The Sea & Cake - Car Alarm

One of the most remarkable post-rock outfits from Chicago underground, The Sea & Cake, known for enlisting the super-producer/drummer John McEntire as a member, is one of the most melodic and pop-oriented groups among the Chicago post-rock scene. Their songs are generally concise as one could expect from pop music, played with jazzy touch as well as indie rock attitude. On some albums one can detect a touch of bossanova (like Oui) or flirtation with electronica (The Fawn, One Bedroom).

Car Alarm, however, continues the back to basics ethos of previous album Everybody. Similarly to the earliest albums like The Biz, the band emphasizes the rock aspect, the album opener "Aerial" is especially strong and energetic opening bang from the group who generally seems to be marked by sedate restraint. Musically there's little that is new, but nonetheless Car Alarm is an enjoyable record from this consistent-sounding group, and several good melodic songs are to be found here.

Brightblack Morning Light - Motion To Rejoin

The third album by US neo-psychedelic weird folkers Brightblack Morning Light, Motion to Rejoin, was recorded in a hut in New Mexico, using power from the solar panels. This kind of off-grid approach is one indicator of the group's hippie attitude. The second indicator is certainly the music, which combines blues, psych, folk, jazz and soul into a slow and druggy trip, where the tones are set by the tender Rhodes e-piano and the hazy guitar, along with lazy horns and gospel-inflicted back vocals. Even the lyrics that point the fingers at our consumerist society and the machine-like civilization, indicate the hippie spirit of the band. Then again, BML's vision is certainly more nobler and less pursuant of druggy exstacy than the hippie stereotype would allow to presume. Also, the music of BML is not as turbulent as one can expect from psychedelic rock in general. Already for the third album BML is churning out slow and mellow music. Compared to the previous album this may be a little bit more refined. But in general, BML has remained fairly consistent in terms of sound.

Juana Molina - Un Dia

Un Dia is fifth album by Argentine singer-songwriter Juana Molina. Musically she combines Argentine folk song elements with modern indie, post-rock and electronic currents. The tone is set by nylon string guitars and multi-layered vocals-as-instrument overdubs. On the new album one also notices a bit of rhythmic complexity. Even though the percussion sounds usually light, here are heard interesting syncopations, the motorik persuasion of electronic dance music and even unusual time signatures. Structurally the music emulates techno, the composition of pieces often gives a lot of computer musicians a run for their money. Except that textures are all organic sounding and in terms of mood the result bears affinity to South-American folk music. Generally this is a masterfully executed indietronica/folk/post-rock album, even if it all sounds a bit introverted. This is a truly mellow album. Not recommended for those who are always in a hurry.

Efterklang Live @ Von Krahl, 26.11.2008

The evening of 26th of November saw Danish contemporary chamber-rock flagship Efterklang perform at Von Krahl Theatre Bar in Tallinn, Estonia. The band who has been compared to acts diverse as Animal Collective, Björk, Arcade Fire or even the famed Estonian composer Arvo Pärt. Efterklang were warmed up by chanteuse Eva Mitreikina, who presented her recently released debut album.

First, Aivar Tõnso served as a DJ. Shortly after half past 9PM Eva Mitreikina appeared onstage, accompanying herself on the acoustic guitar. Although the accompanying instrument was weakly heard, Mitreikina's voice sounded clear. Her fragile, vulnerable and spirited performance also included a touch of childlike sweetness. Her performance was occasionally sabotaged by loud feedback from the mics.

Then the main stars of the evening appeared. Efterklang came onstage as a seven-piece and it was clear that the stage was so small it barely could contain this big lineup and all the equipment that the band used. I was ready for the possibility that perhaps the group's chamber rock sound this evening might be geared a little too heavily on the chamber side of the fence. But surprisingly the balance was pretty good: there were both chamber and rock! The band balanced the soft and loud moments very well, along with composed sections and more freewheeling jams.

Each member performed on at least two instruments. The main drummer in the band often shined with his parts on the pocket trumpet (a compact version of the conventional trumpet that nonetheless sounds no different at all) which when combined with flute or sometimes even alto sax (played by one of the guitarists) formed quite a formidable horn front-line here and there. The lead vocalist also played drums and at the more powerful sections the double-drum attack clearly strengthened the sound. The violinist occasionally also sat behind drums, allowing the main drummer to shine on his brass instrument. Occasionally all three drummers played together. Particularly memorable was the group drum solo at the end of one song which proved that drum solos do not have to be boring. Perhaps the collective interplay did the trick?

One could expect Efterklang to come across as a serious band. However, the band felt freely onstage, their stage banter was humorous and they openly communicated with the audience. The contact with the audience was impeccable. Therefore it is safe to say that with its subtle and eclectic music, shining and energetic live performance and connecting well with the audience Efterklang not only is avant-rock at its most diverting, but this band clearly rendered one of the most memorable concert performances in Estonia this year. One can't help but think how this band would sound like on a bigger stage.



Some photos of the event here.

Squarepusher - Just A Souvenir

Tom Jenkinson is clearly one of the most talented electronic musicians in the last two decades. At the age of overabundance in computer generated music it is important to discern true talents from the sea of mediocrity. Jenkinson, known as Squarepusher, has not only created his own unique electronic sound. How many electronic musicians are also gifted composers, have a good melodical sense and can also play not just one, but several conventional instruments?

After the more difficult and challenging albums with a more industrial sound a la Do You Know Squarepusher (2002), Jenkinson has moved towards a more organic and multi-instrumental sound picture. Already the transitional album Ultravisitor (2004) showed Jenkinson playing acoustic drums as much as programming his trademark chaotic beats. It also included interludes for classical guitar. Even more accomplished of a work was Hello Everything (2006) the front cover of which depicted all the instrumental roles as performed by Jenkinson on the record.

Just A Souvenir continues the trend towards the more live- and instrument-oriented sound. For this album Jenkinson found inspiration for a surreal dream involving a live experience, that he is attempting to translate into the music here. It sounds as if Jenkinson rather plays the drums as opposed to programming the beats. Then again his drumming is increasingly more similar to his innovative beats in terms of sound and texture. We can also hear more guitar (and bass), including the classical guitar interludes, a tradition since Ultravisitor. As a composer and a musician Jenkinson has clearly developed a fair bit.

Of course this album presents Squarepusher at his known goodness. "Star Time 2" demonstrates once again that Jenkinson has always composed and selected great songs for album openers. Squarepusher has always referred to jazz-fusion, especially being influenced by Weather Report. As a bassist, Jenkinson has often been considered as Jaco Pastorius of the electronic age and it is unlikely that this album would challenge this notion in any way.

This album, however, is the most jazz-fusionish work from Squarepusher. Jenkinson presents jazz fusion as it would have evolved had it still stressed innovation, instead of overrating virtuosity, the fate that overruled much of jazz-fusion in late 70s. What's more exciting: this album also rocks from time to time. Songs like "A Real Woman", "Planet Gear" and "Tensor In Green" (the latter also featuring some fuzz-bass workout) include a rocking energy few jazz-rockers have captured, but with its chilly surfaces they retain the same atmosphere as his more electronic work.

Just A Souvenir shows Squarepusher as a talented composer, producer and multi-instrumentalist who has a signature sound, but whose approach is always interesting and different. Who only plays the music he wants to but gets better at this. This album is Squarepusher's most mature work to date.

