In memory of Johnny Peret

In memory of Johnny Peret
In memory of my friend Johnny Peret, vibist, drummer, accordeonist extraordinaire

Thursday, August 23, 2012



 Fans of Teutonic Jazz, rejoice !  Here is another offering from the vault of onxidlib, a live recording of the Helmut Brandt Combo dating from 1958 and as added bonus, a live track from 1956.


Helmut Barndt, baritone & tenor saxophone, clarinet (Brandt does not on 7,8)
Conny Jackel, trumpet (not on 7,8,11,12)
Günther Maier, piano (1-6 & 9-14)
Heinz Allhoff, piano (only 7 + 8)
Erich Gerosch, bass
Manfred Taubert, drums

Ludwig Ebert, piano (only 15)
Klaus Gernhuber, bass (only 15)

01. Last Before Last        03:04
02. Tipsy Driver         04:32
03. Storyville Bounce 05:27
04. 5 Brüder                 03:49
05. Honeysuckle Rose 01:03
06. Sie Will Nicht Blumen & Nicht Schokolade   05:42
07. Topsy                                                  10:00
08. What A Difference A Day Made 05:37
09. Berlin Calling                                 05:26
10. Friedrich's Lied                                 04:46
11. I Hear A Rhapsody                         03:09
12. Armer Gigolo                                     02:52
13. Love For Sale                                    05:36
14. Jahrgang '57                                      06:17

15. Yesterdays                                         04:39

Recorded: Aula of the school at the Mittelweg, Hamburg, Germany on July 27, 1958.
MC: H. Woscherau (copy came without announcement)
Track 15 recorded at the German Jazz Festival, Frankfurt am Main, Germany on May 21, 1956.

p.s.: the missing track 13 has been added. See comments.

Wednesday, August 22, 2012


arrangements d’ANDRE PERSIANNY
(25 cm – Pathé ST 1057, FRANCE – 1954)

As far as I know this French 10” has never been re-issued.  It’s a shame as it documents the great French tenor sax GUY LAFITTE (1927-1998) at the beginning of his “middle jazz” career.  He recorded earlier but in a “trad” style, with Mezz Mezzrow (1951-52) and Big Bill Broonzy (1951).  By the way, Mezz was probably one of jazz most over-rated musicians (at least in Europe) for a long time.  Luckily he’s almost forgotten now. Nevertheless reading his highly fictionalized “autobiography” - Really the Blues – is great fun, much more than listening to his dreadful records anyway).

GUY LAFITTE was France’s best exponent of the Coleman Hawkins school of tenor.
An added bonus of this album is the playing anmd arrangements of Andre Persiany (1927-2004), a French middle-jazz pianist very much influenced by Milt Buckner’s locked-hands style.

The rip posted here was sent by  occasionnal collaborator and fellow blogger “Moi meme”.  Bear in mind that this album is close to 60 years old and therefore far from mint.  There are a few clicks and skips but it is most probably the only chance you’ll have to listen to this album – unless you’re ready to spend a fair amount of dough if it ever pops up on a list or on e-bay.

Guy Lafitte ts
Guy Longnon tp
Benny Vasseur tb
Low Reed bs (“Low Reed” is actually an alias for French baryton bopper Michel de Villers)
William Boucay as
Al Buddy Banks b
André Persiany p
Jacques David dr

1. You can depend on me
2. Cynthia’s in love
3. Love me or leave me
4. Reminiscing mood
5. My ideal
6. My serenade#
7. Stay cool

According top the discography, another track was recorded during the session - "Blues for Vidi" – which did not make it to the 10’’ Pathé ST1057 but could be found on an even rarer EP (Pathé EP34) containing three titles from the 10’’ plus "Blues for Vidi".  Considering that the 10’’ is already pretty rare, good luck to locate a copy of the EP!

Even if you do not know Lafitte you’ve probably heard him already.  In 1961, Martin Ritt directed the famous film PARIS BLUES featuring Sidney Poitier as a saxophone player.  In all the scenes where he is seen and heard playing saxophone, he was actually dubbed by Guy Lafitte.

With thanks to "moi même".

