DiskoB.com
Apr 122016
 

Coverart-Oesterhelt-Enders-1500px“The Anatomy of Melancholy” is the second co-operation of the German multi-instrumentalist and composer Carl Oesterhelt, and jazz-saxophonist Johannes Enders. Oesterhelt – drummer with the band F.S.K. – has been making appearances as theatre-musician at the Münchner Kammerspiele, the Thalia Theater Hamburg, and the Schauspiel Köln, as well as festivals like the Ruhrtriennale, or the Festwochen Wien. His composition in between classical music, new music, and pop is faced with the academically trained Johannes Enders, who has a professorship for jazz-saxophone at Leipzig University. After a recommendation from Coltrane-bassist Reggie Workman he studied in New York with Dave Liebman and Jerry Bergzoni before he, in the 1990s, founded the Tied & Tickled Trio with the Notwist-members Micha and Markus Acher, Andreas Gerth, Caspar Brandner, and Ulrich Wangenheim. He also performs with his own quartet, with Rebekka Bakken, amongst others.

www.johannes-enders.com | www.carlofashion.de | www.the-society-of-dilettanti.com

MUSICIANS

Johannes Enders (Tenorsaxophon), Joerg Widmoser (Violine), Winfried Zrenner (Violine), Andreas Höricht (Viola), Jost H. Hecker (Violoncello), Ulrich Wangenheim (Querflöte), Stefan Schreiber (Bassklarinette), Micha Acher (Trompete), Mathias Goetz (Posaune), Carl Oesterhelt (Electronic Tabla, Electronic Tanpura, Analog-Synthesizer, Schlagwerk, Indisches Harmonium)

Ebow

 

Label: Disko B
Format: CD / LP incl. CD
Release: 22. November 2013
DB166CD / DB166
Indigo CD 976912/ LP 976911
UPC 8 80918 11662 4  / 8 80918 11661 7

 

 TRACKLISTING

01. Habibi
02. Supersonic Fresh
03. Candlelight Döner
04. Meine Jahre
05. Egal Was Ist
06. An Dich Denken
07. Waffenlobby
08. Meine Augen 
09. Vay
10. Geld ist Unfotogen
11. Vagabundiandos
12. Oriental Dollar 

 

„Meine Musik ist wie Hip Hop auf einer türkischen Hochzeit“

sagt Ebow über ihr Album. Frei von Gangsta-Klischees fusionieren die Münchnerin Ebru „Ebow“ Düzgün und ihr Produzent Nik Le Clap Hip Hop mit orientalischen Sand-Rebab-Samples und Nineties-R’n’B. Erste große Aufmerksamkeit bekam Ebow durch Guerilla-Auftritte im Münchner Bahnhofsviertel, unter anderem in Waschsalons, Supermärkten oder der Straßenbahn. Vergleiche mit M.I.A. drängten sich vor allem wegen ihrer ersten Single „Oriental Dollar“ und dem dazugehörigen Video auf, in dem Ebow auf Elefanten reitet. Solche Vergleiche wischt die türkischstämmige Ebru mittlerweile fast etwas verärgert zur Seite: „Ich würde nie behaupten, M.I.A. hätte mich nicht beeinflusst. Aber dann müsste man zu den ganzen anderen Rappern sagen ‘Deutschlands Tupac’“. Auf die ersten Reaktionen der Presse (unter anderem in der Süddeutschen Zeitung, sowie TV-Auftritte bei der BR-Startrampe folgten zahlreiche Liveauftritte, auch auf Festivals wie dem On3 Festival des Bayerischen Rundfunks und dem Sound Of Munich Now Festival der Süddeutschen Zeitung.

Mit dem selbstproduzierten halbstündigen Video-Mixtape „Habibi’s Liebe und Kriege“, dass mittlerweile schon über 10.000 Views auf Youtube gesammelt hat, verorteten sich Ebow 2012 mit ihrem von orientalischen Klängen beeinflussten alternativen HipHop erstmals und verpackte soziale Realität in angriffslustige Texte, die von Geschlechterrollen in der türkischen Community, falschen Patriotismus bis zum Waffenhandel reichen.

 „Hey Merkel, gibt es schon den neuen Katalog? Wir haben Leopard-Panzer im Angebot.“

Während Ebow beim Opener „Habibi“ mit Gangsta-Klischees aufräumt, rappt sie mit „Supersonic Fresh“ ein Liebeslied, um sich nach dem Shi Sha-verrauchtem „Candlelight Döner“ bei „Meine Jahre“ an die Neunziger und eine Jugend zwischen A-Team, TLC und Fresh Prince zu erinnern. Bei „Waffenlobby“, einem der zentralen Tracks auf dem Debüt trifft Sozialkritik über bundes-deutsche Rüstungsexporte auf Neunziger R’n’B: „Hey Merkel, gibt es schon den neuen Katalog? Wir haben Leopard-Panzer im Angebot.“ Nach dem Partytrack „Vay“ lässt sie bei „Geld ist unfotogen“ Bling-Bling-Poser auflaufen um dann bei „Vagabundiandos“ und „Oriental Dollar“ noch mal ordentlich aufs Tropical-Beat-Gaspedal zu drücken.

 

The Pyramids – Lalibela

 





———————————————–

Releasedate:

14. December 2012 Worldwide

Format:
180g vinyl reissue from the original master tapes

DB163 | Indigo 97233-1

Tracklisting:

LALIBELA

01. Lalibela
02. Sheba´s Dance
03. High Priestess
04. Rock Churches
05. Dialogue Of The Spirits
06. Mesenko Nights
07. Indigo
08. Ya A Ya A Ya A Ya A (Anubis Awakens)
09. Sunset At Giza

———————————————–

 

 

 

 

Lalibela

Founded 40 years ago in 1972 The Pyramids released three albums before splitting up in 1977: Lalibela (1973), King Of Kings (1974) followed by the seminal Birth/Speed/Merging LP (1976). Three albums that made them one of the most mysterious and legendary of all the spiritual cosmic jazz collectives of the early 70s, like the Art Ensemble of Chicago and Sun Ra.

