Customer Reviews

Ghilgoul

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...that's supposedly the literal translation of `neffesh-music', the label given by Yochk'o Seffer to the projects and recordings documenting his creative output during the mid-to-late 1970s and into 1980. The first album, entitled DELIRE, was issued in 1976; the second, IMA, followed in 1977; the original version of GHILGOUL was released in 1978. This CD includes the entire original GHILGOUL album along with 3 bonus tracks - the latter involve a completely different set of musicians, the material being intended for inclusion on an album that was never released. It's nice to have them added to this release.

Seffer's saxophones had been an integral component of the incredible, mind-blowing, and largely unclassifiable Swiss/French/extraterrestrial jazz/rock/opera ensemble (see what I mean by `unclassifiable'...?) Magma. He left the band in 1972 along with pianist François `Faton' Cahen, and the two formed Zao (not to be confused, PLEASE, with the present-day Christian heavy-metal band!). Zao released some amazing albums (if you can find any of them, BUY THEM!) before Seffer left, anxious to have an outlet devoted to his music. The resulting project he called `Neffesh-music', and he set about to combine elements of jazz, rock and classical forms with ideas he had been working on for some time - the results sound like nothing else. Complex, shifting time signatures and angular melodies abound, peppered with sections of improvisation that I can only call `organic'...meaning that they sound as if they were `born' in place, that they `belong'. Most of the pieces are tightly arranged, with each note being placed precisely in its slot by Seffer - but the improvs, when they occur, NEVER degenerate into tuneless warbling. This is some of the most well-crafted music I've ever heard - complex and intelligent and stimulating on the ultimate level.

Seffer's saxophones and pianos (both electric and acoustic) are featured, backed up by the impressive `rhythm section' (and here that's a completely inadequate term) of Dominique Bertrand (electric bass) and François Laizeau (drums). Seffer also vocalizes - overdubbing layers upon layers into an other-worldly effect that, like the improvisations I mentioned above, is exceedingly beautiful and appropriate. The title track leads off with a long section of vocals, with the sax joining in after a bit. Also along on this recording are some `old friends' from the Zao days: the Margand String Quartet - and their contributions are natural and welcome.

The bonus tracks are interesting and enjoyable - it gives the listener a good idea of where Seffer was headed next. It's a shame that a full album didn't materialize out of these sessions. On these last three tracks, Yochk'o sticks to piano and tenor saxophone - he's joined by Michael Nick (violin), Bülent (drums), Laurent Cokelaere (electric bass) and Philippe Gisselmann (soprano saxophone).

Seffer has continued to compose and play and record - and his work has continued to push whatever boundaries he felt necessary, conforming only to the limits of his imagination and abilities. In other words, apparently limitless.