Tuesday, August 21, 2012


(GERMANY 1967, issued on INMUS 20038 in 2000)

I haven’t posted much this month.  I’m on holiday, it’s warm and sunny, I take it easy.  I try to keep away from computers, e-mails and other life-encroaching devices for a while.  And I take time to listen to my vinyls rather than electronic files.

Onxidlib sent me this rip over a month ago, it's now high time to share it.

Coming from onxidlid, it has to be German Jazz and the star of the session is the pianist Wolfgang Lauth (1931-2011) a musician who's little-known outside of Germany. 

A short bio (source: Lippman-Rau Music Archives)

The pianist and composer Wolfgang Lauth was born in Ludwigshafen in 1931. After studying at the College of Music in Mannheim he founded a quartet which was devoted to cool jazz. Initially Wolfgang Lauth worked mainly as house pianist in the Heidelberg jazz club "Cave 54", which was also frequented by Fritz Rau. In the mid 1950s the jazz festivals in Frankfurt became Lauth's stepping stones to the national scene. The Wolfgang Lauth Quartet reminded listeners of the Modern Jazz Quartet not only because of its instrumentation, but also because Lauth cultivated his liking for baroque music. Instead of playing American standards Lauth specialized in original compositions, but also played jazz versions of melodies from German operetta and other hits, while also writing cantatas as well as ballet and film music. Towards the end of the 1960s he increasingly withdrew from the active jazz scene. In 1999 Lauth published his memoirs in book form ("These Foolish Things. Jazztime in Germany - A Swinging Retrospect"). 

The session 
This session - dating from 1967- remained in the vault of Hans Wewerka until 2000 when it was issued on CD on the short-lived INMUS label. One could hear influences of the Modern Jazz Quartet and of George Shearing / Cal Tjader. Granted, vibist Fritz Hartschuh is not the world greatest vibist, obviously not in the same league as Tjader, Fats Sadi, or Wolfgang Schlüter.
Nevertheless the record has its moments, one could only wish that Emil Mangelsdorff and Sydney Smith were given a bit more room to stretch.

Emil Mangelsdorff, flute
Sidney Smith, tenor saxophone
Wolfgang Lauth, piano
Fritz Hartschuh, vibes
Wolfgang Wagner, bass
Horst Seidelmann, drums

01. Ouverture         5:15
02. Intrada           2:24
03. Rush Hour         2:22
04. High Society      3:02
05. Sports            2:50
06. Life & Dream      4:32
07. Nerve Of Verve    2:36
08. Black And Blues   5:07
09. Streets Of Life   2:19
10. Triumph In Back   5:02

All compositions by Wolfgang Lauth.
Recorded July, 1967 at Tonstudio Bauer, Ludwigsburg, Germany.

Tuesday, August 7, 2012


(Jazz Cats, Belgium, 1983)

This is the only LP by the Tony Bauwens Sextet, and one of the few albums recorded by Belgian pianist Tony Bauwens (1936-2009) as a leader.

It is a straight-jazz, no-nonsense affair with a slight Latin tinge.

If you are interested in learning more about Sir Anthony, I refer you to the Lundis d'Hortense website which has an extensive biography.

Tony Bauwens was a very respected bop pianist who had a long association with Etienne Verschueren (like him a native of Renaix / Ronse) and with Sadi.

Cover painting : "Tribute to Guidooke" by excentric Belgian artist  Geert Verbeke, who is also a musician . He is the author of a book on Belgian Jazz  "Jazztrologie" ('85, in Dutch, out of print).

The album was recorded in May / June,  1983 at the Swan Studio in Buizingen.


1) Bitterweet (Sam Jones)

2) To my eyes (Bert Joris)
3) Song for Nathalie (Tony Bauwens)
4) Ke atas (to the top) (Tony Bauwens)
5) Easy fuck song (Bert Joris)
6) Roots and fruits (Michel Herr)


Tony Bauwens : piano
Bert Joris : trompet
Marc Godfroid : trombone
Tony Gyselinck : drums
Philippe Venneman : tenorsax,percussion
Marc Van Garsse : bass

Sir Anthony @ HNITA Jazz Club (from the Web)