MISSUS BEASTLY

After a two years rest, MB reconvened through a few gigs and chance meetings and the line-up was sensibly different with only drummer Oldemeier and flutist/saxman Benz (who had not recorded on their first Lp) left, but with Missing Link keyboardist Miekausch and bassist/guitarist Dömling and other wind instrumentalist Josch. Graced with a rather tasteless banana-gorilla artwork, this album would turn out rather differently to MB's previous incarnation's sole release but was recorded at the inevitable Dieter Dierks' studio.

Out of the silence come jungle beats soon joined by a jazzy flute and cool electric piano over a funky bass, and the tone is set: MB was definitely up-to-date and very jazzy, reminding McCoy Tyner's piano works (as Coltrane's great ex-sideman was also hanging around in Germany, recording his best albums), but coming to a very abrupt end. The follow-up is starting just as abruptly, bringing you back a bit where the opening track had left things at. Obviously the two saxmen/flauters were often taking up after Miekausch's piano, Coltrane is never far away, but the album is resolutely rock- funk in spirit as evident with Geisha. The next track Vacuum Cleaner Dance and Paranoidl are definitely more fusion-like approaching Weather Report or RTF. A steady bass beat is slowly overtaken by a twirling piano first than a synth, on what is (IMHO) the album's centrepiece Fly Away before heading towards Brand X-type of fusion before veering Trane-like. The closing Talle (after the village where they rehearsed) is an excellent calm mid-tempo track where Dömling's guitar is finally heard, dubbed over his funky bass line.

The GOD reissue (avoid the Germanophone bootleg) comes with four bonus tracks, three of which were live in 74 and the fourth from 75, with Free Clinic announcing the colours but is thankfully not veering into atonal improvs but ending at bit shoddily. On the whole, those bonus track present a different facet of the band, but if clearly not linked to the original album, the contrast being evident), they do not shock the listener much and it would be unfair to say the hinder the album's rating.

With the controversial artwork dispute leading the band onto another label, and Miekausch re-joining Embryo, MB would record a few more albums with an ever- changing line-up. In the meantime, this album is one brilliant example of the day's JR/F and if not groundbreaking, this is typically the type of album that consolidated the broken ground. Excellent and much worth the spin.

Quite turned out rebirth ...

This is the first rebirth of MISSUS BEASTLY - the most famous band of my hometown - in 1974. Here we have a complete different line-up matched with the debut - excepting drummer Lutz Oldemeier who has been one of the founding members in 1969. The musical orientation changed to Jazz Rock/Fusion. A comparison with EMBRYO's music is permissible because Dieter Miekautsch plays very jazzy keys in the same way as he did before with EMBRYO on the release 'We keep on'. Norbert Dömling acts with a funky bass and we have a lot of good sax and flute work by Friedemann Josch and Jürgen Benz.

All the studio songs are very interesting to hear without an exception and without boredom. Julia has a crazy start with good percussion work and then Miekautsch is dominating the song in best form with his electric piano. After 4 minutes the song ends by a sudden death. With 20th Century Break flute and sax are getting a more important role - very good. Geisha with a matchless fusion groove is one of my favourites. This song was later also remixed by drum&bass/downbeat acts. Fly Away the longest track with wonderful psychedelic sparkling keys and some jamming is another highlight.

The quality of the live songs is OK - but nothing to get excited about. I was a litte bit disappointed when I listened to this for the first time. Could see MISSUS BEASTLY live in some cases at that time and so I can remember more exciting experiences. The live tracks are differing to the studio output - IMO they are lacking because of the absence of Miekautsch - for example to hear in the comparison of the studio and live version of Paranoidl.

A great document of early german Jazz Rock - recommended.

This is MISSUS BEASTLY's second album, and only the drummer remains from the first recording.They've added EMBRYO's keyboardist but he would return to EMBRYO after this album. Dieter Dierks would produce and record this album at his studio. The band would have a falling out with the record label and would leave them because the label insisted on the cover art of the ape with the banana, instead of what the band wanted to use. This album is just a great example of how good Jazz can be. Lots of sax and flute here with the bass and drums really standing out.The keyboardist is incredible as well.

