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This accounts for the considerable number of works in which the unbridled shriek could not crystallize into form. Painting immersed itself in problems that it posed itself, raising impetuousness to an imperative, the uncontrollable to a measure, the role of the "spiritually agitated artist" I Haftmann to a standard. The Expressionist could act with impunity as a provocateur or an esoteric. By exemplifying a road to possible freedom and spiritual independence.

For the independence he propagated could only be the freedom of the individual, not the freedom of society. Andre Malraux had something similar in mind when he wrote: A logical result was that the old standards of evalua- tion had to shift. The new primitivism deliberately forced by the Expressionists was part of their battle against traditional authoritarian values that were tailored to certain educated strata.

The flourishing of the woodcut at that time was an eloquent sign of this trend: Not everything expressive in Germany between and can be called Expressionism. The scale of subjective expression was so immense that its limits are vague: Thus Expressionism developed true artistic importance only in the works of a few lead- ing artists, but its face remained Janus-like: The grandiloquent expressive desire attributable to a North German painter like Emil Nolde confronted the symbolistic, romantic, and cosmic feelings of Franz Marc in Munich.

The unrefined visions of the Berlin Pathetiker bombastics confronted the brilliant formulations of the Russian Vasily Kandinsky, who had chosen to settle in Germany. The old landscape ties of German art survived in Expressionism. One of the most primal roots was in Germany's North. Here individual, independent artists worked — for instance, the sons of peasants like Nolde and Rohlfs, and Paula Modersohn-Becker. Their art comes from an unsophisticated instinct. It lives from a closeness to the native countryside, elaborating an expressive sense of nature and speaking a language filled with images.

It contains visionary apparitions and the awareness of an intimate connection between man and nature. The literary is as alien here as the classical. Art is directly linked to life; it opens the door to the forces operating beyond external appearance. A second root was in Central Germany. Here the revolution took place as a conscious process and, despite its passion, was ultimately determined by the in- tellect. They consulted the art of van Gogh and Munch as well as the works of primitive peoples in Africa and Asia. Like the North Germans, they were enthusiastic graphic artists; more than painting, graphics was their true forte.

However, the development in Southern Germany was different. Here, we find the counterparts to the Northern and Central German methods of expression: All these are expressive elements. It does not seem proper to call them "Expressionistic" in the Northern sense. Like the Russian influence, the French influence — Delaunay and the Fauves — was also powerful in Munich. It affected the climate. Of course, both trends worked with the concordant awareness thai thej had to find the point at which the external and the internal coincide — the common root in German Romanticism.

Rut the realization took place in different ways. It tried to destroy the shroud of visible Being in order to discover the true kernel of Reing beyond pseudoreality. This also marked the character of the colors. The North used powerful colors that were less rich in tone, beeause the artists eared less for the optical value of the painting than for its expressive function. The painters of the Blaue Reiter I Rlue Rider I developed a sensitive palette whose luminosity is based on purity of tone as a correspondence to music, which Kandinsky dealt with extensively.

Rut both approaches could produce inadequate results: Thus Germany was left with two separate developments. They were relatively brief, but the resnlts turned out to be permanent. There was more than just the breakthrough of a "new generation whether of creative contributors or recipients" E. Expressionism permanently altered the focus on reality. The fact that it could gain international acceptance after is based on an historical con- stellation that placed expressive feeling and behavior once again in the center of artistic efforts.

However, the reasons for such recognition today are altogether different. They are based on our present-day mood, our nostalgia for a time that managed to gather the strength for revolutions, fully convinced that it could thus stamp the future. Water- color does not have to proclaim the stylistic unity of the Expressionists like com- prehensive radiant painting; nor does it have to orient itself according to the emblematic simplicity of a previously unwonted language of graphics.

Bold, calm, and with its roots thoroughly in expressivity, drawing and watercolor yield informa- tion about the initial artistic inspiration, the artist's prima idea. And that is all; they belong chiefly to the studio. Thus watercolor and drawing can propagate a pictorial idea, but are not sub- ject to this often slavish restraint, as they were in other stylistic epochs. On the contrary, in German Expressionism — and in Edvard Munch's previous work — graphics, especially etchings, repeat themes first fixed in pictorial form, and in so doing invite the surprise effect achieved through an unanticipated reversal of the image.

Thus painting first appeared alone and on its own. This was especially true for the early years, that is, after In Max Beckmann, the pictorial genesis was again reversed. Drawing had its own laws — outside of a set program. Watercolors on paper — the paper absorbent or nonporous, handmade or thin and with twisted fibers spreading under the weight of the pools of water, unless the filled brush is super-cautious about applying the pigments — often convey, in the grand period of German Expressionism, the purest renderings of the spiritual essence of the epoch.

There is sheer delight in creativity, as well as a mutual effort to outdo creative ideas. In this context, one should recall the beguiling lightness and transparency of Vasily Kandinsky's very stately, almost canvas-sized Horsemen on the Shore, ca. It was painted during his Munich period. Supple, storming, gazelle-like equine creatures with their color-splotch riders are surrounded by, indeed dissolved in, the play of fabulous wave spots and fantastically shaped crests of breakers — this is free, un- bridled delight in painting.

Abruptly and swiftly, it follows the inventive mind. No other medium — whether a print or a painting on a deliberately chosen rough canvas — could equal this effect with the same intensity. Drawing is quick, fleeting; painting and graphics offer resistance to the artist. These watercolors and colored drawings, stored for preservation either in pub- lic graphic collections or by private collectors, hence are all the more overpower- ing for the brief period of their glorious appearance in an exhibition.

Format and technique also play a part. Let us proceed to particular examples. Ernst Ludwig Kirch- ner, the "possessed"' draftsman, looms head and shoulders above the rest. I Sup- posedly, he even doodled in a dark movie house. This is true especially of the years through How can the procedures of artists be summed up? The lightly oscillating, whisking brushstroke, which leaves its mark on the preliminary drawing as merely the most general hint, moves briskly across the paper, describing the individual forms.

Color fills the planes, wherever they appear, as well as the broad contours, producing a great liveliness of hue-. Kirchner' s method of working is quick and sure. He pays little heed to the viewer's enjoy- ment. Kokoschka is like him in this respect. As the years go by. Kirchner, in his drawings, produces an interestingly anonymous masklike human type that is peculiar to him. This is especially true of his nudes.

Increasingly bizarre, the color drawing rather accurately corresponds to the formal language of the paintings, particularly between and Heckel translates what he sees into an intentionally shrill juxtaposition of yellow, green, and red. Ot course, the aggres- sion is mellowed by the white paper, which is left unpainted. From the outset, Heckel has a feeling for pictorial narratives, for portrayal- of mountain sceneries or seascapes that impressed him.

And here the large surfaces of hi- w atenolol- ulti- mately enter a calm harbor. But this comes a long time after the period of "Franzi," the irritating and erotic child-model, as well as the influence of South Seas art. Of course, the travelogue, whether in drawings or watercolors, occupies all of them — ever since Gauguin's Noa-Noa.

Distant places beckon, whereas the artists initially saw only South Sea- masks in the anthropological museum! Schmidt-Rottluff and Pechstein resolutely -ought wild and unruly expression in brush drawing. Schmidt-Rottluff, under the impact of South Seas art and African sculpture, move- furthest ahead in thi- respect; he deliberately and resolutely "'coarsens'" his woodcut-, while IVch-tein make- his South Seas experience the center of his drawing reflections.

Hi- painting took a different direction, one of harmony, which wa- -oon to separate him from the group. To indicate further attitudes about the watercolor: Otto Mueller enveloped 25 himself in a Hungarian gypsy arcadia and saw the world animated only by youth- fully slender, peculiarly reflective beauties who wade in swamps or sit on banks. He drew with coarse crayons or broad paths of thin watercolor on huge, some- times gigantic, sheets of paper. Here, one could most readily say that his figurative compositions were preparatory to pictorial ideas if they did not already embody them.

For all the sweet loveliness and timid over-the-shoulder peeks, everything remains chaste and austere. The figures in Mueller's fascinating "forest-nymph ballet" cannot be characterized individually: Further individual features should be noted. Feininger, in his watercolor pen drawing, with its wan, gray color tone, remains the tireless and inventive poet of the Cubist vision of cathedrals and village churches; like Klee, he subtly titles his motifs calligraphically at the bottom of a picture.

In contrast, Otto Dix and George Grosz, and later Max Beckmann, are critical of their society and their era through- out their stately oeuvre of color drawings — an attitude that came naturally to the second generation through the altered situation after World War I. George Grosz, too, continued to find pleasure in drawing during the morass of the postwar years, noting and exposing events with a sensibility sharp as a knife's edge.

His works therefore always aroused a specious interest on the part of the public — one directed not so much toward his art as toward his subject matter. This was the consequence of his precise descriptions of a sordid milieu. Pen and lively effervescent water- colors were his media for passing his themes in review, in his anxiously pointed way. The street and the brothel, high livers and philistines, were poetry perhaps — but a backstairs poetry. In Otto Dix, there is a deeper critique of the world and of injustice, of disguising powder and tinselly trash.

Even his portraits, albeit serious in intent, look almost like scarecrows. Nevertheless, this is virtuoso watercolor art, in which mordant matter-of-factness replaces the euphoric studio mood of the older artists. The young Beckmann achieves a greater expressive power of pure stroke, which was initially based on the painterly drawing style of Lovis Corinth. Often pencil, pen and ink, and black chalk are enough for him to render apparitions with gaping eyes, heads of his time; he uses spare contours and simple hatching, that is to say, terser and terser devices.

At times, in a drawing on tinted paper heightened by white, these apparitions are fully developed into plastic forms; images from his early days are validly transmitted to remote times. With their harmony and model- ing, these works, like the paintings of this period, are among the most brilliant examples of Beckmann's oeuvre, which continued until the middle of the century. His later work produced an expressive style that was unique. The watercolors of Emil Nolde and Oskar Kokoschka immeasurably widened the space and scope of this airy, transparent, and floating medium, which is recep- tive to the most vivid color dreams.

Kokoschka wove pictures of people from the "patchwork quilts" of his infallibly placed color spots and color stripes. Along with the giant mass of early portrait drawings often done on lithographic transfer paper and conveying a piece of intellectual history in a superior manner , they are unique. Neither contemporaries nor disciples have attained the same density with so much formal arbitrariness.

