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Barney wilen
Barney Wilen story
Barney Wilen Discography 1954 - 1961
Barney Wilen Discography 1961 -1990
Barney Wilen Discography 1991 -2008

Barney Wilen Extra
Barney Wilen movie
Barney Wilen, Blue melody, 2011

Barney Wilen Youtube
 

 



 

 

 

Barney Wilen March 4, 1937 - May 25, 1996

Basically a tenor player, Wilen made his name when Miles Davis chose him to play in a group he was fronting in Europe in 1957. But Wilen had already garnered a reputation with visiting Americans for a considerably accomplished technique and a real mastery of hard-bop forms. The Fontana album is an early one, combining two film soundtrack scores: Un Temoin is curtailed to fit the purposes of the film, and the group never really get going, but Wilen and Dorham have a few nice moments. Jazz Sur Seine is more like a regular quartet date, with Jackson (on piano for once), Heath and Clarke. Most of the tunes are French jazz staples - a thoughtful `Nuages', a bright `Swing 39', and they finish on Monk's 'Epistrophy'.  

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Barney Wilen at the club Saint-Germain April 1959

Wilen's subsequent visit to play at Newport in 1959 is commemorated by the Fresh Sound CD, although there's only 20 minutes of music from that occasion: Akiyoshi plays exuberant bebop piano in support and Wilen's even, supple tenor works patiently and impressively through `Passport' and `Barney's Tune', with what was then a rare appearance of the soprano on "Round Midnight', in which his tonal control is impressive. Two other tracks of unclear date find him with Powell (very subdued), Terry and Clarke; Wilen's solo on `No Problem' is typically artful - since the recording is subject to some vagaries of balance, he seems to emerge from the shadows here. There is also another "Round Midnight' with a German rhythm section. The sound is very mixed throughout but it's listenable enough.  

 
Loustal's Barney Wilen 1985

Wilen's contract for IDA helped create a comeback for a fine musician. In the 1980s he tinkered with jazz-rock and African rhythms (he went to live in Africa in the late 1960s) and his return to a bop-inflected style has something of the full-circle maturity which Stan Getz came to in his later work; Wilen's tenor sound does, indeed, have something of the magisterial sweep which Getz delivered, but the main character of his playing continues to lie in his even trajectory. His solos have a serene assurance which eschews dynamic shifts in favor of a single flowing line. With his tone still exceptionally bright and refined, it grants his playing a rare, persuasive power.  

La Note Bleue was a disappointing start, though, because the record is so bitty: what seem to be little fragments and codas from longer pieces are made into whole tracks, the material is dryly over-familiar, and the pieces are cut short before the group can get going. With Wilen perfectly adept at long solos, this foreshortening sounds wrong. French Ballads is better, although some of the playing again seems proscribed, and Wilen dispatches a few of the themes with a too casual finesse. Wild Dogs Of The Ruwenzori finally establishes his second wind: it's beautifully programmed, with straight-ahead swingers, hints of calypso rhythm and a few deftly understated fusion pulses setting a delightful variation in tempos The title-tune and 'Pauline Extended' bond Wilen's solos into a tight electronic framework, but his latest reflections on Rollins in `Little Lu' and the two versions of `Oh Johnny' are flawlessly paced and delivered. The rhythm section does well on all three records. 

Sanctuary continued Wilen's good run. Catherine switches between acoustic and electric instruments and Wilen chooses classical rapture or firm, propulsive lines depending on the tempo. Danielsson's third voice is immensely rich and apposite. One might pick out the absolutely lovely reading of `How Deep Is The Ocean', but there's scarcely a weak moment on the record.

Wilen is still in great voice here. Perhaps Waldron isn't an ideal choice, since his usual impassive stance dries out some of these romantic melodies to the point of desiccation: 'Les Paraplegias De Cherbourg' sounds like a dirge at the start. But it pays off over the long haul, with a powerful `Autumn Leaves' and a still, serene, ominous treatment of two of the `Lift to the Scaffold' themes. The saxophonist breaks new melodies and ideas out of all this material and, though he sounds tired at some points, it adds to his gravitas.

 
Barney Wilen  + Barney Wilen Quintet -  
26 may 1987  Jazz festival van Angoulême 

A certain waywardness crept into Wilen's playing; while it subverts some of the sax-meets-rhythm expectations, it isn't always comfortable. The duet with Jean-Marie comes from a 1991 festival appearance: Wilen sounds rusty on `Latin Alley' and the exposed format doesn't always suit him, but the long, serpentine lines of `No Problem' and `Afternoon In Paris' have all his old mastery. His tone on tenor is taking on a foggy side which sounds even more pronounced on the rare baritone outing on `Blues Walk' from New York Romance. This is one of several albums Wilen has recorded for the Japanese Venus label, this one then being licensed to Sunnyside. Compared to the supersharp rhythm section, Barney sounds a little bleary here and there, and his imprecision isn't always beneficial: the rather taut and wound-up `You'd Be So Nice To Come Home To' is disappointing. But the desolate soprano outing on `Cry Me A River', with its wide dynamic contrasts, and an unexpectedly slow and bleak `Mack The Knife' show his powers as yet undimmed. His passing in 1996 was another sad loss. He died  May 25, 1996 in Paris, France. 