Pluramon - The Monstrous Surplus

Pluramon is one of the many projects of German composer, electronic musician and producer Markus Schmickler, that has been active already since the nineties. The project that originally performed instrumental post-rock and whose early records featured none other than the legendary Jaki Liebezeit himself on drums, shifted direction into My Bloody Valentine influenced dream pop on the third album Dreams Top Rock. At the time when several electronic artists (M83, Ulrich Schnauss et al) adapted the haziness of textures as was the wont of shoegaze, such step seemed logical. On this album called The Monstrous Surplus the pop melodicism is at the fore as much as the druggy wall of sound from guitars and synths. Ergo, Pluramon has become a vehicle for the poppier ideas of Schmickler.

As on the previous album, American actress/vocalist Julee Cruise (of Twin Peaks fame) can be heard on vocals. Two additional female vocalists are also employed. Occasionally Schmickler himself sings too. Even though there's little that is strikingly new musically, The Monstrous Surplus nonetheless boosts an intimate, though often bleak ("Fresh Aufhebung") atmosphere and occasionally a memorable melody ("Turn In") that makes it a worthwhile listening.

Capillary Action - So Embarrassing

Capillary Action is a modern avant-garde progressive rock band from Seattle and So Embarrassing is the Jonathan Pfeffer-led band’s second album. In terms of vocal manner and jumping from style to style the parallels with Mr Bungle are instantly drawn. Other acts that sound somewhat similar are Kayo Dot, Time of Orchids and even Mars Volta at times. The band fuses math-rock, fusion, metal and progressive jazz in their music. Unlike Kayo Dot, who plays lengthy compositions, Capillary Action’s songs are short, the entire record lasts for little more than thirty minutes. Nonetheless the songs are closely tied to each other, the entire record comes across as a song cycle. Compositions sound nervous, fractured and schizophrenic. At its worst they come across as exercises in how many changes in tempo, mood and time signatures it is possible to cram into a couple of minutes. Nevertheless the music is masterfully performed, impeccable horn and string arrangements are heard and some of the moments are truly brilliant and memorable (particularly the standout track „Elevator Fuck“). Still, Kayo Dot performs in the similar avant-prog style in a more fluid and mature manner.



Capillary Action performing "Placebo or Panacea & Bloody Nose"

Deerhoof - Offend Maggie

The work of San Francisco indie quartet Deerhoof has consisted of, throughout the times, practically everything intriguing in the underground rock in the last four decades: from Zappa/Beefheart styled freakiness to the Boredoms type noise-rock. Their previous album Friend Opportunity presented a more polished style. One difficult lengthy improvised piece excepted. Their latest, Offend Maggie, is from start to finish totally coherent and more easily accessible, even if their eccentric style is once again more guitar based and rawer sounding, with occasional folk elements thrown in.
Despite the short length of songs (the longest clocks at mere five minutes) the compositions are quite elaborately constructed, from intriguing time signature changes to the subtle harmonic and melodic labyrinths. This here is not your usual indie rock with pretenses of underground aura. Underneath the noisy and angular style a skillful compositional talent is revealed. Deerhoof has proudly deserved their place in the avant-garde of modern arty alternative rock.

Magma - Concert 1971, Bruxelles - Théâtre 140

This archival Magma double disc album represents a concert recorded on 12th of November, 1971 in Brussels, Belgium at Theatre 140. The septet known from 1001 Centigrades (that is, with the three man horn section and minus the guitarist Claude Engel from the first album) performs a set culling material from the first two albums, plus two later Magma standards that were new at the time. Sound quality is clearly bootleg quality, as the balance between instruments isn’t the best. Worse still, the saxophone sound is occasionally particularly shrill and grating.

CD1 sounds especially noisy, offering interesting, if loose variations on the material off the debut album, which clearly sounds different without Engel’s guitar parts. For example, „Stoah“ cuts off before the flute driven sections and segues straight into „Kobaia“ that has a different bassline for most of the time than the studio version. This track is particularly worthwhile for an intense blow-out courtesy of tenor saxophonist Jeff (Yochk'o) Seffer. Lack of guitar means that the song is only seven minutes long, contrasting the usual 10 minute duration whenever guitar as a soloing instrument was present. On „Aina“, vocalist Klaus Blasquiz is heard singing some of the guitar notes. „Riah Sahiltaahk“ is a rare performance of that sidelong epic penned by drummer Christian Vander. It clearly lacks the sophistication of the studio version, as the instrumentation is simplified (no clarinets, but saxes) and it again sounds a bit loose. Also, they skip one of the early sections on some reasons. Still, Blasquiz does a fine job vocally.

CD2 has a slightly better sound, as the saxophone sound isn't as grating as on the first disc. As the entire Centigrades album is being performed, CD2 starts off with "Iss Lansei Doia" that has a long drawn out weird intro with shrieking noises. Compared to the studio version, Francois "Faton" Cahen plays acoustic piano for the main riff. Middle section lacks harmony vocals, but Blasquiz still provides the low guttural grunts as on the studio counterpart. Trumpeter Louis Toesca takes a short but sweet solo during the binary 5/4 beat (as opposed to the triplet 5/4 groove on the studio version) before the closing part. "Ki Iahk O Liahk" is again performed with saxes instead of clarinets on the first half, the smooth jazzy later part is mercifully short and it segues into an interesting bebop el-piano solo courtesy of Cahen before Vander concludes the piece with a short drum solo.

Last two numbers are earliest performances of two Magma classic era mainstays: "Sowiloi" is without the drawn out spacey intro, starting out straight with the main riff and melody, it also has a nice flute solo at the end by Teddy Lasry. While "Mekanik Kommandoh" is an embryonic, skeletal (but with an intriguing bossanova intro later dropped) take of what would later blossom into "Mekanik Destrüktiw Kommandoh". Interesting 16 minute version, the horn section does a fine job, although bassist Francis Moze (otherwise an underrated Magma bass player) here is clearly just malleable compared to the manic power of Jannick Top.

Not a great release, as it has a bootleg-ish sound quality but an interesting early document worth checking for hardcore fans and those who want more of the horn-driven early jazz-rock Magma.

Dungen - 4

Dungen from Sweden used to be pretty much a one man band by Gustav Ejstes. On the current album, which is actually the fifth, despite being titled 4, Dungen pretty much functions as a full band. Ejstes mainly sticks to the piano and vocals, adding occasional flute and violin overdubs here and there. Even though we still get heavy psychedelic guitar sound in spades (especially on "Samtidigt 1"), the current emphasis is in general softer. Dungen's psychedelic rock sound is now mellower and suggests lounge-infused jazz-rock, occasionally referring to the Soft Machine's Volume Two. It's almost as if Dungen took the softer and more orchestrated pieces like "Familj" from the last album and developed that style further. Even though none of the songs really capture the highs of that composition, this album nonetheless is a fine work as a whole, that can, with its charming sonic language, grow on the listener.

