Saturday, April 2, 2022

ZAO - 1976 - Kawana

ZAO
1976
Kawana



01. Natura (7:06)
02. Tserouf (8:53)
03. F.F.F (Fleurs For Faton) (2:29)
04. Kabal (4:08)
05. Sadie (3:37)
06. Free Folk (10:39)

Bonus track on Musea CD reissue:
07. Salut Robert! (12:48)

- François Cahen / Yamaha acoustic piano, Fender electric piano, Korg synthesizer
- Didier Lockwood / acoustic & electric violin, artianal bass violin
- Gérard Prévost / Fender bass, hors phase bass, acoustic bass
- Yochk'o Seffer / Soprano & Sopranino saxes, vocals, piano on F.F.F.
- Jean-My Truong / orange double drums

Musicians on "Salut Robert!":
- François Cahen / keyboards
- Bill Gagnon / bass
- Christian Saint Roch / drums
- Yochk'o Seffer / saxophone
- Michel Seguin / percussion




"Kawana" released in 1976 would be ZAO's most popular album thanks in part to how accessible it was, and also to the addition of MAGMA violinist Didier Lockwood. If you want to see Lockwood at perhaps his finest check out MAGMA's "Live / Hhai" record from 1975. Unfortunately when things seemed to be going so well for the band Seffer decided to leave and go solo, so he could do his own compositions and have complete control. Lockwood and Truong would then leave to form a band called SURYA. I have to tell you there is some amazing music on this album. I don't think it's their best, but two songs on here are right up there with their best compositions. Namely "Natura" and "Free Folk". I can't put into words how great the five members of this band are individually. "Kawana" is Hebrew for "pure intention".

"Natura" opens with piano and cymbals / drums before bass and then sax arrives. Violin joins 1 1/2 minutes in.There is a darkness to this song until before 3 minutes in when it changes and the tension disappears. It is so uplifting because the burden seems to be gone and everything is now lighter. The sax after 4 minutes is prominant, but the bass is relentless with the drums.The intensity comes back 6 1/2 minutes in,and it's cool to hear the nod to Zeuhl (MAGMA?) to end it. "Tserouf" is filled with intricate and beautiful sounds. A great rhythm of drums and bass is danced on by the violin and sax. A change after 2 minutes as the tempo picks up. So much going on but everything is in it's right place even at this fast pace. The violin and sax trade solos as Cahen has some fun on the piano. The drumming is outstanding in this fantastic passage.

"F.F.F.(Fleurs For Faton)" or "Flowers for Cahen" features dark sounding piano melodies that are joined by the violin that only adds to that feeling. "Kabal" is led by the sax and drums as the keys are sprinkled in. It turns into a collage of beautiful sounds. "Sadie" is mellow and slower paced with smooth sax melodies and light drums. Violin is tasteful as well. "Free Folk" opens with vocal melodies that remind me a lot of Zeuhl. Liquid sounding keys, drums, sax and bass(it's all over this track) lead the way. A great sound 2 minutes in. The bass and drums briefly become heavy. Check out the violin after 4 minutes. Lockwood shines ! The drumming is incredible ! The bonus track is called "Salut Robert !" and it's a live song at almost 13 minutes in length. A different lineup for this one though as Lockwood,Truong and Prevost aren't on this one. This doesn't disappoint at all, the percussion, sax, bass, piano and drums(o.k. I should have said the whole band) are absolutely killer on this live song.

Another winner from ZAO.

Wednesday, March 30, 2022

ZAO - 1975 - Shekina

ZAO
1975
Shekina




01. Joyl (3:52)
02. Yen-Lang (8:07)
03. Zohar (10:54)
04. Metatron (8:15)
05. Zita (4:34)
06. Bakus (5:12)


- Yochok'o Seffer / saxes, clarinets, vocals
- François "Faton" Cahen / keyboards
- Gérard Prévost Electric / bass
- Jean-My Truong / drums
- Pierre "TV Boum" Guignon / percussion
- Michèle Margand / violin
- Marie-Françoise Viaud / violin
- Françoise Douchet / viola
- Claudine Lassere / cello