“We were way ahead of our time, so we decided to let time catch up.”
Idris Ackamoor

Lalibela (1973) was the first album recorded by The Pyramids following their landmark journey     throughout Africa as students from Antioch College in Yellow Springs, Ohio. The album is one of the first cutting-edge “concept” albums as each side of the LP seamlessly flows from one composition to the next in the vein of a suite painting a musical portrait of the African adventure experienced by founding members Idris Ackamoor, Margaux Simmons, and Kimathi Asante. Lalibela, Ethiopia was the inspiration for the album.  A journey to experience the 12th century rock churches of Lalibela by Margaux and Idris closed out their nine-month African odyssey. The personnel for the recording was augmented by new members percussionist Bradie Speller (Hekaptah), drummer Marcel Lytle, and soprano saxophonist Tony Owens (Masai). The album has plenty percussion driven rhythms, beautiful alto sax and flute melodies, soaring and “out” improvisations, ritualistic chants, meditative tone pieces, high energy modal jams, and exotic African instruments collected during the African trip.

The Pyramids – Birth/Speed/Merging

 





———————————————–

Releasedate:

14. December 2012 Worldwide

Format:
180g vinyl reissue from the original master tapes

DB165 | Indigo 97234-1

Tracklisting:

BIRTH/SPEED/MERGING

01. Aomawa
02. – 05. Birth/Speed/Merging (Pt.1-4)
06. – 09. Reaffirmation (Pt.1-4)
10. – 11. Jamaican Carnival (Pt.1-2)
12. – 15. Black Man and Women of the Nile  (Pt.1-4)

———————————————–

 

 

 

 

Birth/Speed/Merging

Founded 40 years ago in 1972 The Pyramids released three albums before splitting up in 1977: Lalibela (1973), King Of Kings (1974) followed by the seminal Birth/Speed/Merging LP (1976). Three albums that made them one of the most mysterious and legendary of all the spiritual cosmic jazz collectives of the early 70s, like the Art Ensemble of Chicago and Sun Ra.

“We were way ahead of our time, so we decided to let time catch up.”
Idris Ackamoor

Birth Speed Merging (1976) represents the San Francisco Bay Area era of the band.  Relocating from Yellow Springs, Ohio in 1974 The Pyramids quickly met other musicians in the thriving San Francisco Bay Area music scene.  After the departure of original member Kimathi to continue his African studies a very talented acoustic bass player named Heshima Mark Williams joined the band along with a new conga player named Mcheza Ngoma and new drummer Augusta Lee Collins. The Pyramids began working extensively around the area.  Within the next year Kimathi returned from his travels and rejoined the band. The Pyramids now had two bass players; one acoustic and one electric. The composition Jamaican Carnival pays homage to the beautiful Caribbean island Jamaica and is one of the bands’ most danceable tunes. For the composition, Birth/Speed/Merging Suite, the band utilized the brilliant percussionist Kenneth Nash to play on the track and it is one of the bands’ most interesting and exotic compositions.  There are a variety of unusual and beautiful percussion and string instruments used on the track featuring the Ugandan Harp, the Chinese Cheng, and a string instrument called the Rosenbow. The composition is an aural delight of unusual sounds and beautiful colors.

The Pyramids – King Of Kings

 





———————————————–

Releasedate:

14. December 2012 Worldwide

Format:
180g vinyl reissue from the original master tapes

DB164 | Indigo 97233-1

Tracklisting:

KING OF KINGS

1. Mogho Naba (King Of Kings)
2. Queen Of The Spirits – Pt.1
3. Queen Of The Spirits – Pt.2
4. Queen Of The Spirits – Pt. 3
5. Nsorama (The Stars)
6. My Africa

———————————————–

 

 

 

 

King Of Kings

Founded 40 years ago in 1972 The Pyramids released three albums before splitting up in 1977: Lalibela (1973), King Of Kings (1974) followed by the seminal Birth/Speed/Merging LP (1976). Three albums that made them one of the most mysterious and legendary of all the spiritual cosmic jazz collectives of the early 70s, like the Art Ensemble of Chicago and Sun Ra.

“We were way ahead of our time, so we decided to let time catch up.”
Idris Ackamoor

King of Kings (1974) was the second album that reunited all original members includ-ing drummer Donald Robinson while adding several special guests, pianist Jerome Sanders, and cellist Chris Chafe. King of Kings was recorded at Appalachia Sound Recording Studio located several hours away from Antioch in Chillicothe, Ohio. Unknown to the band at the time, Chillicothe was the site of ancient Indian burial mounds.  This reality added to the very spiritual quality of the recording. The opening track Mogho Naba continued the groups’ fascination and interest in African history and reflections. The Mogho Naba is the King of the Mossi people in what is now Burkina Faso, but dates back in antiquity. The tune’s rhythm is infectious!  The use of call and response chants and beautiful horn lines is meant to hypnotize and induce trance elevating spiritual consciousness. Queen of the Spirits was written as a dedication to flautist Margaux Simmons. It is one of the bands’ favorite pieces of music. Utilizing the Ugandan harp, the African one string fiddle (Goge), percussion, piano and cello, the closing is prescient harking to world music and music for meditation that would come years later!  The UK band Bonobo sampled a section of the composition for their hit album “Days to come”.