"Julia" opens with cymbals as percussion and other sounds come and go. It kicks in after a minute with piano and drums leading the way. "20th Century Break" is an uptempo and fun tune.The drums are very active. Alto sax after a minute with lots of soprano sax to follow. "Geisha" has some fuzz in it as flute, drums and keys join in.This is a great sounding mid-paced tune.The flute is a treat. "Vacuum Cleaners Dance" is dissonant to start out (those crazy vacuums) and it kicks into a higher gear 2 minutes in with flute and drums leading the way.This is great ! Sax before 3 1/2 minutes as it settles. Flute is back 5 minutes in with some killer drumming. "Paranoidl" features a fantastic soundscape of sax, piano, drums and bass. Check out the organ before 2 minutes. Chunky bass 2 1/2 minutes in with sax, keys and drums. Incredible section ! I like this song. "Fly Away" builds until sax arrives 2 minutes in. Keys become prominant until sax returns before 4 minutes. "Talle" was the name of a village where the group was sharing an old house. Drums open the song as sax joins in. Flute comes in and takes over with keys and drums. Sax is back though leading the way. The last minute of this track is fantastic.

In the book "The Crack In The Cosmic Egg" they describe this album as "more jamming and livelier than PASSPORT, more groove-oriented than EMBRYO..." All I know is that this record is an excellent example of all instrumental Jazz.

Found in 1968 in Herford,Westfalen,MISSUS BEASTLY begun as a psych/jazz rock band,who recorded an eponymous album in January 70',featuring Hansi Fisher of ''Xhol Caravan'' on flutes and Dieter Serfas of ''Amon Duul II'' on percussions,they even extended their line-up to seven members,but soon they run out of money and disbanded.Surprisingly a new formation returns at the end of 1973,touring around Germany and finally releasing a new LP on Nova in 1974,entitled ''Missus Beastly'' as well (in 2005 the album was reissued by Garden of Delights on CD with four extra tracks)!

Their sound was very far from their debut and had nothing to do with the German Kraut/Jazz scene either.No stretched compositions,no ever-lasting improvisations.''Missus Beastly'' contains seven rather short-length tracks with a pleasant sound and a funky and spacey edge,influenced among others by PASSPORT, WEATHER REPORT,NUCLEUS or even PERIGEO.Saxes and flutes are on the front in here,delivering weird solos, dreamy, almost psych passages and soft interplays with the rhythm section.Dieter Miekautsch'es (later to be found on EMBRYO's line-up) keyboard parts play also a prominant role...some organ solos are so tasteful,but it's especially his electric piano that recalls heavily CHICK COREA of WEATHER REPORT.Actually what comes closer to Jazz-Fusion in this album is the tight and strong delivery of the rhythm section,featuring heavy and groovy bass lines by Norbert Doemling and impressive drumming by Lutz Oldemeier.Compositionally the album stands quite good next to monster bands like PASSPORT,KRAAN or EMBRYO with its rhythmic parts lasting as much as the individual solos in here.

Not the album of the decade,but nevertheless ''Missus Beastly'' is an enjoyable listening from the start to the end.Recommended and should easily appeal to followers of the aforementioned groups.

Missus Beastly reconvened after their earlier split to record a new self-titled album (with absolutely grotesque cover art, imposed by the record company). On offer here is an extremely competently performed and exquisitely composed set of mid-1970s fusion, taking into account the latest from Weather Report, Return to Forever, Mahavishnu and other greats of the genre. A funk influence creeps in here and there, especially in the rhythm section, but for me the highlight of the album is the exceptional performance by the group's two saxophonists, who are a joy to behold, especially when they both leap in and start playing off each other. With enchanting and delicate flutework and driving electric piano on top of that, the group attain a technically proficient sound with compositions which retain a lot of emotional warmth, making this one of the better fusion albums of the era. It's not quote on the level where I'd suggest it for someone's first dabbling in fusion, but I would say fusion fans should check it out.

