GOING DUTCH

The Chris Hinze Combination 
Who Can See The Shadow Of The Sun
CBS, Netherlands, 1972

 And now something completely different.  Some Dutch “fusion jazz” for a change.  

Christiaan Herbert "Chris" Hinze (born June 30, 1938, Hilversum) is a Dutch jazz and New Age flautist.

Hinze initially performed publicly as a pianist until the mid-1960s, when he began studying flute at the Royal Conservatory of The Hague and then at Berklee College of Music. As a pianist, he played with Boy Edgar until 1966, but by 1967 was playing flute professionally with the bassist Dick van der Capellen. His first releases as a leader were issued in 1969, and in 1970, Hinze was awarded the Best Soloist prize at the Montreux Jazz Festival. In the 1970s, he formed his own ensemble, the Chris Hinze Combination. He also founded the record label Keytone Records in the mid-1970s.

 Chris Hinze may be considered as a pioneer in World Music and New Age, gradually moving away from the jazz fusion he developed in the early 70s.  This tendency is already apparent in some of the tracks on the LP.  Some visitors may question whether the term “jazz” still applies to some of those songs.  I do not want to be part of this pointless debate and I don’t really care.  

There is some surface noise.  I did not try removing it as I was afraid to remove part of the music with the noise, flute is very “aerial”.

Tracklist 
A1 Lullaby For A Locomotive 8:33
Piccolo Flute, Flute [Bamboo] – Chris Hinze
Voice – Letty de Jong
A2 Steps To Giulia (Parts 1 & 2) 9:30
Flute, Alto Flute – Chris Hinze
A3 Surface 3:57
Alto Flute – Chris Hinze
Voice – Letty de Jong
B1 Lullaby For Dewi (Parts 1, 2, & 3) 13:34
Alto Flute, Flute – Chris Hinze
B2 Six (Venus) 2:37
Piccolo Flute – Chris Hinze
B3 Who Can See The Shadow Of The Sun 5:40
Flute [Bass], Electric Piano [Fender Rhodes] – Chris Hinze

Credits
Chris Hinze        Leader, arranger, various flutes, Fender Rhodes
Wim Stolwijk        Grand Piano, Electric Piano [Fender Rhodes], Voice
Roger Cooke        Bass 
Jimmy Shaaperoe Drums
Cees See         Percussion
Wim van der Beek Percussion, Voice
Letty de Jongh           Voice
Recording dates: February 27 & 28, 1972

Printed on the back cover is a handwritten note: Who can see the shadow of the sun - Herbie Hancock
I don’t think this album was ever reissued on CD.

RARITY # 60

FRANCO CERRI QUARTET
COLUMBIA SEMQ 153 (EP 45 rpm) – ITALY, 1960.

It’s a pleasure to relaunch the “Rarity” series of collectable 7” and 10” (45 and 33 rpm). 

It’s even a greater pleasure to restart the series with a contribution by Ernst who has been a key contributor to the Series and to the blog since the early days.

So what do we have here?  A session recorded on November 10, 1959 in Milan, Italy, by the Franco Cerri Quartet composed of .

• Franco Cerri, guitar
• Renato Sellani, piano
• Giorgio Azzolini, bass
• Gianni Cazzola, drums

Three standards and a composition by the leader.  No idea who is the Franco to whom the first track is dedicated.  I assume  /hope  it is not the Spanish dictator – he did not like jazz - nor is it Cerri,  I doubt Franco Cerri would dedicate a blues to himself. Photographer Franco  Scheichenbauer perhaps ?

TRACKS

A1. Blues For Franco (F.Cerri)                            3:13
A2. Stella By Starlight (V.Young)                         3:07
B1. Darn That Dream (Van Heusen/Delanoe)     3:05
B2. Just Friends (Klenner/Lewis)                        2:58

LOTSA GUITARS

GUITAR UNLIMITED – same

Double LP BARCLAY – FRANCE (1965 – 69)

Cover of the double LP

This double LP is an absolute must for fans of jazz guitar.

