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Nyl, a French rock commune, were naturally but intentionally formed around Michel Peteau by lots of musicians, soon after he disbanded Cheval Fou. According to their information, the personnel were Michel Peteau (guitar), Stephane Rossini (drums,voices), Jannick Top (bass; already recorded also Udu Wudu with Magma), Patrick Fontane (bass), Olivier Pamela (bass and voices), Elisabeth Wiener (voices), Loy (piano), D.B.F. (synthesizer), Freequentin (alto saxophone), Ariel Kalmar (soprano saxophone), and Bernard Lavialle (guitar). They gathered themselves for recording live material in a studio and this could be crystallized as their only one eponymous album released via Urus Records in 1976. This only one album could see the light again in 2011 as a reissued CD (with bonus tracks) via an Italian label Psych Up Melodies..

Two CD collection containing 48 tracks from the Joe Gibbs' stable of the 1970s, featuring a diversity of performer and musical styles. Includes significant Jamaican hits alongside almost forgotten rarities, with all but 15 recordings making their CD debut, many tracks unavailable on any format since the early '70s with 33 tracks new to CD. As the '70s unfolded, producer Joe Gibbs continued his inexorable rise to the top of the island's musical tree. His willingness to try new talent and styles gave him an edge over many of his contemporaries, as reflected in the willingness of major artists to join his roster of acts.

Over the years, the phrases "organ/tenor group," "tenor/organ group," and "organ/sax combo" have often been synonymous with soul-jazz. When soul-jazz fans hear the words "organ" and "tenor" in the same sentence, they immediately think of all things funky; they immediately think of Stanley Turrentine's work with Shirley Scott or Gene Ammons' encounters with Jack McDuff and Johnny "Hammond" Smith. But one shouldn't forget about the post-bop innovations of Larry Young, who moved organ groups beyond soul-jazz and paved the way for everyone from Barbara Dennerlein to John Medeski. And on this live album, one hears a tenor/organ trio that has nothing to do with soul-jazz and everything to do with post-bop…

De nos jours, on ne défend plus l’idée que les peuples autochtones conquis et colonisés étaient sans culture ou sans histoire, tout en reconnaissant néanmoins que leur histoire était obscure et leur univers culturel opaque pour les premiers voyageurs européens. Roland Viau écrit ici la rencontre entre l’Europe et l’Amerindia en donnant la parole à l’Autre. Sa perspective est globale, proche de la world history – symbiose entre les disciplines de la mémoire: ethnologie, histoire et archéologie – et loin de la vision d’un monde façonné par le seul Occident. …