Barney Wilen et Philippe Paringaux  avec A suivre nr 94
(nov. 1985) couv. coul. Barney et la note bleue,  Sc. Paringaux. 

 

Barney Wilen

Ce microsillon était attendu de tous depuis plusieurs mois. Sa sortie était tenue pour une date importante dans la carrière de Barney Wilen. « Le premier grand album de Barney, et sous son nom, you dig ? », disait-on rue Saint-Benoît. On a, il est vrai, beaucoup parlé de ce recueil avant sa parution : Barney Wilen, qui est, à l'âge de 23 ans, un saxophoniste de réputation mondiale (tous les journaux spécialisés que nous connaissons, de l'Europe et des deux Amériques, lui ont consacré des articles) avait enregistré, aux plus beaux jours d'avril 1959 (le 24 et le 25) quelques bandes magnétiques en compagnie de deux compatriotes et de deux « américains à Paris». La composition de ce groupe ne résultait pas d'un accommodement avec le hasard mais d'un choix défini que la circonstance rendait possible : en rassemblant Duke Jordan (piano), Paul Rovère (contrebasse) et Daniel Humair (batterie), on formait une section rythmique d'esprit étonnamment jeune, capable de créer le climat le plus favorisant pour Barney. En donnant à celui-ci Kenny Dorham (trompette) pour partenaire, on lui donnait un illustre compagnon une sorte de parrain couronné, dont la seule présence paraît le filleul d'un nouveau titre de noblesse.  

 

Besamo mucho, Lady Bird, Jordu et surtout Stablemates vous feront sans doute découvrir un Barney Wilen que vous n'aviez jusqu'ici qu'entrevu. C'est un saxophoniste accompli, merveilleusement lyrique et inspire, swinguant comme un possédé, que ces morceaux vous révéleront. La jeune voix de son tenor chante des melodies improvisées dont l'exactitude rythmique qui évoque celle du grand Hawkins ; ses variation émues sur un motif ont la flamme d'un Bechet. Mais c'est déjà trop de deux comparaisons : ce qu'exprime Barney Wilen est bien de lui, et s'il convient as noter qu'il connaît les grands maîtres, il faut observer aussi qu'il garde toujours l'accent de sa Nice ensoleillée (où il naquit le 4 mars 1937, sous le signe des Poissons), avec le côté souvent «tzigane» du cat qui a beaucoup écouté Grappelly. Stéphane, justement, un jour où il vint rue Saint-André-des-Arts (la bien nommée) entendre ce disque pour la première fois, sous le regime du «blindfold test», apprit avec surprise que le saxophoniste dont il avait tant apprécié l'audition était Barney. II s'écria : « Sans blague ? C'est le petit qui habitait à deux portes d'ici ? Eh bien, c'est devenu un grand musicien !» On ne saurait mieux dire.

 «J'avais proposé à Sonny Rollins de jouer à San Remo en me disant : ça fera plaisir à Barney de l'entendre en direct...» C'est Marcel Romano qui, fouillant sa mémoire pour retrouver l'histoire, les anecdotes qui entourent les séances de Barney, évoque, entre autres digression, le «cadeau» qu'il avait voulu faire au plus jeune des deux saxophonistes - Barney Wilen avait vingt-et-un ans, Rollins vingt-huit, et le festival de San Remo devait avoir lieu les 21 et 22 février 1959, soit un peu plus d'un an après que Marcel Romano ait offert au jeune niçois l'occasion d'une rencontre encore plus décisive : la musique du film «Ascenseur pour l'échafaud» avec Miles Davis... D'autres cinéastes avaient aussitôt envisagé de renouveler l'expérience. Passionné de jazz et de cinéma, familier des deux univers, qui souvent s'interpénétraient certains soirs au Club Saint-Germain, Marcel Romano, catalyseur d'innombrables événements dans le monde du jazz dont la rue Saint-Benoît était l'un des centres, s'imposait comme l'interlocuteur, le go-between idéal : « Edouard Molinaro, qui terminait le tournage d'«Un témoin dans la ville» et avait apprécié le travail de Miles pour le film de Louis Malle, m'avait demandé si le trompettiste accepterait de travailler à nouveau pour une bande-son... Mais Miles était passé à autre chose, il avait d'autres projets, un nouveau groupe, auquel il tenait - à la rigueur si la musique avait pu être enregistrée à New York, avec ses musiciens... Comme je souhaitais mettre Barney sur un « piédestal », j'ai cherché, lors d'un voyage à New York, un autre trompettiste prestigieux. J'ai fini par contacter Kenny Dorham, dont on se souvient qu'il avait succédé à Miles auprès de Charlie Parker et fait partie des premiers Jazz Messengers. Il a accepté, et je 4 l'ai fait venir à Paris. Pour compléter le groupe, j'avais fait appel à Duke

