Prométhée (83), Dr Zab and his Robotic Strings Orchestra (92)

Thierry Zaboitzeff is the bassist for Art Zoyd. Dr. Zab... is mostly done using synths and sequencing, 22 tracks of varying length and styles, but firmly in the neo-classical style. This album is very nice, with a balance between melodics and dark-textures, it's one that tends to grow on you with repeated listenings, but not one that will alienate you on first listen.

[See Art Zoyd]

My Coffin's Ready (72), Zabu and Co. (76)

[See Magma]

Zafra (??)

Zakkarias (71)

Twisted psych-prog

[See Samla Mammas Manna]

Z=7L (73), Osiris (75), Shekina (75), Kawana (77), Typareth (77), Akhenaton (94)

Zao was started by Yochk'o "Jeff" Seffer (saxes) and Francois "Faton" Cahen (keyboards), both ex-members of an early lineup of Magma. The first lineup also featured Jean-My Truong (drums) and Joël Dugrenot (bass), both who would remain long term members of the band, and Mauricia Platon on vocals. The first album is very much in the Magma vein, altough only utilizing the jazzier aspects of the Magma sound (as might be expected with only Seffer and Cahen). Subsequent albums became increasingly fusion oriented, while not losing the strong zeuhl influence, and the hungarian folk influence from Seffer. Later lineups feature Didier Lockwood (violin), Gerard Prevost (bass). Shekina is interesting as it features a full string quartet on some of the tracks. After Kawana (which may well be the strongest album), Seffer quit to go solo, Truong and Lockwood left to form Surya, leaving Cahen to carry on with new recruits, thus the last album Typareth is generally considered their only stinker.

Zao is a Magma offshoot, thus the music on Kawana is similar, though more fusion oriented. If you are interested in the Magma/zuehl school, but are concerned about the singing, Zao and Weidorje would be good places to start. The explore the fusion ideas of Magma yet don't have the vocal language developed in Magma by drummer Christian Vander. To me, Zao would be just as comfortable next to Weather Report as they would Magma. Didier Lockwood is ever present with his excellent violin playing. Yochk'o Seffer is generous with his soprano sax. These two guys trade licks and solos over some nice fusion grooves. Francis Cahen's synth work sometimes reminds me of Joe Zawinul of Weather Report, particularly on the opening track, "Natura." If you like vocals, check out Magma, but if you prefer instrumental work, like me, then you'll want to hear this fine example of zuehl fusion. Note that there is a bit of vocals on the last cut, but there is no singing or words. -- Mike Taylor

Zao typifies the progressive fusion approach of the French zeuhl scene. Somewhat related to Magma and other artists of the early seventies in France, Zao released five or so albums. Kawana features a tight, busy rhythm section, not unlike Magma but with a jazzier feel, coupled with violin, keys and guitar make this instrumental offering a slow but steady grower. At first listen I wasn't impressed but many listens later I've come to greatly appreciate their proficiency. Fans of Arti + Mestieri, Weidorje, Xaal, Univers Zero and of course Magma should check this out.

Shekina was an experiment in music styles by the progressive jazz fusion band Zao. Back in 1975 they wanted to combine the experimental jazz fusion of Zao with a string quartet, Le Quatuor Margand, to create a synthesis between European jazz and pseudo-classical music. The resulting LP, Shekina, is now available on CD in Musea's catalog of reissues. Over the course of the five tracks on this CD you experience a juxtaposition of Le Quatuor Margand's chamber music against Zao's complex jazz instrumentation. Le Quatuor Margand were excellent sight readers and they had to work extremely hard to play with Yochk'o Seffer's minimal musical notation. The resulting music is very tight complex arrangements with Magma and Soft Machine (circa Third) styling. At the time of this recording Zao consisted of Yochk'o Seffer (saxophones, clarinets, and vocals), Francois "Faton" Cahen (keyboards), Gerard Prevost (electric bass), Jean-My Truong (drums), and Pierre "Ty Boum" Guignon (percussion). Le Quatuor Margand was Michele Margand (violin), Marie-Francoise Viaud (violin), Francoise Douchet (viola), and Claudine Lassere (cello). The quartet later went on to form Seffer's Neffesh Music. The music is as fresh today as it was in 1975 and no doubt influenced bands like Art Zoyd, Third Ear Band, and Univers Zero. HIGHLY RECOMMENDED!

