ich zitier mal aus dem gramophone Archiv, alles auf die Aussagen über die Saxophonisten zusammengestrichen, das meiste ist wohl von Alun Morgan, hab das aber nicht im Detail verfolgt, aus seiner Sicht haben sich offenbar beide über die Jahre gesteigert… (oder er hat sich an sie gewöhnt…)
1954 (Jaspar Renaud Group)
Bobby Jaspar is one of the many young Continental modernists who have lately become prominent as a result of the increased following for “ cool „jazz in Northern Europe. […] By no means yet another Getz, he is nevertheless worth noting, though in this particular record the chief honours go to French pianist Henri Renaud, vibraphonist „Sady,“ and most notably American (now resident in Pairs) guitarist Jimmy Gourley.
1955 (Jay Cameron Session mit Jaspar, Chautemps, Wilen)
Cameron, a no more than average American musician now resident in Paris, is joined by two Frenchmen (Wilen, Chautemps) and a Belgian (Jaspar) to form the sax quartet, but the tonal similarities of the three tenor men gives little variety to the performance. Jaspar is the most assured soloist, although Chautemps seems to have greater warmth in his playing, despite severe limitations in other respects. Wilen is merely boring.
1956 (Bobby Jaspar’s New Jazz Group)
[Jaspar] is a competent, agile soloist, but I find the lack of expression in his work leads to boredom— even when he does throw in a few good ideas.
1958 (Jaspars Riverside Album)
I needed to hear only a few bars of the first track to realise that Belgian-born Bobby Jaspar has improved considerably since he emigrated to America in April, 1956. Invariably a consistent and interesting tenor saxist when he was in Europe, he has blossomed out as an assured soloist with presence and personality. His tone now seems heavier, his playing more intense,
1960 (John Lewis/Sacha Distel Afternoon in Paris, rec 1956)
[…]it is Wilen who will attract the ear of those not familiar with his work. After Lewis has laid the groundwork Wilen sails in to fashion some beautiful choruses in an original style, yet a style that reflects both Lester Young and Sonny Rollins. Listen to the lovely counter line which he blows behind the piano on Afternoon In Paris; listen also to the tremendous confidence in Wilen’s playing whenever he receives the pushing support of Kenny Clarke’s drums.
1961 (Wilens Jazz sur Seine)
It is a tribute to the status of European jazz nowadays to be able to say that in many respects it is the Frenchman [Wilen] who comes off best. A tenor player with a genuine bite in his tone and phrasing, Wilen never seems at a loss, but plunges ahead all the time, rarely content with a cliché or a second-hand idea.
Interessante Bemerkung von 1965 hier: „It would be interesting to hear Zbigniew Namyslowski after he had spent, say, six months working in New York with men such as Billy Higgins, Elvin Jones and Jimmy Garrison. „
--
.