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Wolfgang Dauner/Et Cetera-Et Cetera-silver cover-'71 KRAUTJAZZ-NEW 2LP

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SKU:
4035177001075
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Product Description

Wolfgang Dauner/Et Cetera-Et Cetera-silver cover-'71 KRAUTJAZZ-NEW 2LP

Et Cetera 

WOLFGANG DAUNER

PLUS BONUS TRACKS

Legendary silver cover album 1971

new DOUBLE  LP IN GATEFOLD COVER

REISSUE

LONGHAIR

This special limited edition contains the original Et Cetera's eponymous "silver cover" album (1980 reissue on Brain titled "Lady Blue"), originally released in 1971 on Global Records and another complete LP of recordings from the same recording session.
This is an extraordinary album of weirdly trippy fusion that rides somewhere between instrumental Amon Duul II, Embryo and Dauners own earlier classic "Output".

Full of ethnic (Arabic and Indian) spice with lots of the ethnic colour added by legendary guitar and sitar (et. al.) player Sigi Schwab (Embryo), oddly keyboard sounds by Wolfgang Dauner, dreamy bass patterns by Eberhard Weber and driving percussions by Fred Braceful and Roland Wittich, this is spacy, crazy, Krautrock and - a bit jazzy. Alan and Steven Freeman (The Crack In The Cosmic Egg) present this album in their "The Krautrock Top 100".
Maybe the album was originally planned as a double-album because there are 4 more titles from the same recording session, which really knock you out. "Kabul" (08:56) (title-name is program) is a killer, especially because of Schwabs exploding electric guitar and Webers driving bass. "Tau Ceti" (07:15) is a wonderful dreamy delight presenting Schwabs gorgeous acoustic guitar playing. Further bonus track "Behind The Stage" (06:35) connects Schwabs special electric guitar with a band atmospheric but rhythmic fundamental play. "An Open Cans" (not an the CD-Version, for the first time ever released) is a 12:35 minute piece full of experimentation and reminds sometimes to album track "Lady Blue".
This album will be a masterpiece for all time. Its unique. Remastered from the original master tapes.
The sound is brilliant.
Double Album comes with informative four-sided insert and a reproduction of the original album (Silver Cover) sleeve art.

Limited edition of 1000.


Et Cetera ‎– Et Cetera
Label:
Long Hair ‎– LHC106/07, Long Hair ‎– LHC00106/107
Format:
2 × Vinyl, LP, Album, Reissue
Country:
Germany
Released:
2011
Genre:
Jazz, Rock
Style:
Krautrock, Avantgarde, Experimental
Tracklist
A1     Thursday Morning Sunrise     11:35
A2     Lady Blue     3:02
A3     Mellodrama Nr.2 A     5:12
B1     Raga     16:11
B2     Milkstreets     4:08
C1     Tau Ceti     7:10
C2     Kabul     8:51
D1     Behind The Stage     6:35
D2     An Open Can     12:35
Companies, etc.

    Produced For – Global Music Group
    Published By – Altus Musikverlag
    Published By – Copyright Control

Credits

    Engineer – Brian Hatt, Dave Humphries, Roger Jeffrey*
    Producer – Peter Kirsten

Notes
Originally released 1971 on Global Records (Side I and II). Sides III and IV contain bonus material not included on the original release. Tracks C1, C2 & D1 also appear on Long Hair's CD reissue; track D2 is exclusive to this release.

Published by Altus (Side I and II), Copyright Control (Side III and IV).

Packaged in a heavy duty gatefold sleeve (a reproduction of the original glossy mirror card) with informative 4-sided insert.
Barcode and Other Identifiers

    Barcode: 4 035177 001075
    Rights Society: GEMA
    Label Code: LC 11329


Wolfgang Dauner, one of the few internationally renowned German jazz musicians, was born in Stuttgart on Dec. 30, 1935. Oddly enough, having learnt to play the piano as a child, he eventually graduated from the conservatory in Stuttgart with a major in “trumpet”. Yet, it is the piano that remains his great love. He fancied contemporary jazz and, in 1963, founded his first own band: The Wolfgang Dauner Trio, with Eberhard Weber playing the bass and Fred Braceful on the drums. He would continue playing with these musicians well into the 1970ies. Dauner is extremely important with regard to modern jazz and jazz rock in Germany, and his efforts can be compared to the spade work Miles Davis did for jazz and jazz rock in the USA.

