Słabo znana niemiecka grupa jazz rockowa, która zadebiutowała w 1975 roku albumem "Double Face" w składzie: Evert Brettschneider (gitara akustyczna i elektryczna), Aloys Kott (bas) i Michael Jüllich (perkusja, tabla, flet, marimba). Nagrania na płycie powinny zainteresować amatorów poszukujących eksperymentów w muzyce, zawiera bowiem sporo ciekawej improwizacji jazzowej z odrobiną etnicznych elementów. W następnej kolejności wydają jeszcze dwie płyty, "New Marks" w 1978 i "Musik" w 1981 roku.
In late 1960s, drummer Michael Jüllich and bassist Alois Kott launched the concept of a trio straddling the “border” erected by the media between the rock and jazz scenes. Continental Europe had none of the race divisions that were still determinant for the development of separate musical trends on the other side of the Atlantic. The openly avant-gardish evolution of German rock music in the following years allowed Contact Trio to develop into a tight unit incorporating explorations into jazz improvisation, contemporary composition and ethnic percussion. Contact Trio really took off when Evert Brettschneider joined on guitar in 1973.
The band’s parsimonious tapestries were an antidote to over-orchestrated pedantry and calculated, aseptic guitar races that began to dominate derivative jazz-rock by that time. Rather, the members of Contact Trio opted to nourish a mutual intrigue, but always foiling a full-blown arousal. Their reed-less style, sometimes compared to Giger-Lenz-Marron or to Electric Circus, remained diagrammatic and introspective. Despite the unquestionable quality of their music, their records never accrued the type of cult following that did many of their contemporaries. (sonicasymmetry)
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