Bolling: Suites For Flute And Jazz Piano Trio

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Cat No: 8554848

Release Date: 10 January 2003

Label: Naxos - Nxc / Naxos Classics

Packaging Type: Jewel Case

No of Units: 1

Barcode: 636943484821

Genres: Classical

Composer/Series: BOLLING

Description
Claude Bolling (b. 1930)Suites for Flute and Jazz Piano Trio Nos. 1 & 2After first winning world-acclaim as a jazz performer,pianist-arranger and conductor Claude Bolling wrote music for films and backedBrigitte Bardot, Sacha Distel, Juliette Greco and other vocalists in commercialrecording sessions. Later still, however, he was to win even greater renown forsome ingenious semi-classical 'jazz essays' in cross-over. Born in Cannes,Southern France, on 10th April 1930 he has spent the greater part of his lifein Paris where, as a child prodigy, his formative musical influences were manyand varied. After a broad initial training with the pianist, trumpeter andpercussionist Marie-Louise 'Bob' Colin in Nice, where he lived during the yearsof the Occupation, he discovered his passion for jazz while still at school.Strongly drawn towards ragtime and (on records) the great early exponents ofjazz piano, he was particularly inspired by the stride style of Fats Waller. By1944 he was already active semi-professionally in small groups and thefollowing year, in Paris, won an amateur jazz competition, organised by JazzJot and the Hot Club de France. Given his inordinate talent and avid interest, Bolling'sprogress as a jazzman was sure and rapid. His youthful heroes Earl Hines andWillie 'The Lion' Smith were among his private tutors, while Erroll Garner wasa prominent first-hand 'live' influence, and in 1946, aged sixteen, he set upLes Parisiennes, an Ellingtonesque small group whose repertoire veered betweenNew Orleans revival, ragtime and bebop. By the close of 1948 he had accompaniedChippie Hill at the Nice Festival and made his first recordings (with RexStewart). The pressures of a professional career, however, soon made him awareof a need for greater technical proficiency, and to that end he underwentvarious courses of training with Germaine Mounier (classical piano), LeoChauliac (jazz piano) and Maurice Durufle (harmony), and with the Parisianviolinist, arranger, film-scorer and pioneering jazz critic Andre Hodeir. Apartfrom a formal study of counterpoint and orchestration, he found renewedinspiration in the voluminous back-catalogue of jazz 'scripture'. Associated from the early 1950s onwards in concerts, atfestivals and in the studios with top visiting American swing-bop bands,Bolling was swiftly recognised as a major force in jazz circles in France andelsewhere. On and off-disc the list of his associates reads like a post-warjazz Who's Who? and includes, among others, Don Byas and Buck Clayton (both1951), Roy Eldridge (from 1950; they recorded the duo album Wild Man Blues forVogue in 1951), Paul Gonsalves (recordings 1964-65) and Lionel Hampton(recordings 1953 and 1956), Thad Jones, the vocalist Carmen McRae and AlbertNicholas (1953-55). For many years regarded as the foremost French ragtime andboogie-woogie pianist, Bolling's own keyboard style derived at least in partfrom such greats as Art Tatum and Teddy Wilson. Admired by Louis Armstrong
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