A München-based band whose lineup and sound changed and morphed with each release, this being their second despite previous incarnations with other band names. On this album they display extraordinary, top-tier Jazz-Fusion skills over the course of some truly memorable song compositions.

1. "Julia" (3:54) despite a rather chaotic opening, this song moves into a motif in the second half of the first minute in which great piano and flute play is mixed in with all the others as the band rollicks through some psychedelic funkiness. (8.875/10)

2. "20th Century Break" (5:02) great spirit and melodies built on a fun, funky (and familiar) sound and rhythmic pattern. Again, I love the way the piano drives this one but also how the horns assist the whole way along. The fourth minute features a refreshingly-unusual clavinet solo, but then we're back to the clever and melodically-mutually- supportive AREA-like multiple thematic expositions for the close. (9.33333/10)

3. "Geisha" (5:23) very solid rhythm base of piano, drums, and clavinet with electric bass seeming to go off on its own melodic journey while two flutes smooth it all out. Very Chick Corea-like though even stronger in places (that bass!) I love the fact that the pianos (2?) and clavinet are playing off one another throughout the entire song. And the groove is so infectious. Definitely a favorite of mine--a top three song, to be sure. Norbert Dömling is one interesting cat! (9.5/10)

4. "Vacuum Cleaners Dance" (5:17) another chaotic/psychedelic start that eventual irons out into another hard-driving heavy jazz-rock flute-led composition. The lead flute player performs like Thijs van Lier or Ian Anderson when they're at their craziest but, overall, I feel that this is a Mwandishi-era Herbie Hancock song played by Milanese band AREA (with Freideman Josch's flute supplanting Demetrio Stratos' vocal acrobatics). Solid and definitely entertaining. (9.125/10)

5. "Paranoidl" (4:20) a straightforward start, solid rhythm section with wild Hammond organ play throughout the somewhat-slower first half. Then the band switches into high gear with some crazy bass playing, Fender Rhodes, wah- wah rhythm guitar, and frenetic sax soloing. The song feels like something like Canterbury-infused NATIONAL HEALTH and Jazz-Rock-oriented AREA co-mingling on stage, taking turns imposing their leadership in the different motifs. The musicians are all so dialed into this one! (9.25/10)

6. "Fly Away" (7:46) after a long drawn out two-minute intro, this song congeals into, at first, a great horn-accented big- band jazz-rock but then turns to a more melodic "pop" jazz feeling sound for a few bars, but then it kind of returns/reverts to the slowly in-fading intro motif as if to restart or rebuild toward that whole-band, big-band motif. It's not until the five minute mark that any true solo gets underway--tenor saxophone--as a synth slowly fades in to counterpoint from just beneath before being faded out for Fender Rhodes and electric piano. An unusual (and pretty innovative) circle of constantly-rotating soloists ensues before they all mysteriously synch up together in the final 30 seconds! How cool! (13.75/15)

7. "Talle" (5:40) less jazzy, more proggy folk-rock, even with a saxophone occupying the lead position. The drumming in the first 90 seconds is the one thing keeping this from falling into pop-folk. Kind of a stylistic mix of something between Al Di Meola and Bob James. Also, a lot less adventurous compositionally though some of the individual performances are note-worthy: particularly the bass and multiple acoustic guitar tracks--the latter which turns electric rhythm in the slightly funkier TRAFFIC-like second half--and the flute in the third minute. (8.875/10)

Total Time: 33:22

This band is so tight! The precision synchronization of their play is quite remarkable--not to mention the proficiency of each and every band member (some on multiple instruments).

A-/five stars; a minor masterpiece of refined and sophisticated Jazz-Rock Fusion. A must-hear for you J-RF fans.