 Jordan et prévu Kenny Clarke - mais si Kenny apparaît effectivement sur la bande-son du film, il n'était pas disponible pour les soirées au Club SaintGermain, ayant été retenu au terme d'une tournée en Italie. C'est donc un Genevois de vingt ans, installé à Paris depuis quelques mois, qui a tenu la batterie : Daniel Humair, et il a fait merveille... » Quant à la contrebasse, certains ouvrages discographiques l'ont attribuée à Gilbert «Bibi» Rovère, autre transfuge de «l'école niçoise» d'où était issu Barney. C'était oublier l'aîné des Rovère, Paul, qui fut aussi un compagnon des premières apparitions publiques du saxophoniste prodige.

 Mais le moins surprenant avec ce disque n'est pas que sa première édition ne fasse pas la moindre allusion au lieu où il fut enregistré, live. Pourtant... «Le Club Saint-Germain, qui de 1953 à 63 était dirigé par Michèle Michel, a été, raconte Marcel Romano, un lieu mythique du jazz en Europe. Y jouer était une consécration pour un musicien, tous les Grands y sont passés - et c'était véritablement un club : pour y entrer on devait présenter une carte de membre. C'était plus «chic» que les autres lieux parisiens, certains personnages venaient d'ailleurs s'y montrer, surtout des gens de cinéma - parmi les habitués, il y avait Jean-Pierre Melville, Gene Kelly, Jacques Becker, qui y était même venu avec Gina Lolobrigida... Michèle Michel me faisait confiance lorsque je lui proposais d'y faire jouer des groupes dont je m'occupais - cela me permettait de compléter les tournées que j'organisais. Pour élargir l'audience, j'avais suggéré des «matinées», avec un tarif particulier qui permettait d'accueillir, le samedi et le dimanche de cinq à sept, des étudiants... Dès que Barney est «monté» à Paris, il a fait partie de cette pros grammation spéciale. Beaucoup de jeunes venaient pour écouter, mais il y avait aussi tout un public de danseurs...»

 Le microsillon initial (comme ses rééditions pirates) ne comportait que quatre thèmes, extraits de l'enregistrement des deux soirées au Club  

barney_et_la_note_bleue_copy.jpg (27679 bytes)
Barney et la note bleue 1987

 «Besame Mucho, ils ne l'ont joué qu'une fois... Quant au thème qui allait devenir celui du film de Molinaro,Témoin dans la ville, on l'appelait aussi, en plaisantant, La vie n'est qu'une lutte. . . Everything Happens To Me, entre autres thèmes qui ne figuraient pas dans la première sélection, était aussi l'une des premières occasions d'entendre Barney au soprano... C'est Daniel Filipacchi, alors directeur artistique «jazz» chez RCA, qui avait choisi la photo de la pochette et le titre de l'album... Etant donné tout ce qui avait été enregistré, - je tenais à conserver une trace de cette formation, - ce disque aurait pu avoir une « suite », mais les ventes ne furent pas satisfaisantes, je crois même qu'on n'avait pas réussi à couvrir l'avance qui nous avait été accordée...»

 Barney Wilen aujourd'hui est parti, nous laissant, entre autres messages «Tentons donc d'attraper les étoiles, et de ne pas devenir une statistique de plus dans la liste honteuse des civilisations déchues. Le jazz est notre véhicule. . . »

Philippe Carles (Jazz Magazine) Février 1997


Barney Wilen Discography 1957 - 1962

Barney Wilen Discography 1962 -1990

Barney Wilen Discography 1990 -2003

 

FILM/VIDEO



Les Liaisons Dangereuses (Dangerous Liaisons). A Roger Vadim movie, released in 1960, which has a jazz soundtrack featuring the Thelonious Monk quartet as well as Art Blakey, Barney Wilen and Duke Jordan, who also appear. 1959 - New York, 111 minutes, B & W - in French, a version was also available with English subtitles.


45t EP FONTANA 460660 / Film de VADIM avec Gérard PHILIPPE / Musique avec ART BLAKEY'S JAZZ MESSENGERS et la participation de Barney WILEN



Dangerous Liaisons 1960 (1959) 1959, Foreign Film, N/R Director: Roger Vadim With: Jeanne Moreau, Gerard Philipe, Annette Vadim, Jeanne Valerie, Jean-Louis Trintignant, Simone Renant, Boris Vian, Nicolas Vogel, Frederick O'Brady, Gillian Hills In this update of Laclos' eighteenth-century novel, a married couple is forever looking for fun, excitement, and sex (with others, but innocent, of course). It does a good job of catching the mood of the late 1950s France, and was later remade in the U.S. (a.k.a. "Les Liaisons Dangereuses")