In contrast to his drawings, which in those days could be spare and wiry or calli- graphically whirling, Kokoschka transfers the entire effect here to an adjacency 26 of swiftly drying color areas, without letting this device become mannered. Watercolors occupy a special place in the rich oeuvre of the painter and drafts- man Kokoschka: The tone per se. It is precisely the color that makes this artist's portrayal of an individual suggestive. The color brings an unruly, berserk quality to the physiognomy of the bodily phenomenon, even, inexplicably, imparting to it some thing of the artist's self-portrait, to the large cavity of the mouth and the long, narrow lane of the face whether the sitter is male or female.

This is associated with his intellectual curi- osity and his "rapaciousness. Find Nolde's watercolor- have marked a highpoint of delight. They are a closed province of expressive poetry or even of the willingness of that expressive art to admit the beauty of color. On his travels, he soaked his fine Japan paper in the enraptured magical world of the Mhambra overlooking Granada. Or he painted dark, threatening heads of South Sea Islanders in a watercolor style, accurately jotting with quick brushstrokes.

He even used a white covering, always differently and often with ethnographic fidelity and meticulousness. Or else he gave shape to his North Frisian landscape, visions, fabulous creature-. But whatever he did, his skill in this area bore witness to a deep talent. None of his watercolors has ever given rise to a difference of opinion about the value of his art. The reality of the world and of things is raised by his imagination to the heights of pure art in watercolors, which he summon- or beckon- to the most extreme intensifications.

This pure art engages the eye for a long time, and over and over again. Yet, in this surge of color, in heaven and on earth, in the bold reflection-, double shapes, in the mutually corresponding complementary color-, the internal stability of the composition seem- endangered; still, none of his fascinating pictures ever loses the inner structure, the solid form. That is something overlooked by his main driveling, overexuberant. Quite deliberately, a considerable, even determining, portion of the watercolors in this cxhil ition are by Nolde. Nolde is similar in this respect to Kirchner or to hii-tian Rohlfs, who grew younger through hi- expressive creation.

For in- stance, the gentle, supple draftsmanship of Franz Marc, who ventured far enough away from the "academic animal painter" to invent his symbolic forms beyond animal anatomy. Or Paula Modersohn-Becker's severe charcoal drawings, with which the artist — who died early — paved the way toward a new monumentality in portraiture. For all these artists, the relationship to drawing is close, intimate, fraternal.

But in this area of jotting on paper — a studio practice for many cen- turies — each of the artists produced something new: Peculiarities of Expressionist drawing — often art works produced incidentally — are thus described. The themes touched on included the joy in newly seen land- scape and cityscape, the endless "conversation" with the model, to be viewed as an everlasting summer idyll with forest outings and lakes for swimming as -well as a studio enchantment by the iron stove.

The unfettered appearance of the human being, the person, is envisaged. They are actually concerned with his being, not his doing. Of course, indolence is never portrayed anecdotally, just as pictorial narratives are never to be found. They are entrusted to graphics. The one-time Dresden dropouts from architecture school and their like-minded colleagues in the North and the South admittedly pay tribute to a cheerful existence even in the discipline of drawing and the colorful execution on paper.

From a distance, we can no longer even guess how much calm and humor a sitter or a model maintained when first viewing his likeness. Penetrating ugliness, wretchedness, or misery were not part of the thematic range during the great years until They came later, after tremendous shocks. A few facts have been stated about the format and technique of these works, which were salvaged during a subsequent tumultuous period.

Most of them have a stately format, which, however, does not mean that the artist was feinting with draw- ing fans! The large format allows the drawing hand the freedom to follow the motion "from the arm," which means not so much "neglect" of the art of drawing as spontaneous gestures in the creative process. This is evident not only in retro- spect. Only the latter were done with a silverpoint; the watercolors were thick and grainy.

This unconventional method of drawing had been prefigured in the work of Lovis Corinth and a few others; this "jubilation of color," as it was called, is confined by angular, squarish, or boldly surging lines. But these stylistic devices are not arbitrary acts of one-upmanship by young rebels; they emerged from a totality of thinking and artistic feeling. They had understood and abandoned van Gogh's manner of painting and drawing as well as that of the color-parceling Pointillists. They had also understood and abandoned theorizing.

It was a higher inspiration that allowed the Expressionists, from the very first stroke in their grand era, to capture the world of phenomena in an unfathomed pictorial language. Nolde and Rohlfs were the son-- of peasants in Schleswig-Holstein, the northernmost province of the then German Empire; likewise, Paula Modersohn-Becker is inconceivable without tin- landscape and people of Northern Germany. At times, their paths crossed. This was of little significance for their art, however, for direct connections and immediate points of comparison are not to he found.

Those aspects of their work which were common to all three became clear only later, after their individual achievements were recognized as part of an overall intellectual move ment known as German Expressionism. When she died in Paula Modersohn-Becker could no longer have participated in this development. When she was discovered outside her close circle land relatively late at that , she was categorized as a "forerunner" of Expressionism. But this implied restriction does not do justice to the absolute autonomy and artistic status of her work.

A native of Dresden and the daughter of an engineer. Paula Becker grew up in Bremen, in a large, distinguished family. At fifteen she received her first drawing lessons from a Bremen painter. Spending a year with relatives in England, she en tered the London School of Art. But her parents wanted her to become a teacher, and until her final examinations at Bremen's pedagogical seminar] in L, -he had to renounce nearly all artistic activity. Next she was allowed to attend the school for women painters in Berlin: Mackensen had founded at Teufelsmoor. Worpswede became her home.

But as much as she ultimately owed to 29 the landscape, the people, and her painter friends there, she nevertheless outgrew them all. At an early date, she felt hemmed in, living with a group of painters in isolation, and she resisted. Soon she was visiting Norway, Berlin, Vienna, and then, in , Paris for the first time. During the following years, she led a kind of no- madic life, wandering between the moor village of Worpswede and Paris.

At the turn of the century, Worpswede constituted a center, on the periphery of the divergent styles of German painting. Here a group of friendly painters had as- sembled, seeking to escape the academism and pseudonaturalism of art schools and to find a harmony between their emotional world and the natural environment in the midst of an unspoiled landscape.

In Paula Becker chose him as her mentor. From her letters and diaries, we learn how deeply she loved the Worpswede countryside, the vast sky, the dark moor, the birch trees by shiny ditches of water, the moor cabins, and the people, marked by living in this world. But few of her paintings are pure landscapes, unlike the genuine Worpsweders. In Rainer Maria Rilke wrote a book about Worpswede, a poetic mono- graph on the landscape and its painters "freighted, the boat waits on the black waters of the canal, and then they move earnestly as though with coffins Paula Modersohn-Becker is not mentioned in this book.

Did the sensitive poet refuse to recognize this young woman as a painter even though he treasured her as a conver- sationalist, who was friendly with his wife, the sculptress Clara Westhoff, and even though, after her death in , he wrote his famous Requiem for a Friend in her memory?

Or did he perhaps realize that her art in no way reflected the Nature Lyricism of the Worpswede painters including Otto Modersohn, whom she married in , and that her art could not be brought into harmony with the moody, heav- ily charged painting that he celebrated so aptly? Paula Modersohn had introduced Rilke to the art of Cezanne. His Letters on Cezanne, written in on the occasion of a memorial exhibition in Paris, were preceded by intense conversations with her. One of her last wishes was to view this exhibition. Four weeks before her death, she wrote to her mother: Fifty-six Cezannes are being shown there!

According to the sculptress, Paula Modersohn-Becker saw Cezanne "as a big brother Returning home, she criticized Mackensen's manner as "not large enough, too genre-like. Her art grew more and more away from that of the Worpsweders. In she separated from Otto Modersohn, returning from Paris only after one year. Cezanne, as she herself put it, struck her "like a thunderstorm and a huge event" October 21, , to Clara Rilke.

Furthermore, the encounter with paint- ings by Gauguin and the Nobis, as well as the Egyptian and Early Classical art in the Louvre, gave her the strength and the freedom to find herself in that she came to understand a painting as a consciously fashioned, autonomous formal structure.

Make the color sketch exactly as one has felt something in nature Bui mj personal feeling is the main tiling. Once I have estab Iished it. I must bring in from nature the things that make my painting seem natural, so that a layman will onlj think that 1 have painted it from nature" Diaries, October I. Her own warm humanity is an unmistakable part of her paintings. The people in Worpswede, the peasant women and children, the wonderful rigorously dark portraits of Werner Sombart.

Thej are either spread across the surface or densely crowded, with a deliberate rejection of perspective. All are economically arranged in strict order within the pictorial space. Objects in her paintings gain a monumen- tal it y that is never artificial, but bursting with nature. The dense, pow erf til. As early as she had written from Paris that she would like "to have all colors deeper, more intense; 1 get quite angry at this lightness" I February Moor peasants, poorhouse inmates see cat.

People, like things, have something familiar about them and yet main- tain the earnestness and dignity of detachment. This also obtains for the countless self-portraits which she painted from the very outset and through the last few weeks before her death. Others are totally concentrated on the head and the face.

There is something icon-like about them: The bold simplicity of form turns the personal closeness and autonomy of the portrait into allegorical universality. Paula Modersohn left an unmistakable oeuvre behind, which is all of a piece. Despite her early death, her work may be regarded as truly complete. Christian Rohlfs Christian Rohlfs was born in His creative period embraces about seven decades during which he was confronted with opposing artistic events which helped to mark his work in a very peculiar way. The "early" Rohlfs was an important nineteenth- century painter, one of the leaders of German plein-air art.

With the new centurj biographically, the caesura coincides with his final departure from Weimar , we are surprised to find a man dose to sixty with the Expressionists: In their enthusiasm for the "Expressionist" Rohlfs. This is unfair since there is more of a connection between the two than meets the eye of a casual observer.

He was meant to take over his father's farm, but quite by chance he came to painting. After an accident which ultimately caused the amputation of one leg, the fifteen-year-old, during a long stay in the hospital, began to draw at a doctor's suggestion. The writer Theodor Storm, who happened to see the drawings, recognized his talent. He assisted the boy and saw to it that he studied with the painter Pietsch in Berlin, later entering the Weimar Kunstakademie in This school, established by the grand duke, mainly cultivated the classicistic tradition handed down from the age of Goethe.

