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Flute before a minute. Some nice guitar work after 2 minutes, very fluid. I love this stuff! It almost stops 4 minutes in as a drum solo kicks in and lasts until after 5 minutes when the electric piano, bass, guitar and more join in.
Horns follow and they will get dissonant before 7 minutes. This is fairly uptempo and jazzy. The guitar replaces the horn after a minute with some fast paced playing. The flute joins the guitar a minute later. Catchy suff. Some interesting intricate guitar melodies in this one.
Why could they not have named this "Hip Hop"? Synths to the fore then it's the horns again before 5 minutes followed by a manipulated horn. Electric piano then starts to lead late. Bass and drums join in just before a minute then a horn.
So cool. Trumpet just before 2 minutes. A solid 4 stars. Review by apps79 Special Collaborator Honorary Collaborator. Moulin's first effort relies a lot on smooth and relaxed jazzy arrangements with a melodic approach and very light interplays, quite accesible to say the least with only occasional and non-risky solos.
The album has some good moments to satisfy fans of Jazz-Rock,Horn Rock or Jazz-Fusion,but it is still very far from a demanding listening for the average progressive fan. Recommended only to lovers of the aforementioned closely related styles Musically, Sam Suffy is not far away from Placebo albums, but if anything the album is more even, because unlike the group efforts, SS had few covers just one, a short Monk composition , which was always the weaker side of Placebo.
So MM develops a superb melodic funky jazz-rock that will work wonders in samplings three decades later. Some will say that SS owes much debt to Hancock's Headhunter, but these typical Placebo grooves existed since their earliest albums, so it's not like the similarity is inspired or influence by Herbie.
The opening Le Saure is an enthralling funky piece with a cool groove, where Moulin switches from one keyboard to another, a bit like Herbie does. The short Thelonius Monk-penned Misterioso is probably the more experimental album with Rousselet's flugelhorn drawing monster sounds. The short From track is keyboard bonanza with Jasper helping out on electric piano. An interesting exercise, where Moulin toys with a Moog.
La Blouse is another smooth-gliding funky groove, so typically early 70's. The short Bougie is a duo between Rousselet and Moulin's bluesy piano, probably the weaker track around. The closing playful jumpy Beau Galop has Marc tripping on his keys happily, without a sole care in the world. The flipside is made from the sidelong five-movement suite, lasting 17 minutes with Castellucci on drums as opposed to Morales on the other side. The moods range from happy to sinister, from the sublime to the orgasmic, from dissonance and animal noises the third movement to pure heavenly grooves, with Rousselet blowing from a Miles Coltrane to a Ornette Sanders, the bassist pulling from you some spine shivers with his delightful touch.
Reissued in the late 90's on the Counterpoint Records label also doing the Placebo compilation , the Cd came in handy for those looking to investigate Moulin's early 70's music, because the vinyls were fetching a small fortune, because eagerly searched for in the acid jazz and trip hop circles. Although a compilation album can never replace the album feel as opposed to a collection of tunes , but in this case, the compilation is so well done that it could become its own album.
So in a way very Moulin way, he actually sampled his albums to make a new. Will that circle finally be broken? Not likely ;-!!! And we would hate Moulin to stop being himself!!! The lenghty Stomp is a little too repetitive, but still a great moment, but it does have an end-of-era feel, while N W, also rather lenghty is a real reflective moment, the brassy funky Dag Madam is great change of pace, the closing S U S is again delving in Moulin's search for new electronic sounds here almost a sonar , Plotselling being the main attraction the first side of the vinyl with its lenghty Rhodes lines a little Ratledge- sounding here while the winds induce a great added tension even if a drum solo comes in to ruin it a bit.
Bosso is a Novo I know;- so typical of years to come. Although Placebo will only disband at the end of 76, this will be their last album, and by giving an attentive ear to it they do seem a little short of ideas , it seems that they stopped before making one more album, that would've been "l'album de trop".
Luckily they did not!! However , before their eventual demise , Marc Moulin had put out a "solo group" effort called SAM SUFFY which is quite astounding, adventurous, eclectic and the perfect expression of what he wanted to do: expand from an octet to a trio: Grandiose!!!
He then will go on for an extensive and then extended career including a political and very satirical press-writing twist, an acid-jazz career, production of Cos and Philip Catherine albums and fronting electro-pop outfit Telex ZZ Top's Billy Gibbons's preferred band etc.. Balek starts out with a then-revolutionary loop dominating the background and the group just surfs throughout the track's 4 min while Moulin switches from Moogs to Rhodes and back, great stuff.
Only Nineteen is another track where Moulin shows us his savoir-faire and here the horn section plays the faire-valoir. Phalene recorded live is a rather lenghty piece a relative 8 min that takes great pride in being slowly developing itself, content on following Rottier's great drumming and the brass clearly influenced by Nucleus's Ian Carr. Polk is another sizzling funky jazz-rock track induced by a great guitar, which makes you love every second of its short life.
Maybe their better albums and certainly the most even, this gatefold album the debut was too is one of those seminal albums for the Belgian jazz scene, and it is rather hard to understand how and why it never got a Cd release outside the compilation because this album was much sampled for acid-jazz and techno.
The sound on this album oscillates between Bitches Brew and Nucleus's debut on one side and Chicago Transit Authority on the other. If there are some really superb tracks on this album, it is also somewhat uneven with some rather surprising and clumsy covers of Marvin Gaye and Isaac Hayes, but clearly the highlights are the self-penned tracks.
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