Magma spin-off. I heard one track from Z=7L once. Strange, very intense operatic female vocals. It has haunted me to this very day, and impressed me much more than some of the other "zeuhl" bands I've heard (like Eskaton). I'd very much like to hear the whole album someday. I also heard a snippet from a much later album, Typareth I think. Almost straght-ahead jazz, not fusion. Very undistinguished and mediocre when compared with that first album. -- Mike Ohman

[See Cahen, Francois | Dugrenot, Joël | Heldon | Magma | Seffer, Yochk'o]

Freak Out (66), Absolutely Free (67), We're Only In It For The Money (67), Lumpy Gravy (67), Ruben And The Jets (68), Mothermania (68), Uncle Meat (69), Weasels Ripped My Flesh (70), Chunga's Revenge (70), Hot Rats (70), Burnt Weeny Sandwich (70), Live At Fillmore East (71), 200 Motels (71), Just Another Band From L.A. (72), The Grand Wazoo (72), Waka Jawaka (73), Overnight Sensation (73), Apostrophe (74), Roxy and Elsewhere (74), One Size Fits All (75), Bongo Fury (75), Zoot Allures (76), In New York (78), Studio Tan (78), Sheik Yerbouti (79), Sleep Dirt (79), Joes Garage (79), Tinseltown Rebellion (81), You Are What You Is (81), Shut Up n'Play Yer Guitar (81), Ship Arriving Too Late To Save A Drowning Witch (82), Baby Snakes (83), The Man From Utopia (83), Zappa Vol.1 (83), Them Or Us (84), Thing-Fish (84), True Glove (84), Francesco Zappa (84), Frank Zappa Meets Mothers Of Prevention (85) Does Humor Belong In Music (86), Jazz From Hell (86), Zappa Vol.2 (86), Guitar (88), You Can't Do That On Stage Anymore Vol.1 (88), Orchestral Favorites (89), You Can't Do That On Stage Anymore Vol.2 (88), Broadway The Hard Way (88), You Can't Do That On Stage Anymore Vol.3 (89), The Supplement Tape (90), The Best Band You Never Heard In Your Life (91), You Can't Do That On Stage Anymore Vol.4 (91), Make A Jazz Noise Here (91), You Can't Do That On Stage Anymore Vol.5 (92), You Can't Do That On Stage Anymore Vol.6 (92), Playground Psychotics (92), The Yellow Shark (93)

There's little point in denying that Zappa is progressive: from the outset his albums transcended the norms of music, and at the same time made fun of them too. He's used irregular instrumentation, odd time signatures, rapid changes in style, tempo, and dynamics as an integral part of his music. Whether you like it or not depends. His style varies considerably from one album to the next, so where does one unfamiliar with his stuff begin? For fans of standard progressive rock, I would recommend any of these six albums, mostly because they emphasize the instrumental side of his pallette: Sleep Dirt (The original LP, the CD has vocals added), Zoot Allures, You Can't Do That On Stage Anymore Vol.2, Jazz From Hell, Overnight Sensation/Apostrophe (2 on 1 CD), or from the early years, Hot Rats. Shut Up n'Play yer Guitar is an interesting one (originally on three LPs, now on 2CD) made up entirely of splices of guitar solos from his live shows. Uncle Meat is an early soundtrack of some type, which contains much of his best early work, but may not be a good starting point for the uninitiated. Broadway The Hard Way is excellent, and features some sharp-tongued wit from the 1988 political open season.