Having participated in various jazz bands in the early 1960ies, Dauner was already a jazz veteran before he founded his own band. His first albums belong to the genre of experimental modern jazz, influenced by Bill Evans, Steve Lacy, Sun Ra etc. The albums he published until 1969 will primarily appeal to “pure” jazz fans.

Et CETERA itself is an extraordinary album of weirdly trippy fusion that rides somewhere between instrumental Amon Düül II, Embryo and Dauners own earlier classic OUTPUT. Full of ethnic (Arabic and Indian) spice and totally offbeat avant-garde elements (notably Dauner‘s modulated keyboards), with lots of the ethnic colour added by Sigi Schwab and his vast range of instruments. It amounts to a potpourri of delights and many surprises, not least notable being the offbeat poem “Lady Blue” which recalls some of Malcolm Mooney‘s spoken words with Can.

The Freeman Brothers count ET CETERA among their “ The Krautrock 100 “. 

Rudi Vogel of German Rock, Registered Society and Green Brain mailorder means concisely: Et Cetera is totally different to any other Dauner or Et Cetera record. Et Cetera is spacy, crazy, over the top, avant-garde, Krautrock and – of course – a bit jazzy. The classification “Jazzrock” doesn‘t justice to this kind of music. I think , that there are a lot of Jazz affiliates who don‘t get a taste for this album. Oddly keyboard sounds, brilliant sitar playing, Indian choruses, dreamy bass patteans, cool wind-instruments, ragas, folk-passages, full of surprises, somewhere between early Embryo and Tangerine Dream. A masterpiece and a must-have for every serious collector of Krautrock.



The acme of psychedelic music in 1968/69 created new possibilities. Dauner and several other excellent young jazz musicians were sick of the jazz of the time turning increasingly cliché, and decided to disregard all existing rules. They did to jazz what Faust was going to do to rock music a couple of years later. A first result was the extraordinary album FÜR, released in the summer of 1969, which can hardly be called jazz, but is much rather an experiment aimed at overcoming limitations. Musical revolution for its own sake. 

THE OIMELS, the album The Wolfgang Dauner Quintet  presented to their fans in early 1970, was even more radical than the previous productions. Here, Wolfgang Dauner and his band surprised as a psychedelic-jazz-pop-band. Apart from the distorted guitar, sitar sounds and other freak-outs so beloved by fans of psychedelic music, the five musicians really pulled out all the stops in order to demonstrate their idea of what psychedelic pop had to sound like. 1969 and 1970 were a musical Fountain of Youth for Wolfgang Dauner and his alternating band members. They published eight albums on different labels and under various band names (Wolfgang Dauner Quintet, Wolfgang Dauner or Et Cetera). For progressive rock enthusiasts we particularly recommend the albums RISCHKAS’S SOUL (recorded in 1969, published on Brain in 1972), and – of course - ET CETERA (1971 on Global). Fans of progressive rock will also love the LP KNIRSCH (with participation of Jon Hisemann and Larry Coryell) published on BASF/MPS in 1972, and the 1973 live double album also published on BASF/MPS under the band name ET CETERA. Readers of the Sounds magazine voted Dauner musician of the year 1972. 

For an extensive discography, a survey of his compositions for film and TV and a history of his career in tabular form please visit his website
www.Jazzpages.com/Dauner (for more about W. Dauner see dedailed booklet of “THE OIMELS” –CD, LHC 59). Our special thanks go to Wolfgang Dauner for letting us republish the album ET CETERA on CD.

