Burnin' Red Ivanhoe - M144 (Den 1969)

Burnin Red Ivanhoe - M144 (Den 1969, prog rock-2CD)

Formed: 1967, København, Denmark

Members:
* Karsten Vogel (saxophone, cello, organ),
* Steen Claësson (vocals, guitar),
* Kim Menzer (flute, violin, trombone, harmonica),
* Ole Fick (guitars, vocals),
* Jess Stæhr (bass),
* Bo Thrige Andersen (drums)

Related Artists:
The Baronets, Dårskabens Hus, Day of Phoenix, Maniacs, Secret Oyster

Also Known As: M/S Mitte - The Burnin’ Red Ivanhoes

Genres: Progressive Rock

Discography:
01. M144 (2LP) - 1969 Sonet
02. Burnin' Red Ivanhoe - 1970 Sonet
03. W.W.W. - 1971 Sonet
04. Miley Smile/Stage Recall - 1972 Sonet
05. Right On - 1974 Sonet
06. Burnin' Live (MC) - 1974 Instant Sound
07. Shorts - 1980 Pick Up Pulp
08. Spotlight Burnin' Red Ivanhoe 1969-74 (CD) - 1990 Sonet Spotlight, compilation
09. Lack Of Light - 1998 Polygram
10. Povl Dissing with Burnin' Red Ivanhoe: 6 Elefantskovcikadeviser - 1971 Sonet

Tracks:
Disc 1:
01. Ivanhoe i Brøndbyerne 3:52
02. Ridder Rød 3:52
03. Saxophone Piece 1 2:14
04. Marsfesten 5:30
05. Antique Peppermint 6:46
06. Indre landskab 2:56
07. Jiizlou 2:39
08. Kaj 2:41
09. Tingel-tangelmanden 5:26
10. Læg dig kun ned 3:33
11. Saxophone Piece 2 1:51
12. Medardus 6:35
13. Purple Hearts 5:40
14. Larsen 3:32
15. Oyizl 6:34
Disc 2:
01. Ivanhoe in the Woods 5:14
02. Ida Verlaine 4:16
03. Sensitive Plant 3:18
04. Inside 2:45
05. Ksilioy 10:32
Bonus Tracks:
06. Opera 2:21
07. Omegnens poesi 2:34
08. Fødelandssoldatersang [Recorded live in Germany] 2:24
09. Why Don't You Trust [Recorded live in the studio] 3:39
10. Purple Hearts [Recorded live in the studio] 3:50
11. Kaj (1997) 3:52

When BRI released their debut in 1969 the band existed already for two years. Thus it’s not surprising that they’ve gathered already enough material to fill a double vinyl. Originally their music was rooted in bluesrock with a strong psyche folk influence as demonstrated in most of the shorter tracks. Dominated by organ and electric guitar with some flute or mouthorgan thrown in at times one could call their style here “The Doors meet Tull”. Some (at least for me) weaker songs offer a rather quiet and ballad-esque folk with a slightly odd touch reminding sometimes to a kind of glee club for drunkens (especially on the CD-bonus). But this is showing just one face of them since the longer tracks (basically on the second vinyl) are revealing a quite different, much more progressive character. Versatile and intricate jazz and brass rock full of verve using a broad instrumentation and with great solos of flute or sax. Highlight of the album is most probably "Oyizl" coming close to free jazz. Unfortunately some of the tracks had been shortened to fit on the double CD. I’d wish the more or less redundant bonus songs would have omitted instead.
As a summary M144 is a very remarkable debut and especially for the year of 1969 a noteworthy album containing many of their best jazz rock tracks but as well quite a few average and some rather weak ones. Thus it can be considered rather as a nice collection of songs than as a coherent work. I don’t see an urge to recommend it as an essential addition to a prog fan’s collection though certainly interesting for collectors of obscure Danish proto prog. Personally I prefer their fellows Secret Oyster and to those who are completely new to BRI I’d like to recommend their self-titled one which I’d like to call their best though offering less quantity for its money of course.
~ by hdfisch (RYM).
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One of the earliest (if not the earliest) progressive rock album of Scandinavia and certainly of Denmark (along with Culpepper’s Orchard), BRI’s debut album is also notable for being a double one (fighting with Norway’s Junipher Greene for that title) and is filled with very diverse influences. Resolutely rock in spirit, the album oscillates between the blues, soul, jazz (or more likely jazz-rock) and many more folkloric styles, without actually being folky.
Armed with their double-wind section attack (the group is actually an septet – two different bassist used - if I judge by the album credits), the group’s evident forays would of course head towards jazz, and therefore jazz-rock, but a strange mix of Chicago Transit Authority and Colosseum. To say that such an obscure rtecord received the best of production in lonely Copenhagen would be the over-statement of the year, but the album has not really azged badly either.
One of the strange things about this album is that although there are some twenty tracks, none of them obviously jump out as highlights (well maybe - just maybe - Purple Heart and its follow-up Larsens), and likewise none are weaker than just average. But it does appear that the second disc is slightly better than the first, but I am not sure where which stops and which starts for I review the CD version..
Just barely noticeable is Claesson’s violin in Kaj, Menzer’s flute in the following Tingel- tangelmanten (whatever…;-), but we do notice the mouth harp (over-mixed) in Laeg Dig. The blues are an indispensable part of their repertoire and therefore maybe creating a slight sense of disinterest for part of the album, but be careful not paying attention; you could be missing out something the second you start drifting. And you might just bne missiong the impressive Killjoy finale.
Karsten Vogel (a jazz scene hanger-on since 61) would then go on as the leader of Secret Oyster, which is aptly, named since this group still remains one of the best-kept secrets of Denmark, and safely tucked away in an oyster. Back to this debut album, although hardly essential, if you are into Colosseum, this (BRI’s early albums) could be a must for you. Having borrowed it for the last month from a friend for reviewing purposes, I still contemplate whether acquiring it or not. And believe me, this is tough choice for there are superb moments in it, especially given its age and its background. Written by Sean Trane.
~ by Lisa Sinder.

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