ABRAXIS

From Belgium, this album finds COS's Charles Loos and Jean-Paul Musette moonlighting from their Canterbury band to explore some more the more serious jazz-side of Jazz-Rock Fusion.

1. "Clear Hours" (2:32) great upbeat jazz rock fusion with a light funk to it (not unlike some of COS' music from this time--the Viva Boma era). The use of bright, cheerful flute in the mix is delightful--as is the wonderful (9/10)

2. "Valse De La Mort" (16:14) opening with a very serious, slow-paced almost classical pastiche with flutist Dirk Bogaert leading the way over piano, classically-played acoustic guitar, and bass--no drums. In the fourth minute the music even moves more into the domain of classical sounding music as Bogaert and pianist Charles Loos duet--eventually becoming a more sonata form for Loos' dynamic solo piano until 5:22 when Charles hands it over to Dirk: solo flute time. Hi-hat, and metronomic bass drum and rim shots enter near the end of the seventh minute supporting Dirk while he finishes his solo. At 7:49 deep thrum of electric bass and electronic keyboard enter, setting up a kind of dreamy yet-suggestive carpet for guitarist Paul Elias to start up some electric guitar soloing. In the tenth minute the band really explodes beneath Paul's fiery guitar playing as the drummer bursts into full kit exposition. A return to soft carpet mode for a bit while electric piano solos, exploding again for Charles to switch to a Moog-like synth for some soloing, but then everybody re-gels into a softer, gentler motif as they return to acoustic instruments (except for Jean- Paul's electric bass). Flute and piano dance around one another for several minutes while the guitar and toms sit out (thought nuanced cymbal play remains in full participation). Charles takes over again for a piano solo in the 14th and 15th minutes while flute-like organ chords support from beneath. A whole band acoustic bridge at 14:45 moves into a brief transitional series of chaotic jazz chords before the band comes out the other side with a nice little two-chord HATFIELD AND THE NORTH funky motif and palette--which they then use to take the song to its end. I'm not sure how the composer came up with the progression of all of these very different (and seemingly unrelated) motifs for the movements of this suite but it all seems to work--and they're all rather expertly, even adroitly, convincingly, transitioned from one to the next. The composition and performances are all top notch. The song, however, does not contain enough catchy melodies or hypnotic grooves to earn my top marks. (27/30) 3. "Sweetank" (4:26) using a rather unusual combination of upper and lower register electric funky bass, wah-wahed distorted electric piano to fill the middle ground of the rhythm track, and funk drumming with electric guitar, flute, and some electric piano and Moog synthesizer sounds to fill the lead positions, this is a catchy tune with a great chord progression to push and pull all of the odd sounds together. Nice blues-jazz guitar work from Paul Elias. There's even time for a solo from virtuoso bassist Jean-Paul Musette--here paired up perfectly with an astute drummer (which one?). The final minute of flying Jazz-Rock is sublime for its seamless flow of three different motifs. (9.3333/10)

4. "Billy The Keith" (3:54) either the flute is being fed through a sound effect processor or Charles Loos' keyboard combination is replicating a wobbly flute sound (probably the former as Charles other sounds seem to occupy a lot of hands--or tracks). The song is a bit too subdued for my tastes though I comprehend the difficulty it is to play all of the tracks of this subtly-nuanced weave while maintaining some semblance of cohesion. (8.75/10)

5. "Jeronimo" (1:58) a quick exploration of a particular set of melody ideas that seems to inspire the whole band into solidarity and high-discipline. (4.5/5)

6. "Bolle Winkel" (6:46) a more theatric composition that reminds me of some of the great music from A Chorus Line though the drumming sounds very Billy Cobham-like. The second minute sees the band take a left turn down a high speed lane in which many of the band members can be seen to be hanging out their privvy clothes on the laundry lines above. An odd, almost crazy cacophonous choice of instrumental sounds and ejaculations ensues until Jean- Paul's breathy flute screams its way to the front in the fourth minute, inciting a riotous response from the bass, wah- wah-ed guitar, and electric keys. At 4:45 everybody but the drums and bass cut out for a rather dynamic (and great!) bluesy pseudo-classical Bob James-like piano solo--which almost takes us to the end. This is a song that kept getting better and better the further it went along. (13.5/15)

7. "Arhumba" (1:42) moving back into the near-classical realm of jazz music, this piece sounds like something transposed from a Django-Grappelli duet. (4.375/5)

Total time: 37:34

B+/4.5 stars; a near-masterpiece of Jazz-Rock Fusion exhibiting some very highly-skilled musicianship and composition. Were this album longer--to have included but one more full-length composition--it may have earned masterpiece status.

A mid-Seventies jazz/fusion band from Belgium, the superb Abraxis boasted musicians from other jazz-rock groups of the decade such as Pazop, Placebo and Waterloo, with keyboardist Charles Loos and bassist Jean-Paul Musette known to some prog fans as being members of Belgian band Cos, performing on their first album `Postaeolian Train Robbery' (but departed before the follow-up `Viva Boma'). Released in 1977, their fully instrumental debut is an enjoyable and impeccably performed mixture of flute dominated jazz, Canterbury inspired fusion, '70s funk and even a pinch of Zeuhl! As much of their music here was dominated by piano and flute, it gives `Abraxis' a frequent Focus-like quality in parts, actually quite classical and grand in a few moments here and there. Canterbury bands like Gilgamesh and the instrumental passages of National Health also come to mind, and definitely parts are still identifiable as Cos, although in a firmer jazz sound without the avant-garde vocal qualities and loopier elements of that band.