Siegfried (Sigi) Schwab, born 5.8.1940 in Ludwigshafen on the Rhine, developed a desire for making music at an early age and started playing bass and guitar. At the age of 16 he took up studies for both instruments at the conservatory in Mannheim. He was interested both in classical music and jazz, and very soon, Laurindo Almeida, the Brazilian guitarist, became his musical role model. To begin with, Schwab played in local bands, worked as a studio musician early on (e.g. with Wolfgang Laudt and Erwin Lehn) and, after moving to Berlin, became a permanent member of the Rias-Berlin Big Band. In 1967 his first solo album was published in the USA and Europe. For the studio specialist Schwab gaining experience in an entirely different music scene had been an interesting experience. Before taking part in THE OIMELS, he had played with the band on the GULDA festival in Ossiach, Kärnten, Austria. At that time the band consisted of Jean Luc Ponty, Sigi Schwab, Wolfgang Dauner, Eberhard Weber and Fred Braceful. They had recorded THE OIMELS on request of their producer, head of MPS-Records Hans Georg Brunner-Schwer, who had asked them to break new grounds in music. Sigi Schwab was also member of ET CETERA, the successor band, so to speak, of the Wolfgang Dauner Quintet. Today Schwab feels that The Oimels was a very important step on the way to ET CETERA, the first jazz-free rock-band in the tradition of 1968 and the most modern and provocative ensemble at that time.

Apart from doing his own projects and participating in various formations (among others Embryo “Father, Son and Holy Ghost“,1972 and „Rocksession“, 1973) as a constant band member Sigi Schwab was involved as a studio musician in countless productions ( everything from pop song to experimental jazz). Besides he composed music for television, film and the stage. His film music for Vampyros Lesbos- Erbin des Dracula (1971) was successfully re-released on CD in the late 1990ies, subtitled Sexadelic Danceparty, while his piece The Lion & the Cucumber was used by Quentin Tarantino in his film Jacky Brown. The recordings for The Vampires of Dartmoor are still exceedingly popular in fan circles. 

Currently Sigi Schwab is very busy doing various musical projects. The balancing act between classic scene and modern improvised music has remained his theme of life. Like Dauner, he refuses to make a distinction between serious and light music: “There is only a universal music language, although it has multiple branches and all sorts of axes.” For further information on his various musical projects, CD publications, books etc. please visit his homepage
www.melosmusik.de  

Eberhard Weber, another outstanding and internationally renowned, personality of the jazz-scene was born in Stuttgart on January 22, 1940. He has played, for example, with Gary Burton, the Pat Metheney group and Jan Garbarek. He, too, started making music as a child. At the age of 6 his father taught him to play cello. At school, where he was member of the school orchestra, his music teacher encouraged him to change over to the bass. Although he initially learnt to play the bass the classical way, i.e. with a bow, he eventually practised plucking the instrument since he had developed an increasing interest in jazz. Weber played in several school bands and finally decided to give up the cello altogether in favour of the bass.

In 1960 Weber met Wolfgang Dauner, with whom he recorded numerous albums. Hence it was only logical he would participate in the ground breaking projects The Oimels and, later on, ET CETERA. From 1973 on, however, when Weber’s successful album “The Colours of Chloe” was released, the two of them cut their own paths and only got together for joint projects on rare occasions. In spite of this, their cooperation has never stopped altogether. Weber worked with the guitarist Volker Kriegel and temporarily with the New 

Dave Pike Set. Following the release of his solo album “The Colours of Chloe” he founded the band Colours with Rainer Brüninghaus and Charlie Mariano. After nearly eight successful years with Colours Weber no longer saw a possibility for continuing the band’s creative musical discourse. He commented that he hated repetitions just for the sake of keeping the band alive. Colours split up in 1981. In 1982 Weber joined Jan Garbarek’s band as a permanent member and worked with the Norwegian saxophone player until the end of the 1990ies. Since 1985 Weber has also been giving solo concerts, where he uses electric sound multipliers to record his play and recreate it in a different speed and modulation.
Weber’s discography is impressive, and he has taken part in all sorts of productions as a guest musician ( e.g. with Kate Bush). For further information including a detailed discography please visit his website on mysite.verizon.net, ( put in Eberhard Weber in the search function.) In 2007 he published the CD Stages Of A Long Journey.

