For those fans of the Daevid Allen period of Gong, the shift from spacey prog rock to the realm of jazz-rock starting with the transitional Shamal album in 1975 must have come as a bit of a shock.  Notwithstanding, their jazz-rock output during the 75-77 period is actually quite good and mirrors the shift from prog to jazz-rock exhibited by a lot of prog bands in the mid-late 1970's (PFM comes to mind).  The Gazeuse album was released in 1976 and marks the full-blown emergence of Gong as an instrumental jazz rock outfit. Featured prominently on the album is the "world class" electric and acoustic guitar playing of virtuoso Alan Holdsworth (Soft Machine, U.K.) along with the superb drum/percussion work of the late Pierre Moerlen.  Holdsworth's blindingly fast, legato lines on the electric/acoustic guitar are truly something to behold - I can't think of many people out there that play like him.  Other musicians on the album include fretless bassist Francis Moze (one of many imitators of Weather Report bassist extraordinaire Jaco Pastorius), sax/flute player Didier Malherbe (who left Gong after this album), percussionist Mino Cinelou, Benoit Moerlen on vibraphone, and Mireille Bauer on vibraphone, marimba, glockenspiel, and toms.  It is worth noting that mallet instruments are featured quite prominently and their use sets Gong apart from other jazz rock groups of the time including the synth heavy works of Weather Report and the nearly inhuman, impossibly fast playing of the synth heavy Return to Forever.  As somebody who listens to jazz rock in addition to (tons of) prog, I can say that as far as jazz-rock goes this is a pretty good album.  From a composition perspective, the pieces are well-constructed and with the exception of a short (and blazing) drum solo by Pierre Moerlen, solos are not too intrusive.  I also found that there is enough dynamic contrast and textural variation to keep my interest too - the album opens with a vigorous jazz-rock flourish on Expresso and closes on a contemplative note with the acoustic guitar and electric piano duet on Mireille.  I guess I should just consider myself lucky because I can enjoy all of Gong's 1970's output - it seems as if hardcore fans of the Daevid Allen era Gong do not appreciate the Pierre Moerlen led version of Gong all that much.  Accordingly, this album is highly recommended (without hesitation) to fans of jazz rock, open minded prog heads, and Gong completists.
For those fans of the Daevid Allen period of Gong, the shift from spacey prog rock to the realm of jazz-rock starting with the transitional Shamal album in 1975 must have come as a bit of a shock. Notwithstanding, their jazz-rock output during the 75-77 period is actually quite good and mirrors the shift from prog to jazz-rock exhibited by a lot of prog bands in the mid-late 1970's (PFM comes to mind). The Gazeuse album was released in 1976 and marks the full-blown emergence of Gong as an instrumental jazz rock outfit. Featured prominently on the album is the "world class" electric and acoustic guitar playing of virtuoso Alan Holdsworth (Soft Machine, U. K.) along with the superb drum/percussion work of the late Pierre Moerlen. Holdsworth's blindingly fast, legato lines on the electric/acoustic guitar are truly something to behold - I can't think of many people out there that play like him. Other musicians on the album include fretless bassist Francis Moze (one of many imitators of Weather Report bassist extraordinaire Jaco Pastorius), sax/flute player Didier Malherbe (who left Gong after this album), percussionist Mino Cinelou, Benoit Moerlen on vibraphone, and Mireille Bauer on vibraphone, marimba, glockenspiel, and toms. It is worth noting that mallet instruments are featured quite prominently and their use sets Gong apart from other jazz rock groups of the time including the synth heavy works of Weather Report and the nearly inhuman, impossibly fast playing of the synth heavy Return to Forever. As somebody who listens to jazz rock in addition to (tons of) prog, I can say that as far as jazz-rock goes this is a pretty good album. From a composition perspective, the pieces are well-constructed and with the exception of a short (and blazing) drum solo by Pierre Moerlen, solos are not too intrusive. I also found that there is enough dynamic contrast and textural variation to keep my interest too - the album opens with a vigorous jazz-rock flourish on Expresso and closes on a contemplative note with the acoustic guitar and electric piano duet on Mireille. I guess I should just consider myself lucky because I can enjoy all of Gong's 1970's output - it seems as if hardcore fans of the Daevid Allen era Gong do not appreciate the Pierre Moerlen led version of Gong all that much. Accordingly, this album is highly recommended (without hesitation) to fans of jazz rock, open minded prog heads, and Gong completists.