Five-Star Collection... Dizzy Gillespie

Dizzy Gillespie

Horn Of Plenty 

In the spring of 1952, as modern jazz continued to spread across Europe, Dizzy Gillespie returned to Paris already established as one of the central figures of modern music. The city had largely ignored him when, barely twenty years old, he first arrived in Europe with Teddy Hill's orchestra in 1937. But Paris could no longer ignore him during his second visit, in February 1948, when he caused one of the greatest upheavals jazz had ever known by unleashing the explosive force of his bebop big band upon an audience still largely unprepared for it. Whether through that brief but unforgettable adventure or through his decisive role in shaping the entire language of bebop, Dizzy's contribution ensured that jazz would never be the same again. His name had by then joined that small circle of fundamental figures who altered the course of jazz history.

When he returned to Europe in 1952 to appear at the Paris Salon du Jazz — his third trip to the continent — memories of the triumphs of his big band four years earlier were still deeply etched in the minds of French jazz enthusiasts. But the context had changed. The big band itself already belonged to the past, and bebop had moved beyond the shock of its first youthful explosion. Dizzy still had bop, but he also had roots: his style was beginning to mature into a broader synthesis, an amalgam of all his musical experience that hinted at a new kind of modern classicism.

It was in this atmosphere that Gillespie led a flexible Paris-based group including tenor saxophonist Don Byas, pianist Arnold Ross, and several French musicians such as Hubert and Raymond Fol, Pierre Michelot, and Pierre Lemarchand. The sessions — held on March 27 and April 11 at Parisian studios such as Jouvenet and the Schola Cantorum — were recorded for the Blue Star label, distributed by Vogue, which at the time was actively documenting the presence of major American jazz soloists in the French capital.

A year later, Blue Note Records, always alert to high-quality jazz being recorded outside the United States, acquired the American release rights to part of those recordings. Alfred Lion and Francis Wolff decided to include them in their 10-inch LP "5000 series", devoted to modern jazz in compact format. The result was Horn Of Plenty (BLP 5017), released in 1953 with eight performances combining standards such as "Sweet Lorraine", "Wrap Your Troubles in Dreams", and "Somebody Loves Me" with more recent pieces like "Afro-Paris".

Unlike most Blue Note productions of the period, there was no New York recording session and no direct supervision by Lion or Wolff; the material was licensed entirely from the French masters. This also explains the album's distinctive sound and the presence of European musicians throughout several of the performances. Blue Note issued the album with its characteristic graphic design but without liner notes, perhaps because the label had not participated directly in the recording process and lacked complete session details.

In retrospect, Horn of Plenty stands as a singular document within both Dizzy Gillespie's and Blue Note's catalogs: an early example of transatlantic collaboration that demonstrated the vitality of bebop far beyond its original birthplace. These Paris sessions captured Gillespie at a moment of artistic transition — more relaxed and reflective, surrounded by French colleagues and removed from the pressures of the big-band world — at a time when his music had already begun to assume an international dimension.

Cut in Paris a year ago, these were made at two dates. The numbers with four horns (Diz, Don Byas, Hubert Fol, Bill Tamper) have a French rhythm section (Raymond Fol, Pierre Michelot, Pierre Lemarchand); titles with smaller group have an American rhythm section (Arnold Ross, Joe Benjamin, Bill Clark). Lady Bird is the only title to make full use of an arrangement and of the French soloists (Hubert sounds like a boppish Benny Carter, Tamper like a Bill Harris). 

Although there are minor flaws (Dizzy's lip falters here and there; the rhythm section is logy on the last title) the overall impression is highly favorable. Rejecting comedy for the nonce, Diz played fine, sincere horn with true emotional content and melodic value. His one slow chorus on Lorraine, three choruses on Somebody and muted work on the fast, exciting minor Afro are especially effective. Don Byas is all over the place too, sounding like old times.

*Down Beat, Chicago, March 11, 1953 [5 stars]*

Side 1

1 - Sweet Lorraine

(Mitchell Parish, Cliff Burwell)

2 - Lady Bird

(Tadd Dameron)

3 - Hurry Home

(Buddy Bernier, Romert D. Emmerich, Joseph Meyer)

4 - Afro Paris

(Billy Taylor)

Side 2

5 - Wrap Your Troubles In Dreams

(Harry Barris, Ted Koehler, Billy Moll)

6 - She's Funny That Way

(Neil Moret, Richard Whiting)

7 - Somebody Loves Me

(George Gershwin, Buddy G. De Sylva, Ballard MacDonald)

8 - Everything Happens To Me

(Matt Denis, Tom Adair)

#3, #4:

Dizzy Gillespie (trumpet), Don Byas (tenor sax), Arnold Ross (piano),

Joe Benjamin (bass), Bill Clark (drums), Umberto Canto (congas).

