EDITION SPÉCIALE

French Jazz-Rock Fusers' third and final album presents a slightly altered lineup despite the essential core of guitarist Marius Lorenzini, keyboard wizard Ann Ballester, and drummer Alain Gouillard. All of the new members enlisted by producer Laurent Thibault are of equally high caliber with pedigrees including memberships in such bands as Magma and Gong. I also love to see how the French let women get involved to such high degree: they deserve it! They earn it!

1. "Aurore" (5:42) cool two-part song with Mireille Bauer's vibraphone given one of the primary/prominent roles in the weave. I very much like the tone and style of play from guitarist Marius Larenzini and I find this weave with its multiple melodies competing and yet complementing with one another quite enjoyable. (9.125/10)

2. "Camara" (9:25) a similar style to the previous song despite the long intro and presence of French choral vocals. They create a great little weave here with very catchy melodies and swinging rhythm track. Do I hear a little similarity to Belgian band COS here? At the 3:20 mark the band shifts up a gear with a little Latin percussion added to the swing in order to guide and inspire the two synth soloists to strive upwards. At 4:28 we're back to the lighter, smoother COS- like vocal motif, perhaps slowed down a bit, now using some dramatic stop-and-start techniques to punctuate pauses and shifts. Very cool! And boy! can these musicians play! I am SO impressed! Though there is a definite Third Wave smoothness to the engineering and sound palette, the band is definitely carving out their path through the exciting funk of this still-fairly-new seb-genre of music (i.e. Jazz-Rock Fusion). Have I mentioned how impressive drummer Alain Gouillard and bassist François Grillot are on the bottom end? I love the harmonized duet between Mireille Bauer on the vibraphone and Ann Ballester on the electric piano during the closing minute. (19/20)

3. "Ma vie dégénère" (2:58) almost a standard rock song with more choral vocals in the fore. Not nearly as exciting as the previous songs (and not nearly as complex or jazzy). (8.4/10)

4. "Daisy" (7:04) again I'm hearing a much more modern kind of music--something more avant-garde than what the 1970s is usually like--though some of the jazzier Canterbury bands also come to mind during certain sections of this song. Opening with electric guitar and vibraphone arpeggiating a two chord sequence over and over, I am quite reminded of 2023's OIAPOK (almost exactly!) And this is 45 years before Pierre "Cheese" (Wawrzyniak) and company ever released an album! Lots of funky panning, both forward and back and then side to side, very quickly. I'm still quite blown away by the ballsy music and engineering. Could this have really been 1978? Also, the funk coming from both the bass play and the syncopation of the rhythm section as a whole in the middle section, is quite remarkable. Nice Steely Dan quality and familiarity to the keyboard and guitar parts. Wow! (14.25/15)

5. "Jungle's Jingle" (6:32) another odd, off-kilter song that has a very quirky Canterbury sound palette and a twist-and- turning bent to it not unlike Pierre Wawrzyniak's CAMEMBERT project of the 2010s. At 1:15 there is a little pause bridge for a reset before the band drops back into the hypnotically circular motif of the opening section. Odd synth and guitar sounds join the weave to present before 2:18 when a new motif is established, one that is still "circular" but now containing some MAGAM or SETNA-like menace in the feel of the weave. Again the lead instruments (guitar and synths) are put through some very strange futuristic sound-blender or something for several of the solos though vibraphone and piano or still within the realms of normalcy. I love the gutsy experimentalism these guys (and gals) are expressing! (9.25/10)