Figurative art with educational and historical themes was what the academic painter-to-be had to master. Rohlfs's studies, interrupted by illness, lasted until about In Rohlfs was given a "free studio" at the academy as a special award. His personal work commenced in the following years. The breakthrough to his own artistry did not occur through figurative painting. His academic training seemed to have been forgotten; in the two decades before the turn of the century, Rohlfs fo- cused almost exclusively on landscape painting.

He found his motifs in the immedi- ate surroundings of Weimar or in Weimar itself: Certain subjects were painted again and again, thus re- calling the French Impressionists, particularly Monet with his Haystacks or his twenty versions of the Cathedral of Rouen. There is no doubt that French Impressionism influenced Rohlfs's painting.

In Weimar, he saw canvases by Monet in and by Sisley and Pissarro in He must have studied them carefully, for his palette became brighter, and the inclusion of colored light first revealed his great coloristic talent. But the influence was limited. Rohlfs ignored the true principle of Impressionism: He no more adopted this principle than did the other so-called German Impression- ists, among whom he maintained a leading position. He was a painter who employed light and color to give things in nature an eminent luminosity, who sometimes ap- plied pigments very loosely, almost dabbing them on, who had a vital temperament which made the critics call his work "bungling," that is, impudent or improper.

Yet his goal was not to render atmospheric light; objects keep their weight in his can- vases, determining the formal shape of the painting. Thus, Rohlfs is closer to the realism of Courbet than to genuine Impressionism. His style is quite unpretentious and as far removed from representation or idealism as from the intensely emotional Nature Lyricism cultivated at that time in Dachau and Worpswede. Soon after the turn of the century, Rohlfs, with seeming abruptness, gave up everything he had attained. The impetus came from meeting Karl-Ernst Osthaus, the founder of the Folkwang Museum in Hagen, and from Henry van de Velde, the architect of the museum and an adviser to Osthaus.

In Rohlfs followed the call to Hagen; however, he retained his studio in Weimar until and actively partici- pated in new developments which had now reached the Weimar art school. In the Osthaus collection, Rohlfs saw paintings by Seurat, Signac, and Rysselberghe; their luminosity, their purity of color, must have fascinated him; he adopted the pointillist dogma, the splintering of color and the dissolving of the picture plane into a system of dots. Shortly thereafter his dialogue with Munch and van Gogh began. The now fifty-five-year-old artist went through a stormy development.

Freedom in dealing with the medium, the direct expressivity of color and form, the question 32 of the autonomy of the painting — those were problems he had to cope w ith. Rohlfs fared this challenge, in contrast to the other established German plein-air paint ers for instance. Liebermann and Corinth, who maintained their positions or even fought against the new art. Birch Forest of cat. The -tincture of the paint- ing is devoid of emotional gestures: Subsequently, land-cape became less and le-- important for him: A frequent theme is the towers of Soest see eat.

Rohlfs returned frequently to the medieval town. He met Nolde there in I couldn't find my bearings. These linn composi- tions captured the image of a markedly medieval tow n. At first the pictures were relatively faithful, at time almost jejune, but soon the details became more and more abbreviated. The beloved town, the "splendid nest," beeame so familiar to the artist that he was still painting it from memorv years later.

The towers grew loser together: The composition grew denser, more compact and intricate: The colors, at first applied with an intensity reminiscent of Impressionism, were soon spread out flatly: In later paintings, the colors are heightened to a great luminosity. In abstractly geometric, crystalline form-fields. The objects can be so greatly subor dinated to the formal canon of the picture as to lose their individuality entirely and achieve a metaphorical character.

Soest becomes the "old town" per se. Ultimately, the subject is interesting only because of it- colorful, structural quality. The autonomy of the pictorial architecture can verge on ab-tractness. In pictures like Red Roof or Red Roofs Imong Trees the relationship to the real, ob- jective world is just barely maintained. Blue Mountain of consists primarily of blue color form- and broad strokes applied with a palette knife and towering to mount a in- like formation-.

After abandoning landscapes, the artist focused on figurative compositions. The shock caused by World War I was reflected in themes that were previously alien to his work: The dark side of ex- istence, the chasms of destruction and violence, had never been the substance of his art; they belonged to an opposing world which deeply contradicted his inmost being. Thus, in this time of affliction, conciliatory and humane themes predominate: Prodi- gal Son with Harlots.

Return of the Prodigal Son cat. Large, simplified forms are the actual bearers of expression; gestures of figures become gestures of form: The form is emphatically that of drawing: Color recedes in these paintings. It is limited to the rich and nuanced tones of planes: The participation of color in the impact of the painting is based on its immaterial, spiritual value.

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Alongside the earnest, religious depictions, there are paintings which are sim- pler and more cheerful in content: Colors, as essential bearers of expres- sion and structural energy, grow more important, becoming brilliant and precious. Christian Rohlfs's art is focused on life — perhaps one can view it as a legacy of his Weimar period. His art is voluptuous and cheerful: One may call him the lyrical poet among the Expressionists. No one — except perhaps Feininger — transformed color into such floating light.

During his last few years, he was drawn to the South: Ultimately, he was not spared the humiliations and scorn of his art by the Nazis. Rohlfs died in EmilNolde Nolde is the prototype of the North German Expressionist; more independent than the others, he lived apart, in self-imposed solitude. Even at eighty, he noted: Nevertheless, his course as a painter was not isolated: His public fight with Max Liebermann in led to the breakup of the Berlin Secession, the most powerful of all associations of German artists.

Nolde had become the spokes- man of the young generation — he was almost frightened at realizing it — and he withdrew. Emil Noble's real name was Hansen. He was born in , the son of a peasant who lived in the village of Nolde on the German-Danish border. Mustering all his strength against much resistance, he managed to free himself from his rustic milieu. Onl at thirty did he attend a private painting school in Munich: He look onl what was akin to his own sensibilities, whether it came From ancient or contemporar art, Egypt, Assyria, the masks of the South Sea- and Vfrica, Titian.

Rembrandt, Goya, and later Munch anil Gauguin. In he went to Paris for nine month-, studying at the Vcademie Julian. The Impressionists made little impact on him, except for two: Degas and Manet — "the great, important painter of bright beauty. His was a sure instinct in picking Titian, the father of modern colorists. During the next few years, lie virtually commuted between Copenhagen and Berlin; in the fishing village of Lildstand on Jutland's northern coast, he produced strange pencil drawings, freely invented fantasies.

He wrote about them in to his friend. The "hover before me now in drifting color-, more beautiful than I can possibl paint them. T yearn for the day when I will have found my eolor harmonies, my harmonies. He discovered the evocative power of color. Noble had an unusual, almost physical, relationship to flowers: Everything could become a picture now — dreams and fear-, doubt- and happi- ness.

He painted in carefree subjeeth ity. And that is how we must understand his religious paintings, which are almost unparalleled in modern art: I bad to be artistically free — not have God before me. Nolde painted, almost concurrently, children playing or danc- ing. Landscape with Young Horses, or pictures of Dionysian eroticism: Warrior and Woman, Prince and Sweetheart cat. This could lead to startling contradictions. Thus throughout his life he condemned technology for destroying the natural order.

He fulminated against engineers, who, insensitive to its beauty, were already butchering the beloved coun- tryside of his homeland with dikes and water engines. Yet the same Nolde was also fascinated by the dynamic character of the technological world when he discovered it as a painter — for example, in the Hamburg port during He lived in a cheap rooming house over a sailors' pub and sailed the pinnaces with the dockworkers; he was thrilled by the panorama of the harbor, the noisy bustle, the pulsating rhythm. Within three weeks, he had produced several oil paintings, the famous series of Hamburg etchings, and a set of large India ink brush drawings see cat.

Dynamic and monumentally archaic, they form a highpoint in Nolde's oeuvre. A further example is the Berlin paintings. In his letters and books, he scorned the metropolis of Berlin as a place of decay and degeneracy: How he cursed the whore of Babylon — Berlin — where he spent all his winters! Yet the painter forgot this scorn. He was fascinated by the splendor and sensory stimuli, by the light and shadow of nightly bustle; with open senses, he took in the beauty and bliss, the hubbub and vice, the corruption and humanity of this world.

There were also many watercolors and drawings of the theaters, honky- tonks, and street cafes. The Berlin works form a closed unit in Nolde's oeuvre. But they are not isolated, even though he did not paint them in this form again. The in- sights and experiences manifested here remained a component of his art. They would return in other paintings, all the way to the Unpainted Pictures from the period of ostracism, when he was prohibited from painting. Asked about the hierarchy of his themes, Nolde put the figurative paintings first, but then he took back his reply, saying that neither the theme nor the motif deter- mined the rank of a painting.

To be sure, he went on, the risk in painting free fan- tasies and Biblical pictures was incomparably greater than, say, flowers and gar- dens, which he did in times of relaxation. Perhaps, he opined, that was why these paintings had gained so many admirers, at least more than the other paintings; but that tended to make him skeptical.

In , when Nolde was invited to go along on an expedition to the South Seas, he gave up other plans, tempted by an adventure to exotic coasts. The trip lasted one year. He traveled through Moscow. Here he did numerous drawings, many watercolors, and twenty paintings. He painted Tropical Sun, a dramatic picture with powerful colors built on the con- trast of the complementary colors red and green and the ornamental rhythm of the white waves of the surf. He was attracted more to the people than to the landscape, however see cat. He sought the pure expression of humanity's early stages, but he saw forlornness and fear and an ineluctable fate: This realization cast a shadow of melan- choly over his South Seas paintings.

It was not too far from the village of Nolde on the reedy shore of Wiedau, a broad river lowing into the North Sea. Here, and later on in nearby Seebiill, he did mosl ol his subsequent paintings. Anyone familiar with this landscape will find it again in Nolde's pictures. His colors really exisl there — the sharp green ol the huge meadow-, the yellov of the rape fields, the deep blue ol the lake-, rivers, and creeks, and.

During the long twilight ol morning and evening, especially in the fall, the sky shines with wandering clouds in a wealth of color-, ranging from pale green to dark violet and blue, from yellow, brown, and orange to flowing red: Nolde found the landscape that promised to fulfill a yearning — one of the fundamental experiences of German Expressionism — a yearning for the fusion of the self and the cosmos, the striving for the "'primal states'" of human life, when the outer world and the inner world were -till one. The same yearning had sent Nolde to the South Seas, looking for the "primal stages" of man.

