Zao -

Zao was a French Zeuhl ensemble, active during the 1970s and later sporadic intervals.

Between 1973 and 1977, they released five albums on Vertigo, Urus, and RCA, beginning with their debut Z=7L, which featured François “Faton” Cahen on keyboards, Yochk’o Seffer on saxophones, and Mauricia Platon on vocals.

Their second album, Osiris (1974), saw Seffer and Joël Dugrenot sharing vocal duties and expanding the ensemble with guest percussionists and electric violin. Shekina (1975) introduced a female string quartet, Quatuor Margand, alongside the core rhythm section of Cahen, Seffer, and Gérard Prévost on bass.

With Kawana (1976), Didier Lockwood joined on violin, bringing soaring lines to the increasingly jazz-fusion oriented compositions. Their final 1977 release, Typhareth, was led solely by Cahen with contributions from Manu Katché (drums), Gérard Prévost (bass), François Debricon (sax/flute), and Hamid Belhocine (trombone), marking a shift toward classic jazz textures while leaving Zeuhl behind.

Members: François Faton Cahen (piano, keyboards), Yochk’o Seffer (saxophone, clarinet, flute, tarogato, voice, piano, 1972-76, 1986, 1994, 2004-present), Mauricia Platon (vocals, 1972-74), Jean-Yves Rigaud (violin, 1972-74), Joël Dugrenot (bass, vocals, 1972-75), Jean My Truong (drums, 1972-77, 1986, 1994), Gérard Prévost (bass, 1975-77, 2004-present), Didier Lockwood (violin, 1976-77), Manu Katché (drums, 1977), Hamid Belhocine (trombone, 1977), Francois Debricon (saxophone, flute, 1977) Débora Seffer (violin, 1986), Dominique Bertram (bass, 1986, 1994)

Background

Zao was formed in 1971 by two ex-members of Magma: reedist Yochk’o Seffer and keyboardist François Faton Cahen. Both musicians appeared on the first two Magma albums, Kobaïa (1970), 1001 ° centigrades (1971), and the incognito title Uniweria Zekt-The Unnamables (1972).

Seffer, a Hungarian-born French composer and multi-instrumentalist, trained in classical music, studied saxophone with Marcel Mule at the Conservatoire de Paris, and later studied at the Beaux-Arts. Before joining Magma, he played in Eddy Mitchell’s orchestra from 1963 to 1968 and then co-founded the free-jazz group Perception.

Cahen, whose mother was a music professor, began classical piano at age five but dedicated himself to jazz after discovering Thelonious Monk. Cahen practiced jazz as an autodidact, drawing influences from bebop, Miles Davis, and John Coltrane. Cahen and Seffer left Magma at the end of 1972 to found Zao, aiming to pursue a more improvisational, jazz-tinged sound that contrasted with Magma’s fully written compositions.

Zao’s early music acted as an extension of Magma’s first era, blending Zëuhl with hints of jazz, contemporary music, and Seffer’s native Hungarian folk, which they developed before releasing their first album.

Z=7L

Zao released their debut album, Z=7L, in 1973 on Vertigo. The album features Cahen and Seffer heading a six-piece lineup with singer Mauricia Platon, bassist Joël “Dud” Dugrenot, violinist Jean-Yves Rigaud, and drummer Jean-My Truong (from Perception).

Z=7L bridges Magma’s rhythmic tension and spiritual intensity with looser, jazz-oriented interplay. The result blends operatic scat vocals, intricate bass lines, and chamber-style violin passages in a freer, earthier variant of Zeuhl.

The six tracks divide among three composers: Seffer wrote “Marochsek,” “Ronach,” and “La Soupe”; Cahen contributed “Ataturc” and “Atart”; and Dugrenot penned the closer “Satanyia.” Platon delivers her only recorded performance with Zao, using wordless phrasing and operatic projection as an instrumental voice against the shifting time structures.

“Marochsek” opens with subdued piano and bass before Platon’s call of “Zao!” introduces a charged sequence of scat exchanges with saxophone and violin. “Ataturc” flows through jazz-tempered sections with alternating flute, Rhodes, and violin, while “Ronach” foregrounds Platon’s elastic phrasing over broken rhythms and stop–start interplay.

