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Search Result for Artist gilson
viewing 1 To 18 of 18 items
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FFL 075LP
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LP version. 180 gram vinyl. "In October 1974, the first number of L'Indépendant du Jazz, a small self-produced magazine DIY -- before punk supposedly invented the concept -- was launched by Jef Gilson, Gérard Terronès, Jean-Jacques Pussiau, and a few other specialists of a different kind of jazz in France, it looked at the already long career of Jef Gilson and in detail at the album with saxophonist Philippe Maté: 'The 'Workshop' is, with Philippe Maté (alto-sax), an undeniable success. Maté is genuinely 'the' most inventive French saxophonist since Michel Portal burst onto the jazz scene (who has also worked with Jef Gilson on both Enfin (1964) and Gaveau (1965).' Even though the author of the article is a mysterious I.H. Dubiniou, and it is difficult to know if it is a real person or a pseudonym used by one of the merry bunch, it is also tempting to hear it as what Jef Gilson really thought about his new discovery. Even more so as the two men would work together over a long period, as Maté became one of the key figures of Gilson's Europamerica orchestra up until the 1980s. Philippe Maté had started to make a name for himself with the Acting Trio when they released an album on the BYG label in 1969, and he was also one of the regular sidemen for the Saravah Studios. The album was recorded on February 4 1972, at the Foyer de Montorgueuil, where Gilson had set up his studio, with more or less the same team found on La Marche Dans Le Désert by Sahib Shihab + Gilson Unit (FFL 065LP). This was drummer Jean-Claude Pourtier and pianist Pierre Moret (regular Gilson accomplices since Le Massacre Du Printemps (FFL 064LP)), alongside Maurice Bouhana and Bruno Di Gioa on various percussions and/or wind instruments. On bass is Didier Levallet, of the now mythical Perception, and Philippe Maté who took top billing. The two albums are however quite different. This Workshop is more abrasive, more free. Made up of two long improvisations each of over 22mn, 'L'Oeil' on side A and 'Vision' on side B, the album plunges you into the depths, attempting to drown you in electronic waves, dragging you back to the surface by the collar, giving you a good shakedown, before showing you the light, leaving you breathless on the shore after 46mn of the most intense music French has to offer..." --Jérôme "Kalcha" Simonneau
Reissue, originally released in 1973. Includes booklet with rare and unpublished photos. Carefully remastered from the master tapes. Licensed from Palm/Geneviève Quievreux.
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FFL 075CD
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"In October 1974, the first number of L'Indépendant du Jazz, a small self-produced magazine DIY -- before punk supposedly invented the concept -- was launched by Jef Gilson, Gérard Terronès, Jean-Jacques Pussiau, and a few other specialists of a different kind of jazz in France, it looked at the already long career of Jef Gilson and in detail at the album with saxophonist Philippe Maté: 'The 'Workshop' is, with Philippe Maté (alto-sax), an undeniable success. Maté is genuinely 'the' most inventive French saxophonist since Michel Portal burst onto the jazz scene (who has also worked with Jef Gilson on both Enfin (1964) and Gaveau (1965).' Even though the author of the article is a mysterious I.H. Dubiniou, and it is difficult to know if it is a real person or a pseudonym used by one of the merry bunch, it is also tempting to hear it as what Jef Gilson really thought about his new discovery. Even more so as the two men would work together over a long period, as Maté became one of the key figures of Gilson's Europamerica orchestra up until the 1980s. Philippe Maté had started to make a name for himself with the Acting Trio when they released an album on the BYG label in 1969, and he was also one of the regular sidemen for the Saravah Studios. The album was recorded on February 4 1972, at the Foyer de Montorgueuil, where Gilson had set up his studio, with more or less the same team found on La Marche Dans Le Désert by Sahib Shihab + Gilson Unit (FFL 065LP). This was drummer Jean-Claude Pourtier and pianist Pierre Moret (regular Gilson accomplices since Le Massacre Du Printemps (FFL 064LP)), alongside Maurice Bouhana and Bruno Di Gioa on various percussions and/or wind instruments. On bass is Didier Levallet, of the now mythical Perception, and Philippe Maté who took top billing. The two albums are however quite different. This Workshop is more abrasive, more free. Made up of two long improvisations each of over 22mn, 'L'Oeil' on side A and 'Vision' on side B, the album plunges you into the depths, attempting to drown you in electronic waves, dragging you back to the surface by the collar, giving you a good shakedown, before showing you the light, leaving you breathless on the shore after 46mn of the most intense music French has to offer..." --Jérôme "Kalcha" Simonneau
Reissue, originally released in 1973. Includes booklet with rare and unpublished photos. Carefully remastered from the master tapes. Licensed from Palm/Geneviève Quievreux.