Fujiya & Miyagi - Lightbulbs

Krautrock revivalism has not been particularly novel in terms of indie rock context for already a couple of decades. A lot of bands who sound as if they were innovative, have proven that a lot of new is simply old, rediscovered. Therefore, what's left is the possibility of doing the new school kraut-rock as fine and well as possible. After all, within the passionless and insistent motorik groove lies an ideal kind of state. The album closer (clearly a highlight) of the new Fujiya & Miyagi album Lightbulbs called «Hundreds And Thousands» is pure neo-kraut at its best. The result is so impeccable that it makes the rest of the album sound decadent. Even though the krautrock influences are still perceived in spades elsewhere, this line has receded compared to the previous album Transparent Things. It sounds as if Fujiya & Miyagi has played it safe now and produced a fairly typical LCD Soundsystem styled post-post-punk-dance rock record. But it is this idiom that other bands have done better and more interesting. F&M clearly shines more as an honest neo-krautrock group.

Mercury Rev - Snowflake Midnight

Even though the seventh studio album by Mercury Rev called Snowflake Midnight does not shine as much as the first four albums, it is nonetheless a significant improvement over dull and toothless Secret Migration (2005). I was afraid of hearing signs of serious stagnation, but the new album sounds surprisingly well. It's been quite a while since Rev last retooled their sound. Here Rev relies on electronics. While such move of combining electronica with rock is not really innovative and some of the synth sounds border slightly on new-age, the result is still quite potent. Rev hasn't sounded this vital or bold for ages. There is less orchestral instrumentation on this album and Jonathan Donahue's voice sounds more natural, relying less on cloying falsetto and occasionally even going lower in terms of notes. Occasionally the psychedelic wall of sound rears its head, hinting a bit at the early Rev, but it's more polished and more reminiscent of the sonic language as heard on Blonde Redhead's 23. Standout track "Senses on Fire" is a good example of a polished noise pop driven by motorik krautrock pulse. Not a classic album, but nonetheless the boldest and most exploratory since the underrated See You On the Other Side.

Mercury Rev - See You On the Other Side

After the eccentric and volatile frontman David Baker left in 1994, Mercury Rev went on with guitarist Jonathan Donahue taking over the lead vocals. Musically, a lot of the rough extreme experimentation was subdued in favor of lusher gentler arrangements that pretty much foresaw the direction Mercury Rev would take subsequently. At the same time, Rev retains the rock intensity and psychedelic wall of sound that characterized the Baker era band. Thus, See You On the Other Side is a transitional album and it's also the band's most underrated record. It didn't do well commercially and it is often overlooked in favor of both the first two albums and then the next one after that.

The album nonetheless is a very consistent, but an eclectic affair, combining spacy experimentation, rockouts, jazz touches and pocket symphony arrangement into a coherent forty minute whole. This is the brightest and happiest Rev album to date, as most of the tunes are in major key and feature many blissful melodies and friendly textures. There is one heavy punk-ish song called "Young Man's Stride", but mostly this is kindler, gentler Mercury Rev. "Everlasting Arm" and "Peaceful Night" refer to the retro sensibilities that Rev would subsequently explore, but there's also a fair bit of territory never covered before or since. "Sudden Ray of Hope" is a blissful tune with its sunshine harmonies and easy going feel matched with heavy rush of guitars a la Boces, but without the lunacy of that album. On this track, and in fact, most of the album, is where Suzanne Thorpe's flute contributions are really noticeable. A talented player, who shies away from show-off to contribute memorable and sweet countermelodies instead which serve to add another important layer in the mix. Two lengthy workouts, "Empire State" and "Racing The Tide", are psychedelic space-rock numbers tied to Boces in terms of intensity, but more melodic and multi-layered in approach. Overall not merely a transitional album, but a unique work that Rev never duplicated later, on its own right.

Kago - Mopskassi Maja

The use of lo-fi methods is motivated by various reasons: often it is the lack of funds for professional recording, but also a deliberate striving for rawer aesthetics. Even though many lo-fi recordings refer to obscured, or non-existent talent (depending on how musical the results are themselves), it is hard to imagine the work of some of the notable lo-fi artists being captured by the professional recording equipment. For Lauri Sommer's bedroom project Kago, homespun charm is also important. Third album Mopskassi Maja is so far his best work. As on the previous two albums, Sommer combines poetic folk-indie, seto folk music and Pastacas-styled bedroom electro-acoustica. Mopskassi Maja is more charming and endearing though, especially thanks to the vocal presence of Sommer's girlfriend Liska Keerberg. The voices of her and Sommer himself may sound out of tune with each other on the a cappella folk song "Laevapuu", but nonetheless the voices match each other quite well and this lends the rendition a hypnotic effect on its own. This record works well with autumnal moods.

Stereolab - Chemical Chords

One of the most widespread myths among critics regarding Stereolab is that all of the band's albums sound the same. An exaggerated version goes that Stereolab, throughout their career, has only recorded one song over and over again. Such statements are present not only in the recent reviews where the critics curse the band for "lack of ideas" or "repeating themselves" (ergo, the typical sins veteran bands get scolded for). Even years ago, when Stereolab was supposedly at the peak of their powers, it was assumed that all Stereolab's songs sound the same.

This is a blatant exaggeration that needs little else for rebuttal than the process of listening to two Stereolab albums from disparate eras in a row: for example, one can contrast Transient Random Noise Bursts With Announcements from 1993 (from the early kraut-inspired noise-pop period) with 2001's Sound Dust (a curious blend of lounge, avantgarde and Chicago school of post-rock).

It serves to prove that Stereolab is still a fairly eclectic band, combining various intriguing styles into a unique whole, that on one hand shamelessly refers to an obscure act or two (who have came in vogue among the alternative music circles largely thanks to guitarist/composer/record collector Tim Gane's meritorious propaganda), while doing it in such a unique manner that we can speak of Stereolab's signature sound. A lot of critics have failed to realize that the Groop progresses slowly but surely, in its own tempo, while ignoring trends and balancing consistency with changes.

True, Fab Four Suture from 2006, a collection of seven inch singles, refered to the dearth of ideas, considering how similar it sounded to the 2004's Margerine Eclipse (first Stereolab album missing the late Mary Hansen). Fortunately, on Chemical Chords, Stereolab does not try too hard to sound like a classic(ist) Stereolab. New Lab sounds poppier, more concise and focused than before. There's also less emphasis on the usual analog synth sounds and Sean O'Hagan has returned with his arrangement expertise for strings and brass. Live instruments are clearly more emphasized on this album.

It is true that Chemical Chords does not sound as innovative or avantgarde as Stereolab's previous albums. Nonetheless, the band deserves admiration for staying true to themselves, especially when they perform in their own style well, which they certainly do on this album. Here, there are hints to both early, rock oriented Stereolab ("Valley Hi" and the instrumental "Pop Molecule") as well as the loungier period (the title track, "Self Portrait With 'Electric Brain'", "Fractal Dream of a Thing"). First and foremost we find prime Stereolab styled pop ("Neon Beanbag", "Three Women" etc), but also a few eccentric moments such as "Nous Vous Demandans Pardon" with its militarist machine like syncopated beat or "Daisy Click Clack" with its ragtime piano. A beauty on its own is the album closer "Vortical Phonotheque" with its Sound Dust meets Abbey Road vibe. A well done work from the veteran avant-pop group.

Soft Machine - Fifth

Robert Wyatt's departure prior Fifth was arguably the most serious band-member loss Soft Machine ever had to endure. Not only was the main tie to rock music, a good drummer, a solid composer, and the only vocalist lost, but also sense of anarchy, eccentricity and warmth was robbed too.