Roger Vadim takes his patented obsessions with beauty and the tawdry, destructive behavior that inevitably accompanies it to the French literary classic LES LIAISONS DANGEREUSES, Choderlos de Laclos's scathing 18th-century epistolary novel. Jeanne Moreau and Gérard Philipe play Valmont and Juliette, two equally beautiful and equally cruel married hipsters scouring the smoky and chic underworld of beatnik-tinged 1960 Paris for their next amorous victims. A highly charged jazz soundtrack (by Thelonious Monk, Art Blakey, Barney Wilen and Duke Jordan) underscores the decadence as Valmont and Juliette compare and contrast their cruel infidelities, each trying to outdo the other. When Valmont’s latest obsession, Marianne (played by Vadim’s wife, Annette), begins to capture his heart, the game is up and Juliette seeks revenge, bringing destruction and disaster in her wake. Moreau and Philipe inject their characters with sultry new-wave hipness, giving the film a cool and devastating contemporary pathos. Vadim’s transposition of the casual cruelties and excruciatingly subtle protocols of 18th-century French court life is uncannily accurate, and the director brings themes developed in his earlier masterpiece, AND GOD CREATED WOMAN, to a sophisticated crescendo of visual and psychological eroticism, romance, and ennui.
DANGEROUS LIAISONS is Roger Vadim's original film version of Choderlos de Laclos's scandalous 18th-century novel transposed to a modernized setting to create an unforgettable portrait of a decadent society.
"...DANGEROUS LIAISONS 1960 reveals Vadim's understanding of the relationship of sex and love and the complicated interplay of power and emotion between lovers..."


2 CD - Japan import, Label : Philips Tokyo , auf diesen beiden CDs sind folgende Filmusiken in audiophiler Klangqalität: 1: Miles Davis - Ascenseur pour l echafaud ( Fahrstuhl zum Schafott), 2: Art Blakey - Des Femmes Disparaissent ( mit Benny Golson, Lee Morgan, Bobby Timmons, J.Merritt) 3: Art Blakey - Les Liaisons Dangereuses mit L. Morgan, Barney Wilen, B.Timmons usw.. 4: Art Blakey & Barney Wilen Quatet - L eau a la bouche und J irai cracher sur vos tombes.

 Wunderbare Filmusik zu den französischen Filmen, Höchstbewertung für Klang und Musik,Bei Miles Davis spielen noch Barney Wilen, Rene Urtrger, Pierre Michelot und Kenny Clarke mit. Sammlerstück ( bekommt man nie wieder) - 


 

Bud Powell, Club St. Germain, Paris, 10/13/59, Barney Wilen (tenor sax), Clark Terry (trumpet), Pierre Michelot (bass) and Kenny Clarke (drums), Toshiba/EMI #TOLW-3107, Crossin' the Channel, No Problem, Pie High, 52nd Street Theme, Blues in the Closet, Miguel's Party; Bud Powell, The Blue Note, Paris, 12/27/59, Lucky Thompson (tenor sax), Jimmy Gourley (guitar), Pierre Michelot (bass) and Kenny Clarke (drums), Get Happy, John's Abbey, Anthropology

 



Ascenseur Pour L'Echafaud (Lift To The Scaffold): Original Soundtrack

L´Ascenseur pour l´échafaud (Lift to the Scaffold) France 1957. 90 Min., Direction: Louis Malle, Music: Soundtrack by Miles Davis Quintet (Miles Davis, Barney Wilen, René Urtreger, Pierre Michelot, Kenny Clarke); Maurice Ronet, Jeanne Moreau, Georges Poujouly, Lino Ventura

This record is clearly a soundtrack, but it's also THE soundtrack for any improvising jazz soul. Most of the tracks appear in alternate versions, it doesn't matter really, just adds to the mood. The mood on this record is so dense you can almost cut through it. Miles plays with such conviction, as if he has finally found his own suberb sound. Its spare and stark yet in a very sophisticated way.The teaming with with Kenny Clarke and the 3 french musicians is great, Barry Wilen the saxophonist makes the best of the opportunity, dancing along with Miles, making this essential listening. Tracks like "Chez Le Photographe Du Motel" and "Au Bar Du Petit Bac", will forever leave memories in my mind of quiet sunny days just pondering on the subtlety of life.
Essential recordings: · Miles Davis 
Audio CD (October 25, 1990)
Label: Polygram Records 
ASIN: B000004785 





 


MILES DAVIS – LIFT TO THE SCAFFOLD (1957)
Audio CD (October 2, 2003)
Label: Universal 
Tracks:
Lift to the Scaffold (Ascenseur pour l’èchafaud)
Paris, 4.12.1957
Personnel:
Miles Davis – trumpet
Barney Wilen – tenor sax
Rene Urtreger – piano
Pierre Michelot – bass
Kenny Clark – drums
Total time 73:45

 


 

Si J'Avais Quatre Dromadaires (If I Had Four Camels), 1966, Written by Adrian Miles. The film consists of shots of 800 of Marker's photographs filmed with a commentary. Director: Chris Marker,Producers: Henri Régnier, Claude Joudioux, Photography: Chris Marker, Assistance from: J.F. Larivière-Brochard, Christine Lecouvette, Wolfgang Thiele, Narration: Pierre Vaneck, Nicolas Yumatov, Catherine Le Couey, Music: Lalan et Trio, Barney Wilen, Sound: Antoine Bonfanti, 49 minutes (Meeker lists as 73 minutes) Black & White, References: Baker, 1989.

