Monday, April 13, 2015

Arkham - 1994 - Arkham

Arkham 
1994 
Arkham


01. Upstairs In The Granery (5:11)
02. Eve's Eventful Day (part 5 & 6) (3:22)
03. Monolithic Progression With Anticipated Rupture (8:00)
04. Brussels Shortly After (8:30)
05. Bleriot: Visibility Poor (8:18)
06. With Assays Of Bias (10:21)
07. Eve's Eventful Day (part 3) (4:45)
08. Riff 14 (8:48)
09. Tight Trousers (4:37)

- Jean-Luc Manderlier / hammond organ, electric piano, clavioline
- Daniel Denis / drums, whistles
- Patrick Cogneaux / bass and some strange frequency modulations

Additional musicians:
- Claude "Piccolo" Berkovitch / bass (track 3)
- Claude Deron / electric flugelhorn (tracks 8 & 9)
- Christian "Djoum" Ramon / bass (tracks 8 & 9)



Recorded July 4th, 1971 at M.J.C., Feluy, Belgium (1,2)
Recorded June, 1970 at RTB, Brussels, Belgium (3)
Recorded November, 1970 at "The Recreation", Brussels, Belgium (4)
Recorded 1971, Brussels, Belgium (5,7)
Recorded June 26th, 1971 at the "Cocoripop Festival", Charleroi, Belgium (6)
Recorded April 28th, 1972 at M.J.C., Verviers, Belgium (8,9)
ARKHAM are an early 70's prog band that featured keyboard player Jean-Luc Manderlier who would later join MAGMA, drummer Daniel Denis who would also move on to MAGMA as well as UNIVERS ZERO, and drummer Patrick Cogneaux. As you will have guessed, their music is highly reminiscent of the avant-garde giants. This all-instrumental trio (keyboards, bass and drums) never actually recorded any official album, although tapes of their many shows and rehearsals between 1970-72 resulted in the compilation of a cd, released in1994 by Cuneiform.

ARKHAM aren't nearly as dark as MAGMA or UNIVERS ZERO, their jazzy overtones placing them a little closer to SOFT MACHINE. The three musicians, who show some maturity, are obviously pouring their hearts out through out the album, which exudes an intensity that can't be ignored. The material, however, hasn't aged very well - and not only technically speaking. The spirit of improvisation and heavy jamming that were the life force of so many similar bands in the early 70's sound tedious and a little contrived nowadays. For this reason, "Arkham"'s most successful tracks are the shorter ones. The historical value of this cd is not to be underestimated. Not only has it got its place in the Euro-prog family tree, but it shows a group of young musicians who weren't afraid to experiment with offbeat musical styles and were the precursors of a lot of good things to come.

 I think long-lost band Arkham have been confusingly placed under the Zeuhl tag because of including future Magma and Univers Zero musicians Jean-Luc Manderlier and Daniel Denis in the band. Don't get me wrong, there's occasional darker passages and creeping atmospheres that would explain why everyone's favourite French alien cult came calling, but what we have here is a full blown band in the Canterbury style, frequently comparable to the Soft Machine and Egg, as well as early Pink Floyd in a few spots. Best to mention right from the start, the biggest issue with this release is that much of the sound quality here rarely rises above that of a bootleg. Some listeners will instantly dismiss this right away, but I ask you to please persevere! Were it not for these technical issues, as well as the fact this is actually a compilation of live performances other a three year period and not a proper studio album, I truly believe the music here would be spoken of as highly as some of the classics by the other Canterbury legends.

Just listen to the blistering fuzz organ, murky bass and rollicking Robert Wyatt-styled hearty drumming that dominates punchy opener `Upstairs in the Granary' to know you're in deep Canterbury town! `Eve's Eventful Day part 5+6' comes close to the maddening repetition of Egg, as does the groovy `Monolithic Progression With Anticipated Rupture', a perfectly titled slow-builder of glistening jazzy electric piano, rattling drumming before a boisterous fuzz-organ explosion in the middle before a disorientating psych period Pink Floyd finale!

