Monday, November 4, 2024

Both Hands Free - 1977 - Both Hands Free

Both Hands Free
1977
Both Hands Free




01. Space
02. Gettemoff
03. Shinohara
04. Solitude
05. Silver Sleeve
06. Phobos
07. City Slickers
08. Muff The Diver
09. Blue
10. Stop The Music

Allen Landau / mastering
Dave Hassel / drums
Rick Kemp / producer, liner notes
Keith Herd / engineer
Phil Chapman / saxophone
Pete Glennon / bass
Ritchie Close / keyboards

Privately pressed LP released on a label Rick Kemp set up solely for this release after seeing them play in the basement of a Manchester pub.




Rick Kemp from STEELEYE SPAN was on tour and in Manchester when an ex-musical colleague approached him about seeing this amazing Jazz Rock band, so off they went to the basement of a pub in Manchester where this four piece played every Sunday morning. Rick was so impressed that he asked the band if he could record an album for them. He would Produce it and this is the result from this band called BOTH HANDS FREE. The band had this philosophy about their music that it was simply made for the moment never to be heard again and totally dictated by mood. They even wondered if they should release it after it was finished but Rick convinced them.

There's so much variety on here and for me that's what keeps this at 3 stars and not 4 stars. Just a lot of hits and some misses. That striking cover art along with the opening track called "Space" must have confused a few Psychedelic fans out there. The song is sparse and experimental, unlike anything else on here really. Not very melodic. Some Funk on "City Slickers" and some traditional jazz bits too on this record. The sax player is nothing short of amazing with his different styles of playing and the sounds he produces. The electric piano is really good too

British Jazz Rock combo from Manchester, reputedly formed by session musicians of the area.They played every Sunday in a pub of the city and they were discovered at some point by Rick Kemp, who was touring with Steeleye Span.Pretty amazed by the style of the group, Kemp brough them to the Fairview Sound Studios in Willerby and apparently produced and financed the self-titled album of the band.This was the only album with the ''Kemp / Pegrum Music Ltd.'' stab on it, it was pressed in the limited number of 100 copies.Band was Dave Hassel on drums, Pete Glennon on bass, Phil Chapman on sax and Ritchie Close on keyboards.

I find this one to be a little llightweight of a Jazz/Jazz Rock affair for my tastes, although there some nice explosions of virtuosity and technique in here with very edgy organ parts and blistering electric piano.But most of it goes in a spacey Jazz mood with bits from IF and PASSPORT along with some certain Funk aesthetics, sometimes exploring the territories of WEATHER REPORT in a slow Avant Garde/Jazz vein with minimalistic endeavors and atmospheric qualities.The guys were far more into Jazz than Rock and this explains much of their stylistic behavior, which contains lots of free-form passages and loose executions.The most Fusion tracks are apparently the best ones with links to PASSPORT and PORK PIE, featuring dramatic, jazzy instrumental parts and efficient soloing, I wished this would go so all the way.Cool synths, organ and electric piano with evidence of a very rich instrumental background down the line, despite some very abstract and chaotic moves.The smoother pieces sound more like fillers to my ears, they are still well-played, but suck all the energy from a previous listened track, when so much was going on'.Plus the funkier parts remind me of the dull days when Gentle Giant went down.

Being sessions musicians, all members remained in the music industry, playing in several different-styled releases over the years.Ritchie Close appeared also as an additional keyboardist on Camel early-80's performance at Hammersmith Odeon and he can be heard in the band's DVD ''Total Pressure''.

Notice that there is another rare album by a band of the same name, released in 1978 and titled ''Use from the pocket'', this was a Jazz Improvisation trio of different members and it is said they came from Bristol, so there is a strong possibility we're talking about a totally different group.

''Both hands free'' circulates usually in triple-digit bucks, pretty reasonable considering it's a serious rarity.So, this goes most for fans of mellow Jazz Rock and Acid Jazz, it's a decent album, but be certain to like the style.Otherwise you should spend your money elsewhere.

