Under Paris Skies
Benny Goodman & Paris
Listen To The Magic
Produced by Loren Becker and Robert Byrne
Art Director: Daniel Pezza
Recording Engineer: C. R. Fine
Stereo and Monaural Mastering: George Piros
Command ABC Records STEREO RS 921 SD
1967
From the inside (gatefold) cover: This is Benny Goodman complete. Every nuance of his clarinet technique and of his unique sound is heard with unblemished clarity. At times, the close-up reality of these recordings is almost incredible.
And this is the definitive Benny Goodman – Benny Goodman reorder to his own precise specifications. To achieve this, Command gave Goodman a completely free hand in the recording studio. Command's experienced engineering staff was placed at his disposal. Microphone set-ups, positioning of musicians, balances were all adjusted under Goodman's direction until he heard the sound exactly as he knew it should be.
The group that Benny leads is made up of musicians who are part of an inner core of men on which he draws whenever he puts a combo together. When they recorded these pieces, they were playing at the famous Rainbow Grill on the 65th floor of the RCA Building in New York, a room that looks out over a breathtaking view of Manhattan and the far hills of New Jersey.
Joe Newman, on trumpet, was one of the stars of the big band with which Goodman toured the U.S.S.R. He was in Count Basie's band all through the Nineteen Fifties until he settled in New York in 1961.
Urbie Green, on trombone, was added to Goodman's Rainbow Grill gourd for these recordings. He played with the Goodman band in the film, The Benny Goodman Story, and in 1957 led a touring version of the Goodman band. He earned his big band spurs in the 'Forties and 'Fifties with Gene Group and Woody Herman.
Bernie Leighton played piano in the Goodman band 'way back in 1940 and was also a member of the Goodman sextet then. Since then he has been a very active piano soloist in New York as well as a conductor and accompanist for numerous singer.
Attila Zoller, guitar, was born in Hungary and made a reputation in Europe as a jazz musician before coming the Untied States in 1959. He played for three years with Herbie Mann's group and has also led his own combos.
George Duvivier is acknowledged, but the demands for his services, to be one of the most brilliant bassists playing today. For many years he accompanied Lena Horne but for the past decade he has spent most of his time in New York as busy freelance musician.
Joe Marshall is a drummer who has built an enviable reputation with several small groups, including Goodman's.
From Billboard - November 4, 1967: Benny Goodman's clarinet work is legendary and Command's sound technique gives it a potent reality. The package is pegged on the rhythm of Paris and Goodman is in his stride as he goes through "April In Paris," "I Love Paris," "Under Paris Skies" and others of equal delight.
How 'Ya Gonna Keep 'Em Down On The Farm
Autumn Leaves
I Love Paris (from "Can Can")
A Man And A Woman (from the movie "A Man And A Woman")
C'est Magnifique (from "Can Can")
Petite Fleur (Little Flower)
I Wish You Love
Mimi
C'est Si Bon
Under Paris Skies
I Will Wait For You I (from the movie "The Umbrellas Of Cherbourg")
This has long been my all-time favorite Benny Goodman album. Since most of his great works were done before the advent of the LP, his 60's work is fascinating. He did the first jazz version of My Favorite Things, for example. But this one, for me, stands above all the others. All the great French songs handled with aplomb. The big surprise was the completely different take of A Man and A Woman. Taken at an incredibly slow pace, flying the face of literally every version out there. It may seem shocking at first, but the mood is so relaxed, it's perfect for late night listening with the lights turned low. Every artist, except maybe Percy Faith's version, plays A Man and A Woman like it's the Indy 500. For proof, just listen to Peter Nero and Andre Kostelanetz.
ReplyDeleteWith Command's brilliant engineering, handled by the legendary Robert Fine, this is a must have. I have to disagree with All Music Guide's assessment that this is a throwaway album and only for Goodman completists. It's a wonderful album with outstanding arrangements and fresh interpretations of classic French songs. Hopefully it will one day be released on CD with proper remastering. I am fortunate enough to own the original open reel issue, which is far superior to the LP. If you love Benny Goodman and can find this album used, grab it!