Last Tongo in Paris

Zoot and trumpeter Jon Eardley were in Paris in 1956 as part of the Gerry Mulligan Sextet which performed at the Olympia. They took time off to record on their own in the studios. Tracks 1-4 released on French 10 inch LP were actually a rehearsal with the Henri Renaud trio which was deemed good enough to release. The rest of this Jazz In Paris CD features a Live set by the Henri Renaud ensemble complete with vibes and guitar dwarfing the saxes, and a loud but not unruly audience.

Stan Getz leads a piano-less quartet at the Salle Pleyel in 1966, with veteran drummer Roy Haynes and two talented musicians still in their twenties at the time, bassist Steve Swallow and vibraphonist Gary Burton. The tenor saxophonist's always-lush tone is beautifully complemented by his musicians' sensitive accompaniment, especially on the lovely ballad "When the World Was Young." Burton is doubly showcased by Getz in the vibraphonist's tricky "Singing Song" and also dazzling the audience with his already well-developed four-mallet technique in a show-stopping solo interpretation of Rodgers & Hammerstein's "Edelweiss" (from The Sound of Music). Getz doesn't disappoint his French audience's desire for bossa nova, beginning the set with a smooth rendition of "Manha de Carnaval"…

Originally recorded in Paris at a pair of two-day sessions in 1977 and then released as a BarClay Records LP that same year, this fine duo set features the sturdy soul-jazz organ of Rhoda Scott paired with Kenny Clarke on drums, and together they create a remarkably full sound. It is worth noting that two of the best numbers here are Scott originals, "Bitter Street," which opens the album, and the funky "Toe Jam."

Trumpeter Donald Byrd spent a few months in France in 1958, and a Paris concert resulted in two LPs' worth of material. Byrd's quintet at the time included Bobby Jaspar (on tenor and flute), pianist Walter Davis, Jr., bassist Doug Watkins, and drummer Art Taylor. Byrd was just beginning to find his own sound in the late '50s and he is in excellent form on "Dear Old Stockholm," Sonny Rollins' "Paul's Pal," Jaspar's "Flute Blues," "Ray's Idea," and "The Blues Walk." This is a fine all-around hard bop session.

Earl Hines is in great form during this 1970 studio session with bassist Larry Richardson and drummer Richie Goldberg. Four of the six tracks are standards which the pianist played many times during his long career, including a lively "Them There Eyes," a rather wild "There Is No Greater Love," and a striding solo interpretation of "You're Driving Me Crazy" that showcases Hines' formidable technique. Don Redman's moody "If It's True" had long since become an obscurity by the time of this recording, but Hines' subtle performance is a masterpiece. His one original is the brisk, foot-tapping boogie-woogie "Snugly but Ugly."

Near the beginning of his career, Michel Legrand was primarily known as a jazz pianist, so it shouldn't be surprising to learn that none of his compositions are present on these 1959 studio sessions, which were issued by Phillips. With bassist Guy Pederson and drummer Gus Wallez, Legrand covers songs by French composers of the day along with the ever-popular "Moulin Rouge" and a somewhat upbeat arrangement of Edith Piaf's usually maudlin "La Vie en Rose," as well as standards from the Great American Songbook by Cole Porter, Jerome Kern, Vernon Duke, and Mack Gordon. Most of the songs have a Parisian theme to them. Legrand's piano style is hard to define, as he shows a variety of influences without letting any of them overwhelm his sound…

Inaugurated back in autumn 2000, the Jazz in Paris collection has marked the past decade as a reference in the French capital's jazz recordings. Thanks to the unrivalled quality of the albums it features, the series provides a complete panorama of Parisian jazz from the 30s to the 70s.

This double album, Mozart & Flute in Paris, brings together nine captivating works, all with their origins in Paris, which feature a solo flute. Emmanuel Pahud is joined by his colleagues from ‘wind supergroup’ Les Vents Français – oboist François Leleux (here also conducting the Orchestre de chambre de Paris), clarinettist Paul Meyer, bassoonist Gilbert Audin and horn-player Radovan Vlatković – and by Belgian harpist Anneleen Lenaerts.

Joue Andre Hodeir is the second recording by le Jazz Groupe de Paris, a piano-less nonet originally formed by André Hodeir, with the help of Bobby Jaspar, and dedicated to his music and arrangements - Hodeir, who used to be a proficient violinist, only conducts. By the time this session was recorded Jaspar had already left for the United States and was replaced by Georges Grenu. In addition to six originals, the program is rounded out with tunes by Bud Powell, Duke Jordan, Thelonious Monk, and John Lewis. Hodeir's compositions are not as tuneful and memorable as the covers, but this is irrelevant since his musical concerns deal almost exclusively with textures and colors…

"Paris Blues" features a 1957 meeting between saxophonist Lucky Thompson and the king of barrelhouse, Sammy Price. The two are backed by an excellent French band featuring guitar, double bass and traps. Hailing from the glorious era, this music is a remarkable expression of the bliss that can happen when Jazz and Blues become one. The album kicks off with, 'I Want A Little Girl.' It's one of a handful of songs with Sammy Price on vocals. His Blues singing is fantastic! Afterwards, the title track begins with a boogie-woogie piano solo. Before long, the band jumps on and joins Price. In this piece and through the album, Jean-Pierre Sasson's electric guitar work is superb. 'Up Above My Head' is a lively tune with Price's jovial vocals…