After a decade and a half, the zeuhl-fusion ensemble Zao are back with a release that is a real treat. While the lineup has changed from the classic formation which included Didier Lockwood on violin and Gerard Prevost on bass, the replacements do an admirable job filling their shoes. This time Francois Cahen (sampled pianos), Jean-My Truong (drums) and Yochk'o Seffer (soprano sax) are joined by Dominique Bertram (4- and 5-string bass) and Patrick Tilleman (violins). The tunes are still penned by Cahen and Seffer, and the good news is the spirit of their '70s output remains intact with Akhenaton.
Sax and violin interact to create energetic melodies, licks, and harmonies over the busy drumming and bass playing, which doesn't rely as much on zeuhl stylings as it used to (consistent with the current trend in France among the 1st generation of zeuhlsmen) but works quite well anyway. The album opens and closes with a gentle duo of sax and piano, as if to state that this is still Cahen's and Seffer's band. Overall it falls just short of the classic Kawana, but in this day and age to hear musicians who've been around for a while coming back to their roots is mighty refreshing.
For people who have never heard Zao before, this is as good a place to start as any. Technology has had a mixed effect on this outfit; while the drums and bass sound better than ever, the sampled pianos (electric included) are a bit cold and artificial. If Cahen's performance was less impressive the effect would have been even worse but thankfully his playing is good enough to divert your attention from the weaker patches. To be clear, this style of prog is much closer to jazz and fusion than might be expected. Fans of the old Zao are sure to enjoy this comeback, one of the best comebacks this decade in fact. Recommended.
[For the record, Dominique Bertram *was* a member of Zao during the band's first reunion circa 1986, at which time they did some concerts in Paris, but he never recorded with the band. Zao's last album (the 5th) was Typareth from 1977, but Yochk'o Seffer did not participate on that one. Patrick Tillemann was a member of Forgas, Terpandre, and Gwendal, but was never previously a member of Zao. PT ]
(Originally published in Exposi #6, p. 31, Edited for Gnosis 8/12/02)
Zao was a fantastic French fusion band that released a half dozen albums in the '70s. Formed by saxophonist Yochk'o Seffer and keyboardist Francois Cahen after leaving an early incarnation of Magma, Zao had a strong zeuhl sensibility, which gave their jazz-fusion stylings a unique character. Their best album Kawana was recorded in 1976, and shortly thereafter the band members went their separate ways. Now, apparently spurred by the recent Musea reissues of most of their back catalog, Seffer and Cahen decided to reform the band to record a new album. And how fortunate we are that they did! Akhenaton harkens back to the best of their '70s work, the zeuhl influence still flavoring their busy, driving fusion.
With former members Jean-My Truong on drums, Dominique Bertram on bass, and Patrick Tilleman on violin, the band lays down some tasty grooves, serving as a foundation for Seffer's fluid soprano sax solos, as well as some nice lead work by Tilleman and Cahen. More structured parts of the music feature the trademark Zao harmonized and unison sax and violin melodies. The nine tracks on Akhenaton are all winners, providing a full hour of engaging music. The only complaint I have is about Cahen's choice of keyboards: he plays exclusively a Wersi sampled piano, which to my ears sounds about the same as the oft-loathed DX7 electric piano patch. A grand piano or a nice biting Rhodes electric would have given him a bit more dynamic range to play with, but Cahen is talented enough to make anything sound good, and the Wersi does fit in well in the context of this music. This minor caveat aside, Akhenaton is a top-notch fusion album and a must buy for all Zao fans.
(Originally published in Expose #6, p. 31, Edited for Gnosis 8/11/02)
Zao - "Z=7L" (Musea FGBG 4081.AR, 1973/1993, CD)
For those not familiar with Zao, they were the first true Magma spin-off band, formed by reedsman Yochk'o Seffer and pianist Francois "Faton" Cahen, at a time when their creative role within that band was diminishing and all the writing duties were being taken over by Christian Vander...another long story for another long day, but as a result, in late 1972, Zao was born. They were joined by drummer Jean-My Truong, ex-of Perception (Seffer's pre-Magma band) and bassist Joel Dugrenot, who had previously played with Alain Markusfeld and others. Jazz vocalist Mauricia Platon was added to that original lineup, and finally violinist Jean-Yves Rigaud rounded the band out as a six piece.
Z=7L is Zao's maiden voyage, a trip back into the heyday of French progressive rock. Zao's sound could be described as a mixture of rock and jazz styling, mixed with touches of folk and classical, all with an overt influence from early Magma, naturally, because up until that time Seffer and Cahen were themselves a part of developing that unique style that later was to become "zeuhl". This first album is most unique among the five albums that Zao would produce, mainly due to Platon's crystal clear fluid voice, with incredible range and emotion delivered throughout. There are no lyrics as such, she scats her way (if you could call it that) through the album's six tracks. The sound behind her is a group effort, with saxes often acting as the vocal mimic and counterpoint, or alternately driving the band while electric piano and violin fill out the center strata and the bass and drums stay busy at the bottom. There is plenty of space in the music for improvisation at all levels, and Zao are the masters of that craft, as evidenced on spirited and energetic tracks like "Ronach" and "Atart". It doesn't get much better than this, folks ! (Originally published in Exposé #3, p.17, Edited for Gnosis 3/24/01)