6. "Confluence" (4:46) a slow and very deliberate mathematical construction opens this one for the first 83 seconds before the band merges onto the autoroute while assuming a piano-led high cruising speed. The somewhat Latin- tinged weave is peppered with piano, synths, marimba and timbales performing the lead melody injections until a whole band chorus joins in spewing forth a wildly crazed African-sounding Babel-speak at 3:03--which starts out within the musical weave but gradually drives the instruments from the soundscape for a full 30 seconds of crazy a cappella time before everything comes to a full stop, leaving us with a sudden and surprising space with no sound! Crazy! Then, at 4:04, the hard-driving motif returns with a new Zeuhlish insistence (especially from the bass, drums, and guitar). This could quite easily have been something I might have heard on CAMEMEBERT's two albums from the 2010s, Schnorgl Attahk and Negative Toe. but nothing I would ever have expected to have heard in 1978! I am stunned! (9.75/10)

Total Time 36:27

I am still stunned--even now after my fifth or sixth listen to this astonishing album! How?! . . . What?! . . . Where the heck did these cats come from? Where the heck did they get their ideas? I mean, there's only so much you can get from listening to Parliament, James Brown, Mandrill, Osibisa, Herbie Hancock, Weather Report, and/or Frank Zappa! How much of this ingenuity can be attributed to producer Laurent Thibault's genius?

A/five stars; a masterpiece of refreshingly original Canterbury- and Zeuhl-infused Jazz-Rock Fusion. I definitely consider this an essential addition to any so-called prog lover's music collection.

French Jazz-Rock Fusionists here show off their growing skills and chops using many known influences from the Second and Third Waves of the Jazz-Rock Fusion movement.

1. "Vedra" (6:35) nice Fender Rhodes-driven jazz-rock fusion of the Third Wave. (8.875/10)

2. "À la source du rêve" (7:45) a song that sounds quite a bit like something straight off of JEAN-LUC PONTY's albums of the previous year, Aurora and Imaginary Voyage. For me, it's drummer Alain Gouillard that really shines on this song--especially in the second motif with some Bill BRUFORD-like sound and techniques. Marius Lorenzini's acoustic guitar play is quite like the modern Django-style that Daryl Stuermer uses on the Jean-Luc albums mentioned, while Ann Baellester's multi synth-dominated play is quite fresh and adventurous, though always quite melodic. She really shines. And, did I mention bassist Josquin Turenne des Prés' excellent funk play with his Anthony Jackson sound? A most engaging, enjoyable, and impressive song, even if it is rather simply constructed; the lively, energetic play of all of the instrumentalists makes something "simple" into an impressive display of complexity. (13.875/15)

3. "So Deep Inside" (5:45) Trying to blend with some Chick Corea/Al Di Meola riffs and themes with the There's even some part (in the fifth minute) that reminds me of UK's debut album! Like a lot of the music on the next band's next album, I can hear beginning strains of similarities to the quirky music of 2010s Camembert unconventional fringe Zeuhl. (8.875/10)

4. "Le temps d'un solo" (5:43) weaving their creative instrumental play with a somewhat STEELY DAN sound palette over another fairly simple (two-chord) construct allows for plenty of opportunity to show some flash--they're all doing it: from drummer Alain Gouillard's Steve Gadd-like rudiments to Marius Lorenzini's Jeff "Skunk" Baxter guitar tone and style, even down to Josquin Turenne des Prés' Chuck Rainey-like funk bass playing. Nice! (8.875/10)

5. "La ville en béton" (5:00) sounds very much, to my ears, like a slightly different instrumental palette performing a slightly more laid-back variation/version of the previous song. It's nice if a little pre-Yacht Rock smooth. Then add in the male vocal here and it only serves to add to the Steely Dan vibe. (8.875/10)

6. "La fille du ruisseau" (6:45) even more Steely Dan-inspired music that begins to show signs of some of the quirk that I associate with Pierre "Cheese" Wawrzyniak's fringe-Canterbury style band from Strasbourg, Oiapok. The addition of Ann Ballester in the vocal mix--with her Mélanie Gerber sound-alike voice--definitely contributes greatly to this feeling--while the bass, drum, and rhythm guitar render it so completely into the Steely Dan wheelhouse. Ann's Jan Hammer-like synth soloing with Marius' Larry Coryell-sounding guitar flourishes are the two elements that serve most to keep this song in the Jazz-Rock Fusion world. (13.375/15)

7. "Alone, Completely Unknown" (6:55) Ahh! Here we get the first serious evidence of the band's future direction and predilection! Some quirky Jazz-Rock Fusion founded, at first, in some of the basic tenets and lessons of Second Wave J-R Fusion, but then stepping down a pop-rock side street when the vocal motif starts. The signs of this being only the infancy of this path lie in the interesting vocal arrangement: alternating male and female dialogue similar to that which HUMAN LEAGUE will exploit in a few years on their monster hit, "Human." A cute, likeable song that, when compared to the much more sophisticated weaves of the next album, feels infantile and simplistic. (13.125/15)

Total Time 44:28

I can see why so many reviewers elevate this album above its successor: it's quite melodic and its simpler instrumental palette does make it a bit more accessible and engaging. The musicianship is also incredibly high, but the quirky, unusual complexity of the next album--with a full complement of five musicians working relentlessly on some very challenging and more mature compositions--makes it superior to me. Though Gong's Mireille Bauer (vibraphone, marimba, percussion) and one of Magma's great bass players, Francois Grillot, worked with the band during some late studio sessions for some songs that never got developed enough to be included on this album, they (and their songs: "Camara" and "Aurore") would become prominent members on the band's next album, their masterpiece, Horizon Digital. I'm not sure if I would have been dissing this album as much had I not started with Horizon Digital, but I am so glad that I did. This is wonderful music but definitely, in the contextual perspective of knowing the fullness and maturity of the compositions of Horizon Digital, this is, to my mind, analogous to comparing Genesis' Trespass with Nursery Cryme or Yes' The Yes Album with Close to the Edge.

B+/4.5 stars; a near-masterpiece of Third Wave Jazz-Rock Fusion. Highly recommended--but only if you promise to follow up with their next album, Horizon Digital.

Third and final album by this Jazz Fusion band out of France. They add a fifth member who was formerly with GONG playing percussion, vibes and marimba, and we get a new bass player. This isn't nearly as "showy" as the previous album "Aliquante" where I felt the drummer and keyboardist were more upfront in the sound than on here. More energy on the previous album as well plus I'm not the biggest vibes fan but I do like it as a flavour here and there. This album was recorded and engineered by none other than Laurent Thibault.

Top three would include the opener "Aurore" which opens wide with drums and vibes before we get some power with guitar over top. Synths will take the guitar's spot than a calm as electric piano takes over followed by drums, bass and a full sound. So much going on with those percussion sounds with bass and vibes. Another top three is "Jungle's Jingle" which despite the title actually has some credit. It's catchy and determined with vibes sprinkled in. The synths are interesting. Some nice bass 3 1/2 minutes in. So intricate and complex with all these sounds. Last top three is the closer "Confluence" and here we get some female vocal melodies which I like along with those intricate sounds as the tempo picks up early on.

A 4 star album for me but not quite as good as "Aliquante" their previous record.

Just a killer Jazz Fusion album out of France, released in 1977. This four piece can play with the best of them and it's the drummer is who impresses me the most. We get a female keyboardist adding electric piano, piano, synths and vocals along with bass player, drums and guitar. Most often the synths and guitar solo over the amazing rhythm section. We get male vocals as well but I think it's just three tracks total that have vocals and they sound good and are in French.

The opener "Vedra" is a top four and it opens with the wind blowing before eventually the bass and drums create a foundation for first the guitar then the synths to solo over top. They will trade off throughout. Another top four is "A La Source Du Reve" and it's the longest at almost 8 minutes. Check out the melancholic synths late after 5 minutes all the way to the end. Love that sound. Another top four is "La Ville En Baton" and for me this is the one that has warmth and melody at least compared to the rest. Male vocals before 2 minutes but soon it's instrumental again and check out that guitar before 4 1/2 minutes to the end. "La Fille Du Ruisseau" is my final top four and it's the guitar, bass and drum show early. So much going on as female vocals join in. We get a guitar solo then the synths lead as the vocals stop before 3 minutes. Man they can play! This is actually closer to 4.5 stars.

This is what Steely Dan would sound like on their best day if they had balls and were French. Groovy, spirited progfusion instrumentals line the first side while funky french and english, boy and girl voices dot the second. This is poppy party fusion with exceptionally balanced compositions, with each instrument standing out equally among the rest. The result is a coalescent whole that in my eyes is a truly a progfunkfusion masterwork.

Definitely not for everyone, this album demands attention from fusion admirers on the pop and rock and groove side of fusion. There's nothing to compare it to, maybe a group like Ain Soph. They occupy their own corner of left field.

++++-

Horizon digital is their third album from 1978 and aswell their swansong. Almost same with predecesor but little les exciting in parts, keeping on first track Aurore the energic moments they used on Aliquante delivering some top notch passages. The instrumental section are great, maybe the vocal arrangements are not so intresting but never the less ok on Camara. Graced by an excellent gatefold cover art, Horizon digital desearves to be paraised but I don't think is their best work, Aliquante remains their most acomplished work from their career. All in all a fairly good album, but the magic of previous release here is not so present only on some passages. The Cd re issue by Musea has 5 bonus tracks, the pieces that suposed to enter on their forth album from 1980, but in the end the release never saw the light, they disbanded soon after in summer of 1981. 3 stars maybe in some parts 3.5 stars, still good but not so excellent as Aliquante.

Edition Speciale is one of the best jazz rock/fusion bands France ever had. A was completly knock out when I first listen to this second album named Aliquante from 1977, remaining one of my fav albums of the genre aswell. Very energic, up tempo kind of jazz rock with fusion elements with superb musicianship and very complex arrangements. The duels between Ann Balester's keyboards and Lorenzini guitar are top notch for sure. Also the new drumer Alain Gouillard show how great he is and very confident of his abilities, delivering some great chops here, very energic drumer remind me of Collins Brand X era or even with Bruford. I think this album is quite little unknown among listners, never bean very popular in comparation with other big names from that period like Brand X, Bruford, return to Forever, but I must confess this album kick ass from start to finish. All pieces are very good, specially the first 3 are simply outstanding Vedra, A La Source Du Rêve and So Deep Inside. Some vocal parts here alternating female/male vocal parts, who are ok nothing is over the top but pleasent most of the time, Ballester's vocals remind me in places specialy with canadian Et Cetera same attitude and tone of voice. All in all an album to be discovered by many listners as possible worth it, recommended for sure. 4 stars easy, excellent jazz rock/fusion. re issue by Musea on Cd with 2 bonus tracks, that will apper on their next album Horizon digital a year later.

Incredible album mashing jazz and prog and funk delightfully. A beautiful ride, this album is (to my ears) smoother than an Arnold Palmer after 18 holes in the hot sun.

The record has been in my collection for a long time, yet I'd only played it sporadically. I felt it was great, it lived up to it's hype at allmusic.com, and I listened to #6 repeatedly "Fille du Ruisseau"

It's been on my turntable now for 4 days straight. Blissed out funkafied progjazz is what this treat is. This could just as easily be a Roy Ayers album if he had an affinity for progressive rock. Gorgeous in it's layout and carefully manicured, the sound of this album is culled from Zappa, Return to Forever, and other fusion artists of the day. Even some Gentle Giant in the bassline around the last fifteen seconds of #3 "So Deep Inside" and on into #4"Le Temps D'Un Solo".

It's the execution of the material that puts this masterpiece over the top for me. Each song is a short roller coaster that fits the perfect amusement park. Two bonus track thrown in from an almost equally as strong third album is icing on the cake.

Another quartet among the huge amount of Jazz Rock bands emerging from 70's France.They were formed and led by the force of guitarist Mimi Lorenzini,ex-member of the famous (at least in France) psych/rock group Triangle,featuring also female singer/keyboardist Ann Ballester,who had released a personal EP in late 60's.EDITION SPECIALE debuted in 1976 on UAS Label with ''Allée des Tilleuls'',an album re-issued in 2002 on CD by Musea with three bonus tracks.

While the band is playing definitely on the jazzy side of rock,the album is quite easy- listening,delivering some catchy melodies and vocal harmonies among the most demanding pieces.Maybe trying to access a wider audience the band also included the great English track ''Tomorrow Mourning'' on the original version,a catchy song-based piece of music with some fine moog solos.Regarding the other material in "Allée des Tilleuls" and leaving some of the pleasant vocal lines apart,this is quite good-executed Jazz Rock with progressive and psych elements with a bassist delivering constantly funky and elegant bass lines.Instrumentally the band is very talented.Ballester has not only a very pleasant voice,but she is a great keyboardist as well,offering nice piano passages and mainly captivating synth parts,which range from atmospheric fillers to extended solos.Lorenzini changes his style all the time:His decent solos,catchy grooves and rural-edeged playing jazzy breaks will leave every Jazz Rock fan satisfied.The truth is I can't find any obvious similarities with BRAND X or MAHAVISHNU ORCHESTRA.Maybe their approach is much lighter than these bands or the female vocals makes them quite unique,that I can't compare them to any other band.

Final taste?This is an enjoyable and pleasant listening with a happy mood throughout.Not something you will play very often on your CD player,but an album,which leaves a good musical taste for every now and then.Recommended,especially to followers of Jazz/Fusion- tinged Prog.

After the almost awesome Aliquante, ES came back the following year with a fairly different album, one that would be recorded in Chateau D'Hérouville and recorded by Laurent Thibault (see his section elsewhere in PA), with a very different line-up. Only the Lorenzini-Ballester couple remains with Gouillard on drums, bassist Turquenne passing through Magma (little wonder) and being replaced by Grillot and the group brings in ex-Gong Mireille Bauer (vibes & perc) as a sort-of guest on the way to Catherine Ribeiro & Alpes. It's my guess many progheads will prefer this present album over Aliquante, and no doubt the gatefold artwork will work subliminally for Horizon Digital, but you should trust (blindly) me on this one, go for Aliquante

One of the differences you will hear is a more Zappa-esque feel to HD, due to Mireille Bauer's vibraphones, this as noticeable on the fast tracks (Aurore) than on the slower moments (intro of Camara), giving a more Mother-esque feeling than a Gong-ian tone. Another difference is the much greater presence (and more intrusive) of Ballester's Steely Dan-esque vocals laced with weaker second-rate Zeuhlian influences. So overall the ES formula is returning to a sung popier format, Ballester's synths choices not being as successful as previously, and the group is even closing the album with a needless blues track.

If on the strictly vinyl album comparison point, Aliquante is a much better album than HD, once you get to the Cd reissues, Musea actually renders things more difficult, by adding five bonus tracks that were supposed to be ES's fourth album and recorded in 80. While remaining musically roughly in line with their third album, the group was now only a duo consisting of Lorenzini and Ballester plus guests, and by that time, they had been caught by a lot trends of the times, and tried to be much more song- oriented (as in commercially-oriented songs) with Ballester's voice returning to the fore, but the back up she got made the whole thing sound like Steely Dan and this time not just vocally, but musically as well. Actually the five tracks of the fourth unreleased album make a rather nice accompaniment to Horizon Digital's eight, but you will find a degradation of quality and inspiration, the pop thing being furthered even flirting with a reggaeish funk. Better first start with Aliquante and if that pleases you enough to find more about them, come to this one (and its successor as bonus) and then move to the debut if you're still interested.