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“A very good overview of his early career” by Los Angeles Jazz Scene
Catégories : Article de presse ( Article de presse )“Fremeaux & Associates is one of the top jazz labels from France. While Fremeaux is a wide-ranging company that also releases other kinds of music, it has several jazz series that are quite notable including previously unreleased live sessions of American greats in Europe, career retrospectives, and a complete Django Reinhardt series. Barney Wilen’s 1954-1961 is a three-CD set that covers the first period of the excellent French saxophonist’s career. Wilen (1937-96) played soprano-sax early in his career (inspired originally by Sidney Bechet) but became best known as a strong hard bop-oriented tenor-saxophonist who at times in the 1950s could remind one of Sonny Rollins. He had many opportunities starting in 1954 to play with visiting American jazz greats, making his recording debut that year with drummer Roy Haynes’ group. In the Fremeaux compilation, one hears quite a few of the highpoints of Wilen’s first seven years on record. Along the way he holds his own with such notables [...]
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“One of the top jazz labels from France” by Los Angeles Jazz Scene
Catégories : Article de presse ( Article de presse )“Fremeaux & Associates is one of the top jazz labels from France. While Fremeaux is a wide-ranging company that also releases other kinds of music, it has several jazz series that are quite notable including previously unreleased live sessions of American greats in Europe, career retrospectives, and a complete Django Reinhardt series. (…) Integrale Django Reinhardt is a series of 20 two-CD sets that include every recording by the great gypsy guitarist, not just the studio sides but also the surviving radio broadcasts. There have been several “complete” Django reissue series but this seems to be the most comprehensive one. (…)Integrale Django Reinhardt 5 (Mystery Pacific) dates from May 4, 1936 to May 29, 1937. In addition to the studio sides of the period by the Quintet of the Hot Club of France (featuring violinist Stephane Grappelli and Reinhardt accompanied by two rhythm guitars and bass), there are vocal sides by Jean Tranchant and Nane Cholet, two Grappelli-Reinhardt duets, a [...]
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“A rewarding release” by Los Angeles Jazz Scene
Catégories : Article de presse ( Article de presse )“Fremeaux & Associates is one of the top jazz labels from France. While Fremeaux is a wide-ranging company that also releases other kinds of music, it has several jazz series that are quite notable including previously unreleased live sessions of American greats in Europe, career retrospectives, and a complete Django Reinhardt series. (…) Integrale Django Reinhardt is a series of 20 two-CD sets that include every recording by the great gypsy guitarist, not just the studio sides but also the surviving radio broadcasts. There have been several “complete” Django reissue series but this seems to be the most comprehensive one. (…)Integrale Django Reinhardt 6 (Swinging With Django) covers June 13, 1937-Dec. 14, 1937, a particularly busy period for the guitarist. Every top jazz musician, whether they were from the U.S. or Europe, wanted to use the guitarist and he was eager to comply. In addition to the studio performances of the Quintette and a better recorded radio broadcast, Django is [...]
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“A joy to hear” by Los Angeles Jazz Scene
Catégories : Article de presse ( Article de presse )“(…) All of the music is well recorded on this three-CD set and a joy to hear. If you love swinging jazz, go out of your way to get this one.”By Scott YANOW - LOS ANGELES JAZZ SCENE
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“Cole, in top voice” Los Angeles Jazz Scene
Catégories : Article de presse ( Article de presse )“One of the finest jazz pianists of the 1940s and a popular jazz-oriented singer with his King Cole Trio, Nat King Cole changed in the 1950s (after having a major hit with “Mona Lisa”) into a very popular crooner who occasionally played some piano for variety in his shows. Instead of being a competitor of Teddy Wilson and Earl Hines, by the mid-1950s he was competing with Frank Sinatra and Dean Martin. While many of his later fans in the U.S. did not even know that he had been a major jazz pianist, in Europe his audiences preferred that he play piano. (…) The previously unreleased music on Live In Paris is taken from slightly later in the tour, featuring highlights from two concerts performed on April 19, 1960. First Cole, who was in top voice, performs “Dance Ballerina Dance,” “Darling, Je Vous Aime Beaucoup” and “The Continental” with the orchestra. Then on “It’s Only A Paper Moon,” “Sweet Lorraine” and a rollicking “Route 66,” he plays and sings with the rhythm section, taking [...]
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« Une perle ! » par Matou Chat Magazine
Catégories : Article de presse ( Article de presse )« Voici une anthologie des musiques consacrées au chat durant la période de 1911 à 1962, en 3 CD : le chat à travers la chanson et la poésie ; le chat dans l’univers des enfants ; le chat dans l’univers de la musique classique et de la musique d’ambiance. Une perle ! »
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« Le pianiste français qui époustoufla Louis Armstrong » par Libération
Catégories : Article de presse ( Article de presse )« Dans le piano de Claude Bolling, un film de Vincent Perrot (Frémeaux et Associés) sur la carrière du jazzman, où l’on constate combien l’amour fou pour la musique de Thomas Fats Waller peut mener loin, et haut, notamment dans la composition des musiques de films (Borsalino, Le Magnifique, Les Brigades du Tigre, etc.). Une cascade de témoignages pertinents éclaire le parcours du pianiste français qui époustoufla Louis Armstrong (Vladimir Cosma, Claude Lelouch, François Lacharme, Pierre Arditi, Patrick Frémeaux). »Par Bruno PFEIFFER - LIBERATION
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« Le seul enregistrement sur scène du Genius à l’orgue » par Libération
Catégories : Article de presse ( Article de presse )« Dans la foulée du triomphe d’Antibes Juan-Les-Pins en juillet, le Genius revient à Paris en octobre 1961. Les événements tragiques autour de la guerre d’Algérie ébranlent la ville (attentats, répression policière, réquisition du Palais des Sports après les interpellations après la manifestation appelée par le FLN le 17). L’Américain donnera finalement six concerts, à un public composé essentiellement de jeunes de 17-18 ans : ceux-ci voulaient entendre la nouvelle idole de l’émission Salut les copains. L’orgue Hammond de Ray, transporté pour l’occasion, souleva la salle. C’est du reste le seul enregistrement sur scène du Genius à l’orgue, devant 30 000 personnes, au bas mot. En effet, note Joël Dufour dans les liner notes, de nombreux spectateurs excédentaires avaient été admis à tarif réduit. Ils avaient envahi les marches entre les rangées. On les envie autant que les autres. »Par Bruno PFEIFFER - LIBERATION