"There is in Magma a volcano that dozes". This is the very beautiful title of a strongly eulogistic article by André Drossart, which appeared in the newspaper 'Le Soir' following the triumph that the French group achieved in Belgium at the end of 1971. I would gladly resume my account like the Belgian newspaper by modifying just one term, perhaps something like; "There is in Magma a volcano in eruption..." Indeed, for the top seven musicians of the Hexagon, the time has come! It is four o'clock in the afternoon; outside, it is cold and grey, while I roll quietly towards Perray-en-Yvelines where Giorgio Gomelsky has acquired a country residence. Giorgio had taken the career of Magma in hand, for some months now, and he has invited me to rendezvous there with all his team. I am a bit anxious: one has read so many disagreeable things on the subject of the musicians of Magma... Although I know their music well, I had not actually had any real contacts with these mysterious and apparently very aggressive guys. It is therefore a trifle warily that I park my car in the small yard of the ancient dwelling where the members of Magma are gathered. Giorgio, a smile on his lips, welcomes me into his large house. Everyone is already on the spot. Installed in a small corner of the living room, the group is at work. After a cool handshake, I install myself in the position of observer (sunk in an armchair, a glass of white wine in the hand).
Christian Vander, sat on his drum stool as if on a throne, seems to reign in absolute mastery of his musicians. His hard and blue gaze does not forgive their slightest harmonic or rhythmical relaxation. His steel drum kit is to the fore, as if to protect him from a world that hurts. Metallic points attached to the front of its large case confirm this impression. Francois Cahen brushes the keys of an electric piano with an applied ease. Faton (that is his nickname) is a bit like the press-attaché of the group; his evident graciousness and his high stature immediately inspire confidence. To his side, perched on a stack of amplifiers, Klaus Blasquiz sings with his beautiful powerful and serious voice into a faulty microphone. With his very long hair and his old man's beard, he resembles a hero of the Russian revolution. Yet he is Basque and proud of it. Francis Moze, the bassist with the tranquil force, caresses the four cords of his translucent guitar. He is attentive to the smallest nuances of the piece. His father was a Redskin and he has kept this affiliation, likewise the physiognomy, the wisdom and the intelligence. They are "the rhythmical force". There remains the three magicians of the "brass platoon": Teddy Lasry, within Magma, the saxophonist and flautist, but he is capable of playing anything on any instrument. Within STRUCTURES SONORES LASRY-BASCHET he has a very close rapport with his father, Jacques Lasry, the pianist and composer. Jeff Seffer, the Hungarian guy, plays equally on the saxophone and the flute. He is again a little gypsy around the edges... Louis Toesca, nicknamed Loulou, was born in Nice, which gives him a light southern accent. It is amusing, for example, to hear Loulou describe the tour of Magma in Belgium! His lively character does not prevent him being a trumpeter of the first order. He won first prize at the conservatory (but such distinction is common currency within Magma).
But how in fact did the musicians of this super-group meet? Francis and Francois told me.
JM: = Jean-Marie Moreau
FM: = Francis Moze
FC: = Francois Cahen
CV: = Christian Vander
GG: = Giorgio Gomelsky
FM: It all began with a very hot summer on the Cōte d'Opale. A large record company had assembled a musical trio to enliven evenings at a summer club. On bass there was Laurent Thibault, on drums, Christian Vander, and on the organ, myself. It was a very folkloric adventure that began with a fabulous surprise: when we arrived in the small town, the walls were covered with notices announcing the name of CARNABY STREET SWINGERS. We were ready to make an about-turn, thinking we had been "double-booked" when one of us had the idea to go to see the leader of these over-familiar guys... We soon learnt that the CARNABY STREET SWINGERS was us! A bit surprised to have been baptized so pompously, nevertheless we made the effort to retain our composure. We were well received, and some days later, I improvised a bass line that was going to become that of 'Kobaļa'... (Francois intervened ironically)
FC: And, on your return, you were conscripted and Magma began without you.
FM: My absence was not long, because, by the end of the month, the army had released me due to "incompatibility of mood". I took the place of Laurent on the bass and I found Francois and Christian.
JM: Where did you come from, Faton?