Both Hands Free. This private pressing was released in 1976, and an original copy is worth £150 today. It’s a submarine gem, underwater and out of sight to many collectors’ eyes, but samples from the track Phobos have been used by artists such as Smoke DZA, Slowy, 12Vince and well-known rapper Young Thug. Musically, Both Hands Free can go toe-to-toe with the best of Ian Carr’s Nucleus, Weather Report and Miles Davis’ seminal 70s electric period. Our reissue is well worth £19.99 of your hard-earned money!

The genesis of the Both Hands Free LP was the 1976 gig sheet of the legendary folk-rock group, Steeleye Span. “I was staying with a friend in Didsbury on a Saturday night after playing at the Free Trade Hall in Manchester with Steeleye,” recalls their famed bass player, Rick Kemp. “He said to me, ‘In the morning we’ll go and see this lovely band that plays in the local pub.’” This watering hole was The Cavalcade, where progressive jazz-fusion quartet Both Hands Free had a long-standing residency. Such was their reputation, the place was packed. “They were really good,” recalls Kemp, “and after they had finished,

I spoke to them and said, ‘Would you like to make a record?’ They said, ‘No, not really. We don’t want to make a record.’ I had to talk them into it.”

The reason Both Hands Free didn’t chomp at the bit to go into a recording studio was because, during the week, the four players were in recording studios all the time. Ritchie Close (keyboards), Pete Glennon (bass), Phil Chapman (sax) and Dave Hassell (drums) were in-demand session players and working musicians in the Manchester area who did everything from record adverts, jingles and TV themes, to work with bands and singers. “We had no intention of going in the studio to make an album because it was just fun for us and we were never out of the studios doing other people’s things,” recalls sole surviving member of the band, Dave Hassell, who remains active as an educator, musician and as a session player and has worked with everyone from ABBA to (film soundtrack work for) Hans Zimmer.

Playing in Both Hands Free was a bit of musical fun for the band, who were also close friends, and they had wanted to keep it that way until Kemp came along. Thankfully, they agreed to make the LP and Hassel was happy to talk me through the untold story of Both Hands Free.

“The first one in the band I met was Pete, the bass player, who was two or three years older than me,” explains Hassell.“We met in a night club in Manchester in about 1965 and I just sat in and we started playing. I had only been playing for less than two years but we sat down, played and found out that something worked. I used to go around to his house and we would play. I still have some original tapes from the 60s – we sound fantastic.”

In 1966, Hassell jumped on the Queen Elizabeth liner and spent time studying in New York, checking out all of the great jazz bands performing in the Big Apple. Upon his return in 1967, he hooked up again with Glennon: “We would be working commercially together, going out and doing whatever – functions, the odd jazz gig… And then, around 1969, I got introduced to Richard the keyboard player, who was only 18 at the time, but he was already a fantastic player. We had a play together and got that musical connection.”

By this time, Hassell was working as a session player – it would keep him fully occupied for decades to come. “At that time in my life I was doing a lot of studio work here, as were the other three,” he says. “I was also on the road with Tony Christie. That’s probably another reason why I wanted to play some other music. I used to do all the Granada pop shows, either on drum kit or percussion, and that went on for 15 to 20 years. I was also doing a lot of work for a guy called Derek Hilton. He did Brideshead Revisited and Sherlock Holmes – there was so much of that work around. I used to go into the various BBC orchestras for certain sessions.

It was the days when you would get a call and someone would say, ‘Can you put 26 weeks in the diary? Can you block this out? Can you put the Thursdays in for the next 26 weeks?’ It was financially rewarding,

as there was an awful lot going on in Manchester at that time.”

The last member Hassell met was sax player Phil Chapman: “Phil was the eldest one in the band, but he was a fantastic arranger. He had been in the Air Force,

had all of the skills, and was also an absolutely fantastic writer.”

Despite being busy and well-paid musicians, the quartet decided to play together. “We needed that other outlet to maintain sanity rather than just playing a 30-second jingle or another pop thing.

