ALIVE IN PARIS-1970

Well Cuneiform had hit it big with their Grides release, where the second disc was a DVD, the first of any kind about Soft Machine, let alone this period, their most eagerly awaited during their expansion to a quintet. When I encountered thiis release on Voiceprint, I first cursed them for putting this out on the market (instead of others), because Voiceprint is the first offender when it comes to putting second rate SM material (the realease of Facelift, anione?). Not being able to resist buying, I secured a deal with the shop owner that if I thought the content was bad, I could return it (it isn't cheap either). Well I was well inspired to have jumped on this, as this cioncert is absolutely pristine both sound-wise and image- wise, if you'll except one of two exception when one of the two blower is way too much in the background. Apart from that these tapes were shot by the French TV and a producer that was obviously aware of the group's set (SM was probably the UK band most popular in France, getting numerous gigs) and the tapes were kept at Institut National des Archives.

Actually if SM was a quintet at this time, they had trimmed down from a septet, as there were four hornmen that joined them at first, some that most progheads had seen through Crimson and Keith Tippett. Mark Charig and Nick Evans left fairly quickly, leaving Lynn Dobson and Elton, Dean at the forefront of SM, and Dobson would hang on much longer either. So this absolutely stunning concert with Lynn Dobson is a rare document and unusual: ever heard a flute or harmonica in early SM?? Well Dobson indulges a few times on the flute (quite well actually), but only once (thankfully) at the harmonica. The track list is the one that was usual in 70, so no surprises there. All of the interest is coming that for the second time only, we're able to QSEE this group play, and furthermore in a rare formation where Dobson shines (even outshines a bit Elton) because of his multi-instrumentalist role, propelling him at the forfront of the stage.

If I said the quality was pristine at the top of this review, I was exaggerating, as there are a few jumps and quick glitches and between tracks, the levels are not always well controlled. And of course Voiceprint is back at their usual tricks, not being able o produce the same track list sequence in the DVD menu than on the back cover. Old habits die hard, but at least this DVD is definitely worth your investigations, although the full price is a hefty investment.