I guess I shouldn't be so shocked at how good this album is, I mean Seffer and Cahen were a big part of MAGMA's early sound, and the first two ZAO records blew me away. I really am starting to adore this band. ZAO had to replace Joel Dugrenot on bass as he left to join CLEARLIGHT. So the deep vocal melodies he provided on "Osiris" would be missing on this one, leaving Seffer's higher pitched vocal melodies as the only vocals on this album. And really those vocals are the only link to the Zeuhl sound that is left. Not content to just repeat themselves there are some chamber-rock passages, as well as some dark, atmospheric soundscapes to go along with the Jazz melodies that are at times Zeuhl flavoured. For this record only they added a female string quartet named THE QUARTUOR MARGAND. This made ZAO an eight piece band and gave them more options when it came to the sound they wanted to create. The pictures in the liner notes are a real treat. There is a picture of all eight taken outside with most of them wearing coats. There is another picture of the four ladies all smiling happily, and then one more of them all 8 playing their instruments. When Seffer left the band after the "Kawana" album to do his solo stuff, he did so with the help of the QUATUOR MARGAND on his first album called "Ghilgoul". By the way this album's title is in reference to the place where God's presence resides. I think it resides in this music as well.

"Joyl" hits the ground running with an uptempo melody of sax, drums and keys. It calms down quickly though with sax being the most prominant instrument. The percussion is a nice touch, and the strings make a couple of appearances. This all sounds so good ! "Yen.Lang" features the whisper of the clarinet to open. Very atmospheric as vocal sounds, keys, cymbals, bass and clarinet slowly come and go with no real melody. There is an Eastern feel to this hence the song title. This is so different from anything ZAO has done before. It's far removed from either Jazz or Zeuhl. Violin starts to rise slowly out of this soundscape 5 minutes in getting louder and louder. Drums and clarinet are added. This sounds so amazing ! It's dark and the clarinet is relentless. A real chamber rock sound.

"Zohar" is where Jean-My Truong reveals that he is one of the best drummers on the planet. The bass throbs and the sax blasts away, but it's the awe inspired drumming that is the focus. The string quartet takes over completely 2 1/2 minutes in. I'm reminded of UNIVERS ZERO 3 1/2 minutes in as it sounds quite tense. The quartet stops 5 minutes in as we get a change in climate. This time it's percussion with spacey keys. Nice. It ends with a fantastic jazzy melody that has to be heard to be believed. The sax 9 1/2 minutes in is a highlight. "Metatron" opens with vocal melodies before the song takes off with sax and keys leading the way. The bass is prominant before 2 minutes and the drums are out of control. Vocal melodies are back with bass,drums and keys.This is unreal 3 minutes in. At this point i'm sitting here shaking my head and laughing. Seffer is blasting off sax solo after sax solo. Vocal melodies dominate 7 1/2 minutes in as it gets very Zeuhl-like. "Zita" is a slow moving track with vocal melodies, strings, keys and clarinet all taking part. Well done. "Bakus" opens sounding like a GENTLE GIANT song until the vocal melodies arrive. Uptempo with some more crazy drumming. Sax and percussion after 3 minutes.

ZAO - 1974 - Osiris

ZAO
1974
Osiris




01. Shardaz (4:48)
02. Isis (9:32)
03. Reinna (4:23)
04. Yog (8:05)
05. La Rhune (4:08)

- Francois "Faton" Cahen / keyboards
- Joel "DUD" Dugrenot / bass, vocals
- Yochk'o Seffer / saxes, vocals
- Jean-My Truong / drums, percussion
- Jean-Yves Rigaud / electric violin
- Marc Chantereau / percussion
- Pierre "TY BOUM" Guignon / percussion




On ZAO's second album they have lost the stunning vocals of Mauricia Platon who has left,leaving the vocal duties to Dugrenot (bass player) who sang the low notes, and Seffer who would sing the high notes. There would be two guest percussionists in their lineup as well, and Seffer would not be playing clarinet on this one, only sax. As their liner notes state, they did not wish to have "Osiris" released on a major label and so turned to a new label called "Disjuncta" which had been created by Richard Pinhas of HELDON fame. He was a friend of Cahen and a cousin of MAGMA's singer Stella Vander. Thanks to Pinhas' hard work "Osiris" outsold their debut "Z=7L". One year later the label went bankrupt unfortunately and "Osiris" was deleted. Thankyou "Musea" for reissueing this amazing recording.

