Paris was thick with French saxophonists in the years immediately after World War II. Native-born reed players included Alix Combelle, Michel de Villers, Michel Attenoux, William Boucaya, Maurice Meunier, Andre "Teddy" Hameline, Andre Debonneville and Armand Conrad, to name just a handful. One of the best of the period was Guy Lafitte (above). More on him in a minute.
There are several reasons for the wave of saxophonists in the French capital in the late 1940s and early '50s. First, the saxophone originated in nearby Belgium, so the instrument was popular. Second, Paris was a major European recording center during this period with many dominant labels, including Barclay, Vogue, Club Du Disque, Pathe as well as divisions of Columbia, Philips and other foreign-based companies. And third, a greater number of American jazz saxophonists traveled to Paris on tour to perform at the city's many theaters and Left Bank clubs, inspiring budding French reed players.
Lafitte began as a self-taught accordionist and then played clarinet in local bands. By the early 1950s, he toured with Big Bill Broonzy, an American blues singer and guitarist, and Mezz Mezzrow. He also began recording regularly with Geo Daly, one of the great French vibraphonists. Lafitte's reed influences included Coleman Hawkins, Don Byas, Herschel Evans and Lucky Thompson.
On Guy Lafitte's Tenor Sax: With His Quartette and Quintette (Fresh Sound), Lafitte appears leading multiple groups. On the album's first five tracks recorded in May 1954—Blue and Sentimental, She's Funny That Way, Stardust, Where Or When and Krum Elbow Blues—he's backed by Daly (vib), Raymond Fol (p), Alix Bret (b) and Bernard Planchenault (d).
On the next eight—If I Had You, I've Got the World on a String, Get Happy, I Cover the Waterfront, I Got Rhythm, Melodie au Crepuscule, Sweethearts on Parade and Topsy—Lafitte's quintet consists of Daly (vib), Andre Persiany (p), Buddy Banks (b) and Jacques David (d). These sides also were recorded in June 1954.
In March 1955, Lafitte recorded again with a quintet: Daily (vib), Persinay (p), Jacques "Popoff" Medvedko (b) and Teddy Martin (d) on If I Could Be With You, Jubilee and Chase a La Baute.
Finally, Lafitte led another quintet in June 1956 for Columbia, featuring Daly (vib), Jean-Pierre Sasson (g), Jean-Claude Pelletier (p), Paul Rovere (b) and Christian Garros (d).
On ballads, Lafitte had a firm and intense approach, digging deep for an enormous feeling without sounding dated on the tenor saxophone. On uptempo tunes, Lafitte swings easily with terrific solo command. Hard bop hadn't reached France yet, so the album's material, including the original tunes for his 1956 session, have a swing-era sensibility with bebop salted in. As you'll hear, the swing works splendidly, since French jazz was melody-driven and sounds so darn tasteful.
Guy Lafitte died in 1998.
JazzWax tracks: You'll find Guy Lafitte's Tenor Sax (Fresh Sound) here.
JazzWax clips Here's Guy Lafitte playing I've Got the World on a String...
Here's What a Funny Moon, based on the chord changes to How High the Moon...
And here's Flying Back, based on the chord changes to Lionel Hampton's Flying Home...
