Lionel Hampton: Live In Paris, 1956-1961
There was a plethora of Hampton big bands recorded in Paris in the 1950s and 60s. They have appeared under the generic title Live In Paris: La Collection Des Grands Concerts Parisiens. Whether or not the titles on this double CD set were actually recorded on these given dates must remain a matter of conjecture. That said, there is a lot here to engage those (include me in) who relate to the unbridled energy and contagious audience enthusiasm aroused by these previously unreleased recordings.
Producer Patrick Frémeaux writes that “these performances capture Hampton at the height of his hypnotic powers, able to transform a single concert into a true show”. As a bonus, the restored sound brings out the pulse (and power) of two Hampton concerts.
The 1956 set opens with Albuquerque Special, a slow but stomping solo from a grunting Lionel, with loud and well-timed orchestral interjections. Throughout, the audience responds with frenzied enthusiasm. By the close, the whole building seems to be shaking. And so it goes on: Paulette’s Boogie has a quotation-filled solo from Hamp, with audience participation – i.e., shouting and clapping. Clocking in at 06.14, Flying At The Olympia is the longest and most (by Hamptonian standards) restrained feature, with a trombone solo by either Al Hayse or Larry Wilson, the sections working in tandem. Blues For Sacha, a Hampton composition, proceeds at a gently rocking tempo, with a sensitive solo from guitarist Mackel. The concert closes with a “borrowed” item from Basie, One O’Clock Jump.
When Hamp returned to the Olympia in 1961, he offered the now tried and trusted formula – but with more space for soloists. The always dependable Harold Mabern had replaced Oscar Dennard on piano. Trumpeter Dave Gonzales, who had been in the 1956 crew, returned to boost the brass section. A long (10.01) and slightly plodding 10 Rue Caumartin opened the show. Fearsome vocalist Beatrice Reading tears into Birth Of The Blues, and a track mysteriously called Entitled (a Hampton original) sees the orchestra put through its paces. Either Edward T. Parant or Andrew McGhee contributes a well-constructed solo, whipped on by Hamp’s drums. Apart from Hamp’s gentle and melodic vibes solo on Midnight Sun the increasingly disorderly proceedings end with the abbreviated title When The Saints in which Harold Mabern brings the audience to its feet with a sparkling solo, and the number ends with the audience chanting for more. Not by any means the epitome of great jazz, but in terms of conveying excitement and hedonistic pleasure, this would have been an impossible act to follow. Listen and judge.
Discography
CD1: Albuqerque Special; Paulett’s Boogie; Panama; Gladys; Flying At The Olympia; Memories Of You; Halleluja; Battle Of Saxes; Blues For Sacha; One O’Clock Jump; Patricia’s Boogie; Perdido; Drums Fight; Rocking At The Olympia; Blues One; Clopin, Clopant (66.26)
CD2: Rue Caumartin; Hey-Ba-Ba-Re-Bop; The Birth Of The Blues; Untitled; Midnight Sun; Tenderly; Alexander’s Ragtime Band; Roll ’Em Pete; Flying Home; Hey-Ba-Ba-Re-Bop; On The Sunny Side Of The Street; Hamp’s Boogie Woogie; Splanky; When The Saints (61.02)
Personnel include Hampton (vib, pc, d, v); Bobby Plater (as, f), Billy Mackel (g); Ed Mullins (t); Harold Mabern (p). Paris, 28 and 30 January 1956 and 25 March 1961.
Frémeaux & Associés FA5911
Billie Holiday: Billie Holiday
A physically and vocally impaired Billie was signed by Norman Granz in 1952 for his Clef label. He hoped to recreate her 1930s small group albums again in the company of such favourite sidemen as Benny Carter, Ben Webster, “Sweets” Edison, Cozy Cole and Charlie Shavers. They were supplemented or replaced in some sessions by Oscar Peterson, Barney Kessel, Ray Brown, Willie Smith, Red Callender, Ed Shaughnessy and Chico Hamilton. Some of these titles are included on this Supper Club LP as part of its “best female jazz singers” series. Although recording dates and locations are given, there are no indications of what records these selections first appeared on. Enthusiasts can work them out from the excellent booklet which accompanied the monumental 10-CD set The Complete Billie Holiday On Verve 1945-1959.
Although only a shadow of her 1930s self, on several of these tracks Billie rises to the occasion. The best examples are Love For Sale (a duet with Peterson) on which one commentator plausibly suggests Billie sings with “autobiographical authenticity”, two takes of Autumn In New York, Everything I Have Is Yours (with an assured solo by Flip Philips) and How Deep Is The Ocean? Billie has difficulties on parts of Tenderly, but sails through How Deep Is The Ocean? She demonstrates her enduring sense of time on I Cried For You (with approving noises from OP). But her vocal frailties are apparent on titles where she has little instrumental accompaniment as on a “bonus” version of P.S. I Love You.
Not, then vintage Billie, but well worth a taste and a belated toast to her latter day saviour, Norman Granz. An additional bonus is the striking sleeve illustration by David Stone Martin.
Discography
Love For Sale; Moonglow; Everything I Have Is Yours; If The Moon Turns Green; Stormy Blues; Softly (18.26) – Autumn In New York; What A Little Moonlight Can Do; I Cried For You; P.S. I Love You; Autumn In New York (alt) (18.37)
Collectively: Billie Holiday (v); Shavers, Edison ( t); Flip Phillips (ts); Willie Smith (as); Peterson, Bobby Tucker (p); Barney Kessel (g); Ray Brown, Red Callender (b); Shaughnessy, Chico Hamilton, Alvin Stoller, J. C. Heard (d). New York, 14 April 1954 and Los Angeles, 3 September 1954.
Supper Club 052 (LP)
Django Reinhardt: Djangology
Recorded in Rome in 1949, this much reissued (but often edited or supplemented) studio session featured Django Reinhardt and his sparring partner Stephane Grappelli, performing together again for the first time since the end of World War II, accompanied by an Italian rhythm section. In 1961, 12 songs from these radio performances were issued by RCA Victor with Grappelli’s name misspelled on the cover. A 2018 reissue (Jazz Messengers) contained the original LP together with 12 bonus tracks from the same sessions.
Again (and confusingly), the album’s commentators offer little in the way of useful or relevant comments. Brian Morton offers a brief analysis of Thomas Pynchon’s novel V, and the reflection “The music that is collected here is amongst the most delightful and influential music ever made in the name of jazz.” In a Downbeat review, John S. Wilson commended the original album for its “charm, fire, and innate swing”. Writing on All Music, Daniel Gioffre commended Django’s solos for displaying “an excellent sense of arrangement with his statements building both logically and emotionally to their climax”.
If Grappelli plays second string (no pun intended) on this session, he provides Django with sensitive and often moving accompaniment: try All The Things You Are or Beyond The Sea (La Mer). Django (who survived the war), is at the height of his amazing innovative powers, and his unique sounds have never been better captured. They are more than adequately supported and inspired by their Italian cohorts. Strongly recommended.
Discography
Minor Swing; Beyond The Sea (La Mer); Bricktop; Honeysuckle Rose; Heavy Artillery (Artillerie Lourde); Djangolology; All The Things You Are (23.03) – After You’ve Gone; Where Are You My Love?; I Saw Stars; Lover Man; Ménilmontant; Swing; Liza; Daphne (23.37)
Reinhardt (g); Grappelli (vn); Gianni Safred (p); Carlo Pecori (b); Aurelio De Carolis (d). Rome, January-February 1949.
20th Century Masterworks Colored Sessions 350292 (LP)
