Klaus Schulze
Ballett 2 (Reissue)
CD / 5 tracks / 79.58 mins

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'Ballett 2' is the latest disc to be extracted from the 'Contemporary Works' box set and features as the second of four discs which made up the 'Ballett' series continuing on in that same musical thread. Recorded in early 2000 'Ballett 2' features both Wolfgang Tiepold on Cello and to a somewhat larger extent Thomas Kagermann on flute, violin and vocals adding a sense of eastern/Arabic spice to proceedings whilst managing not to turn the whole thing into some puerile world music affair. The material presented on 'Ballett 2' comes across as being much more animated than that of 'Ballett 1' with a more prevalent use of sequencers, though their use still seems to be something which is kept in check, only being spooned out in very limited doses. Once more it's a relatively sombre sounding set of tracks that fill the disc, though this time they do not come across as being as introspective and meditational as those of it's predecessor. This disc also sporting more bonus material which just about takes the CD playing time to it's absolute limit!!!

'Ballett 2' is presented in the now re-issue standard gatefolded card clip case with highlighted quality transfers of the cover artwork,( on the 'Ballett' series there is no variation in the cover art, just a rotation of the front cover photograph). The CD is accompanied by a 16 page booklet which on this occasion contains some words from Schulze about his creative philosophy and production process coupled with some mention of parental disapproval at his choice to cease studying back in his sixties student days and become a musician,(most every parents nightmare l would imagine).

On to the CD proper, which opens up with the completely cinematic,'Atmosphere Concrete'(7.35). A well thought out and constructed piece which features Kagermann on violin and wordless vocals,( Kagermann of course having previously featured on 'The Crime of Suspense' CD, also from the Contemporary Works 10 disc set). Indeed it is Kagermann that really seems to lead the way on this one remaining busy as ever in both string and vocal departments switching haphazardly between his duties. A most inspired piece.

'Kagi's Lament',(or should that be Kagermann's Lament) softly crossfades into play next at a touch just over thirty minutes duration. Schulze as always is at the slow moving synthetic strings that cycle effortlessly around in the background as again Kagermann picks up the baton and runs with it for the entirety of the piece. Once more we find that Mr. Kagermann has adapted completely to working around Schulze with a certain style all his own as he again turns in a performance that equals that of Tiepold in the improvisational stakes adding a mix of violin, wordless vocal acrobatics and well placed jaunty flute work. This all making for a colourful half hour piece that just flows by in no time, superb. Klaus adds a light resonant sequence to his string progressions, but remains in a single key throughout offering no kind of solo improvisations of his own, just a very infrequent tweak of the synths filters every once in a blue moon.

Another gentle crossfade see's the start of a recorded session with Tiepold in the studio for 'Wolf's Ponticelli'(24.18) or should that read 'Wolfgang's Ponticelli'?. Now we're into a modern day Schulze mode, light percussion, sequencers and solo's plus of course the added attraction of taking onboard Tiepold at the Cello for this track. As for inventive Cello playing, l think we've just hit a new high here as Wolfgang tries playing the Cello like a rhythm guitar come African thumb piano for the first half of the track, not something you hear every day!!! Unlike their collaborative work on 'Ballett 1', here we see Schulze guiding the track, having more to say musically. Like the previous track everything remains absolutely animated throughout, never a dull moment. The track gradually comes to a standstill halfway through,( which also see's the departure of Tiepold from the recording) and finally we get some improvisational soloing from Schulze as the track reconstructs around him.

'The Smile of Shadows'(12.06) see's the return of Kagermann on oriental flute jamming against the strings and percussion of Klaus whilst the back beat of a broken drum pattern rattles along. The sequencers drift into play about a third of the way through the piece, but are kept low in the mix as this is very much a showcase for the flute to workout. Before you know it twelve minutes has gone by and all we're left with is the bonus track!!!

'Trance 4 Motion'(5.42) was previously available as a track on the promotional CD, 'Essential Extracts'. It's an excellent smooth running little piece of edgy urban electronica that gets right under the skin sounding best when it's at it's most basic. With a silky bass line carrying the piece it really doesn't need all the strings and bells of the full Schulze treatment. Two minutes in and a light analogue solo appears, but at just over five minutes the track barely seems to get into its stride before it's over, ending way too soon.

So what of 'Ballett 2'? Well this one has been very easy to review actually as it's the most consistent of the discs l have yet encountered from the 'Contemporary Works' set. Again it does seem to be a very collaborative work, only this time between Schulze and Kagermann,( Tiepold just dropping by for ten minutes or so on track three). It's a lively album, but this is due largely to the prolific amount of input administered by Mr Kagermann on tracks one, two and four. Schulze barely switching from the synth modus that he got stuck into on 'Ballett 1', though it has to be said that this time around he does build on that thick soundbed of strings adding some sequencing and percussives along the way, so on the whole very much more like your usual Schulze fair. A highly recommended and very enjoyable album l think you'll find. (B22)

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