Freak Out! is a very important album, as it's the first real attempt at experimental music in a rock context. "Help, I'm A Rock" and "The Return Of The Son Of Monster Magnet" are landmarks, and sound odd even today. "Trouble Every Day" on the other hand sounds mundane today, but as one of the most vehement political statements of its time, it was revolutionary. That's disc two of the LP. Disc one consists of pop-rock, some interesting, mostly not. Uncle Meat is simply amazing, mixing jazz, modern classical, electronics and rock in a daring way never tried before. If this isn't prog, I don't know what is. Lots of woodwinds (saxes, clarinets, bassoons), odd keyboards (harpsichords, celeste, electronic organs) and percussion (vibes, xylophones, marimba) make this fascinating to listen to. Full of great solos (mostly Zappa's guitar) and astoundingly complex counter-melodies and such. Though there are vocals on the album, they are treated as just another instrument, given the silliest possible lyrics to sing. Overnite Sensation and Apostrophe are attempts to commercialize the approach, with some really dumb lyrics, contrived vehicles for a Zappa guitar solo, and the odd xylophone breaking the monotony. They're not bad albums, but they're far from his best work, he's just going through the motions. Studio Tan is much improved, back to the more complex style of Uncle Meat, yet including full string and horn sections along with Zappa's guitar and Ruth Underwood's fantastic percussion work. The sidelong "Greggery Peccary" includes some annoying narration by Zappa (please Frank, leave the conceptualizing to those arty and pretentious enough to pull it off! :) ), but about two-thirds of the way through, there is a wonderful section with pounding piano and blasting horns. As for Ruth Underwood's dizzying marimba performance on "Redunzl", I love it! Them Or Us is pretty much a typical Zappa album: some moments inspired and brilliant ("Marque-Son's Chicken", "Sinister Footwear II"), others moronic and terrible ("Stevie's Spanking", "In France"). Jazz From Hell is an album of wacked-out sampling keyboard music. Perhaps using Milton Babbitt as his muse, Zappa takes the idea of music beyond the limits of human perception, and takes it into the stratosphere. By using computerized keyboards, he is able to create music of such complexity the likes of you'd never believe was possible. The one exception is the beautiful "St. Etienne", a non-electronic number recorded live which is the vehicle for one of Zappa's best guitar solos. And speaking of "live", I must mention You Can't Do That On Stage Anymore Vol. 2--The Helsinki Concert, an outstanding live album featuring some of Zappa's most talented cohorts: Chester Thompson, George Duke, Ruth Underwood. -- Mike Ohman

[See Ant-Bee | Duke, George | Preston, Don | Sugarcane Harris | UK]

No Return (84)

The core of Zaragon joined forces in 1979. By the time of this album, Zaragon were a five-piece of Ralph Hoel (keyboards), Martin Nielsen (vocals), Finn Jansen (guitars, backing vocals), Bjørn Hoel (drums) and Jim Andersen (bass). The original PMP Records LP release of No Return was comprised of five songs, ranging from from the 2:24 minutes of the closing "Exit" to "Thoughts" and "No Return," each about 12 minutes in length. Although Zaragon's symphonic style can compare in general terms to Genesis circa Wind and Wuthering, this Danish band has more similarities to German symphonic bands such as Amenophis and Novalis. The long songs take most of the right turns, electric guitars and sweepng synths soaring to progressively grander heights in true symphonic style. Although Ad Perpetuam Memoriam (the label that reissued the CD) suggest the English vocals are comparable to prime Kansas, I think Nielsen comes no where close to the vocal abilities of Steve Walsh. He does sing with a trace of accent, which doesn't bother me, but doesn't have quite the powerful delivery of Walsh. The bass and drumming are basic and nothing to write home about. The CD release comes with a seven minute bonus track, very similar in style except the synths are digital and the guitar has more "crunch," giving them a neo-proggish sound. Overall, while not uninteresting, Zaragon did nothing special to distingish themselves from the myriad symphonic bands that preceded them. -- Mike Taylor

Zarathustra (71)

Electronic music.

Zartong (79)

Symphonic prog with Middle Eastern influences. -- Mike Ohman

Il Sogno (78), Est (91), Phoenix (92)

Another solid Italian band. Nothing very fantastic, but if you like the genre, you should like this.

The first album Il Sogno is pretty good musically, leaning on Italian folk and rock, with nice instrumentation and female vocals. Real nice stuff. Only problem is I think it was transferred to CD from an LP, there's some pops and clicks to be heard. Haven't heard the two new ones.

I bought Est rather on a whim and regretted it. Very poppy and lightweight. Some of it seems to be live but that doesn't save it. I'd avoid it if I were you. People seem to think the first album was OK.

