EX VITAE — Mandarine (review)

Album · 1978 · Fusion

4.5/5 · 2024-10-11
FunkFreak75

A seven-piece ensemble of very skilled jazz musicians that came together in Limoges, France to create some very intricate, creative, and complex jazz-rock fusion. The sad thing is that they only came together this one time: for this album. Amazingly, this album was self-released--released without the support of a record label!--back in 1978!

1. Vive-Versa (6:15) the opening of this album opener lets the listener know straight off the bat that this band likes to explore sophisticated chord progressions through clear multi-instrumental weaves. I can hear a lot of what will become of the Maurin brother's NIL and THORK projects in this music despite its obvious jazz leanings. Dirty saxophone is given the lead throughout the second and third minutes yet the instrument is not really soloing so much as leading one domineering melody over the top of the complex weave or arpeggiated chords that the rest of the band is expressing through beneath. The band definitely uses some interesting and unexpected chord progressions, yet perform it all with such skill. The weaves are beautifully woven! I just wish the final 90 seconds had been a little more pleasant melodically. (9/10)

2. Saxophonie (15:25) very engaging despite its complexity, speed, and uniquity. The beautiful chord progression the band settles into during the second and third minutes has an immediate heart-wrenching effect on me due to it being the exact same as the foundational chords of LENNY WHITE's "Prince of the Sea." Also, the use of all percussive instruments (piano, drums, bass, vibraphone) to present the music over the course of the first four minutes is quite engaging. Then the music kicks into a full funky fast paced jazz-rock motif in which electric bass, drums, Fender Rhodes, jazz guitar, and sax do a great job of playing some HERBIE HANCOCK-like music. But then everything switches at the six-minute mark--picking up some more mathematical and folk-infused styles in order to express its true allegiance to the historically more-complex jazz styles of the past (as the French love). Violin enters as an electric guitar goes all under-water bubbly with its fast-played descending bass string arpeggios all set within the rich chords of René-Marc Bini's Fender Rhodes. This second half stuff continues to develop closer to being avant garde jazz than jazz-rock fusion--especially in the wild 14th minute--though they do continue to use all of the rock instrumentation of the first, more-melodic half. Definitely a very impressive, very creative song. And, despite its title, I found myself rarely listening to Jean-Loup Marlaud's saxophone play: there was just too much else going on that was far more interesting! (28/30)

3. Gavarnie (10:28) this song opens with some discordant descending chord progressions performed with mathematical skill that sounds very similar to the music created by Quebecois band CONVENTUM until it goes off on an almost Minimalist direction with bass and saxophone presenting some lead/soloing over the top. At 2:30 the music takes a turn, smoothing out a bit though continuing to explore minor and perhaps even chromatic scales and chord combinations (especially with the bass). Two guitars weave their arpeggiated chords within each other with great effect due to the slightly off-center harmonic values of their chords. Bass chords, lite cymbal play, aggressive sax, and electric guitar take turns soloing over the top--even at times, over one another--until the band succumbs to a slow fade starting around the six-minute mark. Left with distant arpeggiated electric guitar chords we are then treated to a show of fairly random percussion play of some metal objects like chimes and cowbells until the eight-minute mark when the rest of the band (bass, jazz drums, Fender Rhodes, sax) rejoin the still arpeggiating electric guitar to create a gentle, almost tender weave that could guide an infant to sleep. Very pretty! Another very, very interesting song that is, unfortunately, weakened by its obtuse chord choices as well as by the overly-simplistic metal percussion play in the sixth and seventh minutes. (17.5/20)

4. Mandarine (9:42) opening with some complex high-speed interplay between Marc Bini's piano and Jaen-Michel Philippe's steel-string acoustic guitar, the song then switches completely into a gentle, willowy duet of René-Marc Bini's vibraphone and Jean-Loup Marlaud's classical-sounding flute until 1:45 when wordless vocalese, vibes, and electric bass mirror each other in a four-note arpeggio for about 30 seconds. Then the band develops another smooth almost-Genesis-like passage that is founded in arpeggiated chords from electric piano and acoustic guitar. This reminds me of CONVENTUM. The music then continues morphing, now into an electric guitar version of the previous motif with flute and violin taking turns soloing over the top. The fifth minute is quite pleasant with the rich, warm play of the Fender Rhodes dominating, but then the band fly off into about five different directions with each instrumentalist soloing with little connection to one another for about 20 seconds but then they come back into the fold of the rich, warm Fender Rhodes, drums and intuitive bass helping to hold down the funky groove while flute, violin, and the two guitarists (acoustic and electric) take turns sharing the spotlight up front. The song then returns to a gentle repetition of a five chord progression with some solo embellishment to its end fadeout. An odd song that is very entertaining and engaging despite its frequent shifting and morphing. Rated up for creativity and sophistication. (18/20)

Total Time 41:50

A very interesting and respectable collection of highly-creative compositions performed with quite a little love and attentiveness. The songs only lack, at times, the melodic hooks that pleasure-oriented Western minds ofttimes seek (a pattern of choice that the French seem almost predisposed to). This album is also quite favorable due to its adherence to hard-line jazz structures and styles and not veering too far into the Smooth Jazz domain that is taking over J-R Fusion.

A-/five stars; a minor masterpiece of finely crafted and disciplined jazz-rock fusion that would be of great interest to any prog lover who loves complex, sophisticated instrumental performance.