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FFL 068CD
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"In May 1972, the wave of anger and the thirst for freedom that had swept the world in 1968 arrived in Madagascar. The Malagasy youth took the opportunity to exile in search of a brighter future. Several of them, all jazz musicians and often polyintrumentalists, came to Paris with their Afro hair and bellbottoms. Their names were Sylvin Marc, his cousin Ange 'Zizi' Japhet, Del Rabenja, Gérard Rakotoarivony and Frank Raholison. By chance, they crossed paths with pianist and bandleader Jef Gilson, who they had already met as kids during a series of concert and workshops in Tananarive four years earlier. Gilson was far from an unknown on the French jazz scene. He had played with Boris Vian and André Hodeir at the end of the forties, he was one of the first French composers to move away from the New-Orleans style to try his hand at bebop, had launched numerous young stars (Ponty, Texier, Portal...), was a polemical critic for Jazz Hot, had opened for Coltrane at Antibes/Juan Les Pins, and was part of the Double Six... But it was tough to make a living playing personal compositions and Jef, who didn't have enough money to return to the island and continue mining the seam of Malagasy jazz, saw an opportunity to relaunch Malagasy. He had his recording studio in the Les Halles area, at the Foyer Montorgueil, where he was teaching jazz to a choir. He set to work with the new Malagasy group, working on a repertoire and reviving some of his compositions from the '50s/'60s and also included more recent tunes. The group Malagasy 73 gigged a lot. One of their concerts was recorded on the 14 March in a club, 'Le Newport', in rue Grégoire de Tours, Saint Germain des Prés, not far from the 'Kiosque d'Orphée' where Gilson worked at the beginning of the '60s when he brought bebop and avant-garde jazz to the attention of a generation of musicians with his records imported from USA. This meeting between two generations and two cultures created a new mix between jazz, traditional music and electric funk. Jef Gilson had reinvented himself yet again, and it wouldn't be the last time." --Jérôme "Kalcha" Simonneau First ever standalone reissue, remastered. Licensed from Palm/Geneviève Quievreux.
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FFL 068LP
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2022 restock; LP version. 180 gram vinyl. "In May 1972, the wave of anger and the thirst for freedom that had swept the world in 1968 arrived in Madagascar. The Malagasy youth took the opportunity to exile in search of a brighter future. Several of them, all jazz musicians and often polyintrumentalists, came to Paris with their Afro hair and bellbottoms. Their names were Sylvin Marc, his cousin Ange 'Zizi' Japhet, Del Rabenja, Gérard Rakotoarivony and Frank Raholison. By chance, they crossed paths with pianist and bandleader Jef Gilson, who they had already met as kids during a series of concert and workshops in Tananarive four years earlier. Gilson was far from an unknown on the French jazz scene. He had played with Boris Vian and André Hodeir at the end of the forties, he was one of the first French composers to move away from the New-Orleans style to try his hand at bebop, had launched numerous young stars (Ponty, Texier, Portal...), was a polemical critic for Jazz Hot, had opened for Coltrane at Antibes/Juan Les Pins, and was part of the Double Six... But it was tough to make a living playing personal compositions and Jef, who didn't have enough money to return to the island and continue mining the seam of Malagasy jazz, saw an opportunity to relaunch Malagasy. He had his recording studio in the Les Halles area, at the Foyer Montorgueil, where he was teaching jazz to a choir. He set to work with the new Malagasy group, working on a repertoire and reviving some of his compositions from the '50s/'60s and also included more recent tunes. The group Malagasy 73 gigged a lot. One of their concerts was recorded on the 14 March in a club, 'Le Newport', in rue Grégoire de Tours, Saint Germain des Prés, not far from the 'Kiosque d'Orphée' where Gilson worked at the beginning of the '60s when he brought bebop and avant-garde jazz to the attention of a generation of musicians with his records imported from USA. This meeting between two generations and two cultures created a new mix between jazz, traditional music and electric funk. Jef Gilson had reinvented himself yet again, and it wouldn't be the last time." --Jérôme "Kalcha" Simonneau First ever standalone reissue, remastered. Licensed from Palm/Geneviève Quievreux.
