Jazz On The Left Bank & Réunion À Paris

This here is the definition of international jazz, recorded in Paris in 1956 by two relaxed, unpretentious, melodic, and well-rehearsed groups including both American and European jazz musicians. These meetings were documented in two excellent albums: Jazz on the Left Bank and Réunion à Paris.

The remarkably versatile trombonist-writer Billy Byers and pianist Martial Solal wrote these loosely swinging arrangements, and although they took care of one album each, their work blends seamlessly in the hands of a group of consistently professional musicians. Byers playing is satisfying in both albums, while Solal feeds chords almost imperceptibly, with his solos bouncing along effortlessly helped by the propelling force of Benoît Quersin's skilled bass support.

And although the wonderful, cohesive group sound present in these two albums was significantly shaped by Byers and Solal, all their colleagues demonstrate their usual, considerable skill—the competent playing of trumpeter Dick Mills, the full sound and guts of William Boucaya on baritone, as well as the ever-present taste of drummer Wessel Ilcken on Jazz on the Left Bank. Jimmy Deuchar's exciting solo work on trumpet, and Allen Eager's flow of ideas on tenor are stimulated by the rhythm effort of Quersin once again, this time with Kenny Clarke’s drums on Réunion à Paris. The music in these two albums is an invigorating set of flowing originals and arrangements that make an out of the ordinary listening experience. *Jordi Pujol*

Billy Byers and Martial Solal

Jazz On The Left Bank & Réunion À Paris

It's good to hear Billy Byers doing a fair bit of soloing, and he's revealed as a very close disciple of Bill Harris. He's also the author of the most swinging charts here – his arranging talents have never been in question. The other outstanding brassman is predictably Jimmy Deuchar. And here's a magnificent chance to hear the most obscure of the great swingers one more time – the unique Allen Eager on tenor. I've expressed admiration before in these pages for the fine baritone of Mr Boucaya.

Fresh Sounds' recent issues have shown Martial Solal to have been one of the most gifted French arrangers and pianists and this album is further confirmation. His nimble bop solos retain their freshness, unlike some of his charts which have inevitably dated over more than 60 years. Kenny Clarke is as crisp and immaculate on the (2) sides and on the rest the Dutch Wessel Ilcken is impressively inspired. Dick Mills (who he?) is a delicate soloist not at all out of place on these sides, which confirm how good French record companies were at putting together great record sessions more or less at the drop of a hat.

This session is as good but different from the contemporary The Herdsmen Blow In Paris, that wonderful album blessed by a brilliant team of soloists headed up by Bill Perkins and Ralph Burns. The arrangements on that were sketchy and designed for blowing. These are much more organised and tidy.

One of the best tracks is the long Buyer's Blues. I've heard it under another title, but one which now escapes my poor old brain. Eager gets a nice chance to stretch out on this slow blues and you'll tick off the Harris twists and turns one by one as they come forth from Billy. This was the sort of blues tempo Joe Newman loved, and Deuchar's full-toned solo brings echoes of Joe. Good piano throughout this long number. *Nic Jones*

Back in the mid 50s, jazz was THE language of love in France. Here, you get a pair of albums from September 1956 by locals along with American Ex-pats that are as tasty as a Crepes with Nutella.

The first session from September 12 & 14 includes Dick Mills (tp), Billy Byers(tb), William Boucaya (bs, ts), Martial Solal (p), Benoit Quersin (b) and Wessel Ilcken (dr) for a mix of originals and standards. Boucaya's tenor is rich on a swooning "You Don’t Know What Love Is" while his baritone bops on "Patti’s N.Y. Blues". The horns breeze like West Coast Cool on "Salute to Vo" and Byers swings it for "The Long Nite".

Even better is the session with the underrated warm tenor of Allen Eager sitting in with Byers, Martial Solal (p), Quersin and proto-bopping drummer Kenny Clarke. Eager is a mellow master on "Illusion" and smokes like a Montecristo on "Buyer's Blues". Clarke is crisp as he rides the cymbal for Solal on "Kenny's Special" and is kinetic on "Cinerama". The horns are as tight as the Houston Astro infield with Byers' buttery 'bone on "Trianon" and the team is urgent on the charging "Love Me Or Leave Me". Bopping with the beret! *George W. Harris*

1 - Salute To Vo

(A. Roos)

2 - Softly As In A Morning Sunrise

(Romberg, Hammerstein II)

3 - There Will Never Be Another You

(H.Warren, M.Gordon)

4 - Jaguar

(Martial Solal)

5 - The Long Nite

(Billy Byers)

6 - Patti’s N.Y. Blues

(Billy Byers)

7 - I Guess

(Madna)

8 - You Don’t Know What Love Is

(Raye, DePaul)

9 - Sixty-Eight

(Billy Byers)

10 - Leila

(Billy Byers)

11 - Trianon

(Martial Solal)

12 - Kenny’s Special

(Martial Solal)

13 - Illusion

(Martial Solal)

14 - Love Me Or Leave Me

(W.Donaldson, S.Kahn)

15 - Cinerama

(Martial Solal)

16 - Vogue

(Martial Solal)

17 - Buyer’s Blues

(Billy Byers)

#1 to #10 from the album Jazz on the Left Bank

Dick Mills (trumpet), Billy Byers (trombone), William Boucaya (tenor and baritone sax), Martial Solal (piano), Benoît Quersin (bass), Wessel Ilcken (drums).