"Shardaz" opens with drums and sax as vocal melodies come in. Violin after a minute as the tempo picks up. The vocal melodies are prominant much like what you would hear on some MAGMA records. Piano before 3 minutes, and the bass is nice and heavy that follows. "Isis" is pastoral for 1 1/2 minutes until we get some guitar melodies that come and go as warm sax melodies play on. The drums and sound are building, and the tempo picks up 6 minutes in. Great sound ! Violin arrives a minute later. A calm takes over (that reminds me of the intro) for the final minute of the song. What a ride that was. "Reinna" features drums, bass, piano and sax while Zeuhl-like vocals arrive a minute in causing the instrumental work to take a back seat temporarily. Some great drumming and sax work follows. Piano and violin join in and we are cooking now ! Percussion too as this is quite jazzy.

"Yog" features deep vocals and piano that are contrasted with instrumental outbreaks. I love this stuff ! This is such a beautiful passage.The song takes off after 2 minutes with sax and vocal melodies taking center stage. It calms down 5 minutes in and check out the drumming after 6 minutes ! Vocal melodies end the song. "La Rhune" is a very good song with bass, percussion, drums and piano leading off before sax comes in followed by violin after 3 minutes. The bonus track is a live song that Seffer and Cahen recorded with members from Quebec artist Robert Charlebois' band who showed a great deal of interest in ZAO, and actually recorded three tracks with Seffer and Cahen in 1973. This one is called "Montreal" and it's truly an amazing live Zeuhl song at almost 12 minutes. Guest female vocals along with relentless bass and drums. Seffer especially stands out with his sax work. Cahen is incredible on the keys as well.

This is not as challenging as their debut was, but it's not inferior either. These guys (Cahen & Seffer) were a big part of MAGMA's early sound and also composed a lot of their music then as well. "Osiris" is a feast that is as satisfying for me as their debut.

Zao - 1973 - Z=7L

Zao
1973 
Z=7L




01. Marochsek (7:13)
02. Ataturc (5:49)
03. Ronach (4:39)
04. Atart (3:31)
05. La Soupe (7:20)
06. Satanyia (6:46)

- François Cahen / electric piano, piano
- Yochk'o Seffer / saxophone, clarinet
- Joël Dugreno / bass
- Jean-Yves Rigaud / electric violin
- Jean-My Truong / drums
- Mauricia Platon / vocals




ZAO was founded at the beginning of the seventies by Yochk'o "Jeff" Seffer (saxophone, clarinet) and François "Faton" Cahen (pianos), both ex-members of MAGMA's first era, that includes "Kobaïa" (1970), "1001 ° centigrades" (1971) and "Uniweria Zekt-the Unnamables" (1972).

If one regard MAGMA as the central trunk of the Zeuhl tree, ZAO would be equivalent to an early side branch very close to the stock. ZAO's music, at least at the beginning of their career, is therefore an extension of MAGMA's first era, with a light music, at times weird, with hints of jazz, contemporaneous music, Hungarian folk (Yochk'o is a native of Hungary) and obviously of Zeuhl. Nothing in common with the absolute incantatory power of "MDK" and "Kohntarkhosz" to which Yochk'o Seffer and François Cahen didn't want to contribute.

In the first album, "Z = 7L" (1973), the very complex melodic instrumental layers are enriched with the wonderful voice of Mauricia Platon (with its kobaïan accents), but unfortunately she was missing on the follow-up "Osiris" released in 1975.

ZAO will break from its Zeuhl roots and the music will lean towards some jazz-rock fusion more and more debatable and debated.

"Shekina" (1975) augmented by the presence of a string quartet and "Kawana" (1976) remain respectable albums of the French jazz-rock fusion scene but "Typhareth" (1976) recorded just after Yochk'o Seffer left the band is of little interest. ZAO will then split but the members will gather anew in 1994 with the release of "Akhenaton" (once more jazz-fusion inflected), the album that saw the band reform but without any follow-up. It seems that the band planned to reform this year (2004) with the return of Yochk'o Seffer. To be continued ? Moreover, we can note that ZAO's bassist, Joël Dugrenot, will join for a short while the French symphonic progressive band CLEARLIGHT.

As others have mentioned Cahen and Seffer left MAGMA because Vander was now in control of the musical direction that MAGMA would take, instead of it being a band effort as on the first two albums. Seffer and Cahen's last recording with MAGMA would be under the name of UNIVERSIA ZEKT. It's interesting that MAGMA's next album ("MDK") after these two left would emphasize female vocals, because ZAO's first recording that would come out the same year (only sooner) would also emphasize a female vocalist.Two very different records mind you. I think the vocals here and on "MDK" are what will make or break the two albums for you, because they are so prominant. The female vocalist Zao hired was a much in demand backing vocalist named Mauricia Platon, who is nothing short of incredible. Seffer being Hungarian badly wanted a violinist for this project,so they hired Jean-Yves Rigaud. Jean-My Truong was added as the drummer, he had played in a band with Seffer before Seffer had joined MAGMA. Joel Dugrenot was added as the guitarist. The album cover was painted by Seffer.