Recorded at Studio Jouvenet, Paris, France, March 27, 1952

#1, #2, #5, #6, #7, #8: 

Dizzy Gillespie (trumpet), Bill Tamper (trombone),

Hubert Fol (alto sax), Don Byas (tenor sax),

Raymond Fol (piano), Pierre Michelot (bass), Pierre Lemarchand (drums)

Recortded at the auditorium of the Schola Cantorum, Paris, France, April 11, 1952

✤✤✤✤

For those who prefer the digital versions of these recordings, the material originally issued by Blue Note as Horn of Plenty can be found in the second of the two volumes Vogue devoted to documenting Dizzy Gillespie's Parisian stay in 1952 and 1953. While this volume gathers the studio sessions recorded for the French label, the other focuses on the live performances documented during those same European visits.

The Vogue edition also offers several advantages over the original Blue Note LP: not only does it include performances omitted from Horn of Plenty, but also a number of alternate takes later recovered from the French archives. In this way, the listener gains access to a far more complete picture of Dizzy's Paris period, both in the studio and on stage.

Dizzy Gillespie

In Paris • Volume 2

Recording opportunities were not lacking for Dizzy and Vogue lured him into the studios twice within barely a fortnight. He recorded a total of twelve titles and included here are four previously unissued alternate takes. The first session took place on March 27th 1952 with Dizzy backed by the trio then accompanying Lena Horne at the Lido. Giving the main support was the very man who had been his fellow quintet member at the Onyx Club in 1944, tenor saxophonist (and now European resident) Don Byas. Afro Paris and Say Eh belong to Dizzy's Afro-bop and "oo-bop-sha-boo" side, while Hurry Home and I Cover the Waterfront are handled in a sober classical ballad style while still bringing endless unmistakably bop turns and inflections.

The April 11th session finds Dizzy playing with an open, vibrant and rich sound throughout, backed by Hubert Fol's prestigious quartet, with trombonist Bill Tamper and Don Byas mainly present to strengthen the ensemble voices. The programme opens with the erroneously titled Cripple Crapple Crutch, a dragging blues which Dizzy was to perform throughout the rest of his career. "I wouldn't give a blind sow an acorn, wouldn't give a cripple crab a crutch", he sings, and you can't get much crueller than that! Dizzy Song, Somebody Loves Me and Wrap Your Troubles (the latter in two takes) are taken at brisk medium tempos, while the other four titles are slow ballads which allow Dizzy to expand truly magnificently.

The following year Dizzy returned to Europe, this time with his own quintet and singer Joe Carroll. For the February 22nd 1953 Vogue studio session, whose eight titles include Joe Carroll's vibrant vocal on Clappin' Rhythm issued here for the first time, Nat Peck's trombone replaces Bill Graham's baritone saxophone. Dizzy again plays open throughout and produces some of the most fabulous trumpet solos one could wish to hear. This session has humour (the tongue-in-cheek quality of Always, 'S Wonderful and even Mon homme), bop surrealism in Joe Carroll's Oo-Bla-Dee, beauty (Moon Nocturne, This Is the Way), blues (Watch Out) and a constant natural swing. In short: excellent music, still completely contemporary forty years later.

*Don Waterhouse (from the liner notes)*

1 - Afro Paris

(Billy Taylor)

2 - Afro Paris

(Billy Taylor)

3 - Hurry Home

(Buddy Bernier, Romert D. Emmerich, Joseph Meyer)

4 - Hurry Home

(Buddy Bernier, Romert D. Emmerich, Joseph Meyer)

5 - Say Eh

(Dizzy Gillespie)

6 - Say Eh

(Dizzy Gillespie)

7 - I Cover the Waterfront

(Johnny Green, Edward Heyman)

8 - You Ain't Such a Much

(Pleasant Joseph)

9 - Dizzy Song (Lady Bird)

(Tadd Dameron)

10 - Somebody Loves Me

(George Gershwin, Buddy G. De Sylva, Ballard MacDonald)

11 - She's Funny That Way

(Neil Moret, Richard Whiting)

12 - Wrap Your Troubles In Dreams

(Harry Barris, Ted Koehler, Billy Moll)

13 - Wrap Your Troubles In Dreams

(Harry Barris, Ted Koehler, Billy Moll)

14 - Sweet Lorraine

(Mitchell Parish, Cliff Burwell)

15 - Everything Happens to Me

(Matt Denis, Tom Adair)

16 - I Don't Know Why

(Roy Turk, Fred E. Ahlert)

