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Hace 2 días · Within the Can Live series, this is the first to feature bassist Rosko Gee (Traffic) who had recently joined Irmin Schmidt, Jaki Liebezeit, Michael Karoli, and Holger Czukay (who, relieved of bass duties is credited with “waveform radio and spec. sounds” on the album), and would perform with them until the band’s split in 1979.
Hace 1 día · Within the Can Live series, this is the first to feature bassist Rosko Gee (Traffic), who had recently joined Irmin Schmidt, Jaki Liebezeit, Michael Karoli and Holger Czukay (who, relieved of bass duties is credited with “waveform radio and spec. sounds” on the album), and would perform with them until the band’s split in 1979. ...
12 de may. de 2024 · Even before the album was released, Traffic went back on the road with a vengeance, augmented once more by Baah and also new bassist Rosko Gee. Between February and May 1974, they played 40 dates around the UK and Europe, hitting a stride.
Hace 1 día · This record captures the band’s 1977 performance in Aston and features Schmidt (keyboard & synths), Jaki Liebezeit (drums), Michael Karoli (guitars), Holger Czukay (wave receiver & spec.sounds), plus Rosko Gee (bass), who appears for the first time in the series.
Hace 1 día · As such, Aston doesn’t actually bear that much resemblance to Saw Delight, released just a few days before this performance at Birmingham’s second university on 4 March 1977.Baah is absent and Gee is relatively low in the mix for the most part. But what it does share with Can’s later live sets – for instance, Live in Cuxhaven 1976 from the same series – is a feeling of spaciousness.
19 de may. de 2024 · Rosko Gee of Traffic. The percussionist of. also joined the group Traffic Rebop Kwaku Baah together with Czukay, Irmin Schmidt, Jaki Liebezeit and Michael Karoli. The then new album by Can, “Saw Delight”, did not receive good reviews from the press of the time. The German formation together with Gee and Kwaku Baah would record ...
I’m not as familiar with the Traffic material with Rosko Gee, but I think he takes on the role of bassist in Can very naturally. His playing has a quality reminiscent of dub reggae that I quite like, and there’s tons of great grooves on the album largely courtesy of him.
