Lalo Schifrin:the Legendary Paris Concert

BBE Records proudly presents its 5th and arguably most exciting compilation with the French dj and ambassador of disco, Dimitri from Paris. This compilation focuses on Dimitri’s essential disco era tracks - made in Philadelphia, that feature the core of the rhythm section that created and defined the sound of the genre. For this compilation Dimitri has exclusively reworked 5 tracks from the original multitrack tapes of Gamble and Huff with a further 4 being edited from the original 2 track stereo masters.

A movie as appealing and savory as the heaping piles of dinosaur sh*t that pass for its sight gags, 1980's Caveman ranks among the worst bombs Hollywood ever produced. Though a vehicle for Ringo Starr, the erstwhile Beatle did not record the film's soundtrack, with that, uh, "honor" going to the great screen composer Lalo Schifrin. Somehow Schifrin manages to rise above it all – especially given the circumstances, his Caveman score ain't half bad: though its epic sweep would have been far better suited for a movie worth watching, this is the kind of melodramatic score harking back to Hollywood's golden era, complete with eruptions of brass and strings. And in keeping with the prehistoric plot, there's even a tribal energy to the percussion – sounds silly, but it works.

This 1959 concert in Paris by Art Blakey's Jazz Messengers has been sporadically available on various labels, but this reissue in Verve's Jazz in Paris series is the best sounding and best packaged of the lot. Blakey's group of this period (Lee Morgan, Wayne Shorter, Jymie Merritt, and Walter Davis, Jr.) is in great form during an extended workout of Morgan's intense blues "The Midget," and Dizzy Gillespie's timeless "A Night in Tunisia" is kicked off by Blakey's an electrifying solo. But it is the addition of some special guests for the first two numbers that proves to be extra special. Bud Powell, sitting in for Davis, and French saxophonist Barney Wilen, on alto rather than his normal tenor sax, are both added to the band for inspired versions of Powell's "Dance of the Infidels" and "Bouncing with Bud." Morgan's trumpet playing is outstanding throughout the concert. This is one of the essential live dates in Art Blakey's rather extensive discography.

Saint-Saëns's reputation rests on a few popular works–Danse Macabre, Symphony No. 3, The Carnival of the Animals–but his output was far more vast and varied than most people realize. The Third Violin Concerto is one of the great Romantic masterpieces for the instrument, yet it's much less popular than it once was. Whatever the reasons, they certainly aren't Itzhak Perlman's fault, for he simply plays the daylights out of both this piece and Lalo's ever popular Symphonie espagnole. I'm always amazed, when listening to the Saint-Saëns composition, just how well-written it is, and how good it always sounds. Perhaps his level of sheer craftsmanship was so high that people lose sight of the music's genuine inspiration.

Bill Evans - Live In Paris, 1972 Vol. 2 (1988) {Esoldun France FCD 114}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 379 Mb | MP3 @320 -> 134 Mb
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© 1972, 1988 Esoldun / France's Concert | FCD 114
Jazz / Cool / Modal Music / Piano

The second half of the February, 1972 Paris concert is much more aggressive than the first. Starting with Evans' challenging "Twelve Tone Tune," the trio (with Eddie Gomez and Marty Morell) plays a much more varied set that better demonstrated their abilities. Also excellent are the especially subdued arrangement of Denny Zeitlin's "Quiet Now" (a favorite of Evans throughout his career) and Evans' "Very Early," which is a great feature for Eddie Gomez. The bittersweet interpretation of another original, "Time Remembered," is a prime example of why Bill Evans was widely admired, both as a composer and as a pianist.

Following on from Callirhoé (André Cardinal Destouches), Sémélé (Marin Marais) and Proserpine (Jean-Baptiste Lully), three important tragédies lyriques rescued from oblivion by Hervé Niquet and Le Concert Spirituel, Glossa is now restoring to the catalogue and within its collection of French Baroque opera, a recording made in Metz in December 2001: Daphnis et Chloé, the work which was to add Joseph Bodin de Boismortier to the roll call of the history of music in a most determined fashion.

Which once-famous cellist toured with his own version of Jimi Hendrix's notorious "Star-Spangled Banner" and booked to play the Bach Cello Suites in nightclubs? Matt Haimovitz, herd here when he was not yet twenty, was heading off to Harvard (in the footsteps of Yo-Yo- Ma), and boasted a contract with DG. Despite brilliant reviews, the contract was canceled, and a disenchanted Haimovitz went his own way, achieving an offbeat career. He now teaches at Mcgill Univ. in canada, having spent a long time in Boston and Amherst. No doubt he's satisfied, yet one can't help but remember F. Scott Fitzgerald's remark about no second acts in American literature. Now it's also music.

The first of two CDs recorded for broadcast from a February, 1972 Paris Concert, this 45-minute set captures the Bill Evans Trio in excellent form, although the mood of this portion of the concert seems rather reserved overall. Evans opens with one of his favorite originals, "Re: Person I Knew," which is much slower than typical but absolutely captivating. Also notable are the dramatic "Turn Out the Stars" and top-notch versions of Scott LaFaro's "Gloria's Step" and Michel Legrand's timeless "What Are You Doing the Rest of Your Life?" The overall melancholy mood of this performance adds a new dimension to several of the pieces within it.

Thelonious Monk Nonet - Live In Paris 1967 (1988) {France's Concert FCD 113}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 420 Mb | MP3 @320 -> 165 Mb
Full Artwork @ 300 dpi (jpg) -> 16 Mb | 5% repair rar
© 1967, 1988 France's Concert | FCD 113
Jazz / Post Bop / Modal Music / Piano

Pianist/composer Thelonious Monk led a quartet throughout the 1960s but on a European tour in 1967 his group was expanded with the addition of several top horn players. This CD, which contains all of the music from a Paris concert, features Monk with his regular tenor Charlie Rouse, bassist Larry Gales and drummer Ben Riley on a couple of songs, adds trumpeter Ray Copeland to make the band a quintet and for a few numbers they are joined by trombonist Jimmy Cleveland, altoist Phil Woods and tenor-saxophonist Johnny Griffin; in addition flugelhornist Clark Terry sits in and stars on "Blue Monk." Monk had only recorded with this large a group on two prior occasions, making this rare recording a historical curiosity; more importantly the music (six of his originals) is excellent.