17 - Always

(Irving Berlin)

18 - Mon Homme

(Maurice Yvain, Albert Willemetz)

19 - Clappin Rhythm

(Dizzy Gillespie)

20 - Fais Gaffe (Watch Out)

(Dizzy Gillespie)

21 - Moon Nocturne

(Nathaniel Shilkret)

22 - This Is the Way

(Dizzy Gillespie)

23 - 'S Wonderful

(George Gershwin)

24 - Oo-Bla-Dee

(Mary Lou Williams, Milt Orent)

Note:

The recording locations on the artwork are incomplete or incorrect

and are added to, or corrected, below:

#1 to #7:

Dizzy Gillespie (trumpet, vocal), Don Byas (tenor sax), Arnold Ross (piano),

Joe Benjamin (bass), Bill Clark (drums), Umberto Canto (congas).

Recorded at Studio Jouvenet, Paris, France, March 27, 1952

#8 to #16:

Dizzy Gillespie (trumpet, vocal), Bill Tamper (trombone), Hubert Fol (alto sax),

Don Byas (tenor sax), Raymond Fol (piano),

Pierre Michelot (bass), Pierre Lemarchand (drums).

Recortded at the auditorium of the Schola Cantorum, Paris, France, April 11, 1952

#17 to #24:

Dizzy Gillespie (trumpet, vocal [#19]), Nat Peck (trombone), Wade Legge (piano),

Lou Hackney (bass), Al Jones (drums), Joe Carroll (vocal [#24]).

Recorded at Studio Rex, Paris, France, February 22, 1953

Michel De Villers - ''Low Reed''

Michel de Villers (1926-1992) was one of the most influential French reed players in modern jazz, known by most of his fellow musicians by his nickname: "Low reed". From a very young age, de Villers excelled on alto sax and clarinet. After gaining the attention of fans and musicians as an amateur, he was hired by Django in 1946. Shortly afterwards he began recording as a leader, improvising with cohesive drive and swinging passion, with a clear tone and vocabulary straight from the leading swing alto players—Benny Carter, Willie Smith and Johnny Hodges.

Looking to achieve a more modern sound, he adopted the baritone as his main instrument in 1949, swinging authoritatively with a muscular fullness of tone, but with the initial fierceness of his attack tempered by the cool influence, of Bird first, and Mulligan later. His skill as a soloist and improviser put him among the best European baritonists when Jazz-Hot awarded him from 1950 onwards first place in their annual readers’ poll. This led to calls from American jazzmen on their way through Paris. His fame spread to the United States when in 1956 he was voted one of the best new baritone players by the Down Beat international critics' poll.

Below, a CD set with all his recording sessions in small groups as a leader during his most prolific years (1946-1956). The way he makes his sounds swing so naturally can lead one to believe that perhaps others possessed better techniques or ideas; but the truth is that few surpassed Michel de Villers in soul and feeling. In his own words: “I get deeply bored when it doesn't swing".

*Jordi Pujol*

Michel De Villers

''Low Reed''

Complete Small Group Sessions 1946-1956

De Villers was a regular poll winner in Jazz Hot magazine from 1950 until the poll ended in 1965. He also placed high in the Downbeat critics' poll when his fame spread to the USA. The earliest tracks in this collection, from 1946, feature him on alto with a curious but not unattractive blend of mainstream alto sax punctuated by bop phrases taken from Charlie Parker. "Shufflin' At The Hollywood" by Lionel Hampton is pure swing era, the alto sound fat and rich. His own "Blues At Eleven" is back to the bop with a strange French variation of scat from drummer Reilles, switching for a moment to vocal. De Villers quotes from "Salt Peanuts" during a wild alto burst. There is more of a hint of the boppers and Bird in "Lover Man", a slow and lyrical solo. By this session he had Kenny Clarke on drums, an early visit that later became full-time immigration.

Sometime in the early 1950s De Villers switched to baritone and this is the instrument that appears to have suited him best. "Fisher's Wife" has him swinging merrily on the big sax, with full tone and plenty of invention. He was very good on all styles and two instruments although his bop-influenced baritone is the most impressive on these fascinating tracks made in Paris. He himself said "I get bored deeply if it does not swing". Mostly though, it did. *Derek Ansell*

Michel "Low Reed" de Villers played both alto and baritone sax, mixing the swoon of Johnny Hodges on the former and the warmth of Gerry Mulligan on the latter. These sessions from 1946-1956 mix hot and cool sounds in settings ranging from hip quartets to moderate sized orchestras.