On Side B, “Atart” highlights Truong’s crisp drumming under Seffer’s soprano lines. “La Soupe,” the album’s centerpiece, moves from a stately vocal prelude into syncopated electric jazz, trading solos between sax, violin, and electric guitar before closing on a subdued reprise. Dugrenot’s “Satanyia” shifts between dark, droning bass tones and expansive ensemble climaxes, concluding the album in a swirling crescendo of violin and voice.

A1. “Marochsek” (7:00) — Subdued electric piano and bass open the track, with near-inaudible drumming. Platon’s vocals erupt with a commanding “Zao!” then shift into operatic scat, while soprano sax and violin streak in angular counterpoint. Midway, bass, drums, and violin accelerate into sharp, dissonant turns; electric piano bridges sections and guitar streaks emerge, closing with intertwined vocal and instrumental echoes.

A2. “Ataturc” (6:00) — Piano establishes a light, jazzy pulse, joined by gusty bass and drums. Vocals rise in angular phrases over shifting tempos, while violin glides across the ensemble. The midsection calms into lustrous Rhodes chords and flowing bass lines, punctuated by angular horn motifs, before returning to cascading instrumental and vocal textures for a misty coda.

A3. “Ronach” (5:00) — Stop-start drums and bass create anticipatory tension as Platon’s high-pitched scat leads. Saxophone and violin respond with angular, dashing lines, accented by rhythmic piano. Sections alternate between sharp bursts and lyrical passages, with double-tracked vocals adding contrapuntal depth, closing on driving angular motifs.

B1. “Atart” (3:30) — Drums streak relentlessly over a driving, angular bass pulse. Vocals and soprano sax intertwine in tension, while piano interjects flowing arpeggios. Guitar and clarinet provide contrasting textures, maintaining measured, angular thematic interplay.

B2. “La Soupe” [The Soup] (7:00) — A dramatic operatic intro gives way to layered vocals, piano, and bass forming a dense, whirling texture. Violin dashes and guitar streaks thread through percussion accents. Sections shift between jazzy, folky, and symphonic gestures, with extended scat passages and angular solos, returning to the opening motifs for a climactic close.

B3. “Satanyia” (7:30) — Bass drones and subtle vocal overdubs open, gradually joined by violin and drums. Platon’s deep vocals weave through swirling textures as saxophone and violin soar over a steady rhythm. Midway, cascading piano, stormy drums, and streaking violin build density, closing on drone-inflected motifs with interweaving vocal and instrumental echoes.

Sessions occurred August 20–26, 1973, at Strawberry Studios, also known as Le Château d’Hérouville, with Andy Scott engineering. Zao produced the album collectively. Seffer and Cahen designed the cover, which depicts rusty etchings of their name and band symbol.

Osiris

Zao released their second album, Osiris, in 1974 on Disjuncta.

The album refines Zao’s early Zeuhl framework into a lighter, jazz-oriented direction centered on extended ensemble improvisation. Saxophonist Yochk’o Seffer and keyboardist François “Faton” Cahen retained violinist Jean-Yves Rigaud, bassist Joël Dugrenot, and drummer Jean-My Truong from the debut lineup, adding percussionists Marc Chantereau and Ty Boum. With the departure of singer Mauricia Platon, Seffer and Dugrenot handled the wordless vocal passages—Seffer in the upper register and Dugrenot in the lower—maintaining Zao’s vocal texture without traditional lyrics.

Seffer wrote two numbers, Cahen contributed two, and Dugrenot composed one. The album balances through-composed sections with open improvisation and modal interplay. Seffer’s pieces emphasize cyclical sax themes and rhythmic layering, while Cahen’s compositions feature piano and Fender Rhodes passages that shift between spacious, minor-key atmospheres and brisk jazz-fusion tempos. Dugrenot’s piece adds a melodic, bass-centered focus with chant-like vocals.

