Mathilde Febrer: Milou En Mai (Frémeaux FA 8613)
Classically trained and with a lifelong interest in jazz, the versatile and experienced violinist Mathilde Febrer has worked over the years with a diverse range of noted names, including Claude Bolling, Charles Aznavour and Led Zeppelin. This tribute album to the swing violin maestro Stephane Grappelli is the first under her own name, arranged by Mathilde for her own sextet. She improvises fluently with a lightly swinging touch and a ready flow of ideas, supported by strong backing and expressive solos from the two guitarists, Jean-Marie Ecay and Samy Daussat.
Interestingly, diverse rhythm stylings are used to good effect, though I found the backing arrangements a little over-busy and intrusive in places – e.g., in I’ll Remember April and The Jitterbug Waltz. Mathilde has contributed four original compositions, of which the lively Valse Du Grand Paris works particularly well, as does Japan Feeling, its comfortable, bouncy, straightahead rhythm and appealing melody a close recreation of Grappelli’s Hot Club days. The title track, Grappelli’s Milou En Mai, is a charming romantic ballad in old-school style. Django’s Daphné likewise relates to Grappelli’s Parisian heyday.
All in all an enjoyable and encouraging debut album; well planned and well played. Notes in French with English translation.
Joe Marsala: Reunion In Harlem (Retrospective RTS 4422)
Brother of trumpeter Marty Marsala, Joe was active and successful throughout his career, and a pioneer of booking racially integrated groups. He was happily married to Adele Girard – that rarest of creatures, a jazz harpist – and their musical collaborations attracted considerable media interest. Adele can be heard on several tracks. His recorded legacy, apart from a solitary LP in 1957 (from which the last few tracks are selected) spans just 1935-45. Jimmy Noone was his declared idol, his influence detectable in Marsala’s nimble, melodic phrasing, skilled technique and mellow rounded tone, particularly effective in low register on the blues. However, with perhaps unfortunate timing, he decided to retire from full-time music in 1948 – just as revivalism was beginning to boom, and at the dawn of the LP era.
His fellow musicians on the 49 tracks of this two-CD album read like a who’s who of Dixieland and swing. On CD1 (1935-42), in groups mainly led by Joe, we hear Rollini, Manone, Eldridge (superb with the Delta Four in Swingin’ On The Famous Door and Farewell Blues), Bonano, Brunies, Buskin, Mary Marsala, Hackett, Charlie and Jack Teagarden, Carter, Coleman and many more luminaries of the era. Whilst the American jazz scene still teemed with established talent, compelling new names and innovative styles were emerging, which Joe was happy to acknowledge and work with – though he showed no inclination to update his own style. A young Buddy Rich (in 1938) and Shelly Manne (in 1941) demonstrate burgeoning drumming virtuosity at breakneck speed in Marsala’s Jim-Jam Stomp and Girard’s Bull’s Eye respectively. And in 1945 on CD2 (1942-1957) Dizzy Gillespie and the brilliant guitarist Chuck Wayne sparkle in committed bop style in My Melancholy Baby and Cherokee.
Marsala often collaborated with Eddie Condon. The first ten tracks on CD2 , though under his own name, sound like typical Condon sessions, featuring Dixieland icons Butterfield, McGarity, Hackett, Schroeder, Wettling and Condon himself. A beautifully arranged Wabash Blues and a fired up Clarinet Marmalade are stand-out tracks. Later in 1944 Joe solos expressively in his own attractive ballad Don’t Let It End. The closing 1957 tracks make agreeable listening, but lack the impact of the earlier recordings, apart from the ever feisty Rex Stewart in Sweet Georgia Brown.
In the final stages of his career Marsala worked in music publishing, played occasional gigs, and developed a talent for songwriting. Now largely forgotten, he was a skilled and talented clarinetist who recorded memorably, in excellent company. This long overdue tribute is well deserved.