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Passport - To Morocco (2006)

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Genre: Jazz

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Passport was actually the name of a Klaus Doldinger group album, issued in 1971, that proved so popular that in reality Passport became the name of the band and Doldinger the album title! Klaus had tried numerous different types of music before this, but his most successful in progressive realms was Motherhood. Actually Motherhood had a good name, as they gave birth to two bands: Hallelujah (Forsey and Vincent) and Passport (the rest of the band, with Amon Düül II cohorts Kübler and Jackson).

MPS producer Joachim-Ernst Berendt was fascinated at how Passport "combined the best rock talents on the German scene" as a jazz fusion band. It's easy to see why it proved so popular at the time, as the Munich music scene was booming with weird musics, and the Passport approach with its strong melodic context and powerful arrangements, added up to a more widely accessible music. Extremely early for featuring synthesizer, with Jimmy Jackson's haunting keyboards, and excellent use of winds, it's one heck of a powerful fusion. Klaus had come up with a winning combination, yet it didn't last long.

Not deterred by this, by the time of SECOND Klaus had a new band together, with English musicians John Mealing and Bryan Spring who never stayed around long. This made for an album that related more to the British "Canterbury" jazz-fusion sound. This was taken a step further on HAND MADE, which featured Frank Roberts before joining Isotope. This era saw a move to music reminiscent of Soft Machine and Nucleus, with a new Passport style growing out of it gradually.

Next, we have the most famous stable quartet (for a few years, at least) of all-German musicians who debuted on LOOKING THRU. Defined by powerful rhythmic structures, Doldinger's unique saxophone style, a wealth of keyboards and synthesizers, and Curt Cress' superb drumming, Passport continued to progress and develop for the next three years, with two more excellent studio albums, and also two very varied concert documents with Passport augmented by famous jazz friends. Arguably the finest of this era is CROSS-COLLATERAL, a highly synthesized almost "cosmic" Krautrock jazz, that only could be German, featuring powerful and atmospheric spacey drives topped with all manner of solos.

IGUACU, recorded in Brazil, was the last album by this incarnation, but didn't really work as a Passport album being diluted by too many Latino and ethnic touches. Obviously the band thought so too, and it seems they all left during its recording to work on other projects. See: Curt Cress, Kristian Schultze and Wolfgang Schmid entries to learn more.

Again, a new Passport was born, starting with the highly synthesized ATARAXIA, but thereafter something went radically wrong, the rot set in, as soul and pop songs ate into the music. In all fairness, Klaus should have called it a day with IGUACU, and established a band under a different name. But, like most bands, a marketable name meant a string of mediocre albums throughout the 1980's. A shame when one considers how creative the era of 1971 to 1976 was. Partly recapturing the old spirit, Curt cress returned and Hermann Weindorf (ex-Zara-Thustra) replaced Hendrik Schaper on keyboards. In 1990 it was all-change again, with another cast of international musicians, with a new German percussion section of Wolfgang Haffner and Ernst Stroer. The recent live album release amounted to an interesting concoction of old and new styles.

A little plug now for my (Alan Freeman) Passport CD compilation PASSPORT CONTROL which appeared in 1997. This CD samples the classic Krautrock era of Passport, and includes the rare "Yellow Dream (Live)" from the JOURNEY INTO SPACE sampler, and the classic Philip Catherine penned "Angel Wings" from DOLDINGER JUBILEE '75, adding up to the ideal Passport introduction. ~ the crack in the cosmic egg

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Tracklist

1. Medina

2. Merbha

3. Riyad el cadi

4. Zidane

5. Djemaa el-fna

6. Lied an den Morgen

7. Pas de quoi

8. Maalech

9. Barma Soussandi

10. Sahara Sketches

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