Trombonist and arranger Billy Byers, now in a supporting role.
BILLY BYERS EXCHANGES THE BIG APPLE FOR LA VILLE LUMIÈRE
In early 1956, Billy Byers is involved in two interesting projects: The Hawk in Hi-Fi – Coleman Hawkins with Billy Byers and his Orchestra (RCA Victor) with arrangements solely by Billy Byers, and the LP Byers’ Guide (Jazztone), where he shines as an inspiring bandleader and a more than solid soloist; moreover, he has also contributed six of his own pieces.
For now, these are his last accomplishments on American soil, because at the end of February 1956, he travels to Paris at the invitation of Ray Ventura. This seasoned pianist/bandleader has become aware of the work of Billy Byers and can use such a skillful arranger who does not shy away from unusual orchestrations and dramatic effects.
The orchestra of Ray Ventura – born in 1908 in Paris and died at the age of 70 in Palma de Mallorca in 1979 – can be compared to the formations that Jack Hylton put together in England. In their own country, the association is made with Theo Uden Masman’s The Ramblers. All three orchestras have many jazz musicians in their ranks, but apart from a few pure jazz numbers, these orchestras mainly make a living with dance and show music. And in the vocal contributions, the signs of the times are often ironically sung.
A famous example of such a subtly warning song is provided by Ray Ventura in 1935 with “Tout va très bien, Madame la Marquise”. This song is interpreted as a warning of the increasing danger that the Third Reich posed to the European democracies, a threat that many government leaders ignored.
The story goes that Ray Ventura lured Billy Byers to Paris, and one would expect to find multiple records that prove their collaboration. Strangely enough, I have only been able to discover one Ray Ventura LP for which Billy Byers wrote the arrangements: “Hi-Fi sounds for young Parisians—the music of Georges Brassens played by Ray Ventura and his Orchestra”. This album was released on the American Atlantic label in 1957. The record features thirteen arrangements of songs by Georges Brassens, such as “Chanson pour l’Auvergnat”, “Le parapluie”, “La chasse aux papillons”, “Les sabots d’Hélène” and “Une jolie fleur”.
But Billy Byers is also warmly welcomed in the more purist jazz circles in Paris. In May 1956, he participates in a sensational big band project by the relatively unknown pianist Martial Solal.
MARTIAL SOLAL, A UNIQUE PIANIST AND BIG BAND COMPOSER
Martial Solal was born in 1927 in Algiers, as the child of French parents. His mother was passionate about opera and was involved in the genre at a surprisingly high level (but remained an amateur). Martial began taking piano lessons at the age of six from a German piano teacher who scolded him in a classic Prussian manner and hit his fingers with a ruler when he made a mistake. However, he still learned a lot from her. During World War II, he discovered the music of pianists such as Earl Hines, Fats Waller, Teddy Wilson, and Art Tatum through the radio. After the war, he worked as a professional musician in the monumental, neo-classical Aletti Hotel in Algiers, and he was also heard on Radio Alger. After completing his military service, he tried his luck in Paris in the early 1950s. However, no one was interested in him, and after three months without work, he was about to return to Algiers when he finally got a job in Noël Chiboust’s variety orchestra, which had to entertain the visitors of the palace-like Casino in Evian during the summer of 1950. The repertoire consisted mostly of English waltzes, tangos, and quicksteps, with an occasional bit of tame jazz. It was not a dream job, but Solal persevered because he was in the company of very professional colleagues. Together, they made the best of it, and the nightly jam sessions provided much solace after work.
Upon his return to Paris, at the age of 23, he played for five months in the nightclub “Le Rêve” with the orchestra of Venezuelan drummer Benny Bennett. It was definitely not a toothless jazz orchestra or a faded variety orchestra: with its strong brass sections on a rich background of Latin American rhythms, this orchestra is still worth listening to. It’s remarkable that such a strong salsa orchestra could operate out of Paris for years. In this colorful polyrhythmic environment, Martial Solal learned many valuable lessons. This was a great addition to his knowledge of North African music, which he acquired from music groups in the streets of Algiers.
The critic André Clergeat has now recognized Solal’s special qualities; in Jazz Hot of June 1951, he writes: “Although Solal is well on his way to becoming one of the best pianists in France, he is still not a topic of conversation. That’s because he’s such a shy little bird.”
How quickly that shy little bird has transformed into a sovereign modern jazz pianist can be heard from the first Vogue recordings of the Martial Solal Trio, from 1953. In the years that follow, he will effortlessly make use of the almost infinite possibilities offered by the 88 keys; both in terms of melody and harmony as well as rhythmically.
In this context, it is illustrative to recount two anecdotes that make clear how he gained his dizzying virtuosity and where that hammering staccato play in his single note lines comes from.
When he had not been taking piano lessons for very long, he heard a piano work on the radio one day that was so rich and overwhelming that he decided that this level of virtuosity was the goal he wanted to achieve as well, only to discover years later that he had been listening to a four-hand piano work.
The youthful Martial Solal was also deeply impressed by the frenzied staccato play with two index fingers by the occasional pianist Lionel Hampton, which would later become a defining style for him.
In his first recording session (1953), Solal is assisted by Pierre Michelot (bass) and Pierre Lemarchand (drums):
Dinah (3:02)
Once in a while (2:40)
Ramona (2:56)
La chaloupée (2:45)
In the following four pieces, two American assistants are present, who in October 1954 make a big tour of Europe as members of the Jimmy Jones Trio, which provides the accompaniment for Sarah Vaughan. Also on the bill: Illinois Jacquet with a seven-man band and Coleman Hawkins (who had to replace a Charlie Parker struggling with health problems at the last minute).
Accompanied by Joe Benjamin (bass) and Roy Haynes (drums), Solal plays four standards:
I only have eyes for you (2:54)
You stepped out of a dream (2:31)
Darn that dream (3:32)
The way you look tonight (2:52)
Early in his career, Solal also comes up with his own compositions:
Ridikiool (2:43) with Benoit Quersin (bass) and Jean-Louis Viale (drums)
Farniente (3:19) with Jean-Marie Ingrand (bass) and Jean-Louis Viale (drums)
Midi ¼ (2:50) also with Ingrand and Viale
In America, the connoisseurs immediately realize that Martial Solal is a pianist of exceptional ability; the boss of the West Coast label Contemporary, Lester Koenig, is quick to release Solal’s first two trio sessions in America. The record has a rather staccato-like name: Modern Sounds: France/Martial Solal, Piano (Contemporary C 2512) (a 10-inch LP that I have never found at fairs or in stores).
BILLY BYERS INVOLVED IN AWARD-WINNING EP
In May 1956, Solal is once again in the Vogue studio, but this time with a big band consisting of five trumpets, four trombones, five saxophones, piano-bass-drums.
With this traditional big band lineup, he will record four extremely unconventional pieces of music. The trumpet section is led by Roger Guérin, the trombone section by our hero Billy Byers, and the saxophone section by the alto saxophonist Hubert Rostaing.
Solal, Benoit Quersin (bass), and Christian Garros (drums) complete the band, with Solal being the only soloist.
Solal has radically departed from the traditional big band style, in which the theme is presented loudly and clearly, and often there are section-wise question-and-answer games, an approach where members of the band with solo potential can bring their often short message to the forefront within clear boundaries.
However, in the big band composer Solal’s music, the sections often face each other like cats and dogs, sometimes partially merging, with intentionally rough and ragged ensemble playing. Solal is like a manic pitchman constantly working his 88 keys, and when the brass players are momentarily silent, Solal manages to complete a few extra acrobatics in those open spaces.
The four pieces are released on a 45 rpm LP entitled “Quelle heure est-il?” The disc is received with great acclaim in France: after the Prix Jazz Hot, the Grand Prix du Disque follows in 1957.
Four small masterpieces within eleven minutes:
- At the fourth beep (2:55)
- Quarter past noon (3:02)
- Speaking clock (2:48)
- Last minute (2:01)
A year later, Solal comes up with another big band project. Roger Guérin, Billy Byers, and Hubert Rostaing lead the brass sections once again, but there are some crucial changes compared to the previous big band: the saxophone section now has six men (an extra baritone saxophone), the highly experienced tenor saxophonist Lucky Thompson provides the saxophone section with an extra dose of confidence, and Kenny Clarke, the inventor of modern drumming and catalyst of one of Dizzy Gillespie’s historic big bands, is now the drummer.
In fact, this second big band sounds even more convincing than the Quelle heure est-il? band:
- Blouse bleue (2:16)
- Fantasque (2:20)
- Alhambra (2:12)
As a closing, another trio piece from 1954, a composition by Jimmy Raney:
- Signal (2:56) with Jean-Marie Ingrand on bass and Jean-Louis Viale on drums.
Recordings: Martial Solal Trio-Complete Sessions (1953-1962) (2 CD) (Fresh Sound Records) and Martial Solal and his Orchestra (1956-1962) (Fresh Sound Records).
