Expresso II
Expresso II is a jazz fusion album by the British progressive rock band Gong, released in February 1978 on Virgin Records.[1] It marks the eighth studio album credited to Gong overall and serves as the de facto second release by the Pierre Moerlen-led lineup, following the departure of original frontman Daevid Allen.[2] Recorded in London at Pye and Matrix studios with a core ensemble including Moerlen on drums and multiple percussion, Mireille Bauer on marimba and percussion, and guest contributions from saxophonist Didier Malherbe, the album blends intricate jazz-rock grooves with Canterbury scene influences and dynamic interplay between saxophone and guitar.[3] The record is widely regarded as a pinnacle of the Moerlen era, showcasing sophisticated compositions that emphasize technical prowess, improvisational elements, and a smooth melodic edge, with tracks like "Expresso" and "Percolations" highlighting the band's evolving fusion sound.[4] Originally issued as a vinyl LP with six tracks, it received positive critical acclaim for its compositional creativity and received reissues in later years, including CD formats that preserved its instrumental focus and production by the band and engineer John Wood.[5][1] Expresso II solidified Gong's transition toward a more jazz-oriented identity, influencing subsequent works in the genre while maintaining the band's reputation for experimental and rhythmic innovation.[6]Background
Shift to Pierre Moerlen's leadership
Following the release of Gong's 1974 album You, which concluded the band's "flying teapot" trilogy, founder Daevid Allen departed in April 1975 along with key members such as Steve Hillage and Tim Blake, effectively ending the group's psychedelic space-rock phase.[7] This exodus in 1975 left the remaining lineup, including drummer Pierre Moerlen, to reorganize under Virgin Records' guidance.[8] Moerlen, who had joined Gong in 1973, assumed leadership responsibilities starting with the 1976 album Shamal, where he contributed significantly as a composer and multi-instrumentalist beyond his drumming duties.[9] His formal training in classical percussion at the Strasbourg Conservatoire from 1967 to 1971, under instructor Jean Batigne, informed this evolution, emphasizing precise technique and an affinity for tuned instruments like the vibraphone, which he incorporated into the band's sound.[9] Under Moerlen's direction, Gong transitioned from vocal-driven, whimsical space-rock to an instrumental jazz fusion style, prioritizing complex rhythms and percussion interplay over cosmic narratives.[7] To support this percussion-centric approach, Moerlen recruited fellow percussionist Mireille Bauer, his then-girlfriend and a conservatory classmate, in September 1975, forming a robust rhythm section for Shamal; his younger brother Benoît Moerlen, a vibraphone specialist who had also studied at the Strasbourg Conservatoire, joined in July 1976.[8][10][11] The 1976 album Gazeuse!, released under Moerlen's stewardship, bridged this stylistic shift commercially, achieving moderate success and solidifying the band's new fusion trajectory leading into Expresso II.[12]Pre-album developments
Following the release of Gazeuse!—titled Expresso in North America—in late 1976, which marked a key album under Pierre Moerlen's leadership, the band solidified its shift toward an instrumental jazz-rock fusion sound characterized by intricate percussion and melodic complexity.[13][14] This album featured contributions from saxophonist Didier Malherbe, a longstanding member who continued to participate, including as a guest on Expresso II.[15] In the ensuing months of late 1976 and into 1977, the band undertook extensive touring across Europe, including dates in the UK, France, and Ireland in October and November 1976 to promote Gazeuse!, followed by further performances throughout 1977 that allowed the ensemble to refine its fusion style and test emerging material.[11][16] These live outings, often featuring a core quintet with rotating guests like guitarist Darryl Way, helped solidify the group's percussive jazz-rock identity amid ongoing lineup adjustments, such as the departure of violinist Jorge Pinchevsky in 1976.[16][11] Under Moerlen's direction, the band maintained its contractual obligations with Virgin Records, positioning Expresso II as the second album in this new instrumental phase before transitioning to Arista in 1979; this agreement was reaffirmed during a high-profile reunion concert in Paris on May 28, 1977, featuring various Gong lineups.[16][3]Recording and production
Studio sessions
The recording sessions for Expresso II took place over July and August 1977 at Pye Studios and Matrix Studios, both located in London.[3][2] These intensive sessions highlighted the cohesive interplay among the core band members—Pierre Moerlen on drums and mallet percussion, Benoît Moerlen on vibraphone and marimba, Mireille Bauer on percussion, and Hansford Rowe on bass—allowing for dynamic live takes that captured the album's jazz-rock fusion essence.[3][17] Mixing occurred at Britannia Row Studios in London, where guest contributions from musicians such as saxophonist and flutist Didier Malherbe, guitarists Allan Holdsworth and Mick Taylor, along with violinist Darryl Way, were integrated through targeted overdubs to complement the rhythm section's foundation.[17][3][1]Technical aspects
