I feel this just need a tune up.. meaning.. its a mish mash of sounds, to much going on at ones, and just making a mess ie a noise. It needs to be more focused, clear sounding, and precise in what you are tying to say... like a person in a crowd shouting and you are standing the other end of the street, thinking what the hell is he shouting.. as you can't hear properly! That is what I'am picking up.. Listen to this again yourself and see what I mean! and other peoples helpful reviews if any! And learn from this, it's not that bad a start to be honest, just needs cleaned up, re arranged and so on.... and some of the clutter taken out of it... and it will sound good! Good luck!

I grew up with classical jazz, which maybe gives me a different perspective of the freeform style. Sometimes it's nice when it's a bit looser, sometimes a little off balance or key. It is either a sign of total inability or a deft skill in avoiding the pitfalls of formulaic music. So, I quite like the start of this album, because intuitively I feel that the latter applies, because I can see a sense to it and it feels right. Without experimentation anything in this world dies ultimately, so this sometimes tenuous jazz survives to play another day. The second track is quite profound. Nervous is what I feel sometimes when I'm trying to make an assessment, and it captures the essence of being on the edge, I love the bass backdrop and the sturdiness of the sax as it floats in and out of the foreground. This third track has a strong structure formed of its perceived weakness. It may sound scattered and off-kilter but that is to me a genuine effort to break the mould and evolve creatively. After listening to Eno, Jarret, Garbarek, Metheny and Weather Report, along with the likes of Buddy Miles and Billy Cobham, even the FreeJazz Fragment has a strength to it that I feel I can appreciate. It is an interlude, a brief jam. Then, we reach the title track, the one that presumably meant enough to name the album after it, assuming that was the way it happened. The answer to the Urgent Question, is 'there is no end' and if you can bear that in mind, the music develops a certain validity in my ears and brain. Despite its alledged urgency it is actually quite a mild, scattering of sound construction. Like throwing a handful of sand on a sheet of glass and then making a picture from it using your free hand. It either works or it just remains a mess. For me it works well. Where is the urgency in the question, if it is 'how do you get there?'. It is followed by the Short Answer, revealed above, in advance, backwards, i.e. it goes on along the same route with variation enough to retain interest and thematic enough to retain cogency in its instrumentality. Mentality maybe the actual root of the word and route of the music. Dizzy Pianist, reminds me of Les Dawson, you have to play well to be able to play 'badly' well. That may seem paradoxical, but it works, it is the antithesis of what is deemed acceptable according to a prerequisite concocted in someone's ontological framework of what music should be about. Here is an experiment, a pushing of boundaries and a straining of the sensibilities of the listener. To me that's a show of a vital energy that makes this avant garde, along with many other artists in their various ways. Without it music becomes dull and mainstream. That's why I am here so often, vouchsafing a cultural movement beyond scope until it happens. What happens after that is not even the point, it's the getting there that counts, not the arrival. I believe if we reached a position of perfection, we would become unmotivated and cease to exist, for what would there be to drive us on? We need things to be questioned to maintain evolutionary development. A Walk, is just that walk we need to make to release the tension of being trapped in a rut of a sense of being, where we feel we are not making any headway. It clears the mind and makes you think of all the other wonderful possibilities that there are available. Playing At The Shore, reiterates what I'm trying to express. The shore being figurative of a boundary. This is no safe paddling pool. It's on the edge. He Couldn't Believe It captures an essence of a recent compliment payed to me, that made me wonder if I could be that. As always, the experience is prolonging the orgasm as long as possible and maximising the effect, rather than just rolling off after a weak effort. Other artists, like Schizyfos for example are able to create this kind of diversity in elementary musical form. I still can't believe it, but it works as a motivating drive to survive. Sometimes music is not so much about the music but about the overall effect and feel of it, the holistic view, that can be captured in just one track, or, in this case, thirteen, my lucky number. Spirit moves through all things, indeed. Which leads to Searching, and Weather Report's 'Can It Be Done' springs to mind from the Domino Theory album. Looking for that new sound, that which will forever elude the artists efforts to capture it, and if so albeit so fleetingly that it's gone as soon as it happens. When that's live and improvised, capturing it is like chasing a butterfly or moth. Delicate and difficult, but when you open your hand, you cannot help but admire its beauty and subtle existence. Did You Hear It emphasizes the point I am going the long way round to try and elucidate. I think I did, albeit so briefly and maybe not consistently, although there is a consistency that maintains itself here, I hear also a diversity but it seems more about attitude than accomplishment per se. The final track, Friendly Strangers ties it up neatly and succinctly, both in a musical and experiential sense. What harm is there in being different, even a little strange. It's the stuff of life, the purest essence of existence. To be able to travel a little way with a friendly stranger, could mean you are walking by the side of a prophet, even God himself. A few minutes of your time could mean the world of difference to someone, it could mean a lot to you too. There's your magic essence, sprinkled liberally here and enjoyed by me. That can't be bad.