On alto, de Villers' lilting horn is drop dead gorgeous on the Old World "Blues at Eleven" and sounds like Rabbit with Bird tendencies on "How High the Moon" and "Sweet Lorraine" while dripping with passion on "Lover Man" and the ballad "I'm Sorry". He bops with the best on "Stuffy" and is lovingly modern on "I Surrender Dear". For his baritone sax, he sweetly swings on "Fisher's Wife" and gets a Kansas City feel on "Indiana". Some 1954 Orchestra settings have him in the midst of a velvety sax section, not dissimilar to Woody Herman's "Four Brothers" Band, with soft and sensuous harmonies on "These Foolish Things" and "I Only Have Eyes For You" while showing some muscle on "Somebody Loves Me". A discovered fresh water pearl! *George W. Harris*

1 - How High The Moon

(Morgan Lewis)

2 - Sweet Lorraine

(Parish, Burwell)

3 - Shufflin' At The Hollywood

(Lionel Hampton)

4 - Blues At Eleven

(Michel de Villers)

5 - Lover Man

(Davis, Sherman, Ramírez)

6 - The Small Bag

(Michel de Villers)

7 - I'm Sorry

(Michel de Villers)

8 - Working Eyes

(Tyree Glenn)

9 - Stuffy

(Coleman Hawkins)

10 - I Surrender Dear

(Barris, Clifford)

11 - Fisher's Wife

(Michel de Villers)

12 - I Can't Get Started

(Vernon Duke)

13 - Over The Rainbow

(Arlen, Harburg)

14 - Indiana

(MacDonald, Hanley)

15 - Let's Try Again

(Michel de Villers)

16 - 'Round Midnight

(Thelonious Monk)

17 - These Foolish Things

(Marvell, Strachey)

18 - Cat On The Stairs

(Michel de Villers)

19 - I Only Have Eyes For You

(Warren, Dubin)

20 - Penitas De Amor

(Claude P. Armand Artur, [a.k.a "Arture"])

21 - Somebody Loves Me

(Gershwin, MacDonald, DeSylva)

22 - Portrait Of Django

(Jean-Pierre Sasson)

23 - Happy Flying Carpet

(Michel de Villers)

24 - Don't Blame Me

 (McHugh, Fields)

#1 to #4: Michel de Villers et son Quintette from Swing albums (SW. 239 [#1, #3] and SW. 246 [#2, #4])

Michel de Villers (alto sax), André Persiany (piano), Jean Bonal (guitar), Georges Hadjo (bass), André Baptiste "Mac-Kac" Reilles (drums, vocals [#4]), Georges Martinon (drums [#4]).

Recorded in Paris, October 16, 1946.

#5 to #7: Michel de Villers et son Quintette from Swing albums (SW. 276 [#5, #6] and SW. 290 [#7])

Michel de Villers (alto sax), Jean-Claude Fohrenbach (tenor sax), André Persiany (piano), Georges Hadjo (bass), Kenny Clarke (drums).

Recorded in Paris, March 12, 1948.

#8, #9: Michel de Villers et son Orchestra from Swing album (SW. 290 [#9], #8 [unreleased Swing recording])

Claude Dunson (trumpet), Michel de Villers (alto sax), Jean-Claude Fohrenbach (tenor sax), Jacques Denjean (piano), Harry Montaggioni (guitar), Alf "Totole" Masselier (bass), Kenny Clarke (drums).

Recorded in Paris, May 5, 1948.

#10: Michel de Villers et son Quintette from Swing (SW. 290)

Michel de Villers (alto sax), Jacques Denjean (piano), Harry Montaggioni (guitar), Alf  "Totole" Masselier (bass), Kenny Clarke (drums).

Recorded in Paris, May 5, 1948.

#11 to #16: Michel de Villers Swingtet from Jazz for Dance, Vol. 1 (Ducretet Thomson 250V001)

Michel de Villers (alto sax, baritone sax), André Persiany (piano), Jacques "Popoff" Medvedko (bass), Bernard Planchenault (drums).

Recorded in Paris, Spring of 1954.

#17 to #20: Michel de Villers et son Orchestra from Decca (EFS 450.511)

Michel de Villers (baritone sax), Charles Verstraete (trombone), Hubert Fol (alto sax), Maurice Meunier (tenor sax), Geo Daly [as L. Jackson] (vibes), André Persiany (piano, arrangements), Alix Bret (bass), Bernard Planchenault (drums).

Recorded in Paris, 1954.

#21 to #-24: Michel de Villers et son Orchestra from Decca (EFS 450.605)

Michel de Villers (baritone sax), André "Teddy" Hameline (alto sax), André Debonneville (tenor sax), André Persiany (piano, arrangements), Paul Rovere (bass), Roger Paraboschi (drums).

Recorded in Paris, April 13, 1956.