However, Softs could still pull off a potent statement. Wyatt's initial replacement on drums was the flamboyant Australian guy Phil Howard, a friend and musical partner of Elton Dean. His drumming was freely structured, so you could not trace real time signatures, but a pulse beneath the dense unpredictable polyrhythms. This of course wasn't to the liking of Mike Ratledge and Hugh Hopper and Howard's free-jazz orientation led to his dismissal.

First two compositions, "All White" and "Drop", by Ratledge, present the avant-jazz sound at its most compelling. Howard creates an intense pulses on these two tracks which have, despite chaos, quite driving grooves. These two pieces are also the standout tracks on the album. "All White" starts with eerie saxophone lines on the background of spooky drone until the drums come in and we're off to jazzy realms. This tune altogether sounds remarkably colder compared to the warmth of Third and Fourth. Actually, practically the whole album is cold and bleak in mood and it's also purest jazz played by SM with few if any rock sensibilities. So this demonstrates that Wyatt's departure made a huge difference.

"Drop" is the closest thing reminiscent of earlier days, as it sounds a bit like a Third outtake with its psychedelic tape-loops in the beginning and intense fuzz-organ solo following,not to mention that bass and drums are also groovy, if reminiscent of the conflict between freeform exuberancy (Howard) and more disciplined approach (Hopper).

"MC" sounds like a rewrite of "Fletcher`s Blemish" on Fourth, only where that improvisational tune was hot and dramatic, this is cold as ice. Also, this is arguably the least successful Hopper pen for the Softs. There are some atmospheric cymbal washes and brushing from Howard on it, though.

But Howard was naturally forced to leave the group and in was John Marshall, whose drumming is more solid and he sounds more like a professional, if a bit stiff and masturbatory, especially as demonstrated on his drum solo "LBO" (clearly a filler). Although minimalist, "As If" is the closest as it gets to the avant-garde jazz with Marshall, even though the BBC Radio recording with Howard on drums has more urgency to it.

"Pigling Bland" is actually taken from the "Esther Nosejob" suite played live in the Wyatt-era. This is definitely the most melodic moment on the bleak austere improvisational jazz record, but one needs to dig out Virtually live performance (with Wyatt drumming) to see how the band has changed rapidly. Without Wyatt to inject the sense of warmth and freewheel into it, the tune now sounds cold and restraint.

Fifth ends with "Bone", which is actually an ambient track based on Dean's introductory sax solo to "All White", only that Ratledge is playing the solo in his fuzz organ solo which sounds truly night-marish and the background droning only provokes more eerieness. As for Dean, he contributes an uncredited freeform, out of control recorder playing in the background, it being a lone fragile voice among the cruel and bleak surrounding sounds.

To compare with Fourth, Fifth sounds quite different, the overall feeling is cold and detached as opposed to the inviting warmth of predecessor. This may be due to Wyatt having gone, but his passionate drumming is not the only factor gone. Hopper's fuzz bass sounds are almost absent from here too, likewise, most of the keyboard work is done by electric piano, only a few fuzz-organ solos here, which is sad, considering how diverse and inventive keyboardist Ratledge had been, from fuzz attack to sweet psychedelic organ flourishes. Electric piano sound just doesn't have enough warmth on here. At least the free-form leanings are still present, which would start to disappear after Karl Jenkins replacing Elton Dean and leading SM to the point where they were the Soft Machine in name only.

Maria Faust - Bitchslap Boogie (+Interview)

MARIA FAUST - BITCHSLAP BOOGIE

Bitchslap Boogie indicates that Denmark-based Maria Faust is one of the most promising young jazz musicians hailing from Estonia. Even though the material on the record sounds more restrained than can be expected from this outstanding octet onstage, nonetheless we can conclude that Faust (alto saxophone) is a composer and arranger of formidable talent.

On one hand, Faust's music refers to the American progressive big band jazz traditions, as exemplified by Gil Evans, Charles Mingus, Carla Bley, even Frank Zappa's jazzier output. But on the other hand, the blend of angular brass harmonies, counterpoints, complex rhythms, free improv, rock elements and classicism draws parallels to the British avant-garde jazz scene such as Graham Collier, Keith Tippett and Chris McGregor.

Nonetheless, Maria Faust has developed her own unique approach. She is able to make her complex, multi-layered compositions sound romantic, tender, womanly and empathic. First half of the album tends to be mainly introverted, restrained and melancholic ("Dreams", "Lonely Woman"), while on the second half one can recognize the composer's swinging and sassy side ("New Panties and Boots", "Dance Dance"). It is certainly recommendable to keep an eye on her further creative activities.

Maria Faust - Estonian Jazz Ambassador In Denmark

Maria Faust (29) is a jazz saxophonist and composer born in Saaremaa, Estonia, who is making music in Denmark. Her octet has achieved a good reputation among the jazz circles throughout the world. Recently Faust unleashed her debut album "Bitchslap Boogie"

When did you start learning music? Why did you eventually choose to play the saxophone?

I started piano lessons at 7. I already knew I wanted to be a musician at 4. I don't know why did I eventually choose to play saxophone. I suppose it just suits my nature. Since it is useful to play well at least two instruments, I still practice the piano.

You studied conducting the brass band in the Estonian Music Academy. Whence the decision to depart for studies in Denmark?

I felt that I was starting to lose myself. I realized it is not possible to play two kinds of music (classical, jazz) at once, but sadly the possibilities to study jazz in Estonia were meager. I needed to practice and play as much as possible.

As you play in a horn-heavy octet, what are the advantages of the bigger line up as well as its challenges?

Regarding challenges, first it is expensive. Second, it takes time for the band to develop their own sonic language. It is also important to observe that the music does not degenerate into noise. The importance of pause in music is understood by many, practiced by few.

Still the lineup has justified itself, it sounds just like I have always wanted it. The musicians are to me like a family, we have common dreams and viewpoints.

There are apparent feminist tendencies in your work. How do you associate feminism with jazz?

Indeed, I am a feminist, my work is inspired from women. I'm also worried about the shortage of jazz instrumentalists. There are only four female jazz students (excluding singers) out of 200 in the Copenhagen Rhythm Conservatory.

There are hundreds of reasons why there are few women in jazz. A sixteen year old boy and a girl from the same age just cannot find common ground during jam sessions, so the girls start avoiding jam sessions, their growth as a musician is stunted and only few decide to become professional musicians.

Even though your pieces are instrumental, they nonetheless appear to have their own story.

Music is indeed full of imagery, each piece is about some kind of experience. "New Panties and Boots" is about my stay in New York. I deliberately used overwriting to illustrate the essence of the city. I was about to go buy an iPod, but instead I walked in to Victoria's Secret and bought a bunch of panties.

Several of your pieces have left a lasting impression live. Still, they sound somewhat different on the record.

We had to change a lot of our material. Nonetheless we strived to retain the basic live feel. Most of the stuff were recorded in only a couple of takes, I've deliberately left in some mistakes, everything remained authentic. I like the dry sound, natural timbres, the art to me is promise of the beauty. I can't stand perfectionism, I don't understand those who polish, prepare and practice. I need action, right here and now. No excuses!

Is it possible to survive as a musician?

Just as there is applied art, there is applied music. Playing that enables you to get by. Unfortunately I am too sensitive for that, I cannot play five hours in a row for dance. It kills creativity. Somewhere the line is drawn how much one can afford to make music solely for money.

Review and interview translated from an Estonian article in Postimees.