Perhaps that was what Nolde meant when he jotted on a small note, the kind to which he entrusted his thoughts during the time of ostraeism: After World War 1. Whim the Dane- began preparing new dikes and drainage projects. Nolde mined a few mile- south, aero— the German horder.

Here, on an old high wharf, he built Haus Seehiill after his own designs. It towers like a citadel, defensive, self-willed, in the flat landscape, visible from afar. Here the painter lived, withdrawn into his own world, acces- sihle to only a small circle of friends. Later the house became a kind of escape fortress which afforded the painter protection from attacks by the Nazis: Nolde had originally welcomed the "move- ment," and hail become a member of the National Socialist party in Soon it became clear how much he had deceived himself; hi- exhibitions were closed, all of his works in German museum- I 1.

He was not allowed to paint. This situation notwithstanding, Nolde, dur- ing those sinister year-, created in Seehiill a series of image- which constitute a kind of synopsis or culmination of hisoeuvre; it consists of hundreds of small water- colors, which he called his i npainted Pictures. Nolde died in L in Seehiill at the age of eighty-nine. He was buried in a tomb which he had built dining the war for himself and his wife at the edge of the flower garden in Seehiill.

Dimensions are given in inches followed by centimeters. Dimensions given for prints reflect image sizes. Where applicable, catalogue raisonne or oeuvre catalogue numbers are given. Abbreviations are as follows: Ernst Ludwig Kirchner, Cambridge, Mass. The Work of the Painter. Oil on canvas, 2lWi6 x 23y 8 " Not signed or dated. Collection Von der Heydt-Museum. Signed and dated l. S48 Collection Museum Folkwang, Essen! L Tempera on canvas. L Tempera on canvas, l. Signed and dated I. Essen fl6 Songbird Singvogel.

Collection Museum Folkwang, Essen 17 Cerberus. Essen if25 Death as Juggler Tod als Jongleur. Christ and Judas Christus und Judas. Holy Night Heilige Nacht. Women by the Tonil Frauen am Grabe. Color lithograph, 24 7i 6 x 20yi 6 " 62x51 cm. Essen 69 Self-Portrait Selbstbildnis. Essen 74 Saul and David. Essen f75 Bible Scholars Schriftgelehrte. Essen f79 Actress Schauspielerin. Essen 80 Russian Woman Russin. The collective image of this group clouds the achievements of the individual artists, focusing attention on a very brief span in their lives and works. This was undoubtedly necessary.

Each, according to his own tempera- ment, had tried to make the painful break more or less abruptly, but none had succeeded. Decades later, Heckel was still evoking the ideal of his youth in portraits of his friends. And even Kirchner could not remove himself from the grand experience of the friendship, although in he had written to Gustav Schiefler, the most steadfast promoter of his art: Otto Mueller, absorbed in thought and quietly puff- ing on his pipe, is sitting on a stool in front, at the left.

He is staring at Schmidt-Rottluff, who stands at the right, enduring the stare without responding. Between them is Heckel in a frontal position, which enables him to turn to either side to mediate if need be. There were many communities of artists in the early twentieth century. Some began purely as exhibition groups, such as the entire Secession movement, which then separated into the New and Free Secessions.

Others, like the Nabis, were joined by a common aesthetics. And still others, like the Fauves, had emerged out of friendship. At that time, Matisse was thirty-six; not only had he been trained in Moreau's studio, but he was already an experienced painter. None of them could point to any appreciable experience or training as painters, 90 much less to any public exposure as artists. The initial stage was not a process of artistic development leading inevitably to a union.

It was faith in their own unproven strength, a revolutionary, optimistic impetus linking all the youth of Europe that became the mainspring here. The shore on which they stood had to be abandoned. But no one could say with what methods a bridge could be built to the other side. What we call 'road' is hesitation. Everyone who with directness and authenticity conveys that which drives them to create belongs to us. Erich Heckel, and Karl Schmidt-Rottluff. Kirchner, who was born the son of a paper chemist in Aschaffenburg in , had been attending school in Chemnitz, Saxony, since In he began studying architecture at the Technische Hochschule in Dresden, passing his examinations in During his final years in Chemnitz, Kirchner had taken private lessons in drawing; later, he gratefully recalled his British teacher of watercolors.

At twenty-one, he decided to study architecture, probably more out of consideration for his family than of his own accord, for he was already solidly imbued with "the dream of painting. There he studied composition and drawing from the nude.

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During , in Dresden, he had met Fritz Bleyl, an architecture student, who also had been born in Together they experimented with drawing and painting. Along with their proclivity for literature, they quickly discovered their joint love of painting, and they began to draw and paint together. For Heckel, literature was at first as important as painting, so that for a long time he was undecided as to whether he should become a writer or a painter.

In he moved to Dresden to study architecture. There he soon met Kirchner and Bleyl through his older brother. In , after three semesters, he dropped out of school, devoting himself fully to painting, even though he initially worked as a draftsman in an architectural office in order to earn a living. Finally, in , Karl Schmidt-Rottluff came to Dresden, also to study architecture, but he dropped out after only two semesters. In , when Emil Nolde had a show at the Galerie Arnold in Dresden, the older man was invited to join the group. Schmidt-Rottluff wrote the letter: A further goal is to create an exhibiting space of our own — an ideal goal for now.

Nolde, however and ivhatever you may feel, we wanted to pay our tribute in this way for your color tempests. Nolde became a member for a year and a half. In the summer of , Erich Heckel met Max Pechstein. Pechstein, born in Zwickau, Saxony, in , had finished an apprenticeship as a scenic painter and had entered Dresden's Kunstgewerbeschule in From until he completed his training as a master pupil at the Dresden Akademie, which awarded him the Saxon State Prize, the so-called Rome Prize.

These studies certainly gave Pechstein a headstart, and his less aggressive temperament was also an advantage, so that subsequently he was the first to gain recognition. After making Pechstein a member of their hoard. And we met him personally the very same day in his studio on Mommsenstrasse. This meeting was significant for all of us and occurred at a fruitful moment; and. Born in Liebau, Silesia, in Travels with his cousin, the writer Gerhart I fauptmann, took him to [talj and Sw it- zerland.

During he attended the Munich Akademie, returning to Dresden and then moving to Berlin in Nonetheless, it was remarkable of them to try to include foreign artists. Here in Dresden, in The artists" faith was accorded in equal measure to the "'new generation whether of creative contributors or recipients. The campaign brought in sixty-eight members. Of course, this idea meant different things to different members. Erich Decked was most open to such suggestions, which is why he became the business manager of the group. For him printed graphics always spelled a means of achieving a broader impact, so that numerous woodcuts of his were printed in very large editions.

For Kirchner, however, who, with rare exception, pulled his graphics himself, every print shows an individual character. And Schmidt- Rottluff never acknowledged any print that was not signed by him. Admittedly — and the situation has scarcely changed today — they could reach only people who 93 were already interested or converted; nonetheless, the effort was a sound one. The earlier joint drawing and painting sessions of the young students had inevi- tably generated the need for more and more intense work.

Thus the founding of this group of artists did not bring any change for them; it was merely an outer mani- festation of a life-style that they were already practicing. In Kirchner noted in his journal: A happy coincidence brought together the really talented men whose characters and gifts, even in human terms, left them with no other choice than the profes- sion of artist.

This form of living, of dwelling and working, though peculiar for a regular human being, was not a deliberate epater le bourgeois, but simply a very naive and pure necessity to harmonize art and life. And it ivas precisely this more than anything else that so tremendously influenced the forms of present-day art. Of course, it was mostly misunderstood and totally distorted, for there [the will] fashioned the form and gave it meaning, ivhereas here the unfamiliar form is affixed to habit, like a top hat on a cow.

The path of development in these matters of external life, from the first decorated ceiling in the first Dresden studio to the completed harmonious space in the Berlin studios of the individual artists, is an uninterrupted logical intensi- fication, going hand in hand with the painterly development of the paintings, graphics, and sculptures.

The first boivl that ivas carved — because no appealing boivl was purchasable — brought three-dimensional form into the tivo-dimen- sional form of the painting, and thus the personal form was thoroughly manipu- lated by the various techniques until the final stroke. The painter's love for the girl, who ivas his companion and assistant, was transferred to the carved figure, ennobled itself [through] the surroundings [in] the painting and again ren- dered the special form of a chair or table from the living habits of the human model.

Such was the path of artistic creation in a simple example. This utter devotion shone in Erich HeckeTs eyes the first time he came to my place to draw from the nude and loudly declaimed Zarathustra as he climbed the stairs; and [a few] months later, I saiv the same radiance in S[chmidt]- R[ottluff]'s eyes when he came to us, seeking freedom, like myself, in free work; and the first thing for the painters ivas free drawing of free people in free natur- alness.

With Kirchner, it began as an attempt to take advantage of an oppor- tunity. The artists drew and painted. Hundreds of pieces a day, with talking and playing in between, the painters also acted as models, and vice versa. All en- counters in everyday life ivere thus integrated into our memories. The studio became a home for the people ivho were draivn: The pictures absorbed life, immediately and richly.

The goal of these young sons of the middle class was to fuse art and life in sen- sual harmony. Bands and artists were able to present themselves and their music unexpectedly fast and relatively easy to a large, also worldwide, music audience. What could be implemented until the digital revolution only with large budgets and personnel expenditure of record and production companies using advertising agencies and large distribution networks, was now possible with far fewer people in a much shorter time for much less money.

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The music industry should face this painfully in the following years on the basis of sharply falling sales of physical phonograms. On the other hand, it has quickly become apparent that through the explosive and constantly spread and release of new songs and musicians, an overview and selection had become increasingly difficult. This variety, created in part by global connectivity and easier access, availability and marketing of music, unleashed untapped creative potential, which is still ongoing.

However, it has also become increasingly difficult for established musicians and bands to stand out from the huge mass of new releases uploaded daily. Because among the many very creative and high-class songs and productions there is unfortunately also a lot of inferior song material from more or less talentless people. Already since Jancree had, at first small homepage, on the internet. In the early days of the Jancre website Frank Weber, who had already made band photos of Jancree in , took care and knew about the programming of websites up to the absolutely professional internet presence, which webmaster Markus Krieg creates since about for Jancree.