Our musical tastes were very similar – we were mates musically and socially. We went round to Pete’s house to start with and we had no preconceived idea of what we were going to do, until we started playing. Whatever happened musically was where the songs came from. There were only a couple of things where people said: ‘I’ve written this, shall we try it?’ The rest of it was all based on improvisation in a practice room.” Initially, the band blew together once a week: “Eventually, we realised this could be good. We did a couple of little gigs and then we got a residency at a pub in Manchester called The ccalled The Cavalcade. iMinManchesterManchestercalled The Cavalcade and that was on a Sunday lunchtime. That went on for two or three years – possibly more – and that was it. It was quite unique. People used to ask when we rehearsed, but we didn’t really, we just got together and played. That is quite evident when you listen to the music, as it is quite riff-based on the album and that is kind of what happened.”

How did they arrive at the name of Both Hands Free? “I don’t even know where the name came from. It’s the kind of thing that Pete would say. He was into reading a lot of science fiction and stuff at that time.”

Both Hands Free built up a local reputation and even recorded some sessions for Piccadilly Radio in Manchester. As the first commercial radio station in the city, part called The Cavalcade and that was on a Sunday lunchtime. That went on for two

or three years. “It was quite unique. People used to ask when we rehearsed, but we didn’t really, we just got together and played. That is quite evident when you listen to the music, as it is quite riff-based on the album.”

How did they arrive at the name of Both Hands Free? “It’s the kind of thing Pete would say. He was into reading a lot of science fiction at that time.”

Both Hands Free built up a local reputation and even recorded some sessions for Piccadilly Radio in Manchester. As the first commercial radio station in Manchester, part of their remit was to broadcast live music and Both Hands Free benefitted from this. “The first session we did for them was done as a party! We went into Piccadilly Radio, and they had a studio there. There was a small audience with bottles of wine and

we recorded a session as Both Hands Free. Commercial radio was very supportive.”

Both Hands Free also benefitted from the strong local jazz scene in the city. “There were a couple of times when we invited other players into it, but that was just for experimentation.” Such was their reputation that they even featured in a local paper under the title of “Time Out For Session Men”, where Hassell told the reporter how the band allowed them to let off steam: “You get rid of a lot of musical frustration which builds up through the commercial stuff you do.” This small feature also contains the only known photograph of Both Hands Free playing together and shows Hassell’s amazing percussive array.

Once Kemp had dropped in that Sunday lunchtime and persuaded the band to go into the studio, things moved fast. “One of the daft things is that none of us ever signed anything with Rick at the time,” laughs Hassell, “but Rick was great because he was with Steeleye Span.” The actual recording of the album was straightforward. “We just went somewhere near Hull, a little studio,” recalls Hassell of their visit to Fairview Sound.

“We did a Sunday and a bit of a Monday morning. The album was made in a day.” Crucially, as a talented musician himself, Kemp didn’t try to interfere with the chemistry. “That’s how the band sounded live,” Kemp recalls. “It’s not a produced album, where the band take an artistic leap together.” Hassell furthers: “Rick was fantastic. He just said, ‘Come in and play’. And we played as if we were at a gig. There were only two tracks where I overdubbed a run of percussion.” The band played through their then-current set, which consisted of tracks like Space, Gettemoff, Phobos, Shinohara and Blue, “You can hear the connection to Weather Report,” notes Hassell. “We were influenced by Weather Report but we didn’t want to do a Weather Report. It was just a blow band, but it was an incredible collection of musicians.”

Kemp took care of everything relating to the pressing of the LP, though the name of the artist who did the arresting sleeve design remains forgotten. “After I delivered the tapes to Plant Life it kind of went through their machinery,” recalls Kemp. “The cover is

a mystery to me.” Plant Life was the label that Steeleye drummer, Nigel Pegrum, had just set up. Kemp funded everything, though Both Hands Free was pressed up and credited to Kemp/Pegrum Music on the labels.

The band were very happy with the results. “Anyone can make an album [now] but, in those days, to actually have something on vinyl and someone has gone out of their way to have it pressed and all that other stuff… I really liked it,” says Hassell.

