LIONEL HAMPTON'S PARIS ALL STARS CLAUDE BOLLING 1953 UK VOGUE 10" M-
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Description
ARTIST/TITLE: LIONEL HAMPTON'S PARIS ALL STARS - JAZZ TIME PARIS VOL.1' - VOGUE L.D.E. 043 - 1953 - ORIGINAL UK 10" LP
CONDITION (GOLDMINE GRADING): VINYL: SHINY M- / SLEEVE: M- (GENERAL AGE-WEAR)
RARE BRITISH PRESSING OF THIS CLASSIC LIONEL HAMPTON SET WITH SOME OF THE FINEST FRENCH PLAYERS. INCREDIBLE ARTWORK AND STUNNING CONDITION! (SEE PHOTOS FOR LINE-UP & TRACKLIST)
GRAMOPHONE MAGAZINE REVIEW:
Hampton (rib.); Mezz Mezzrow (cit.); ASia Combelie, Clifford Scott (tnrs.); Walter Williams (tpt.); James Cleveland, Al Hayse (tmbs.); Claude Boiling (pno.); Billy Mackeil (gte.); William Montgomery (electric-bass); Curley Hamner (des.). 28/911953. Paris. Lionel Hampton with just seven members of his big hand of young Americans that he took to the Continent last year padded out with a French usually New Orleans inspired pianist, a veteran French tenorist (Mix Combelle) and old-timer Mezz Mezzrow may seem an odd assortment. But it has come off here. Free Press Oui (whatever that may mean) consists of an opening ensemble chorus followed by eleven solo choruses. First we hear one of the two trombones who, with his clean and at times fast execution and effective tone, does well, and then Mezzrow. His lack of technique, cackling tone and demode style do not help. Next comes tenorist Clifford Scott, who, despite his tendency to honk, plays with plenty of drive. Alix Combelle, actually on the session as supervisor, but roped in by Hampton to play, now takes over for two choruses and, spurred on by Hampton's lively encouragement, gives a performance that gets a round of sympathetic applause from the rest of the band. Next comes a very nice guitar solo, then another good one by pianist Bolling and then two better ones from Hampton's vibraphone. The ensuing four choruses are conspicuous mainly for high note trumpet squeals, but no matter whether the solos are good or bad, the side has to have four stars for the rhythm section. It has about the steadiest, solidist and most riding beat I have ever heard, and thanks to it the record seldom fails to jump as few others do. Blue Panassie (named in tribute to French jazz critic Hugues Panassie) is Mezzrow, guitarist Billy Mackell, tenorist Scott and Hampton in turn playing slow blues. Hampton takes about ten of the approximately eighteen (you try by counting them) 12-bar choruses, and the side is a fascinating example of his vibraphone technique and his ability to improvise inventively for exhaustingly long periods without repeating himself or losing his poise.
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