I continue to be delighted by the amazing titles coming out of Sam Records. If you have not heard the backstory by now, let me provide some additional insight. Sam Records is an independent one man operation founded in 2011 by Fred Thomas and located in Paris, France. His love and commitment to jazz and the very best in terms of production, packaging, and sound quality comes through loud and clear with every release. All titles are pressed on 180 gram vinyl by Optimal or QRP. Old school style flip back LP jackets (outer sleeves) are provided with each album and are manually screen-printed. Original photos by Jean-Pierre Leloir and artwork by Jean-Louis Duralek are utilized throughout. And most importantly, these reissues are mastered from the original analog master tapes. The LPs reviewed here were mastered by non-other than Kevin Gray.
I have been indulging myself in a sea of five releases from Sam Records for several weeks now. Similar to the rest of the Sam Records catalog, many of these titles were never released in the USA, and were originally offered via labels like Fontana (Dutch) and Barklay (French). Some are studio and some are new live recordings that were never available before. Several of the live concerts are part of the "Sam Records Lost Live Sessions" series. Rather than pick one or two titles to focus on, I have decided to provide some short and sweet comments on all five, as I think the readers should not miss out on any of these wonderful opportunities! Nothing is worse than a tease, but I am confident that you will thank me later.
Sound
All of these titles are mono. Over the last two or three years, I have become a big fan of this format. Some of the recent Blue Note Classic and Tone Poet reissues really got me hooked, but I am also enjoying the new mono reissues from the likes of Pink Floyd (Columbia), Jefferson Airplane (Mofi), and even Julie London (Analogue Productions). Yes, it helps to have a second tone arm and a dedicated mono cartridge, but I find myself very satisfied and highly entertained even when playing these LPs with my stereo cartridge.
I like to call the overall presentation as "big mono." For the very best in this format, the sound stage typically stretches from just inside the left speaker to just inside the right speaker. Some of the better mono recordings have a substantial sound stage, and there is very little if any tunnel effect. Sometimes, when comparing a mono to a stereo release of the same title, the mono can sound even more locked in and dynamic. My apologies to the mono aficionados out there who will surely claim that all of this is old news, but gosh, it sure is fun for an old dog to learn a few new tricks! Bottom line. Even beyond the format and sound quality, the following titles are simply outstanding when it comes to performance and the ability to provide you with an emotional connection to the music!
Barney Wilen, Un Témoin Dans La Ville
This is my favorite from the entire group of titles. Recorded in Paris, France in 1959, and originally released on the Fontana label, this is a 33 RPM 10 inch LP of Barney Wilen's soundtrack for the movie Un Témoin Dans la Ville (Witness in the City). Musicians include Barney Wilen (saxophone), Kenny Dorham (trumpet), Duke Jordan (piano), Paul Rovère (bass), and Kenny Clarke (drums). There is something very unsettling about this music, but I still found myself transfixed by the interpretation. Plenty of suspense and drama is displayed by this fantastic and most talented ensemble, but it seems appropriate. I have never seen the movie, but it is supposedly about love, murder, and revenge. I had the same reaction to the 2016 Sam Record's reissue of the Miles Davis' soundtrack Ascenseur Pour L'echafaud (Elevator to the Gallows). Another highly recommended release!
Art Blakey & The Jazz Messengers, Olympia Concert
Recorded in 1959 at the Paris Olympia, this edition of the The Jazz Messengers included Art Blakey (drums), Lee Morgan (trumpet), Benny Golson (tenor saxophone), Bobby Timmons (piano), and Jimmy Merritt (bass). This was the Messengers very first visit to Paris, and their excitement and curiosity greatly contributed to the high level of energy in the room. Recorded not too long after the classic Moanin LP was released, we find the quintet absolutely on fire. The respect and adoration in both directions for both the musicians and the audience is clear from the very first track. The reaction from both was so fervent, that a second concert was quickly agreed to and it sold out immediately. Art Blakey and Lee Morgan are at their very peak form for this concert. Solos by both are quite memorable. Blakey pounding away and driving the rhythm section forward. Morgan leaving nothing on the table with a triumphant repertoire of superb technique and wonderful improvisation. Killer stuff!
Donald Byrd & Bobby Jasper, Cannes 58
This is a previously unreleased concert by the Donald Byrd/Bobby Jaspar Quintet, recorded on an evening dedicated to 'Modern Jazz' during the first and only Cannes Jazz Festival in July 1958. This first official release was made with the full permission and cooperation of the INA (Institut National de l'Audiovisuel). Also included are two monochrome photo inserts taken by Jean-Pierre Leloir—one of Donald Byrd & Bobby Jaspar alone, and another single fold of all five musicians. Both pictures were taken at the Cannes concert. The musicians included Donald Byrd (trumpet), Bobby Jaspar (flute/tenor saxophone), Walter Davis Jr. (piano), Doug Watkins (bass), and Art Taylor (drums). Donald Byrd's residency in Paris in 1958 to study with composer Nadia Boulanger was the impetus to what many consider as one of his finest bands ever. Byrd really shines on several of both his own and Bobby Jasper's original compositions. Though he is somewhat known for his experimentation with fusion and other genres in his later years, his hard bop skills demonstrated here are some of the best of that era. The man can really blow!
Donald Byrd & Bobby Jasper, Paris 58
Like the concert title discussed above, this is a previously unreleased studio recording by the same Donald Byrd/Bobby Jasper Quintet. Again, this official release was made with the full permission and cooperation of the INA (Institut National de l'Audiovisuel). After a fairly lengthy tour of several music festivals in Europe during July 1958, and after several appearances at the infamous Paris Jazz Club "Au Chat Qui Pêche" later that year, the quintet was decidedly ready for some studio time. In November and December 1958, they were invited by the French Radio to make a series of new recordings. As a result, this session was recorded for the French Radio Television Show Jazz aux Champs-Elysées. This is another demonstration of Byrd's superb skills and virtuosity at a time when hard bop was reaching a new innovative pinnacle of success in both the States and Europe. Jasper and the other musicians were more than just sidemen along for the ride. This is an elite band, and at this point the playing was extremely tight as the recording reminds us over and over again. A delicious complement to the live Cannes 58 album above.
Lester Young, Le Dernier Message De Lester Young
This album was recorded in 1959 at the Studio Barkley in Paris, France and was first released on the Barkley label that same year. The original photos utilized on the front and back of the LP jacket were taken by Herman Leonard. A double insert is included, using an original photograph by Jean-Pierre Leloir. Musicians included Lester Young (tenor saxophone), René Urtreger (piano), Jimmy Gourley (guitar), Jamil Nasser (bass), and Kenny Clarke (drums). Lester Young's health had greatly declined at this point in his life and sadly he passed just weeks after this session was completed. This was his last studio recording. Because of his health, his playing throughout this album tends to be more of moderation and control with a definite priority on emotion and empathy. For that reason, his solos are slightly downplayed and the ballads tend to be the highlights of the session. Still, Lester Young will always be considered one of the masters and many claim him as their most favorite ever on saxophone. This is still a historic benchmark well worth having in your collection!
Final Thoughts
Sam Records has provided us with a glorious treasure of little known if not excitingly new studio and concert recordings from one of our most important eras in jazz. You have to be impressed if not thankful to Fred Thomas and Sam Records for finding a way to make this happen. We need to support these kind of efforts as I have a great confidence that there are more hidden gems out there to discover and bring to those who love jazz, and especially from these iconic musicians and their music. Bravo to Fred Thomas! Bravo to Sam Records!
Sam Records https://samrecords.fr
