two new Lucky Thompson sets ....

At JazzWax, two new Lucky Thompson sets from Fresh Sound that cover the saxophonist's Paris years.... https://t.co/TWVOxuzG6H pic.twitter.com/V3S189vPwV

— Marc Myers (@JazzWax) 6 de setembro de 2017

Barney Wilen, Jiggs Whigham, Lucky Thompson

Barney Wilen, Jiggs Whigham, Lucky Thompson https://t.co/0n6t6biMMR #CannonballAdderley

— Jazz Music News (@mhq_jazz) July 5, 2016

Barney Wilen, Jiggs Whigham, Lucky Thompson

Barney Wilen, Jiggs Whigham, Lucky Thompson https://t.co/0n6t6biMMR #CannonballAdderley

— Jazz Music News (@mhq_jazz) July 5, 2016

Lucky Thompson + Henri Renaud

Reprinted from http://jazzwax.com

In late February 1956, tenor saxophonist Lucky Thompson relocated to Paris. Disenchanted with the American recording scene and the executives on the business side who routinely and happily took advantage of artists, Thompson sought refuge among French musicians who admired and respected him. A deeply romantic player with a strong, husky tone reminiscent of Don Byas, Thompson was an experienced sight-reader, having played in Boyd Raeburn's band in 1945 and with George Handy in '46—both of whom featured challenging arrangements. He also led Dinah Washington's first recordings for the Apollo label in Los Angeles in 1945 and recorded with Charlie Parker on the West Coast for Dial in 1947, most notably on Moose the Mooche, Yardbird Suite, Ornithology, A Night in Tunisia and others sides.

In 1952, Thompson was in the Thelonious Monk Sextet and recorded on Miles Davis' Blue 'n' Boogie and Walkin' in 1954. That year, he was on King Pleasure's recordings for Prestige and in Dizzy Gillespie's big band in early 1956. But Thompson couldn't seem to hold a group together, which made him less appealing as a recording session leader, since by then touring with the group you recorded with was essential to drive album sales.

In Paris, things were different. There, Thompson was revered and touring wasn't essential. In 1956, the French jazz scene was bustling with local and American musicians, and a contingent of the French jazz artists were heavily influenced by the sensual, harmonic approach of Quincy Jones and Gigi Gryce, both of whom were inspired by Tadd Dameron.

Gryce and Jones had recorded in Paris in 1953 during a tour to Sweden with Lionel Hampton. Over the course of six sessions between September 26 and October 11, 1953, they recorded 8 sides for the French Vogue label. On piano during many of those sessions was Henri Renaud, who picked up on their new, modern approach thanks to the Vogue recordings released later in the year. [Photo above of Quincy Jones]

When Thompson moved to Paris in 1956, a tentet was formed almost immediately, with Renaud playing piano and arranging. The group recorded 9 tracks in March 1956 for a 10-inch LP called Modern Jazz Group: Tentette and Quartet: Featuring Lucky Thompson (Tenor Saxophone) on the Club Français du Disque label.

The material is still fresh and sensational, and they are easily among my favorite Thompson recordings. They pick up where Gryce, Jones and Henri Renaud (above) left off in 1953, except here Thompson takes most of the solos.

JazzWax tracks: You'll find all nine tracks on Jazz in Paris: Lucky Thompson and the Modern Jazz Group here.

JazzWax clip: Here's Souscription, recorded in Paris on March 5, 1956. The tentet includes Fred Gerard and Roger Guerin (tp); Benny Vasseur (tb); Andre "Teddy" Hameline (as); Jean-Louis Chautemps and Lucky Thompson (ts) (solos); William Boucaya (bar); Henri Renaud (p); Benoit Quersin (b) and Roger Paraboschi (d), with arrangements by Renaud...

Souscription

And here's Thompson in the quartet format with Henri Renaud (p), Benoît Quersin (b) and Christian Garros (d) playing Tight Squeeze...

Used with permission by Marc Myers

Lucky Thompson + Hank Jones

Reprinted from http://jazzwax.com

When jazz musicians are paired perfectly, the result sounds like a key sliding into a lock. To the listener, the combination is magic as their tones and ideas merge and each artist plays off the other. Made-for-each-other examples include Lester Young and Billie Holiday, Al Cohn and Zoot Sims, Red Garland and Miles Davis, and Jim Hall and Paul Desmond. Add saxophonist Lucky Thompson and pianist Hank Jones to the list. While their work together is limited, Lucky Thompson Plays Jerome Kern and No More remains the finest expression of these two giants together.

Recordings of Thompson and Jones [above] together date back to a Hot Lips Page session of November 1944. They were together again in November 1955 on a Jimmy Cleveland recording session and in '56 on recordings led by Milt Jackson, Quincy Jones (This Is How I Feel About Jazz)and Johnny Hartman (All of Me).

But it wasn't until 1963 when Thompson led a date for Prestige's Moodsville series of relaxed albums that he recorded just with Hank Jones (p) and Wendell Marshall (b) and Dave Bailey (d) behind him. With this album, you're able to hear the two artists play off each other without distraction, and the result is gorgeous—something producers should have picked up on previously and afterward but, sadly, never did. 

Thompson's slippery, smoky style is constantly trying to wriggle free from Jones's firm precision, and the two engage in a cat and mouse game throughout. Thompson blows each Kern song straight for the first run through and then launches into improvisation with extreme tenderness and caressing. He also leaves lots of space for Jones to surface between his lines, and the contrast is wonderful. Jones's solos are precious, often starting in the upper register and working their way down. We also get to hear Thompson on sopranos sax.

Thompson and Jones would record together in the quartet format only once more—on Thompson's Lucky Strikes(1964). That was it. Fed up with the music industry, Thompson, who had relocated to Paris between 1957 and '62, did so again by moving to Switzerland from '68 to '70. When he returned to the U.S., he taught at Dartmouth College in '73 and '74, but the re-adjustment was difficult. He soon dropped out of the music business and was reportedly homeless by the early 1990s. He died in 2005 in assisted living, which came as a shock to many unsuspecting jazz fans. 

This Kern album shows off Thompson and Jones at their very best and makes one wonder why they weren't recorded together again and again.

JazzWax tracks: You'll find the Kern album with Hank Jones along withHappy Days Are Here Again with Tommy Flanagan on piano onHappy Days(Prestige) here. I, for one, would welcome Prestige re-issuing the complete Moodsville series in a box set.

JazzWax clips:Fortunately, someone put up two tracks that were issued as singles...

Here's Lovely to Look At...

Here's Who?...

Used with permission by Marc Myers