Soft Machine - Six

After cutting Fifth with the Soft Machine, Elton Dean, who was dissatisfied with replacement of Phil Howard with John Marshall on drums, quit and Marshall ushered in Karl Jenkins (keyboards, oboe, saxophones). This double album, consisting of live and studio disks, continues in spades with the austere jazz improvisations on Fifth, but the sense of free-form is vanishing, as Jenkins' approach to playing and composing is far more slicker and sedater than improvised madness of Dean. While listening to the live rendition of "All White", it is noticeable how mild and unassertive Jenkins' oboe soloing sounds. He certainly sounded nothing like Elton Dean.

With Dean and eccentric drummer Robert Wyatt (who quit in 1971) gone, and Jenkins+Marshall in their places, the Soft Machine's jazz-fusion sound is lacking the same free-form mania prominent on other Softs live sets like Noisette or Virtually. Having said that, there's a lot of worthwhile material. "Riff" is indeed one of the catchiest and most arresting moments on the live disk, with Hugh Hopper playing a tricky bass-line and Marshall showing how the most difficult time signatures could groove and Mike Ratledge contributing an acidic organ solo. "37 1/2" is another fine odd-metered groove, although Jenkins' oboe soloing is an acquired taste, especially considering he plays the head on baritone sax, but switches to oboe on some reason for his solo. "Gesolreut" gets real funky and this tune is reminiscent of some of the groovier jazzy moments to be heard on Hopper's 70s solo albums. "Stumble" is possibly one of the most rock-oriented moments on the whole album. Marshall gets a drum solo ("5 from 13...") lasting for five minutes and as such is a filler.

The studio disc is even more interesting than the live one. "Soft Weed Factor" sounds very ambient and hypnotic, a genuine slow Riley inspired trance-rock piece. "Stanley Stamps Gibbon Album" is a fast-paced vehicle for Ratledge's organ soloing. "Chloe and the Pirates" again fuses ambient and jazz-rock, even recalls In a Silent Way era Miles.

But the most intriguing and the best composition is the final composition by Hugh Hopper who would leave the band soon because "Softs had became a rather ordinary jazz-rock group without enough quirks or weirdness". "1983" indeed is the last time one could hear real weirdness on a Soft Machine album. It is similar to Hugh Hopper's first solo LP 1984 with hypnotic loops, manipulated and angular bass motifs plus weird sound effects.

In conclusion, while it lacks the impact of the earlier works of Soft Machine, Six has its moments and proves one need not write all Jenkins-era material off as garbage, although some of it most certainly sounded a bit dull and it's questionable whether the Soft Machine deserved to go on with that name even when Hopper and Ratledge were both out. Jenkins-era Soft Machine is a classic case of a band that did not know when to quit.

Van Der Graaf Generator - Trisector

Trisector is the second Van Der Graaf Generator album since their recent reunion. This time without sax/flute player David Jackson. The album's title pretty much refers to (and signifies) the current trio lineup of VDGG. Compared to the downbeat Present, Trisector is more uptempo and at times even rocking. The band even opens up with a surf rock instrumental titled "Hurlyburly". At least this shows that VDGG are still doing something different. Much more convincing display of the VDGG sound is found in their longer prog and jazz influenced themes. Pieces like "Interference Patterns", "Lifetime" and the epic 12-minute "Over the Hill" show that the band can carry their sound even as a three piece. Hugh Banton's wide ranging organ tones and Guy Evans' fluid and subtle drumming support the distinctive voice of Peter Hammill securely, while having a role just as important as the vocals. In terms of interplay, fine textures and introspective feel they outshine just about any post-rock group, another asset being a lifelong experience of playing. Years later VDGG is still the most vital of the vintage progressive rock groups out there.

*This review was published in Estonian in a journal called Postimees. This is the English translation

Terry Riley & Don Cherry - Studio Session, Copenhagen 1970

This unreleased studio session from September 1970, recorded in Copenhagen, pairs minimalist composer Terry Riley with avant-jazz luminary Don Cherry who work with three European musicians handling various wind instruments, percussion and bass. This bootleg contains about 39 minutes of music divided in three distinct parts. Part one is a droney piece in the key of E and heavy on soprano saxophone. Part two where Riley is heard on organ sounds like an early version of "Persian Surgery Dervishes" with jazzy wind solos. Part three however is something really interesting: Riley forms a horn section with Cherry playing slow and plaintive horn lines while another woodwind player takes a wooden flute solo, this is where Cherry's influence is the most felt. Otherwise this is not too far from what Riley did during late sixties and early seventies, but its jazz influence is slightly more pronounced, especially the prominent texture of trumpet, saxes and flutes. If In A Silent Way used minimalist flavor for coloring jazz, then here Riley and Cherry use jazz color to confirm yet another way how jazz and minimalist music could be compatible.

Downloadable via Elasticrock blog.

Zao Family - Zao Family

Zao Family could be considered as new studio material from Zao on this decade. This album features both Yochk'o Seffer and Francois Cahen as the founding members and the creative nucleus behind the band, along with percussionist Francois Causse. What is more, some of the compositions here have been included to Zao's setlists. Of course, it doesn't feature the entire Zao lineup, but rather, a septet of Seffer, Cahen, Causse (and another percussionist Minu Cinelu when Causse is not present) plus a string quartet. The music on this record downplays the jazz-fusion tendencies of Zao and instead combines avant-garde jazz, ethnic music and modern classicism. Seffer plays more tenor sax here as well, plus tarogato, a Hungarian woodwind instrument similar to clarinet and soprano saxophone, an instrument Seffer started to play at some point during the current decade. "Koborlo", on stage a vehicle for Seffer's tarogato improvisation and indeed Seffer has also recorded a solo tarogato version of the piece, is here played on tenor saxophone. Compositions like "Attila" and "Sandor" combine and contrast reed improvisations with atonal string quartet arrangements and complex rhythms, while "Gingko" is a nod to Hungarian folk music, sporting another memorable Seffer theme along the lines of "Dag". Those challenging pieces are contrasted by some lighter music as well, as heard from the pastoral "Soulefuji" as well as the album closer "Hathor", that is the closest thing on this album to traditional jazz, once again showcasing Seffer's formidable tenor sax work. An outstanding work from Seffer and Cahen which confirms that in their sixties, these two musicians and composers are still creative and pushing boundaries.

Zao - In Tokyo

Zao, French prog-jazz legends from Seventies, reformed in 2004 with original core members Yochk'o Seffer (sax) and Francois "Faton" Cahen (keyboards) along with Gerard Prevost (bass) who was a member of Zao from 1975-77, drummer Francois Causse, who had played with Faton and Seffer before and last, but not least, the new female vocalist Cynthia Saint-Ville. Her addition to the fold will doubtless attract Zeuhl enthusiasts, as her voice is pretty similar to Mauricia Platon, but softer and more sensual, while equally powerful. In Tokyo is a live album recorded during the Japan tour in 2004 and it adds a violinist Akihisa Tsuboy to round out the classic Zao sound which, while more acoustic sounding thanks to Faton largely playing grand piano and only occasionally comping on Fender Rhodes, nonetheless stays true to the classic tone colors of Zao. Versions of pieces like "Isis", "Shardaz", "Zohar" as well as material from Kawana benefit a lot from the addition of female vocals. The only disappointing piece is "Ronach" which doesn't have the same verve and fluid edginess that the original version had (not to mention, Causse sounds a bit stiff here compared to the militantly exuberant hammering of Jean-My Truong on the original version). It was probably a bit too complex piece for the band to pull off. Elsewhere, they deliver. Guest violinist Tsuboy dishes out fiery electric violin solos, at times reminiscent of Lockwood, even though he tends to be obscured during the written sections by sax and voice. Nonetheless, Zao in its current configuration sounds like a tight live act, a bit jazzier than the seventies editions, but nonetheless very enjoyable. Recommended live album for fans of jazzier end of Zeuhl.

