Forgas -

Patrick Forgas (born 1951) is a French multi-instrumentalist and composer who released the popular 1977 jazz-rock album Cocktail on Gratte-Ciel. Starting in 1990, he proliferated with discs under his surname and the Forgas Band Phenomena banner on Musea, Cosmos, and Cuneiform.

Background

Patrick Forgas took up drums as a teenager, inspired by Soft Machine and the metric complexity of their 1969 release Volume Two. In 1975, he cut demos with two members of the Softs-inspired Moving Gelatine Plates: bassist Didier Thibault and keyboardist/saxophonist Dominique Godin. His efforts impressed two Parisian music journalists, Jean-Marc Bailleux and Jean-Marc Patrat, who signed him to their just-launched RCA subsidiary Gratte-Ciel, an outlet for local progressive talent (Etron Fou Le Loublan, Mahjun).

Cocktail

Forgas released his debut album, Cocktail, in 1977 on Gratte-Ciel.

For the sessions, he assembled a team of seasoned fusion players: bassist Gérard Prévost (Zao, Rahmann), keyboardist Jean-Pierre Fouquey (Magma), guitarist Laurent Roubach, saxophonist–flutist François Debricon (Zao), violinists Patrick Lemercier (Eskaton) and Patrick Tilleman (Zao, Terpandre), and saxophonist Bruce Grant (on the side-long suite “My Trip”).

Forgas wrote all ten tracks, which explore a soft-fusion palette steeped in Canterbury and Zeuhl sensibilities. The arrangements balance light, fluid interplay between flute, violin, and electric piano against Forgas’s syncopated drumming and Wyatt-like vocals.

The first nine pieces—most between one and five minutes—form a kaleidoscopic cycle of concise jazz-fusion miniatures. “Automne 69” opens with a brief instrumental overture that introduces the album’s airy tone. “Monks (La Danse des Moines)” combines guitar and violin against a steady rhythmic motif, while “Reflet d’Ail” and “Cœur Violon” emphasize flute and violin lyricism. “Orgueil” injects a brisk funk pulse with angular guitar phrasing, followed by the bright title track, marked by alternating sax and flute leads. “Rhume des Foins” pairs an almost danceable rhythm with overlapping lines for violin, saxophone, and flute. Side B’s “My Trip,” an 18-minute suite, weaves shifting sections of fusion intensity and pastoral passages, held together by Prévost’s dynamic bass work and Forgas’s scat-like vocals.

A1. “Automne 69” (0:50)
A2. “Monks (La Danse des Moines)” (4:20)
A3. “Reflet d’Ail” (1:05)
A4. “Cœur Violon” (1:10)
A5. “Orgueil” (1:35)
A6. “Vol d’Hirondelles” (1:25)
A7. “Cocktail” (3:35)
A8. “Rituel” (1:15)
A9. “Rhume des Foins” (5:30)

B. “My Trip” (18:30)

Sessions occurred at Studio Mannderly in Sainte-Gemme (June–July 1977) and Studio Adam in Roissy-en-Brie (March–April 1977) with Forgas producing and drumming, assisted by engineers Guy Paquier (Side A) and Philippe Beaucamp (Side B). Christian Orsini mastered the album.

Cocktail features artwork by José Ferré, whose colorful, cartoon-like imagery mirrors the album’s playful tone.

Musea reissued Cocktail in 2008 with thirteen bonus tracks, including alternate takes and demos from 1973–76 that expand on Forgas’s early experiments in fusion and vocal jazz.

Singles

In 1982, Patrick Forgas returned with the French CBS single “Miroir tu Triches” (b/w “À Fond la Caisse”).

He surfaced again in 1984 with a second standalone single: “C’est Comme Ça La Vie” (b/w “Sexe Move”).

L’œil!

Forgas released his second album, L’œil!, in 1990 on Musea.

The album continues Patrick Forgas’ fusion of jazz and rock, with a dense, multi-instrumental approach that foregrounds his keyboard work and vocals. He performs most instruments himself, supplemented by Laurent Roubach on electric guitar, Patrick Tilleman on electric violin, Didier Malherbe on electronic wind instrument, and a rotating cast of keyboardists and bassist Philippe Talet for select tracks.

Musically, the album shifts between jazz-based arrangements, rock-inflected passages, and occasional electronic textures. “Secrets du Tzar” and “Jazz à la Tronçonneuse” showcase layered improvisation with violin, guitar, and keys interacting over rhythmically complex foundations. “Machine à Bruits” and “Bouffe Industrielle Comédie” explore percussive textures with angular keyboard lines. “Electro-Short” leans toward a synthetic, late-new-wave sound.

The CD contains two bonus tracks, “My Trip (1975)” and “Ze (Medley) (1978).” Vocals appear intermittently, mostly as atmospheric or melodic accents.