 


Le Coeur Fantome, (The Phantom Heart), by Philippe Garrel. A dramatic comedy, Philippe, painter and father of two children, discovers that his wife misleads him. He leaves and remakes his life with Justine, 20 years. But he misses his children. In this new family chronicle, it presents the pain of a son haunted by his past and those of a father made to feel guilty to have given up his children. France, 1996 Director: Philippe Garrel, Noemie Lvovsky, Marc Cholodenko, Music: Barney Wilen, With: Shine Rego (Philippe), Aurelia Alcaïs, Maurice Garrel (the father), Evelyne Didi (Annie), Roschdy Zem (Moand)

 


Baisers de secours, Les (1989) 
Directed by Philippe Garrel 
Original Music by Barney Wilen 
Scénariste Marc Cholodenko , Philippe Garrel 
Acteur(s) 
Anémone Minouchette 
Maurice Garrel Le père de Mathieu 
Philippe Garrel Mathieu 
Yvette Etievant La mère de Mathieu 
Brigitte Sy Jeanne 
Louis Garrel Lo 
Aurélien Recoing le comédien 
Compositeur Barney Wilen 
Directeur de la photographie Jacques Loiseleux 
Chef monteur Sophie Coussein 
Also Known As: Emergency Kisses (1989) (International: English title)

Synopsis :Mathieu, pour son nouveau film, choisit de confier le premier rôle féminin à Minouchette, une actrice connue. Sa femme Jeanne, comédienne également, considérant que ce film est "son" histoire, prend cette décision pour une trahison.
Ils se séparent. Lo, leur enfant est balloté de l'un à l'autre. Pour Mathieu, c'est une période de solitude et de doute. Lorsque Jeanne lui revient, le couple se reforme mais cette épreuve aura été une alarme.
 
Critique :Pour Gérard Lefort (Libération), le film produit "des images philosophiques qui font réfléchir sur son propre cas". Belle photo en noir et blanc, musique blues envoûtante. Mais la narration très distanciée fait réserver ce film secret et douloureux aux spectateurs que passionnent les déchirements très intellectualisés du coeur et de l'esprit.

Article de Claude Bouniq-Mercier, lequel donne 2 étoiles au film 
dans le Guide des Films A-K de Jean Tulard, Robert Laffont, 1990.



 

Erroll Garner / Bud Powell 61 min., b&w, mono. Bud Powell (p), Pierre Michelot (b), Kenny Clarke (dr) with Barney Wilen (ts) and Clark Terry (tp) or Lucky Thompson (ts) and Jimmy Gourley (g) live in Paris, October & December 1959. Erroll Garner (p), Ernest McCarty (b), Jimmie Smith (dr), Jose Mangual (perc) live at the ORTF in May 1972.

 


 

Jazz sur la Cote d'Azur Filmed 1963 60 min., Secam VHS Bill Coleman (tp) Guy Boyer (p,vib) Don Byas (ts) Roger Guerin (tp) Barney Wilen (ts) Peter Giger (dr) plus Dizzy Gillespie 5 for 1 tune Tunes: Metro Jazz, I got rhythm, Lover man, Autumn leaves, Trois Malletts Jam, I can't get started, Vibre my love, Blues relache, Roby's riff, My melancholy baby

 


La Jetee 
The main scene of the film is a child and a woman's face on Orly's esplanade. It is the leading character's obsession, who now, adult, is a prisoner of the world war three winners in Paris underground. There, he is scientifically tested to travel in the time dimension. The man goes back to the past, falls in love with an airport woman and becomes aware of his remembrances. The two protagonists arrive at the airport platform and he is sure he doesn't want to come back to the present time, but there are some "future agents" who want to force him to do it. The scene he saw when he was a child was just his death's one. The travel in time was not a new subject in 1962, but "La jetée" is a completely unconventional film as to construction. The editing links are frozen but meaningful instants to each other. The photography stillness gives a sense of temporal suspense of the story, and, at the same time, has a documentary function, like Bellour said in 1990. The picture story/comics shape of "La jetée" coincides with the theme of the film, death, as the result of the superimposition of future upon present. Direction and photography : Chris Marker. Editing: Jean Ravel. Music: Lalan e Barney Wilen. Co-production APEC and ISKRA. B&W, France, 1962. Duration: 28'.
Also Known As Pier, The (1962)

 


A Propos d'un Muerte Fictional short about a woman who murders her lover. Direction: Christian Ledieu, Music: Barney Wilen, France, 1966, Duration: 16'.

 



Film italien, français (1959). Policier. Durée : 1h 30mn.