`Brussels Shortly After' has an impossibly soulful and reflective organ passage before turning into a foot-tapping groover with a `Saucerful of Secrets/Alan's Psychedelic Breakfast' uplifting close. I'm willing to be forgiving and say that the `recorded-in-a-toilet' sound quality of `Bleriot: Visibility Poor' actually enhances the dingy and slightly malevolent mood of this piece perfectly. It's all sinister creeping mystery full of organ reverberation and feedback. `With Assays of Bias' is thankfully more upbeat and keeps building in intensity with some manic drumwork and spiraling keyboard runs before an excessive and typically 70's overlong drum solo! `Eve's Eventful Day (part 3)' is a solemn yet somewhat uplifting electric piano piece than truly shines, very moving and thoughtful. `Riff 14' and `Tight Trousers' are sourced from a later line-up that included Claude Deron on Fluglehorn, the first is a hypnotic electronic experiment that morphs into a smoky drowsy shuffle that reminds of Italian fusioners Perigeo, where the latter is a short perky jazz tune that makes me wonder if the `tight trousers' of the band were caused by their love of Egg - sorry, couldn't resist!

The latest Japanese Mini LP SHM-CD reissue comes with three bonus pieces, and it's probably worth tracking down this particular version for these special extra fragments. The cute and endlessly upbeat `Shortly After (part 2)' will have you on such a natural high you'll float up to the clouds and want it to go on forever - the three minutes here is such a tease! `Exhibition 47 - Penelope' is more psychedelic and mysterious, the humming organ reminding again of the Floyd's early days before the band tears through a maniacal loopy run. The trio kick up a furious storm in the wild and delirious `Eve's Eventual Day (part 4 and 5). Just listen to this and shed a tear for a wonderful band we never got to hear more of.

If you can persist with the frequent bootleg-level audio quality of some of the pieces, you'll realize how tragic it is that the band never recorded this material in a proper studio setting, and also that these live recordings were not better committed to tape and preserved in the first place. The band would definitely have been down the scuzzier end of the Canterbury style, their occasionally darker sound would have made them really stand out with a unique contribution to the genre.

What we have left is a spectacular example of a missed opportunity, and progressive rock being robbed of a potentially exciting Canterbury styled band with wonderful music to offer the world. Luckily there's plenty of jaw dropping moments for you to discover throughout this compilation, and if you can look past the audio deficiencies and focus on the actual arrangements and talented playing, you may find this to something of a real treasure. I know I certainly do, and it's become an essential part of my Canterbury collection.

Yochk'o Seffer - 2006 - Yog 3: Yochk'o Seffer Big Band

Yochk'o Seffer 
2006
Yog 3: Yochk'o Seffer Big Band




01. Üszök (8'07)
02. Szepseg (17'53)
03. Bunkos (9'12)
04. Skiro (9'24)
05. Rez Fuvosok (2'18)
06. 2000 Point Zero (I. Part One) (5'06)
07. 2000 Point Zero (II. Part Two) (6'03)

Yochk'o Seffer: Sax, Clarinet, Effects
Marc Steckar: Tuba
Philippe Legris: Tuba
Christian Jous: Tuba
Bastien Still: Tuba
Daniel Landreat: Tuba
Sylvain Miller: Sax
Alain Bouhey: Sax
Antoine Bellec: Sax
Thierry Maillard: Piano, Synthesizers
Dominique Bertram: Bass
Jean-My Troung: Drums
Arnaud Frank: Percussion

guests:

Debora Seffer: Electric Violin on Skiro
Siegfried Kessler: Piano on 2000 Point Zero


To say that Yochk'o Seffer's Big Band release YOG 3 is an acquired taste is an incredible understatement. This is Jazz in Opposition at its core - the musical landscapes used here most certainly have their roots in music other than the traditional Western composers. I'll be right up front about YOG 3 - with a few exceptions, I found the music to be incredibly difficult to wade through and very grating on the ears. However, I would guess that fans of the JIO/RIO genre would probably enjoy the band's instrumental prowess and bizarrely structured chords - there are indeed some very well played passages here. One of the band's stand out areas is the percussion section of Jean-My Truong and Arnaud Frank - there's a incredibly wild conga(?) break in the 17-minute track "Szepseg" that really shows how interesting arrhythmic non-traditional percussion can be when performed by a good musician. Also, there's a totally RIPPIN' traditional (as traditional as these guys get, anyhow) jazz piano jam from pianist Thierry Maillard at the 6-minute mark of "Bunkos" that just takes the track to a whole new level with its discordant and almost disturbing structure. Unfortunately, to my untrained ears it just seemed like I had to wallow through too much "brass from another planet" sections to get to the really good bits, therefore making the CD as a whole pretty much unlistenable to this reviewer. So while my personal opinion is that these very talented musicians could benefit greatly from the use of more traditional song structures, I'm sure that folks who like the musical "Opposition movement" will greatly enjoy Yochk'o Seffer's YOG 3. There is no denying that the band contains excellent musicians and very innovative compositions, but I would certainly caution the casual ear to steer clear of this one.