No one recalls how many copies were pressed up. The LP was sold locally, though Both Hands Free marked the end of the journey, as market forces dictated the band couldn’t carry on. “By the time we got the album, we weren’t gigging much anymore

as everyone was too busy,” recalls Hassell.

We all went our own separate ways, doing other types of work.” Still, they kept in touch and played together now and then in other ad hoc bands in the Manchester area.

Hassel had already spent a lot of time doing sessions at the local Strawberry Studio that, in the 70s, was partly owned by 10cc’s Eric Stewart. The studio was used in 1979 to record Joy Division’s Unknown Pleasures, produced by Martin Hannett. “I worked with Martin before he became a producer, as he was a bass player and in the Spider Mike King Trio,” laughs Hassel. “I remember him playing this Rickenbacker bass with long dirty fingernails. It was bizarre.”

Of course, Hannett knew Hassell was a fantastic drummer, and this led to some Factory outings. “I was part of a team of musicians called The Invisible Girls, who were part of Factory,” he points out.

“I was one of them.” The Invisible Girls appeared on a number of recordings ranging from those made by Pauline Murray to the legendary Nico. Hassel even got involved in the early Madchester recordings. “I worked on things like the Bummed album [Happy Mondays’ 1988 LP]. I would get the call from Martin and he would say, ‘Can you get down here tomorrow?’ ‘What do you want?’ ‘I don’t know. Just bring some percussion and come and play.’ I did so many recording sessions with bands, you don’t know what you ended up on! I have even been in the studio with the Ramones. You forget what you worked on.”

As for the other members of Both Hands Free, Close, like Hassell, worked with Maddy Prior and Kemp from Steeleye Span, while remaining a busy session player. Close died tragically young in 1991, aged 39, having contracted Legionnaires Disease after a trip abroad. He was due to work with Pete Townshend, but this never came to pass.

The other members of the band were also in-demand session players and working musicians, until they, sadly, passed away.

And yet Both Hands Free is a powerful legacy. Opening track, Space, is like a tone poem, showcasing not only Hassel’s extensive percussion set-up, but Close’s mastery of keyboard effects. Even Chapman’s saxophone is treated and manages to condense the vibe of Miles Davis’ In A Silent Way into six minutes. This segues into the rhythmic Getemoff, comparable, perhaps, to Miles’ blistering What I Say, but shot through with a melodic compulsion that Weather Report made their trademark. Indeed, when it comes to that vibe, the swaggering City Slickers is Both Hands Free’s own Birdland.

Elsewhere, the ethereal Phobos is a delight and its hazy mood recalls one of the great British jazz LPs of all time, Azimuth’s The Touchstone (ECM 1130, Germany, 1978, £40). The entire LP is mesmerising and a lost gem, and Kemp was right to state in

his sleevenotes that, “The band were not sure that this record should be released – just one moment of their music – but I thought that all the moments I heard should be shared with as many people as possible and so here they are: the amazing Both Hands Free.”

Hassel is justifiably proud of the music. “Listening back to it now, we didn’t realise it was as good as it was,” he reflects. “It’s a common thing with musicians when you do something you go, ‘Yeah, that’s all right’ but when you listen to it again, you hear other things in the music. One of the places I teach is at the Royal Northern College Of Music that probably has the best pop course in the UK. Students who hear Both Hands Free are coming up to me and saying, ‘That stuff sounds fantastic’, and they’re asking if they can sample it!” I totally share this sentiment – this music really is fantastic. And not only has the legendary Tim Debney remastered the LP to perfection, but we have pressed it on 180g vinyl and re-created the original sleeves and labels.

Ariel - 1985 - Perspectives

Ariel
1985
Perspectives



01. Another Time, Another Place (3:49)
02. Banana Blues (5:35)
03. Moment Of Weakness (3:54)
04. Folk Dance (4:25)
05. Ugh Huh (4:16)
06. Jupiter Whale (7:06)
07. The Ballad Of Kid Rock (8:12)

Marchristiansen / guitars
Tony Kampick / piano, keyboards, synthesizer
Bob Sheldon / percussion, drums



There's not a lot known about this Jazz Fusion trio out of Chicago other than that. Released in 1985 "Perspectives" is an all instrumental affair with drums, guitar and keyboards. First and foremost these guys can really play! Love the drumming, the guitar in a few styles and the array of keyboards in play. Some have suggested that 80's RUSH and KING CRIMSON influenced this record but I never thought of either band after a week of listening. This is a 37 minute recording with seven tracks and it ends very strong with those final three tracks which are my top three and add the opener and we have a four star record.