Un Temoin Dans La Ville / Jazz Sur Seine Fontana 832658-2 Wilen; Kenny Dorham (t); Duke Jordan, Milt Jackson (p); Paul Rovere, Percy Heath (b); Kenny  Clarke (d); Gana M'Bow (perc). 58-59. 
Recorded 1959,PARIS
FONTANA
NIPPON PHONOGRAM PHCE-4022
Soundtrack 10 inch LP, "un témoin dans la ville" on French FONTANA 660.226 

Un Temoin Dans La Ville (A Witness In the City)


FRENCH BARNEY WILEN 7' WITH PIC.SLEEVE AA 261.119( original french promotional edition,with some film dialogues before each track)Tracks:TEMOIN DANS LA VILLE / LA VIE N'EST QU'UNE LUTTE.Musicians;Barney Wilen,Kenny Clarke,Kenny Dorham,Paul Rovere and Duke Jordan


Mental Cruelty

In 1960, an astonishing jazz ensemble was convened by Swiss pianist George Gruntz to create a soundtrack for the Hannes Schmidhauser film Mental Cruelty. The group included bebop innovator Kenny 'Klook' Clarke on drums and saxophonist Barney Wilen, two of the most swinging and sensitive musicians on the planet. Though the dark, lyrical, mysterious soundtrack was initially released on a 10-inch EP, legal difficulties led to its being recalled, and the few copies that were sold became incredibly valuable collectors items. Now, for the first time, the session is issued in its full glory, including several previously unreleased tracks. One of the rarest European jazz records (only 100 copies on planet earth)."


A Due Passai

 

 

 

BARNEY WILEN

Om d'artiste de Bernard Jean Wilen 
Musicien français (Nice, 1937 — Paris, 1996).
Il séjourne aux États-Unis de 1940 à 1946 et, dès son retour en France, étudie le saxophone ténor. En 1953, âgé de seize ans, il monte à Paris et côtoie sur la scène du Tabou les grands musiciens américains de passage comme Thelonious Monk. En 1957, il participe aux sessions d'enregistrement de la musique du film Ascenseur pour l'échafaud, orchestrée par Miles Davis. Il se produit également avec les vedettes du be-bop comme Dizzy Gillespie, Art Blakey et Bud Powell. Il fut un des premiers Européens invités au festival de Newport. Après une première éclipse en 1962, il réapparaît au milieu des années 1960 avec Dear Prof Leary (1968) en précurseur du free jazz européen, ouvert également à l'influence de la pop music, définissant ainsi les principes du free jazz-rock. En 1969, il part en Afrique pour un périple de deux ans qui lui inspire Moshi en 1972, album mêlant jazz et musiques africaines traditionnelles. Il disparaît à nouveau jusqu'à la fin des années 1970. En 1987 paraît la Note bleue, disque au succès mythique, sorti en même temps qu'une bande dessinée de Loustal et Paringaux inspirée de sa vie, et consacrant le retour au tout premier plan de ce musicien de niveau international.

 

 

 


Jazz Magazine Barney Wilen
(1987)

Wilen pour de vrai  p.22-22 

Variations sur la note blue
UNE RENCONTRE PASSIONNANTE DU JAZZ ET DE LA BANDE DESSINÉE, AVEC MUSIQUE.

Bande-son pour une BD

Wilen pour de vrai 
Wilen pour de vrai Jazz Magazine Barney Wilen et sa Bande  Jazz Magazine : spécial BD, janvier 1987 

Le blues du Saxo
Un film, Autour de minuit, signé Tavernier. Une bande dessinée, La note bleue, ceuvre du tandem Loustal-Paringaux. Une même nostalgie, génératrice de superbes images, de l'univers mythique du jazz des années 50.

TIRé-à-PART BARNEY WILEN

Barney et la note bleue

Een stripfiguur met glanzende schoenen  (1987)

Barley Wilen 1937-1996 (1996)

  LOUSTAL : Von Volker Hamannl (1989)

 

De naald erin!
Levensverhalen van vinyl
Geschreven door John Schoorl


Verwacht: 8 juni 2003

De wereld is vol vinyl en aan elke plaat zit een verhaal vast. In De naald erin! worden elpees, muzikanten, herinneringen en emoties door John Schoorl op de muziekverhalendraaitafel gelegd.
DRAAIEN MAAR!
De Nederlandse Elvis, de saxofonist van Miles Davis, een Poolse metal-band, een nacht in de cel, Nederlandse emigranten in Amerika, de geboorte van zijn dochter en de Balkan-oorlog worden via langspeelplaten naadloos elkaar gemixed.

De naald erin! voert de lezer mee naar een wereld van tragiek, muzikale heldendom en bijbehorende emoties. Prachtige muziekverhalen over The Clash, Andy Williams, Nancy Sinatra, The Strokes, Pim Maas, The Trammps, Jonathan Richman, The Mills Brothers, Barney Wilen, Charley Pride en Herb Alpert. 

