IM TAL DER EMMEN

4.5 stars. GEBARVATERLI formed in Nuremburg, Germany back in the Fall of 1972 originally playing covers, before late in 1973 when they decided to play only their original compositions. It would be five years before they would release their only album in 1978. A consistent lineup from the start, with the addition of a trombone player in 1975 and the replacement of the original sax man after that being the only real changes. Mandi Riedelbauch is the new sax player, and he's from EX OVO PRO, and I love their 1976 recording called "European Spassvogel". He also adds bassoon and flute besides a variety of saxes. He and a few others in the band studied at the Nuremberg Conservatory.

In fact, while I feel this fits in the Jazz/Kraut style that was strong in the late seventies, this is more in the jazz realm. I keep it in my jazz section unlike KRAAN, MISSUS BEASTLY, EMBRYO etc. Yes there is that krautrock spirit here, but this comes across as being academic jazz much of the time. These guys are very talented and most had years of schooling on their instruments. The pianist had five years of classical piano training, while the bass player is the only one not to have formal training, but he also had been playing for 11 years in various groups and recording albums with a couple of them before joining this band.

The two bonus live tracks reveal that krautrock spirit more than the studio album does. Love the cover art done by the trombone player. A seven piece here with two horn players, and a flautist who also plays sax. We get six tracks worth over 39 minutes. How about I use the english translation of these song titles since some are so long. It opens with "I Am The Postillion d'Amour, But My Watch Is Fast" at 8 1/2 minutes. This is such a trippy and relaxed piece. The fluttering flute and marching styled drums aren't usually what I'm into but it sure works here. Sax and piano will lead but the trombone kicks in late. Some nice picked guitar too.

"Don Juan Has His Sneakers On" has some real nice flute and improvised sax, but it's the bass and a surprisingly dark vibe that draws me in. Some expressive guitar and organ as well. How about that electric piano. Nice. The title track "In The Valley Of The Emmen" has this bass line that comes and goes as picked guitar, horns and drums kick in. This is kind of jerky before it settles into a jazz mode with horns leading. Electric piano too.

"Shubidubikong" is my favourite and it has bassoon and a haunting trombone solo. This 8 minute track is the second longest. A flute duet too along with a furious sax solo are also featured. Some vocal expressions late, and the only time we will hear them on this record. There's a darker and heavier sound early which is amazing. That darkness will return and when it does with flute I'm thinking Sweden. Dissonant sax before 6 minutes. "The Tense Relationship Between A Butterfly And A Thistle" grooves pretty good, plus it's such a sunny tune with lots of flute. The closer "Rewind" hits the ground running and the flute and drums stand out but also the horns and guitar.

Sure this comes across as being lightweight at times, as well as being too traditional jazz sounding, but talk about a grower. It took some spins for this recording to reveal just how incredible it really is.

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