Customer Reviews

Gazeuse

5 star:		(12)
4 star:		(7)
3 star:		(1)
2 star:		(2)
1 star:		(0)

 

 

I heard of Gong and although I thought they were o.k., I gave up on them. I then heard that this second or third period of Gong is fusion mixed, I heard it and immediately bought it. Gong up to the mid 70's were spacey, trippy, strange vocals and I enjoyed that but was not crazy over them. The Gazeuse period is fantastic fusiony jazz featuring Holdsworth at his best, all instrumental as well as a focus on the vibes. This album was originally called Expresso in the U.K. and in the States titled Gazeuse. The next album is also killer, titled Expresso II which feautures more of the same but with a heavier emphasis on the glock/vibes. Gazeuse is a classic on par with Bruford's solos. If you have not heard this side of Gong, you better hear this one!!!

For those fans of the Daevid Allen period of Gong, the shift from spacey prog rock to the realm of jazz-rock starting with the transitional Shamal album in 1975 must have come as a bit of a shock. Notwithstanding, their jazz-rock output during the 75-77 period is actually quite good and mirrors the shift from prog to jazz-rock exhibited by a lot of prog bands in the mid-late 1970's (PFM comes to mind). The Gazeuse album was released in 1976 and marks the full-blown emergence of Gong as an instrumental jazz rock outfit. Featured prominently on the album is the "world class" electric and acoustic guitar playing of virtuoso Alan Holdsworth (Soft Machine, U.K.) along with the superb drum/percussion work of the late Pierre Moerlen. Holdsworth's blindingly fast, legato lines on the electric/acoustic guitar are truly something to behold - I can't think of many people out there that play like him. Other musicians on the album include fretless bassist Francis Moze (one of many imitators of Weather Report bassist extraordinaire Jaco Pastorius), sax/flute player Didier Malherbe (who left Gong after this album), percussionist Mino Cinelou, Benoit Moerlen on vibraphone, and Mireille Bauer on vibraphone, marimba, glockenspiel, and toms. It is worth noting that mallet instruments are featured quite prominently and their use sets Gong apart from other jazz rock groups of the time including the synth heavy works of Weather Report and the nearly inhuman, impossibly fast playing of the synth heavy Return to Forever. As somebody who listens to jazz rock in addition to (tons of) prog, I can say that as far as jazz-rock goes this is a pretty good album. From a composition perspective, the pieces are well-constructed and with the exception of a short (and blazing) drum solo by Pierre Moerlen, solos are not too intrusive. I also found that there is enough dynamic contrast and textural variation to keep my interest too - the album opens with a vigorous jazz-rock flourish on Expresso and closes on a contemplative note with the acoustic guitar and electric piano duet on Mireille. I guess I should just consider myself lucky because I can enjoy all of Gong's 1970's output - it seems as if hardcore fans of the Daevid Allen era Gong do not appreciate the Pierre Moerlen led version of Gong all that much. Accordingly, this album is highly recommended (without hesitation) to fans of jazz rock, open minded prog heads, and Gong completists.

A superbly crafted studio album. It's bouncy and atmospheric at the same time. There isn't one bad note. It has nothing to do with funk but can be easily classified as a fusion record. I love it! One of the Top 10 albums of all time. Here's that other star you deserve *.

Allan Holdsworth - Guitars Pedal Steel, Violin
Mireille Bauer - Percussion, Glockenspiel, Marimba, Tom-Tom, Vibraphone
Mino Cinelu - Percussion
Didier Malherbe - Flute, Sax
Benoit Moerlen - Percussion, Vibraphone
Pierre Moerlen - Drums, Glockenspiel, Marimba, Tympani, Vibraphone
Francis Moze - Pianos, Gong, Fretless Bass


Having left the Planet Gong far far behind, drummer Pierre Moerlen had taken the helm of Gong from the departed Daevid Allen and completely recast it as a fusion band, starting with the previous effort Shamal

Here, what sounded tentative on Shamal became incredibly confident on Gazeuse, aided no doubt by the strong writing and playing of that mercurial guitar stylist Allan Holdsworth. All the elements of a successful change were in place, strong melody, rhythms that never lapsed into tedium, a unique frontline of twin vibes and strong compositions to boot.