“Shardaz” opens with pulsating drums and sax before introducing vocalized exchanges and a violin lead over a driving rhythm. “Isis,” the longest track, moves from a quiet flute-and-percussion opening into a fluid midtempo stretch of sax and electric violin solos, closing with a reprise of its serene opening motif. Side Two begins with “Reinna,” a Zeuhl-influenced number driven by bass and piano under dueling violin and sax lines. “Yog” alternates meditative piano sections and sudden instrumental surges with vocal accents. “La Rhune” closes the set with syncopated bass, violin, and sax interplay over layered percussion.

A1. “Shardaz” (4:51) — Drums and soprano sax open stormily, joined by angular bass and piano. High and low vocals weave wordless Zeuhl lines as electric violin streaks in whirling counterpoint. Sections alternate between dense, gusty passages and gliding lyrical motifs, closing with layered vocal and streaking instrumental lines.

A2. “Isis” (9:35) — Pastoral percussion and flute introduce a hushed, measured pulse, soon joined by piano and bass. Guitar and sax punctuate angular shifts, while violin glides across stormy drumming. Vocalizations interject intermittently, culminating in velvety piano chords and gliding sax figures for a reflective close.

B1. “Reinna” (4:26) — Piano, bass, and drums establish a lustrous foundation as saxophone and electric violin streak in angular lines. Low-register vocals enter briefly, punctuating the ensemble’s counterpoint. Percussion alternates between gusty accents and smooth interludes, closing in a controlled, flowing resolution.

B2. “Yog” (8:08) — Deep vocals and subtle piano set a velvety, reflective texture before saxophone and wordless lines streak through angular, whirling patterns. Midway, the ensemble calms into misty passages, then intensifies with streaking drumming beneath soaring lines. The track closes with gliding textures interwoven with gusty instrumental bursts.

B3. “La Rhune” [The Rhune] (4:10) — Bass, piano, and percussion create a lustrous, steady pulse as saxophone enters with angular dashes. Electric violin streaks propel the ensemble forward, while drums shift between smooth and stormy patterns. Instruments weave counterpoint that gradually resolves into a cohesive, gliding close.

Sessions occurred in September 1974 at Studio Davout in Paris with Yves Chamberland producing and Didier Pitois engineering.

Osiris features cover art by Hervé de Gueltzl, whose abstract geometric design parallels the album’s fusion of structure and freedom.

Released on Richard Pinhas’s Disjuncta label, Osiris sold beyond expectations before the label’s abrupt closure the following year, which left the album out of print until its later reissue by Musea.

The 2004 Musea CD reissue adds “Montréal,” an eleven-minute live recording featuring Cahen and Seffer with members of Robert Charlebois’ touring band, notable for its dense rhythm section and extended sax improvisations.

6. “Montréal” (11:44) — Live recording opens with layered percussion, bass, and drums establishing a gusty, stormy pulse. Guest female vocals glide over streaking sax and whirling electric violin, while piano motifs interact angularly with the ensemble. Alternating bolting and velvety sections build toward climactic interplay, resolving into sustained, lustrous motifs.

Shekina

Zao released their third album, Shekina, in 1975 on RCA Victor.

The album expands the group’s Zeuhl-derived framework into a refined fusion of chamber instrumentation and electric jazz. Seffer and Cahen retained drummer Jean-My Truong and added bassist Gérard Prévost (ex-Clearlight) and percussionist Pierre Guignon (“Ty Boum”), who brought additional rhythmic color. To enhance the new orchestral emphasis, they recruited the all-female Quatuor Margand—violinists Michèle Margand and Marie-Françoise Viaud, violist Françoise Douchet, and cellist Claudine Lassere—whose presence made Shekina the group’s most texturally layered recording.

Shekina combines modal jazz phrasing and spiritual Zeuhl cadences with chamber-style harmonic development. Seffer composed four of the album’s six pieces, while Cahen wrote two, including the opener “Joyl.” The new lineup’s approach balances rhythmic drive with extended tonal exploration, marking a shift away from Zao’s earlier vocal-bass counterpoint toward instrumental sophistication.