Of course, Jancree was also open to the new opportunities that the Internet provided. Even if they were founded in the analogue music times they saw some developments critically. In addition to the band's own homepage, from on national and international music portals and Jancree profiles were also served online. The response and the traffic on some portals shot up enormously, but the band did not automatically sell more CDs.

That still happened at the live concerts of Jancree or via mailorder. The feedback of music fans on postings and blogs and the emergence of the first "digital" record companies on the net, put Jancree on the search for a suitable partner with these novel distribution channels. So far, Jancree had either acted on their own in their band career, cooperated with agencies or smaller labels and produced their albums, but suddenly new, unimagined distribution possibilities opened up. Curious about an interesting article in a music magazine, Olaf Steffens came across with the digital label "Rebeat" in the summer of Jancree webmaster Markus Krieg should contact the Austrian company in Tulln near Vienna after exploring and clarifying the processes.

Initially, Jancree were interested in presenting their back catalog, and then possibly using Rebeat's worldwide distribution network for a new production. This was followed by weeks of uploading the entire Jancree back catalog with all previously released songs and the creation of sample clips and promotional texts in German and English.

Afterwards, the crew of "Rebeat" sent the entire material to internationally operating download portals such as iTunes, Rhapsody, Musicload or Amazon. For the first time in the band's history, you could either download single songs or complete albums from Jancree. It was a cool feeling for the band members to see the first download statistics, which showed that Jancree now had fans in the US, Canada, England and the Scandinavian countries.

Die Band hatte einige neue Songs komponiert und teils schon live gespielt und wollte diese in einer Art Vorproduktion festhalten. Mit Christian Gasch war ein neuer Mann gefunden, neue Songs sind entstanden und bereits im Herbst konnten die Studiosessions weitergehen. Das Resultat war um einiges besser und hatte soundtechnisch erheblich gewonnen.

Already in the summer of , while still working on the live album "Night Moves", Jancree began with the first recording sessions for a possible new album. The band had composed some new songs and some had already been played live and they wanted to record them for a kind of pre-production. The time seemed ripe for the first studio album with their own material since their maxi-CD "Luck Comes Slow" from the year However, the release of "Night Moves" was due and the "Jubilee Tour" with several concerts had to be finished as well.

Although they wanted to keep in touch with the studio work, they did not want to rush things at the same time as they had to do a lot of extra work for the album promotion and the internet presence. In , the moving plans of guitarist Diddl Hock and his associated leaving of the band became more and more concrete, which took the planning and implementation of a new studio album in a new direction. The already recorded tracks with Diddl were now again spotted and completed, as the move date was approaching closer and at that time there was no successor in sight for him. With Christian Gasch a new man was found, new songs were composed and already in autumn the studio sessions could go on.

In the meantime Diddl had recorded some of the missing guitar tracks in Australia and sent them via data transfer to Germany, where they were supplemented or merged with Christian's tracks in Helmer Rick's studio. To work that way was a completely new experience for Jancree and would have been unthinkable a few years ago, so far this way of working was only reserved for the very big ones in the music business. Diddl's typical spheric sound style has complemented the somewhat more economical, purist guitar sound and style of Christian Gasch very well. In the fall of , the new line-up was visited during their recording work by the Mannheim-based all-round musician, Busters singer, producer and former "Official Music Manager" of the City of Mannheim Germany , Markus Sprengler.

Jancree and Markus Sprengeler had known each other for a very long time, he appreciated the qualities of the trio and had heard that the band was working on a new studio album. With "There Is" Jancree had a new, catchy song in stock, in which Sprengler saw a lot of potential for a hit single. Olaf Steffens and Klaus Schmid then met with him a few times to explore, among other things, whether the song may be published on his newly founded label. However, in his opinion, the sound of the track would still have to be heavily worked on, since the previous production would lack some pressure and therefore did not sound quite up-to-date.

The deal with him did not materialize, but Jancree took the comments seriously and wanted to get the mixing process finished by independent studio cracks. Drummer Klaus Schmid had heard that in Walldorf in Baden, Germany a new mastering studio near his favorite drum shop was opened and run by the studio-cracks Robert Koste and Thomas Weitzel. After preliminary talks, the two then received the song mix data for editing it in their mixing studio www. The result was a lot better and had won considerably in terms of sound technology. The final version finally found its way onto the new Jancree album "The Score".

How the further cooperation with Markus Sprengler and thus the further way of Jancree would have looked like at this time remains, however, speculation. Jancree hatten von Sommer bis Herbst mit Unterbrechungen an neuen Songs gearbeitet und diese im Studio aufgenommen. Es war eine interessante musikalische Mischung entstanden, bei der jedoch trotzdem ganz klar Jancree zu erkennen waren.

Es waren Songs entstanden, die von der Musik her klar auf klassischem Rock basierten. Die musikalische Ausrichtung war von der Form her klar definiert und umgesetzt. Steffens stellte sich weiter Fragen zum Inhalt des Albums: Wie lautet die Standortbestimmung? Jancree had been working on new songs and recording them in the studio from summer to fall with interruptions.

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  6. Some of the songs were co-composed and recorded by former guitarist Diddl Hock, some of the fourteen songs were taken over and added to the arrangement by the new guitarist Cristian Gasch and on songs like "Out Of Town", "Keep Things Simple" or "Rest A While" Christian had completely incorporated his own personal guitar style. The result was an interesting musical mix, but in spite of that, the style of Jancree was clearly recognizable. Olaf Steffens had asked himself in the run-up to and during the production of their meanwhile eighth album how the new album should be titled and what it should contain lyrically.

    They had written and recorded songs that were based musically clearly on classical Rock. But they contained also Blues and Hard Rock elements and Soulfunk licks and the instrumental piece "" even some Fusion Rock elements which sounded like a trip to the early days of the band. Even keyboards and doubled twin guitars were used as a reminiscence to the great era of Rock music. The musical direction was clearly defined and implemented in terms of form.

    Steffens continued to ask questions about the album's content: What was the positioning? And Jancree had not — besides the three bonus tracks on "Backdates" - released an album with completely own song material since In fact, it was a positioning for which you could give not a more appropriate title than "The Score".

    At Jancree all lyrics have always been written by singer and bassist Olaf Steffens. Lyric ideas come from complex influences, emotions, experiences, reflections and incidents. At the same time you have to work on the adaptation of the words and sentences into melody lines and into the music", he explains questions about his way of working and adds: It's the result of walking around the world with your eyes and ears open, reading a lot and engaging in a variety of things. At Jancree, we have always talked and exchanged ourselves over the most various things besides music.

    Of course, some topics and views from the conversations later flowed into the lyrics. The album "The Score" is about positionings, about reflections and views, about changes, about losing and regaining inner balance, about faith and knowledge, about critical considerations, about soul and confessions. Partly very personal statements that, combined with the music, make a perfect whole. A few of the key considerations and basic statements flowed into the song lyrics.

    For example, in "Keep Things Simple", "Change" or "Balance", Olaf Steffens explained the emergence of the lyrics in a later interview to the music journalist Gereon Hoffmann. But there are also other topics and perspectives on the album, such as the title track "The Score", which is about media supersaturation with its sometimes questionable content, especially in TV soaps and casting shows. Or at "Bale Out", where disbelieving amazement about religious fanatics and unscrupulous bankers is expressed. The song "No-Man's-Land" deals with the often unreflected treatment of statements by religious dogmatists and the putting over of beliefs and opinions without thinking over.

    The ballad "Rest A While" focuses on the desire to pause. From time to time you just have to get out and escape to the front. The lyrics for "Time After Time", on the other hand, plays with partly cryptic words and strong pictures on the subject of "how precious time is". I've inferred from his detailed travelogues in the book the question of whether there are landscapes that correspond to soul landscapes or respectively can be similar to a state of mind.

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    Da der Titel der CD "Der Spielstand" lautete, sollte eine passende Grafik dazu geschaffen werden, die den Bezug dazu optisch herstellt. Der Vorschlag, ein Bild einer ramponierten Anzeigetafel im Vintagestil zu verwenden, machte die Suche von nun an etwas leichter. Es war ein Foto aus einer Serie mit Bildern einer verrosteten Baseballanzeigetafel, die haargenau zum Titel passte, den Vorstellungen entsprach und die man verwenden wollte. After the title for the new album was fixed and before the recordings were sent to the CD press shop, now a suitable layout had to be found.

    Since the title of the CD was "The Score", a matching graphic should be created to make the reference visually. Olaf Steffens had the idea with a scoreboard, but no real idea what that might look like. He made a few notes with terms and synonyms he used for his internet research, but had only encountered a few tedious and stereotyped images. In an interview with layout designer Steffen Dietrich, who had been working on the graphics and designs for Jancree for several years, he came up with the idea of searching at one of the major international photo agencies "iStock Photos".

    The suggestion to use a picture of a battered vintage-style scoreboard made the search a little easier from now on. After a few days, Olaf Steffens and Steffen Dietrich also found what they were looking for. It was a photo from a series of images of a rusted baseball scoreboard that matched the title exactly in the way it was supposed to be and which should be used further on. The first designs were created and then presented to the other two band members.

    Both were impressed by the designs and the stylistic direction and so now only the matter of copyrights had to be clarified with the Canadian agency. After the rights had been granted, new band photos had to be made and texts for the booklet had to be created before the work on the final layout could start.

    The title was fixed and the direction for the layout as well. Now new band photos for the booklet and the upcoming promotion should be taken. Florian Seiler was again requested and so the photo session for "The Score" could start in the winter of Florian had proposed the spacious, historic building of the "Woinemer Hausbrauerei" a German so called house brewery in Weinheim as the photo location.

    The old cellar vault provided excellent motives and the session was also associated with little effort, as the band had their rehearsal room in the building complex and where at the same time the recording studio was situated. Here is a small selection of photos from previously published and unpublished photos. Und es folgte auch prompt das erste Airplay bei verschiedenen Internetradiosendern mit durchweg positivem Feedback.