Yochk'o Seffer - 1998 - Yog 2 - Sefira

Yochk'o Seffer
1998 - Yog 2 
Sefira





01. Korona (5'01)
02. Elet-Fa (5'26)
03. Toudath (5'30)
04. Erheu (7'00)
05. Hirech (6'05)
06. Szepseg (13'09)
07. Kechech (6'49)
08. Lady-Rap (5'05)
09. Dieuztech (5'41)
10. Ichmereth (7'05)

I first heard Yochk'o Seffer's music back in the early 1980's. His groundbreaking work on his NEFFESH MUSIC 1 & 2 albums, as well as on GHILGOUL, have long been favorites of mine in the area of experimental music. Firmly rooted in jazz, with his mind reaching for the stars, Yochk'o continues his imaginative, high-quality playing on this release, ably abetted by keyboardist/producer Thierry Maillard. Maillard's drum programming is so effective that most of the time the listener would swear there's a live drummer on this cd. The moods range from spacey to what could only be called funky (track 8, `Lady-rap') -- all are imbued with Seffer's inimitable energy and style. He can be gentle, but he can blast away with raw power into free-form improv while still remaining melodic -- the album is thankfully free of the discordance that too often passes for experimentalism. There is a palpable, moving energy at work here, but one which should be accessible to most listeners. I would rank this with his best work.

Yochk'o Seffer - 1997 - Yog 1 - Pitchipoy

Yochk'o Seffer
1997
Yog 1 - Pitchipoy




01. Pitchipoy (8'20)
02. Herceg (6'17)
03. Yog 96 (6'08)
04. Zone (5'11)
05. Avoda (6'11)
06. Cecilia (5'59)
07. Raspoutine (9'19)
08. Body-Rap (3'11)
09. Zappafunky Suite (I. First Movement) (6'37)
10. Zappafunky Suite (II. Second Movement) (2'44)
11. Zappafunky Suite (III. Third Movement) (3'28)

Yochk'o Seffer - 1996 - Magyar Etno

Yochk'o Seffer 
1996
Magyar Etno



01. Vacuum-cleaning
02. Deceived Lady
03. Bülent
04. Pain bleu
05. Feeling Tipsy
06. Gonna Go Harvestin
07. Epistrophy
08. Red Throat
09. Keys In C Mood

Yochk'o Seffer - alto -, tenor -, sopranino & bass sax, Korg piano, bass clarinet

Yochk'o Seffer - 1986 - Adama Ima

Yochk'o Seffer
1986
Adama Ima




01. Adama (6:11)
02. La danse des ferrailleurs (3:02)
03. Lumière primitive (3:00)
04. Palocz-enekek (8:19)
05. Polyglotte (9:50)
06. Les bons hommes (3:30)
07. Trablair (8:52)
08. Ima (22:25)

On Adama Yochk'o Seffer played all the instruments himself. On most of the tunes he plays all seven saxophones as designed by Adolphe Sax: sopranino to contrabass saxophones. This was recorded approximately in the mid-1980s and the record actually led to the creation of a saxophone septet to play these pieces in the live setting.



Adama is a worthwhile record, because it offers a chance to hear an otherwise soprano- and tenor-centric saxophonist Seffer to whip it out on the lower-toned saxophones. The title track showcases Seffer's mastery and finely honed improvisation on the bass saxophone. It's not a pure saxophone track as tranquil piano appears in the mix half-way in (followed by additional chords via seven soprano sax overdubs). "La danse des ferrailleurs" is, as the title indicates, a dance number written for lower saxes. By contrast, "Lumiere Primitive" has lower saxes relegated to servile status compared to sopranino sax and these eventually drop out leaving the high-pitched soloing sax. On "Polyglotte" the combined textures of all seven saxes sound oddly beautiful and so rich in their orchestral qualities, comparable to the sonic lushness of a string quartet. Dense composed harmonies alternate with unaccompanied baritone, soprano and tenor (in that order) solos.

