The great feature of Spain-based Fresh Sound Records is that they find obscure artists of the 50s-80s that deserve a second (or even first) listen. Here are a pair of artists from France that show an influence of American swing and bop, but feature it in their own distinct style. The excellent liner notes give histories of the artists, putting their art into perspective of the time period.
Tenor saxist Guy Lafitte (1927-1998) had a big beefy sound akin to Coleman Hawkins and Buddy Tate, with a harmonic approach to the former, aptly displayed on this collection of mid 50s Parisian sessions co-lead with swinging pianist Andre’ Persiany. The remaining team of Paul Rovere/b and teddy Martin-Christian Garros/dr mix tradition with modern on this infectious collection of standards and war horses. Lafitte’s tenor growls with delight on “Savoy Blues” and oozes with lava warmth during “I’ll Never Be the Same.” Even on trad jazz themes such as “Basin Street Blues” and St. James Infirmary” he sounds modern and up to date, while Persiany shows an influence of Erroll Garner two fisted stride when he takes the spotlight on “Nobody Knows When You’re Down and Out” while soloing like he just came out of a saloon on “Careless Love” . The rhythm team is simpatico and snappy on “Chicago” while sophisticated and stylin’ on “Squeeze Me.” This one doesn’t disappoint!
Michel “Low Reed” de Villers played both alto and baritone sax, mixing the swoon of Johnny Hodges on the former and the warmth of Gerry Mulligan on the latter. These sessions from 1946-1956 mix hot and cool sounds in settings ranging from hip quartets to moderate sized orchestras.
On alto, de Villers’ lilting horn is drop dead gorgeous on the Old World “Blues at Eleven” and sounds like Rabbit with Bird tendencies on “How High the Moon” and “Sweet Lorraine” while dripping with passion on “Lover Man” and the ballad “I’m Sorry.” He bops with the best on “Stuffy” and is lovingly modern on “I Surrender Dear.” For his baritone sax, he sweetly swings on “Fisher’s Wife” and gets a Kansas City feel on “Indiana.” Some 1954 Orchestra settings have him in the midst of a velvety sax section, not dissimilar to Woody Herman’s “Four Brothers” Band, with soft and sensuous harmonies on “These Foolish Things” and “I Only Have Eyes For You” while showing some muscle on “Somebody Loves Me.” A discovered fresh water pearl!
Fresh Sound Records