    Markus Sprengler hatte mit "There Is" einen guten Riecher. Jancree waren zwar eine doch recht bekannte Band mit einem in der Szene wohlklingenden Namen und Ruf. Hier war also das ganze Verhandlungsgeschick von Booker Keegan gefragt, denn viele der Deals, die ihm beziehungsweise Jancree angeboten wurden, waren einfach nicht annehmbar. In addition to the musical part with rehearsals, playing live concerts, writing songs and working in the recording studio, Jancree always had to cope with the very labor-intensive part of the promotion of the respective new music production.

    Luckily, Jancree had a small, fine group of people shared around them who worked very reliably, who had a lot of personal commitment to the projects and without whom Jancree would never have been able to act so professionally. But still, the promotion without a large advertising budget of a record company or agency in the back always meant an incredible additional amount of time and effort for each of the band members besides their various other jobs. Stefan "Keegan" Blomenkamp in Duisburg, who still took over the booking of the concerts and the associated work.

    Helmer Rick, who took care of all aspects of sound engineering and regulated the production and distribution with his small label "Pesch Records". Steffen Dietrich, the layout man, who for some years has been responsible for the design of the promotional material, tour posters and CD booklets. Youngster Florian Seiler, who was known to be the house and court photographer of Jancree, and last but not least Markus Krieg, who has also spent years doing all the time-consuming work around the Jancree website and their internet performance.

    And of course Udo Steinbach, who took care of the merchandising at concerts and from time to time did the somewhat ungrateful job at the cash desk. This time the promotion for the album "The Score" could be started already during the production phase in the summer of , since the single "There Is" was already mixed and mastered and thus could be sent to radio stations before the release of the CD in April It was promptly followed by the first airplay on various Internet radio stations with consistently positive feedback. Markus Sprengler had a good nose with "There Is" back then.

    From the CD release in the spring of , the band should also play a small tour of selected concerts. Jancree had decided internally not to do extended club tours anymore, as the live situation for Rock bands had changed drastically and had even worsened over the years. Although Jancree were a well-known band with a name and reputation that sounded good in the scene, they could have played more concerts at this time, but most of the organizers had become extremely cautious or could simply choose one of the bands or musicians who played for free because of the oversupply.

    Quality was often not respected, what counted for the organizers was often only the hype. Many clubs and also many established acts had to fight with great competition and declining visitor numbers at their concerts. Jancree as well had to face the widespread loss of visitors at some of their concerts although there were still many Rock fans around. But with the upcoming of perfectly recorded concert DVDs and home entertainment and the mentioned oversupply of bands and events they could be motivated much harder to attend concerts or had to decide themselves for either this or that Rock concert.

    Since hardly any organizer was willing to pay a guarneteed fee at that time, it was increasingly difficult to calculate and put together a tour without a high risk. Jancree had a lot of offers with so-called "door deals", that means participation via ticket sales, a lot of gig offers with limited percentage participations or even without a fee at all.

    The band simply did not feel like playing for "a box of beer and a dinner" as in their early days and traveling across the whole country. On the other hand, the costs for sound and lighting technology and driving had to be somehow halfway covered as well. Not to mention the running costs for the CD production and the staff. This all also included rents for clubs and concert halls, as the practice of renting concert venues and technology became more and more prevalent for concert organizers and club owners. The practice of "Pay To Play", which has long been common practice in the US, had now arrived in Germany in a somewhat modified form.

    So in these cases the negotiation skills of Booker Keegan were needed, because many of the deals offered to him and Jancree were simply unacceptable. So while the concert situation was difficult and new approaches were required, the promotion via the Internet started quickly and well.

    Jancree had placed the new album on all sorts of web music profiles and received many requests from Internet radio stations. As a result, the band gave a number of radio interviews for stations among others in Berlin, Bremen and the Ruhr area, got placed in several rankings on various music platforms, was nominated for the "JES-Music Award" and got tons of feedback from abroad. Since the summer of , the worldwide distribution of "The Score" on the Internet also started via the Austrian digital label "Rebeat".

    In Jancree were at the start with very good own song material on a new album, had good options and were in focus again. But the further course of the career was like a steeplechase with high hurdles on very difficult, confusing terrain. In the context of the extensive promotion work for "The Score" and in the run-up to the upcoming band jubilee "J25" in , Jancree were once again invited as studio guests in one of the broadcasts of "RNF Life"on German TV.

    Jancree and the music editors had selected the song "Out Of Town", which was presented in an especially for the TV-show designed stage set. Here is the TV clip of "Out Of Town" from the Jancree YouTube channel and a few photos showing Jancree before and after the performance in the studio rooms and the artist dressing room. Some of the photos have not been published yet.

    Leon-Rot , Lucy Piller bei allrightnow. Ganz spezieller Dank an: Jancree would like to thank: Leon-Rot Germany for amzing new sounds, Rudi Ille at the drumladen. Leon-Rot Germany , Lucy Piller at allrightnow. Very special thanks to: A tribute to Rock Classics! Their excellent double live album "Night Moves" does not only show their intensive live power by playing outstanding interpretations of songs from many great Rock legends and their brilliant own songs, it also gives an idea to the listener of what the atmosphere is like when you join a Jancree concert.

    Das erfordert viel Ausdauer", sinnieren die Musiker. Der derzeitigen Musikentwicklung sehen die Drei sie sehr positiv entgegen. Einig ist sich die Band aber besonders in einem Punkt: Ehrlich muss sie sein, die Musik. Dazu drei Musiker, die die Instrumente bedienen — fertig ist die Laube. Jancree sind eine gute Rockband. Olaf Steffens b, voc , Diddl Hock git und Klaus Schmid dr bedienen ihre Instrumente nicht nur, sie beherrschen sie und was bei deutschen Bands ganz selten ist: Wer sie einmal gesehen hat, will immer mehr Dabei sind sie mehr als ein Echo aus der Vergangenheit: In einer Zeit, in der seelenlose Casting-Bands so schnell wieder verschwinden, wie sie auftauchen, sind Jancree genau das, was wir brauchen.

    Ganz klar ein Live-Album! Allerdings gab es keinen verwendbaren kompletten Mitschnitt eines Konzertes und so war man gezwungen, die Songs stellenweise soundtechnisch anzupassen. I awoke last night to the sound of thunder How far off I sat and wondered Started hummin' a song from Ain't it funny how the night moves When you just don't seem to have as much to lose Strange how the night moves With autumn closin' in Bob Seger - Night Moves.

    What kind of recordings had still been missing in the Jancree discography up to then? Clearly a live album! Similar to the compilation of the live footage for the DVD "The Camera View", which was released in , there were also many audio recordings taken of the band's concerts over the years. After finding that a live album had to be released, however, during the club tour in and , concert recordings were still to be made.

    Up until now, only one recording device had been connected directly to the live mixing console, but this time, room microphones and a separate recording mixer should also be used to get the best possible sound material. Already during the "Backdates Tour" a lot of recordings arose and so the trio together with studio owner Helmer Rick always had to listen through hours of recorded material to find the suitable takes. Of course, Jancree were an excellent live band, who mastered their craft, but sometimes small mistakes happened: Sometimes, however, simply the recording device short-term striked or something else was defective.

    All things, which don't matter at all or just little live on stage and are part of the live experience of a concert, but do not match on a CD recording. At some point, the 26 songs from the back then setlist, which should be on the live album and which perfectly reflected the atmosphere of a Jancree gig, were put together. However, there was no suitable complete recording of a whole concert available and so one was forced to adapt the songs in sound-technical terms. There were very cool takes from smaller clubs, which of course sounded different in comparison to the recordings in larger halls, but in the end these differences could be balanced and adjusted in the Weinheim based studio.

    Also later smaller passages, for example, a guitar part with a bit detuned guitar. The work including the song selection lasted from spring to summer , but one wanted to achieve and deliver the best possible result. In the end even an excellent double album was released, which was finally published in the autumn of the year band anniversary in The title of the album "Night Moves" was inspired by the Bob Seger song of the same name, which Olaf Steffens had sometimes heard on the radio late at night or the early morning hours after a gig during the club tours driving home or back to the hotel.

    Darunter waren viele Pressefotografen und freischaffende Fotografen. Etwa kam ein bis dato weitgehend unbeschriebenes Blatt in diesem Metier dazu. In their almost twenty-year career on the stage Jancree had been working with the most varied, partly very renowned photographers. Among them were many press photographers and freelance photographers. Around , a largely untitled paper came to this end. The almost year-old, very talented Florian Seiler. A nephew of studio owner Helmer Rick, who was interested in music and band photography early on took photos at a Jancree concert and presented the taken pictures to the band afterwards.

    Jancree were so impressed by the result that they made him almost to "their private photographer" for the next years. Later, Flo also studied media design and is recognized quite well in the business. Here is a small selection of live photos of him from the time when the live recordings for the "Night Moves" album were made and some photos from the "Night Moves"-Tour around Einige Tracks, wie z.

    Jancree legten besonderen Wert darauf, dass es zu einer ausgewogenen Mischung aus eigenen und fremden Songs kam, auch oder gerade im Hinblick auf das Live-Album. A full 26 songs had been selected by Jancree for their double live album. The song selection corresponded to a regular setlist with a bit more than minutes of pure music. However, a Jancree concert could take longer, as the trio was known for concerts lasting up to three hours, when the vibes in the audience were good and the band was in a good mood as well.

    Most of the setlist had already been written during the "Backdates" tour and consisted of their own songs from their previously released albums, which were supplemented by Rock classics that fit seamlessly into the program. Also some songs were exchanged against others from the own backcatalogue from time to time, which was also true for the interpretations of the classics. Jancree put a lot of emphasis on creating a well balanced mix of own and covered songs, also or especially with regard to the live album. Especially "Coming Strong" is even more powerful than the studio version.

    The closing point of the album is then a bonus of a brilliant drum solo by drummer Klaus Schmid, which over the years in various variations was an integral part of every Jancree concert and always formed a special live highlight. The powerful and virtuoso played solo was always announced by Olaf Steffens during the set with the words "Klaus Schmid On Drums!

    With "Night Moves" the band has actually managed to capture the atmosphere and power of a Jancree gig on CD. And it creates, in phases, that very special magic that comes when the band and the audience merge into a single unit and lets a band on stage perform at its peak. Jancree spielten an jenem enthusiastisch gefeierten Abend u. At the end of Jancree were requested — amongst their regular concerts - to participate in the event series "Celtic Circle" in Weinheim.

