GEBARVATERLI

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.

Many collectors think of this German band as a short-lived project by Kraut-Jazz veterans, but the truth is Gebärväterli had a quite long career, starting in 1973 in Nuernberg with an original line-up of Friedel Pohrer on bass, Norbert ''Slog'' Kirchner on guitar, Yogo Pausch on drums, brothers Reinhold und Dieter Weberpals (keyboards and flute respectively) and Gerd Ackermann on wind instruments.What is unknown is the activity of the group until 1978, when they released their only album ''Im tal der emmen''.Sure thing is that Ackermann was replaced by Ex Ovo Pro's Mandi Riedelbauch on sax/bassoon in the process.''Im tal der emmen'' was recorded at the studio of the Brutkasten label.Manfred Demetz, who draw the album's cover, played also trombone in the album.

Gebärväterli's sole work has this charming Kraut/Fusion style, led by interesting interplays and plenty of abstract solos, which somehow end up to be not only listenable, but also even more rewarding than the structured themes at moments.The dense line-up resulted to a very rich sound with technical drumming, smooth instrumental interactions and loose executions on flute, guitars and organ, not to mention the scratching sax soliing of Mandi Riedelbauch.Moreover there are slight psychedelic underlines over an overall rather jazzy attitude, typical of the Kraut Rock stylings, featuring steady but frenetic rhythmic parts over extended instrumental solos.The Germans had however a good sense of melody to support their jazzy style with melodic trombones and some delicate flute lines in the more mellow segments.Every track in here seems to have its own hero, no matter if this the keyboardist, the flutist or the sax player.They do remind me of classic acts such as KRAAN and EMBRYO pretty often with a touch of SUPERSISTER in the furious interplays.

Apparently they were heading for a second album in 1979, as its front cover and the title ''?Gevatter bärli" have been circulating in the net, but this one was never properly recorded and the only other material taped from the band are some very rare cassettes from their last concert in January 1981.Dieter Weberpals had by the time formed its own band Argile, following a more Ethnic-styled Jazz sound.

Interesting and at moments fascinating Kraut Fusion with decent interplays and plenty of well-performed solos.Recommended both to Kraut Rock and Jazz/Fusion fans.