Author: Peter Podbrežnik
Artist: Gong
Label: Virgin Records
Release: 1978
Length: 37:17
Rating: 5/5
“Expresso II” was a continuation, stylistically, of its flawless predecessor “Gazeuse!”, which the name itself neatly illustrates (“Gazeuse!” actually came out in North America under the name “Expresso”). Here Gong once again showed off their distinctive, melodic approach to a harmonious fusion of jazz and progressive rock, built on the strong backbone of a wild variety of percussion. The jazz-rock fusion incarnation of Gong, led by the legendary French drummer Pierre Moerlen (sadly no longer with us), shared a past with the original psychedelic space-rock Gong led by the streetwise intergalactic guru Daevid Allen, but from the album “Shamal” (1975) onward it pursued a completely different musical vision, which really took off after the departure of cult guitarist Steve Hillage and the arrival of his no less brilliant replacement Allan Holdsworth (ex-Nuclues, Tempest, Soft Machine, UK).
“Expresso II” was the last album of Moerlen’s version of Gong before they renamed themselves Pierre Moerlen’s Gong, to avoid any confusion that might arise when Allen’s Gong resurfaced (they were slowly starting to wake up from their post-psychedelic trauma by then). Thanks to bands like Weather Report, Brecker Brothers, Brand X, Colosseum II and, in the end, even jazz-pop-rock champions Steely Dan, jazz-rock fusion was at the peak of its popularity toward the end of the seventies, so it was the perfect time for Moerlen and company to win over a somewhat wider audience with their take on melodic yet rhythmically highly complex fusion. To that end, Pierre, his younger brother Benoit and Pierre’s former flame Mireille Bauer, who together formed an unusually fiery and diverse rhythm section that, besides drums, usually took in every beloved percussion toy going, joined forces with musicians like the aforementioned Holdsworth, who played most of the guitar solos, the legendary violinist Darryl Way (Curved Air, Darryl Way’s Wolf) and Mick Taylor, the former John Mayall’s Bluesbreakers and Rolling Stones guitarist, who contributed riffs to the opening track “Heavy Tune”, probably the most recognizable song on the album.
That one makes for as energetic an opener as you could ask for, and it immediately serves up the best qualities of Moerlen’s Gong. Hansford Rowe’s groovy bass line is soaked in Taylor’s hard-rocking riffs, while Holdsworth throws in some seriously daring solos along the way. The rainbow-colored percussion section, mostly through the vibraphone, keeps up just the right amount of melody and refinement, tying together the breathtaking solos from this master of jazz-fusion guitar. Allan is one of those rare, versatile guitarists who were full of fresh ideas at every turn and could pull an inventive guitar motif out of their sleeve like it was nothing. Taylor’s ruffled-up riffing pushes the atmosphere of the piece almost into hard-rock waters, so you could practically talk about an utterly juicy fusion of jazz, ethno and heavy metal here. The “Fusion FM radio” feature in the popular video game “Grand Theft Auto IV” also did a nice job of giving this evergreen masterpiece some much-needed renewed exposure after more than thirty years.
“Golden Dilemma” is another highly complex but excellent track, played at a blistering tempo with some almost supersonic drum fills. In the hands of some other band, all of this could easily have devolved into dissonant chaos, but Moerlen and company, despite a string of unexpected solo moments, manage to keep a hypnotic melodic quality and a pleasant atmosphere throughout. This time Holdsworth is replaced on guitar by American guitarist Bon Lozaga (who later cut his teeth in Gongzilla too), who wins you over with some more than praiseworthy solos. On “Sleepy” too, the main attraction is Allan’s opening guitar solo, while Darryl Way steers the piece into almost neo-classical waters with mighty violin passages. Rowe’s short solo spot adds another highlight, with some almost cheekily groovy bass lines that sound like the call of an irritated bird. The layered bed of percussion, especially Mireille’s work on marimba and vibraphone, once again keeps the refined atmosphere going nicely. “Soli” conjures up a first-rate romantic mood that easily carries the listener in spirit off toward the vast African savannas in the middle of a golden-red morning dawn. The sly use of glockenspiel, which effortlessly ties together Holdsworth’s inventive guitar phrases and solos, deserves most of the credit for that.
Despite its title, “Boring” is anything but a dull track. This time the percussion brings some eastern, oriental charm, which is smoothly interrupted every now and then by Way’s neo-classical violin passages, rooted of course in the European musical heritage. This first-rate fusion of “two worlds” makes for an unforgettable atmosphere, while the exceptional chemistry between the rhythm section and the bassist and violinist is palpable the whole time, the two of them practically competing over who can come up with the wittier solo. The closing masterpiece “Three Blind Mice” delivers a spirited dance of glockenspiel, xylophone, tubular bells, timpani and vibraphone, while Holdsworth works his own particular guitar “magic”. The mood of the piece fits the title well, as it’s slightly comical and really does evoke three blind mice running, bumping and stumbling about, which is far from meaning rhythmic chaos, since the rhythm section under Pierre’s leadership once again does its job superbly, like a true percussion orchestra.
“Expresso II” is another jazz-rock fusion treat from Moerlen’s Gong, and fans of inventive, witty takes on blending jazz and progressive rock can still enjoy it today. The album pleasantly surprises with a few unexpectedly rocking moments, which isn’t much of a surprise, really, since Holdsworth, even though jazz was always his first love, was always a genre-open guitarist. Pierre always knew how to draw in the right, usually already established, high-profile musicians, most of whom he worked with throughout his whole career, and that usually paid off richly for him. Still, sadly, the achievements of his version of Gong are all too often forgotten when people name the best jazz-rock fusion bands of all time.
Lineup
Pierre Moerlen – drums, glockenspiel, xylophone, tubular bells, timpani, vibraphone
Hansford Rowe – bass guitar, rhythm guitar (2)
Mireille Bauer – marimba, vibraphone
Benǫt Moerlen Рglockenspiel, vibes, xylophone, tubular bells, claves
Fran̤ois Causse Рcongas
GUEST MUSICIANS:
Allan Holdsworth – guitar (1,3,4,6)
Mick Taylor – guitar (1)
Darryl Way – violin (3,5)
Bon Lozaga – guitar (2,3)
Production
Pierre Moerlen
Tracklist
1. Heavy Tune
2. Golden Dilemma
3. Sleepy
4. Soli
5. Boring
6. Three Blind Mice
