Dwain

• Afternoon In Paris features some well-known American cats as well as maybe introducing some of us to some French musicians that can really swing. Everyone knows names like John Lewis, Percy Heath and Kenny Clarke but not as many American listeners have heard names like Sacha Distel and Barney Wilen. This album features an eclectic mix of standards while also featuring Lewis’ “Afternoon In Paris” as the title track. The arrangement on the album brings us a sometimes different lens into the music with many piano intros and rubato sections and not all of the melodies being played in such a “straight ahead” fashion. This isn’t to say that this album does not have certain swing and bop elements as it is featured well from all of the musicians on the album.

• They have memorable renditions of tunes such as “All The Things You Are” and “Willow Weep For Me”. One thing that may make these tracks more memorable than some of the earlier tunes on the album is the introduction of Percy Heath and Kenny Clarke to the rhythm section that certainly stand out and do more to interest the listener than Pierre Michelot and Connie Kay. One member of the group that stands out above many of the rest on the recording is Barney Wilen. He continually stands out with his commanding straight forward swing combined with the wealth of different ideas and lines. His feel is impeccable and he reminds me of so many of the different greats all at the same time; Sonny Stitt, Dexter Gordon, Gene Ammons and even others at times.

• The endings of the tunes do not always seem as thought out as some of the intros but none of them are particularly bad per-say. Also I’m never the biggest fan of having the split rhythm section on albums but it happened quite often with the nature of jazz recording back in the day but can make albums feel slightly disjointed in my opinion.

• Overall, Afternoon in Paris is an under-appreciated and less than well-known album that has a lot going for it and truly is an interesting listen. It gives us a taste of some potentially unfamiliar European jazz musicians while featuring  many standards in an interesting fashion. The biggest takeaway from this recording is the name Barney Wilen, a saxophonist whose work deserves a much deeper dive. This album is a non-mainstream recording that is more than worthy of a listen and your time.

Overall score: 8.2/10

Max

• John Lewis and Sacha Distel’s Afternoon in Paris is a unique recording involving a collaborative creation between American and French musicians. They create an album filled with meaningful straight-ahead jazz that includes elements of other genres. The arrangements of most tunes here are interesting too, which surmise a number of rubato piano intros, cool interplay between instruments, collective improvisation, solo trading, and intentional endings. Each soloist creates impactful improvisations when featured. I am most pleasantly surprised by Barney Wilen’s saxophone playing. His ideas, feel, and phrasing are always swinging. Barney’s sound and style are much-appreciated as well. His solos on “Dear Old Stockholm” and “Bag’s Groove” are particularly on-point while filled with bop, blues, soul and effortless dexterity. His solo on “Willow Weep For Me” is another high point to the record, as that whole track is in top form. It is quite expressive, as it has the most apparent journey from the start of the piano intro through solos and into the headout. The tune’s blues tinge is clearly on display there too.

• Sacha’s guitar is a nice addition to the ensemble, as can be heard on “I Cover the Waterfront,” “Dear Old Stockholm,” and “Bag’s Groove.” His single-line ideas are impressive as they are clearly influenced by the bop lineage, including the late-great Charlie Parker. John Lewis has a certain distinct sound on the piano derived from his voicings and tendency to produce immaculate, easy-going ideas in the mid-range of the piano. Lewis and company are accompanied by an array of great rhythm section players including drummer Connie Kay and bassist Pierre Michelot on tracks 1-3, and bop drum legend Kenny Clarke alongside bass extraordinaire Percy Heath (of the Heath bros dynasty) on tracks 4-6. The latter rhythm section of Heath and Clarke seems to swing just a tad harder, producing drive and feel-good movement throughout tunes. Great musical moments are present from everyone.

• Some points on the album are a bit puzzling. To me, this would describe the seeming collective improv between sax and bass on the opening track. It seems to sonically clutter the music. Another puzzler is the solo transition idea present in “Afternoon in Paris.” I appreciate those arrangement ideas, yet here, it may almost disrupt the flow. Also, I wish there weren’t so many endings played by just the rhythm section. If Barney’s saxophone is on the tune, why not include him on more endings? I suppose that specific arranging decision may be easier in-the-moment and perhaps that’s how John Lewis was hearing it. Despite these moments, I enjoy the arrangement of “Willow Weep For Me” and “Bag’s Groove.” Those musical journeys are uniquely excellent. All in all, this is an interesting, swing-heavy album that should be given more attention. Musicians like Barney Wilen and Sacha Distel are not as immediately recognizable or as well-known as other prominent players. Afternoon in Paris would be a great place to familiarize yourself with them, as well as the style and ability of John Lewis, the notable pianist and composer/arranger of The Modern Jazz Quartet. The tunes that are present on this album are timeless, as are a number of the musicians. This is worth a listen, even if it’s just to say you’ve done your homework.

Overall score: 7.7/10