There is one exception to the pure saxophone (with occasional piano) music of other tracks: "Trablair n°1" where Yochk'o goes for a dissonant avant-garde experiment where he plays six of his sonic sculptures (basically, self-invented and constructed reed instruments), while adding solo sopranino sax and his own voice to the mix. Musically the sound is akin to avant-garde sonic collage, even though it's hard to tell if Yochk'o merely multitracked his self-invented instruments or also went for some auxiliary tape editing. An earlier free-jazz band version was recorded on  Perception's Mestari in 1973. A later reissue of this album is called "Adama Ima", with a 22 minute "Ima" added, which is yet again an avant-garde experiment consisting of sonic sculpture drones, sax and vocal harmonies, but more meditative. It was recorded at an entirely different time period, it actually combines the title tracks of Ima from 1977 and Ghilgoul from 1978.

Musically the album's overall style is generally some kind of a fusion of modern classical and avant-garde jazz combining elaborate multi-tracked harmonies and rhythms with free flowing solo improvisations. If Bartók would have composed Third Stream music for a saxophone ensemble, would this have been the result? While not as accessible as his more jazz rock oriented work with Zao and Neffesh Music, this record nonetheless confirms that Yochk'o Seffer is an instrumentalist and a composer with unique singular vision and a drive to do something different every time.

Yochk'o Seffer - 1978 - Neffesh Music: Ghilgoul

Yochk'o Seffer 
1978
Neffesh Music: Ghilgoul




01. Dag (6:32)
02. Sifra (13:17)
03. Dailn (2:51)
04. Larma (2:53)
05. Ghilgoul (16:54)

CD bonuses:

06. Bülent
07. Schebira
08. Sifra II


Yochk'o Seffer / saxophones, piano
Dominique Bertrand / bass
François Laizeau / drums (tracks 1-5)
Margand String Quartet

Michael Nick / violin (tracks 6-8)
Bülent / drums (tracks 6-8)
Laurent Cokelaere / electric bass (tracks 6-8)
Philippe Gisselmann / soprano saxophone (tracks 6-8)




Yochk'o Seffer is a Hungarian born musician who is among the finest winds player (mainly alto saxophone) in the history of progressive music. After spending much of the 1960s in Paris playing with a host of jazz musicians in a variety of clubs, he was recruited by Christian Vander in the early days of Magma and can be found on the album "1001 Degres Centigrade", as well as the two Univeria Zekt recordings. He soon left that band and with ex-Magma keyboardist Francois Cahen founded the band Zao, with whom he appeared on most of the band's recordings. During this time he also had stints with a improvisational jazz group named Perception and a jazz-rock group named Speed Limit. After recording Zao's fourth album, Seffer departed the band to embark on a number of solo efforts, but always associated with a group name. His first and perhaps most important such endeavour was Neffesh Music, which saw the recording of three LPs in the late 1970s - "Delire", "Ima", and "Ghilgoul". Their style is distinctly zeuhl but reflects Seffer's vision of his musical roots and the musicianship is nothing less than first rate. In the early 1980s Seffer embarked on another trio of albums with the title "Chromophonie", and his latest effort "YOG" commenced in 1996 with the release of the album "Pitchipoy". Yochk'o Seffer has collaborated with a panoply of wonderful musicians over his decades-long musical career and produced some of the finest zeuhl and jazz oriented music one will find on this site.

Anyone who's into Zeuhl needs to get their hands on this album. Most feel that this is Seffer's best solo album. After he left ZAO he hooked up with future ZAO bassist Dominique Bertrand who he would play with on ZAO's last studio album in 1994. Also drummer Francois Laizeau would jump on board. He played with MAGMA, OFFERING and Bernard Paganotti's "Paga" album. The guy can flat out drum. In fact this album is worth getting for the rhythm section alone. Interesting that Seffer also brought the all-female string quartet for this recording.They played with Seffer on ZAO's "Osiris" album and he was obviously impressed with them. Seffer plays sax of course but also piano, and man he caught my attention with his keyboard work on this record.

"Dag" opens with sax and piano as drums and bass join in, then here we go before 1 1/2 minutes. Check out the drum work ! The soundscape after 2 minutes is incredible. The bass, drums and piano are intense while the sax plays over top. What a display ! After 4 minutes all I can say is "I'm not worthy". The violins come in slicing away as this Zeulish rhythm continues. "Sifra" opens with piano as violins join in before a minute. This continues until we get a complete change 5 minutes in as the sax and drums take over. Killer sound after 6 minutes as the bass and drums lay the groundwork and piano plays over top. Violins come back in ripping it up. "Dailn" is the only track not composed by Seffer as Dominque Bertrand did this one. It kicks into a rhythm quickly as bass and drums rumble with sax and piano playing over top. Violins then join in. Huge bass lines in this one. "Larme" features piano and those Zeuhlish vocal melodies we all know and love (Seffer sings them as he did on ZAO's second album). Sax joins in then drums. Violins come in later.

"Ghilgoul" is the almost 17 minute title track. What a way to end this album. This is very different from the rest as we get these multi vocal melodies that are quite haunting with sax. The vocals stop before 4 1/2 minutes as piano and sax take over. The vocals are back before 6 1/2 minutes but even more eerie this time. The violins come in around 7 1/2 minutes as the vocals stop again.They're back before 11 minutes with sax as the strings stop. Violins are back after 13 minutes as vocals and sax stop. The piano returns. I should mention that there's 4 bonus tracks here with a different lineup. 3 tracks from 1980 and one from 1985. Over 30 minutes of great music. These extra songs are so impressive.

Yochk'o Seffer - 1976 - Delire

Yochk'o Seffer
1976
Delire





01. Noce Chimique
02. Chkiro
03. Kalapoch-Tanz
04. Oregcserto
05. Adityas
06. Mazal
07. Ofek
08. Orkana
09. Dailn
10. Delire

Yochk'o Seffer - Saxophone Tenor, Vocals, Piano, Synthesizer Mini Moog & Arp Odc-solo, Kamuka, Electric Piano, Clarinet Bass
Dominique Bertrand - bass
Jean-My Truong - Percussion
Francois Laizeau - drums
Lajos Horvath - Violin

The Kamuka is an instrument designed and built by Yoshk'o Seffer.
Recorded at Studio Aquarius (Genève) from 22 to 27 March 1976 (with the exception of Quatuor Margand which was recorded at L'Église Libanaise (Paris)).


Yochk'o Seffer - 1976 - Neffesh Music: Ima

Yochk'o Seffer
1976 
Neffesh Music: Ima



01. Ima (19:50)
02. Ofek (8:12)
03. Noce Chimique (12:18)


Bass Guitar - Dominique Bertram
Cello - Claudine Lasserre
Drums, Percussion - Manu
Keyboards, Saxophone, Vocals - Yochk'o Seffer
Viola - Françoise Douchet
Violin [1st] - Michèle Margand
Violin [2nd] - Anne Méhat

Speed Limit - 1976 - Speed Limit II

Speed Limit 
1976 
Speed Limit II




01. Breeze Borealis (5:54)
02. A Run Around The Block (3:13)
03. Jettatura (3:43)
04. Good Night Little Bear... (1:12)
05. African Dance N° 3 (4:15)
06. Pastoral Idyl - Part I (2:12)
07. Lemon Tree (6:48)
08. Reaching The Stars (4:22)
09. To The Girl Of The Moon (1:49)
10. Pastoral Idyl - Part II (6:03)

Jorge Jinda / drums
Jeff Seffer / wind instruments
JL Bucchi / electric piano
Gerard Curbillon / guitars
Janik Top / bass
Shiroc / percussion
Michel Ripoche - violon, violon solo
Pierre Louis - violon
Coatantiec - violon
Roland Stepczak - violon
Jean-Charles Capon - violoncelle



If the first Speed Limit album can be referred to as 'fairly rare' (it can be and I just did!), then the second album. also just called 'Speed Limit', but released this time by RCA in 1976, is truly rare. I had never actually seen it until this reissue. Once again led by drummer George Jinda, the personnel shifts a bit on this one and is even more impressive than the first album: Jean-luc Bucchi-electric piano, Yochk'o Seffer-saxes, Michele Ripoche-violin and Jannick Top-bass. This one is a really powerful album that I'm now exceedingly glad I never DID hear before, because if I had, I would've paid way too much to acquire an lp of this bad boy. It smokes pretty much from start to finish and is really a unknown classic of French Zeuhl/fusion. In addition to its own merits, it also includes an early version (using the same basic tracks, but not sharing all of them) of Soleil D'Ork from Udu Wudu by Magma, here entitled African Dance No. 3. So, Magma competists must have this as well. In any event, this is highly recommended.

SL's second album came roughly a year later than the debut, by which time the band found a major label (RCA) and changed bassist, enrolling Magma alumni Janik Top, but lost their guitarist as well (not replaced). With a stunning artwork from Sheffer himself, the group is more ambitious, even using a string section on and some intriguing vocals.