"Marochsek" starts off rather ominously before Mauricia yells "Zao !" and then goes off into some unique vocal melodies. Unfortunately this would be the only studio record she would record with the band. Keys, bass, sax and drums fill out the sound. Some good guitar after 4 minutes. She is amazing 5 1/2 minutes in with liquid sounding keys to follow. "Ataturc" has a nice jazzy soundscape with vocal melodies. The tempos shift and violin comes in. Vocals stop as the song calms down. The drums, bass and piano become prominant before violin comes back. Vocals are back before 5 minutes. "Ronach" is all about her vocals that sound like another instrument. They are very high pitched at times. In "Atart" it's like Mauricia is competing with the sax and she is definitely holding her own. The bass is relentless. Great tune.

"La Soupe" has a nice little intro before i'm blown away by not only her vocals, but the bass and drums. This is killer ! Some beautiful horn / vocal interplay before we get a sax solo. 3 minutes in the violin comes in. Great sound ! Then some ripping guitar as drums pound. The song calms down as only bass can be heard at first. Vocals are next, then a full sound. "Satanyia" features violin, vocal, bass and drum sounds but not much of a melody until after a minute. Her vocals are deeper here with a fantastic melody to follow. The tempo and mood continues to change. Themes are repeated including her deep vocals. Her vocals are so good 6 minutes in as the drums pound.

Weidorje - 1978 - Weidorje

Weidorje
1978
Weidorje



01. Elohim's Voyage (16:31)
02. Vilna (12:19)
03. Booldemug (7:10)

Bonus tracks:
04. Rondeau (live) (8:48)
05. Kolinda (live) (12:27)

- Bernard Paganotti / bass, vocals
- Patrick Gauthier / keyboards
- Michel Ettori / guitar
- Kirt Rust / drums
- Alain Guillard / saxophone
- Yvon Guillard / trumpet, vocals
- Jean-Phillipe Goude / keyboards




WEIDORJE, formed in 1977 by two ex-MAGMA members, Bernard Paganotti and Patrick Gauthier (also keyboardist for HELDON, a group that featured Richard Pinhas) is one of Zheul's children, probably the most faithful and the closest musically and spiritually to MAGMA. One can find a mythology close to MAGMA's one : "the wait of a flying saucer that would come one morning take us with its new values, sane and safe".

WEIDORJE means "celestial wheel". This word appears for the very first time in MAGMA's album "Üdü Wüdü" in the form of a short track (4:30) composed by Paganotti and Blasquiz, the latter being the second master brain in MAGMA, along with Vander (Blasquiz achieved by the way WEIDORJE's cover art).

For some people, WEIDORJE would be a follower to "Üdü Wüdü", Bernard Paganotti forming his band just after MAGMA released this album. First and only album released in 1978, "Weidorje", even if some new stuff was ready for a second album. But following difficulties to find a producer, WEIDORJE disbanded, although they were popular with the French audience. Initially constituted with three long tracks : "Elohim's Voyage", "Vilna" and "Booldemug" on the Ep released for Cobra, two new tracks "Rondeau" and "Kolinda" appeared on the CD reedition by Musea in 1992 (these two tracks were released live with a bad sound but the bass solo is wonderful, waving between jazz-fusion and Zheul accents).

The spirit of WEIDORJE will remain in the first solo albums of some of its members :

- Patrick Gauthier "Bébé Godzilla" (1981) : Christian Vander appears on one track

- PAGA (B. Paganotti) "Paga" (1985)

- J-P Goude "Drones" (1980)


As with most of productions by ex-MAGMA members, the music will be less Zheul-oriented and leanings rather towards jazz-rock, fusion or electronic music.