This French aggregation is completely different from the L.A.-based instrumental studio band of the same name (feat. Howard Roberts a.o.) although the overall concept is rather similar.  I assume they must have been aware of each other but while the American band played mostly arrangement of country and pop music, the French band dug deeper into jazz material.  Nevertheless if you want to find this double LP (or the two single LPs), you’d better look in the “easy listening” section.  That ‘s where I found my copy.  The main advantage is that you can usually find them at bargain price considering the little of interest for “easy listening” compared to jazz or rock, especially that the “bachelor pad” fad seems to have faded away.

According to Eugene Chadbourne (AMG), in addition to the L.A.-based Guitar Unlimited, there are at least two French bands called Guitar Unlimited and a Swedish guitar duo also operating under the same name, featuring Ulf Wakenius and Peter Almqvist.

http://www.allmusic.com/artist/guitars-unlimited-mn0001867340/biography

Francis LeMaguer, Pierre Cullaz, Raymond Gimenés, Paul Piguillem, Victor Apicolla (g)
René Urtréger (p) Raymond Le Sénéchal (p-1) Jacques Denjean (p-2)
Paul Rovère (b) Frank Houplain (d)

Paris, March 19, 1965

FANTAIL (1)

SHINY STOCKINGS (1)

Paris, May 11, 1965

IN A MELLOWTONE (2)

OPUS DE FUNK      SAME

Paris, May 27, 1965

FLIGHT OF THE FOO BIRDS (1)

EARLY AUTUMN

APRIL IN PARIS (1)

Guy Pedersen (b-3) replaces Rovère

Paris, June 10, 1965

TAKE THE "A" TRAIN

SOPHISTICATED LADY

Paris, July 1, 1965

FOUR BROTHERS

SATIN DOLL (3,remake)

same guitar players + Maurice Vander (p) Jacques Denjean (p-1)
Paul Rovère (b) Frank Houplain (d)

Paris, June 3, 1966

TEDDY THE TOAD (1)

BLUES IN HOSS FLAT (1)

NUAGES

Maurice Vander (p) replaces Denjean

Paris, June 9, 1966

DO NOTHING TILL YOU HEAR FROM ME

Gilbert Rovère (b) replaces Paul Rovère, rest same

Paris, June 16, 1966

COTTON TAIL

LAURA

Paul Rovère (b) replaces Gilbert Rovère, rest same

Paris, June 27, 1966

GUITARS BOUNCE

Georges Arvanitas (p) Pierre Michelot (b) replace Maurice Vander and Paul Rovère

Paris, June 28, 1966

DJANGO

Paris, June 30, 1966

NITE BLUES

Francis Le Maguer, Pierre Cullaz, Raymond Gimenés, Paul Piguillem, Tony Rallo (g)
Raymond Le Sénéchal (p) Paul Rovère (b) André Arpino (d) Fats Sadi (arr)

Paris, April 5, 1968

ROUND MIDNIGHT

Just squeeze me

Paris, June 19, 1968

BLUES UNLIMITED

Paris, September 13, 1968

CHEROKEE

Paris, September 27, 1968

FOUR OR FIVE TIMES (fs arr)

Paris, February 8, 1969

CHET

Paris, February 15, 1969

BROADWAY

 Barclay 80927/28

Cover of the single LP

With thanks to Paul D. for the rip.  

BUDGET BRIT DJANGO STYLE

COOPER-WRIGHT QUINTET - TRIBUTE TO THE HOT CLUB 

Rediffusion LP – RIM ZS 26 (UK, 1969/70?)

A bit of an obscurity this one! No details on the sleeve and little information on the net.

Denys Justin Wright (6 May 1924 – 8 February 1992), better known as Denny Wright, was a jazz and skiffle guitarist who performed with Stephane Grappelli, Lonnie Donegan, Johnny Duncan (bluegrass musician), Digby Fairweather, Ella Fitzgerald, Billy Eckstine, Fapy Lafertin and many other musicians, including young rising stars such as Bireli Lagrene and Nigel Kennedy (Wikipedia).