“Joyl” opens the set with an up-tempo electric sequence led by Cahen’s Fender Rhodes and Prévost’s fluid bass, punctuated by Seffer’s sharp-toned sax and accents from the string quartet. “Yen-Lang” contrasts this momentum with a slow-developing, atmospheric structure where clarinet and strings rise through ambient percussion and vocal textures. “Zohar” features dynamic interplay between Seffer’s sax and Truong’s intricate drumming, breaking mid-piece into a tense string interlude before reuniting the full ensemble in a driving finale. “Metatron” restores Zeuhl intensity through overlapping vocal lines and rapid instrumental exchanges. Cahen’s “Zita” serves as a reflective chamber interlude with piano, bass, and wordless soprano voice, while Seffer’s closing “Bakus” recalls the band’s early energy in a brisk, angular finale.

A1. “Joyl” (3:52) — Cahen. Opens with bolting drums and bass, as Fender Rhodes and piano provide angular textures. Saxophone and percussion trade streaking lines, while strings and vibraphone layer lustrous, soaring colors over the ensemble.

A2. “Yen-Lang” (8:07) — Written by Yochk’o Jeff Seffer. Clarinet and ethnic flutes introduce a misty, slow-building landscape, gradually establishing a meditative, almost ritualistic mood. Percussion and bass provide a subtle, gusty pulse that anchors the ensemble while piano and synthesizer layer angular, gliding motifs atop the harmonic framework. Strings emerge gradually, weaving smooth, glistening counterpoints that interact with the saxophone and winds, creating a spacious, chamber-rock atmosphere that oscillates between delicate intricacy and expansive, atmospheric tension.

A3. “Zohar” (10:54) — Written by Yochk’o Jeff Seffer. Drums and bass drive stormy, bolting rhythms that propel the ensemble into a rapid, energetic start, while saxophone and piano cut streaking, dashing lines that interlock across the harmonic field. The string quartet enters with smooth, contoured textures, alternating with bursts of percussion and shimmering synth, layering tension and release as the composition unfolds. Motifs twist and shift through angular, soaring passages, building toward climactic exchanges where instruments converge and diverge in tightly woven, multicolored patterns, culminating in a finale of layered, angular instrumental interplay.

B1. “Metatron” (8:15) — Written by Yochk’o Jeff Seffer. Opens with Zeuhlish vocal lines and sharp, piercing saxophone, layered over gusty, driving bass and drum patterns that establish both momentum and tension. The ensemble moves through stormy, fast-paced sections into stretches of gliding, sleek motifs, allowing piano, saxophone, and percussion to streak and weave across contoured harmonic layers. Voices and instruments interact in dashing, interlocking motifs, producing a dynamic, ever-shifting sonic architecture where angular phrasing and sudden rhythmic turns propel the composition through multiple contrasting textures before resolving into a dense, harmonious convergence.

B2. “Zita” (4:34) — Cahen. Chamber strings establish a smooth, lustrous base while electric piano and bass trace angular, gliding motifs. Sparse vocal lines and clarinet interjections create an aerial, contemplative dialogue across the ensemble.

B3. “Bakus” (5:12) — Seffer. Drums and bass maintain bolting, stormy rhythms as piano and synth execute angular, streaking lines. Saxophone and percussion soar in dashing bursts while ensemble passages twist between gusty propulsion and sleek, interwoven textures.

Sessions occurred in July 1975 at Studio I.P. in Paris with production by François Cahen, Pascal Legros, and Yochk’o Jeff Seffer (as L.C.S.), and engineering by Andy Scot.

Shekina features cover artwork by Seffer, depicting a clay formation of the band name and symbol. The album’s biblical title references the divine presence in Kabbalistic tradition.

RCA Victor issued “Bakus” (b/w “Joyl”) as the album’s single.

Kawana

Zao released their fourth album, Kawana, in 1976 on RCA Victor.

The album features a quintet lineup with Seffer, Cahen, bassist Gérard Prévost, drummer Jean-My Truong, and violinist Didier Lockwood, whose presence imparts the jazz-rock style of Jean-Luc Ponty.

Cahen composed three of the album’s six numbers (“Natura,” “Kabal,” “Sadie”) and co-produced the sessions with RCA’s Jean-Louis Philibert. Seffer wrote the remaining three (“Tserouf,” “F.F.F.,” “Free-Folk”), which emphasize extended modal structures and layered ensemble voicings. The album marks Lockwood’s recorded debut with Zao and stands as Seffer’s last appearance before pursuing a solo path.

