TORTILLA FLAT

Emerging from the Aachen region near the Dutch border TORTILLA FLAT was one of the tightest fusion acts on the scene with memorable crafty tunes that were backed up some of the most impressive instrumental interplay of the era. During the band's short run it experienced two distinct lineups each with a different emphasis of style and musicality. The band started out as the sextet of Hans Friedrich Basten (drums, glockenspiel), Heribert Schippers (bass), Manfred Herten [Manni Hollaender] (guitar, vocals), Werner Knauber (violin), Hermann Josef Basten (flute, guitar) and Albert Schippers (congas, drums) and the first rendition of TORTILLA FLAT showcased a rare blend of flute dominated prog in the vein of Jethro Tull mixed with the unusual instrumental accompaniment of the violin which due to the departure of Werner Knauber wouldn't find a place in the second coming of the band which switched the violin for the more keyboard oriented sounds of Franz Brondt.

While the band only released one studio album, on December 20, 1973 TORTRILLA FLAT was invited to a studio in Baden-Baden to record a number of tracks for the underground broadcast stations that specialized in experimental music including a program specifically dedicated to the world of Krautrock and all its offshoots. Destined as a bonafide release the recordings that documented the band's original lineup remained in the vaults for almost a half of a century until they finally emerged in 2019 as this archival release SWF SESSION 1973 on the French label Long Hair Music. While the first rendition of the band had remained a mystery for all that time, these recordings revealed a completely different approach which featured a crystal clear production and a set of eight tracks that would appear on the vinyl addition as well as a CD release that featured an additional three bonus tracks.

Most notably different is the dominant presence of the phenomenal violin playing of Werner Knauber whose virtuosic skills spent a great deal of time trading off with Hermann Basten's flute playing prowess. The mostly instrumental album also featured a distinct difference from the band's studio album in that it featured several vocal tracks that allowed Manfred Herten's whimsical musings in the German language to take the forefront. These humorous absurdities coupled with the jazzier touches that would become more prominent on the band's studio album showcased its connection to the greater world of England's Canterbury Scene only much closer to their neighboring Dutch counterparts Supersister in terms of musical virtuosity and moments of silliness than the world of Soft Machine or Carvan. This album is a testament to the brilliance of TORTILLA FLAT in this lineup and how these brilliant musicians could convey the most complex jazzy prog composiitons with a relative ease and virtuosity on a whole other level from the majority of their German contemporaries.

These recordings while still in the same vein as the studio album "Für ein ¾ Stündchen" exhibited a very different overall sound that displayed an almost unheard of pairing of the violin and flute as the dominant forces making this one sound even more unique than the more streamlined Kraut-jazz musical mojo of the studio album. The violin and flute in tandem added a touch of folk infused flavors to the mix however the band excelled as a cohesive unit with an equal brilliance displayed from Manfred Herten's guitar skills, Heribert Schippers snappy bass grooves and Albert Schippers phenomenal drumming prowess.

Even though the band is considered Teutonic in its stylistic approach, TORTILLA FLAT delivered all of this flawless virtuosity with an airy nonchalant way that really did take them to an entirely new level of competency. One of my favorite bands of all time and these long lost recordings are a welcome addition to the band's all too short career. Although brilliant music is presented here, the vocal tracks drag down the quality and flow overall. Not the masterpiece that the studio album would become but an excellent addition to those who can't get enough of this top tier band.

Having formed in 1972 in Geilenkirchen near the Dutch border not far from Aachen, TORTILLA FLAT emerged from the ashes of a previous band called Nothing around brothers Herman Josef Basten (flute, guitar) and Hans Friedlich Basten (drums, glockenspiel) aka Jacky. The original lineup was a quintet that included flute, violin, guitar, bass and drums and the band played a busy live circuit which would eventually find an archival release in the form of the SWF Sessions from 1973 but shortly thereafter violinist Werner Knauber left the music business altogether and was replaced instead by a keyboardist named Franz Brandt. After the addition of the second percussionist Albert Schippers who offered the more exotic percussive flair, TORTILLA FLAT set out to record its one and only album F'R EIN 3/4 ST'NDCHEN (For 3/4 of an Hour) which was released in 1974.

This now sextet crafted a fiery mix of stellar jazz-rock fusion workouts with complex arrangements and beefy improvisational interplay that found tight-knit complex rhythms fortified with acoustic guitar pastoral moments, heavy distorted rock heft, groovy bass slams and an extra helping of diverse percussive sounds. While similar in tones and timbres to bands like Brainstorm and Tomorrow's Gift, TORTILLA FLAT adopted the extreme sounds that came right out of the Canterbury playbook obviously influenced by the neighboring Dutch band Supersister with excellent keyboard virtuosity. Add to that the Jethro Tull inspired flute (and lots of it) along with excessively restless energetic drive that could at a drop of a pin resort to lush medieval classical folky guitar and back.