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FFL 066LP
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2022 restock; LP version. 180 gram vinyl. "Paris, May 13th 1968. There was a general strike. One last plane left the runway, strewn with flaming oil drums. On board were three jazz musicians wondering whether they would be able to return home one day. But for the time being they really want to make it to Madagascar where concerts and workshops with young local musicians were waiting for them. Pianist and bandleader Jef Gilson was accompanied by his bassist Gilbert 'Bibi' Rovère (Martial Solal Trio) and the young drummer Lionel Magal (Crium Delirium). Gilson, who already had a reputation for finding new talent (it was thanks to him that, amongst others Jean-Louis Chautemps, Henri Texier, Jean-Luc Ponty or Michel Portal first became known) was literally blown away by the standard of the young Malagasy musicians, all capable of imitating their American idols by ear. Their names were known only to jazz fans on the island; Serge, Allain and Georges Rahoerson, Arnaud Razafy, Roland de Comarmond, Joel Rakotomamonjy, Alain Razafinohatra, Samuel Ramiara... Gilson then had a vision: he wanted to encourage them to play jazz which was truly Malagasy and which would find its' soul in the island's culture and traditional instruments (Sodina flute, valiha, various percussion instruments...) He would go back to the big island three times, in March (with cellist Jean-Charles Capon), in October 1969 (alone), then in February 1970 (as a trio with guitarist Raymond Boni and drummer Bertrand Gauthier). The two trips in 1969 would lead to the sessions, recorded on a simple ReVox with two Neuman microphones, which would make up the essential part of this mythical album entitled Malagasy, and first issued in 1972 on the Lumen label, and then reissued, as early as 1973, on Palm, Jef Gilson's own label. Apart from the last track, recorded in Paris in 1971 with Malagasy instruments brought back from trips by the trio which would play on the avant-garde Le Massacre du Printemps (Futura), all the other compositions on the album are by Jef Gilson, Jean-Charles Capon and the young saxophonist Serge Rahoerson. There is also a cover of a song issued just a few months earlier and that the Malagasy musicians had only heard through bits and pieces played by Gilson on piano: the song is 'The Creator Has A Masterplan' by Pharoah Sanders, and it is one of the most wild and mystical versions you will ever hear. In May 1972, Madagascar itself would be the theater of youth revolt. And the composition 'Avaradoha' by Serge Rahoerson would be the anthem of the revolution on the streets." --Jérôme "Kalcha" Simoneau First standalone reissue. Licensed from Palm / Geneviève Quievreux. Remastered.
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FFL 066CD
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"Paris, May 13th 1968. There was a general strike. One last plane left the runway, strewn with flaming oil drums. On board were three jazz musicians wondering whether they would be able to return home one day. But for the time being they really want to make it to Madagascar where concerts and workshops with young local musicians were waiting for them. Pianist and bandleader Jef Gilson was accompanied by his bassist Gilbert 'Bibi' Rovère (Martial Solal Trio) and the young drummer Lionel Magal (Crium Delirium). Gilson, who already had a reputation for finding new talent (it was thanks to him that, amongst others Jean-Louis Chautemps, Henri Texier, Jean-Luc Ponty or Michel Portal first became known) was literally blown away by the standard of the young Malagasy musicians, all capable of imitating their American idols by ear. Their names were known only to jazz fans on the island; Serge, Allain and Georges Rahoerson, Arnaud Razafy, Roland de Comarmond, Joel Rakotomamonjy, Alain Razafinohatra, Samuel Ramiara... Gilson then had a vision: he wanted to encourage them to play jazz which was truly Malagasy and which would find its' soul in the island's culture and traditional instruments (Sodina flute, valiha, various percussion instruments...) He would go back to the big island three times, in March (with cellist Jean-Charles Capon), in October 1969 (alone), then in February 1970 (as a trio with guitarist Raymond Boni and drummer Bertrand Gauthier). The two trips in 1969 would lead to the sessions, recorded on a simple ReVox with two Neuman microphones, which would make up the essential part of this mythical album entitled Malagasy, and first issued in 1972 on the Lumen label, and then reissued, as early as 1973, on Palm, Jef Gilson's own label. Apart from the last track, recorded in Paris in 1971 with Malagasy instruments brought back from trips by the trio which would play on the avant-garde Le Massacre du Printemps (Futura), all the other compositions on the album are by Jef Gilson, Jean-Charles Capon and the young saxophonist Serge Rahoerson. There is also a cover of a song issued just a few months earlier and that the Malagasy musicians had only heard through bits and pieces played by Gilson on piano: the song is 'The Creator Has A Masterplan' by Pharoah Sanders, and it is one of the most wild and mystical versions you will ever hear. In May 1972, Madagascar itself would be the theater of youth revolt. And the composition 'Avaradoha' by Serge Rahoerson would be the anthem of the revolution on the streets." --Jérôme "Kalcha" Simoneau First standalone reissue. Licensed from Palm / Geneviève Quievreux. Remastered.