    It was thought that Jancree should take over the "Rock Part" at the "Irish Celtic Weeks" in the spring of , since until then only bands and performers from the traditionally Celtic Folk music scene had performed there, but countries like Ireland, Wales and Scotland could simply not be reduced to Folk music, since many for Rock music influential musicians came from the above mentioned countries. And as a guitarist, you could not get past names like Rory Gallagher or Gary Moore anyway, and of course Diddl Hock was immediately enthusiastic about the idea, too.

    In addition, Jancree had songs of Celtic Rock music in their live set since a couple of years. Especially vocalist and bassist Olaf Steffens has long been a fan of Celtic music, having come in contact with all sorts of Celtic music on several trips through Brittany, Wales and Ireland and the very special atmosphere that this music sometimes generates Stories behind it, fascinated. Drummer Klaus Schmid also had a penchant for the very special style with Scottish folk songs in the guitar playing of Big Country and the Irish equivalent of Thin Lizzy.

    So it quickly became clear that Jancree wanted to add a few "Celtic classics" to their current live program for a concert and join the series of events. As a special addition, a film show with concert films of well-known bands from the genre should be projected on a large screen above the stage - as a kind of support program.

    Co-organizer Helmer Rick compiled and edited the videos after the band members provided him with videos and concert films from their private collection. And additionally there was Scottish whiskey and especiallyfor the concert series brewed Stout and Irish Stew served during that evening. After the terrific first success Jancree were a few more times asked to be guests of the series, since there was no comparable concert event with such music around and which was also very well received by the audience. Abgesehen davon, dass Jancree ja selbst ein Trio waren und schon immer auch selbst auf Musik von Triobesetzungen standen, wollte man sehen, ob das Alleinstellungsmerkmal in diesem neuartigen Live-Konzept aufging.

    Night Of The Trios" Ende In addition to the regular Jancree gigs and the "Celtic Circle" series, another live concept was added in Behind the title "Night Of The Trios" stands the idea to play concerts with at least one other band in trio settings. It has become increasingly difficult in recent years, due to the huge oversupply of bands and musicians, even for established bands like Jancree, to reach enough audiences to fill concert halls and thus cover half the production costs.

    Apart from the fact that Jancree were a trio themselves and had always liked music of trios themselves, they wanted to see if the unique selling proposition in this new live concept came to fruition. Since Jancree and Stahl had sonorous names, in the Rhine-Neckar aera a location in the direct catchment area was quickly found.

    A sports hall in Lambsheim in the Palatinate region of Germany near Frankenthal offered the perfect setting for the "1st Night Of The Trios" at the end of Since then, other trio nights have followed in different locations with various trios and the unique selling point of the concept really did rise. Ganz nach dem Motto: Already with the cover design for the DVD "The Camera View" one had made very good experiences with the work of Steffen Dietrich and wanted to continue cooperating with him and his work on the cover of "Night Moves".

    True to the motto: The live album should, as usual with this genre, be provided with live impressions to visually implement the concert mood. There were a number of suitable photos by Florian Seiler on this topic, which of course had to be spotted first. Each band member should come in single shots on the cover and booklet and of course the band as a whole. Supplemented by a mirrored photo with technical equipment, in this case a rack with all the tangle of cables behind the stage, which stands for the technology at every Rock concert. This was complemented in set design layout by atmospheric photo prints on the two CDs, which symbolize the movements during the performance.

    Extensive texts and explanations have been omitted in the booklet. The pictures should speak for themselves. Michael Schenk hatte sich bereits einen Namen durch die Tourbegleitung von u. Jancree had targeted three major projects within four years. An unplugged album, a compilation with songs from eight years of studio work and finally a DVD footage, as Jancree had already completed a view TV shows and concerts of the band were filmed from time to time.

    Mostly, however, only filmed to check how the trio presented itself visually and how the whole thing came across live. At the time Drummer Klaus Schmid decisively pushed the DVD project, because he felt that there was now enough appealing footage from Jancree to create an equally appealing DVD for the fans and other interested parties. In addition, the edition of the Jancree videos would nicely add to the compilation of the "Backdates" album and complement it well. Not unimportant was also the fact that in the music business for some time a boom for music DVDs had broken out.

    The signs for such a release were not bad. However, one wanted to supplement not only a simple listing of music clips, the DVD should also be expanded by a few live recordings and special features like photos, the band history and other features. There were a few very usable concert film recordings from the past "Backdates Tour", but one wanted to go a bit further this time and also present a properly planned, organized film recording. Klaus Schmid and guitarist Diddl Hock have made contact with an old, common friend who had meanwhile become a big number in the music video business.

    They could win Michael Schenk then still MS Videoproduktion for the project and since he was also a great Jancree fan for years, he has shorthand made available cameras, a camera operator, a big video screen and other film equipment. Michael Schenk already had made himself a name with the tour guidance of, amongst others, Giana Nanini and Jennifer Rush. And later on there were other major German acts, for example Udo Lindenberg, Peter Maffay and Pur on the biggest stages in Germany, he was setting new standards for by filming their live shows.

    A concert was planned with two cameras filming at the same time and the sequences should be projected during the performance on a large screen in the back of the stage. In addition, an old movie theater in the small town of Lambsheim near Frankenthal Germany was reactivated.

    In the control room of the old cinema were even the old film projectors and on the walls still hung original movie posters from the 60s. This particular atmosphere was to be transferred to the band as well as to the audience on that concert evening. After Jancree had worked with most diverse graphic artists, photographers and graphic designers for the design of CD booklets, posters, promo materials and flyers over the years, Jancree had found a new name in the design of the DVD booklet.

    Steffen Dietrich from ScanXPress was the ideal new partner in design for fast and cost-effective solutions. Through the long experience with designs, Jancree increasingly had more and more concrete ideas for cover concepts. However, you still needed graphics professionals to implement on the computer and one was still open minded for further input of ideas.

    Jancree had the basic idea to take a kind of picture for the DVD booklet that should look like photographed from a TV screen. Everything should be pixelated, with stripes and somewhat blurred the character of an old television image, which Steffen very well implemented and supplemented by some pictures and text.

    So wollte man die Studioaufnahme mit gefilmten Livesequenzen in Echtzeit und Zeitlupe versehen. Geschnitten und tontechnisch bearbeitet vom neuen Studiopartner Helmer Rick in dessen Weinheimer Tonstudio. From the very good footage created with the help of Michael Schenk during the concert film recordings in the historical cinema, much for the DVD could be used.

    Jancree had the idea, during the review of the very extensive footage, to make a video clip for the song "Luck Comes Slow". Thus one wanted to provide the studio recording with filmed live sequences in real-time and slow-motion. Cut and toned by the new studio partner Helmer Rick in his recording studio in Weinheim Germany. The resulting video was then also used for the promotion and booking work. Without your efforts the making would not have been posssible. Das kann man voll und ganz unterstreichen und mehr noch: Zeigen doch die auf der CD versammelten 17 Songs ganz klar, dass sich Jancree im Rockbereich vor niemandem zu verstecken brauchen.

    Die Band war unglaublich viel auf Tour und dazu stand noch ein Standortwechsel an. Man kannte Helmer aus der Zusammenarbeit bei verschiedensten Konzerten und Auftritten auf Festivals, bei denen er oft am Mischpult gesessen hatte. Bei einem dieser Konzerte entstand dann auch das Angebot, in sein Tonstudio zu wechseln, was die Band dankend annahm.

    Allerdings mussten wir nach dem Umzug nach Ludwigshafen unser komplettes Equipment und die Boxen auseinander bauen, da alles voller Schimmel war. Treffender kann man das Dasein als Band in der Anfangsphase nicht formulieren. Between the two albums "The Acoustic Set" and the release of the new album "Backdates" there was just the period of one year. The band was incredibly much on tour by that time and there was also the organization of a moving to a new rehearsal room to handle. Jancree left their long-time rehearsal room in the "Ludwigshafener Musikfabrik" and moved to the other Rhine side to Weinheim on the Bergstrasse.

    The change should bring enormous relief for the already very professional way of working for Jancree. On the one hand, the move to Weinheim ended the long driving for guitarist Diddl Hock, as he had always had to drive from Michelstadt in the Odenwald to Ludwigshafen for the rehearsal sessions. On the other hand, Jancree moved into the premises of the recording studios of Helmer Rick, which enabled the options of fast studio recording. The band knew Helmer since their collaboration at various concerts and appearances at festivals where he had often sat at the mixing desk.

    At one of these concerts, the offer was given to move to his recording studio, which the band gratefully accepted. Over the decades each of the band members had rehearsed in various cellar-holes during their early stages of music-making. Simply about the partly miserable rehearsal room situation of many musicians one could write a book" recalls Olaf Steffens, adding: During winter time we were using electric heaters and had to play with gloves with cut-off finger caps because it was awfully cold.

    Plus the rent was expensive, rats ran up and down the corridors, there were often burglaries in the isolated building and when it had rained heavily, the whole cellar ran full of water. Fortunately, our rehearsal room was somewhat higher in the center of the building and the damage was limited. But we had to disassemble our complete equipment and the speakers after our move to Ludwigshafen, since everything was full of molds.

    Jancree had released a highly praised unplugged album by the press with the CD "The Acoustic Set" in , which as well was very well received by the fans. The acoustic phase in the band career of Jancree also had come to a successful ending with this album and the trio wanted to return to the original "electric sounds" of their Rock music. There was a lot of Techno, Ambient Jazz and other new trends in German music clubs until the early s. Incredibly much had changed and only by an incipient renaissance of the live music particularly in the Ruhr area and the endless engagement of our booker Keegan Jancree were able again to tour with electric guitar.

    Luckily, Jancree had engaged the new guitarist Diddl Hock, an absolute master, who was not only a master of his subject on the acoustic guitar, so it was no problem for the three musicians to return to the roots. The song selection was also big enough and Diddl had no problem with its unique sound style to play songs from the back catalogue and new songs in the well-known Jancree style. Alle Songs sollten zudem digital remastert werden.

