Modern Jazz For People Who Like Original Music - Bernard Peiffer

 

Tired Blues

Modern Jazz For People Who Like Original Music

Bernard Peiffer

Produced by Murray Singer

Engineer: Robert D'Oleans

Cover Design: Walter Rich

Laurie Mastersound Records LLP 1006

1960

From the back cover: Like several European jazzmen before and since, Bernard Peiffer accepted the challenge of trying to make a career at the source of jazz. He came here in December, 1954. It is difficult enough for an American musician to achieve recognition in as demandingly competitive a field as jazz, since proficiency alone isn't enough. Those who finally do become established, must also develop an individual sound and style, and originality is as hard to come by in jazz as anywhere else. For a European to try to make a jazz reputation in America is considerably more hazardous a venture. He must first find the roots of the music, and then try to make a contribution of his own.

Peiffer, now 37, had already become one of the most respected jazz musicians in France. Classically trained, he had chosen jazz as his career – although he still performs the classical repertory – and he worked with Django Reinhardt, Hubert Rostaing and others leading French musicians until he became a soloist at Paris jazz clubs in the late forties. In this country, Peiffer's career started slowly. Other musicians were impressed by his technique, and it was evident that he could communicate strongly to audiences whenever he had a chance to play. He did not record here, however, until April 1956, and it took longer for him to get relatively regular club work. His name is now much more widely known, particularly as a result of recent concert tours of colleges and civic auditoriums which covered more than 20,000 miles and some thirty states.

As a musician, Peiffer in the past two years has grown remarkably in becoming his own man. During his first years here, his technique was formidable but he sounded like a patchwork of influences and there were only hints of what Peiffer himself might have to say. As this recording indicates, however, his playing much more direct. His technique is used for expressive ends, not as a goal in itself. The powerful emotions that had previously been partially blocked by his eclecticism and over-reliance on technique have been unleashed.

Peiffer is particularly happy about this album, because for once in his recording career, he was given enough time. He was allowed ten days to rehearse by Laurie Records to whom he is now exclusively contracted. Moreover, this was material – all originals by Peiffer – which the trio had already played on its concert tour. "Each of these songs," explains Peiffer, "has a meaning unique to itself, and each is fully integrated, I hope, fro conception through performance. It is the way I have always wanted to make an album so that each thing I want to say is said completely."

Drummer Jerry Segal, 28, has been with Peiffer for over a year. He previously played with, among other groups, Chet Baker, Terry Gibbs, Pete Rugolo, Stan Getz, Johnny Smith, Benny Green and the Australian Jazz Quartet. Bassist Gus Nemeth, 23, has been with Charlie Ventura and Blossom Dearie and recently was inducted into the service, much to Peiffer's regret. "Both Segal and Nemeth," says Peiffer, "played with me. They fitted completely with what I was trying to do."

Benard Peiffer's first album for Laurie establishes him, I feel, at a new and much more mature level of his jazz career, both as a player and composer. "I am still exploring in my music," says Peiffer. The explorations, however, have begun to produce striking evidence that Peiffer has found his own way in jazz. He has served a long apprenticeship, and it is presumptuous for me to guess whether all the scuffling will ever be worth it to him personally. But musically, he's cut more and more to the marrow of what he has to say. – Nat Hentoff

From Billboard - February 22, 1960: This is Peiffer with six multi-hued, multi-mood original compositions, all of which show strong-classic overtones. On his first album for the label, Peiffer show occasional brilliant flashes of technique and certainly an inventive, almost picture-music approach. These tunes – like "Lafayette, Nous Voici," "Striptease," "Exodus" and "Poems For A Lonely Child" are all interesting musical impression. Included here is both the rapid fire Peiffer and the thoughtful, in all cases well supported Jerry Segal, drums and Gus Nemeth, bass. Solid listening set.

Rondo

Poem For A Lonely Child

Tired Blues

Lafayette Nous Voici

Strip Tease

Exodus