Arrangements by Billy Byers

Recorded in Paris, September 12 and 14, 1956.

#11 to #17 from the album Réunion à Paris

Jimmy Deuchar (trumpet), Billy Byers (trombone), Allen Eager (tenor sax), Martial Solal (piano), Benoît Quersin (bass), Kenny Clarke (drums).

Arrangements by Martial Solal

Recorded in Paris, September 24, 1956.

Brew Moore - Quartet & Quintet

"My main idea is to get back to simplicity", says Brew Moore of his work these days. "I like a small group —such as the quintet we have on this album— where there is no other front line and I can let myself go. The biggest kick to me in playing is swinging — freedom and movement. And with a small group, I can do this more easily". 

"Music must be a personal expression of one’s own world and way of life. When everything else gets to be a drag there is music for forgetfulness and also for memory and for a reminder that there is more good than bad in most things. The idea of playing for me is to compose a different, not always better I’m afraid, melody on the tune and basis of the original song, rather than construct a series of chord progressions around the original chords. I feel that in several spots in this group of tunes we attain the rapport necessary for good jazz. I hope so". 

And when you listen to these numbers, you will agree that Brew has done what he set out to do. These all swing and even Brew, who is most critical of his own work ("I guess I never have been happy with anything I did") had to say of this album, "It swings. You can say that". 

For this album, Brew assembled the kind of group he is most at home with. It was by and large the same group with which he worked off and on during most of 1955 and ’56 in San Francisco. 

This is an informal album, relaxed and easy as Brew wanted it. The tunes are the sort of things he plays at night in the various clubs where he works — ballads, the blues, original tunes. On all of them, one aspect or another of Brew’s musical character gets a chance to show itself. 

One of the numbers, "Fools Rush In", was cut at a concert at the University of California in August of 1955. I am particularly fond of the way Brew plays Johnny Mercer’s lovely ballad. Brew is a swinger, true; but when he plays a beautiful tune like this, his tone and his concept are as big and as warm as anyone could want. 

Brew has two absolutely golden gifts. He swings like mad and he has soul. These are things you cannot learn by woodshedding, or in any conservatory. You have to be born with them or learn them by living. Brew had them and he also has a priceless gift for phrasing. *Ralph J. Gleason (Liner notes)*

Lesterian tenor saxophonist Brew Moore (1924-1973) spent much of his career like an archetypal Fifties counterculture icon, always on the move, turning up in New York, or San Francisco, Copenhagen or Stockholm for a year or so, playing beautifully and then disappearing. Unsurprisingly, he left very few recordings, particularly of his early US career, which makes this collection, recorded on the West Coast, particularly valuable.

The three dates included on this set were all cut in San Francisco with local (and now obscure) musicians: trumpeter Dick Mills, pianist John Marabuto, bassist Max Hartstein, drummer Gus Gustofson and guitarist Eddie Duran. Marabuto contributed three originals; Mills wrote "Rotation", and the other four songs are familiar standards. Moore plays well (despite a hectic lifestyle, he was pretty consistent on records) and the music is relaxed and swinging. *Jordi Pujol*

 

Side 1

01 - I Can't Believe That You're In Love With Me

(McHugh)

02 - Fools Rush In

(Mercer)

03 - Rotation

(Mills)

04 - I Want A Little Girl

(Mencher, Moll)

05 - Five Planets In Leo

(Marabuto)

Side 2

06 - Them There Eyes

(Pinkard)

07 - Them Old Blues

(Marabuto)

08 - Tea For Two

(Youmans)

09 - Rose

(Marabuto)

#1, #2, #5, #6, #8:

Brew Moore (tenor sax), John Marabuto (piano), Eddie Duran (guitar #2), Max Hartstein (bass), Gus Gustafson (drums).

Recorded at University of California, San Francisco, August 1955 (#2) and Marines Memorial Hall, San Francisco, January 15, 1956 (#1, #5, #6, #8).

#3, #4, #7, #9:

Brew Moore (tenor sax), Dick Mills (trumpet), John Marabuto (piano), Max Hartstein (bass), Gus Gustafson (drums).

Recorded at Marines Memorial Hall, San Francisco, February 22, 1956.