The Cosmic Jokers
Over a series of acid-fueled all-night jam parties at Dierks Studio in 1973, Die Kosmischen Kuriere ("Cosmic Couriers") label musicians Klaus Schulze (Tangerine Dream), Harald Grosskopf and J√ºrgen Dollase (both of Wallenstein), Manuel G√∂ttsching (Ash Ra Tempel), and Dieter Dierks assembled. The result spawned a cosmic barrage of stream-of-consciousness experimentation with immersive sound loops and kinetic rhythms, awash in interstellar guitar sorcery and sound effects. Unbeknownst to the musicians involved, this magic was captured on tape by label head Rolf-Ulrich Kaiser and Gille Lettmann. When a mysterious group called The Cosmic Jokers appeared on the label the following year, the affected musicians took legal action, dissolving the contracts effectively ending the label. Thankfully, the magic was committed to immortality and now exists in its space rock glory. With original vinyl pressings going for hundreds of dollars, this latest reissue -- fully licensed and remastered from the original analog master tapes at the original recording studio -- puts this essential listening in the hands of more listeners.
The 48-year-old master tapes remained in excellent condition. With Dieter Dierks himself collaborating, this latest edition truly benefits from modern technology with a marked improvement over bootleg copies and original pressings. Despite being shunned by the original musicians, the music solidly stands as a prime example of the height of freeform creativity without limits, freedom of exploration at the hands of already skilled musicians. G√∂ttsching, influenced by the free jazz movement and already breaking new exploratory ground on electric guitar in Ash Ra Tempel, joins his musical partner Klaus Schulze, fresh from Tempel and Tangerine Dream. Grosskopf had previously partnered with them for Walter Wegm√ºller's 1973 Tarot, the project initiated by Timothy Leary, who had partnered with Tempel on 1973's Seven Up. G√∂ttsching, Schulze, and Groskopf form a key trio. G√∂ttsching's improvisational guitar work remains central to the album, bearing more than a passing resemblance to Tempel but flowing with, around, and over Schulze's droning organ, with Groskopf exhibiting his practice hand on drums, each embracing their part with controlled abandon within a larger whole. Dollase lends beautiful keyboard work with piano, Farfisa, and mellotron, while Dierks' often dark and ominous bass playing lends just enough rhythmic grounding for music that continuously takes flight.
After years of sub-par reissues, it's terrific to have such a quality release of this cerebral music, not to mention one more easily obtained. Crisply defined drum strokes, rich guitar acoustics, and distinctly audible electronic effects make this a joy to revisit, with the overall sound unmuddied and flawless.