 

Barney Wilen


Loustal's Barney Wilen (1987)

For several months everyone had been waiting for this record. Its release was to be an important date in Barney Wilen's career. " Barney's first big album and under his name, you dig? ", people were saying on rue Saint-Benoît (the address of the Club Saint-Germain, where the album was recorded). It's true that we spoke a lot about this anthology before its release : Barney Wilen, who is, at the age of 23, a saxophonist known worldwide (the entire specialized press, from Europe to the two Americas, has written articles about him), had recorded, on the sunniest days of April 1959 (the 24th and 25th), a few magnetic tapes with two compatriots and two "Americans in Paris ". The composition of the group was not the result of a compromise with fate, but a defined choice made possible by circumstances : combining Duke Jordan (piano), Paul Rovère (bass) and Daniel Humair (drums), we had built a rhythmic section with an amazingly young spirit, capable of creating the most favorable climate for Barney. By giving him Kenny Dorham (trumpet) as partner, we were giving him an illustrious companion, a sort of crowned godfather, whose presence alone gave a new nobility to the godchild.

 With Besame Mucho, Lady Bird, Jordu and especially Stablemates, you will certainly discover a Barney Wilen you had only glimpsed up to now. These pieces reveal a marvelously lyric, inspired and accomplished saxophone player, swinging as if he were possessed. The young voice of his tenor sings improvised melodies whose rhythmic exactitude evoke the great Hawkins ; his moving variations on a theme have the flame of a Bechet. But two comparisons are already too much : what Barney Wilen expresses, comes from himself and if it seems fair to acknowledge that he knows the masters, we must also observe that he still keeps the accent of his sunny Nice (where he was born on March 4th 1937, under the sign of Pisces), with the open " gypsy " side of the cat who has listened to Grappelly many times. Stephane, in fact, when he came to the well-named rue Saint-André-des-Arts to listen to this record for the first time, under the blindfold test, learned to his surprise that the saxophonist whose music he had appreciated so much was Barney. " No Joking? Is that the youngster who lived two doors away from here?" he exclaimed. Well, he has become a great musician! ". It can't be said any better.

 

Raymond Mouly (original liner notes, 1960) adapted from the French by Isaac Saint Mire.

"I had proposed to Sonny Rollins to play in San Remo thinking : Barney will be glad to hear him live... ". Marcel Romano, searching his memory, remembers the story, the details of the "Barney "sessions, and between other digressions, mentions the "gift "he wanted to make to the youngest of the two saxophonists (Barney Wilen was twenty-one years old, Rollins twenty-eight). The San Remo festival was to be held on February 21st and 22nd 1959, just a little over a year after Romano had offered to this young man from Nice the opportunity of a even more decisive encounter : the music of the film Lift To The Scaffold with Miles Davis ....

 
(from the left to the right Miles Davis, Rene Urtreger, Barney Wilen)

 Other film makers had immediately thought of repeating the experience. Passionate about both jazz and movies, familiar with both fields, which often mixed on certain nights at the Club Saint-Germain, Marcel Romano, catalyst of countless events in the world ofjazz, for which the rue Saint-Benoit was one of the centers, imposed himself as the ideal go-between.

"Edouard Moulinaro, who was finishing Un Temoin Dans La Ville and had ppreciated

the work of Miles Davis on Louis Malle's film, had asked me if the trumpeter would accept to do another sound-track. But Miles was onto something else, he had other projects, a new group to which he was attached - maybe if the music could have been recorded in New York , with his musicians... Since I wanted push Barney, I took advantage of a trip to New York to look for another prestigious trumpeter who could play with him. 1 ended up contacting Kenny Dorham, who had taken Miles place place to sit in with Charlie Parker and had been one of the members of the first jazz Messengers. He accepted, and 1 flew him over to France . To complete the group, I called up Duke Jordan and had thought of Kenny Clarke - but Kenny, who appears on the sound-track of the film, was on tour in Italy and was not available for the Club Saint-Germain sessions. Therefore it's Daniel Humair, a twenty year old Swiss musician, who had been living in Paris for just a few months, who played drums. And he was wonderful... ': As for the bass, certain discographies mention the name

 

 

 

Barney Wilen
Wilen, a self-taught musician, made a strong impression on the Paris scene in the mid 1950s; he recorded there with both Roy Haynes and John Lewis and made his first album at the age of nineteen. He worked with Miles Davis on the Lift To The Scaffold soundtrack and in concert in 1957, and with Art Blakey on the Les Liaisons Dangereuses soundtrack and in concert in 1959. Not continuously active as a player, he re-emerged in 1966 as an exponent of free jazz. He appeared at the Berlin festival in 1967 with Indian classical musicians, and acted as the recording engineer for Archie Shepp's live performance in Algiers in 1969, before working as an anthropological film-maker in Africa from 1970-1976. A further resurgence on the 1980s Paris scene featured playing that was much nearer to his bop-derived debut years, startling with an album of music inspired by a jazz cartoon, Loustal’s La Note Bleue. Wilen's early work absorbed the implications of Americans such as Sonny Rollins, but with a softer tone possibly influenced by Lucky Thompson's first visit to France. As well as demonstrating the maturity of the Paris scene, which was then a Mecca for visiting American players, Wilen himself sounds remarkably fresh and vital in retrospect

French Ballads (1987; IDA). A straight-ahead and even unambitious quartet album with Michel Graillier, this featured exclusively French-written popular songs of the past. Only the internationally known "Autumn Leaves" is a little disappointing. 
 