Zao - Akhenaton

In 1994 Zao, after having disbanded for more than 15 years, save for a one-off reunion gig in 1986, reunited for one album. Akhenaton features original members Yochk'o Seffer (sax), Faton Cahen (keyboards) and Jean-My Truong (drums), plus bassist Dominique Bertram and violinist Patrick Tilleman. Musically the album is closer to the virtuoso jazz-fusion that characterized the band's mid-career work, although those expecting Zeuhl elements may be disappointed, as there are none. Akhenaton features competent, well played if a bit sterile jazz-rock compositions from both Cahen and Seffer, the latter still on soprano sax that plays unison with violin, just like the old days. While musically the album is not a carbon copy of mainstream American jazz-fusion a la Weather Report like Typhareth was and compositions like "Elioth" clearly point to Seffer's own style, occasionally reminiscent of Ghilgoul era Neffesh Music, one gets the impression that Seffer and Cahen were merely content writing jazz-rock compositions in their own standard style, instead of trying to do something different. Worse still, Cahen's keyboard timbre is really grating, as he used a digital synth-piano called Wersi on this album. As a result, Akhenaton sounds like a dated nineties jazz-rock record. Clearly, Seffer and Cahen could have done better. And they would, as shown by their subsequent collaborations, including a further reunion of Zao. Still, it is impossible to deny how finely suited Seffer and Cahen are for each other as musicians, as the final soprano sax and acoustic piano duet "Les Fleurs Pour Nefertiti", easily the best piece here, indicates.

Zao - Typhareth

On Typhareth, none of the original members of Zao are left, except keyboardist Francois "Faton" Cahen. Musically, all traces of Zeuhl have also vanished and the album is competent, if a bit dull and sterile jazz-fusion record. Yochk'o Seffer had left and went on with Neffesh Music project. In his place there's a two-member brass section with trombone and saxophone/flute. Oddly enough, the drummer for this project is Manu Katche, who played on Seffer's Ima, even though his drumming is a bit obscured by a percussionist whose congas are quite high in the mix.

The opening track "Mercy Jacky" (dedicated to Jacky Barbier apparently) does feature some of the complex writing that had informed Cahen's previous compositions for Zao and it features some nice brass work. On the other hand, the other two upbeat pieces like "Troupeau de Bisons Sous un Crane" and "Les Temps Changent" are just average run-of-the-mill jazz-funk pieces. Even though there's no soprano saxophone this time around, there's no getting away from realizing just how important Seffer was for Zao.

Typhareth is not a complete failure as it features two slower and more tranquil compositions that confirm how good Cahen was at composing ballads ("Zita" on Shekina is another example). Nicely arranged, with some lovely flute parts to boot, these compositions suggest a more introverted direction Faton was to take on his solo albums like Great Winds. The title track of "Typhareth" is 12 minutes long and features a cute melody that is interspersed with solos on trombone, synth and flute, whereas a shorter piece "Binah" is more haunting and mysterious.

This remained the last Zao studio album in the seventies as the group eventually called it a day in 1978. Cahen and Seffer would work again later, forming Ethnic Duo in 1980, but also reuniting Zao several times later.

Zao - Live (1976)

After saxophonist Yochk'o Seffer quit Zao in 1976, the lineup that was left from the band that recorded Kawana soldiered on for a while, until violinist Didier Lockwood and drummer Jean-My Truong left the band and Zao recorded their last studio album with an entirely different lineup with little ties to the band's past except original member Francois "Faton" Cahen (keyboards). This archival live album documents a show from this transitional quartet (with Gerard Prevost on bass) recorded in December, 1976. The recording of this gig was released on CD in 2004.

Live! compares to Kawana the same way British Tour '75 from Soft Machine compares to Bundles or Softs, as both bands' live albums from the period contrasted the polish of studio albums with rougher edges, a more warts'n'all feeling and more energy and thus have aged better than the studio work from the same period. Even though occasionally the sound quality may be considered lacking by some audiophiles, there is a sense of urgency and improvisational fury that makes this live set worthwhile, as far removed from the early Zeuhl manifestation as it may be. And certainly, the set ignores the material from Z=7L entirely. But it provides a nice overview of the middle period material. Zao at this point even continued to play pieces by recently withdrawn Seffer. His vast compositional input for the band is here represented by "Shardaz", "Zohar" and "Tserouf". The latter composition certainly becomes more alive in the live setting and the absence of soprano saxophone might be a relief for the listener averse to that instrument. With no sax in sight, it's easier to value Seffer's importance as a composer for Zao. "Zohar" is a faster rendition than the studio version and the string quartet orchestration on the studio version is replaced with a nice violin led jam. Apparently the band skips a few sections from both "Shardaz" and "Isis" as the former is without its intro and the latter skips a post-solo unison section with particularly fast notes. Like "Tserouf", Faton's "Kabal" and "Sadie" also have more verve to them in the live setting. The band is certainly firing on all cylinders as far as musicianship goes. And they do improv too. Even if Live! doesn't exactly please purist Zeuhl fanatics who deride anything without vocals as mere "fusion show-off", this album is a fine document how adventurous Zao could be in concert settings during the seventies. One of the pieces here is a 19 minute jam called "Improcol" that starts with the same violin riff that begats the post-theme improv section in "Zohar". Didier Lockwood showcases more of his violin talents on "Jumelles".

Live! is certainly an interesting document of a band in transition, but it also underlines the excellence of Zao in live settings, as their improvisational style could really fire on all cylinders on a fine day. It is safe to say that Zao had reached the beginning of the end though, as this line up would disintegrate a couple of months later, one last studio album would follow with different musicians and Zao would be put to pasture. Still, Live! shows that at this stage, Zao still had plenty of life in it and was capable of delivering a fine live performance.

Zao - Kawana

Kawana from 1976 finds Zao abandoning the string quartet heard on Shekina and enlisting Didier Lockwood - fresh from his stint with Magma - on electric violin. This album also has little of the Zeuhl influence left that informed their previous works. For one, the vocal element is almost gone. Second, the sound is closer to traditional mid seventies jazz-rock, that is well played if also a bit overproduced. Synthesizers appear on this album and while they aren't necessarily unlistenably cheesy, they nonetheless make this album sound slightly dated. Alas, Yochk'o Seffer does not play woodwinds other than soprano and sopranino saxophone, the latter instrument sounding even more shrill than former. While he's definitely a talented sax player, his highest pitched saxophones are truly an acquired taste, particularly whenever he takes a solo. While Didier Lockwood turns in some great solos and helps masking the occasional shrillness of sax during the written unison parts, Lockwood's playing is more bombastic and fusion-ish than the wonderfully understated, yet adventurous violin work of Jean-Yves Rigaud. As such, Kawana is an underwhelming work when put next to previous three Zao albums.