Denny Wright's free-flowing improvisational style came to the forefront through his work with Lonnie Donegan in the 1950s. Wright was a pioneer in establishing a fresh lead guitar style in the context of the folk and blues roots from which Donegan drew his song repertoire. Drawing upon and transcending the jazz blues elements in his own background, and the vital influence of Django Reinhardt, Wright produced constantly innovative lead breaks and solos for Donegan's live work and recordings on both acoustic archtop and electric guitar.

In the 1960s, in addition to a great deal of session work providing backing for many top artists including Mary Hopkin and Tom Jones, Denny was working with his friend Keith Cooper to keep the jazz flag flying; Tribute To The Hot Club by the Cooper-Wright Quintet [Rediffusion] is a wonderful example of their work together. (id.)

I guess the violinist is Johnny van Derrick.   That makes three names but who are the two remaining ones (a bass player and, I assume, a rhythm guitar?). 

In the comments, Zoot suggests,  Ike Isaacs as third guitar player and Len Skeat on double bass, by association.   I had suggested Diz Disley (gtr) and Coleridge Goode (bass) but it was just an educated guess.  Will we ever know?

The record had not been reviewd in Jazz Journal (Zoot) and is not even listed in Walter Bruyninckx extensive discography (Paul D.). 

I found my copy in a small shop in Schaerbeek (Brussels) some 15 years ago.  Not exactly a mint copy, it was in pretty bad shape.  It costed 50 FB (less than 1 £), I took a chance. Therefore don't expect CD quality.  It's in WAV so perhaps someone among you,with some time to spare and patient enough, may wish to give a try at cleaning it better. 

Denny Wright (source: http://lonniedonegan.webs.com/bandonwithlon.htm )

Tracks

A1.  After You've Gone

A2. Miss Annabelle Lee

A3. Just a Little Love a Little Kiss

A4. Daphne

A5. Nagazaki

A6. HCQ Strut

B1. Sweet Georgia Brown

B2. Shine

B3. Body & Soul

B4. Nuages

B5. Limehouse Blues

B6. Running Wild

Johnny van Derrick (source:web)

Excellent article on UK Jazz Guitar pioneers HERE

I REMEMBER JOOP AND BOB

DOMINIQUE PIERARD ‘s TINTO ROJO

ON THE MOVE   (Belgium, 1992)

This one is for gypsy swing / guitar fans and in memory of Joop Ayal who recently left this world (and of Bob Dartsch who left us in October last year).

Dominique Pierard is what I would call a fixture of the Brussels musical scene.  A gifted and well-liked Belgian guitar-player who‘s been around since the 70s, he can often be caught playing in and around Brussels (and much further … friends of mine met him in the early 80s  playing Django’s music in a bar in New Orleans … small world!).  He was a member of the famous gypsy string band Waso before forming his own band..

Apart from gypsy swing he also excels in straight jazz and … rockabilly (he is/was lead guitarist of the rockabilly / swing revival band The Dominos, another Brussels fixture).  He is also a member of Bonaventure, featuring longtime buddy, Michel Clement (If you're a Bruxellois around 60 you may remember Tomahawk Blues Band and Sunhouse).  By the way, who remember Sunhouse, a superb fusion band who used to play at the Florio every Sunday night in the mid-seventies? Sunhouse recorded an excellent album for Columbia Belgium, which is still awaiting a re-issue on CD (tracks can be heard on YouTube).   

Of interest too is the presence of Indonesian/Dutch tenor sax, the late Joop Ayal, who plays in a style reminiscent of Ben Webster (My Romance, I remember Ben). He also sings Teran Bulan, a traditional Malaysian song with an interesting story (see Trivia below).

Although most tracks are definitely in the Gypsy Swing tradition, there are a few exceptions: the introspective acoustic ballad “A remark You Made” , the classic Indopop ballad (Teran Bulan) and two tracks with a smooth jazz feel reminiscent of Earl Klugh of the period (it’s 92 remember.  I must say that these two are not especially my cup of tea.