1. “Secrets Du Tzar” (4:37)
2. “Machine A Bruits” (5:12)
3. “Jazz a la Tronçonneuse” (4:55)
4. “Bouffe Industrielle Comedie” (6:08) — features electronic wind instrument by Didier Malherbe
5. “Travlo Bird” (4:57)
6. “Magic Decadence” (5:08)
7. “Paris Circus Band” (4:54) — violin contributions by Patrick Tilleman
8. “Electro-Short” (4:37) — electronic textures with wind-synth and keys
9. “Regard Interieur” (5:23)

10. “My Trip (1975)” (6:28) — bonus track, rearranged for 1990 release
11. “Ze (Medley) (1978)” (9:45) — bonus track with guitar and violin interplay

Sessions for tracks 1–9 occurred at Pierre Ler De Serbie Studio, Paris, with Alain Juliac and Patrick Forgas producing. Track 10 was recorded at Barclay Studio (1975) and track 11 at Aquarium Studio (1978). Mixing and mastering were handled at Pierre Ler De Serbie Studio. The album features cover design by Thierry Moreau.

Art d’echo

Forgas released his third album, Art d’echo, in 1992 on Musea.

The album emphasizes electronic textures and keyboard-driven arrangements while retaining Patrick Forgas’ jazz-rock foundation. He handles the majority of instruments and vocals, supported by a core of reeds, brass, and occasional guitar contributions: Jean-Pierre Thirault (tenor, soprano, alto saxes, clarinet), Jean-Claude Onesta (trombone), François Debricon (flute), Ron Meza (trumpet), Lionel Duran (acoustic guitar), Laurent Roubach (guitar), Jean-Pierre Fouquey (piano, keyboards), Bruce H. Grant (saxophone), Patrick Tilleman (violin), and Gérard Prévost (bass). Forgas composed and arranged all tracks.

The album shifts between electronically infused jazz-rock and moody, free-form passages. Tracks such as “Révolte” and “Fakir” feature layered percussion and angular sax lines, while “Plus Fragile Qu’Une Poubelle” juxtaposes sparse electronic drums with reeds and keyboards. “Bossa Bergolia” integrates acoustic guitar and tenor sax. “Poltergeist” leans on synthesizer textures.

1. “Révolte” (4:28)
2. “1920-1930” (4:36)
3. “Fakir” (4:40)
4. “Plus Fragile Qu’Une Poubelle” (6:06)
5. “Cache Ta Peine” (5:00)
6. “Bossa Bergolia” (4:45)
7. “Métapsychique” (4:04)
8. “Passe À Ton Voisin” (8:26)
9. “Poltergeist” (5:25)

Sessions for tracks 1–8 occurred at Studio Aladin, Studio Adam, and Pereire Studio in 1992, with Patrick Forgas producing and recording. Track 9 was recorded in October 1992, and track 10 was taken from the 1977 album Cocktail, recorded and mixed that year. Patrick Forgas handled mixing for tracks 1–8, Philippe Beaucamp mixed track 10, and Roger Deroeux mixed track 9. Art d’echo features cover artwork by Annie Goudier.

Roue libre

Forgas Band Phenomena released their first disc, Roue libre, in 1997 on Cosmos Music.

The record presents an instrumental jazz-rock foundation with intricate rhythms and layered textures, blending electronic drums with acoustic instrumentation. Patrick Forgas anchors the group on drums and electronics, also composing, arranging, and producing, with Philippe Talet on bass, Mathias Desmier on guitar, Stéphane Jaoui on Fender Rhodes, piano, and synthesizers, Frédéric Schmidely on tenor and soprano saxophones and flute, and Mireille Bauer on vibraphone and marimba.

Forgas wrote all three tracks. The ensemble contributes through multi-instrumental layers, harmonized reed lines, and vibraphone accents, while guitar and keyboard passages support the compositional structure without dominating.

The album opens with “Déclic,” a concise six-minute track establishing tight, propulsive rhythms and interweaving instrumental lines. “Sérum de Vérité” expands into an eighteen-minute exploration, featuring unexpected bursts of guitar and sustained saxophone dialogues, balancing electronic and acoustic textures. The title track, “Roue Libre,” extends over twenty minutes, weaving layered percussion, vibraphone, and synthesizer lines into shifting rhythmic and melodic contours, emphasizing movement without relying on repetition.

A1. “Déclic” [Trigger] (6:14) – Drums and bass establish a bolting, gusty foundation while Fender Rhodes and guitar layer angular, contoured motifs. Vibraphone and saxophone trace streaking, dashing lines, weaving tightly with piano and synth in a smoothly interlocking dialogue.

A2. “Sérum de Vérité” [Serum of Truth] (18:30) – Opens with stormy drum patterns and bolting bass, as guitar and keyboards introduce angular, streaking textures. Saxophone and vibraphone take soaring, layered leads while ensemble motifs shift fluidly, alternating between gusty propulsion and gliding harmonic passages.

A3. “Roue Libre” [Free Wheel] (20:10) – Drums and bass drive a stormy, bolting rhythm while guitar, piano, and synth thread angular, dashing lines across the ensemble. Vibraphone and saxophones soar in layered interjections, with motifs expanding into contoured, gliding textures before converging in a sleek, gusty resolution.

Sessions occurred in March 1997 over less than two weeks. Patrick Forgas produced, arranged, and recorded the album with the ensemble at Cosmos Music facilities.

The CD cover shows a vintage photograph of the Grande Roue de Paris, 315-foot tall Ferris wheel built for the 1900 Paris Exposition and disassembled in 1920. Forgas adopted the “Roue Libre” as a band mascot, using images of the wheel on two subsequent discs.

Discography: