While I hate to turn my less-active blog into nothing more than an obituary site for fabulous musicians who have flown away, I do also need to note the passing of the legendary Holger Czukay last week at the age of 79. He was rightly and most notably famed for his pioneering work with the German group Can (who also lost his rhythmic partner, drummer Jaki Liebezeit, earlier this year), but his solo career and work since that time with a variety of other collaborators (e.g. Brian Eno, Jah Wobble, The Edge and others) was also always interesting, envelope-pushing and eccentric. There are three facets of his talents and persona that I consider particularly notable. First he was obviously an amazing bass player, half of one of the grooviest rhythm sections ever, as evidenced by this Can cut, “Oh Yeah!” from their Damo Suzuki era . . .
Second, Czukay was also a sonic pioneer in his use of found sounds, radios, tapes, and the radical manipulations of the same. He is often considered one of the originators of sampling, though in pre-digital days, he had to do it with razor blades and tapes and other gee-gaws and gimcracks. During his latter days with Can, Roscoe Gee joined the band on bass, freeing Holger up to work his sonic magic on stage, per this Can clip, “Don’t Say No” . . .
Finally, Holger Czukay was such a delightful character, with his distinctive mustache and hair and smile and mannerisms, coming across like the kooky uncle that every kid would just love to have in his or her life. Check out this interview where he introduces his band mates for proof and confirmation on this piece . . .
So we lost a lot when he passed away in his apartment last week . . . which just so happened to be in the converted theater that Can used as their “Inner Space Studios” all those years ago.