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.