Brief opener `Clear Hours' is a more fusion-flavoured version of something that could have come off the first Camel album, a breezy and immensely likable tune with constantly twisting guitars, grumbling bass, peppy electric piano spirals and loopy synth trills all duelling back and forth with quickie little call-and-response soloing runs between each-other. The gently melancholic flute, dramatic piano and overall classical sophistication of the four-part sixteen-minute suite `Valse De La Mort' reminds instantly of the classic Seventies-era Focus albums, whimsical and reflective one moment, stirring with spontaneous improvised manic bursts the next. Humming bass, fiery nimble guitar licks, dreamy shimmering keyboards and rambunctious drumming all have their moments to shine in this exquisite piece.

`Sweetank' opens the second side and is the highlight of the disk, a delirious and splintering jazz-fusion tantrum crammed with funky swallowing Zeuhl-like bass, wiry electric guitar, glistening electric piano, huffing flute and loopy electronic breakdowns over thrashing drum spasms. Sadly it's over in barely 4 minutes, just a teasing fling that leaves you craving more! `Billy the Keith' is a laid-back romantic simmer-down with a slightly syrupy melody (but it's oh-so charming all the same), `Jeronimo' is a cheerful runaway electric piano and cheeky flute-peppered interlude, the almost seven minute `Bolle Winkel' is another lengthier fusion workout where all the musicians get ample soloing moments to shine, and the fleeting closer `Arhumba' is a playful piano/flute powered ditty.

Needless to say, the musicianship is consistently outstanding throughout `Abraxis', with the entire 37 minute LP flying by without a trace of inferior material emerging. A true obscure reissued gem that could not be more welcome, if a Canterbury/jazz-fusion flavoured mix of Focus, Camel and Cos with a pinch of Zeuhl sounds intriguing to you, track it down immediately!

Four stars.

ABRAXIS were a Jazz/ Rock band from Belgium who released this lone self titled album in 1977. It's an all instrumental affair with most of the music being composed by keyboardist Charles Loos the former COS member. We also get the bass player from COS as well as flute player Dirk Bogaert from PAZOP, and the drummer from PAZOP. Now the music here certainly isn't as adventerous unfortunately as the two bands I mentioned, in fact I find it a little light-weight at times but I also feel it's worth the 4 stars. Many mention that there's a Canterbury flavour to the music and I did think of CAMEL at times mostly because of the flute. We also get guitar on this one.

"Clear Hours" is one of my favourites. Man this is like the sound of a beautiful summer's day. I like how the flute gives a sunny vibe here but the bass is a good contrast because of how prominent and deep it is. Some nice guitar a minute in which is replaced by the flute, then the keys as they all trade solos the rest of the way.

"Vaise De La Mont/ A Boire/ Eta/ Manger" is a four part suite worth over 20 minutes. A slow relaxed start with flute, keys and picked guitar until 4 minutes in when we get piano only and it's impressive. Beautiful stuff. The flute is back at 5 1/2 minutes and it's solo at first and very relaxed as a light beat joins in a minute later. A change before 8 minutes as we get some depth with guitar, bass, keys and a beat. I like this a lot. The guitar starts to solo over the top in an intricate manner then he starts to light it up 9 1/2 minutes in until after 10 minutes when the keys replace the guitar. Nice bass 12 minutes in then the flute starts to lead in this pastoral section. Piano takes over 13 1/2 minutes in. A change after 15 minutes as flute, bass and drums lead the way in this catchy passage. Silence before 16 1/2 minutes then piano, bass and strings take over. Mellow is the word.

"Sweetank" has prominent bass as the flute and light keys swirl over top. I like how the bass drives this one and the drums too of course. It's the guitar's turn before 2 minutes then the bass takes the spotlight a minute later. Pretty cool. Some excellent drum work here as well. The tempo picks up late. "Billy The Keith" is laid back with flute over top. It's got more depth 2 minutes in with that bass. Some nice piano and guitar comes in late. Good song.

"Jeronimo" opens with uptempo piano before everyone joins in. "Bolle Winkl" is another favourite. It opens with solo bass as the flute and drums join in. Catchy stuff as the guitar joins in as well. He's lighting it up before 1 1/2 minutes followed by keys as they continue to trade solos. Flute to the fore after 2 1/2 minutes as it settles down. It starts to build with flute still leading the way. Piano leads after 4 1/2 minutes as it tinkles away. I'm reminded of CAMEL late. "Arhumba" has relaxed piano melodies to start with bass as a light beat helps out. Strings swell as they come and go. Piano only 3 minutes in as strings join in late to end it.

Like the MASTER CYLINDER album I reviewed recently I wish this had less of those lighter moments, but like with that album I have to give this 4 stars because it's that good.