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Kérjen
árajánlatot! |
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| 1. | Un Homme et une Femme
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| 2. | Julien Dans l'Ascenseur [Florence Sur Les Champs-Elysées]
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| 3. | Les Parapluies de Cherbourg
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| 4. | No Problem
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| 5. | Manha de Carnaval
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| 6. | Générique
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| 7. | Les Feuilles Mortes
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| 8. | Quiet Temple
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Jazz / Post-Bop, Hard Bop, Mainstream Jazz, Soundtracks, Film Music
Barney Wilen - Sax (Tenor), Sax (Soprano)
Eddie Moore Drums
Joost Leijen Art Direction, Design
Makoto Kimata Producer
Mal Waldron Piano
Max Bolleman Engineer
Peter Huijts Producer
Stafford James Bass
W.J. Zwart Photography
Wim Wigt Executive Producer
Soft and sensuous, saxophonist Barney Wilen runs gently through eight French movie soundtracks, with the Mal Waldron Trio behind him. Wilen came to international attention decades before with his work with Miles Davis, and several of the themes here were actually written by the trumpeter. Wilen has been criticized for sounding tired on this recording, and, in fact, his sound does sometimes sound somewhat sleepy, though often attractively so. In ways, this sounds a bit like Stan Getz minus some oomph. The results are lazily appealing, the sort of melodies that might be soothing after a long day. This is not to imply, though, that Wilen is anything less than a very strong jazz performer, as his phrasing and choice of notes are smack dab in the middle of the jazz tradition. Yet, even when he builds tension, as he likes to do on his soprano, it has the feel of being held back. He is best heard on tenor, and on those tracks his lilting, soft forays usually hit the mark. Waldron is an oddly sympathetic voice, so much so that the music is often in danger of drifting to paradise. ~ Steven Loewy, All Music Guide
Barney Wilen
Active Decades: '50s, '60s, '70s, '80s and '90s
Born: Mar 04, 1937 in Nice, France
Died: May 25, 1996 in Paris, France
Genre: Jazz
Styles: Bop, Post-Bop, Hard Bop, Mainstream Jazz
Barney Wilen's mother was French, his father a successful American dentist-turned-inventor. He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion. According to Wilen himself, he was convinced to become a musician by his mother's friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often. He moved to Paris in the mid-'50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain. His emerging reputation received a boost in 1957 when he played with Davis on the soundtrack to the Louis Malle film Lift to the Scaffold. Two years later, he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim's Les Liaisons Dangereuses (1960). Wilen began working in a rock-influenced style during the '60s, recording an album entitled Dear Prof. Leary in 1968. In the early '70s, Wilen led a failed expedition of filmmakers, musicians, and journalists to travel to Africa to document pygmy music. Later Wilen played in a punk rock band called Moko and founded a French Jazzmobile-type organization that took music to people living in outlying areas. He also worked in theater. By the mid-'90s, he was working once again in a bebop vein in a band with the pianist Laurent de Wilde. Much of Wilen's later work was documented on the Japanese Venus label.
---Chris Kelsey, All Music Guide |
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