That opener "Another Time, Another Place" is a fiery piece with killer drumming and guitar. Lots of atmosphere provided by the synths throughout this record by the way. The synths don't ruin it for me like many 80's and 90's Jazz Fusion albums lets put it that way. The next three tracks are all good but not on the same level as my top four. "Banana Blues" is so close to having a reggae sound with that guitar. Quite a bit of piano too and on "Moment Of Weakness".

Check out "Ugh Huh" for an uptempo display of talent. The drums, guitar and synths are really good over those 4 minutes. "Jupiter Whale" is an interesting 7 minute piece with lots of atmosphere early. "The Ballad Of Kid Rock" is the over 8 minute closer and it sounds awesome and I like the melancholy and depth. Drums and guitar create havoc as it picks up around 1 1/2 minutes in. The guitar will light things up a couple of times yet.

From the far south Chicago suburbs, comes the super obscure Ariel, an album that is just now making its sound heard worldwide. Early 80s Rush is the most obvious first influence, but there's more here than meets the ear as it were. All instrumental guitar, keys, and drums are the core components, and the compositions are complex and tight - with a strong fusion influence. No escaping the King Crimson sound from the era either, but also (surprisingly) Doldinger's Passport, minus the sax (imagine the sequencer heavy Moog lines for example). If we were to really deep dive here, I would compare Ariel to fellow Chicagoan's Proteus, mixed with the UK group Red (on Jigsaw). While Side 1 is impressive enough, the final three tracks do nothing short of wow the listener. And they close with their peak composition, always a hallmark of a great album. Ariel does not belie its mid 80s sound (despite the somewhat psych influenced guitar tone), and yet compared with the normal dreck from the era, the band proves the middle 80s were not a total wasteland (heavy metal genre exempted of course). This one deserves the buzz its currently receiving in the underground.

Sunday, November 3, 2024

Alpha Du Cantaure - 1979 - Contact

Alpha Du Cantaure 
1979
Contact




01. Contact 12:10
02. Petite Fee 9:50
03. Maxima 18:05
04. Fusion - Meringue 4:30

Bass – Olivier Koechlin
Drums – Jonathan Dickinson
Guitar – Jean-Pierre Richard

Enregistré à St-Gratien au Centre Culturel «Le Forum», le 12 Mai 79 [Recorded at St-Gratien at the Cultural Centre «Le Forum», on 12 May 79]




Imagine if Jimi Hendrix played in front of a jazz rhythm duo. Wild fuzzy wah wah guitar screaming over stand-up bass and scattered jazz drumming. If only the guitarist played that way for the entire duration - that would be some album! There's also some typical jazz guitar and on those cuts, you'll be wishing you had your Grant Green albums handy instead.

