Magma - 1001° Centigrades (1971) [vinyl]

After losing guitarist Claude Engel and reinforcing the brass section with Jeff Seffer on saxophones and Louis Toesca on trumpet, Magma went back into the studio in 1971 to record a second album. All the originality and greatness of Kobaïa are there, in even greater measure because everything is magnified. The two tracks composed respectively by Teddy Lasry and François Cahen occasionally introduce a jazzier note but it is Rïah Sahïltaahk which shows the most forceful development of the work apparent on the first album. This Christian Vander composition is over twenty minutes in length. It amazes as much by its richness and the incredible number of its themes as by its rhythmic strength and its perfectly controlled violence. Furthermore, it allows the listener to admire the diversity of the brass, whose role diminishes progressively over time. ~ soundohm.com. 

Philips Records, 6397 031, 1971
Recorded 5th-10th April, 1971 at Michel Magne Studios, Hérouville, Oise, France 

Musicians:
Christian Vander - Drums, Percussion, Vocals
Louis Toesca - Trumpet
Teddy Lasry - Clarinet, Saxophone, Flute, Vocals
Jeff Seffer - Saxophone, Bass Clarinet
François Cahen - Piano, Electric Piano [Fender]
Francis Moze - Bass
Klaus Blasquiz - Percussion, Vocals 

Tracklist: 

Side One
1. Rïah Sahïltaahk {Christian Vander} (21:40) 

Side Two
1. "Iss" Lanseï Doïa {François Cahen} (11:41)
2. Ki Ïahl Ö Lïahk {Teddy Lasry} (8:23) 

Total Time: 41:44 

Credits:
Producer [Réalisateur Plénipotentiaire] - Roland Hilda
Engineer [Sound] - Dominique Blanc-Francard
Louis Sarkissian - Manager
Liner Notes [Poem] - Christian Vander, Theïus Bïngöh 

All the factors contributing to the originality and grandeur of Kobaïa remained in place, reaching a more profound form in this second opus. If the two pieces composed by Teddy Lasry and François Cahen allowed a more jazz-oriented tendency to filter through, it is in Rïah Sahïltaahk where we hear the ideas presented on the first album developed with the greatest power. At over 20 minutes, this Christian Vander composition is astounding, as much by its richness and incredible variety of themes as by the perfectly-disciplined rhythmic force; moreover, it showcases the fullness and diversity of the brass section, although its role became progressively less important as time went on. ~ Extract from seventhrecords.com.