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Ринат Ибрагимов пишет:
Словацкая. |
Тогда была еще ЧЕХОсловакия!
И тогда Мариан Варга сотоварищи с Музыкальной коллегией были приписаны к Czech rock band!
Gattch biography
Referring to GATTCH means not only to highlight a reasonably legendary (in its time) Slovakian band, but also adding another piece of puzzle to the history of progressive rock and how it evolved in that country, or in Czechoslovakia altogether. The band considerably took the 60s feel into a new decade, proving to be main actors throughout their short spanned career.
Still, it is a small matter of debate if GATTCH is of proto-prog renown for Czechoslovakia's slowly developing orientation, offering thus a preset for the mid-70s big bands COLLEGIUM MUSICUM, FERMATA and especially BLUE EFFECT, or rather affirming themselves together with those three and with several others. The filtered influences from late 60s US and British rock music - opposite to neither keeping up with, nor picking any major lead from the contemporary prog bands - and the classic rock format of the ensemble reason towards the former, while the sound and stylistic force, plus perhaps the fact that they're remembered well for their progressive attitude (and slightly mysterious aura), offers a healthy bit of both.
GATTCH was formed in 1969 as a student band, with lust for beat, psychedelic and pop-rock. The name peculiarly stands for the initials of each of the five classical-trained musicians' nicknames: "George" Juraj Stefula on drums, pianist, "Ali" Ľudovít Beladič, bassist "Tony" Anton Lančarič, "Tomy" Tomás Rédey on guitar and violin, and "Charlie" Karol Slanina on the rhythm guitar. The latter departs however very early on. Further changes of line-up happened when Lančarič left in 1972, being replaced by Valentín Čekovský, and when jazz saxophonist and bassist Gabriel Jonás played together with the group in concerts, if only briefly.
Their rock- & jazz-filled, fuzzy-rhythmed but unusually sequenced sole self-titled release (dating 1971) doesn't reflect integrally upon GATTCH's activity, at least given a number of participations in beat music local festivals and competitions, that happened prior to that, between 1969-1971. Nonetheless it is the highlight of GATTCH's abovementioned blend of styles and attitudes, juxtaposing classical conservatory pieces with jazz (even free-jazz), psych, blues and rock, marking signs of experimental rush together with the popular groove, besides an instrumental concept of art-rock brilliance (although, in parallel, there are mentions of vocal songs, with surreal to the ear but supposedly censor-e...Referring to GATTCH means not only to highlight a reasonably legendary (in its time) Slovakian band, but also adding another piece of puzzle to the history of progressive rock and how it evolved in that country, or in Czechoslovakia altogether. The band considerably took the 60s feel into a new decade, proving to be main actors throughout their short spanned career.
Still, it is a small matter of debate if GATTCH is of proto-prog renown for Czechoslovakia's slowly developing orientation, offering thus a preset for the mid-70s big bands COLLEGIUM MUSICUM, FERMATA and especially BLUE EFFECT, or rather affirming themselves together with those three and with several others. The filtered influences from late 60s US and British rock music - opposite to neither keeping up with, nor picking any major lead from the contemporary prog bands - and the classic rock format of the ensemble reason towards the former, while the sound and stylistic force, plus perhaps the fact that they're remembered well for their progressive attitude (and slightly mysterious aura), offers a healthy bit of both.
GATTCH was formed in 1969 as a student band, with lust for beat, psychedelic and pop-rock. The name peculiarly stands for the initials of each of the five classical-trained musicians' nicknames: "George" Juraj Stefula on drums, pianist, "Ali" Ľudovít Beladič, bassist "Tony" Anton Lančarič, "Tomy" Tomás Rédey on guitar and violin, and "Charlie" Karol Slanina on the rhythm guitar. The latter departs however very early on. Further changes of line-up happened when Lančarič left in 1972, being replaced by Valentín Čekovský, and when jazz saxophonist and bassist Gabriel Jonás played together with the group in concerts, if only briefly.
Their rock- & jazz-filled, fuzzy-rhythmed but unusually sequenced sole self-titled release (dating 1971) doesn't reflect integrally upon GATTCH's activity, at least given a number of participations in beat music local festivals and competitions, that happened prior to that, between 1969-1971. Nonetheless it is the highlight of GATTCH's abovementioned blend of styles and attitudes, juxtaposing classical conservatory pieces with jazz (even free-jazz), psych, blues and rock, marking signs of experimental rush together with the popular groove, besides an instrumental concept of art-rock brilliance (although, in parallel, there are mentions of vocal songs, with surreal to the ear but supposedly censor-edited lyrics). Proggnosis makes associations between this sample of Eastern European Rock and the UK music of PROCOL HARUM, THE NICE (by its classical component), TRAFFIC or Pretty Things.
History ended for GATTCH around 1973 or 1974, with most of the musicians signing up in other collaborations or approaching pop. In 2002, Sony Music/Bonton released the Komplet compilation, with the old studio material, archive photos and an extra live 1972 recording, where they step up into the world of improvisation and sophistication more than ever.
Founding member Ľudovít Beladič died in 2001.
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