In late February 1956, tenor saxophonist Lucky Thompson relocated to Paris. Disenchanted with the American recording scene and the executives on the business side who routinely and happily took advantage of artists, Thompson sought refuge among French musicians who admired and respected him. A deeply romantic player with a strong, husky tone reminiscent of Don Byas, Thompson was an experienced sight-reader, having played in Boyd Raeburn's band in 1945 and with George Handy in '46—both of whom featured challenging arrangements. He also led Dinah Washington's first recordings for the Apollo label in Los Angeles in 1945 and recorded with Charlie Parker on the West Coast for Dial in 1947, most notably on Moose the Mooche, Yardbird Suite, Ornithology, A Night in Tunisia and others sides.
In 1952, Thompson was in the Thelonious Monk Sextet and recorded on Miles Davis' Blue 'n' Boogie and Walkin' in 1954. That year, he was on King Pleasure's recordings for Prestige and in Dizzy Gillespie's big band in early 1956. But Thompson couldn't seem to hold a group together, which made him less appealing as a recording session leader, since by then touring with the group you recorded with was essential to drive album sales.
In Paris, things were different. There, Thompson was revered and touring wasn't essential. In 1956, the French jazz scene was bustling with local and American musicians, and a contingent of the French jazz artists were heavily influenced by the sensual, harmonic approach of Quincy Jones and Gigi Gryce, both of whom were inspired by Tadd Dameron.
Gryce and Jones had recorded in Paris in 1953 during a tour to Sweden with Lionel Hampton. Over the course of six sessions between September 26 and October 11, 1953, they recorded 8 sides for the French Vogue label. On piano during many of those sessions was Henri Renaud, who picked up on their new, modern approach thanks to the Vogue recordings released later in the year. [Photo above of Quincy Jones]
When Thompson moved to Paris in 1956, a tentet was formed almost immediately, with Renaud playing piano and arranging. The group recorded 9 tracks in March 1956 for a 10-inch LP called Modern Jazz Group: Tentette and Quartet: Featuring Lucky Thompson (Tenor Saxophone) on the Club Français du Disque label.
The material is still fresh and sensational, and they are easily among my favorite Thompson recordings. They pick up where Gryce, Jones and Henri Renaud (above) left off in 1953, except here Thompson takes most of the solos.
JazzWax tracks: You'll find all nine tracks on Jazz in Paris: Lucky Thompson and the Modern Jazz Group here.
JazzWax clip: Here's Souscription, recorded in Paris on March 5, 1956. The tentet includes Fred Gerard and Roger Guerin (tp); Benny Vasseur (tb); Andre "Teddy" Hameline (as); Jean-Louis Chautemps and Lucky Thompson (ts) (solos); William Boucaya (bar); Henri Renaud (p); Benoit Quersin (b) and Roger Paraboschi (d), with arrangements by Renaud...
And here's Thompson in the quartet format with Henri Renaud (p), Benoît Quersin (b) and Christian Garros (d) playing Tight Squeeze...