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.