Kenny Clarke - Four Rare And Obscure Jazz Albums

Recorded during 1956-1960, the initial years of drummer Kenny Clarke's permanently settling in Europe, these four sessions display his versatility and consistently commanding musicianship over richly varied settings, some graced, among others, by the stellar presence of US tenor giants Lucky Thompson and Don Byas.

They show, too, the superior quality of some European players and composerarrangers who were to be outstanding names in continental jazz -primarily French and Belgian, but also including the great Algerian pianist, Martial Solal.

Solal and trombonist Billy Byers are featured on the opening session of André Hodeir's excellently conceived arrangements of originals by himself, Ellington, Monk, Mulligan, Dameron and others. On the Kenny Clarke Plays Pierre Michelot session, Michelot reveals his considerable gifts as composer and arranger, influenced by the Miles Davis Nonet, with Clarke and Thompson at their best. The Bill Holman-influenced composer-arranger Christian Chevallier’s good writing animates the next session. Both sessions benefit from a rhythm section which includes the arrestingly brilliant piano of Maurice Vandair.

The final session, from 1960, showcases Francy Boland's writing, presaging his long collaboration with Clarke. Apart from Clarke and Byas, the musicians are Belgian, with vibist Fats Sadi the most original soloist among them and Clarke, as always, an inspiring presence. *Jordi Pujol*

Paris in the 1950s was awash with ex-pat American jazzers, and a bulwark of the scene was drummer Kenny Clarke, who, unlike many of his fellow countrymen, believed in wholehearted integration with local players, while also deploying visitors from across the pond. In this series of recordings, Clarke also displayed his faith in the talented arrangers then active in Paris, notably Andre Hodeir and Christian Chevalier, also providing an opportunity for the orchestrations of bassist Pierre Michelot to be aired. Michelot and Clarke would, of course, become a super, long-standing rhythmic partnership. The charts are uniformly excellent, and Hodeir's material unquestionably quite challenging.

Nor is there any shortage of interesting soloists, given the presence of the likes of Martial Solal, Lucky Thompson, Billy Byers, Tony Scott and Roger Guérin. The various groups, ranging from sextet to full big band, seem like a logical prelude to the Kenny CIarke/Francy Boland band. Indeed, the closing three tracks mark one of the pair's earliest collaborations, pre-dating their first sides for a US label. In this instance the great Don Byas was on hand for the Cologne session and in top form. His imperious presence inspired everyone; his reading of "More Than You Know" is a gem of ballad playing.

Kenny Clarke's encouragement and support of French musicians made him something of an icon. He also showed his organisational ability in all these recordings, while faultlessly providing the irresistible pulse to spark ensembles and soloists. The man was a giant of the percussive arts.

*Mark Gardner*

Kenny Clarke - Plays The Arrangements

Of André Hodeir • Pierre Michelot

Christian Chevallier and Francy Boland

In the 1950s several American jazz musicians began emigrating to France, both to avoid racial intolerance and in the hope of finding more steady work. One of these was drummer Kenny Clarke, who moved to Paris in 1956. This collection illustrates how he immediately found a good deal of work. The compilation contains recordings made between 1956 and 1960 by a variety of artists under Kenny Clarkes leadership, spotlighting the arrangements of four different musicians.

The first dozen tracks feature arrangements by André Hodeir, He was well respected not only for his musical writing but also for his rigorous scholarship, evidenced in such works as his famous Jazz: Its Evolution and Essence. In fact Hodeir supplies some revealing sleeve-notes. Some of the dozen arrangements here reveal the influence of the Birth of the Cool musicians, who explored new cool voicings and styles. Chords are often varied by movement within the lines of the contributing instruments.

These qualities are present in the opening "Bemsha Swing", which reflects Thelonious Monks style in the jagged changes in the final chorus. Martial Solals piano solo here and on other tracks is radiantly clear. In fact André Hodeir seems to prefer piano solos in most tunes. Hodeirs classical background is present in "'Round Midnight", where the theme only emerges at the end of a long semi-classical build-up. "When Lights are Low" is deprived of its charm by being performed at too fast a tempo. But Hodeir skilfully uses counterpoint to provide a frisson in the harmonies. René Urtréger plays an airy solo. Hodeirs arrangements may be rather academic but their intriguing ensembles coupled with some splendid solos make these twelve tracks well worth hearing.

Bassist Pierre Michelot arranged the next four tracks, which might have come from the pen of a West Coast jazzer such as Shorty Rogers. "Love Me or Leave Me" gives Kenny Clarke the opportunity for a long drum solo. Like his other solos on this album, they are tight and disciplined. Michelot himself takes the limelight in Fantasy for Bass.

