German Touch

Let's forget about that grotesque cover, presumably hinting at an interesting theatrical show associated with this band and work.  The music itself is very enjoyable Genesis-style inventive and well-written with picturesque Gabrielian singing.  By far the best track is the closer, the Dawn of Fantasy:





For those interested in more information, I'll simply redirect you to the October 2013 assessment by Tom Hayes (where he generously gave it a 3):


"Strange little "supergroup" led by H.J. Putz (from the first Mythos album) and Zeus B. Held, and also featuring guys who had played with Pell Mell and Guru Guru. Blatant Genesis cloning. A bit poppy at times, but not bad. Hilariously awful cover art." 

Germany certainly had no shortage of bands influenced by Gabriel era Genesis in the late 70s and early 80s including Neuschwanstein, Ivory, Sirius, and a host of others. The populous nation had a head start on the burgeoning NWOBPR scene that was about to take hold in England. Unfortunately there was little market for progressive music in Germany at the time, and all the bands faded rather quickly. Touch features a violinist, and his fine playing recalls Hoelderlin's own Genesis phase ("Clowns and Clouds" specifically). The vocals do resemble the theatrical elements of Mr. Gabriel quite well. The instrumental work throughout is above standard, and I'm impressed with the overall production. The use of Moog sequencing is refreshing in this context. There is, as noted by The AC, a fair amount of commercial pandering - yet another harbinger of the ill-conceived "neo prog" aspect of the once promising NWOBPR movement. The compositions are diverse, and well thought out. Fans of early 80s Genesis inspired progressive music will love this one.

The instrumental work sells this one for me. So I give this a priority: 3.

Well said, indeed, and thanks Tom.

Catalonia from Spain, 1981

I was puzzled as to why this album was in such high demand until I realized on reading the band information bassist, Rafael Escote was in my favourite Spanish group, Gotic.  For those like myself who have pretty much memorized their brilliant masterpiece "Escenes," Rafael wrote the compositions "La Revolucio" and the last track, the story of the drop of water.  On the other hand, keyboardist Jordi Vilaprinyo was in the band Coses throughout the seventies, and was responsible for my favourite tracks...

Back to this release, which is rounded out by the following musicians in addition to Escote: Angel Pereira on percussion, Lluis Vidal on piano and Antonio Peral on saxes; there are hints of the old Gotic magic but here we are delving deeply into slightly Hispanic-inflected complicated and composed fusion, winding beautifully into remote and reflected chambers of acoustics, flashes of gorgeous scenes and memories of beautiful emotions, cascading like a technicolor dreamscape after an unsettled night... or imagine the fresh insomniac feeling of falling in love (so long long ago for me) and being filled with the ups and downs fighting for your soul and that feeling of high-focused attention making you look at the world like a crystal, a geode full of light...

Check out the ultra-chromatic lush romanticism of the Sueco in America, with hints of Debussy or Ravel in the rich red and lingering vintage:





These composers really knew their stuff!  Whilst the most Goticlike track is the Lorelai: with its diatonic majesty of stepping stones in whole tone chords:





Apologies for the poor quality of the rip, btw.

Finally, notice that Escote later teamed up with Max Sunyer for the fusion superband Pegasus, which put out quite a few records.  Those are of course a little more disappointing in general, at least to me, being with both feet in the slick decade of the 80s.

But this stands out as a true fusion masterpiece with the passionate and hot spirit of the country from which it came.  Aren't we spoiled with treasures already?

1980's Austria Drei and Roidinger's Computer and Jazz Project I from 1984

This is again clearly and cleanly in the ECM tradition of emotional and intellectual jazz.  But it's very good.  Here is the information, as usual.  I think on this record everything came together beautifully for these talented musicians and with this entry we will depart from gorgeous alpine Austria for other countries to explore....

Finally mention should be made of the fantastic album Roidinger made later with electronics and his bass:

Austria fünf: Pirchner - Pepl - Von Alten - Darling - Zadlo in The Loss from 1981

Information here.

Werner Pirchner was an Austrian vibraphonist who was quite productive in this period.  He made at least one very pleasant ECM album with Jack de Johnette and Harry Pepl (in 1983) which I highly recommend, his most progressive and insane work was the 1973 half double album (which mutant sounds once posted, & I can reup if need be).  I think his best record though is Austria Drei, which will be coming up shortly, but this one is very good too, it's highly ECM-like with its legato Weber-like bass and smooth and complex Towner-like guitarwork (from Pepl).  Each guy is responsible for one song.

Pirchner passed away in 2001. Listening to this, we can contemplate The Loss.

Adelhard Roidinger's Schattseite from 1981

Information here.  This is relatively acoustic, ECM styled mental and emotional jazz with that typical meandering thoughtfulness that is their modus operandi.

With regards to this bassist, I want to pre-mention a wonderfully progressive and brilliantly composed record that will be coming here shortly called Austria Drei in which he participated, coming out in the year 1980 which was so fecund for the European jazz and progressive scene.  I'll post that one in a bit, after also presenting Pirchner and Pepl (guitar and vibes players on the Austria Drei record) in another highly intellectual album they did called, beautifully, "The Loss." 
Stay Tuned!