The opening “Natura” evolves from tense, minor-key piano figures into a lighter midsection that lifts the ensemble toward a bright, open cadence. “Tserouf” introduces a syncopated fusion pattern where violin and soprano sax trade phrases over brisk Fender bass runs and shifting electric piano harmonies. “F.F.F. (Fleurs for Faton)” serves as a short, chamber-style interlude for piano, acoustic violin, and bowed bass. On side two, “Kabal” balances rapid ensemble passages with synthesized accents and unison horn–violin leads. “Sadie” provides a lyrical contrast with subdued tempos and reflective violin lines. The closing “Free-Folk” begins with choral vocalizations before expanding into a ten-minute sequence that alternates jazz-fusion interplay, rhythmic acceleration, and a layered finale recalling early Zeuhl dynamics.

A1. “Natura” (7:03) — Cascading piano and cymbals establish a lustrous, measured pulse as Fender bass and soprano sax streak in angular lines. Violin glides, weaving counterpoints with piano while drums maintain a stormy undercurrent. Saxophone and bass exchange dashing motifs before the closing Zeuhl-inflected cadences.

A2. “Tserouf” (9:55) — Syncopated drums and bass create a dashing foundation for angular violin and soprano sax lines. Streaking, whirling textures emerge as synthesizer and piano expand the harmonic field. Trading solos between sax and violin build into a gliding, structured resolution.

A3. “F.F.F. (Fleurs For Faton)” [Flowers for Faton] (2:28) — A chamber étude for piano, violin, and double bass, unfolding in velvety, measured textures. Angular piano motifs interlock with subtle violin glides over soft bass harmonics, producing a sleek, contemplative passage.

B1. “Kabal” (4:10) — Saxophone and drums launch a bolting, fast-paced opening into angular, whirling ensemble textures. Midsection shifts to smooth, mid-paced motifs as piano and synthesizer streak across the soundscape. Layered interactions culminate in a structured, gliding conclusion.

B2. “Sadie” (3:40) — Mellow soprano sax and understated drums establish a serene, measured pulse. Electric violin and bass weave angular, streaking motifs over a lustrous piano foundation, layering whirling textures before a smooth, misty close.

B3. “Free-Folk” (9:58) — Ethereal piano and vocal-like textures give way to stormy drumming and streaking sax and violin. Bass and drums intensify gusty passages, while violin and sax execute sleek, angular solos. Zeuhl-inspired accelerations and vocal lines culminate in a luminous, soaring finale.

Sessions occurred in September 1976 at Studio Adam in Roissy-en-Brie with Philippe Beaucamp engineering and production coordination by Jean-Louis Philibert.

Kawana features photography by Michel Adda and liner notes by Cahen. The title, drawn from Hebrew, translates to “pure intention.”

CD Bonus Track: “Salut Robert!” (12:55) — Live recording opens with percussion and bass forming a stormy, gusty foundation. Sax streaks and piano/violin weave gliding, velvety counterpoints. Layered percussion and intermittent vocals punctuate dashing textures, building to a jubilant, stormy interplay that resolves in angular, streaking cadences.

Issued with an insert, the album became Zao’s most recognized release for its balance of complex ensemble writing and accessible electric textures. Lockwood and Truong departed afterward to form Surya, while Yochk’o Seffer began his solo career, concluding Zao’s first phase.

Typhareth

Zao released their fifth album, Typhareth, in 1977 on RCA Victor.

The album presents a refined Jazz-Rock style with classic fusion elements, marking a departure from Zao’s earlier Zeuhl-influenced sound. François “Faton” Cahen handles all compositions and arrangements, supported by bassist Gérard Prévost, drummer Manu Katché, percussionist Michel Seguin, trombonist Hamid Belhocine, and saxophonist/flutist François Debricon.

Cahen wrote and arranged all five tracks. The album emphasizes instrumental interplay with precise, layered textures, moving fluidly between extended, contemplative passages and rhythmic, horn-driven segments.

