Puppenhaus -

Puppenhaus was a German jazz-rock band that recorded a 52-minute SWF session in 1973. The session was ultimately combined with 25 minutes of 1974-era live material on the CD Jazz macht Spazz, released in 2009 by archivists Long Hair.

Members: Bea Maier [Berthold Maier] (drums), Frank Fischer (bass), Büdi Siebert (flute, saxophone), Thomas Rabenschlag (keyboards, 1972-75), Herbert Binder (guitar, 1972)

Background

Puppenhaus formed in 1969 in southern Germany as Puppenhaus Kaiser Blumenstrauß, a schoolmate trio of flutist Bea Maier, drummer Helmut Krebs, and bassist Frank Fischer. Joined shortly after by guitarist/saxophonist Büdi Siebert—who swapped instruments multiple times before committing—the group evolved from weekend rehearsals in a Göppingen factory into a tighter, more exploratory unit inspired by Frank Zappa, King Crimson, and the Mahavishnu Orchestra.

In 1971, they relocated to a converted farmhouse near Tübingen, where they lived communally and rehearsed daily. The group’s musical complexity deepened with longer, jazz-leaning structures. Pianist Thomas Rabenschlag joined in 1972, solidifying a lineup that gigged extensively and drew a cult following across southwestern Germany. In their later phase, Puppenhaus integrated road manager Wolfgang Grupp and operated as part of the region’s musician avant-garde. Amid shifting political currents and growing interest in meaningful lyrical content, the group ultimately splintered by mid-decade.

Jazz macht Spazz

In 2009, archivists Long Hair issued Jazz macht Spazz, a collection of 1973–74 Puppenhaus material.

The album captures the group’s fluid interplay at its peak, with angular guitar themes from Herbert Binder countered by the darting runs of keyboardist Thomas Rabenschlag and the reed modulations of saxophonist and flutist Büdi Siebert, whose lines veer between darting, shrill, and serene depending on the section. Vocal phrases emerge between instrumental turns, often underscoring the group’s dynamic shifts and irreverent tone.

Jazz macht Spazz runs on fast reflexes and abrupt contrasts, shifting from hard-charging ensemble blocks into airy resets without losing momentum. “Anfang” pivots through alternating, clenched motifs and blues-leaning turns, with Büdi Siebert’s flute/sax lines threading through the band’s rising intensity before a late drift into a suspended, dreamlike electric-piano passage. The title track keeps a steady mid-tempo cruise, letting soprano sax steer the phrasing while electric piano darkens the harmony and a brief drop-out section opens space for an ethereal flute-led interlude.

“Swingende Elefantenkompanie” stacks extremes—blistering pace and shredding guitar, then a sudden glide into gentle electric piano and winsome flute—before snapping back into frantic acceleration and marching figures that unravel into chaos. “Let the Pig Out” turns comic and feral: breathy flute and vocalized sound effects give way to a frenetic, tightly synchronized heavy-riff cycle. “Improvisationen” stretches into a long-form sprawl with ominous atmosphere, distorted electric piano color, extended tenor sax statements, and a midsection flute solo that blends instrumental tone with voice; later, bass and drums surface in exposed, athletic passages before the ending thins into sparse sax and electric piano.

1. “Anfang” [Beginning] (10:41)
2. “Jazz Macht Spazz” [Jazz Makes Fun] (7:54)
3. “Swingende Elefantenkompanie” [Swinging Elephant Company] (10:47)
4. “Let the Pig Out” (5:58)
5. “Improvisationen” [Improvisations] (17:04)
6. “Fünfmal Schnitzel Mit Pommes Frites” [Five Times Schnitzel with French Fries] (11:54)
7. “Sabanone” (13:04)

Tracks 1 to 5 were recorded live by SWF at Studio U1 in Baden-Baden on December 28, 1973, and June 1, 1974, engineered by Franz Wagner and produced under the direction of Roland Schaeffer. Tracks 6 and 7 stem from a June 24, 1974 performance in Ludwigsburg, captured and licensed independently by the band.

Jörg Scheuermann handled digital remastering for this 2009 CD release, issued by Long Hair and Malesch Records under license from SWR Media Services and Puppenhaus. The package includes a 12-page booklet with archival photos and notes translated by Dr. Martina Häusler, and artwork contributions by Bea Maier and shapefruit AG.

Postlude

Büdi Siebert joined Hoelderlin and played on their 1976–79 albums Clowns & Clouds, Rare Birds, and New Faces. Post-Hoelderlin, he played on 1980/81 albums by BAP, M.E.K. Bilk, Orexis, and Anne Haigis. He interacted with Thomas Rabenschlag on the 1978 album Silchers Rache by folkster Thommie Bayer. They both joined Herrgottsax, an avant-garde jazz-rock octet behind the 1981 album Seibold Seiergesichts Sündige Saxofone on Eigelstein Musikproduktion. Siebert’s first solo album, Hmm, appeared in 1983 on Bibi Records. Further credits include mid-80s albums by Cassiber, Friedemann, Zupfgeigenhansel, and Goebbels & Harth.

Frank Fischer backed Carsten Bohn in the ex-Frumpy drummer’s 1977 project Bandstand and joined Release Music Orchestra for their 1978 album Beyond the Limit. He appeared on subsequent albums by Blonker, Elephant, and Pierre Moerlen’s Gong.

Berthold Maier joined Zomby Woof for their 1977 album Riding On a Tear.

Discography: