DJANGO REINHARDT – 1940 | The Classics Chronological Series – 831 (1995) FLAC (tracks+.cue), lossless

For fans mostly enamored with Reinhardt and Grappelli's vintage Quintet of the Hot Club of France (QHCF) sides from the '30s, this collection of 1940 recordings might not the best disc to get. Reinhardt completists, however, will certainly find plenty here to admire. The start of The War had broken up the original QHCF, as Grappelli opted to pursue a career on England's relatively safe shores and Reinhardt went solo in Paris. This Classics disc finds a Grappelli-less Reinhardt with a new incarnation of the Quintet, plus several cuts where the guitarist is featured in groups led by such other French musical luminaries as trumpeter Hubert Rostaing and tenor saxophonist Noel Chiboust. Reinhardt regulars like trumpeter Philippe Brun and reed player Alix Combelle also make fine solo contributions to this set of both hot swingers and dance band smoothies. Unessential, but enjoyable all the same. Stephen Cook         Tracklist :

DJANGO REINHARDT – 1940-1941 | The Classics Chronological Series – 852 (1995) FLAC (tracks+.cue), lossless

All of these sides but one (a pop vocal by Charles Trenet) were made in December 1940, just half a year into the Nazi occupation of Paris. People are still marveling over the fact that Django Reinhardt, a Gypsy who played music closely aligned with Jews and Afro-Americans, was not arrested and put to death by the invasive regime, for these collective jams were and are the antithesis of fascist ideology. It just so happens that this little slice of the chronology contains some of Reinhardt's most interesting material, wonderfully evolved from the earlier Hot Club de France, yet filled with premonitions of how jazz would come to sound ten or even 20 years later. Hubert Rostaing was an inventive clarinetist, sounding something like Marshall Royal, and is featured on most of these sides. Alix Combelle blew a boisterous, Coleman Hawkins-inspired tenor saxophone (as does Rostaing on the sessions of December 18 and 19). Present throughout all of these sessions is a wonderful percussionist by the name of Pierre Fouad, who recorded as a leader for the Swing label a few years later. Tony Rovira deserves to be remembered as a gifted bassist, particularly for the sensitivity he demonstrates on these recordings. The most precious and musically inventive track is "Oiseaux des iles," a brilliantly constructed gypsy-jazz fantasy of such ethnic potency that it would have given Dr. Goebbels a case of non-Aryan indigestion. Trumpeter Pierre Allier, sort of a French person's Frankie Newton, leads a couple of bands, both small and not-so-small, providing one or two examples of how Reinhardt sounded as part of the rhythm section in a large jazz orchestra. The crowning glory of this wonderful album is "Festival Swing," a four-minute all-star big band blowout, with Charles Delaunay introducing each and every member of the band in French, providing English-speaking people with a valuable pronouncing lexicon for all of those wonderful French names. arwulf arwulf     Tracklist :

DJANGO REINHARDT – 1941-1942 | The Classics Chronological Series – 877 (1996) FLAC (tracks+.cue), lossless

There's no danger of this volume sounding too much like any of the previous installments in the Classics Django Reinhardt chronology, as the guitarist conducted unprecedented experiments with different instrumentation and participated in an unusual number of big-band sessions. Five sides waxed in Paris on September 11, 1941, feature the Benny Carter-inspired alto saxophonist Andre Ekyan and clarinetist supreme Hubert Rostaing. These reconstituted Hot Club Quintets were expertly driven by premier percussionist Pierre Fouad. Later that month another monstrous get-together involving an enormous number of top-notch European jazz musicians yielded something called "Festival Swing 1942." Note that it was common practice to name these jam numbers for the year that was yet to come, implying that progressive musicians are always looking ahead. Other soloists in addition to Django were violinist Michel Warlop, vibraphonist Willy Kett, and Dany Kane, who played harmonica in a manner similar to Larry Adler. Django's next appearance in front of the recording microphones was as part of Hubert Rostaing's septet with Aimé Barelli playing trumpet and Noel Chiboust on tenor sax. "Première Idée d'Eddie," dated March 31, 1942, is the only known recording featuring Django Reinhardt playing the string bass! His bowed solo is worth the cost of the whole package. Four more titles from the same session cover the usual wide spectrum of tones, textures, and moods. Flutist Maurice Cizeron is featured on the beautiful reverie "Nymphéas" and "Féerie" is a frantic, driving big-band stomp. Hubert Rostaing is featured on the friendly bounce "Belleville" and a sort of guitar/clarinet sonata entitled "Lentement, Mademoiselle." In April and May of 1942, Django toured Belgium and made a fascinating series of great recordings in Brussels for the Rhythme label. First came four exquisite duets with pianist Ivon de Bie. Two of these, "Blues en Mineur" and "Vous et Moi," featured Django playing the violin. The seven remaining tracks find Django leading his own "Grand Orchestre" or sitting in with equally large bands led either by reedman Fud Candrix or Stan Brenders, who seems to have been trying for an Artie Shaw sound with a string quartet added to the congregation. Everything heard here is guaranteed to satisfy, even the sweet big-band sides, for there's no resisting any band with Django Reinhardt soloing right down in front. arwulf arwulf        Tracklist :

DJANGO REINHARDT – 1944-1946 | The Classics Chronological Series – 945 (1997) FLAC (tracks+.cue), lossless

Thanks to a certain high ranking Nazi official whose penchant for jazz music caused him to violate the aggressively racist policies of his own government, Django Reinhardt was able to perform his music throughout most of the Occupation without being deported, involuntarily sterilized, or exterminated along with many of his fellow Gypsies. Nevertheless, weary of an imposed police state and shaken by Allied "precision" bombardment of Paris, Reinhardt and his second wife Naguine attempted to flee to Switzerland by way of Thonon-les-Bains at Lac Leman in 1943. Apprehended and jailed at Thonon, they were set free by the same fortuitous fluke in the Nazi establishment. Given the disruptive nature of these harrowing circumstances, it is not surprising that the only recordings known to have been made with Reinhardt in attendance during the year 1944 are three sides cut on November 3, almost exactly six months after the birth of Babik Reinhardt. Performed by a big band led by tenor saxophonist Noel Chiboust, they constitute the first three selections on the thirteenth volume in Django Reinhardt's portion of the Classics Chronological Series. Recorded in January 1945, tracks four through seven are attributed to the Jazz Club Mystery Hot Band, a mostly American group consisting of Reinhardt, trumpeter Bernie Privin, tenor saxophonist Peanuts Hucko, pianist Mel Powell, bassist Joe Schulman, and drummer Ray McKinley. The Classics chronology skips over a number of recordings that Reinhardt made during 1945, including an unaccompanied guitar solo and performances by several groups of varying size. A handful of titles, played by the U.S. Air Transport Command Band under the direction of Sgt. Jack Platt, do appear as tracks 8-11. The producers of this collection chose to "cut to the chase" by delving into the first months of 1946 when Reinhardt recorded with two distinctively different Hot Club Quintettes. On January 31 and February 1 he was reunited with violinist Stéphane Grappelli in London (tracks 12-19), and on May 15 he cut four sides with a reconfigured Quintette without a violinist and greatly modernized by the innovative technique of clarinetist/alto saxophonist Hubert Rostaing (tracks 20-23). Reinhardt's postwar career (1945-1953) was characterized by what seems in retrospect to have been a puzzling gradual wane in popularity. This appears to have set in at once, for his response to a paucity of regular work during the spring of 1946 led Reinhardt to invest in a set of brushes, paints, and other materials necessary for quiet reflection as he began expanding his improvisational energies to include light as well as sound as his personal system of poetics evolved from the audible to the visual. This is a useful if incomplete sampling of Reinhardt's late wartime and immediate postwar recordings. For a more complete chronology of Reinhardt's entire surviving musical legacy, consult the exhaustively thorough Integrale series, available in 20 double-disc volumes from Fremeaux & Associes. arwulf arwulf     Tracklist :

DJANGO REINHARDT – 1947 | The Classics Chronological Series – 1001 (1998) FLAC (tracks+.cue), lossless

After being separated by the Second World War for more than five years, Django Reinhardt and Stéphane Grappelli recorded eight sides together in London on January 31 and February 1, 1946. Their next shared studio recording date occurred in Paris on May 26, 1947, resulting in the five decidedly modernistic tracks that open this volume of the Classics Django Reinhardt chronology. Django had clearly evolved at a rate commensurate with the rapid evolution of jazz itself from 1939 to 1947. His solos reveal a musical consciousness well beyond where he had been only a few years earlier. Stéphane, of course, had also experienced his own sort of artistic development. Yet the contrast between the two is noticeable and it would take the violinist many years to absorb and fully digest what he was now experiencing. On April 16, 1947, Django recorded a "Minor Blues" with the 12-piece band that had been working with him at the Boef sur le Toit, a Parisian nightclub where his own paintings -- a sensual series of landscapes and nudes -- were on display. He then led a reconstituted Quintet of the Hot Club of France, featuring clarinet/alto saxophonist Michel de Villers, through four pleasant musical episodes intended to be used as a soundtrack for La Fleur de l'Age, a film by Marçel Carne that unfortunately never reached completion. Note that this group's "Clair de Lune" is not the famous movement from Claude Debussy's Suite Bergamasque, but something just as lovely. Django's next opportunity to make records in a studio occurred in Brussels on May 21st during a tour of Belgium. The six sides cut on that day and subsequently released on the Decca label represent Reinhardt's very first recordings using an electric guitar. They also herald the return of master clarinetist Hubert Rostaing, who made great records with Reinhardt's groups during the year 1940 and reappears sporadically in the Django discography like a will o' the wisp throughout most of the decade. This excellent clarinetist was in the same league as Marshall Royal, Aaron Sachs, Hank D'Amico, or perhaps most of all Buddy DeFranco. Rostaing recorded extensively with Django during the year 1947, and their phonographic collaborations would continue until another Belgian tour in November of 1948. Everything included on this disc qualifies as jazz of the very highest order. There's bebop running through these sessions like quicksilver, and Reinhardt had begun to experiment with the quirks and expanded potentials of the electrified guitar. "Porto Cabello" is smoky, almost a tango. "Blues for Barclay," dedicated to Blue Star record label founders Eddie and Nicole Barclay, feels like a spontaneous jam session. Even Edvard Grieg's Danse Norvegienne, which sounded almost silly when they tried it on in 1940, comes across in its 1947 incarnation as effortlessly hip. arwulf arwulf           Tracklist + Credits :

DJANGO REINHARDT – 1947, Vol. 2 | The Classics Chronological Series – 1046 (1999) FLAC (tracks+.cue), lossless

The combination of an early modern jazz clarinet and the Quintet of the Hot Club of France creates a special kind of chemistry that occurs periodically throughout Django Reinhardt's recorded works. This volume in the Classics Reinhardt chronology contains an unusually high concentration of clarinetists, most notably the great Hubert Rostaing. Given his warm, personable timbre and unusual dexterity, it is surprising that more jazz lovers are not aware of this remarkable musician. The previous Django Reinhardt installment in the Classics chronology, 1947, contained no less than 13 tracks documenting the Rostaing/Reinhardt collaboration. 1947, Vol. 2 (Classics 1046) forks over 15 more examples of their best work together, along with two tracks featuring clarinetist Maurice Meunier and one greasy strut -- "Douce Ambiance" -- involving clarinetist Gerard Leveque. Reinhardt, heard playing electric guitar on all but three of the 20 tracks, sounds as lyrical and inventive as ever. "Brazil," unlike most other peoples' renditions, uses hardly any percussion, zeroing in on the melody first and foremost. It is interesting to hear Reinhardt's interpretation of "Topsy," a jam structure invented by Count Basie and Eddie Durham, who pioneered the newfangled electrified guitar back in 1938. "Gypsy With a Song" is Reinhardt's teasing response to Duke Ellington's beautiful composition "Gypsy Without a Song." The disc finishes off with two fine selections from a Quintet session involving Stéphane Grappelli. The rest of the material recorded on that date -- November 14, 1947 -- can be found on Classics 1317, which chronicles the years 1947-1951. arwulf arwulf    Tracklist + Credits :

DJANGO REINHARDT – 1947-1951 | The Classics Chronological Series – 1317 (2003) FLAC (tracks+.cue), lossless

Anyone intimately familiar with Django Reinhardt's later recorded works might wonder how one CD can contain all of his recordings from late 1947 through 1951. While it is a fact that Reinhardt experienced increasing periods of unemployment after 1947 as his popularity waned, he certainly made enough records during this time period to fill more than one compact disc. The solution to this puzzle apparently involves issues of licensing, copyright, and ownership. During January and February 1949, and then again in April and May of 1950, Django Reinhardt, using small groups containing both French and Italian musicians and featuring either Stéphane Grappelli or Andre Ekyan, made a number of excellent recordings for radio broadcast purposes in Rome. Although the producers of the Classics Chronological Series usually seem able to procure the recordings necessary for a thorough survey of each artist they feature, whoever owns the rights to the Roman Reinhardt acetates either wouldn't allow them to be used by the folks at Classics, or perhaps the Italians wanted more money than the French company was willing or able to afford. In any case, there's a gap of about 18 months in this overview, but it doesn't sound that way at all because what you get is a mighty dose of late-period Django Reinhardt, and every nanosecond of music is precious and fine. The first ten tracks were recorded in Paris in late 1947 and early 1948 by a Quintet of the Hot Club of France featuring the violin and piano of Stéphane Grappelli. "Si Tu Savais" is a profound opener that feels as though it is referencing harsh realities and twists of fate. It sounds, in fact, a lot like "Brother, Can You Spare a Dime?" Throughout these ten selections, both the ensemble's collective creativity and Reinhardt's improvisations are dazzling. The next block of material inadvertently calls up another incongruity. The Classics label's self-imposed delineation between studio and live material is remarkably inconsistent, as plenty of live recordings have deliberately been either included or excluded from their extensive catalog. Lots of live Reinhardt didn't make it into his chronology on Classics. Here the producers went ahead and wove in a continuous live concert recording made in Brussels on December 1, 1948. Django Reinhardt and a small group featuring clarinetist Hubert Rostaing present a full range of moods and textures, including the Benny Carter/Ben Webster steamroller "Cadillac Slim" -- with thunderous Gene Krupa-styled drumming during the clarinet solo -- and a brief "Symphonie," which turns out to be a vigorous workout for Django's guitar. But speaking of the guitar, as the chronology leapfrogs over everything Django accomplished in Rome, listeners are treated to a pair of lovely Parisian unaccompanied guitar solos, including a breathtakingly gorgeous, landscape-sized six-and-a-half-minute version of "Nuages." If you are fortunate enough to get your hands on this amazing piece of work, play it back for yourself over and over again. Listen to it for hours if necessary. It might just be the greatest musical statement that Django Reinhardt ever played into a microphone. As he only had a few years remaining in his short life, it is a pity that he recorded so infrequently after 1950, because the clues he left behind clearly hint at fascinating developments in the art of guitar playing that would be realized and expounded upon by other guitarists further on down the road. arwulf arwulf        Tracklist :

REX STEWART – 1947-1948 | The Classics Chronological Series – 1016 (1998) FLAC (tracks+.cue), lossless

Here is a delightful visit from Rex Stewart's All Star European Tour Band, the way they sounded in Paris during December of 1947 and January 1948. If you ever need or want a perfect taste of what trombonist Sandy Williams could do with a ballad, "I Cried for You" might be the best example on record anywhere. The surprise star soloist in this package, though, is tenor saxophonist Vernon Story. His own composition "Storyville" is a brisk example of what many folks at the time would have called rebop. Story also blows up a storm on "Cherokee," "Stardust," "Goofin' Off," and (of course) "Vernon's Story." Whatever happened to this guy? He seems to have fallen out of circulation fairly soon after these recordings were made. As for Rex Stewart, this bag of tunes is characteristically varied, from a very hip, Coleman Hawkins-inspired handling of "Stompin' at the Savoy" through a solidly old-fashioned "Muskrat Ramble" to a brief visit from Django Reinhardt on "Night and Day" and "Confessin'." While the hot and humorous numbers are entertaining, there's nothing quite so satisfying as Rex Stewart's subtleties on ballads and blues. Glowing examples here include Duke Ellington's "I Didn't Know About You," the ethereal "Swamp Mist," and the blues sketches "Sacknasty," "Last Blues," and especially "Jug Blues," a slow drag with an almost cowpoke bassline ambling along behind Stewart's muttering cornet. arwulf arwulf  
Tracklist + Credits :

DON BYAS – 1947 | The Classics Chronological Series – 1073 (1999) FLAC (tracks+.cue), lossless

A veteran of the Count Basie and Lionel Hampton bands and a player savvy to the bop innovations of the early '40s, tenor saxophonist Don Byas produced some of the most impressive yet underrated jazz sides during his '40s, '50s, and '60s prime. After a series of top sessions for Savoy and Commodore, Byas left for Europe with Don Redman's band in 1946, never to return, save for the rare trip. Some his first ex-pat sides -- cut while living in Paris -- are heard here on this Classics collection of 1947 material. Featuring fellow Redman alumni Billy Taylor on piano, Tyree Glenn on trombone, and Peanuts Holland on trumpet, not to mention a host of top Parisian players, the 24 tracks feature Byas leading both a variety of combos and his own orchestra. The material is mostly made up of swing standards like "Stormy Weather" and "Body and Soul," but Byas also gives a nod to his bebop leanings with Charlie Parker's "Red Cross" and "Billie's Bounce." A fine disc that's best heard after checking out the tenor great's classic pre-European recordings. Stephen Cook
Tracklist + Credits :

ALIX COMBELLE – 1940-1941 (1994) The Classics Chronological Series – 751 | FLAC (tracks+.cue), lossless

While jazz wasn't technically "against the law" in Paris during the Nazi occupation, the Gestapo could and did harass the population, straining everything through the iron sieve of Nazi ideology. Some individuals were actually arrested and sent away to the camps simply for owning and listening to jazz records. Certainly all jazz performers were at risk for creating the subversive stuff in the first place. It all depended on the temperament and preferences of individual Germans in positions of control. Some Nazis liked jazz a lot. Others, particularly in the SS, despised this "degenerative" music and would oppress those responsible for it. Musicians who were found to be playing jazz might receive a gratuity, or a beating. Some were placed under arrest. Apprehended jazz musicians might be sent to work for the Propaganda Ministry, providing swing-styled accompaniments for popular dance tunes doctored up with anti-Semitic, anti-Churchill, and -- after December 1941 -- anti-American lyrics. Some were simply sent to the camps as enemies of the Reich. Alix Combelle seems at first an unlikely candidate for membership in the French Resistance. Yet the very act of associating with Gypsies and Afro-Americans was a form of cultural resistance, as was the making of authentic jazz records. Combelle deliberately chose material originated by Pete La Roca, Johnny Mercer, Isham Jones, Bix Beiderbecke, Ray Bauduc, Jimmie Lunceford, Sy Oliver, and Count Basie. While titles were often changed to mask the original tunes, Combelle was also tailoring the jazz for French audiences. It's all good-time music with tight arrangements and flashy solos. Django Reinhardt is featured on some of the 1940 sides, and his presence should attract those who want to absorb everything the man ever played. But the real reason to obtain this disc is to be able to enjoy the stimulating sounds of Parisian big-band swing -- including a very close cover of Glenn Miller's hit "In the Mood," making an incognito appearance as "Ambiance." A brisk "Divertissement" sounds almost like something out of the Raymond Scott book. You've got to hand it to these French musicians. Right under the noses of the German authorities, they listened very carefully to American jazz, skillfully imitating it while adding some of their own sauce.  arwulf arwulf  
Tracklist :
1 Joyeuse Fumée (Holy Smoke) 2:42
Johnny Mercer
2 Tiger Rag 2:48
Harry Da Costa / Eddie Edwards / Nick LaRocca / Henry W. Ragas / Tony Sbarbaro / Larry Shields
3 Quatre Tickets 2:37
Alix Combelle
4 Cascades 2:52
Alix Combelle
5 Reflets 2:47
Alix Combelle
6 Onze Heures Vingt 3:21
Alix Combelle
7 Sur Les Bords de l'Alamo (On the Alamo) 3:15
Alix Combelle
8 L' Horloge de Grand-Pére (Grandfather's Clock) 2:54
9 Parade des Remparts du Sud (South Rampart Street Parade) 2:44
Ray Bauduc
10 Fou (Mad) 2:32
11 En Souvenir (In a Mist) 4:18
12 Midi à Jalopi (12 O'Clock in Jalopi) 2:37
Mack Gordon
13 Hier et Aujourd'hui (Sent for You Yesterday) 2:37
Count Basie
14 Ambiance (In the Mood) 3:18
Garland
15 Pour Danseurs Seulement (For Dancers Only) 2:54
16 Divertissement dans une Fonderie 2:41
Mack Gordon
17 Strictement pour les Persans (Strickly for the Persians) 2:43
18 Verlaine 3:19
Charles Trénet
19 Mr. Jinx (Mr. Mysterisoso) 2:39
20 Passe-Temps à Hollywood (Hollywood Pastime) 2:52
Credits :   
Alto Saxophone – Charles Lisée (faixas: 8 to 20), Marcel Coestier (faixas: 1 to 3), Max Blanc (faixas: 1 to 3, 8 to 20)
Alto Saxophone, Clarinet – Christian Wagner (faixas: 4 to 7)
 Bass – Tony Rovira (faixas: 4 to 20), Francis Luca (faixas: 1 to 3)
Drums – Armand Molinetti (faixas: 19, 20), Pierre Fouad (faixas: 1 to 18)
Guitar – Django Reinhardt (faixas: 1 to 7), Joseph Reinhardt (faixas: 4 to 20)
Piano – Paul Collot (faixas: 8 to 20), Raymond Wraskoff (faixas: 1 to 3)
Tenor Saxophone – Charles Hary (faixas: 19, 20), Hubert Rostaing (faixas: 4 to 20), Jean Luino (faixas: 8 to 20), Noel Chiboust (faixas: 1 to 3)
Tenor Saxophone, Clarinet – Alix Combelle
Trombone – Eugène d'Hellemmes (faixas: 1 to 3), Maurice Gladieu (faixas: 8 to 20)
Trumpet – Aimé Barelli (faixas: 1 to 3, 8 to 20), Christian Bellest (faixas: 1 to 3, 8 to 20), Pierre-Severin Luino* (faixas: 1 to 3, 8 to 20)

KENNY CLARKE SEXTET - Plays André Hodeir (1956-2000) Jazz In Paris 39 / RM / FLAC (tracks+.cue), lossless

Drummer Kenny Clarke became a fixture on the Paris jazz scene after moving there in 1956. One of his best records from his early days abroad, originally released by Phillips, is finally available on CD as a part of Verve's Jazz in Paris reissue series. With superb arrangements by Andre Hodeir, and a rotating cast of musicians over three separate recording sessions, the drummer sticks to providing brushwork behind the scenes. "Bemsha Swing," jointly written by Clarke with Thelonious Monk, centers around Martial Solal's playful solo, while the brass and reeds seem to be coming at each other from all angles in Monk's "Eronel." Hodeir's composition "Oblique" sounds like something that would have fit in perfectly as part of the repertoire of the Miles Davis Birth of the Cool sessions, a period which Hodeir explores with his chart of Gerry Mulligan's "Jeru," in which the improvisations are actually written out. The moody take of "Blue Serge" briefly showcases trombonist Billy Byers, trumpeter Roger Guerin and baritone saxophonist Armand Migani. The only headache with this reissue is the mixed up track by track personnel listings, which don't consistently match up with the music heard, and which omit alto saxophonist Robert Guismath entirely. by Ken Dryden  
Tracklist :
1     Bemsha Swing 3:54
Denzil Best / Thelonious Monk
2     Oblique 3:25          
André Hodeir    
3     Blue Serge 2:49
Mercer Ellington
4     Swing Spring 3:54
Miles Davis
5     On a Riff 2:58
André Hodeir
6     Jeru 3:51
Gerry Mulligan
7     The Squirrel 3:07
Tadd Dameron
8     Eronel 3:28
Thelonious Monk
9     'Round About Midnight 2:57
Bernie Hanighen / Thelonious Monk / Cootie Williams
10     When Lights Are Low 3:09
Benny Carter / Spencer Williams
11     Cadenze 3:59
André Hodeir    
12     Tahiti 4:28
Milt Jackson
Credits :
Alto Saxophone – Hubert Rostaing (faixas: 2, 6, 8, 12)
Arranged By – André Hodeir
Baritone Saxophone – Armand Migiani (faixas: 1 to 8, 12)
Double Bass – Jean Warland (faixas: 1 to 4, 6 to 8, 11, 12), Pierre Michelot (faixas: 5, 9, 10)
Drums – Kenny Clarke
Piano – Martial Solal (faixas: 1 to 8, 11, 12), René Urtreger (faixas: 9, 10)
Trombone – Billy Byers (faixas: 1 to 8, 11, 12), Nat Peck (faixas: 9, 10)
Trumpet – Roger Guérin (faixas: 9, 10)
Nota :
Recorded October 26 (5, 9, 10), November 21 (2, 6, 8, 12) and November 30 (1, 3, 4, 7, 11) 1956 at the Apollo studio, Paris.
Reissue of the Philips LP 77 312.

HUBERT ROSTAING / MAURICE MEUNIER - Clarinettes À Saint-Germain Des Prés (2001) Jazz In Paris 54 / RM / FLAC (tracks+.cue), lossless

Tracklist :
1    Hubert Rostaing–    Bonjour Benny    2:25
2    Hubert Rostaing–    Autour De La Femme    2:20
3    Hubert Rostaing–    Champs Elysées Club    2:57
4    Hubert Rostaing–    Trop Tôt    2:06
5    Hubert Rostaing–    Sweet Renée    3:07
6    Hubert Rostaing–    L'Heure Tourne 2:52
Written-By – Martial Solal
7    Hubert Rostaing–    J'En Suis Saisie    2:35
8    Hubert Rostaing–    Say When?    2:53
9    Hubert Rostaing–    Ça Va Bouillir    2:23
10    Hubert Rostaing–    Oh Lady Be Good 2:14
Written-By – Ira And George Gershwin
11    Hubert Rostaing–    Remember    3:06
12    Hubert Rostaing–    Cherokee 3:07
Written-By – Ray Noble
13    Maurice Meunier–    Too Marvelous For Words 4:31
Written-By – Johnny Mercer, Richard Whiting
14    Maurice Meunier–    Samakoutra 4:11
Written-By – René Urtreger
15    Maurice Meunier–    Somebody Loves Me 3:36
Written-By – Ballard MacDonald, B. G. De Sylva, George Gershwin
16    Maurice Meunier–    Sweet Mau-Mau 4:19
Written-By – Maurice Meunier
17    Maurice Meunier–    Dig 3:04
Written-By – Miles Davis
18    Maurice Meunier–    Crazy Rhythm 3:01
Written-By – Irving Caeser, Joseph Meyer, Roger Wolfe Kahn
19    Maurice Meunier–    Blues For The Reverend 3:01
Written-By – Onzy Matthews
20    Maurice Meunier–    Don't Blame Me 4:20
Written-By – Dorothy Fields, Jimmy McHugh
21    Maurice Meunier–    With The Wind And The Rain In Your Hair 3:31
Written-By – Clara Edwards, Jack Lawrence
22    Maurice Meunier–    (Back Home Again In) Indiana 3:44
Written-By – Ballard MacDonald
23    Maurice Meunier–    I Know, Don't Know How 4:31
Written-By – Gerry Mulligan
24    Maurice Meunier–    Tangerine 3:07
Written-By – Johnny Mercer, Victor Schertzinger
Credits :
Baritone Saxophone – William Boucaya (faixas: 14, 17, 21, 23)
Clarinet – Hubert Rostaing (faixas: 1 to 12)
Clarinet, Alto Saxophone – Maurice Meunier (faixas: 13 to 24)
Double Bass – Alf Masselier (faixas: 1 to 12), Pierre Michelot (faixas: 13 to 24)
Drums – Christian Garros (faixas: 14, 17, 21, 23), Jean-Louis Viale (faixas: 13, 15, 16, 18 to 20, 22, 24), Roger Paraboschi (faixas: 1 to 12)
Piano – Martial Solal (faixas: 1 to 12), Raymond Fol (faixas: 14, 17, 21, 23), René Urtreger (faixas: 13, 15, 16, 18 to 20, 22, 24)
Trombone – Charles Verstraete (faixas: 5, 10, 12), Nat Peck (faixas: 5, 10, 12)
Trumpet – Fernand Verstraete (faixas: 5, 10, 12)
Vibraphone – Michel Hausser (faixas: 1 to 12)
Written-By – Hubert Rostaing (faixas: 1 to 5, 7 to 9, 11)
Nota :
Recorded May 1957 at the Pathé-Magellan studio, Paris (1-12).
Recorded in Paris on January 11th 1956 (14, 17, 21, 23).
Recorded in Paris on February 20th 1956 (13, 15, 16, 18-20, 22, 24).
Reissue of the Véga LP 30 787 (1-12).
Reissue of the Barclay LP 84 025 (13-24).