Afternoon in Paris - C Instruments

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Deligne, 83 Faubourg Denis Saint, Paris. Red Rose C.

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Chevallier 3. Chevallier 4. Chevallier 2. Jordan 4. Renaud 3. Paris, January 1, , Swing M. Blue Note J. Van Rooyen 3. Pronk 2. Ruby - R. Bloom 4. Cameron 3. Atlantic Original pressing with black label. Recorded I Cover the Waterfront 2. Dear Old Stockholm 3. Afternoon in Paris 4. All the Things You Are 5. Bags' Groove 6. The same can be said about the other French players employed on Afternoon in Paris -- neither tenor saxophonist Barney Wilen nor bassist Pierre Michelot were huge names in the U.

The Real Book Volume 1 – C Instruments Edition

The big-toned Wilen was only 19 when Afternoon in Paris was recorded, but as his lyrical yet hard-swinging solos demonstrate, he matured quickly as a saxman. It should be noted that all of the Americans on this album had been members of the Modern Jazz Quartet ; the only MJQ member who isn't on board is vibist Jackson. Originally released by Atlantic, Afternoon in Paris was finally reissued on CD in after being out of print for many years. Swing 39 D. Reinhardt 2. Vamp D. Reinhardt 3. Menilmontant C. John's Groove R. Fol 5. Wilen 6. Swingin' Parisian Rhythm B. Wilen 7.

J'ai Ta Main C. Nuages D. Reinhardt 9. La Route Enchantee C. Minor's Swing D. Reinhardt Epistrophy T. Miles Davis - Miles in Amsterdam. The group's a quintet with French players Barney Wilen on tenor, Rene Utreger on piano, and Pierre Michelot on bass -- grooving with help from Kenny Clarke on drums -- and tracks are longish and include many late 50s jazz standards -- like "Bag's Groove", "Four", "Walkin", "Round Midnight", and "Lady Bird".

Barney Wilen's young tone is razor sharp at this point -- and makes for a great counterpoint to the sweeter horn of Miles, coming together with the same magic they shared in their wonderful soundtrack work together. There's a bit of crackle in the recording quality, but the concert's well worth seeking out! Bags Groove - But Not For Me - A Night In Tunisia - Four - Round About Midnight - The recording was done in mono at 7.

As there were no alignment tones on the tape, I utilized a standard MRL tape at 7. Normally, in the case of a mono tape such as this one, I would use the better sounding output left or right from the Otari. But for some reason, in this case the sound was always superior when I mixed the two outputs together accomplished by busing within ProTools.

The result was always fuller and less "hollow" than that of either channel on it's own.

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The phasing sound evident in the cymbals was apparent in the individual channels and no worse when the channels were combined, which leads me to think that this anomaly was introduced at the time of the original recording or if and when a copy was made. The file format was BWF.

The nominal reference level and I say nominal because the playback level of the Otari was set "by eye" was dbFS. The tape was played in one pass into ProTools and the result was a single 1. I was his french manager between and , and consequently very close from him those years. The story of this tape and his different official or bootleg editions remains full of mistery for the jazzfans. And of course - though kwowing that your will certainly not answer this question - I wonder who you are and how this tape is now in your hands?

Did you had any grapholigic expert evaluation on that point? I'm sure such an evaluation could increase the value of this rare item. I'm unfortunately not in position to buy it myself, but if you have any other Barney Wilen items like LPs, posters, etc.. Sep A: Thank you very much for this most informative question. You are not wrong by assuming that I prefer to keep your first question unanswered.

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All I can say is that this tape was given to me by Barney Wilen himself and that I therefore have all the reasons to believe that it is an original. Concerning Mr. Wilen's handwriting on the cover of the tape: I did not ask for a graphologist's expertise simply because I assumed that it was his.

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Hal Leonard Real Book Vol. Related Products. If you're looking to learn some standard jazz tunes this is the way to go. If you're a bass, trumpet og sax player and not reading the standard treble key I would recommend checking out the bass-key, Bb or Eb versjon of this book. Please give us the reason for your assessment in the following text box and — if possible — your e-mail address for further questions. Send report. What to say Read all reviews Rate product.

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Afternoon in Paris

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