lejazzgrand

Le Jazz Grand (LP & CD)

  1. Southern Routes
  2. La Pasionaria
  3. Malagan Stew notes
  4. Iberia Nova
  5. Basquette
lejazzgrandlpGloria Agostino, "Crusher" Bennett, Ron Carter, John Clark, Burt Collins, Don Elliott, Jon Faddis, John Gatchell, Harry Leahey, Michel Legrand, Benrie Leighton, Gerry Mulligan, Tom Pierson, Portinho, Tony Price, Albert Richmond, Joe Shepley, Grady Tate, Brooks Tillotson, Phil Woods

March, 1978

 LINER NOTES

In this day of musical primitives, it is a breath of fresh air, and a ray of hope to see the success of Michel Legrand. He is a totally accomplished, educated, thorough musician, whose writing is always sophisticated, unexpected and witty. I look forward to every new record of his, both as a colleague and as a fan.
- Andre Previn

A NOTE FROM THE PRODUCER
For me, working with Michel Legrand is an extraordinary experience. Regardless of how much I prepare and how confident I am that everything is covered, Michel will invariably create a new challenge that I have never experienced. Having now been involved as producer with Michel on ten albums, from first-hand experience I say that he is, without a doubt, the most resourceful and versatile musical mind I have ever worked with, and I have worked with some "heavies."

One thing I know. Every player who walks into the studio to work on a Michel Legrand date had better be able to play the most complex parts and, in many cases, be capable of memorable solo work as well.

I rarely get to see the music in advance, but Michel knows what he will write and I will get my information from him personally. It is essential that I know what will be required of each player, since some of the best soloists available are not great readers. Many of our great readers are not particularly distinguished soloists. There are, of course, a handful of players who can do combination - Phil Woods, Gerry Mulligan and Jon Faddis - make up our front line. When the writing is complex, decisions become critical. Consequently, each chair must be considered separately, taking into account what Michel has told me he intends to write.

After much consideration and constant discussion with my contractor, we boil it down to what we feel will be the ideal group. Fortunately, we very seldom need to go for second best. When you call players for a Michel Legrand date, you get the best. His dates are a great challenge to musicians and the results are always a source of pleasure for the players as well as the producers. Even with the advance information and requirements from Michel, and even with the cream of the players, I held my breath on this one. I finally saw the music at the same time the players did and, once again, Michel went beyond the usual. Michel's new inventions, voicings, harmonies, and technical requirements for the players were at times outrageous. His knowledge of instruments is astounding. And lines that are at first glance unplayable are, in every case, perfectly written. There are always some players who are temporarily speechless but, in the end, because they are the best, it all works out just as Michel conceived it. Looking at the personnel in this band you can see that it is the cream and, as I have said, for this kind of music you need it. This kind of music is jazz. It is classical. It is fusion. Or it is whatever other classification you can put to composition and improvisation. It is, overall, uniquely Michel Legrand.

- NORMAN SCHWARTZ