Still, the album has some worthwhile compositions. Francois Cahen's "Natura" opens the album, featuring great piano and keyboard work and excellent progression. It has a tranquil and soothing feel that is only sabotaged by shrill sopranino sax, but otherwise an enjoyable piece. Another highlight is "Free Folk", that opens with backwards harmony vocal parts from Seffer, that were later incorporated into the title track of Seffer's Ima, which might have been a work in progress already at later parts of 1976. This intro is definitely the most Zeuhl-oriented moment on the entire album. The composition itself is another edgy, dark jazz-fusion workout almost reminiscent of early seventies Soft Machine, where Lockwood also delivers a Ponty-esque violin solo. Other compositions aren't necessarily failures as they might grow on the listener after a while. It is simply that Kawana is generally a more traditional jazz-rock record that shares none of the inventiveness of previous albums. Apparently Yochk'o Seffer himself realized this as apparently he wasn't happy with the way other band mates didn't wish to follow the direction established on Shekina. In November 1976 Seffer left Zao and dedicated his attention to his Neffesh Music project where he could compose and execute just what he had in mind. Zao itself lingered on for a while, recorded an album where only Cahen had remained from the original lineup and then disintegrated.

Zao - Shekina

1975 brought more lineup changes for Zao. Violinist Jean-Yves Regaud and bassist Joel Dugrenot quit, to replace them, Zao enlisted Gerard Prevost on bass and last, but not least, an entire string quartet. Zao had decided to combine their jazz-rock style with classical string arrangements and the string ensemble for the job was an all-female quartet led by violinist Michele Margand. The result was Shekina, recorded during the summer of 1975, that stands as the most unique album Zao recorded.

Shekina is also the most Yochk'o Seffer influenced of all Zao albums, as he takes up most compositional credits. Francois Cahen contributes two pieces and the album opener, "Joyl" is the least interesting composition, as it's a standard jazz fusion (think Weather Report or Karl Jenkins era Soft Machine) number, that does feature some fine string arrangements on it. Seffer's compositions on the other hand are always challenging, combining and integrating elements from jazz, progressive, ethnic and classical music, allowing room for open ended improv while balancing them with skillful orchestration. "Yen-Lang" starts out very ambient and free-floating, with a central instrument being the flute that stands as an improvisational counterpoint to cinematic strings, culminating in a mellow but intense solo against a soft laidback groove towards the second half. "Zohar" became a concert staple and its rigid fast-paced saxophone oriented theme with particularly militant drum work from Jean-My Truong would often lead way to exploratory improvisations. The studio version is notable for an orchestral middle section with just unaccompanied strings playing a variation on the main theme. "Metatron" combines Zeuhl and Weather Report styled jazz-rock contrasting soprano sax driven rigid themes with celestial vocal sections where Seffer shines on falsetto vocalize that sounds more refined than his earlier vocal attempts on Osiris. His sax solo on this piece however is an acquired taste with its high shrill tone.

Even so, Shekina stands as a Zao album lightest on the saxophone, as virtually all other Zao albums with Seffer showcased him on soprano sax for most of the time. Only three tracks out of six included saxophone ("Joyl", "Zohar", "Metatron"). "Zita", another Cahen composition features the instrumentation of bass, electric piano, strings and Seffer's yearning falsetto vocal that makes an already gorgeous ballad sound more haunting. "Bakus", the only composition without strings, features just the basic band augmented by Seffer's falsetto voice and a rumbling bass clarinet doubling the rolling bass lines.

Creatively Shekina was Zao's most accomplished studio album, even though the problems with adequate amplification of the extended ensemble in live settings led to the abandonment of the format a year later. Even though no other Zao album sounds like this, Shekina would be an early manifestation of Yochk'o Seffer's ambition in combining jazz improvisation and classical influences regarding composition and arrangements, a direction he would later pursue in solo career context, particularly his post-Zao Neffesh Music project. An essential listening for Zeuhl connoisseurs.



First 90 seconds show Zao in 1975, including an excerpt from "Marochsek" with string arrangements. A brief clip from "Zohar" follows.



Zao, reunited, playing "Zohar" in 2005 with vocalist Cynthia Saint-Ville adding the essential Zeuhl flavor.

Zao - Osiris

In 1974 just before Zao were set to record their second album, vocalist Mauricia Platon quit. After having played some of the newer compositions live with her, the band had to re-orient in terms of vocals. Thus, wherever possible, Yochk'o Seffer (sax) sang the high falsetto parts, while Joel Dugrenot (bass) would provide low voice here and there. Given how formidable the shoes of Platon were to fill, however, Zao's emphasis on voice was lessened. Thus, Osiris sounds less of a jazzy Zeuhl album than a Zeuhl-inspired jazz-fusion album. Compared to the vibrant sound of both the previous album and the one that would follow (Shekina), Osiris sounds a bit duller in comparison. Either due to muddier production or poor CD remastering.

Still, there are worthwhile compositions on this album. "Shardaz", penned by Yochk'o Seffer, shows that even though his high falsetto voice is hardly comparable to the powerful scatting of Platon, it nonetheless has character on its own that would be more pronounced on the next Zao album as well as his subsequent Neffesh Music solo career. It begins with ominous slow theme, before switching into a bouncier groove, that also leaves room for a challenging acoustic piano solo from Cahen, before returning to the opening theme.

Even though Seffer is credited only with saxophone and voice, he does play a couple other woodwinds on this album. Another highlight and a concert staple called "Isis" follows the opening number, starting with a pastoral flute-oriented section. Composed by Francois Cahen, it shows a remarkable Frank Zappa influence. The haunting flute driven section sounds as transcendent in its beauty as the most chamber like moments on the early Mothers of Invention albums. Seffer then returns to his usual soprano saxophone whipping out a solo over a 9/4 vamp that is easily among his best soprano sax solos recorded. After his solo concludes, the tempo picks up and more Zappa influence shines through with difficult sax/violin unison melodies that would not feel out of place on Uncle Meat, before violinist Jean-Yves Regaud takes an electric violin solo using a wah-wah pedal (again, pointing to the Zappa influence). The piece is finished with the same flute based pastoral theme it began with.

"Reinna", written by Dugrenot, is not as remarkable as "Satanyia" was on the previous album, though there's a nice uncredited bass clarinet break during the middle section. "Yog" is another Seffer composition and it's the most complex piece with multiple shifting sections, including some interesting vocals from both Seffer and Dugrenot. "La Rhune", by contrast, just focuses on one groove throughout and sounds like an album filler. Not bad or unlistenable, just not as interesting as other pieces.

The original album was even shorter than Z=7L, in just 31 minutes. But where Z=7L was consistently strong throughout, Osiris has three great pieces and two (even if short) lesser compositions. CD version adds a bonus track recorded by Seffer, Cahen and Canadian guest musicians. "Montreal" lasts for more than 11 minutes and is a mesmerizing piece containing fine rhythm section, a nice blend of Cahen's organ playing, haunting female vocals as well as passionate tenor sax from Seffer. Seffer hardly played tenor sax with Zao, sticking to mostly soprano (and occasionally, bass clarinet and flute), but here he shows he's one of the most accomplished tenor player in the French jazz scene. This bonus track is a worthwhile addition for the reissue of this album that is otherwise pretty good, but lacking a bit when compared to the album before and the album to follow.