Narziss (76), Prism and Views (78)

Was in Amon Düül II during their salad years, but at least Prism and Views is said to be more symphonic oriented.

[See Amon Düül II]

Mystery School (91)

Mystery School is an excellent melodic fusion album, featuring Andy West on bass (Dixie Dregs), Joaquin Lievano on guitar, and Steve Kaplan on synthesizers, plus two percussionists. Musically, it's not to edgy, not too jazzy, with lots of power, melody and soloing, and perhaps a slight new-agey feel on some cuts. Don't be frightened away, this is excellent stuff, everything you might expect from this lineup.

Trio led by Joaquin Leviano on guitar. Not too dissimilar to Leviano's solo work or to Jean-Luc Ponty's later works. Fusion bordering on new age, but definitely what I like to hear from this genre when I listen. During a discussion on rec.music.progressive mention was made that Zazen released several earlier works on cassette. I doubt that any are to be found anymore, most certainly not outside of the SF Bay area.

[See Dixie Dregs, The | Lievano, Joaquin]

Zazu (75)

One-shot band who released this monster heavy prog-rock gem on the Wooden Nickel label (Styx's first label) in 1975 to general indifference. Their singer does sound like Styx's Dennis DeYoung but their music is nothing like Styx. heavy prog guitar riffs, wild keys and complex arrangements. The standout track is the incredible 10 minute "Ittsanottasonata, But It's Close" (you get the picture...). If you like your prog with a heavy edge is is a must. -- Juan Joy

Zebra (76)

Prog.

Zepeda is a mexican electronic musician in the space realm, who also uses prehispanic instruments and percussion. Comparable to people like Luis Perez, Jorge Reyes, like that, sort of new agey. Templo Mayor is a double.

Zerfas (73) Beatles-influenced psych-prog. -- Mike Ohman

Peace (77)

Peace is near the top of my list for re-issue of the year. Zingale were an Israeli band who recorded one album (nine tracks) and five singles in the early to mid-seventies. All are contained on this 67 minute disk. The CD is simply breathtaking. Zingale are influenced by the Canterbury scene however it does not begin and end there. Rather that is their launching point. Start with The Rotter's Club and proceed onward. Zingale effectively blend violin, keys, and guitar into their own unique belnd. At times reminding one of Hatfield and yet other times conjuring up some of the best of Yes or the song "Ile de Fievre" by Shylock. The majority of the songs are in English and with a few of their earlier tracks in Hebrew. To me the vocals were perhaps the weakest aspect of the band. They seem to really blend into the music than to stand out. However with Zingale the key really is the music. Not real great at writing reviews but I cannot recommend this strongly enough especially if you enjoy the Canterbury scene or some of the earlier psychedelic prog.

This is the only Israeli prog rock group I know of, and I think it's good. Zingale (pronounced TSINGALEH) means a grass joint in Hebrew (or maybe Arabic), but the band, according to the CD booklet claims that the name is after the word "sing." The band is consisted of 7 (or maybe 8) players, and the play pretty strong stuff which can be compared to Yes or Gentle Giant at their best! They sing in English, the vocals sound a bit like Beatles harmonies, but the vocal melodies sound very much like Yes melodies. They are more violin oriented (which means you won't get too much guitar solos, but rather lots of great Gentle Giant's violin). They've also got a good drummer and a great bass player. Oh, the keyboards are also Gentle Giantish. The music itself varies from many types of prog rock, and I can't really define it. It is a sort of a concept album, all the songs are connected and all that, and one song really links to the next one. The album was released in 1977 in Israel in a very limited edition.

Zingale were the only Israeli progressive band that I know of. The other Israeli bands (Churchills and related) were psychedelic bands. Zingale were a six piece band with strong keyboard and violin presence. The bassist is pretty tasteful but the drumming is not overly complex. Some comparisons could the Canterbury scene (e.g., Caravan circa For Girls Who Grow Plump...) but they have a fairly individual sound which I can only assume is due in part to some Israeli cultural influences. The CD reissue (limited to 750 copies) contains several songs that were issues as singles before the release of the LP. While the LP songs are sung in English the "singles" were sung in their native tongue. Many of the songs are instrumental and flow one into another, though individual songs may run anywhere from 4-7 minutes. While not as good as other Canterbury-influenced bands such as Kultivator, Zingale are certainly a worthwhile band to audition. -- Mike Taylor

Zior (71), Every Inch A Man (73)

Hard rock/heavy psych.