    Mit der "Backdates"-CD sollte auch dem Wunsch vieler Konzertbesucher entsprochen werden, die sich am Merchandising Stand nicht alle Alben kaufen, sondern einfach eine ansprechende Compilation mit Highlights der Konzerte erwerben wollten. After returning to the e-set and first concerts, Jancree wanted to return to the fans with a new album as well. However, it should not be a studio album with new songs, but a kind of "Best Of" album with a cross-section from their previous releases and a few new songs in the form of bonus tracks.

    All songs from the past should also be digitally remastered. The "Backdates" CD should also satisfy the wishes of many people in the audience who did not want to buy all albums at the merchandising booth, but simply wanted to buy a compelling compilation with highlights from the concerts. In addition, the time to record a completely new studio album with new songs was simply too short, since there was only one year time between the release of "The Acoustic Set" and the release of the "Backdates" CD It was not easy to make a selection of songs for the compilation.

    After all, you had to handle eight-year-studio material. Jancree have now also been able to understand how other bands and record companies are going to find a balanced mixture for a best-of-album, which is well received by old and new fans. In any case, a few new songs should be added to the album. After all, a new guitarist was on a board and new songs have been composed, which had already received their live fires, and were also well received by the audience.

    Here, the move to a recording studio should be paid off, because you could use the short time between the concerts immediately for studio recordings on site. In the song originally composed by Cameo, Jancree oriented themselves a little bit on the version of the Scottish band Gun, and gave this song with its very cool own arrangement their stamp. A powerful drum, a striking guitars line inspired by Celtic Rock and a familiar melody-proof vocal line with a very catchy refrain.

    The song also reflects the return to some tougher Guitar Rock sounds and you can feel the full energy and joy of Jancree. In addition, "Coming Strong" deals in a personal, pictorial language with the processing of personal destiny that Olaf Steffens has experienced in recent years. Auch bei der Umsetzung der Bookletgestaltung des neuen Albums musste es diesmal etwas schneller gehen. Nach seiner Zusage konnte gestartet werden und so hat er sich ein paar Tage lang durch Unmengen von Fotos aus der Bandeschichte gearbeitet. This time, too, it had to be a bit faster to implement the booklet design of the new album.

    Jancree had the idea to use a kind of photo collage from band portraits and albumcovers for the booklet and asked Gerhard Magin if his full studio calendar would allow the graphic work. After his okay the work could be started and so he worked himself through a lot of photos from the band history for a couple of days.

    His successful collage for the eight-page booklet consisted of partly alienated band photos of Thommy Mardo and Sylvia Drangsal as well as excerpts from the previous albumcovers. The color design is held predominantly in purple and dark blue with the well-known Jancree logo in blazing orange and yellow. The band, Music Enterprises and their booker Keegan wanted to have new and up-to-date material for the promotion work around the Backdates album with the press and the concert organizers. Again, there was not much time available, so the band again chose short paths in the choice of photographers and the choice of the location for the upcoming photo shooting.

    Sylvia Drangsal was again the first choice as for for the "Acoustic Set", so she had already demonstrated her abilities and arrangements were made quickly. As a location for the upcoming photoshooting with the band in the winter of one had chosen free fields in the region of the so called "Vorderpfalz" area in Palatinate. Directly after the release of "Backdates", the tour of the same name started with concerts in clubs throughout Germany.

    Here are a few previously unpublished snapshots from "Schymy's Live Pub" in Krefeld, representing the many gigs of the band during the tour. Owner was no less than the bass player Michael "Schymy" Schymik of the Prog-Metal rockers "Everon" , whose cool live club with its beautiful stage and video screen showing on that evening, so to say as "support", a concert of a Rory Gallagher performance was set up in a former railway station in Krefeld. By the way, "Schymy" is an incredibly very nice guy whose great love for music is expressed in each of his words and sentences.

    Plus three tracks from their nearly endless live set-list recorded and released for the first time. Hail, hail, Rock 'n' Roll! Jancree sind eine Rockband, wie sie im Buche steht, drei Jungs, Schlagzeug, Gitrarre, Bass, mehr braucht es nicht, um richtig heftig abzufahren.

    Dabei blieb das Trio ganz nah am Original. Die Idee ist einfach, doch genial. Ein Hit funktioniert prinzipiell mit Gitarre und Gesang. Partick's Day" im Alten Brauhaus mehr sein. Die Minimalbesetzung zwang das Trio, die Originale etwas zu entschlacken, was aber keineswegs deren Wirkung minderte.

    Wuchtig, knallig, stellenweise aggressiv: Ein Publikum knapp drei Stunden bei der Stange zu halten, ohne dass es langweilig wird, schafft auch nicht jeder — im "Alten Brauhaus" war die Resonanz dementsprechend. Auch hier waren Rose Tattoo einer der Top Acts. Den hab ich doch schon mal gesehen".

    Keegan war so von "The Solitary Dream" begeistert, dass er in einem Telefonat ausgemacht hat: Before the recordings for the unplugged album "The Acoustic Set", there were still two pioneering events on the way of the trio. One of these events took place behind the scenes of a major festival. Almost exactly one year after the backstage meeting at the Rose Tattoo concert in the Maimarkthalle Mannheim Germany , there was a new encounter with that nice, tattooed guy, who had replaced his backstage pass with Klaus Schmid and Olaf Steffens in Mannheim. This time, they met again in the backstage area of the biggest Heavy Metal festival in Germany, the Wacken Open Air where Rose Tattoo was again one of the top acts.

    Klaus remembers exactly how the guy came to the backstage area, and how he thought to himself: I've seen him before. In the course of the conversation between Klaus and Stefan "Keegan" Blomenkamp, it quickly became clear that Klaus is the Jancree drummer and Keegan was a bass player with an ambitious Heavy Rock band from the German Ruhr area at that time. The two have exchanged addresses and promised to send each other their respective productions, which then also happened a few days later. Keegan was so excited about "The Solitary Dream" that he made a phone call: Jancree, however, had already received such or similar promises and offers abundantly over the years and were accordingly skeptical.

    However, the band did not yet know about Keegan's tenacity and determination. And so Keegan spoke with Klaus again after a few weeks to tell him that he had arranged a first gig for Jancree in the Ruhrpott area. This first gig should be the initial inspiration for a long-term collaboration and friendship with "this tattooed, long-haired guy from Duisburg", which should also lead to unbelievable many concert bookings across Germany in the following years.

    It even went so far that Keegan somehow hung up his job as a bass player and took over the booking of Jancree completely. Astor hatte vor dem neuen Projekt in den USA u. Die beiden verbliebenen Ur-Jancree Olaf Steffens und Klaus Schmid standen nach dem erneuten Ausstieg eines Gitarristen wieder mal vor der Frage, wie es weitergehen sollte. Olaf Steffens sagt dazu: Fest stand, dass Klaus und Olaf mit Jancree weitermachen wollten, hatte die Band doch noch einige Perspektiven offen.

    Ein weiterer Name, der auf der Gitarristenwunschliste ganz oben stand, war der Ex-Muddling Through Gitarrist Diddl Hock, der gerade projektlos war und absolut in das gesuchte Profil passte. Nach einem ersten Treffen und Austausch der musikalischen Vorstellungen, war schnell klar: The second big event in the run-up to the unplugged production was the, for many surprising, departure of guitarist Michael Kipp after more than seven success- and eventful years with many ups and downs in late Jancree had also been touring successfully alongside their "E-set" for several years with their "Acoustic Set" through numerous clubs in South and West Germany and they had recorded three albums together.

    Michael was very disappointed about the fact that with the help of "Luck Comes Slow" it had not come to the great break through he had hoped for. Once again the trio had made enormous progress in its development, consolidated its reputation as an extraordinary band, gained further fanfare through the many concerts and received enormous feedback from the music press. But couldn't break through the thin ice making it up to the very top.

    Perhaps, from today's point of view, a second single or a complete album would have to be added directly after the release of "Luck Comes Slow", but Music Enterprises had only planned this one production, and Jancree had no majordeal for further large-scale promotion and production activities. They simply did not have the financial resources that would have been necessary to stick a bit longer and stubbornly to the radio stations and labels. Michael had informed the two other band members already in the spring of that he will leave Jancree at the end of the tour until autumn that same year.

    Klaus Schmid and Olaf Steffens were surprised at first by the decision, but reckoned Michael however highly that he at least carried the still open tour dates very professionally to the end. Frustrated after his leaving of Jancree Michael Kipp had joined another trio around Rock drummer Astor from Mannheim, which tried to land a majordeal with a few songs. Astor had, before the new project, casted for the tourband of Billy Idol, which has somehow failed. However, Astor was tough and clear with his estimation of things around his planned trio: This was exactly what should happen.

    The two remaining original Jancree Olaf Steffens and Klaus Schmid were again confronted by the question after the renewed leaving of a guitarist how they should continue. Jancree were now an established band with four releases in their back and now also had a dedicated booker at their side. Did Jancree actually have a guitarist problem, as some were rumbling in the scene after the second guitarist had already left? In a band with four or five members things can be compensated for a while, but not in a band with three musicians. It was clear that Klaus and Olaf wanted to continue with Jancree since the band still had some perspectives open.

    And it was also clear that, in the case of the guitarist search, the human component should play an important role in addition to the craftsmanship. In the first few weeks, the two guys explored the guitarist scene after Michaels exit and initially thought of Chris Oz, which would have suited the desired profile. Chris was flattered in the phone call with Olaf at first, but had to cancel, as he was at the time fully engaged in his producer activity and at the same time working with an experimental Ambient duo. Another name, which had a high ranking position on their guitarist's wish list, was the ex-Muddling Through guitarist Diddl Hock, who was now projectless and fit perfectly into the desired profile.

    A master on the guitar, with lots of live and studio experience and also absolutely sympathetic and thus also a human hit. In addition, one knew at least about each other extensively from the music scene and knew about the mutual musical career paths. After a first meeting and exchange of the musical ideas, it was quickly clear: Die Songs wurden in wenigen Tagen live eingespielt, war das Trio doch durch die gemeinsamen Auftritte und intensive Probenarbeit auf den Punkt fit. Diddl Hock was able to play the songs of the Acoustic Set in record time.

    He had also very quickly integrated into the band and had already completed the first concerts from spring together with his new comrades. The "Acoustic Set" had been an integral part of the band's repertoire since , and Jancree had already played some successful gigs, and it seemed to be more than logical and consequent to record and release an unplugged album with a selection of songs from the live setlist.