1984/10/23 - Revision history

WF203 at 13:19, 9 November 2024

2024-11-09T13:19:49Z

← Older revision		Revision as of 15:19, 9 November 2024
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	The audience at this outstanding concert reacted in different ways: most of them were simply amazed, while others remained rather reserved about the wild and new music of “Embryo”. ''CHE''		The audience at this outstanding concert reacted in different ways: most of them were simply amazed, while others remained rather reserved about the wild and new music of “Embryo”. ''CHE''

	''Weser Kurier, 26~~.10.1984~~''</blockquote>		''Weser Kurier, 1984/10/26''</blockquote>

WF203 at 13:18, 9 November 2024

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← Older revision		Revision as of 15:18, 9 November 2024
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	'''The quintet “Embryo” performed at the Schlachthof'''		'''The quintet “Embryo” performed at the Schlachthof'''

	Before the beginning of the Schlachthof concert by the group “Embryo”, the background music from ~~the band~~ consisted not only of the usual drum rhythms from India, which seem to be predestined for the music of “Embryo”, but also no-wave jazz. “Embryo” also incorporates this type of jazz.		Before the beginning of the Schlachthof concert by the group “Embryo”, the background music played from tape consisted not only of the usual drum rhythms from India, which seem to be predestined for the music of “Embryo”, but also no-wave jazz. “Embryo” also incorporates this type of jazz.

	The band has been around for fifteen years, and after an initially purely rock musical concept, they quickly found their way via jazz rock to an experimental combination with Indian music: The experience the group has gained, particularly in collaboration with the Indian Karnataka College of Percussion, has left a clear mark on their music and their combination of Indian and European music is perhaps the most mature project in this field.		The band has been around for fifteen years, and after an initially purely rock musical concept, they quickly found their way via jazz rock to an experimental combination with Indian music: The experience the group has gained, particularly in collaboration with the Indian Karnataka College of Percussion, has left a clear mark on their music and their combination of Indian and European music is perhaps the most mature project in this field.
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	The center of the quintet “Embryo”, however, was the drummer Christian Burchard. This time he played xylophone, cimbalon and a conventional drum kit as well as - keeping up with the times - an ensemble of electronic drums. His return to the percussion (Burchard was previously mainly heard on vibraphone and marimba) has given the music of “Embryo” an incredible power. Christian Burchard produced, seemingly effortless, flowing transitions from Indian meters to basic rock rhythms, at times developing an incredible joy of playing.		The center of the quintet “Embryo”, however, was the drummer Christian Burchard. This time he played xylophone, cimbalon and a conventional drum kit as well as - keeping up with the times - an ensemble of electronic drums. His return to the percussion (Burchard was previously mainly heard on vibraphone and marimba) has given the music of “Embryo” an incredible power. Christian Burchard produced, seemingly effortless, flowing transitions from Indian meters to basic rock rhythms, at times developing an incredible joy of playing.

	The audience at this outstanding concert reacted in different ways: most of them were simply amazed, while ~~the~~ others remained rather reserved about the wild and new music of “Embryo”. ''CHE''		The audience at this outstanding concert reacted in different ways: most of them were simply amazed, while others remained rather reserved about the wild and new music of “Embryo”. ''CHE''

	''Weser Kurier, 26.10.1984''</blockquote>		''Weser Kurier, 26.10.1984''</blockquote>

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'''Over and beyond India''' '''The quintet “Embryo” performed at the Schlachthof''' Before the beginning of the Schlachthof concert by the group “Embryo”, the background music from the band consisted not only of the usual drum rhythms from India, which seem to be predestined for the music of “Embryo”, but also no-wave jazz. “Embryo” also incorporates t..."

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Created page with "<- Back to the concert list Embryo live at Schlachthof, Bremen<blockquote>'''Over and beyond India''' '''The quintet “Embryo” performed at the Schlachthof''' Before the beginning of the Schlachthof concert by the group “Embryo”, the background music from the band consisted not only of the usual drum rhythms from India, which seem to be predestined for the music of “Embryo”, but also no-wave jazz. “Embryo” also incorporates t..."

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[[List of Embryo concerts|<- Back to the concert list]]

Embryo live at Schlachthof, Bremen<blockquote>'''Over and beyond India'''

'''The quintet “Embryo” performed at the Schlachthof'''

Before the beginning of the Schlachthof concert by the group “Embryo”, the background music from the band consisted not only of the usual drum rhythms from India, which seem to be predestined for the music of “Embryo”, but also no-wave jazz. “Embryo” also incorporates this type of jazz.

The band has been around for fifteen years, and after an initially purely rock musical concept, they quickly found their way via jazz rock to an experimental combination with Indian music: The experience the group has gained, particularly in collaboration with the Indian Karnataka College of Percussion, has left a clear mark on their music and their combination of Indian and European music is perhaps the most mature project in this field.

However, just as their entire aim has always been to explore the unusual, “Embryo” is not afraid to tread new paths. The last time I heard the group in Bremen two years ago, their attempt to combine Indian music with jazz patterns was convincing, but it was still a cautious attempt. In the meantime, the group's approach to Indian rhythms has taken on a life of its own. The confident handling of the difficult beats is now the basis on which they can build, and this has given wings to the music of the “Embryos”. The musicians can now easily integrate no-wave and funk elements or use rudiments of almost forgotten jazz rock phrases in the style of “Soft Machine” or “Flock”. The result is a musical synthesis that is truly breathtakingly exciting: Indian tablas with agitated no-wave guitar sounds interspersed with funky bass lines fragmented in rocky organ patterns but then again clearly recognizable and ultimately processed by the soprano saxophone towards free jazz.

The center of the quintet “Embryo”, however, was the drummer Christian Burchard. This time he played xylophone, cimbalon and a conventional drum kit as well as - keeping up with the times - an ensemble of electronic drums. His return to the percussion (Burchard was previously mainly heard on vibraphone and marimba) has given the music of “Embryo” an incredible power. Christian Burchard produced, seemingly effortless, flowing transitions from Indian meters to basic rock rhythms, at times developing an incredible joy of playing.

The audience at this outstanding concert reacted in different ways: most of them were simply amazed, while the others remained rather reserved about the wild and new music of “Embryo”. ''CHE''

''Weser Kurier, 26.10.1984''</blockquote>