This album of seven tracks that skirts past the 48 minute mark displays a diverse range of jazz-rock technical fusion chops tamed into highly melodic passages that somehow find a truce between the two extremes. Starting much like Faust's debut album with sounds of a radio switching stations, the immediate reaction is to expect some super freaky album that takes you to planet lysergia, but surprisingly a softly spoken flute slowly ushers in the overall mood of the album and then goes into hyperdrive. The tempos are generally fast paced with a rather Latin musical delivery only graced with Canterbury electric piano tones and those indescribable jazz-rock workouts that are right out of the Supersister and Hatfield & the North camp. The album is completely instrumental but adds the extra sounds of a glockenspiel, congas and once again i must add - LOTS of flute!

This is one of those satisfying albums that delivers some of the most demanding time signature workouts, hairpin turns, angular nosedives and still comes out maintaining a ridiculously melodic flow throughout it all. The interplay between the bass, electric piano and myriad percussive sounds is off the chart outstanding and the occasional outbursts into hard rock add the perfect contrast to the flute dominated soundscapes that keep this one airy and free floating through the majority of its run. The album not only engages in unpredictable compositional constructs but also offers repetitive grooves upon which the various instruments take turn improvising around. Needles to say that the musicians in TORTILLA FLAT were all extremely talented and played in tandem flawlessly.

This is one of those true obscurities from the 70s that deserves wider appreciation. Having never been re-issued since its initial release, F'R EIN 3/4 ST'NDCHEN has finally seen a proper re-release in 2019 on CD as well as a new vinyl edition on the Long Hair label. It's albums like this that consistently make me realize how many gems are lurking out there that have gone relatively unnoticed. Unfortunately the band experienced little response to this outstanding music and folded the following year. If you are seeking some Canterbury influenced jazz-rock from Germany that takes the complexities of Supersister and adds a bit of John McLaughlin guitar heft, Ian Anderson flute wizardry along with some ethnic percussive magic of bands like Santana then you can't go wrong with TORTILLA FLAT. This band delivered an extremely well performed set of seven tracks before disappearing into the prog ethers never to be heard from again but WOW what a dynamic and dramatic gem this sole album is!

"Tortilla Flat" is my favourite. It opens with someone looking for a radio station then the flute takes over along with drums and bass then the tempo picks up. When it settles down and turns darker I'm thinking ANEKDOTEN or LANDBERK surprisingly. The electric piano has replaced the flute and I love this sound. The flute is back before 2 1/2 minutes and a minute later flute is all we hear. Electric piano, shuffling drums and bass take over. So good! A calm with flute and piano before 7 minutes but soon it's flute only once again. The birds are singing at 8 1/2 minutes then it picks up late to end it. "Temperamente" opens with flute, drums and sparse piano as it starts to build, guitar too. It then settles back again with flute and piano standing out before it kicks into gear at 2 minutes to an uptempo groove. Lots of energetic guitar and drums as the tempo continues to change. "Fati Morgani" starts with intricate sounds that build as the flute plays over top. Percussion joins in after 2 1/2 minutes as we get a calm but soon it's percussion only to the end.

Electric piano and flute standout early on "Rumpelstiltzchen" as the drums join in. The tempo changes often and check out the bass which gives this a jazzy feel. An impressive track that ends with some silly vocals. "Leere, Chaos, Schopfung" is a top three track and it opens with some dark atmosphere that lasts for about a minute. Then keyboards take over in this melancholic section. So laid back but really enjoyable. The tempo picks up after 5 minutes as the flute plays over top. Catchy stuff then the piano replaces the flute as the bass throbs. Check out the guitar 7 minutes in as he lights it up. The flute is back leading at 8 1/2 minutes. "Obit, Anus, Obitanus" is a light and catchy Jazz tune although we get some deep bass lines early on. The keys and flute take turns playing over top. "Mohre" opens with flute, bass and acoustic guitar which all sounds very pleasant. The flute eventually leads the way until around the 5 minute mark when the guitar starts to solo over top. Nice. The flute returns as the guitar stops. Whistling ends it. A top three tune.

This album might be at the very top when it comes to albums needing a re-issue. A must! Close to 4.5 stars.

Differently from many German bands of early 70-s, Tortilla Flat played not krautrock, but less psychedelic, mechanic and more complex and jazzy music, influenced by British Canterbury sound. Seven all-instrumental compositions, based on electric keyboards sound with many flute soloings and some fuzzing guitars. Melodic, relaxed, slightly psychedelic. Really nice and pleasant listening, and quite unusual for German music of that time.

Unhappily, the self-released album is absolute rarity now, and I never heard CD was released. What means this vinyl is expensive item for collectors. Music itself is really nice, but far from original, and I can's see why someone could pay such a money for collector's example just to listen it.