Weidorje's self-titled and only EP (now consisting of two live tracks, on the Musea CD reissue), released in 1978, is certainly a treat for Magma fans. Especially those who like Bernard Paganotti's bass playing and the Üdü Wüdü" (Jannick Top & Paganotti on bass) sound. Unlike many listeners and fans of Zeuhl music, I came across Weirdorje before Magma. However, I believe this album is much easier on the ears than some Magma albums, so it was indeed a good choice for me to begin my Zeuhl journey. The music is mostly instrumental and the voices that are present (supplied by Bernard Paganotti and Yvon Guillard) is mainly scat, so it leaves my ears free to listen to the wonderful music being played. The really exciting factor about Zeuhl is the fuzz-bass. Bernard Paganotti is a master of the style (along with Jannick Top and non-Zeuhl musician Hugh Hopper), so naturally when I first heard this album, I was immediately struck by the thumping bass. Of course, there is more to Weidorje than just the fuzz-bass, because another former Magma personality is present on this album in the name of Patrick Gauthier. He and Jean-Philippe Goude (both on keyboards) add some very dark and gloomy polyrhythmic sounds which add superb atmosphere and rhythm, as does Michel Ettori on guitar who plays along with Paganotti's bass lines in many places.

The opening track, Elohim's Voyage starts off, as one would suspect, with a crunching bass sound but soon Gauthier's keyboard adds a chilling touch. The main rhythmic charge then begins, with the aforementioned scat vocals, the slowly increasing heavier drumming and then the guitar. This assault continues on throughout the 16 minutes but with added surprises, such as Alain Guillard's avant-garde saxophone. Approaching the halfway mark, the band are in full flow and then everything slows down once more yet the track keeps together solidly. With four minutes to go, the tune reprises with trumpet and saxophone accompaniment. This reflects classic Magma but feels darker and more disturbing, and is a strong track to start precedings. Vilna is the strongest track of the album, beginning with a catchy keyboard riff that leads on until Paganotti's bass. Vilna is not as heavy as Elohim's Voyage, yet is just as catchy (if not more so), continuing on in true Zeuhl-style with a relentlessness of rhythmic sound. This is another difficult track to describe, so I shall leave it for the listener. Originally, the album would have finished with Booldemug, a softer track that reminds sometimes of Third era Soft Machine (though Hugh Hopper's bass never got this fuzzy!). This is jazzier than the previous tracks - bordering on jazz rock/fusion - featuring much more saxophone and guitar and is a welcome break from what has gone before, making the band sound more diverse than one would initially expect. It is also here that you realise how much the keyboards dominate Weidorje's sound without overwhelming the rest. Ettori also unleashes his guitar skills here, so listen out, as his playing is exceptional. As previously stated, French label Musea released Weidorje in 1992 with bonus tracks. Unfortunately the cuts here are aurally inferior to the studio ones heard previously. Thankfully, the music is just as great and proves they could perform live as well. Rondeau sounds ethnic and medieval in places, dominated by the keyboards. Due to the sound quality, the bass is not so strong in the mix but doesn't lessen the charm of this cut. Expect the same kind of catchiness as previous tracks just more sedated and laid-back, and listen out halfway through as there is some rather nice jazzy moments thanks to the trumpet and guitar. A studio version of this selection would have sounded marvelous, so it is a shame they never released another album. Kolinda mostly consists of an astounding bass solo by Bernard Paganotti. The track starts off with yet more memorable rhythms and when the solo begins, it often reminds quite a bit of the late Berry Oakley, Jr.'s (Allman Brothers' Band) playing style which when I first heard it, came as a very pleasant surprise.

Despite their use of catchy rhythms, Weidorje never get dull or boring, continuously and subtly changing things. The changes are often so subtle, you do not notice them. I have listened to the album many times and I always forget there is a trumpet and saxophone used as they are used scarcely, yet without them, the tracks would sound completely different. I have given this album a 5/5 (4.8) rating, even with the poorly recorded bonus tracks, because an album of this quality does not come about very often. This is a gem of a record and is still an essential release for those who have discovered Magma, or who want to discover Magma in the future and a great introductory level album if not always the easiest of listens.

Paga Group - 1988 - Haunted

Paga Group 
1988
Haunted



01. Haunted (10:17)
02. In a Spiral (8:19)
03. Memorial (6:03)
04. Kings for a Day (11:32)
05. Rainy Days, Lonely Nights (4:19)
06. Shortcut (2:25)

-Bernard Paganotti / bass, vocals
-Bertrand Lajudie / keyboards
-Claude Salmieri / drums, percussion
-Klaus Blasquiz / vocals, percussion
-Ronald Mehu / choruses




Paga was the 80's vessel for former Magma members Bernard Paganotti and Klaus Blasquiz to flex their remaining Zeuhl muscles in public, alongside periodic bouts of some less exhilarating AOR impulses. In the time since their 1985 debut outing, they've jettisoned the sax player and swapped drummers, but the results deliver a similar mixture of overtly Zeuhl (and thus overtly satisfying) prog gestures alongside the aforementioned AOR-esque exploits, but with the former fortunately outweighing the latter. New to the mix this time 'round is a bit of 80's King Crimson influence that meshes tidily enough into their praxis and seems almost a given for those flying prog flags around that time.

Tuesday, March 29, 2022

Paga Group - 1982 - Paga

Paga Group
1982
Paga





01. Talk Back (7:40)
02. Mitchinoku (7:50)
03. Show Town (5:00)
04. Une Parcelle d'Urantia (12:53)
05. Final d'Urantia (1:44)

-Bernard Paganotti / bass, Chapman Stick, Rhodes, cabassa, Simmons, P.P.G., vocals
-Claude Salmieri / drums, Simmons
-Patrick Gauthier / acoustic piano, Moog, P.P.G., vocals
-Carol Rowley / vocals
-Maria Popkiewicz / vocals
-Christian Leroux / guitars
-Yvon Guillard / trumpet
-Alain Guillard / saxophone, flute
-Koyko Okumura / vocals
-Chizuru Hosoya / vocals
-Kirt Rust / drums
-Jean-Phillipe Goude / Rhodes

Out of the ashes of WEIDORJE arose PAGA.



Although the first of the Paganotti albums is listed as BERNARD PAGANOTTI's "Paga" and the subsequent "Haunted" and "Gnosis" are listed under the different project name of PAGA GROUP, the three are sometimes referred to under the label PAGA and are seen as a trilogy, but PAGA is sometimes seen as a continuation of WEIDORJE (which would sort of make it a quadrilogy). After the bassist and composer Bernard Paganotti had worked with MAGMA (1976 -77 albums) and formed WEIDORJE (album release - 1978) for a sole effort with the keyboardist Patrick Gauthier, who had been keyboardist with MAGMA (and HELDON), he composed and released an album utilising fellow WEIDORJE founder, Gauthier. This album was released as BERNARD PAGANOTTI - "Paga" (1985). Other WEIDORJE alumni also contributed to the project, including the legendary Jean Phillipe-Goude, Allain and Yvon Guillard, as well as Kirt Rust.

fter "Paga," the project led to PAGA GROUP. PAGA GROUP released two albums, "Haunted" (1988) and "Gnosis" (1993). Not only is PAGA GROUP a continuation of the original "Paga" album project, but the PAGA project is a kind of continuation of WEIDORJE. It is a reunion of members, as has been noted, and the "Paga" albums two best compositions, as I hear it, and these are teriffic, are "Mitchinoku" and "Une Parcelle d'Urantia." These tracks were essentially Paganotti compositions intended for WEIDORJE, but they had never been released or fully realised. Paganotti's bass-work dominates, and the sound carries over from WEIDORJE. Both share a similar jazzy Zeuhl approach as well as instrumental technique, but the "Paga" album may be seen to suffer from New Wave leanings as well as jazz-lite elements; nevertheless, I believe it to be a fine, rewarding and exciting album to seek out. On another note: Zeuhler Laurent Thibault, the first bassist for MAGMA, who then joined MOVING GELATINE PLATES, and then went "solo," co-produced Paganotti's "Paga" album.

The "Paga" project reunion albums (PAGA GROUP) become more jazzy and less Zeuhl. although there is a clear continuation of sound. Whilst they are jazz-lite at times, "Haunted" is, I think, more of a jazz/rock fusion than Zuehl album; however, it is still informed by Zeuhl (Zeuhl elements run through it). With "Gnosis" the trend away from Zeuhl continues. It becomes more acoustic and into lighter, smoother jazz territory, but all three are very accomplished and enjoyable efforts for me. The PAGA players are all in fine form. The "Paga" album (the first) is highly recommended to WEIDORJE fans, both as a worthwhile album to hear in its own right, but also as a companion piece to "Weidorje." "Haunted" will still appeal to appreciators of Zeuhl, and is also recommended to Fusion fans. I would recommend "Gnosis" to those who are more into Jazz-Fusion and need not appreciate Zeuhl. Due to the obvious Zeuhl connections, the Zeuhl category seems the best place to highlight this project.