The Christian Chevallier arrangements are possibly the most conventional in this collection, but none the worse for that. They bear the influence of Bill Holman and swing along fluidly, including excellent solos from the likes of pianist Maurice Vandair and (in "Black Knight") Kenny Clarke.

The personnel in the final three tracks are predominantly Belgian, like the arranger - Francy Boland - who later formed a marvellous big band with Kenny Clarke. Don Byas contributes a beautifully flowing solo to "More Than You Know".

This compilation proves that France had musicians the equal of the Americans and that Kenny Clarke could fit into any kind of setting. *Tony Augarde*

1 - Bemsha Swing

(D. Best, T. Monk)

2 - Oblique

(André Hodeir)

3 - Blue Serge

(Duke Ellington)

4 - Swing Spring

(Miles Davis)

5 - On A Riff

(André Hodeir)

6 - Jeru

(Gerry Mulligan)

7 - The Squirrel

(Tadd Dameron)

8 - Eronel

(Thelonious Monk)

9 - 'Round Midnight

(Thelonious Monk)

10 - When Lights Are Low

(Benny Carter)

11 - Cadenze

(André Hodeir)

12 - Tahiti

(Milt Jackson)

13 - Love Me Or Leave Me

(Kahn, Donaldson)

14 - Fun For Four

(Pierre Michelot)

15 - Fantasy For Bass

(Pierre Michelot)

16 - Jackie, My Little Cat

(Pierre Michelot)

17 - Dream Time

(Christian Chevallier)

18 - Gold Fish

(Christian Chevallier)

19 - Black Knight

(Christian Chevallier)

20 - Jean-Paul

(Christian Chevallier)

21 - Bell Hop

(Francy Boland)

22 - More Than You Know

(Youmans, Elescu, Rose)

23 - Tampico

(Francy Boland)

#1 to #12:

from the LP Kenny Clarke Plays Andre Hodeir (Epic LN 3376)

#5, #9, #10:

Roger Guérin (trumpet); Billy Byers, Nat Peck (trombones); René Urtréger, Martial Solal (piano); Pierre Michelot (bass); Kenny Clarke (drums).

Recorded at Studio Apollo, Paris, October 26, 1956.

#2, #6, #8, #12:

Billy Byers (trombone); Hubert Rostaing [as Robert Guismath] (alto sax); Armand Migiani (baritone sax); Martial Solal (piano); Jean Warland (bass); Kenny Clarke (drums).

Recorded at Studio Apollo, Paris, November 21, 1956.

#1, #3, #4, #7, #11:

Roger Guérin (trumpet); Billy Byers (trombone); Armand Migiani (baritone sax); Martial Solal (piano); Jean Warland (bass); Kenny Clarke (drums).

Recorded at Studio Apollo, Paris, November 30, 1956.

#13 to #16:

from EP Kenny Clarke Plays Pierre Michelot (Columbia ESDF1176)

Ack van Rooyen, Bernard Hulin (trumpets); Billy Byers, Nat Peck, (trombones); Hubert Fol (alto sax); Lucky Thompson, Pierre Gossez, (tenor saxes); Armand Migiani (baritone sax); Maurice Vandair (piano); Pierre Michelot (bass); Kenny Clarke (drums).

Recorded at Pathé Marconi Boulogne Studios, Paris, September 23, 1957.

#17 to #20:

from the EP Kenny Clarke Plays Christian Chevallier (Columbia ESDF1222)

#17, #18:

Roger Guérin (trumpet); Benny Vasseur (trombone); Pierre Gossez, René "Mickey" Nicholas (alto saxes); Georges Grenu (tenor sax); Armand Migiani (baritone sax); Maurice Vandair (piano); Pierre Michelot (bass); Kenny Clarke (drums).

Recorded at Pathé Marconi Boulogne Studios, Paris, November 12, 1957.

#19, #20:

Ack van Rooyen, Jean Liesse (trumpets); Nat Peck (trombone); Hubert Fol, Jean Aldegon (alto saxes); Georges Grenu (tenor sax); Tony Scott (clarinet, tenor sax); Armand Migiani (baritone sax); Maurice Vandair, Raymond Fol (piano); Pierre Michelot (bass); Kenny Clarke (drums).

Recorded at Pathé Marconi Boulogne Studios, Paris, November 12, 1957.

#21 to #23:

from the EP Don Wails With Kenny (Columbia C41226)

Christian Kellens (trombone); Eddie Busnello (alto sax); Don Byas (tenor sax); Fats Sadi (vibes); Francy Boland (piano & arrangements; Jean Warland (bass); Kenny Clarke (drums). 

Recorded at EMI Electrola Studios, Cologne, February 25, 1960.

Hubert Fol And His Be-Bop Minstrels

The first French jazzman to embrace bebop with true enthusiasm was without a doubt alto saxophonist Hubert Fol (1925-1995). He took to the new style when he was barely 20 years old, the moment he heard Charlie Parker on record, and he immediately began practicing. His prowess grew rapidly, and soon he had an opportunity to prove himself.

In the summer of 1947, he formed a sextet called "The Be-Bop Minstrels". The name was a clear statement of the stylistic message of the group, and their avant-garde playing impressed Charles Delaunay, who invited them to record for his label, Swing. The group’s first visit to the studios took place on July 4th, and the session resulted in the first bebop sides recorded in France.

Hubert quickly became one of the most capable French bebop players, and most of the great foreign musicians who visited Europe enjoyed playing with him: Coleman Hawkins, Don Byas and Dizzy himself, in addition to Rex Stewart, John Lewis, Kenny Clarke, James Moody, Jimmy Raney and others.

Hubert Fol always had a loyal following in France. For as long as he played, from 1950 until 1964, he was ranked the number one alto saxophonist in Jazz Hot’s yearly poll, making him one of the most honored jazz musicians in France. *Jordi Pujol*

Even the most ardent jazz fan may not know of how strong the bebop movement was in post WWII Paris. Usually, sounds from Sidney Bechet or Django Reinhardt are associated with the French jazz scene, but alto saxist Hubert Fol was one of the first European musicians to get the Charlie Parker bug, and he puree’d it into his own style with likeminded artists such as Raymond Fol-Andre’ Persiany-Rene Urtreger (piano), Pierre Michelot (bass), and ex pat protobopper Kenny Clarke to create a Gaullic interpretation of modern jazz. This two disc set, with intriguing annotation and studio listings, covers Fol’s recordings from 1947-54, and it is a fascinating collection of the steaming sounds that came out of the Left Bank.

Hubert Fol’s alto has a sweeter sound than his inspiration Parker, yet still steaming hot like an early morning baguette in settings ranging from quartets to tentets, mixing bebop standards with originals. With Alan Jeffreys or Dick Collins on the trumpet, the band sizzles with the leader on "Night in Tunisia" and "Boppin' and Oilskin" while the team does a gorgeously relaxed intro to "Lover Come Back to Me". Sparks fly during "I’ve Got Be-Bop" and sway during "Robbin's Nest". 

Fol gets time in the spotlight during quartet sessions with brother Raymond (piano), Pierre Michelot (bass) and Pierre Lemarchand (drums) on a dreamy "Everything Happens to Me", "These Foolish Things" and "Out of Nowhere" mixing modern sounds with a suave tone while floating like a smoke ring during "You Go to My Head", whereas he windsurfs through a breezy "I'll Remember April".

The team flexes their collective muscles on a quintet read of "Half Nelson" and a richly arranged two parter "Ivory Black" while pieces such as "I Only Have Eyes For You" and "Always" with Fol as a sideman are rich bon mots. While bebop and the subsequent genres in its wake have been with us to this very day, there was something about the first generation of boppers that delivered the message with excitement and commitment of discovery, like the difference between hearing tales of heroes of the past and actually living during the time of Sir Lancelot. This one is going to surprise you with how modern these guys sound; no hint of imitation as much as inspiration. *George W. Harris*

*CD 1*

1 - Night In Tunisia

(Gillespie, Papparelli)

2 - Lubie Loo

(Jack Carmen)

3 - Swinging At Lutetia

(Alan Jeffreys)

4 - Making Be-Bop

(Jack Carmen)

5 - I’ve Got Be-Bop

(Hubert Fol)

6 - Hard To Get

(Kenny Clarke)

7 - Ralph Goes

(Ralph Shecroun)

8 - All The Things You Are

(Kern, Hammerstein II)

9 - Boppin' And Oilskin

(Dick Collins)

10 - Lover Come Back To Me

(Romberg, Hammerstein II)

11 - Now, Cut Out

(Jimmy Davis)

12 - Lover Man

(Davis, Ramirez, Sherman)

13 - Indiana

(Miles Davis)

14 - Love In The Sun

(Hubert Fol)

15 - Iambic Pentameter (Epistrophy)

(Kenny Clarke)

16 - Assy Pan Assy

(Hubert Fol)

17 - Robbin's Nest

(Charles Thompson)

18 - Blues 1950

(Aimé Barelli)

19 - Everything Happens To Me

(Dennis, Adair)

*CD 2*

1 - This Fol-ish Thing

(Hubert Fol)

2 - These Foolish Things

(Marvel, Strachey, Link)