This obscure French Jazz Rock group was formed in 1973 by guitarist Jean-Pierre Richard and Gilles Robert, apparently an ex-drummer of Komintern.They were part of the Front de Liberation de la Rock-Music movement in early-70's along with Lard Free and Maajun, but they suffered from line-up changes, as Robert left the group in 1975 and reputedly members of Pataphonie and Red Noise came and go.By late-70's Richard was supported by Olivier Koechlin on acoustic bass and Jonathan Dickinson on drums and the trio recorded the album ''Contact'' in 12nd of May 79' at Centre Culturel ''Le Forum'' in St-Gratien near Paris, released the same year on Spirales.The album contains four instrumental tracks, three of them are over the 9-min. mark, combining the free possibilities of Jazz, the delicacy of Funk abd the power of Rock Music to come up with multi-inspired pieces, twisting from electrified moments to virtuosic solos to laid-back jazzy improvisations.As a whole the album is pretty sterile, though the performances individually are quite nice with a high level of technique, offering strong rhythmic parts and some sort of psychedelic influences at moments.The general feeling ends up to be closer to jamming sessions with little structure around, but ''Contact'' is highlighted by some nice guitar workouts by Richard and the competitive rhythm section.Perception and Exmagma are the closest reference points in term of abstract textures and the fact there is a well-hidden psychedelia behind these pieces.Of course the solos are often too long and one-dimensional with the overall mood not getting away at all from the jamming attitude.The two shorter tracks contain also a few Latin-spiced overtones, propably the only moments the group moves a bit far from its unstructured lines.Apparently the activities of Alpha du Centaure were put on hold after this release, pressed in only 500 copies.You know what you get by purchasing this album.Partially psychedelic, partially experimental Jazz Rock, executed on guitar, bass and drums.Possibly good enough only for Jazz Rock lovers.

Alpha Ralpha - 1977 - Alpha Ralpha

Alpha Ralpha 
1977 
Alpha Ralpha



01. Synergie (4:07)
02. Nova (5:42)
03. Syrtis Major (2:22)
04. Gen?se (8:03)
05. Rez (3:43)
06. Gothic (0:37)
07. Magellan (7:22)
08. Lagune Ouest (3:39)
09. Hymn (3:47)

Michel Mareska / electric guitar
Claude Alvarez-Pereyre / electric & acoustic guitars
Jean Alain Gardet / keyboards
Charlie Charriras / bass
Emmanuel Lacordaire / drums, percussion

with:
Francois Breant / piano, synthesizer
Jean de Anthony / guitars
Claude Samard / guitars
Jean-Jaques Goldman / vocals




Most super obscure prog rock bands are on tiny labels or even private releases that are extremely hard to find and cost a bunch of money, and you only hope some label took up to the plate and had it reissued, like Cathedral's Stained Glass Stories (which was reissued). The French band Alpha Ralpha is very obscure, I don't even bother bringing it up because no one's heard of it, and yet they recorded for Warner Bros. Original LPs aren't too terribly expensive, but might be a bit hard to find outside of France and Canada (it was also released in Canada). I remembered some websites believing this group was Canadian, from Quebec, but they're not, only because the person running that website owned the Canadian pressing. They're indeed French, unfortunately never been reissued on any format.

Although recorded from May to September 1976, it didn't appear until 1977 (this album could have easily appeared in November 1976, but didn't, probably record company politics). This is some rather original, but perhaps not the most mindblowing prog you're going hear all year. The group consisted of bassist Charlie Charriras, guitarist Claude Alvarez-Pereyre, guitarist Michel Mareska, keyboardist Jean Alain Gardet, and drummer Emmanuel Lacordaire. I have a feeling this group was discovered by Tai Phong, not only being on the same label, but the fact that Jean-Jacques Goldman and the two Vietnamese brothers Tai and Kahn guest on this album providing some wordless voices. Also some member of Malicorne guests as well as François Bréant, of the obscure and wonderful group Cruciferius, who later recorded two albums in 1978 and 1979 on EGG that aren't impossible to get a hold of. I really can't compare this to any group in particular. "Synergy" features some nice spacy string synths and nice guitar work. "Nova" features some more nice guitar and Mini Moog work, although there's a short passage with a country influence (complete with steel guitar) I think was a bit of a mistake. "Syris Major" seems to be just a short spacy bit that leads to the nice "Genese". I especially like the use of marimba on it. "Magellan" bears more than a passing resemblance to something I've heard off François Bréant's Sons Optique, which I guess is no surprise given he appears on that song providing his keyboard work, and I can easily tell it's him as he has a style totally different from Jean Alain Gardet.

Don't let the Tai Phong connection scare you off, if Tai Phong isn't to your liking, as this is largely instrumental progressive rock, with only the occasional wordless voices (from the Tai Phong guys). Although you can only get it as a used LP (and one that won't break your bank account, thankfully), it's a nice album to have in your collection.

