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Tending the Progressive Garden —
Carl Tafel and Terraced Garden

Terraced Garden began in early '81 as a solo project by Toronto-born multi-instrumentalist/composer Carl Tafel. Prior to this, he was one third of a band called Cardboard Brains, for whom he played bass and sang, a "demonically heavy" outfit by Tafel's own admission, that was "too far outside for any broad acceptance." He left the band in order to concentrate on writing, playing guitar and keyboards, and developing a more expanded sound. The first recordings began in 1981, but the money quickly ran out. A year later, Tafel went back into the studio, and with the help of some other musicians, finished the recordings for the first album by the end of 1982, and it was finally released in January '83. » Read more
(Posted by Peter Thelen 1995-11-01)

The Christian Vander Trio Live in Montreal —
July 6th, 1995

During the Montreal International Jazz Festival we had the pleasure to hear the Christian Vander Trio. Like many North American Magma amateurs, I had never seen Vander playing live before, so this was a real treat on its own. The concert was outdoors, at 10:00 pm, on one of the numerous stages of the Jazz Fest. » Read more
(Posted by Alain Lachapelle 1995-11-01)

The Zeuhl School —
The Extended Family of Magma

When considering the legacy of Magma, which continues to this day, one must recognize the huge wake they left behind: Many of France’s best musicians were once members, or associates of members, or somehow were touched by their influence. Thus, their pervasive effect on the French jazz-rock scene cannot be understated. After Magma it would never quite be quite the same again. In this piece I will attempt to cover (albeit briefly) some of the many spin-offs, feeders, side projects, and solo works by many of Vander’s former and current associates. This overview is not intended to be exhaustive and complete – instead it is intended to establish some of the relationships between certain formations and musicians who carried the zeuhl spirit forward, and give some information regarding them.

» Read more
(Posted by Peter Thelen 1995-11-01)

Words from the Surrealist —
A Chat with Wittox O'Hara

What can you do with an acoustic guitar and a drum machine? Wittox O'Hara's The Surrealist is a mystifying piece of work. Lots of xylophone-sounding timbres weaving intricate lines, much like a percussion ensemble, with plentiful of odd percussion blending in with the eclectic acoustic guitar and occasional accomplice electric guitar, shaping everything together, forming an impressionist world on its own. » Read more
(Posted by Alain Lachapelle 1995-11-01)