 

Trivia  Teran(g) Bulan is a song with an amazing story.  It was  based on a French melody by  XIXth Century composer Pierre-Jean de Béranger and eventually became the Malaysian National Anthem under the title of Negaraku.  (read the whole amazing story of this song here. 

Track list: 

1. Peche à la Mouche
2. Crépuscule
3. Valse simple
4. My romance
5. I'll see you in my dreams
6. I remember Ben
7. A remark you made
8. To Micky
9. In your arms tonight
10. Mamy
11. Teran Bulan 

Credits

Tinto Rojo : Dominique Pierard (gt) Stephane Noirhomme (gt) Alexandre Furnelle (cb) Bob Dartsch (dms)

Guests: Joop Ayal (ts, voc) Koen de Cauter (gt, ss, cello) Marc Willegems (cl) Robert Cordier (synthdrums)

RE-POST
I'm in the process of re-posting Attila Zoller Night Bounce session and Bert Dahlander "jazz with a Swedih Accent" LP.  The new link will be placed in the comments of the original posts.

RE UP

By popular request ... well, kinda ...  

See comments of the original posts for the updated links.


Nobody asked for a re-up of this one and it is a damn' shame.  How often do you get to hear Jazz from Fiji?  And excellent jazz it is!  I was lucky enough to catch him live in Suva.
Don't miss it this time!

Third (and last)  time I post it.
One of the great unsung jazz guitarists.

More Condouant on this rare East European album .
With the great Leo Wright on tenor and flute.

Remember the Golden Age of Blogs, when there was blogs like the Strata East Fan Club, Magic Purple Sunshine, and Cheeba's comprehensive Shad Shack.  Just as a souvenir of these bygone days, here is an  old favorite.  Not my rip.  With thanks to whoever posted it first on Shad Shack (see link in the comments of THIS here post).

Great guitar by Freddie Robinson and Joe Pass.

And here is the first one., feat. Fred Robinson on guitar (link in comments)

Danny Gatton. Need I say more.  Posted long ago.  See link in comments here.

This post has turned into a guitar post.  Here is an early Joe Beck LP, psychedelic rock with jazz chops.
I think I got it from RedTelephone66 but not too sure.  If you don't know this album but are familiar with Joe Beck's jazz outings, give this album a try and expect to be surprised (link in comments).

More psychedelia with jazz chops: the Jerry Hahn Brotherhood.  I "discovered" Jerry Hahn 40 years ago on Gary Burton's THROB album (1969).  Amazing guitarist, listen to his solo in Martha's Madman!

And there's a version of Ornette Coleman's Ramblin' too.  (link in comments).

+ great organ by Mike Finnigan.

Clyde Graves (bass) - George Marsh (drums)




I'm in the process of re-uping some Belgian Jazz albums.  Check in the comments of the original posts.
JACK SELS
EDDY HOUSE 5tet
THE CLOUDS (feat. Freddie Sunder)
JANOT MORALES
BABS ROBERT & THE LOVE PLANET
JAZZ HOEILAART 92
NO VIBRATO
THOMAS-PELZER NDR Jazz workshop

also reposted:
Rarity #31: JO JAGUAR (Martial Solal)
Rarity #15 & #16

You're welcome to help (see message at the bottom)

PIERRE CAVALLI : Swiss guitar virtuoso, studio musician and jazzman

FAMOUS JAZZ CLASSICS & BALLADS

THE VOICE of NORMA GREEN

THE GUITAR of PIERRE CAVALLI

Jazztone Rec. SJS-1263 – 1966? (Switzerland)

“Rare euro vocal jazz LP recorded in a small Swiss private club in 1966”.  It seems everything is becoming “rare” these days. There was a time when this LP was a common occurrence in second-hand shops and could be bought for the equivalent of a couple of euros or even less (I bought mine for 65 Belgian Francs .. OK it was a long while ago!). I was therefore more than amazed when I saw that some “specialized” websites are not afraid to ask prices above € 100.- for this album, which is a bit outrageous IMHO.

The problem with this LP is … Norma Green.  I could do without her vocals which I find slightly irritating. I could not find any info on her, apparently she was British. Luckily she only sings on half of the selections, the others are instrumentals and they amply justify the acquisition of the album.  Pierre Cavalli’s playing is nothing but outstanding.  He has a very unique and personal style, very bluesy for a Swiss …  As a matter of fact, this album contains one of the bluesiest versions of Django, .just superb!

It is unfortunate that Cavalli did not get the opportunity to record more in a jazz context.  However, if you are open-minded I recommend you seek his other recordings (EP and LP), more commercial but where he demonstrates an astounding technique .. I guess it is to be expected from a musician who befriended both Django and Les Paul in the Fifties, was the first of the few Europeans who play the Gibson-double neck.  He is often considered a pioneer of instrumental rock and roll, in Europe and was a keen sound-experimentator.  Imagine a Swiss Danny Gatton in the 50s.! 

Credits

Norma Green            vocal

Pierre Cavalli            guitar

Bob Jaquillard          bass

Stuff Combe             drums

Tracks:

1.      there will never be another you

2.      django

3.      the lady is a tramp

4.      days of wine and roses

5.      cry me a river

6.      autumn leaves

7.      angels eyes

8.      all the things you are

9.      i left my heart in san francisco

10.  nuages

11.  kansas city

12.  lonesome road

Biographical notes

Browsing the web for some info on Cavalli I landed on a French blog entitled 
Bide & Musique

where I found these extensive biographical notes written by a musician who knew Cavalli personnaly (actually one of Cavalli's guitar students). 

I also recommend this other excellent French website which has an extensive discography of Pierre Cavalli "rock" EP  (Amour du Rock and Roll)   

Pierre Cavalli  started studying violin at a young age and get quickly interested in the guitar.  In the late 40s, he started to commute between Switzerland and Paris where he began playing electric guitar in the famous Jazz Cellars of St . Germain des Prés, before he was even 20. 

In 1948, he was back in Switzerland, playing and doing some recording sessions with organist Fred Bolher (real name . Fritz Walter Böhler) Then he  moved again to Paris and played with various local and expat jazzmen, among others the American pianist Art Simmons.  He could be seen and heard in all the main jazz clubs of the time (Blue Note-Chat qui Peche..etc.).

Around 1955-1956  he met the blind singer-pianist François Charpin.  They formed a trio with the famous double bass player Michel Gaudry and recorded for the Barclay label.

Pierre Cavalli lead for a while his own Orchestra playing the hits of the day and recorded under his name a series of instrumental cover versions of popular tunes (When, Rebel-Rouser..etc) on Barclay and on on Bel-Air, a Barclay’s subsidiary.  He became a mainstay of the Barclay Studio, working often with bassman Pierre Cullaz, backing popstars of the day He often backed female singers such as Franca Di Rienzo and wrote arrangements for  Dalida.

He can be heard on numerous Hazy Osterwald records but always as a studio musician. 

In March 1962 (7-8 March to be precise), he was in a recording studio with Sréphane Grappelli for an album that will be entitled “Feeling + Finesse = Jazz”.    The rhythm section is among the best you could find on the old Continent:   Daniel Humair –another Swiss – is on Drums, Guy Pedersen on double bass, Léo Petit on rhythm guitar.  

The repertoire was Django influenced.  Pierre Cavalli demonstrates that he is a redoutable technician (this album was issued on Atlantic and was reissued on Collectables).   Cavalli had met and knew Django quite well, they were frequent visitors of the same jazz caves and clubs in the Paris of the late 40s , early 50s.

In 1964 he recorded with Austrian pianist Friedrich Gulda and a.o. the Italian guitarist/bassplayer Franco Cerri (MPS).  He made session with Hans Koller.

Between 1966 and 1978 Cavalli records several albums for nearly forgotten (often budget) 

labels such as 

Pics (Sitting on myGuitar)  

Activ.(Pierre Cavalli) 

and a fine Bossa Nova album on the Sunset label (Souvenirs from Brazil).

In addition to being a studio musician , Pierre Cavalli ran his father’s Musical Instrument Shop in Zurich.