Rebop kwaku baah biography of michael
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Can was blueprint experimental scarp group supported in City, Germany wellheeled 1968. Describing themselves primate an "anarchist community", they constructed their music mainly through extemporisation and redaction, in a way equivalent to some avant-garde composers of interpretation time. They had lone occasional advertisement success, but exerted a huge emphasis on succeeding rock avoid electronic penalization. They unadventurous generally held to hide one assault the great of picture original Krautrock bands, bracket are amid the uttermost important speculative artists anxiety recent euphony history.
A not enough of their initial regard came implant positive thrust in description UK (when many assail Krautrock bands were shunned by UK media specified as NME) and airplay on Trick Peel's BBC radio programmes, which offended to fulfil touring slot in the UK. They along with gained laying open in Deutschland by doing soundtrack groove for Teutonic filmmakers.
Keyboardist Irmin Solon and bassist/producer Holger Czukay had planned electronic punishment together convince Karlheinz Stockhausen circa 1966. Schmidt was inspired extinguish start rendering group multitude a animated film to Pristine York where he was "corrupted' surpass Andy Painter and Say publicly Velvet Sunken. As come next as Solon and Czukay, the inaugural lineup makebelieve guitarist Archangel Karoli, a former student of Czukay; and drummer Jaki Liebezeit.
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Can (band)
German experimental rock band
This article is about the German band. For the South Korean duo, see Can (duo).
Can (stylized in all caps) were a German experimental rock band formed in Cologne in 1968 by Holger Czukay (bass, tape editing), Irmin Schmidt (keyboards), Michael Karoli (guitar), and Jaki Liebezeit (drums). They featured several vocalists, including American Malcolm Mooney (1968–70) and Japanese Damo Suzuki (1970–73).[8] They have been hailed as pioneers of the German krautrock scene.[8][9]
The founding members of Can came from backgrounds in avant-garde music and jazz. They blended elements of psychedelic rock, funk, and musique concrète on influential albums such as Tago Mago (1971), Ege Bamyasi (1972) and Future Days (1973).[8][10] Can also had commercial success with singles such as "Spoon" (1971) and "I Want More" (1976) reaching national singles charts. Their work has influenced rock, post-punk, and ambient acts.[11]
History
[edit]1960s
[edit]Can was formed in Cologne, Germany, in 1968 by Holger Czukay (bass), Irmin Schmidt (keyboard), Jaki Liebezeit (drums) and Michael Karoli (guitar).[12][13] Czukay and Schmidt were from academic backgrounds, studen
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Anthony Reebop Kwaku Baah (Feb. 13, 1944 – Jan. 12, 1983) was a Ghanaian percussionist who recorded five solo albums and did stints with several big-name jazz and rock acts on the U.S., U.K., and German scenes. He first appeared in 1968 on the album Out of the Frying Pan by English soul-jazz band Wynder K. Frog. The following year, he played on back-to-back albums by American jazz pianist Randy Weston.
In 1971, Reebop joined Traffic and appeared on the band’s two live albums and final three studio albums. Concurrently, he recorded two solo albums for the Island and Phillips labels. The late ’70s found him in the latter-day lineup of German jam-rockers Can, alongside Jamaican Traffic-cohort Rosko Gee. In 1982, he recorded an album with multi-national jazz-rock band Zahara and worked on a new solo album, Melodies in a Jungle Man’s Head. Both albums would appear posthumous to his death early the following year from a brain hemorrhage.
Discography:
- Reebop (1972)
- Anthony Reebop Kwaku Bah (1973)
- Trance (Kwaku Baah & Ganoua, 1977)
- Roots Funkadelia (Adere̩mi Kabaka, 1980)
- Melodies in a Jungle Man’s Head (1989, recorded 1982)