In every serious prog collection, there are always a few albums that have achieved 'reverential' status even though that epithet seemed only to be shared by very few, if any. I remember purchasing the vinyl copy of this album in 1977 when it was released in Canada on Warner Brothers, motivated by the cool spectral cover and a line-up of a few talented musicians such as Tai Phong's Jean-Alain Gardet and the legendary Francois Breant on keys and Jean- Jacques Goldman (well before becoming a pop superstar), as well as drummer Emmanuel Lacordaire (Nemo, Breant). Rounded out by Malicorne's Claude Alvarez-Pereyre, Michel Mareska on lead guitar, Charlie Charriras on bass. I loved the album from the very first spin, especially inspired by the opener "Synergie" which I consider a rather unique track of iconic proportions. The remaining, mostly all-instrumental tracks have a naïve preciousness that defies description, yes dated but utterly charming. The entire set-list is very well-balanced and exudes unending inspiration. I have patiently waited for nearly 40 years for a CD version and finally, that day has come, as Paisley Press has dedicated its time and resources to release this on CD.

Abraxis - 1977 - Abraxis

Abraxis
1977
Abraxis



01. Clear Hours
02. Valse de la Mort: À Boire / Et à / Manger
03. Sweetank
04. Billy The Keith
05. Jéronimo
06. Bolle Winkel
07. Arhumba

Dirk Bogaert — flute
Paul Elias — guitar
Jean-Paul Musette — bass
Charles Loos — keyboards
Jack Mauer — drums
Tony Malisan — drums (2, 4, 5, 7)



Jazz Rock supergroup from Belgium, including members from the veteran league of Prog and Jazz Rock music.The founding members appear to be keyboardist Charles Loos, who had parted ways with Cos a few years back, flutist Dirk Bogaert and drummer Jack Mauer, who previously played with Waterloo and Pazop, bassist Jean-Paul Musette (ex-Waterloo) and guitarist Paul Elias.Sometime during the recording sessions Esperanto's drummer Tony Malisan had joined the band, but it is unknown if he was a sixth member or simply replaced Mauer, as both appear in the ''Abraxis'' LP, released in early 77' on IBC.Centerpiece of this work is the 20-min. grand Prog/Jazz opus ''Valse de la mort'', which features plenty of Classical, Jazz and Folk influences, passing from sharp guitar solos to piano isolations and from mellow flute themes to extreme jazzy interplays in the vein of Gilgamesh and Hatfield and the North.Lots of synth moves, electric piano and smooth interplays between acoustic guitar, electric guitar and some Camel-esque flute lines.A great jazzy suite with multiple musical colors and impressive instrumental ideas.The rest of the album follows more or less the same vein, it's very Canterbury-styled with a dash of Supersister during the beautiful guitar, keyboard and flute interactions, featuring tempo changes and intense guitar solos by Elias, the Classical influences are reduced to almost zero and the bass lines even flirt with funky vibes, but the music is still very entertaining and top-notch with some neurotic synths next to the piano lines and some confident drumming by the Mauer/Malisan duo.Some parts with acoustic piano in evidence retain the Classical and orchestral attitude of the long suite, but overall the music is along the lines of proggy Jazz Rock, avoiding the traps of improvisation for some well-executed and tight instrumental material.Abraxis were short-lived and Loos later became involved in Nuit câline à la villa mon rêve and Julverne.Mauer found the production studio Shiva and switched to Dance Music, while Bogaert found a place in the Cos line-up over the next years.Very good Belgian Jazz Rock with an omnipresent Canterbury feeling.

Abraxis has a direct lineage to Cos (in addition to other Belgian legends such as Placebo, Pazop, and Waterloo). Formed by members from the band Cos, this album is a cross between flute jazz, Canterbury inspired fusion, and 70s funk. Somewhere between Chris Hinze, Cos, Cortex, and Herbie Hancock is where you'll find the sound of Abraxis. Flute drives the melody and solo lines, but there's plenty of introspective piano sections as well. Which play nicely against some of the ferocious electric guitar. A nice discovery on the always surprising IBC label.