Two-part video of the 2004 reunion lineup playing "Isis". The arrangement is different from the studio version as there is no flute, just soprano sax throughout and there's a female vocalist Cynthia St-Ville, who is formidable enough to fill the shoes of Platon.

Zao - Z=7L

Zao was formed after two members of Magma felt that their creativity was inhibited by drummer Christian Vander taking total artistic control, by curbing improvisations and disallowing compositional input from other members. The duo, reedman Jeff (born Yochk'o) Seffer and pianist Francois Cahen wanted to do precisely that: play their own pieces and improvise more. They wasted no time getting their own group together, adding Jean My Truong (drummer from Seffer's free jazz unit Perception), Joel Dugrenot (bass), but also a violinist (at Seffer's insistence) Jean-Yves Regaud and a vocalist Mauricia Platon. Together the sextet sought to create their own jazzy manifestation of Zeuhl genre.

Z=7L was the band's first album. It was also their only record to feature vocalist Mauricia Platon who quit before the second album. Her forceful and operatic scatting may seem like an acquired taste, but it is inescapable to conclude that her voice has a lot of personality and it fits in well with the band's sound that combines nimble, odd metered rhythms with repetitive keyboard backing and the combined textures of violin and soprano sax. The latter two instruments blend well with each other and Platon's powerful vocalize adds another layer. Most of the compositions come from the pens of Seffer and Cahen. The former contributes "Marochsek", a dark foreboding number that makes excellent use of space and dynamics, his other pieces like "Ronach" and "La Soupe" blend modern jazz and Eastern European folk sensibilities well, contrasting complex syncopated writing with open ended exploratory solo space. Cahen's contributions sound lighter and bouncier, "Ataturc" being a fine showcase for his keyboard work, whereas "Atart" is a highlight with its addictive 9/8 modal groove so reminiscent of early Soft Machine, particularly "Hibou Anemone and Bear" that particularly stands out with its middle section with multiple interlocking saxophone overdubs that sound intense, orgasmic and mesmerizing. That whole track is a masterpiece of sensual Zeuhl-inspired jazz-fusion.

Another highlight is the last track, "Satanyia". Written by bass guitarist Dugrenot, it's probably the closest thing to the classic Magma sound. Seffer switches to bass clarinet for this number that contrasts spacey drones and open ended improv with a fast syncopated odd meter and then some spine tingling mysterious slow chords and melodies. The most atmospheric and transcendent track on the entire album and a fine way to close this excellent, if a bit short album in a little less than 36 minutes. But apparently the oil crisis back in the day didn't allow for pressings of longer vinyl records. Still, it's interesting that there were no outtakes from the sessions, whereas a couple other Zao CD remasters have bonus tracks. But since the entire record is so remarkably and consistently accomplished work, the brevity is not really an issue. Z=7L is certainly a Zeuhl masterpiece and well recommended for those into jazzier end of the genre.

Frank Zappa - Sleep Dirt

Sleep Dirt from 1979 includes music that originally was intended for the double album in 1976 that was pared down to a single release called Zoot Allures. Then Frank Zappa wanted to put out a quadruple album Läther, but was met with resistance from Warner Brothers who demanded four separate records in order to end the contract. Sleep Dirt is one of those records. Original vinyl release was fully instrumental, more in the vein of Hot Rats styled jazz rock (in fact, the album's working title was Hot Rats 3, I kid you not). For the CD re-release Zappa added vocal and new drum overdubs for the more cabaret-jazz influenced numbers that were originally intended to be part of Zappa's unfinished sci-fi musical Hutchentoot. This review concerns the original version and even so I must admit that the tracks like "Time Is Money", "Flambay" and "Spider of Destiny" are not the strongest tracks on the album, although kind of interesting at places. More interesting are the pieces that retain the instrumental status even on the CD.

"Filthy Habits" is an experimental rock instrumental with its feedback drenched (some backwards) guitar sonics and angular riffs and leads. It has a dark vibe and a great rhythm section of Dave Parlato (bass) and Terry Bozzio tearing it up on drums. "Regyptian Strut" is another "Hutchentoot" outtake, as it was actually intended to be an instrumental overture and thus is spared from the vocal dubs. However the CD version adds Chad Wackerman overdub in lieu of the original drums by Chester Thompson. An interesting pompous piece that is somewhat reminiscent of early King Crimson, but without guitar, as Zappa plays percussion on this track. Bruce Fowler's multiple brass parts really add to the piece. For a more uptempo proto-version, check Wazoo (1972 Grand Wazoo orchestra live) for a piece that then was called "Variant I Processional March".

On the second half of the album we have two outstanding tracks. The title track is sublime acoustic guitar duet that shows Zappa at his most introspective and melancholic, which segues directly into "The Ocean Is the Ultimate Solution", an avant-garde rock improvisation with crazy solos from Frank (alternating between acoustic craziness a la "Nine Types of Industrial Pollution" and screaming electric leads) as well as Patrick O'Hearn doing a damn good job at double bass. Terry Bozzio kills on the drum set. 13 minutes of superb performance which draws this underrated album to close quite nicely.

Frank Zappa - Wazoo

Frank Zappa spent most of the year 1972 in a wheelchair, after a stage attack in London. During this period he wrote a lot of music, especially for big-band format. In studio, two records in this vein were conceived: Waka/Jawaka and The Grand Wazoo. Having recuperated to a certain point, he assembled an orchestra of 20 musicians (dubbed The Grand Wazoo, naturally) and he went on the road for a small tour. This was followed by another tour with a ten member lineup (The Petit Wazoo), the recordings of which were compiled for Imaginary Diseases in 2006.

In late 2007 the Grand Wazoo lineup also got its archival album. Titled simply Wazoo, it presents a full concert, which was also the last performance of the 20 member orchestra, recorded in Boston, 24th of September, 1972. The stage repertoire, fully instrumental, refers to how amazingly prolific the composer was even during the wheelchair period. Surprisingly little material is performed by the live bigband from the studio big band records. These two studio albums are only represented by "Big Swifty" (with a spiffed-over arrangement and a completely different solo section) and the title track of "The Grand Wazoo". The sole oldie in the set is "Penis Dimension" sans lyrics. Everything else appeared on the record years later.

"Approximate" with its rhythmic-melodic abstration is electrified free-jazz at its best. Its atonal improvisation is colored by its solos, especially Earle Dumler on contrabass sarrusophone and Ian Underwood on synthesizer. Magnum opus "The Adventures of Greggary Peccary" retains its cartoonish edge even without narration (found in extensive liner notes). The given performance, lasting over 30 minutes, is spiced by improvisations. Especially memorable is a "Sketches of Spain" type jam in part two that intensifies to a powerful culmination. Part three contains improvisation that is more post-rock in its unhurried tempo and muted, subdued textures than most of what passes as post-rock these days. The set closes with "Variant I Processional March", a faster paced almost "Peaches En Regalia" like proto-version of a later tune called "Regyptian Strut".

In terms of sound it's amazing how the concurrent recording techniques have managed to capture such a big line up. The sound on the recording is crystal clear and the mastering is well done. Taking that, and the band's wonderful performance (especially by the rhythm section of Dave Parlato on bass and Jim Gordon on drums) into account, Wazoo is a record that is just as fine as Zappa's best recordings and appeals to both younger and older fans.