Barricades III (76), Traite de Mecanique Populaire (79)

Initials stand for Zazou 'n' Racaille, (Hector and Josef, respectively); first album described as "electro-acoustic hotchpotch" second as "new, 'distinguished,' delicate music, both serious and disrespectful." Each has other collaborative albums.

Z.O.U. (75)

[See Magma | Zoo]

Zoo (70), I Shall Be Free (71), Hard Times Good Times (72)

[See Clearlight | Delired Cameleon Family | Z.O.U]

Wow. If you're into organized noise, this is for you. Naked City is the one most people talk about. I didn't like the album at all until I saw the concert. Fred Frith, Bill Laswell, Joey Baron, and Wayne Horvitz played on this one. I really like it a lot now. Incredibly tight, and very grating (and what lovely artwork too :-) News for Lulu is another good album.

He collaborated on the two Painkiller albums Buried Secrets and Guts of a Virgin. These are pure monstrous noisefests. Good too.

Ahriman (??)

Soviet France (81), Garista (82), Hessian (82), Nörsch (83), Mohnomische (83), Eostre (84), Popular Soviet Songs and Youth Music (85), Lohland (85), Misfits, Looney Tunes and Squalid Criminals (86), Gesture, Signal, Threat (86), A Flock of Rotations (87), Assault and Mirage (87), Shouting at the Ground (87), Look into Me (88), Just an Illusion (89), Vienna 1990 (90), Shadow, Thief of the Sun (91), Collusion (92), What is Not True (93), In Version (96)

Vaguely along the likes of Current 93 and Nurse With Wound. This English Industrial band, creates soundscapes of the Industrial sort. With weird motors clanking noises and whirring, Zoviet France have mastered the art of music sculpture. Probably too weird for the symphomaniac, but definitely challenging.

A good starter would be the compilation Collusion - a diverse overview of works from 1983 to 1990. Vienna 1990, What is Not True and In Version each consist of hour-long improvisations taken from live performances and represent the band's strong points, in my opinion. -- Alan Haselden.

Weird Can-influenced British band whose albums usually came strangely packaged: Hessian in a burlap bag, Mohnomische in a cover made of Masonite, etc.

I was a bit surprised to discover this band in the GEPR. The music is quite strange, definiteley somthing for the very adventures listener. Very experimental with many instruments, tape-effects and distorted sounds and voices. Sometimes quiet and meditative, somtimes very loud and industriallike. Maybe you could discribe it as a mixture between Throbbing Gristle and Tangerine Dream. I think you should listen to one of these, at least once in your life. -- Achim Breiling

Trip, Flip Out, Meditation (70)

Stoned, underground electronic outfit. Trip, Flip Out, Meditation is a three LP set released on Philips.

1980's symphonic prog. Never released a proper album, but four tracks were included on the Rock Musicians cassette anthology. -- Mike Ohman

Zzebra (74), Panic (75)

Ex-If saxophonist Dave Quincy joined up with keyboardist/flautist/singer Tommy Eyre to form this jazz-rock-prog outfit. Eyre played with Joe Cocker and can be heard on Cocker's cover of the Beatles' "A Little Help From My Friends." Percussionist/saxophonist Loughty Amao came from Osibissa. Musically, Zzebra are similar to If, Isotope, Ian Carr's Nucleus, or Soft Machine. I've only heard Panic which is a solid album with good music but not particularly adventuresome. -- Mike Taylor

This band was formed by Dave Quincy (sax) and Terry Smith (guitar) from If and Loughty Amao (percussion) from Osibisa. You find on both LPs nice Jazzrock in the vein of If or Tempest with some African influence. The first one is a bit stronger because Smith left before the recording of the second one. Good stuff! Both LPs are recommended! -- Achim Breiling

[See If]