The album Expresso II was produced by the band Pierre Moerlen's Gong in collaboration with engineer John Wood, who also served as co-producer.[18][19] Executive oversight was provided by Graham Lawson.[19] Recording took place over July and August 1977 at Pye Studios and Matrix Studios in London, with mixing handled at Britannia Row Studios and mastering at Trident Studios.[3][19] A key technical focus was the recording of the band's extensive percussion ensemble, which included vibraphone, marimba, xylophone, glockenspiel, timpani, tubular bells, congas, and claves, performed by Pierre Moerlen, Benoit Moerlen, Mireille Bauer, and Francois Causse.[18] To capture the nuanced tones of these acoustic instruments, the production emphasized clean, direct microphone techniques that preserved their natural resonance and timbral clarity without heavy processing.[3] This approach highlighted the vibraphone and marimba as central melodic and rhythmic elements, allowing their warm, sustained decays to integrate seamlessly with the jazz-rock arrangements. Complex polyrhythms, a hallmark of the band's fusion style, were achieved through multi-tracking of percussion layers, enabling intricate overlays of mallet instruments and drums that created dense yet precise textures.[3] Effects were kept minimal to maintain the authenticity of the live jazz feel, with John Wood's engineering—known from his work on folk and rock sessions—adapted here to prioritize transparency in the instrumental interplay.[19][20] The final mix, overseen by Wood and assistant Nick Bradford, emphasized broad dynamic range to evoke the improvisational energy of jazz fusion, ensuring that subtle percussive details and guitar solos (from Allan Holdsworth, Bon Lozaga, and Mick Taylor) retained impact.[21] Mastering at Trident Studios optimized the sound for vinyl playback, imparting a characteristic warmth that complemented the album's organic percussion-driven sound.[19]Musical style and composition
Jazz fusion elements
Expresso II exemplifies instrumental jazz-rock fusion, seamlessly blending progressive rock structures with the intricate, whimsical sensibilities of the Canterbury scene, as exemplified by Gong's earlier works but refined under Pierre Moerlen's direction.[2] This evolution marked a deliberate shift toward fusion under Moerlen's leadership, prioritizing rhythmic complexity over the band's prior psychedelic explorations.[3] A hallmark of the album is its heavy reliance on a percussion ensemble, featuring Pierre Moerlen, Benoît Moerlen, Mireille Bauer, and François Causse, who craft dense polyrhythmic foundations through mallet instruments like vibraphone and marimba, congas, and layered drumming. This approach creates a whirlwind of high- and low-pitched rhythms, diverging sharply from the looser, more atmospheric psychedelic elements of earlier Gong eras.[3][2] The guitar work, contributed by Allan Holdsworth and guest Mick Taylor, emphasizes fluid, legato solos drawn from jazz standards, eschewing the heavy rock distortion of prior Gong recordings in favor of melodic interplay with bass.[2][3] The album's complete absence of vocals and synthesizers further accentuates organic acoustic textures, evoking intimacy through unamplified mallets, violin, and restrained electric elements that prioritize ensemble cohesion over electronic embellishment.[3]Track analyses
"Heavy Tune" opens the album with a driving percussion foundation, featuring a basic bass and drum rhythm that gradually builds intensity through the integration of additional instruments, leading to an explosive outro, while Allan Holdsworth's eccentric and passionate guitar solos provide soaring leads that establish an energetic jazz fusion groove.[22][3] The track blends hard rock guitar edges from guest Mick Taylor with strident jazz-funk elements, creating a groove-inflected progressive rock environment that highlights the band's percussive prowess.[3] "Golden Dilemma" is a mid-tempo, bass-driven composition where Hansford Rowe's roaming bass lines intertwine with rhythmic guitar interplay from the ensemble, emphasizing tight synchronization among the players.[3] The piece is controlled by carefully orchestrated percussion and tubular bell performances, contributing to a furious-paced percussive barrage that underscores the track's funky rhythm guitar licks and overall cohesive fusion dynamics.[22][3] "Sleepy" begins with an atmospheric marimba introduction that evokes a dreamy texture, evolving into layered percussion elements enhanced by Darryl Way's violin swells for a mystical, dream-like quality.[3] The violin's isolated part provides a brief, effective rhythm before the main rhythm section returns triumphantly, with vibes and marimba creating a magical, hazy atmosphere that belies the track's title.[22][3] "Soli," the album's longest track, serves as an extended guitar showcase, with improvisational solos from Holdsworth over a steady pulse driven by roaming bass runs and Latin conga rhythms, emphasizing the musicians' technical prowess in a jazz fusion context.[22][3] It adapts a progressive rock structure similar to the opener, starting with foundational bass and drums before incorporating more layers, though elements like tympani and xylophone occasionally feel somewhat lackluster.[22] Despite its ironic title, "Boring" is an intricate, building composition influenced by gamelan sounds, featuring vibraphone motifs and dynamic shifts that maintain the album's jazz fusion trajectory without monotony.[3] The track incorporates xylophone and tympani, which, while shoehorned at times, contribute to its progressive development and percussive depth.[22] The album closes with the playful "Three Blind Mice," which adapts the classic nursery rhyme into a jazz arrangement led by mallet percussion, including conga-heavy Latin experiments and tubular bells that create a beautiful, light-hearted finale.[22][3] This track highlights the ensemble's ability to infuse whimsy into their fusion style through orchestrated percussion.[22]Track listing
| Side | Track | Title | Writer(s) | Length |
|---|---|---|---|---|
| A | 1 | "Heavy Tune" | Pierre Moerlen | 6:22 |
| A | 2 | "Golden Dilemma" | Hansford Rowe | 4:51 |
| A | 3 | "Sleepy" | Mireille Bauer | 7:17 |
| B | 1 | "Soli" | Hansford Rowe | 7:37 |
| B | 2 | "Boring" | Pierre Moerlen | 6:22 |
| B | 3 | "Three Blind Mice" | Mireille Bauer | 4:50 |
Personnel
Pierre Moerlen's Gong
- Pierre Moerlen – drums, glockenspiel, vibraphone, xylophone, timpani, tubular bells[23]
- Benoît Moerlen – vibraphone, marimba, glockenspiel, claves, tubular bells, xylophone[23]
- Mireille Bauer – marimba, vibraphone, percussion[23]
- Hansford Rowe – bass, rhythm guitar[23]
- François Causse – congas[23]