Cuadernos de Jazz

Produced by Laurent Cugny and Daniel Richard for Orchestre National De Jazz. Laurent Cugny - Bandleader. Ranks alongside George Gruntz as prime European contemporary composer, leader. His large orchestra is remniscent of Gil Evans big band in final stages; his pieces have quirky, unpredictable quality, as do his recordings.
The album was recorded in studio and live in 1994 and 1995.

Miles Davis & Tadd Dameron - In Paris Festival International De Jazz, May 1949 (1991) {Sony Music Japan SRCS 5695}
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© 1949, 1991 CBS / Sony Music Japan | SRCS 5695
Jazz / Bebop / Trumpet / Piano

Miles Davis was best-known during the late '40s for offering an alternative approach to trumpeters Dizzy Gillespie and Fats Navarro, emphasizing his middle register, a softer tone and a more thoughtful approach. This concert performance, which was not released until nearly three decades later, shows that Davis was just as capable of playing hard-driving bebop as most of his contemporaries. In a quintet with tenor-saxophonist James Moody and pianist-composer Tadd Dameron, Davis confounded the French audience by playing very impressive high notes and displaying an extroverted personality. Never content to merely satisfy the expectations of his fans, he was already moving in surprising directions. This LP also gives one a very rare opportunity to hear Miles Davis verbally introducing songs in a voice not yet scarred.

Laurent Cugny & Orchestre National De Jazz - Yesternow (1994) {Verve 522 511-2} (Miles Davis related)
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© 1994 Verve / Phonogram-Polygram | 522 511-2
Jazz / Modern Big Band / Contemporary Jazz / Fusion

I'm very fond of Miles' '70s "electric" period, especially the dark, deep live albums he recorded during this time (namely Dark Magus and Agharta). This disc, which gives MD the big-band treatment, offers many pleasures of its own, although, for my money, neither Cugny nor anyone else (save maybe Bill Laswell) has ever reached the same primal place that Miles did during this time. Excellent album! This album is something special. Great atmosphere, 60 minutes of pure enjoying.

Although his previous albums were essentially for piano, Arômes de jazz (Jazz Aromas) consists of an orchestral suite of nine original compositions that blend in tango, bossa-nova and other modern rhythms. “I got the idea a few years ago, when I discovered Danzón No 2, composed for symphony orchestra, by Mexican composer, Arturo Marquez,’ explained Mr. Pépin. “The original take on classical music was a revelation. Arômes de jazz similarly builds on the classical concepts, but blends in modern rhythms, harmonies and sounds.” The recording was a long-distance collaboration with the Budapest Scoring Orchestra, known for its quality work, notably in film.

John Rae - Opus De Jazz, Vol 2 (1960) {Savoy Japan SV-0179 rel 1992}
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© 1960, 1992 Savoy / Nippon Columbia Japan | SV-0179
Jazz / Bop / Vibes

In 1960, Savoy continued its Opus series with this tasty entry. Vibist John Rae's quintet delivers bright, sometimes cool, sometimes bluesy performances. It's a decidedly more modern approach than the swing-influenced Opus de Jazz led by Milt Jackson in 1955. Call it cocktail jazz with attitude, without compromise. That attitude comes through in the four John Rae originals, blues forms with bop harmonies and intriguing voicings. It's also there in the absorbing solo work, and in the high level of communication within the group. Rae tends to play a lot of notes, but his skittering lines work when set against the steady pulse of drummer Jake Hanna's cymbals and the relentless, walking bass of John Neves.