Roedelius, Hans-Joachim - Roedelius Plays Piano (Live in London 1985) 180 gram vinyl lp with download code (due to size and weight, this price for the USA only. Outside of the USA, the price will be adjusted as needed)

Not a reissue. First-ever release of this archival item.

"Breathtakingly beautiful piano fantasies from the year 1985 -- released for the very first time! In 1985, Hans-Joachim Roedelius was still perceived by the music community as an electronic artist. Yet ever since acquiring his Bösendorfer grand piano in 1983, his interest had grown in the most royal of instruments: the piano. While staying with Brian Eno in 1985 (they had collaborated earlier in the '70s), Roedelius composed a wealth of new material on his friend's two grand pianos (or, as Roedelius would say: the music flew to him). He organized a series of concerts to introduce his new musical direction, with the Bloomsbury Theatre in London amongst the venues. Guests included Brian Eno and The Edge, with Roedelius taking the belated opportunity to use the artwork to thank them accordingly for their support. For Roedelius, this London concert remains one of the highlights of his career: "At the Bloomsbury Theatre I encountered a Steinway grand piano of exceptional quality. I was thus given the perfect opportunity to put my ideas of simple piano rendition into practice. For me, the aural explorer, it was a gift from heaven," he describes of the instrument. The audience responded enthusiastically. "People were kneeling down before me in gratitude and happiness," Roedelius recalls. And anyone who listens to the recordings will understand why. Roedelius plays his way through 21 delicate, drifting piano fantasies, sometimes meandering dreamfully, often progressing towards gorgeous, deeply moving melodies. Asmus Tietchens musings on Roedelius' 1991 opus Piano Piano are just as valid here: "His music is quiet and focused, but to call it contemplative or even meditative would also be wide of the mark: not all music which draws us out of ourselves is accompanied by spiritual pomp." (Fortunately, there is no audible trace of the audience at any point of the recording.) Which leaves us with the question: why did we have to wait 25 years for this treasure to see the light of day? Roedelius explains: "I always knew that this concert would have to be made available some day, I was just waiting for the right moment, for the right partners who would do it justice.'"