Pierre Courbois and Association
The Jazz-Rock Fusion project known as ASSOCIATION and, later, ASSOCIATION P.C., was started in 1969 by two Dutch jazz virtuosi: drummer Pierre Courbois and keyboard player Jasper Van't Hof. The lineup that produced its three high-quality Fusion albums included a core that included two German artists, Hans Otto "Toto" Blanke and German guitar and, later, bass wiz Siegfried "Siggi" (or "Sigi") Busch. The "P.C." stands for "Pierre Courbois" and was apparently added to serve notice who was the band's leader. Their early form of Jazz-Rock Fusion was very heavy-handed as Pierre and Jasper were all about emulating the loud, crashing rock-infused music that Tony Williams Lifetime had detonated into the world with their 1969 album release, Emergency! Toto was more about speed and, later, effects, and while Siggi, originally a guitarist, quickly became a master of bass funk.
Line-up / Musicians:
- Pierre Courbois / drums
- Toto Blanke / guitar
- Jasper Van't Hof / electric piano
- Siggi Busch / bass (1-3)
- Peter Krijnen / bass (4-6)
2. "Hit The P. Tit" (11:00) opens up with the rhythm section running at top speed while guitarist Toto Blanke's fuzz-guitar screams frenetically over the top and Jasper Van't Hof's sporadic electric piano chord hits peppering the field with the predictability of a severe thunderstorm. Drummer Pierre Courbois is also in Tornado Alley storm mode as he beats and smashes his drum kit every which way imaginable right up to the fourth minute double bass solo from Siggi Busch. I gotta hand it to Siggi: he puts together quite an unusual solo, complete with hammering and crazed bowing--for over 90 seconds. The rest of the band rejoins at the six-minute mark with some spy-music-like chord hits and brief music before backing off to allow Pierre a chance to show his mettle--also for about a minute-and-a-half. The band comes back together in the tenth minute, this time backing Jasper's electric piano with a little bit of electric Toto mixed in there for good measure. Normally, I'm not a fan of isolated instrumental solos, but I have to say that the solos on this song are interesting enough to have earned my attention and respect. (18/20)
4. "Earwax" (7:19) more electrified 1960s jazz with some very nice, smooth-yet-virtuosic drum play beneath Toto's melodic George Benson-like guitar play. Jasper's electric piano play sounds like stuff from the 1960s "in" crowd or Ramsey Lewis. Electric bass player Peter Krijnen certainly has a different, more top-line melodic playing style than the Siggi of the first three songs. The drum solo in the middle of this one is less Tony Williams than more standard Buddy Rich. (13.5/15)
- Jasper van't Hof / E-Piano, Orgel (electric piano, organ)
- Toto Blanke / Gitarren (guitar)
- Sigi Busch / Bass, Kontrabass (bass)
- Pierre Courbois / Schlagzeug (drums)
1. "Idee A" (4:30) engineered far more toward the accentuation of the electrified elements of the music than anything on Earwax (8.75/10)
2. "Suite":
a) "Scorpion" (6:47) spacey experimental soundscapes of a 2001: A Space Odyssey-like cinematic disorder opens up this suite as everyone in the band busies themselves with some unrestricted free-form play--yet there is a flow and tempo and even the shadows of some structural elements including harmony and interplay. The second half goes (13.25/15)
b) "Neuteboom" (5:42) buoyed by a very repetitive bass and circus-organ arpeggio line, guitar and electric piano are sent soloing while drummer and bandleader Pierre Courbois messes around with perfect timing beneath. Interesting--and a little annoying after five minutes of the same bass line--though not quite so much when Toto and Jasper begin to try to weave their way into the bass and organ's line. (8.75/10)
c) "Scorcussion" (5:56) Pierre is left alone to express on his drum kit. At the end of the third minute of Pierre's soloing Toto starts to inject some noise burst from his fuzz guitar while Jasper adds a spray of chords, flourishes, and crazed hits from his electric piano. At the end of the fifth minute everybody backs off to zero before Toto is given space for some target practice for his alien space ray gun. Despite my understanding the band's effort to take Herbie Hancock's spacey experimentation further, this is just not my cup of tea. (8.5/10)
Total time 44:17
Line-up / Musicians:
- Toto Blanke / guitars, Ring-modulator, Nogoya-harp
- Joachim Kühn / E-piano (5-7)
- Siggi Busch / bass, Kontrabass
- Pierre Courbois / drums, percussion
- Karl-Heinz Wiberny / sax, basset-horn, flute, Chinese schalmei (tracks 1-4)
1. "Phenis" (5:03) Oriental-sounding guitar chords with Oriental-sounding cymbal play wrapping around Toto's guitar (the Nogoya-harp?). There is an element of Popol Vuh and other Eastern-influenced Kosmische Musik bands here. In the third minute Toto picks up his pace with lots of fast-picking and tremolo-strumming as drummer Pierre and bass player Siggi join in--Pierre taking over fully for about a minute to the song's end. There is supposedly some reed instrument present being played by Karl-Heinz Wiberny but I do not hear it. (My guess is that it would be the credited "Chinese schalmei" due to the overwhelming Chinese flavor of this song.) I actuall ylike this song--it does a pretty decent job of conveying, consistently, the Asian/Chinese feel and flavor from start to finish. (8.875/10)
3. "Mirrored Dimensions" (2:40) a spacey start turns industrial (long before there was such a thing as "industrial" music) but I guess it still retains its Kosmische links. I actually like this rather unique sound exploration: cymbals, deep warbly sax notes, bowed contrabass, and wildly bent electric guitar notes. Brilliant! (5/5)
4. "Shirocco" (3:38) Siggi on double bass to open this one for about a minute of very cool sound exploration (untreated!) In the second minute he eschews exploration for more straightforward bass play, though still soloing, before Karl-Heinz Wiberny joins in with a very odd Oriental (Middle Eastern?) brass reed instrument. (Though it could be the Chinese schalmei, as credited in the album's liner notes, it sounds to me more like a bagpipe-like instrument.) The two play out as a loosely-structured duet in this loose, Middle Eastern sound palette. (8.75/10)
5. "Rock Around The Cock" (6:43) with a funky opening like this (sounds like Herbie's Head Hunters at their most funky with a super-funky bass player like Stanley Clarke) you'd never expect Bill Haley's song to be the template. As a matter of fact, we're over two minutes in and I'm still hearing nothing that remotely resembles the 1955 hit classic; I feel more as if I'm immersed in a super funky Mwandishi walkabout. Joachim Kühn's Eumir Deodato-like electric piano, Siggi Busch's funky bass, Pierre Courbois' Amazing Billy Cobham-like drumming, and Toto Blanke's raunchy Eric Gale/Larry Coryell-like electric guitar take this to a level that not many funk bands have ascended to! Despite my expectations being blown out of the water, I loved this song! (9.33333/10)
6. "Autumn In March" (7:45) scaled down slow and delicate instrument play opens this before the foursome are conjoined for the expression of a loosely-synchronized and rhythmically-linked jazz motif. Despite the fully electrified instrumental palette, these accomplished jazz artists are still very much playing jazz first and foremost, making this a clear representative of Herbie Hancock, Tony Williams, and Miles Davis-like First Wave Jazz-Rock Fusion. Both Toto and Joachim's solos are very flashy, dissonant and discordant, as all adventurous, boundary-pushing jazz musicians were doing in the 1960s, yet highly skilled. Again: a very impressive display of musicianship that fails to strike much of my "enjoyment" chords. (8.75/10)
Total time: 41:36
89.444 on the Fishscales = B+/4.5 stars; a near-masterpiece of First Wave Jazz-Rock Fusion.
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