The P.C. in the title refers to Pierre Courbois, the drummer whose country of origin I keep forgetting - Belgium or Holland - in any event the group contained people who were known in Northern European early 70s jazz-rock circles - in particular keyboardist Jasper van't Hof and guitarist Toto Blanke, whose later 70s group Electric Circus gets mentioned in the recent Krautrock discographies. [BB]

In their classic configuration, Association P.C. were comprised of percussionist Pierre Courbois, keyboarding Jasper Van't Hoff, bassist Siggi Busch, and guitarist Toto Blanke. Earwax retains the swing of jazz rhythms, although much of it is electrified and the playing abandons structure almost as often as it embraces it.  Best cut is "Round A'bout Nine" (sic), which is centred on a solo acoustic bassline, evocative of some traditional European folksong and accented with crazy percussive and electronic voicings -- eventually even the bassist dissolves into pure sound investigation.  Good free playing, although not particularly kozmik.  The linernotes to Earwax drop Soft Machine, MEV and er, Burnin' Red Ivanhoe as references. Sun Rotation immediately sounds heavier, tho I attribute some of this to Conny Plank's engineering role.  Courbois is playing more rock-based rhythms, and even gets into some near-funk at the beginning of "Totemism." Still, don't mistake this for Miles' fusion-- this album is very progressive and European and is closer aligned to some of the early ECM black sheep. Lotsa weirdo time signatures too (11/8 on "Neuteboom" and 7/8 on "Fran Theunissen".)  This is the record with the controversial slagging of free jazz on the back cover-- ironically, much of this album is without a groove. The live Erna Morena set sees them moving deeper into free rock, with a greater emphasis on textural playing.  Karl Wiberny guests on reeds and contributes to the album's best moment, on "Space Erna" where Van't Hoff's dense organ washes are roughed up by Wiberny's alto clarinet squonks.  By this point, the transgressions were established and although (or maybe because) Wiberny's blowing wasn't particularly virtuous, it lended itself perfectly to the group.  Nice and scrappy, an aesthetic which sadly became endangered-- shunned, really-- in jazz-rock as the 70s progressed. [DW]

The liner notes to Erna Morena throw around the Soft Machine comparisons pretty liberally but think post-Robert Wyatt when most "rock" elements (aside from electric instruments) have been lost - the liner notes also consider mentioning Chicago, Colosseum, Blood Sweat and Tears, Cream and Tony Williams' Lifetime in the same breath as a thinkable proposition so the historical element is invaluable. Although the LP, in part no doubt because of it's obscurity has always been a bit of a prize of mine, I was listening to it hard recently and all the experimental parts and ring modulator squawks are cool, when it's time to actually "blow" (you know, like Coltrane or something), they don't quite stack up. With titles like "Space Erna" and "Erna in India" there's a certain drone/trance aesthetic at work that gives it some appeal and it's important to remember that some people really thought those recently reissued Miles Davis double-lives from the era were crap at the time too, so you don't want to get really bogged down in evaluating it in some kind of purist jazz terms. [BB]

Joachim Kuhn joined Association PC for their final two recordings, Rock Around The Cock and Mama Kuku, replacing Jasper Van't Hoff when the latter took leave to form the much lesser project, Pork Pie. While the playing on these lps may tend toward the complex and technical, it's employed as a vocabulary rather than as something cosmetic. Listening to it as I type, I'd haveta say this occasionally evokes the powerhouse attack of Miles' lost quintet (cf. the 1969 Antibes gig, "In A Violent Way.") Worthy. [DW]

Mama Kuku - Funky fluteman Jeremy Steig joins the MPS combo Association PC -- and his presence on the session makes the album one of the group's best! Steig's flute really warms the session up a lot -- snaking out with that breathy, soulful sound he brought to his own American albums on Solid State and Capitol -- played sometimes a bit more spacily here, but mixed in nicely with the group's Fender Rhodes from Joachim Kuhn. Other players include Toto Blanke on guitar, Siggi Busch on bass, and Pierre Courbois on drums and percussion -- all coming together with a really organic sensibility -- not entirely improvised, but in a way that makes you feel like the music has a "natural" sort of existence -- emanating from the earth and floating up to the skies on acoustic and electric breezes! Some tracks are hard and jamming, almost a bit "out" -- and others are more pensive and thoughtful, especially when Steig's in the spotlight. Titles include the side-long "Lausanne" -- which runs for over 20 minutes -- plus "Bold N Steig", "Dr Hoffmann", "Mama Kuku", and "Bassamagic".
[DustyGroove]

Hello Pierre Courbois is dutch even if is name sounds french (a part of Belgium speaks french while the other one speaks dutch(flemmish)).
Here is the wikipedia link
http://en.wikipedia.org/wiki/Pierre_Courbois
THANKS for your work; it's really nice to found informations like that on the internet!
[Mitch]