“Merci Jacky” opens with percussion and keys, introducing flanged bass and rising horns over shifting tempos. “Typhareth (‘Beauté’)” unfolds with spacious, slow-building drums, bass, and keys, accented by flute, saxophone, and trombone. “Troupeau de Bisons Sous un Crâne” layers percussion, clapping, and horns into an upbeat, playful texture. “Binah (‘Compréhension Féminine’)” relies on piano and flute to create a delicate, airy mood, with saxophone punctuating the midsection. “Les Temps Changent” opens with ambient party sounds before settling into interlocking piano, bass, drums, and saxophone lines, combining light funkiness with rhythmic interplay.

A1. “Merci Jacky” (7:10) — Percussion and keys open over flanged bass patterns, with saxophone and guitar weaving streaking lines. Trombone and ensemble motifs enter midway, shifting from measured pulses to bolting, layered interplay before closing in a lustrous, flowing coda.

A2. “Typhareth” [“Beauty”] (12:30) — The track unfolds with atmospheric drums, keys, and bass establishing a smooth, gliding foundation. Flute, sax, and trombone enter, interweaving angular lines over velvety piano and streaking bass, building gradually into a layered, misty texture.

B1. “Troupeau De Bisons Sous Un Crâne” [“Herd of Bison Under a Skull”] (8:20) — Clapping and percussion introduce a lively pulse, joined by bass, drums, and horns in dashing patterns. Electric piano and ensemble motifs streak through the texture, producing playful, whirling energy.

B2. “Binah” [“Feminine Comprehension”] (6:33) — Piano and flute establish a smooth, lustrous atmosphere, joined by saxophone in angular lines after three minutes. Ensemble interplay alternates between measured, velvety sections and streaking instrumental flourishes.

B3. “Les Temps Changent” [“Times Change”] (3:27) — Party-like percussion and keys open before saxophone enters with angular, streaking motifs. Piano and bass weave through gusty rhythmic shifts, while drums accentuate dashing, layered passages toward a smooth conclusion.

Sessions occurred at Studio Mannderly in August and September 1977, with Cahen producing, Guy Paquier recording, and Zoltán Fekete mixing.

Typhareth features photography by Gedge Ruffin and sleeve design by Studio de L’Air.

The album highlights Zao’s move from Zeuhl to jazz-fusion, emphasizing meticulous ensemble execution, varied textures, and subtle rhythmic contrasts.

Live!

In 2004, Musea issued Live, a document of Zao’s December 5th, 1976, show at L’Ouest de la Grosne in Bresse Sur Grosne.

The performance captures Zao delivering high-energy interpretations of material from their first four studio albums, with particular emphasis on dynamic violin and percussion work. François Cahen anchors the set on piano and synthesizers, Didier Lockwood contributes violin, Gérard Prevost holds bass duties, and Jean-My Truong drives the rhythm on drums and percussion.

Cahen composed the material, with contributions from other band members on select tracks. The set includes live versions of previously released studio pieces alongside a few improvisational sequences unique to this performance.

Tracks such as “Isis” take on greater intensity compared with their studio versions, with Lockwood’s violin and Truong’s drumming providing sharp, contoured passages. “Shardaz” and “Tserouf” showcase the band’s tight interplay, while extended improvisation on “Improcol” highlights rhythmic complexity and melodic experimentation. The ensemble alternates between intricate compositional passages and freer, energetic sections that push the music beyond the confines of the studio recordings.

A1. “Shardaz” (9:41) — from Osiris
A2. “Isis” (8:07) — from Osiris
A3. “Tserouf” (6:36) — from Kawana
A4. “Sadie” (5:17) — from Kawana
B1. “Zohar” (9:46) — from Shekina
B2. “Improcol” (19:28) — unique to this set
B3. “Jumelles” (6:39) — unique to this set
B4. “Kabal” (4:57) — from Kawana

Sessions were recorded live on December 5th, 1976, at L’Ouest de la Grosne, capturing the raw energy of the band in performance.

The audio quality is limited, with occasional dropouts and rough fidelity, particularly on “Improcol,” but the recording preserves the intensity and interaction of the ensemble.

Discography: