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RHESUS O

Jazz Rock/Fusion • France


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Rhesus O biography
The French band Rhesus O was formed in 1971 by future Magma keyboarder Jean-Pol Asseline with musicians from the jazz and jazz-rock field and released one self titled record. Soft Machine is the main influence to be found on the record and to a lesser extent Magma, Miles Davis and Frank Zappa. The record presents a melodic jazz-rock with folk and classical elements, based on an instrumentation of two keyboarders: Alain Monier on organ and Jean-Pol Asseline on e-piano and harpsichord, two bass players: Guy Pedersen on double bass and Francis Moze on electric lead bass, Thierry Blanchard on drums and Alain Hatot's sax & flute arrangements.


===Martin Horst===



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Discography:
Rhesus O (1971)

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3.05 | 8 ratings
Rhesus O
1971

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RHESUS O Reviews


Showing last 10 reviews only
 Rhesus O by RHESUS O album cover Studio Album, 1971
3.05 | 8 ratings

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Rhesus O
Rhesus O Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

3 stars An early-70's French entry with strong Magma links.It all started in late-60's, when keyboardist Jean-Pol Asseline and drummer Thierry Blanchard played with bassist Gerard PrÚvost, future member of Zao, and participated in several Jazz-linked concerts, before deciding to form a regular band.Asseline and Blanchard were joined by organist Alain Monier, bassist Serge Lenoir and sax player Alain Hatot, forming Guige.They were rehearsing at Monier's family basement and were discovered by CBS, signing a long-term deal, folloed by a change of name.With Lenoir out for his military service Magma's bassist Francis Moze was recruited, but by the time of the first recordings Lenoir was back and the band had now two bassists plus Guy Pedersen, a Funk bassist, who joined them on double bass.The recordings took place at Chateau d'Herouville and the debut album came out in September 1971 on Epic.

An organic amalgam of loose Jazz, smooth Psychedelic Rock and intense Fusion was what this septet was offering at the time and the combination worked pretty great at moments, switching from dreamy interplays, powerful solos, ethereal sax lines and sinister Hammond organ waves.They do sound a bit like compatriots AME SON and, of course, MAGMA, although the Jazz component is more pronounced in ''Rhesus O''.The line-up of seven musicians allowed the band to create a vast palette of jazzy rhythms and solos, either performed with some furious electric piano and deep double bass or featuring the darker sound of organ, but always including the work of Hatot on sax.The music gets very dense and closer to Progressive Rock quite often with full keyboard/piano battles, electroacoustic changes and sax interventions in pieces which also include a more active role for the bass players.And there are even a couple of parts with some sort of Classical edge, executed on organ and harsichord.Best highlights of the album appear to be the fantastic changes between emphatic, dreamy, loose Jazz Rock and a more structured and Fusion-oriented Psych/Prog.At last a couple of folky, depressive flute parts add the album yet another dimension towards the end.

When Moze left to rejoin Magma he was replaced by Bernard Paganotti (who went on to become also a member of the French pioneers) and Richard Raux, a session sax player, who also played with Magma, Laurent Thibault and Popol Ace among others.The band was moving towards a more brass-oriented sound, but soon Paganotti and Raux quit along with original drummer Thierry Blanchard to be replaced by Chad-born Manfred Long on bass, Jean-Michel Herve on sax and Christian Ducamps on drums.1972 additions included also bassist Marc Bertreaux and trumpetist Michel Boss, but just when Rhesus O started recording new pieces Monier joined the army for his service and the contract with CBS came to an end, resulting the band's dissolution.Keyboardist Jean-Pol Asseline would also meet his destiny with Magma circa 1975, meeting again with Paganotti, and was a regular musician on Jean-Pierre Alarcen's solo albums.

Good, early-70's Jazz/Fusion with progressive overtones and slight, psychedelic explorations.Musea's reissue is a good chance to meet Rhesus O's rich and jazzy sound.Recommended stuff.

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 Rhesus O by RHESUS O album cover Studio Album, 1971
3.05 | 8 ratings

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Rhesus O
Rhesus O Jazz Rock/Fusion

Review by Dobermensch

3 stars A badly dated 'Magma' type album from 1971 which I don't think will hold much interest to anyone but the hardest 'Magma' fans. It's a dodgy recording from the outset, with poorly recorded instruments played in a formulaic 70's jazz manner.

Clearly below par in the Zeuhl scheme of things, it does still hold a certain form of charm in its simple direction - sounding more 60's than the era in which it was released. A naff album which is strangely enjoyable simply because it's quite upbeat with lots of horns blowing about willy-nilly. Lots of keyboards and real double bass pick things up considerably.

A lighter 'Magma' without the impending doom and martial beats is the best way to describe this album. Not bad, and there are some nice quiet keyboards and flutes thrown in at certain points before it goes all 'Starsky and Hutch'.

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 Rhesus O by RHESUS O album cover Studio Album, 1971
3.05 | 8 ratings

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Rhesus O
Rhesus O Jazz Rock/Fusion

Review by snobb
Special Collaborator Honorary Collaborator

3 stars The only album from French band Rhesus O. Possibly, most interesting is there are two future Magma members participated on this recording - bassist Francis Moze and keyboards player Jean-Pol Asseline.

Album's music itself is early jazz-rock influenced by Canterbury sound, with few Magma's flavours and plenty of sax player Alain Hatot soloing ( slightly in Miles Davis key). Interesting in some moments, the album is unfocused, and often sounds as jamming with free jazz elements. Compositions are very average, and even if there are some really interesting moments in musicianship, it's far not enough to save the album.

I like double keyboards and double bass scheme there, and it gives some really interesting sound combinations. Sax player is enthusiastic, but not original enough, so sax sound looks a bit overused there. Possibly, the best album's moments are these with electric keyboards and drumming interplays (and just some few sax touches added to sound).

Not a bad album, and possibly really interesting one for Magma roots researchers. Not good enough to be bought at extra money as obscure release though.

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