Various Artists – European Jazz – Volume 06 – Great Britain (Part 1) (2012)

FrontCover1.jpgAt one time, the concept of “European Jazz” meant very little indeed. While jazz was developing in the USA in the 1920s, there was almost no European jazz to speak of. Some Americans – Benny Carter, Coleman Hawkins, Sidney Bechet – came to Europe and made an impact there in the 1930s but it was not until the thirties that Europeans began to develop their own jazz significantly. Perhaps the most outstanding group was the Quintet of the Hot Club of France, formed in 1934, with its two virtuosos Django Reinhardt and Stéphane Grappelli.

This group is not represented in this ten-CD boxed set, which suggests that the compilation is making no attempt at a historical survey. Indeed, it is difficult to know what this set is trying to do. It seems as if the compilers simply put together tracks to which they had access, and there is little attempt to provide a balanced view of European jazz. Nevertheless, this collection can be educative in opening our ears to some artists we may not have heard before. It also supplies a cross-section (albeit limited) of how Europeans developed jazz, mostly in the 1950s and 1960s.

This compilation makes it clear that European jazz was very much influenced by the Americans. For example, the tenorist on track 2 of the third CD sounds very like Stan Getz, while the altoist on the third track betrays the influence of Charlie Parker. And the Michael Naura Quintet on the eighth CD could be mistaken for the Modern Jazz Quartet.

Gaynair.jpg

I can’t tell you who most of the individual musicians are, as detailed personnels are sadly not given. This is a nuisance, as I would like to be able to identify (for instance) the bongo Brandenburgplayer on track 9 of the fifth CD. However, one lesson of many tracks in this collection is that many Europeans learnt from the bebop pioneers – and from such groups as the Gerry Mulligan Quartet. As most of the tracks in this compilation come from the fifties and sixties, there is little individuality in the music from the different countries, as it was only later that they began to develop their own distinctive styles.

The next two albums are devoted to Great Britain. They include examples by two neglected tenorists: Wilton “Bogey” Gaynair and Joe Harriott, both with Jamaican origins. Tubby Hayes and the Jazz Couriers deliver their usual hundred-notes-a-minute, while Johnny Dankworth’s orchestra plays some tight arrangements. (musicweb-international.com)

Tubby Hayes.jpg

No, no, no … this compilation is not so weak, as we read above … it´s a great compilation with lots of rarities from the young European Jazz-Scene during the 50´and this time we hear great Jazz from Great Britain ! Excellent stuff !

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Tracklist:

Wilton “Bogey“ Gaynair:
01. Wilton‘s Mood (Gaynair) 6.07
02. Deborah (Gaynair) 4.04
03. Joy Spring (Gaynair) 9.13
04. Rhythm (Gaynair) 5.19
05. Blues For Tony (Gaynair) 7.09
06. The Way You Look Tonight (Kern) 7.26

Tubby Hayes and the Jazz Couriers feat. Ronnie Scott:
07. Oh, My! (Ganley) 4.48
08. Plebus (Hayes) 5.29
09. Reunion (Mobley) 5.01
10. A Foggy Day (Gershwin) 7.44
11. Through The Night Roared The Overland Express (A Broken Bridge Ahead, A Madman At The Throttle) (Hayes) 6.54

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Various Artists – European Jazz – Volume 05 – France (Part 2) (2012)

FrontCover1.jpgAt one time, the concept of “European Jazz” meant very little indeed. While jazz was developing in the USA in the 1920s, there was almost no European jazz to speak of. Some Americans – Benny Carter, Coleman Hawkins, Sidney Bechet – came to Europe and made an impact there in the 1930s but it was not until the thirties that Europeans began to develop their own jazz significantly. Perhaps the most outstanding group was the Quintet of the Hot Club of France, formed in 1934, with its two virtuosos Django Reinhardt and Stéphane Grappelli.

This group is not represented in this ten-CD boxed set, which suggests that the compilation is making no attempt at a historical survey. Indeed, it is difficult to know what this set is trying to do. It seems as if the compilers simply put together tracks to which they had access, and there is little attempt to provide a balanced view of European jazz. Nevertheless, this collection can be educative in opening our ears to some artists we may not have heard before. It also supplies a cross-section (albeit limited) of how Europeans developed jazz, mostly in the 1950s and 1960s.

This compilation makes it clear that European jazz was very much influenced by the Americans. For example, the tenorist on track 2 of the third CD sounds very like Stan Getz, while the altoist on the third track betrays the influence of Charlie Parker. And the Michael Naura Quintet on the eighth CD could be mistaken for the Modern Jazz Quartet.

Bernard Pfeiffer1.jpg

I can’t tell you who most of the individual musicians are, as detailed personnels are sadly not given. This is a nuisance, as I would like to be able to identify (for instance) the bongo Brandenburgplayer on track 9 of the fifth CD. However, one lesson of many tracks in this collection is that many Europeans learnt from the bebop pioneers – and from such groups as the Gerry Mulligan Quartet. As most of the tracks in this compilation come from the fifties and sixties, there is little individuality in the music from the different countries, as it was only later that they began to develop their own distinctive styles.

This CD is the second to be devoted to France, included Bernard Pfeiffer.  He is a world-class pianist and it is good to find him included here. Another is  Michel Legrand and he has always been a fine pianist. Michel’s clear lines and swinging style are a joy. He is followed by Stéphane Grappelli displaying his rhapsodic violin style but also playing the piano with delicacy. (musicweb-international.com)

Michel Legrand1

No, no, no … this compilation is not so weak, as we read above … it´s a great compilation with lots of rarities from the young European Jazz-Scene during the 50´and this time we hear great Jazz from France ! Excellent stuff !

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Tracklist:

Legrand:
01. Tired Blues (Pfeiffer) 2.39
02. Steeplechase (Parker) 2.49
03. Midday On The Champs-Elysées (Rocherolle) 2.49
04. Caravan (Mills/Tizol/Ellington) 3.10

Michel Legrand:
05. Sous les Ponts de Paris (Rodor/Scotto) 2.52
06. Paris In The Spring (Gordon/Revel) 3.31
07. Sous le Ciel de Paris (Giraud/Drejac) 1.50
08. Paris Canaille (Ferré) 2.03
09. Paris je t‘aime d‘amour (Bataille/Grey/Schertzinger) 4.23
10. I Love Paris (Porter) 2.51
11. La vie en Rose (Piaf/Louiguy) 3.08

Stéphane Grappelli:
12. Dans la Vie (Louiguy) 3.52
13. Vous Qui Passez Sans Me Voir (Hess/Misraki/Trénet) 3.54
14. Marno (Grappelli) 2.49
15. Crazy Blues (Grappelli) 2.46
16. Viens Au Creux De Mon Epaule (Aznavour) 2.55
17. Red-O-Rey (Grappelli) 2.52

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Various Artists – European Jazz – Volume 04 – France (Part 1) (2012)

FrontCover1At one time, the concept of “European Jazz” meant very little indeed. While jazz was developing in the USA in the 1920s, there was almost no European jazz to speak of. Some Americans – Benny Carter, Coleman Hawkins, Sidney Bechet – came to Europe and made an impact there in the 1930s but it was not until the thirties that Europeans began to develop their own jazz significantly. Perhaps the most outstanding group was the Quintet of the Hot Club of France, formed in 1934, with its two virtuosos Django Reinhardt and Stéphane Grappelli.

This group is not represented in this ten-CD boxed set, which suggests that the compilation is making no attempt at a historical survey. Indeed, it is difficult to know what this set is trying to do. It seems as if the compilers simply put together tracks to which they had access, and there is little attempt to provide a balanced view of European jazz. Nevertheless, this collection can be educative in opening our ears to some artists we may not have heard before. It also supplies a cross-section (albeit limited) of how Europeans developed jazz, mostly in the 1950s and 1960s.

This compilation makes it clear that European jazz was very much influenced by the Americans. For example, the tenorist on track 2 of the third CD sounds very like Stan Getz, while the altoist on the third track betrays the influence of Charlie Parker. And the Michael Naura Quintet on the eighth CD could be mistaken for the Modern Jazz Quartet.

I can’t tell you who most of the individual musicians are, as detailed personnels are sadly not given. This is a nuisance, as I would like to be able to identify (for instance) the bongo Brandenburgplayer on track 9 of the fifth CD. However, one lesson of many tracks in this collection is that many Europeans learnt from the bebop pioneers – and from such groups as the Gerry Mulligan Quartet. As most of the tracks in this compilation come from the fifties and sixties, there is little individuality in the music from the different countries, as it was only later that they began to develop their own distinctive styles.

Le Jazz Groupe de Paris1

This CD is devoted to France. Le Jazz Groupe de Paris included saxist Bobby Jaspar and it played arrangements by André Hodeir. Martial Solal and Bernard Pfeiffer are world-class pianists and it is good to find them included here. Two other musicians who are perhaps better known outside jazz are Sacha Distel and Michel Legrand. Distel was an accomplished guitarist before he concentrated on singing, and Michel Legrand has always been a fine pianist (to hear on Part 2; coming soon) (musicweb-international.com)

Martial Solal1

No, no, no … this compilation is not so weak, as we read above … it´s a great compilation with lots of rarities from the young European Jazz-Scene during the 50´and this time we hear great Jazz from France ! Excellent stuff !

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Tracklist:

Le Jazz Groupe de Paris:
01. On A Scale (Hodeir) 4.23
02. Bicinium (Hodeir) 3.14
03. Evanescence (Hodeir) 4.06
04. Tension Detente (Hodeir) 3.32
05. Paradoxe (Hodeir) 2.08
06. Triads (Hodeir) 5.23
07. Milano (Hodeir) 4.16

Martial Solal et Les Kentonians;
08. Blues Martial (Solal) 7.44
09. Jive At Five (Basie) 7.14
10. Why Not? (Hefti) 7.08

Sacha Distel:
11. On Serait Des Chats (Byers) 3.04
12. No. 1 For Sacha (Byers) 2.59
13. Avec Ces Yeux-La (Legrand) 4.12
14. A Piece Of Pizza (Byers) 3.20
15. Half Nelson (Davis) 4.47

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Various Artists – European Jazz – Volume 03 – Italy (2012)

FrontCover1.jpgAt one time, the concept of “European Jazz” meant very little indeed. While jazz was developing in the USA in the 1920s, there was almost no European jazz to speak of. Some Americans – Benny Carter, Coleman Hawkins, Sidney Bechet – came to Europe and made an impact there in the 1930s but it was not until the thirties that Europeans began to develop their own jazz significantly. Perhaps the most outstanding group was the Quintet of the Hot Club of France, formed in 1934, with its two virtuosos Django Reinhardt and Stéphane Grappelli.

This group is not represented in this ten-CD boxed set, which suggests that the compilation is making no attempt at a historical survey. Indeed, it is difficult to know what this set is trying to do. It seems as if the compilers simply put together tracks to which they had access, and there is little attempt to provide a balanced view of European jazz. Nevertheless, this collection can be educative in opening our ears to some artists we may not have heard before. It also supplies a cross-section (albeit limited) of how Europeans developed jazz, mostly in the 1950s and 1960s.

This compilation makes it clear that European jazz was very much influenced by the Americans. For example, the tenorist on track 2 of the third CD sounds very like Stan Getz, while the altoist on the third track betrays the influence of Charlie Parker. And the Michael Naura Quintet on the eighth CD could be mistaken for the Modern Jazz Quartet.

I can’t tell you who most of the individual musicians are, as detailed personnels are sadly not given. This is a nuisance, as I would like to be able to identify (for instance) the bongo Brandenburgplayer on track 9 of the fifth CD. However, one lesson of many tracks in this collection is that many Europeans learnt from the bebop pioneers – and from such groups as the Gerry Mulligan Quartet. As most of the tracks in this compilation come from the fifties and sixties, there is little individuality in the music from the different countries, as it was only later that they began to develop their own distinctive styles.

Quintetto Basso-Valdambrini2

I shall not attempt to describe the music in detail but will simply pick out tracks, artists or groups of note. Most discs are devoted to particular countries …

… Another weakness of these selections is that they are often chosen from a narrow range of bands. Thus the second CD illustrates Scandinavian jazz with 15 tracks, of which ten are by The Swedish Modern Jazz Group, all taken from the same 1960 LP. At least it included Lasse Gullin and Nils Lindberg – two of Sweden’s best-known jazzmen.

Franco Cerri2

The third CD with the theme of Italy includes at least one musician who is still very active today. Enrico Rava. He was in his teens when his quartet recorded the three tracks here, although he doesn’t appear on Tema for Franco. His playing is clear although a little uncertain. The recording quality is remarkably good on these three tracks. (by musicweb-international.com)

Enrico Rava 4tet2

No, no, no … this compilation is not so weak, as we read above … it´s a great compilation with lots of rarities from the young European Jazz-Scene during the 50´and this time we hear great Jazz from Italy ! Excellent stuff !

Modern Jazz Gang2

Tracklist:
01. Quintetto Basso-Valdambrini: Lotar (Basso) 3.18

Franco Cerri:
02. Flavio‘s Blues (Ambrosetti) 4.06
03. Just One Of Those Things (Porter)

Piana, Mondini, Donadio, Azzolini:
04. Bag‘s Groove (Jackson) 5.23
05. All The Things You Are (Kern) 2.43
06. There Will Never Ne Another You (Warren) 2.13

Enrico Rava 4tet:
07. Tema For Franco (Lama) 2.45
08. Line For Lyons (Mulligan) 3.25
09. Fine And Dandy (Swist/James) 4.19

Modern Jazz Gang:
10. The Drum Is A Tramp (Santacci/Scappa/Bronollini) 3.15
11. Polimnia (Scappa/Santucci/Metallo) 3.42
12. Blue Mirria (Brugnolini) 3.30
13. Carme For J (Metallo) 3.16

Sestetto Bebop Gilberto Cuppini:
14. Esophagus (Spotti) 2.57
15. Perdido (Tizol) 6.19

16. Nunzio Rotondo and The Sextet Of Hot Club Of Rome: The Man I Love (Gershwin) 3.04

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Gilberto Cuppini2

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Various Artists – European Jazz – Volume 02 – Scandinavia (2012)

FrontCover1At one time, the concept of “European Jazz” meant very little indeed. While jazz was developing in the USA in the 1920s, there was almost no European jazz to speak of. Some Americans – Benny Carter, Coleman Hawkins, Sidney Bechet – came to Europe and made an impact there in the 1930s but it was not until the thirties that Europeans began to develop their own jazz significantly. Perhaps the most outstanding group was the Quintet of the Hot Club of France, formed in 1934, with its two virtuosos Django Reinhardt and Stéphane Grappelli.

This group is not represented in this ten-CD boxed set, which suggests that the compilation is making no attempt at a historical survey. Indeed, it is difficult to know what this set is trying to do. It seems as if the compilers simply put together tracks to which they had access, and there is little attempt to provide a balanced view of European jazz. Nevertheless, this collection can be educative in opening our ears to some artists we may not have heard before. It also supplies a cross-section (albeit limited) of how Europeans developed jazz, mostly in the 1950s and 1960s.

Lasse Gullin

This compilation makes it clear that European jazz was very much influenced by the Americans. For example, the tenorist on track 2 of the third CD sounds very like Stan Getz, while the altoist on the third track betrays the influence of Charlie Parker. And the Michael Naura Quintet on the eighth CD could be mistaken for the Modern Jazz Quartet.

I can’t tell you who most of the individual musicians are, as detailed personnels are sadly not given. This is a nuisance, as I would like to be able to identify (for instance) the bongo Brandenburgplayer on track 9 of the fifth CD. However, one lesson of many tracks in this collection is that many Europeans learnt from the bebop pioneers – and from such groups as the Gerry Mulligan Quartet. As most of the tracks in this compilation come from the fifties and sixties, there is little individuality in the music from the different countries, as it was only later that they began to develop their own distinctive styles.

I shall not attempt to describe the music in detail but will simply pick out tracks, artists or groups of note. Most discs are devoted to particular countries …

SWJG_FC+BC

… Another weakness of these selections is that they are often chosen from a narrow range of bands. Thus the second CD illustrates Scandinavian jazz with 15 tracks, of which ten are by The Swedish Modern Jazz Group, all taken from the same 1960 LP. At least it included Lasse Gullin and Nils Lindberg – two of Sweden’s best-known jazzmen. (by musicweb-international.com)

Nils Lindberg

No, no, no … this compilation is not so weak, as we read above … it´s a great compilation with lots of rarities from the young European Jazz-Scene during the 50´and this time we hear great Jazz from Scandinavia ! Excellent stuff !

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Personnel:

The Swedish Modern Jazz Group:
Harry Bäcklund (saxophone)
Rolf Billberg (saxophone)
Lars Gullin (saxophone)
Nils Lindberg (piano)
Allan Lundström (saxophone)
Sture Nordin (bass)
Conny Svensson (drums)

SWJG.jpg

Tracklist:
01. Lasse Gullin: Lotus Corniculatis (Gullin) 5.32
02. Max Brüel Quartet: Maxisme (Brüel) 3.27
03. Ake Persson: Nassi Goreng (Persson) 3.00
04. Lars Gullin Sextet: Half Nelson (Davis) 5.40
05. Rolf Billberg: Tautology (Billberg) 4.22

The Swedish Modern Jazz Group:
06. Birdland (Roland/Ventura) 5.32
07. Blues For Bill (Lindberg) 5.23
08. Brand New (Lindberg) 3.11
09. Cotton Tail (Ellington) 2.41
10. Curbits (Lindberg) 5.05
11. Just A Take Gullin (Billberg) 5.27
12. Moonlight In Vermont (Suessdorf/Blackburn) 3.06
13. Play For Love (Lindberg) 4.21
14. Taboo (Lecuona) 3.37
15. Zodiac (Lindberg) 4.30

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MaxBruellQuartet

Various Artists – European Jazz – Volume 01 – Vocalists (2012)

FrontCover1.jpgAt one time, the concept of “European Jazz” meant very little indeed. While jazz was developing in the USA in the 1920s, there was almost no European jazz to speak of. Some Americans – Benny Carter, Coleman Hawkins, Sidney Bechet – came to Europe and made an impact there in the 1930s but it was not until the thirties that Europeans began to develop their own jazz significantly. Perhaps the most outstanding group was the Quintet of the Hot Club of France, formed in 1934, with its two virtuosos Django Reinhardt and Stéphane Grappelli.

This group is not represented in this ten-CD boxed set, which suggests that the compilation is making no attempt at a historical survey. Indeed, it is difficult to know what this set is trying to do. It seems as if the compilers simply put together tracks to which they had access, and there is little attempt to provide a balanced view of European jazz. Nevertheless, this collection can be educative in opening our ears to some artists we may not have heard before. It also supplies a cross-section (albeit limited) of how Europeans developed jazz, mostly in the 1950s and 1960s.

Monica Zetterlund1

This compilation makes it clear that European jazz was very much influenced by the Americans. For example, the tenorist on track 2 of the third CD sounds very like Stan Getz, while the altoist on the third track betrays the influence of Charlie Parker. And the Michael Naura Quintet on the eighth CD could be mistaken for the Modern Jazz Quartet.

I can’t tell you who most of the individual musicians are, as detailed personnels are sadly not given. This is a nuisance, as I would like to be able to identify (for instance) the bongo Brandenburgplayer on track 9 of the fifth CD. However, one lesson of many tracks in this collection is that many Europeans learnt from the bebop pioneers – and from such groups as the Gerry Mulligan Quartet. As most of the tracks in this compilation come from the fifties and sixties, there is little individuality in the music from the different countries, as it was only later that they began to develop their own distinctive styles.

I shall not attempt to describe the music in detail but will simply pick out tracks, artists or groups of note. Most discs are devoted to particular countries but the first CD concentrates on vocalists or (in the case of Les Double Six and the Polka Dots) vocal groups. Britain’s own Annie Ross opens the first disc in style. The French group Les Double Six was a sextet which got its name from its practice of double-tracking the voices. Lita Roza wasn’t really a jazz singer but Cleo Laine was – and still is. The weakness of this selection is that all the tracks were recorded during the comparatively brief period of 1955 to 1960. (by musicweb-international.com)

Les Double Six

No, no, no … this compilation is not so weak, as we read above … it´s a great compilation with lots of rarities from the young European Jazz-Scene during the 50´!

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Tracklist:
01. Annie Ross: – I‘m Just A Lucky So And So (Ellington) 4.49uncaZetterlund
02. Zetter: Deep In A Dream (v.Heusen/Delange) 2.28
03. Les Double Six: Stockholm Sweetnin‘ (Jones) 5.39
04. Cleo Laine: Sugar (Pinkard) 3.15
05. Jula De Palma: Pennies From Heaven (Burke/Johnston) 2.14
06. Inge Brandenburg: What A Difference A Day Made (Graver/Adams) 2.57
07. Lita Roza: That Old Black Magic (Arlen/Mercer) 2.58
08. Cleo Laine: April In Paris (Duke) 2.30
09. Rita Reys: Zon In Scheveningen (Reys/Jacobs) 3.25
10. Alice Babs: Many Tears Ago (Winfield) 3.02
11. Monica Zetterlund: Detour Ahead (Carter/Ellis/Frigo) 2.49
12. Lita Roza: Guilty (Kahn) 3.26
13. The Polka Dots: Monday Date (Hines) 2.05
14. Cleo Laine: April Age (Wilder) 3.05
15. Jula De Palma: Just One Of Those Things (Porter) 3.20
16. Inge Brandenburg: It‘s Alright With Me (Porter) 3.50
17. Les Double Six: Il y a fort longtemps (Evening In Paris) (Jones/Prerrin) 4.22

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The Polka Dots

 

More European Jazz will come in the next weeks:

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