As a member of the Quincy Jones Big Band, saxophonist and flutist Sahib Shihab had a chance to travel extensively abroad. In 1959 and '60, the band was in Paris, where Sahib had an opportunity to record and experience Europe for the first time. He found the city relaxing, racially tolerant, art-focused and beautiful during the day and late at night. I know this because Sahib told me when I interviewed him at Rutgers University in the early 1980s, when he was a visiting professor there. [Photo above of Sahib Shihab by Jan Persson/CTSImages.com]
In 1961, the Jones band toured again in Europe, this time in Germany and Sweden. Rather than return to the U.S., Sahib joined the Europe-based Kenny Clarke-Francy Boland Big Band. While there, Sahib had a chance to visit and play in Copenhagen in the fall of 1962. He fell in love with the city and moved there. In 1963, he joined the Danish Radio Jazz Group. [Photo above of Sahib Shihab by Jan Persson/CTSImages.com]
The ensemble, supported by the Danish government, was founded in October 1961 and at first featured 10 jazz musicians who performed on just one broadcast per month. Then in 1964, the DRJG was increased to 12 and was able to play on the air more often with guest soloists such as Sahib.
In August 1965, Sahib recorded Sahib Shihab and the Danish Radio Jazz Group over two days for Denmark's Oktav label. The group consisted of Palle Mikkelborg (tp,flhrn); Torolf Molgaard (tb,euph); Niels Husum (sop,ts,b-cl); Poul Hindberg (as,cl); Bent Jaedig (ts,fl); Sahib Shihab (bar,fl,arr); Bent Nielsen (cl,fl,bar); Louis Hjulmand (vib); Bent Axen (p); Fritz von Bulow (g); Niels-Henning Orsted Pedersen (b) and Alex Riel (d).
The album features Sahib's arrangements of his own compositions, and the DRJG takes to them like cats to milk. The ensemble is extraordinarily well rehearsed and fluid. Many of Sahib's works constantly shift moods and tempos, making them mini suites. Sahib's solos are compelling and sensual throughout on alto and baritone saxophones and on flute, an instrument he helped pioneer in jazz. [Photo of Sahib Shihab with his wife, Maiken Gulmann]
According to the album's liner notes...
Di-Dad was something of an inside joke, its title reflecting the sound of shortened, spike-y staccato notes throughout the song.
Dance of the Fakowees is a tribute to a Native-American tribe.
Not Yet is based on an ascending C-minor scale.
Tenth Lament is structured in three parts—a slow opening and end, and an uptempo middle.
Mai Ding is a song dedicated to the Japanese poet.
Harvey's Tune was named for the bartender at Copenhagen's famed Jazzhus Montmartre jazz club.
No Time for Cries is a ballad that Sahib plays on the baritone saxophone.
The Crosseyed Cat was composed for this album. The others were composed by Sahib in earlier years.
Little French Girl didn't appear on the original album but surfaced on the digital re-issue. My guess is it's from another session, since there are strings. It features Sahib singing, and his voice, song and lyrics are sublime.
Yesterday, I spent the afternoon listening to this album several times, and the tenderness and complexity of the songs kept growing on me. The music also reminded me to transcribe my Sahib interview. As I recall, our conversation was serious and intense. That was Sahib.
Sahib Shihab died in 1989.
JazzWax tracks: You'll find all of the tracks from Sahib Shihab and the Danish Radio Jazz Group on Sentiments here (but no Little French Girl, I'm afraid).
JazzWax clips: Here's the full album at YouTube, including Little French Girl. You can skip around the tracks by clicking on the linked times for each song in the YouTube notes...