de clavier déstructurées. Le mélange des timbres est beau et Ruediger Kramer joue de son saxophone d'une manière envoutante. Je retiens quelques titres: les 2 'Pilgrimage', 'Far away', 'Sleep tight', 'Heavier Gear' ... la très courte intervention vocale sur 'Yes, You Might' fait regretter que Ruediger Kramer ne chante pes ...