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COCKTAILPatrick ForgasJazz Rock/Fusion3.57 | 26 ratings |
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Sean Trane
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Special Collaborator Prog Folk |
Multi-instrumentalist Patrick Forgas developed a strange kind of psychedelic jazz-rock
blending with latter 70's fusion, even more so for the second part of the 70's. While
Forgas wrote and composed all of the music and he played roughly half the instruments
on this album, it does not sound like a dodgy basement record with only him playing on
it. I wouldn't call this album a group effort either, but the playing is tight and does not
allow for indulgence. With a rather bland cartoon-like artwork (the back cover is much
more fun and better fit for an artwork), this album was recorded in the spring and
summer of 77, and released in the fall on the small Gratte-Ciel (sky-scrapper) record
label, but as far as I know, this has never seen a Cd reissue, which is not the case for
other albums of his. If you can imagine later Traffic mixed with some Jean-Luc Ponty,
you might just have good idea of what awaits you on Coktail. The first side of the vinyl is comprised of mostly very short tracks, with two notable exceptions, that brought a very varied atmosphere, generally light, funky and humorous, but none are actually really interesting either, as they seem to be serving as fillers. Only the longer Monks and Rhume De Foin (hay fever), the first with its almost 5 minutes seem to bring more depth, with a great groove underlined a superb bass line, with divine flute, sax and violin interplay. The second (and A-side closer) is a more reflective piece sounding like Traffic around the John Barleycorn Must Die album. The B-side is taken-up by the lengthy (18-min+) My Trip, which actually is a fitting title, because this is one hell of a ride. If the first side was entirely instrumental, this track holds some vocals, which are not very strong though, resembling the usual French symphonic rock singing in the 70's. Again there is some particularly exciting violin playing (Tilleman plays on most of the better tracks of the album) very reminiscent of Ponty's then-contemporary albums, some dynamite sax (here Bruce Grant instead of Debricon on the flipside) While Forgas might have appeared as an original and zany character in life, the music fails to represent this fully. For some reasons, as much as it is loaded with all the trumps, the album is a bit of a miss, but not far from a hit either. Hardly essential but still much worth a spin on your turntable.
Sean Trane |
3/5 |
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