Volker Kriegel - With A Little Help From My Friends (Full Album, 1968)

Download/Stream here: https://lnk.to/VolkerKriegel_WALHFMF Germany's Jazz Guitarist No.1 - Volker Kriegel (* 1943 - † 2003) 00:00:00 With A Little Help From My Friends (Lennon, McCartney), feat. Peter Trunk (bass), Cees See (drums) 00:03.09 Blues for Instance, feat. Peter Trunk (bass), Cees See (drums) 00:08:14 Norwegian Wood (Lennon, McCartney), feat. Peter Trunk (bass), Cees See (drums) 00:11:00 Traffic Jam, feat. Peter Trunk (bass), Cees See (drums) Track 1-4 produced by Klaus Doldinger, Cologne, 1968 00:14:36 Morandi, feat. Claudio Szenkar (vibraphone), Günter Lenz (bass) , Peter Baumeister (drums) 00:18:04 Na Na Imboro (Vers.1, traditionell), feat. Claudio Szenkar (vibraphone), Günter Lenz (bass) , Peter Baumeister (drums) 00:26:40 Interpunctuation (Vers.1), feat. Claudio Szenkar (vibraphone), Günter Lenz (bass) , Peter Baumeister (drums) Track 5-7 produced by Siegfried E. Loch, Frankfurt, 1968 00:31:19 Teaming Up (Live), feat. Claudio Szenkar (vibraphone), Eberhard Leibling (bass), Peter Baumeister (drums) 00:32:54 Vian-De (Live), feat. Claudio Szenkar (vibraphone), Eberhard Leibling (bass), Peter Baumeister (drums) 00:36:59 Spanish Soul (Live, Claudio Szenkar), feat. Claudio Szenkar (vibraphone), Eberhard Leibling (bass), Peter Baumeister (drums) 00:42:19 Na Na Imboro (Live) feat. Claudio Szenkar (vibraphone), Eberhard Leibling (bass), Peter Baumeister (drums), Gustl Mayer (tenor saxophone) 00:46:42 Nina's Dance (Live, Tony Scott) feat. Claudio Szenkar (vibraphone), Eberhard Leibling (bass), Peter Baumeister (drums), Gustl Mayer (tenor saxophone) Track 8-12 Recorded Live at 11. Deutsches Jazz Festival, Frankfurt, 1968 00:55:56 Interpunctuation, feat. Tony Scott, Günter Lenz, Peter Baumeister, Gustl Mayer 01:02:51 Na Na Imboro (Live, traditionel) feat. Ralf Hübner (drums), Günter Hermkes (bass), Gustl Mayer (tenor saxophone) Track 13-14 Recorded Live at Jazzhouse Hamburg, 1968 How it all started and customs’ duties were abolished - Volker Kriegel - guitarist, cartoonist, thinker and genius - By Wolfgang Sandner The arrogance has left the jazz. There were times when musicians demonstratively turned their backs to the audience and did everything with angular phrasings and harmonic alterations to not be comprehended. Anyone complaining that he could no longer snap his fingers to this kind of jazz was snobbishly told: “Something appears to be wrong with your fingers.” Times past. Long ago jazz musicians got rid of their obsessive idea originating from humble beginnings. Again, people fancy dancing to jazz improvisations emphasizing that this slightly different four-four time dates back to the red light districts of American major cities. And more: Meanwhile, lounge is all over the place. It started around 1968 the magical turning point which musically will also be remembered as a wild time of radical change. Jimi Hendrix asked the rising pop community “Are you experienced?” only to scream the answer himself directly afterwards with his gigantic third album “Electric Ladyland”. Miles Davis prepared himself to quit the narrow circles of jazz rapturing his record company by mixing a witches’ brew of jazz and electronic rock while Peter Brötzmann with his “Machine Gun” disguised as baritone saxophone is starting his radical counter offensive. Joni Mitchell produced – with a little help by her friend David Crosby – her gentle debut “Song to a Seagull”, while Cecil Taylor rode his bizarre piano attacks together with the Jazz Composers Orchestra. Between the extremes “free jazz” and “folk rock” the knowledge spread that the hostile brothers jazz and rock were more joint than separated: “Fusion” was the spell even though the term was only cast on products of this musical handshake to reconciliation as promotional stickers. Soon this fraternization went so far that at some jazz festivals chamber-musically chiselled jazz with acoustic instruments had to be searched using an ear trumpet – amongst all the roaring of rock and blues, and some observer considered the influence of rock on jazz as a hostile takeover. But however, one choses to look at the encroachments, they created a genre that stayed alive to this day with offshoots like funk jazz, and they have, as it were, transported the free movement of goods between the musical stocks. In this crucial year of 1968, Volker Kriegel released “With a Little Help from My Friends”, his first albums under his own name, causing a sensation not only within the scene with his sense for contemporary trends. In the same year, vibraphonist Dave Pike and the guitarist from Darmstadt (who lived in Frankfurt and Wiesbaden later) founded the highly successful Dave Pike Set which opened only three years later at the renowned Newport Jazz Festival, catapulting Kriegel into the first league of European jazz musicians who were also respected in America.