Abstract keyboards, a warm bluesy sax, the bass and the drums paint nervous rhythms. This album is a brave "walk" through the world of possible sounds "searching" a "short answer" to an "urgent question". Fusion jazz music by an original and introspective inspiration. Adventurous, fascinating, obscure.

Offensichtlich seid Ihr wohl bei Tuxedomoon (B.L. Reininger & Steven Brown) hängengeblieben.

How to say anything after Ivan's commet here which I agree with. But still. Fist thing is the sound. It is so full, clear and rich that it speaks directly to listener. Like live performance. In my opinion that is of crucial importance in jazz recording which is not live recording. I dunno if i am listening this as jazz. Im more in bebop variations. This is simply collection of sonic passages which one follows like meditation mantra intervawed with beautiful saxophone bursts. I LOVE that instrument! Another instrument i simply adore is bass ( I tried to play it once) and it is present here in whole jazzy majesty and presence. In short this is real musical adventure full of well articulated direct and well produced sensations for senses. Thank You for this.

Für das Genre akzeptabel. Kann man hören. Acceptable for the genre. Can we hear.

There's a full correspondence between actual tracks and their respectives titles and even between our friend Ruediger's "angst"to know our reactions to this work of him and the album title; Ruediger Kramer couldn't have been more clear, in his writings, and less obscure had he played at midday and not at dusk, as the atmospheres we meet in this album suggest and, if ever there was a touch of dimmed light in this composer's technique,it's easy to point at the synthesizer and its settings on medium-low keys as the culprit. Synthesizer and saxophone paradoxically changes places with one another and, while to the second is demanded to represent the anti-classical half of the composition, the first enters always as a piano would have done in the form of the sonata. Thence, the listener's judgment's unstable balance between jazz and Conservatory recital. Speaking of recital,I doubt ( and, since in musical ambients has recently prevailed the opinion that compositions are carved in the cliff and non written on sheet, I shall take full responsibility for what follows) that "Urgent Question"could be played before a paying public, in any"Midnight Club", so to speak, with good results with its current program, for the sole reason that the times for wich its numbers are written and thought are not so much varied so that the resulting mood is quite uniform; but, brutally speaking, in its actual form is good for late night tv "fly-by", which is the form of entertainment that Jamendo music mostly takes for me. On the other hand, which public an author merits and which merits a public could adduce for itself? Based on the reactions my shameful ignorant lacking (in civility and other fields) rotten neighbors had (and stille are having, now that I'm playing "Urgent Question"again)while I was writing up the first two draft of this review,I can risk a rought marketing appraisal of "Urgent Question". This work of Ruediger Kramer (we had a very popu lar Gorni Kramer, here, in Italy, an orchestra director who has left a good memory behind; any ralations?) is not meant for low-brow, do-nothing, Andy Capp-ish, apathic audiences, althought this doesn't automatically make it an upper-brow product. Does this answer your 'urgent question', herr Kramer?

WOW - I love it all - I have to say that I am speechless and seeing that others have spoken before me, I would just like to say - Nicely Offbeat! I love this sort of instrumental articulation, battles, discussions, love-making as I hear in this album. Each track being a nice portraiture of the artist's vision and desire. Each instrument has a clear voice and a personality to be dealt with. I think the synth (in a track or two) is a little blurry but seems to sharpen the edges of the saxophone in an unusual and appealing cross vibe. I agreed with Cvijaxo in that this is a "real musical adventure. . ." and that the saxophone is gorgeous. This album's music is excellent nonverbal poetry

fantastic! the first thought in my head was mingus! i love the simplicity ... elegance, i'd even say. seems you've taken chances with very impressive results. i've been listening to this album for a couple of hours and i'm not sick of it. keep it up; i'd love to hear more from you.

it's interessant, good work. but I prefer "very quiet night (EP)" sorry. good luck