 
 Tenor and soprano saxophones.
 born: Nice, France, 4 March 1937; d. 24 May 1996.

Jazz the rough guides

 

BIOGRAPHY OF BARNEY WILEN

March 4, 1937 - May 25, 1996

Bernard Jean Wilen, AKA Barney was born March 4, 1937. Wilen was a self taught player and became one of Europe's best and more modern saxophonists. He was born in Nice to a French mother and an American father.He studied the alto and, at 16, moved to Paris where he played with Henry Renaud, Bobby Jaspar and Jimmy Gourley He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion. According to Wilen himself, he was convinced to become a musician by his mother's friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often. He moved to Paris in the mid-'50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain.  He was very fortunate to tour and record with Miles Davis in 1957. This led to him performing on the soundtrack to the Louis Malle film "Lift to the Scaffold" in 1957. The recording won the Prix Louis Delluc the next year.Two years later, he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim's Les Liaisons Dangereuses (1960).  He appeared at the 1959 Newport Jazz Festival, one of the first non-americans to do so. During the '60s,Wilen explored with free jazz and Indian music. He appeared at the 1967 Berlin Festival and engineered Archie Shepp's 1969 live performance at the Algiers Festival. In the late 70's and 80's he returned to playing the ballads of his influences Sonny Rollins and Harold Land leading to him being awarded the Grand Prix Charles Cros in 1987. In the 90's he continued to be active, playing at many european summer jazz festivals and recording. He died of cancer May 25, 1996 in Paris, France. Much of Wilen's later work was documented on the Japanese Venus label.

CHRONOLOGY

Born, Nice, France March 4, 1937

Moves to Arizona 1937

Retuns to Nice 1947

INR Broadcast with Henri Renaud, Brussels November 4, 1954

Records with Jay Cameron, Paris January 19, 1955

Records with John Lewis, Paris December 4 and 7, 1956

Appears with Bud Powell, Paris 1957

Records "Tilt" as a Leader, Paris January 7, 1957

Records "Barney Wilen Quartet/Quintet" as a Leader, Paris Spring 1957

Appeared at San Remo Jazz Festival 1956

Records with Roy Haynes, Paris October 26, 1954

Tours Europe with Miles Davis 1957

Records with Miles Davis, France November 30, 1957

Berlin Jazz Festival appearance 1967

Engineer’s for Archie Shepp at Algier’s Jazz Festival 1969

Records Lift to the Scaffold with Miles Davis December 4-5, 1957

Performs, and is broadcast with Miles Davis, Amsterdam December 8, 1957

Broadcast with Miles Davis, Paris November 30, 1957

Records with Martial Solal, Paris 1958

Records with Milt Jackson , Paris February 13 & 14, 1958

Records "Un temoin dans la ville" as a Leader, Paris April, 1959

Records with Andy Bey, Paris April 15, 1959

Records with Kenny Dorham, Club Saint-Germain, Paris April 24 & 25,1959

Records with Flavio Ambrosetti, Lugano, June 27, 1959

Appeared at Newport Jazz Festival with Toshiko Akiyoshi, July 4, 1959

Newport, USA

Records with Art Blakey, Paris July 28 & 29, 1959

Toured Europe with Miles Davis 1959

Appears with Bud Powell, Club St. Germain, Paris November 7, 1959

Appears with Bud Powell, Club St. Germain, Paris December 5, 1959

Appears with Bud Powell, Club St. Germain, Paris December 12, 1959

Records with Art Blakey, Theatre Des Champs-Elysees, Paris December 18 & 19, 1959

Appears and records with Bud Powell, Paris 1960

Records with Flavio Ambrosetti, June 26 & 27, 1961

Records with Gil Cuppini September 1 & 2, 1961

Records "Jazz Soundtrack From Mental Cruelty" as a leader 1962

Records "Moshi" 1971

Nice J F appearance with Stan Getz, Curtis Fuller 1970’s (late)

Comic "Barney et la note bleue" 1986 a Suivre/Casterman

Appears at opening of Appolon Auditorium, Nice 1986

Appears with Martial Solal at Cully Lavaux Jazz Festival March 23, 1991

Appears at Marciac Jazz Festival, Marciac August 13, 1995

Appears at the Blue Note October 17-22, 1994

Tours Japan and appears at the Blue Note, Tokyo November, 1995

Appeared at the Sunset, Paris (trio) April 5-6, 1996?

Died, Paris May 25, 1996