VISION

After the release of his first album (a double) in 1980 called "Strave" the band just sort of faded away with all but one musician ( and Serge) moving on to other things. Enter ART ZOYD guitarist Alain Eckert who played on those early classic ZOYD albums ( and live with NATIONAL HEALTH in 1979 as heard on their "Playtime" recording) who asked Serge if he'd consider joining his project called the ALAIN ECKERT QUARTET. Serge did so playing drums and adding sax just like on his "Strave" recording. Then in 1981 Serge was putting a new lineup together for his next record and contacted Eckert about playing guitar on it. He obliged along with the bass player from the Eckert Quartet. The trumpet player and French horn player from the "Strave" lineup returned and Serge hired a second bass player. Also the vocalist from the debut returned and Serge hired a new sax and vibraphone player. So like the first lineup we get nine players (they counted ten on the debut but that included an alto flute player who performed on one track only). So to simplify, this new lineup has no violinist like the debut did as he was repleced by the guitarist, and a second bass player is here instead of the trombone player.

Compared to the debut this is in the same style but is harder edged and certainly more compact as it's a single album and not a double like the debut. I do like this one quite a bit better. By the way many compare this record to MAGMA's "1001 Centigrades". Certainly Bringolf and Vander are both incredible drummers and composers. Bringolf was influenced the most by Tony Williams though.

"Vision" opens with vibes as drums and vocals join in. This is melow and relaxed as the singer repeates the line over and over and then backing vocals help him out. A change before 3 1/2 minutes as the vocals stop and the music becomes more passionate. Man this guy can drum ! Vocals are back after 4 1/2 minutes and the horns help out too. Things are ratcheted up a notch around 6 minutes. Amazing ! Eckert starts to rip it up on the guitar before 7 minutes. Nice. In the liner notes they say this song hints at "Kobaia" instrumentaly and ZAO's debut becaue of the scat singing. "Plus I" is a short piece where the horns blast in a dissonant manner on and off throughout.

"Plus II" is where the drums kick in leading the way along with the basses and a bass horn. After 3 1/2 minutes these high pitched vocal expressions join in. I'm reminded of Zeuhl here because of the prominant bass. The horns then join in. So good ! "Plus III" is an intense piece with the drums standing out along with the chanting. Horns and more help out as well. "Ma-Ho. Peneta" is the final and also longest track at almost 13 1/2 minutes. Horns, chants and drums lead early then it settles some as the bass growls. This sounds so good. The chants will come and go.A change 7 1/2 minutes in as the sax will start to solo at will over top. Vibes replace the sax after 10 minutes as the guitar lights it up. It's the vocals turn before 12 minutes then the horns return.

I wasn't expecting this to be so good. A must for fans of both JRF and Zeuhl.

Without the choral vocal style, this would probably be seen as a purely jazz album but there is definitely something there to categorise it as Zeuhl. The debut album from 1980, Strave, featured almost an entirely different line-up. Vision employed Art Zoyd guitarist Alain Eckert. Not a group that I particularly enjoy, but here it certainly adds an extra element to Bringolf's style. The best comparison within Zeuhl is with relatively early Magma e.g. 1001 Centigrades, or with Zao.

Like all good Zeuhl, the drumming is excellent, primarily backed up by the brass instruments and scatty vocals. The opening title track slowly rises from mellow to a fast-paced jam by the end and showcases pretty much everything that is good about each individual band member, with Eckert's guitar play a highlight on the 7 minute mark.

The 'plus' suite is mostly a horn-based marching style for the first two tracks, fairly totalitarian sounding (much like Magma), but in the third track is much faster paced and intense, sounding almost like a chase scene in a movie.

The final track, the longest on the album, starts with a 'big band, big finish' brass section before settling into tight jazz with Bringolf's excellent drumming leading the way alongside lyricless vocals. It's a belter

Excellent album for any fans of both jazz and Zeuhl