FC: I had just left LES ENFANTS TERRIBLE! Little by little, the work was begun and the team of Magma formed as we went along. Richard Raux, Zabu, Claude Engel and Paco have now left us. The case of Paco is not really definitive; perhaps he will return one day with all his drums... As for the others, we are still on very good terms with them and I persist in believing that Claude is one the best guitarists in Europe. (Christian Vander comes to rejoin us. He seems a bit more relaxed than he would be later on).
JM: One frequently hears that Magma is the group of Christian Vander. What do you think of that?
CV: Nothing or very little, It is obvious that I am not the sole composer for the group and that the music of Magma is not solely that of Christian Vander. I imagined a planet that is called Kobaļa, I have written a musical language, Kobaļan, and I am perhaps behind our community of thought. That is my share of the activity... But I am not afraid to say that our group is surely one of the most homogeneous.
JM: How did you get the idea of a new language?
CV: Quite naturally. I have always been fond of some words, which do not contain semantics. That is not a darkness nor mysterious desire, it is a need of purity, simplicity. It is necessary that words, as linguistic signs are beautiful in themselves. I required a word in the Kobaļan dictionary such as "wurdah" because of its expressive wealth. "wurdah" expresses the displeasure, the lassitude... I do hot like it when people accuse Kobaļan of being a secret language, because it is absolutely untrue. Kobaļan has to be sung to be felt as a musical support. Where are the people who understand the words howled by Mick Jagger? Where are the people who complain about him? In the Rolling Stones, the words are distorted like the guitars... (I turn back to Francis who has a great urge to speak).
FM: Yes. I wanted to tell you that we are grateful that our contract does not require us to record a disc every week. We have endless new ideas, new pieces to propose to the others.
JM: How does that come about?
CV: We are not soft with each other. Albeit we are even harsher with the other French musicians! If someone has a dubious idea, it is immediately rejected. It is necessary to have the absolute unanimity of the group in order that a piece be included in the repertoire. Also, we continually reshape the old songs.
JM: Tell me about time 'Univerïa Zekt' album.
CV: It is very simple; it is the music that we would have played if we had not formed Magma. For this album, we have reunited with Claude Engel and we have made our own type of pop music... THE MOTHERS and FLOCK are unanimously appreciated by the musicians of the group, but it is almost all what we accept as pop.
JM: What do you think of the French public?
FC: We disapprove of it, to be blunt. I prefer the attitude of sixteen year-old youths, who have a freshness in their ears and the spirit. In general, French people annoy us because they are no longer interested in anything. How do you explain that all the Belgian groups have elected Magma as the number one group in the world? Why did "Télé Moustique" classify us above PINK FLOYD and JETHRO TULL? Because one is not a prophet in his own country, especially if one resides in France! Encouragement and tolerance are little known notions in our country. When we eventually return from the United States or England as a big name, the French will bless us! By that time we will have become very, very expensive... Briefly, the life On Kobaļa flows in the happiness and the beauty. The earth has learnt of our existence; it is in effervescence...
Giorgio, excitedly calls us into the house. The television is on and emits a programme about Haroum Tazieff and its team of vulcanologists. The images are very beautiful and the musical accompaniment is by... Magma. It is a surprise for everyone!
GG: We need a film like that for our light show! What do you think, my children?
A vague murmur marks their general approval. Christian Vander, who had left some minutes earlier, does not participate in the euphoria of late evening: his comrades regret it.
GG: Do not form an impression of Christian too rapidly. He is a very pure guy, very skilful, but he is very timid. His aggressiveness is a mask that disappears very rapidly when he feels joy. One can talk whole nights with him because he is sensitive and intelligent. Christian demands a lot from life and he is surprised to see that it does not render what he gives it. Thus, he detests concessions and the deceits of show business. He also refuses to write lyrics in English, yet he speaks it fluently. In no circumstances, even for 'Univerïa Zekt', would he abandon his Kobaļan... He is very strong, Christian, and he will win! The night is already well advanced when I resume the road to Paris. Francis, silent, is sat beside me. We do not waste any time catching up with Teddy's car, then that of Faton's. Soon, we lose then on the turnpike... Finally, the time has been very well spent; I have seen perhaps the best group in the world! I wonder simply if we are not going to lose them, these extraordinary musicians... It would be necessary perhaps to hurry to tell them all the things one thinks of them, before they leave us definitively.