3 - Out Of Nowhere

(Green-Heyman)

4 - Lonely Moments

(Mary Lou Williams)

5 - Death Of The Octopus

(Raymond Fol)

6 - Ivory Black (part 1)

(Raymond Fol)

7 - Ivory Black (part 2)

(Raymond Fol)

8 - Half Nelson

(Miles Davis)

9 - I'll Remember April

(Raye, DePaul)

10 - Yardbird Suite

(Charlie Parker)

11 - A Fine Romance

(Kern, Fields)

12 - They Can't Take That Away From Me

(G. and I. Gershwin)

13 - You Go To My Head

(Gillespie, Coots)

14 - Always

(Irving Berlin)

15 - Hallelujah

(Vincent Youmans)

16 - I Only Have Eyes For You

(Warren, Dubin)

17 - I Want To Be Happy

(Youmans, Caesar)

18 - Whispering

(Rose, Schonberger, Coburn)

*CD 1*

#1 to #4: Hubert Fol and His Be-Bop Minstrels

Alan Jeffreys (trumpet), Jack Carmen (trombone), Hubert Fol (alto sax), André Persiany (piano), Emmanuel Soudieux (bass) Benny Bennett (drums).

Recorded in Paris, July 4, 1947.

#5 to #8: Hubert Fol and His Be-Bop Minstrels

Dick Collins (trumpet), Hubert Fol (alto sax), Dave Van Kriedt (tenor sax), André Persiany (piano), Georges Hadjo (bass), Kenny Clarke (drums).

Recorded in Paris, March 17, 1948.

#9 to #13: Hubert Fol and His Be-Bop Minstrels

Dick Collins (trumpet), Hubert Fol (alto sax), Michel de Villers [#13](alto sax); Raymond Fol (piano), Alf "Totole" Masselier (bass), Richie Frost (drums).

Recorded in Paris, November 15 (#9 to #12), and 28 (#13), 1948.

#14 to #17: Hubert Fol and His Be-Bop Minstrels

Nat Peck (trombone), Hubert Fol (alto sax), Bernard Peiffer (piano), Jean Bouchety (bass), Kenny Clarke (drums).

Recorded in Paris, October 29, 1949.

#18: All Star Français after the 1950 "Jazz-Hot" Référendum

Aimé Barelli (trumpet), Benny Vasseur (trombone), Hubert Rostaign (clarinet), Hubert Fol (alto sax), Jean-Claude Fohrenbach (tenor sax), Michel de Villers (baritone sax), Leo Chauliac (piano), Geo Daly (vibes), Jean Bouchety (bass), Roger Paraboschi (drums), Jo Bartel (vocals).

Recorded in Paris, December 15, 1949.

#19: Hubert Fol Quartet

Hubert Fol (alto sax), Raymond Fol (piano), Pierre Michelot (bass), Pierre Lemarchand (drums).

Recorded live at unidentified location, Paris, 1950.

*CD 2*

#1 to #3: Hubert Fol and His Be-Bop Minstrels

Hubert Fol (alto sax), Raymond Fol (piano), Pierre Michelot (bass), Kenny Clarke (drums).

Recorded in Paris, March 3, 1950.

#4 to #7: Raymond Fol and His Orchestra

Christian Bellest, Guy Lognon (trumpets); Nat Peck, Bernard Zacharias, Benny Vasseur (trombones); Hubert Fol (alto sax); Raymond Fol (piano); Pierre Michelot, Roger Dagneres (basses); Roger Paraboschi (drums).

Recorded in Paris, June 28, 1950.

#8, #9: Hubert Fol-Sacha Distel Quintet

Hubert Fol (alto sax), Sacha Distel (guitar), René Urtreger (piano), Pierre Michelot (bass), Baptiste "Mac Kac" Reilles (drums).

Recorded live at the Apollo Théâtre, Paris 12, 1954.

#10: Hubert Fol Sextet

Christian Bellest (trumpet), Hubert Fol (alto sax), Jay Cameron (baritone sax), René Urtreger (piano), Benoit Quersin (bass), Jean-Louis Viale (drums).

Recorded live at the Apollo Théâtre, Paris 12, 1954.

#11 to #13: Hubert Fol Quartet

Hubert Fol (alto sax), René Urtreger (piano), Jean-Marie Ingrand (bass), Jean-Louis Viale (drum).

Recorded in Paris, January 11, 1956.

#14 to #18: Moustache and His Jazz Seven

Guy Longnon (trumpet), Benny Vasseur (trombone), Hubert Fol (alto sax), Geo Daly (vibes), Raymond Fol (piano), Roland Bianchini (bass), Moustache (drums).

Recorded in Paris, 1954.