The opening track Time's Tune (a 15 minutes 4-part epic) has a real superb crescendoing start where Sheffer's winds and Bucchi's electric piano plunge into a torrid fusion of molten rock, disaggregating jazz, wild female howlings for its opening movement Breese. The band gets even hotter and quicker with run around The Block, where Coltrane's more transcendental (past 65) music is obviously the influence. The third movement heads back to the Breese mainly through the aerial vocalizing (they seem female, but none other than the core male musicians are credited with vocals), while the track goes out on a Bucchi (he wrote the whole track) piano piece. As for the JT-penned African Dance, the music is more of the Saharan kind than tropical Black Africa, and honestly I'd prefer hearing the real stuff than having SL wasting 4 minutes of precious vinyl time.

The flipside is occupied by an ambitious 20 minutes Sheffer-penned Pastoral Idyl, separated into 5 movements and using a string section, which happens to introduce the track. While the use of the string quintet is in itself adventurous, I find that Sheffer put the strings at use that well. When they intervene, they seem to weigh tons, drag their feet screechingly and often border the dissonant. The second movement Lemon Tree is a fast piano-driven improve where Sheffer and Bucchi clash forces and end up with a strong pressed lemon juice. As for the vocal section it is a weird almost opera voice. The track goes on a bit bizarrely, the whole thing remaining rather dry, borrowed and (dare I say it?) academic.

While their second album is somewhat superior to the debut, both are extremely valid jazz-rock, but not bringing much new (even counting the Pastoral Idyl) by the time of their releases. BTW, I hear the Belle label incremented the tracks with the movements rather than the tracks on their Cd mini-Lp reissue, so don't be surprised to find 10 increments where even the special Japanese insert announces only the three original ones. Despite such a strange screw-up, SL 2 is a more an accomplished album, so if interested, start with this second album.

Speed Limit - 1974 - Speed Limit

Speed 
 Speed Limit





01. Sleep Walker (11:13)
02. Pava (5:06)
03. Abra (2:58)
04. Spanish Dream (9:17)
05. Ballad to Laura Antonelli (6:32)
06. Ducky (4:02)

Jorge Jinda / drums
Jeff Seffer / wind instruments
JL Bucchi - electric piano
Gerard Curbillon / guitars
Joel "dud" Dugrenot / bass
Shiroc / percussion



A jazz-rock quintet formed around MAGMA alumni Sheffer, Dugrenot and Top, Speed Limit recorded two albums in the middle of the 70's, the first being closer to Bitches Brew, Body Electric (Weather Report) and Elastic Rock (Nucleus) than Upon The Wings Of Music (Ponty), Elegant Gypsy (DiMeola) and Metheny's Offramp. The second is much more adventurous, mixing early XXth Century classical composers to their proggier sound and adding up a string quartet Their music was never far away from experimental or dissonant music, obviously veered a bit on Zeuhl grounds as well. While Speed Limit wouldn't break new grounds, they had some ambitious tracks, like the sidelong Pastoral Idyl on their second album, which is clearly the group's most outstanding achievement. By the end of the 70's Speed Limit was already forgotten by most of the public and the musicians had turned to other projects.

 I certainly am biased towards this style of music. These guys are pros though and having Seffer involved is a bonus for me. He actually composed the first 3 tracks while piano player extraordinaire Jean-Louis Bucchi composed the final 3 songs. What I love about this music is listening to the different sounds all mesh together so perfectly. And while the sax and piano play stand out the most, my favourite parts are when the angular guitar comes in on the two longer songs.This is an all instrumental album by the way.

"Sleep Walker" is the longest track at over 11 minutes.The drums and percussion lead the way early. Sax and piano join in the fray to create an excellent melody. The guitar and bass then arrive to make this a joy. All these intricate sounds are such a pleasure to listen to. The angular guitar starts to become prominant, making some beautiful noise after 3 minutes. "Pava" opens with cymbals before sax, drums and piano come in quickly.The piano leads the way early. It gets a little sombre before 3 minutes as Seffer plays his alto sax slowly. Actually there's not much of a melody at this point.

"Abra" opens with some nice drumming followed by some dissonant sax. The tempo starts to pick up and the drumming is great. It changes 2 minutes in to a more jazzy sound as the bass comes in. "Spanish Dream" features sax, piano and bass with not much in the way of a melody until before 3 minutes.That's when the drums and angular guitar come in with percussion, making the rest of this song my favourite on the album. I could listen to him play his guitar all day long. Sax takes over for the guitar before 7 minutes. "Ballad To Laura Antonelli" is 6 1/2 minutes of laid back sax and piano play that drifts along pleasantly. "Ducky" is more uptempo with piano, bass, percussion and drums leading the way early. Sax a minute in as Seffer takes the lead the rest of the way.