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FFL 064LP
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Repressed. Souffle Continu Records present the first vinyl reissue of Jef Gilson's Le Massacre Du Printemps, originally released in 1971. In 1971, the day after the death of Igor Stravinsky, Jef Gilson, and his Unit (Pierre Moret and Jean-Claude Pourtier) made this curious homage to classical music. It is jazz, contemporary, and electroacoustic music that the trio interrogate through a wild "noise" session evoking as much John Cage as Pierre Henry, John Coltrane as the Percussions de Strasbourg, the Art Ensemble of Chicago as the Tacet by Jean Guérin. Le Massacre du Printemps, (the Massacre of Spring) is a strange kind of homage to Igor Stravinsky, who had just died when, in 1971, Jef Gilson recorded this not-to-be-missed album of French experimental jazz. "Too many pieces of music finish too long after the end," the Russian composer was quoted as saying and here is Gilson offering us... six! A funny bird (of fire) was Jef Gilson. Clarinetist who came up playing in the basement clubs with Claude Luter and Boris Vian, he turned to piano and multiplied his experiences in jazz: bebop, choral, modal, free, fusion... As a free spirit, Gilson welcomed many "up and coming" French musicians in his bands (Jean-Luc Ponty, Bernard Lubat, Michel Portal, Henri Texier...) as well as being associated with Woody Shaw, Nathan Davis, or Byard Lancaster. Later he would go on to create, Europamerica, a transatlantic formation in which Butch Morris, Frank Lowe, and Joe McPhee would play... But for the time being it's a massacre! With Pierre Moret on organ and Jean-Claude Pourtier on drums, Gilson improvises with style and gusto. On the eponymous title track of the album, he also plays tuba and invites Claude Jeanmaire to get involved on prepared piano. Spring, for the four musicians here, is windswept: billowing, rumbling, frantic, it sounds like Stravinsky played by the "Percussions de Strasbourg" without a scoresheet! After which, behind his electric piano, Gilson with Moret and Pourtier offers us five more "unpremeditated spontaneous expressions", as he wrote on the back of the album sleeve. Five wily and electric expressions which are like the soundtrack to a film which could also have been played by the Art Ensemble or Jean Guérin. Licensed from Futura / Marge. Remastered from the master tapes; restored artwork with obi strip.
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FFL 065LP
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2022 repress. Souffle Continu Records present the first vinyl reissue of Sahib Shihab + Jef Gilson Unit's La Marche Dans Le Désert, originally released in 1972. A few months after having released Le Massacre Du Printemps (FFL 064LP), Jef Gilson was back behind his keyboards heading up his Unit. This time he was joined by Sahib Shihab. The caravan passes by, evoking, one after the other, Pharoah Sanders and Alice Coltrane, Pierre Henry and Karlheinz Stockhausen... Oh yes, Shihab's saxophone is... amplified. La Marche Dans Le Désert (The Walk in the Desert) is first and foremost the meeting of two iconoclastic musicians: Jef Gilson, pianist who tried his hand in all forms of jazz collaborating with emblematic American musicians (Walter Davis Jr., Woody Shaw, Nathan Davis...) or French musicians who were on their way to becoming so (Jean-Luc Ponty, Bernard Lubat, Michel Portal, Henri Texier...) Shihab is one of the many black American jazzmen who found refuge in Europe. After having played in the bands of Fletcher Henderson and Roy Eldridge, the saxophonist worked with Dizzy Gillespie, Thelonious Monk, John Coltrane, Art Blakey and Tadd Dameron. He came to the old continent with the Quincy Jones orchestra, spent a few years in Copenhagen, returned to Los Angeles, then came back to Europe. When he met Jef Gilson, in February 1972, the saxophonist was happily touring with the Clarke-Boland Big Band. La Marche Dans Le Désert was an opportunity for this supporting player to show what he was capable of. And it was some opportunity: with Gilson and his Unit (Pierre Moret on keyboards and Jean-Claude Pourtier on drums, Jef Catoire on double bass, and Bruno Di Gioia and Maurice Bouhana on flute and percussion respectively), Shihab got maximum exposure. To mark the occasion, he put aside his baritone saxophone to play a soprano... varitone. The amplified instrument, while losing nothing of its natural sound, was capable of generating the same presence as Gilson's electronic keyboards. And it would change the face of modal jazz: in a forest of percussion, Shihab and Gilson go on a sensual walkabout that will remain with listeners for long after. Between the two takes of "Mirage", Shihab, this time on baritone again, takes up the mantle once more of a style of jazz he was unable to strictly define. Licensed from Futura / Marge. Remastered from the master tapes; Restored artwork and obi strip.
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SSJ 002LP
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Super-Sonic Jazz present a reissue of Hal Singer and Jef Gilson's Soul Of Africa, originally released in 1974. Considered one of the most important Afro-Parisian jazz records of the '70s, Soul Of Africa sees Texas tenor sax giant Hal Singer team up with French pianist Jef Gilson, and his Afrocentric, big jazz band. Originally released in 1974 on legendary French imprint French Le Chant Du Monde, and reissued in 2008 on Dutch imprint Kindred Spirits, Super-Sonic Jazz Records provides yet another opportunity to get ahold of this driving, testament to spiritual, ethno-jazz. Full of rhythmic modal jazz, Soul Of Africa plays off the talents of Singer and Gilson with great panache, all the while supported by the sublime percussive talents of Gilson's finely directed band. During the '60s, Gilson was equal to the likes of Miles Davis, and was responsible for unearthing the talent Henri Texier, one of jazz's unrivaled, brilliant bass players. His music spanned various modes of jazz, and was recognized primarily for his Malagasy works, inspired by his trips to Madagascar. Contemporary music fans will be familiar with his work, after a recent Four Tet project sampled, remixed, and compiled a selection of his work. Hal "Cornbread" Singer who, in his long career, played alongside Duke Ellington, Roy Eldridge, Billie Holiday, and far more, was a Mercury Records' legend whose work with rhythm and blues, and jazz is unparalleled. Originally reissued by Dutchman Kees Heus, aka KC The Funkaholic, on his soulful, and eclectic imprint Kindred Spirits, this is another chance to get ahold of the classic release through his latest adventure, Super-Sonic Jazz. Running a parallel event at Amsterdam's Paradiso club, Super-Sonic Jazz sets out to push the boundaries of music, through bringing together eclectic, and global rhythmic luminaries, with more contemporary, genre-agnostic musical forms. Comes in a heavyweight tip-on sleeve.
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OI 012LP
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Modern Silence present a reissue of Oeil Vision, originally released in 1964. One of the best albums by legendary French pianist Jef Gilson, recorded in 1963 with Jean-Luc Ponty on violin, Daniel Humair on drums, Jean-Louis Chautemps and Pierre Caron on tenor sax, Guy Pedersen and Henri Texier on bass. A superb line up for this beautiful album including two splendid versions of "Chant-Inca" (a hidden cover of Pharoah Sanders "Creator Has A Masterplan"). Essential French spirit/avant jazz. Gilson was the brilliant mind behind a number of incredible, yet over-looked recordings during the late sixties and early seventies. His music spanned from big band and large led ensemble work to his later explorations with African influenced spiritual jazz. Pressed on 180 gram vinyl. Edition of 500.
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OI 020LP
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Reduced price, last copies... Modern Silence present a reissue of Jef Gilson's Enfin!, originally released in 1963. French pianist Jef Gilson came up in the '60s and played in a straight-ahead hard bop style and also made forays into Afro-jazz and free jazz, including a noteworthy version of Pharoah Sanders's "The Creator Has a Master Plan". He featured the young violinist Jean Luc Ponty on some early recordings, and also appeared on Magma drummer Christian Vander's Vander Et Les Trois Jeffs (1973). The pianist led numerous ensembles ranging from trios to creative big bands during his career, including the Jef Gilson Nonet, Jef Gilson et Malagasy, and the Jef Gilson Orchestra. Enfin! is a French modal jazz classic featuring some of the best musicians at the time: Portal, Pontu, Tholot, Jean Claude Petit, Francois Jeanneau, Bernard Vitet, Henri Texier, Jean Louis Chautemps.
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4CD BOX
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JMAN 065CD
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RSD 2014 release. Over recent years, Jazzman has delved deep into the life and work of the late French jazz pioneer Jef Gilson. The outcome has been two double albums featuring the best of his life's work, and has included many previously-unreleased tracks. As well as spending his days (and nights) composing, recording, producing, arranging and performing, part of Gilson's life involved the study and exploration of music, and in the late 1960s his curiosity led him to the ex-French colony of Madagascar, the island just off the south eastern coast of Africa. Indeed, Gilson was fascinated by all kinds of music, not just jazz, and his thirst for musical knowledge led him to make several trips to Madagascar not only to study the indigenous music, but also to spread his passion for jazz. His absorption of Malagasy culture and the strength of his personality would eventually result in the release of three exceptional albums of Malagasy jazz, as well as a string of Malagasy concerts, events and radio shows performed across France. Here, Jazzman presents in their entirety all three of these albums, as well as two further albums of previously-unreleased Malagasy material, in an attempt to address the profound contribution that Gilson and Malagasy have made to world jazz. Early experiments in ethnic jazz were created as a direct result of Jef Gilson's expedition to Madagascar in 1969. Three LPs of super-rare Malagasy jazz restored and available again for the first time in 40 years. Two LPs of unheard and previously-unissued Afro-Spiritual jazz. An impossibly rare 7" single made available for the first time ever outside Madagascar. All tracks full licensed and digitally restored. The 4CD set comes with a 24-page color booklet with comprehensive liner notes with information on each track and stories direct from Jazzman's interviews with the musicians involved. Includes a free digital download card. Liner notes in English and French.
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2LP
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JMAN 063LP
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Deluxe double vinyl LP pressing housed in a thick, glossy gatefold sleeve
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JMAN 063CD
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A collection of previously-unreleased recordings, rehearsals, demos and alternate takes from the personal archive of brilliant French pianist, composer and arranger extraordinaire Jef Gilson. Since his passing in 2012, Jazzman Records has surveyed the substantial personal archive of Gilson's acetates, test pressings and reel-to-reel tapes with the kind permission of his widow, Geneviève. The task has not been easy; it's taken numerous trips to France and the generous assistance of a small army of translators, advisors, musicologists, amateur enthusiasts and record collectors, as well as the surviving members of Gilson's musical entourage, for the label to gather together the information required to make this album. Here you'll find early experiments in oriental and ethnic jazz with Lloyd Miller, unissued alternate takes of Gilson's classic repertoire, long-lost live performances from 1960s European jazz festivals, and rehearsals and jam sessions that developed into a lifelong creative obsession, none of which has been officially released before. The music on this release was specially chosen from hundreds of hours of alternate takes, rehearsals, live recordings, unissued sessions and personal recordings made from the '50s to the '70s. Despite the limitations afforded by mastering some of these recordings from anonymous reels of twisted, buckled tape and scratched, dusty old acetate discs, we hope that the music contained herein affords a fascinating and otherwise impenetrable insight into the workings of one of the great unsung creative forces of European jazz. The CD comes with a 24-page color booklet with in-depth liner notes and previously-unpublished photographs. All tracks previously-unreleased, fully-licensed and digitally-restored from their original source.
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10"
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JMAN 064LP
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A collection of little known chansons -- with a twist of jazz -- produced by French jazzman extraordinaire, Jef Gilson. Available only on 10" vinyl, this album is a companion disc to the Jef Gilson Archives album (JMAN 063) and all tracks are exclusive to this release. Classic Gilson '60s repertoire with rarely heard vocal performances, this is sublime, sexy and seductive chanson jazz with a distinctly French flavor, some previously-unreleased songs, sung by obscure (or unknown) chanteuses inspired by Brigitte Bardot, France Gall and Francoise Hardy. The French chanson is a song that's as inextricably linked to French culture as crêpes, croissants and cognac. Their poetic, romantic lyrics are set to music that's characterized by following the rhythms of the French language rather than those of English, and have been used as serenades since time immemorial. Even in recent years many French artists, from Édith Piaf to Serge Gainsbourg, have added their own particular gems to the roster. Includes comprehensive and detailed liner notes with information on each track in English and French.
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2LP
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JMAN 042LP
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Deluxe gatefold double LP version. Jazzman Records presents one of the most brilliant and productive jazzmen ever to have lived: French pianist, composer and arranger extraordinaire Jef Gilson. With his career spanning the best part of a century, Gilson has made music with a who's-who of European and American jazz greats, has written, performed on and recorded innumerable film scores, albums and 45s, ran the Palm jazz record label... yet despite all this, the French jazzman remains criminally under-appreciated by so many jazz fans. Look him up on the internet -- there isn't even a Wikipedia entry! Jazzman addresses this unfortunate situation by releasing 19 songs spanning decades of his recording career. High points include the awesome modal masterpiece "Modalité Pour Mimi"; "Chakan" and "Agnus Dei," which feature a cathedral choir, and lesser-known private recordings such as "Valerie's Waltz" and "Valse A Quatre Temps." Jazzman also includes field recordings made on his trip to Madagascar, including a percussive version of the Lloyd Miller favorite "Chant Inca" and an unforgettable version of Pharoah Sanders' cult classic "The Creator Has A Masterplan." All in all, this is one of the finest albums Jazzman Records has made to date. Jef Gilson is now 84 years-old and wheelchair-bound. This album is all about the little-known musical genius, and the label has done their very best to represent his life story with the best of his music. Includes never-before-seen pictures, photos and images as well as exhaustive and extensive original liner notes in both English AND French. 180 gram vinyl pressing with cool textured art sleeve.
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JMAN 042CD
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Jazzman Records presents one of the most brilliant and productive jazzmen ever to have lived: French pianist, composer and arranger extraordinaire Jef Gilson. With his career spanning the best part of a century, Gilson has made music with a who's-who of European and American jazz greats, has written, performed on and recorded innumerable film scores, albums and 45s, ran the Palm jazz record label... yet despite all this, the French jazzman remains criminally under-appreciated by so many jazz fans. Look him up on the internet -- there isn't even a Wikipedia entry! Jazzman addresses this unfortunate situation by releasing 19 songs spanning decades of his recording career. High points include the awesome modal masterpiece "Modalité Pour Mimi"; "Chakan" and "Agnus Dei," which feature a cathedral choir, and lesser-known private recordings such as "Valerie's Waltz" and "Valse A Quatre Temps." Jazzman also includes field recordings made on his trip to Madagascar, including a percussive version of the Lloyd Miller favorite "Chant Inca" and an unforgettable version of Pharoah Sanders' cult classic "The Creator Has A Masterplan." All in all, this is one of the finest albums Jazzman Records has made to date. Jef Gilson is now 84 years-old and wheelchair-bound. This album is all about the little-known musical genius, and the label has done their very best to represent his life story with the best of his music. Includes never-before-seen pictures, photos and images as well as exhaustive and extensive original liner notes in both English AND French.
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7"
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JM 083EP
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Jazzman Records presents one of the most brilliant and productive jazzmen ever to have lived: French pianist, composer and arranger Jef Gilson. With his career spanning the best part of a century, Gilson has made music with a who's who of jazz greats, has written, performed on and recorded innumerable film scores, albums and 45s, ran the Palm jazz record label, yet despite all this, the 84 year-old remains criminally under-appreciated. Here is a limited, numbered edition 4-track 7" EP featuring some of his finest creations.
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