My favorite pieces tend to be the Allan Holdsworth ones like the mysterious and intense "Shadows Of-Pts 1&2" (featuring Allan doing a snarly ring-modulated solo) and the soaring "Night Illusion". "Percolations 1 and 2" is Pierre Moerlen's chance to shine bringing the whole affaire to a rousing conclusion with one of the most captivating drum solos ever put on record (and believe me, I normally can't sit through drum solos but this is one serious exception)! Very untypical is the romantic ballad "Mirielle" at the end, it's romantic and colorful without being in any way sappy or cloying. Without vocals to mess it up, it gets its point across beautifully, not unlike a first kiss with someone you are madly in love with. "Expresso" contains one of the most lyrical and beautifully developed Holdsworth guitar flights these ears have ever heard.

Add to all this, incredibly crisp production and engineering from one Dennis McKay (who also loaned his amazing ears to Brand X around the same time) and it makes for one very enjoyable listen.

Sadly, Gong under Pierre Moerlen's leadership would never quite scale these heights again, but I am grateful that for a moment in time, it all worked so beautifully!

A funky jazz-rock fusion, effortlessly combining electric guitar, flute, glockenspiel and saxophone in virtuoso performances. The percussion is noteworthy, with an awe-inspiring 'drum solo', featuring timpani and, of course, the odd gong. The pieces are varied, yet fit together in a mesmerising whole that will keep you riveted right through to the last note. Gazeuse! is one album I always come back to.

This album, called Expresso in the US, MADE jazz-fusion what it became... period! Gong with Allan Holdsworth! There isn't a poor SECOND on this record! I read a top 500 reviewer from this site who canned this record. I am sorry, but the guy is simply an idiot! This IS my favorite prog record even today!!! Incredible playing, concise, inventive... just flat out Genius. Sorry dude, don't listen to fusion or even rock and roll for that matter because THIS IS THE BEST! Flawless spin!
!

Originally released on vinyl as Expresso I, this curiously renamed CD reissue is a great introduction to Gong's second incarnation as a jazz/fusion band. Although occasionally riffy and repetitive in typical fusion fashion, don't let that scare you off. There are some compositions of penetrating beauty on this CD, along with top-notch, musical playing throughout. Pierre Moerlen, the band's leader -- and a vastly underappreciated drummer/percussionist -- is at his tasty best here. (Why don't more American musicians -- drummers especially -- know this guy? He's astounding!). And Allan Holdsworth, who, along with Moerlen, provided all but one of the compositions, is a model of versatility here, playing whatever the tune demands, from wailing atonal lines to power rock chords to delicate, jazzy tapestries. Francis Moze's fluid, fretless bass playing rounds out and warms these often percussion-intensive pieces, beautifully played by percussionists Mireille Bauer, Mino Cinelou and Benoit Moerlen. (Percolations 1 and 2 are out-and-out percussion ensembles, ending with Pierre's flashy drum solo in 7/8.) Sax/flute player Didier "Bloom" Malherbe carries the melodies almost as often as Holdsworth, providing a nice sonic balance to the whole CD. When supporting Holdsworth, Malherbe matches his intensity -- no mean feat opposite so powerful a player. This whole CD is a fine example of how good fusion can be in capable hands. A small gem.

if you are reading this review,I am prepared to assume you
have at least a passing interest in high quality,well recorded
jazz fusion.If I am correct,this may be one of your new favorite albums.
This was my personal first experience with giving GONG
a good listen.It will not be my last.This effort is a crisp,clean
mix of heavy guitar leads,mellow vibe-like sounds from
the keyboard instruments,and top notch jazz percussion.
Many of the GONG recordings have vocals on them--this disk is all instrumental.
Features Alan Holdsworth on guitar instead of Steve Hillage.
He does not miss a beat.
VERY HIGHLY RECOMMENDED.this is a very worthwhile
expenditure of your entertainment $.

Well. First off, there's none of that PHP silliness on this record. I really miss that. Fusiony stuff generally takes itself too seriously and without any fun going on even on the periphery it kinda wrecks my tea. It's very good stuff mostly, but they sound a little lashed to the task--just an opinion--don't curse my dead Mother. For a few of these cuts (Holdsworth) I thought I was hearing a Mahavishnu disc and ultimately, you know how much fun those guys had. So even though there were POT-HEADS present they were way cleaned up and ultimately, you know how much fun that can be.

If you are a fan of fusion or modern electric jazz, this one stands out as being particularly magical. The compositions, instrumentation, and arrangements take this group far outside of the realm of the ordinary. There's just something curiously compelling about the combination of bass, drums, saxophone, flute, vibes/marimba, and rock guitar. The only other group that approaches this is Scott Henderson's early Tribal Tech...which was no doubt influenced by releases like this one. By all means, check this out!