This is a MONSTER album by MONSTER Bass player Bernard Paganotti. Lovers of Bass Guitar, keep an eye out for this one !! BP onced passed through MAGMA, lending his virtuosic Bass skills to help create a phenomenal Live album (also odd tracks on various albums). Zheul Bass playing is in a league of its own, plenty of distortion and complex riffing, often sounding humanly impossible. Moving on, he formed 'WEIDORJE', releasing another heavily Bass oriented classic. It's not all just about the Bass Guitar, though. Keyboards play an important role, frantic Drum-work in an effort to keep the flow of the relentless compositions going smoothly, guitars and brass instruments included to expand the sound and enhance the shape of the final product. In 1985, Paganotti had assembled a new band featuring old friend Patrick Gauthier on Keys and a superb drummer by the name of Claude Salmieri. He even got his old band Weidorje together for a lengthy epic, resulting in this album 'Paga', released on a small, private label, 'Cream Records', and every bit as engaging as his previous work, and a valuable contribution to 'Zheul' prog. The opening song 'Talk Back' is a funky, up-beat number utilising many techniques of Bass playing, and an incredible Fretless Bass solo. Bernard handles the lead vocals (he makes a decent singer) and includes some female back-up singers. This one is sung in English. The production has great depth and clarity, and Salmieri proves to be a worthy Drummer. 'Mitchinoku' is a driving, Zheul track sung in Japanese (I guess) and features his wife, Naoko Paganotti. The final section is a triumphant piece with a catchy melody. Side 2 kicks off with a New-Wave influenced song, 'Show Town', sung in English again and features a deep, rumbling Bass-line. The near-13 minute 'Une Parcelle D'urantia' features old band-mates from Weidorje, and is an absolutely amazing track. From humble beginnings, the track moves through many sections, with the Bass being the focal-point, and drummer Kirt Rust puts in a mammoth effort on Drums - he seems to have improved technically from his earlier days. The Guillard brothers adding Flute, Trumpet and Sax to the brooding middle section, where complex interplay takes place between the female vox, Gauthier's Piano and the wind instruments, afterwards returning to earlier melodies and finishing with a storming riff. Fully breath-taking. The album finishes off with a very short piece, but it sounds complete, it's complex and incredibly dramatic.

Claude Engel - Teddy Lasry - Bernard Lubat - 1971 - More Creative Pop

Claude Engel - Teddy Lasry - Bernard Lubat
1971
More Creative Pop




01. Claude Engel - Freedom Fiesta (2:51)
02. Teddy Lasry - A Song For Leila (3:20)
03. Claude Engel - Bear's Walk (2:39)
04. Teddy Lasry - Happy Street (2:31)
05. Claude Engel - That Good Old Shuffle (2:12)
06. Teddy Lasry - Fiction Melody (2:21)
07. Bernard Lubat - Beat It Hard (2:21)
08. Claude Engel - Indian Reflexions (2:56)
09. Teddy Lasry - Yellow Mood (3:36)
10. Bernard Lubat - Dancing Penguins (2:34)
11. Claude Engel - West Coast Memories (2:23)
12. Bernard Lubat - Pop A Bossa (2:34)

laude Engel
Teddy Lasry
Bernard Lubat



This seriously fantastic library music LP intersperses cuts from early Magma members Teddy Lasry and Claude Engel alongside those of top notch jazz drummer Bernard Lubat (featured on the Laurent Petitgirard LP I posted a while back), who would himself shortly thereafter record a live album with Engel as part of the Lubat/Louiss/Engel group (soon to be posted here). As you'd expect, this being a library music album, none of what's contained here really qualifies as zeuhl, despite the pedigree. The back cover's description of the contents as "hard pop light" perhaps comes a bit closer, provided that you're definition of pop is Wolfgang Dauner's The Oimels or the soundtrack to Vampiros Lesbos. Yes, some of this is that groovily swinging, notably Engel's album opener "Freedom Fiesta". Engel also turns in two other exquisite bits here, both in a sort of poignant Alain Markusfeld cum Total Issue psych mode that's really rib-sticking. Other stellar turns here include the doomy Besombes-like acid rock blowout of Teddy Lasry's "Fiction Melody" that closes out side A and two of Lubat's cuts ("Beat It Hard" and "Dancing Penguins") which traffic in a species of jazz rock grooviness that wouldn't be out of place on one of Roberto Colombo's albums. An essential missing piece of the puzzle for this wing of the French 70's underground.