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.