Fred Braceful, drums and percussion (May 2, 1938, Detroit – March 6th, 1995, Munich), studied piano at the Chicago Academy of Music, while playing drums with his father’s band. Near the end of the fifties he served in the US Military in Germany and then settled in Stuttgart where he met Wolfgang Dauner in a local Jazzclub. He played with Wolfgang Dauner (Wolfgang Dauner Trio) from 1967 till 1973. He contributed to the recordings “Free Action“, 1967, “Für“, 1969, “Rischka`s Soul“, 1969, “Output“, 1970, “ET CETERA”, 1971, “Knirsch“, 1972 und “Et Cetera Live“, 1973. In addition he also played with many other well- known jazz musicians like Dollar Brand, Hans Koller, Albert Mangelsdorff, Manfred Schoof etc. pp..

In 1973 he was co-founder of jazz-avantgarde-group Exmagma with gitarist/bass player Andy Goldner and keyboarder Thomas Balluf. Exmagma recorded 3 long-players. 1976 saw the light of another band he contributed called Moira. Moira recorded one album, but at the time of recording 
Fred Braceful had quit the band. 

In the beginning of the 80ies he settled to Munich and founded his own band, The Fred Braceful Trio, but was still open to play with other musicians. As we know, he did his last recording with the Michael Hornstein Trio on the „Langsames Blau“ (A Slower Blue) CD. Fred Braceful did also compositions for radio-plays (Pilgerfahrt, 1975 etc. pp.).

Roland Wittich, drums and percussion is working as an architect.

In 1980 the album had a reissue on Brain titled “Lady Blue”.

In their very recommendable book (and CD-Rom) “The Crack In The Cosmic Egg”, Encyclopedia of Krautrock, Kosmische Music & Other Progressive, Experimental & Eectronic Musics From Germany, Steven and Alan Freeman write: Ever the entrepreneur of new musical revolutions, Wolfgang Dauner hatched the idea for one of the most elaborate sneaky con-jobs in Krautrock history. He managed to relaunch his own band as Et Cetera and promoted them as a new band, with an LP Cover that was eye-catchingly psychedelic, and deliberately obscure in its references as to who the musicians were. And so, despite being on Global, a jazz focused label, the album ET CETERA was launched onto the rockbuying market, and was a surprising hit apparently. Amazingly Dauner‘s radical concoction of rock, jazz, ethnic and avant-garde musics caught the attention of many, Et Cetera being voted as newcomer band of the year in an German Sounds readers poll, despite the fact that the band had actually been in existence since 1968 (under various names) and recorded numerous albums! And, all was revealed when the band played a special set on the Beat-Club (Juli, 24th, 1971)!

Et CETERA itself is an extraordinary album of weirdly trippy fusion that rides somewhere between instrumental Amon Düül II, Embryo and Dauners own earlier classic OUTPUT. Full of ethnic (Arabic and Indian) spice and totally offbeat avant-garde elements (notably Dauner‘s modulated keyboards), with lots of the ethnic colour added by Sigi Schwab and his vast range of instruments. It amounts to a potpourri of delights and many surprises, not least notable being the offbeat poem “Lady Blue” which recalls some of Malcolm Mooney‘s spoken words with Can.

The Freeman Brothers count ET CETERA among their “ The Krautrock 100 “. 

Rudi Vogel of German Rock, Registered Society and Green Brain mailorder means concisely: Et Cetera is totally different to any other Dauner or Et Cetera record. Et Cetera is spacy, crazy, over the top, avant-garde, Krautrock and – of course – a bit jazzy. The classification “Jazzrock” doesn‘t justice to this kind of music. I think , that there are a lot of Jazz affiliates who don‘t get a taste for this album. Oddly keyboard sounds, brilliant sitar playing, Indian choruses, dreamy bass patteans, cool wind-instruments, ragas, folk-passages, full of surprises, somewhere between early Embryo and Tangerine Dream. A masterpiece and a must-have for every serious collector of Krautrock.


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